The Musical World (January, 1890)

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4 BRAINARDS’ MUSICAIL WORLD. ESTABLISHED 1867. Chicago Musical College CENTRAL MUSIC HALL. Unsurpassed facilities for instructions in all branches of musical and dramatic art. New cata- logue containing Musical Lexicon, Abridged His- tory of Music, and giving full information, mailed to any address free, on application. DR. F, ZIEGFELD, President. —— Fr — > UW/rve > QBE With a and a Splen Oberlin Conservatory offers Unusual Advantages for the Study of Music. 478 students last year. Total expense for one year’s study (38 weeks) need ae atte of Superior Instructors d Buil for its exclusive use, the not exceed . Terms begin Sept. 11th, Jan. 1st and April 2d. If you are intending to study music in any of its branches, send for catalogue to F. B. RICE, Director, Oberlin, Ohio. In Press. Ready Soon. SPARKLING & BRIGHT! NEW SUNDAY SGHOOL MUSIC BOOK ——~ BY :--————— J. H. TENNY, anv EDW. PRIOR. THE COMING BOOK! WAIT FOR IT! IT WILL INDEED BE BRIGHT & SPARKLING! we E can safely promise, in this new book, one of the Best and most Attractive collections of Sunday school music issued in years. It will be published in elegant style and orders can be filled by February 25th. pa@s>Send Stamp for Specimen Pages.“@sa PARAGON MUSIC HOLDER, Holds Music Open on Piano or Organ, Clamps to } the fret work, No Holes, |,. Music Turned Almost In- stantaneous, Nickel Plat- ed. The Only Practical Music Holder. Sample by - Mail 75c. Agents Wanted, E. E. Brownell & CO., Schenevus, N. Y. Soncs AND BALLADs. BY .CAMPBELL. Among our American musicians and composers is Mr. J. B. Campbell, whose fine taste and ability as a song writer has made his name deservedly well-known, and given him rank with the best writers of the time. The following songs and ballads are among the choicest of his many compositions, and are well worthy the attention of all lovers of refined and better- class songs. Every one of them will be found interesting and pleasing. Adeline, Aleve song. The latest and one of the best efforts of this well-known corm : * prominent musician pronounces ‘Adeline’ the finest American song thar inden in years. Two editions are published, one for soprano or tenor, and one for contralte one. Key, soprano or tenor, A flat. Compass, E to A. Key, contralto or baritone, F Major. Com) to F. Price, 40 cents each. A charming song and already a great favorite. The words by Edward Ox ford. “All the people flocked around him.” As he rang his quaint old bell.” ; ‘We can safely recommend this song to the notice of singers everywhere.”— Times. Key, C Major. Compass, D to G. Price, 40 cents. A gem that will be welcomed by lovers of the best class of songs. not fail to become a great favorite. The words are by Edward Key, F major. Compass, C to A. Price, 40 cents. , This beautiful song, the words by Edward Oxenford, is founded Only a Crossing Sweeper. on Dickens’ poor “Joe” the crossing sweeper. It is a charm- ing and effective song and worthy a place in any singers’ repertoire. ey, D Minor. Compass, C sharp to F. Price, 40 cents. The Plaidie. Ds ©) The Town Crier. It can- xenford. 0 Let me Dream. An exquisite new Scotch ballad by this talented composer and fully up to his high standard. The words by Chas. Sibley run as follows: “Upon ane stormy Sunday, coming adoon the lane, ere a score of bonnie lassies and sweetest I maintain Was Caddie, sweet Caddie That I took un’neath my plaidie To shield her from the rain To shield her from the rain.’’ Key, A Minor. Compass, E to F. Price, 40 cents. 1 1 A charming song, equal in every in respect to any of this favorite Three Little Birds. writers’ compositions. We can heartily recommend it. The words are by Philip Thyne. “Oh, three little birds on a bramble spray! Each flew to find him a nest. There was one went merrily over the sea, And one flew straight for the North Countrie, But the third little bird, But the third little bird He winged his way to the watery West, Where one that I love sits sighing.” Key, C Major. Compass, B to E. Price, 40 cents. 9 A. tender and plaintive melody for Contralto, in admirable accord Ilka Blade 0 Grass. with the beautiful Scotch lines of Ballantyne: *‘Confide ye aye in Providence, for Providence is kind, And bear ye a’ life’s changes wi’ a calm and tranquil mind.” Key, A Minor. Compass, B to E. Price, 50 cents. ; This is a vigorous nautical song for Baritone, and is one of the best ‘of its kind. Our Ship. ‘A superior sea song.”—The Htude. 3 “The melody has a delightful breezy swing, and the accompaniment is graceful and “appropriate; alto- gether it is a very characteristic and enjoyable piece.”’— Cleveland Sun. Key, E flat Major. Compass, B flat to E flat. Price, 40 cents. Wilt thou be my Dearie? A,charming setting of Robert Burns’ pretty little poem. : “A perfect gem in its way, having great beauty of melody, and the accompaniment well suited to the words.”—Musical Herald us . eS te Key, G Major. Compass, D to G. Price, 40 cents. Sing, 0 Bird in Yonder Tree, 4 right, cheery and melodious ballad for mezzo or high voice. Very nice for parlor or e : words are by Edward Oxenford, the English verse writer. . monks: einging-: the Key, A Major. Compass, C sharp to G sharp. Price, 40 cents. s 4 Another marked success of Edward Oxenford and J. B. Campbell. Caught in the Kain. These + Noeoes and pretty words could scarcely have had a better setting. Somewhat like Marzial’s ‘Summer Showers;’ rather better, however, than that, and is written in excellent taste.’’—Musical Herald. “‘A very neat ballad, cute and effective; would makea telling hit on an encore.”—The Etude. Key, E flat Major. Compass, C to F. Price 50 cents. The author has here given us another spirited sea song—very brilliant and r . Off to Sea. ing. ‘A stirring ballad to draw tears from tars.” ' . hi = ‘Will make a capital concert song for a good tenor or baritone.”—Jndicator. ey, F Major. Compass, C to G. Price, 40 cents. H 4 A little beauty. Certainly one of the most daint , graceful and pleasi Binding Sheaves. ballads we have ever issued. Poem by Jean Ineutae. . Ce “It is very melodious and singable, and can be recommended for popular use.”— The Etude. Key, A flat Major. Compass, C to A flat. Price, 35 cents. F This is quite a sentimental song, as regards the words. Musically, oe ee tr oe ee Genpbell has ean i Bak en a very pleasing melody, 44 s. S passionate character an oa . very effective for strong baritone or tenor rom port Se Key, D flat Major. Compass, D flat to F. Price, 4) cents. 4@-Any of the above beautiful songs mailed post-paid on receipt of retail price. THE S. BRAINARD’S SONS CoO., Publishers, Chicago.

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~~ —— Wy eI CORRES Hye H k i KON NEW YEARS’ CAROLS.

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BRAINARDS’ MUSICAL WORLD. J. B. CAMPBELL. The subject of our sketch this month is an American musician who of late years is obtain- ing wide recognition as a composer of the bet- ter class of artistic English ballads. For this form of composition he possesses a rich and unmistakable talent, and well deserves to rank with the best song writers of the day. Mr. Campbell’s native place is Bloomington, Ind. From earliest childhood he showed a marked love and talent for music, although his parents were not at all musical themselves. The small town of Bloomington not affording “the requisite opportunities, his parents sent him, when a boy, to Louisville, Ky., where he received his first lessons in piano and theory. The summers of several successive years were thus spent in study and practice under leading teachers in that city. After completing his studies at school and at Indiana University, he went to Boston, where he studied piano and organ playing, and profited by the many musi- cal advantages there afforded. Returning to the West, he located at Indianapolis, where he was soon busily engaged as teacher and organ- ist. Five years afterwards, a long and severe sickness made it necessary fcr him to be taken to his father’s home at Bloomington. On re- covery, he went to Cincinnati for a year’s study, since which time he has been engaged in rivate teaching and in female colleges in | eens North Carolina, Cleveland, O. and this city (Chicago) where he lives now. His first songs were published in Cincinnati about ten years ago. The best and most widely-known of his compositions, however, have been given to the public during the last four years; in which time he has enriched the ballad repertoire with many delightful num- bers, all of them evincing much beauty and charm of melody, rich harmony and musicianly taste and skill generally. ~ Miss: Effie Stewart, Mrs. Corinne Moore- Lawson, Miss Grace Hiltz, Mrs. S. C. Ford, Miss Helen Dudley Campbell and other favor- ite artists have sung his songs in concerts, etc., KS nea and in thousands of homes through- out the land his beautiful composi- | tions have found a place. The following comments are ex- tracts from letters : “It gives me great pleasure to | say that your songs show unques- | tionable gift. I cannot now enter into details concerning their points of interest and merit, but in my opinion you have the ‘true call,’ and I trust to see you go on to further success.” DoupiEy Buck. “In looking over a number of | your songs I was at once favorably impressed with their unconyen- tional character, both as regards | melodic invention as also the man- ner in which you treat the instru- mental accompaniment. I do not at all hesitate to recommend a study of your songs to all artists who are not only looking a little | beyond the mere ephemeral ap- | plause of an idle unthinking crowd, but are willing to do the best work aided by such exceptionally excel- lent material as you furnish for the sincere gratification of earnest cul- tivated music lovers. Your songs mark a decided progress in Ameri- can music.” Emin LIEBLING. “T like your songs extremely ; not only as music, but also for their, beautiful technical workman- ship.”’ ARTHUR Foore. ‘““The songs you sent me were duly received, nad I thank you for them. Several of them, I found, were already in the hands of more than a dozen pupils of mine. This fact tells you better than words what I think of your music. A number of other songs of yours are old friends here. It is very kind of you thus to remember me, and I accept the graceful compliment as coming from one of the most gifted song-composers of this country.’’ CONSTANTIN STERNBERG. ‘*T have received and read a number of your late compositions, and can say nothing but praise concerning them. As one of our younger American composers, it is encourag- ing to see you, by your own talent and respect for your art, write songs which are in thorough good taste, musicianly in form, and which will help towards improving the public taste. I wish them all the success they deserve.’’ CALixA LAVALLEE. Many other musicians, singers, teachers, etc. in various parts of the counitry—as also the musical press—have endorsed Mr. Campbell’s writings. ~ A leading vocal teacher in Chicago says: “In the refinement of melody, beauty of harmony, and correctness of form they stand as fine examples of song-writing. I shall use them in my teaching and concerts, and I hope they may gain a wide appreciation.”’ A well-known New York pianist and com- poser says: ‘‘T consider your songs charming, and worthy the attention of artists of the highest rank and culture. I tender you my hearty thanks for the pleasure ‘they afford me, and shall take every opportunity to make them known to my musical friends.”’ “~~ —K 9 ——-— AUDITORIUM ORGAN, In about three weeks it is expected that all the parts of the great organ wiil bein their place and in working order, after which weekly organ re- citals will be given at a nominal price. THE PATTI OPERA SEASON. The curtain fell on the greatest Italian opera season ever known in this country, atthe Audi- torium on Saturday afternoon, January 4. Patti and “Home, Sweet Home” opened the Auditorium and the last audience of the season was dismissed by the same priestess, with the same gentle benediction. The one occasion was almost as big as the other, although it lacked the presence of the great men of the Nation who helped to make the opening night impressive. It was on account of the Chicago Auditorium that Italian opera was revived and one of the greatest companies in the history of music was brought direct across the continent to this city. The Auditorium has demonstrated one of the im- portant reasons why it was erected. It has fur- nished a home for Italian opera, and we believe it will do much to perpetuate German opera in America. With New York as its sole abiding place German’opera cannot live. In the spring it will be heard at the Auditorium, and thenceforth it will be at home in Chicago. As regards the individual artists, Sig. Tamagno as a dramatic impersonater,has been found worthy of the name that has preceded him. Patti ap- peared to the best advantage in “Semiramide,”’ as, owing to the peculiarities of the vocal writing, the distinction is drawn less forcibly than in any other between what she has been capable of doing in the past and what is now within her power. Sig. Lardo has shown himself a baritone possessed of an exceptionally good method and a voice of most agreeable quality, which he uses like the artist that he is. Mme. Vaida, though suffering from serious illness even while bearing her part with Sig. Tamagno in the production of ‘‘William Tell,” proved herself an earnest and painstaking artist, whose efforts were recognized by the audi- ence with encores, which in more than one instance she was too ill to accept. Sig. Perugini had his great opportunity as Cassio in “Otello,” and availed himself of it. Mme. Fabbri is also a conscientivus artist and reasonably strong in the roles which she was called on to undertake. She, too, appeared to the -best advantage perhaps in “Semiramide.’”’ Mme. Albani’s success was made in “Otello,” and while it does not in the least affect the estimate of her work earlier in the season it is a pleasure to accord her the praise due her efforts. Sig. Ravelli has made an excellent im- pression in the tenor roles which he has under- taken. Mme. Nordica’s singing in Aida was in the main artistic and tasteful. Sig. del Puento has also done work of excellent artistic quality in several roles, but particularly in that of Iago. Signori Castelmary, De Vaschetti, Bieletto, Carbone, Mig- liara and others are also deserving of commenda- tion for earnest work done during the season. There have been twenty-one performances of thirteen operas, as follows: ‘‘Romeo and Juliet,”’ “William Tell,’ “Faust,” ‘‘Trovatore,”’ ‘‘Lucia,’’ ‘*Aida,” “‘SSemiramide,”’ ‘‘Martha,’’ ‘‘Huguenots,”’ “Traviata,” ‘‘Sonnambula,”’ ‘‘Barbiere,’ and “Otello,” the last named being the crowning féa- ture of theseason. Seven-of these were conducted by Sig. Saplo and the remainder by Sig. Arditi. The attendance at the twenty-two performances have been estimated at 100,000, while the receipts is $232,952. The list of which is as follows: First week (six performances)..............00. -seeee 60,087 Second week (five performances)................... 53,807 Third week (five performances)................ceeee 52.735 Fourth week (six performances).................... 66,323 Total for twenty-two performance.............$232,952 This includes dedication night where no general admission tickets were sold, and many of the stockholders had places which they were not re- quired to pay for. The total is something hitherto unheard of in amusement enterprises. Mr. Abbey says: ‘‘So far as my experience goes the season has been the greatest in the history of Italian opera. It is certainly four times larger than my last season in Chicago, when I had Niel- son. The only season I know of that approaches it wus Patti’s Buenos Ayres engagement. The fig- ures for the Patti nights there were about as high as those of her performances here, but the other ~ nights gave poor returns and the average was con- siderably smaller. All our expectations were real- ized in the Chicago engagement.” From here the company go direct to the City of Mexico, where they will open Saturday night, (the llth) with Patti in ‘‘Semiramide.” From there to San Francisco, after which they come East again stopping at Denver, Kansas City and Louisville. After that we have them here again in Chicago, March 10, for a week, before they go farther East. ltalian opera is alive again in America and it will continue to live for many years. The Chicago Auditorium is its second godmother.

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BRAINARDS’ MUSICAL WORLD. Z CO cc August Hyllested, whose portrait we present our readers this month, ranks among the best of Chicago’s many talented pianists and teach- ers. He was born in 1858 at Stockholm, Sweden, and early exhibited remarkable musi- cal talent, entering upon the study of the art at the early age of five, and playing in public in Stockholm with great success when but eight years of age. Three years later he made a concert tour through Scandinavia. In 1871 he was sent to Copenhagen, where he had for an instructor Edmund Neupert, at that time director of the piano department at the Royal Conservatoire, and where he had tuition in composition, by the great composer, Neils W. Gade, president of the conservatoire. After five years devoted to study under such distin- guished auspices, he made a second tour of Scandinavia as conductor of orchestra and solo pianist with Ferdinand Strakosch and his company, including Signora Domia Dio, Sig- nora Montoya and Signor Holman. Returning to Copenhagen, he became organist of the Kykjobing Cathedral and conductor of the musical society. Removing to Berlin two years later, he became a pupil of Xaver Schar- wenka and the celebrated Kullak. In 1880 he went to Weimar to play for the great master, Franz Liszt. Liszt was greatly interested in Hyllested, spoke warm words of encourage- ment, and in a letter to the Danish royal asses- sor at Copenhagen, said: ‘‘Among the many pianists | have had the opportunity to hear, I find only a few that are really talented artists, but among these few is particularly the Scan- dinayian pianist, August Hyllested.”’ In 1885 Ee Hyllested came to this country under the well known impresario, L. M. Ruben. After giving four concerts in Steinway Hall, N. Y., with Ovide Musin, the Belgian violinist, he made atour of the principal Eastern cities of the United States and Canada. At the National Music Teachers’ Convention in Boston that year, he became acquainted with Dr. Ziegfeid, and was induced to come to Chicago, where he became and remains assistant director of the piano department of the college. That the young ‘instructor has won popular favor in Chicago, goes without saying. His concert work has been very successful and his composi- tions have been well received, while his influ- ence through the classes of his pupils is transmitted throughout the country, to the great advantage of general musical culture. ee SONGS OF THE SEA. All who have been within sound of the sea have doubtless heard, on a fine bright morning, the merry click of the windlass on board of some outward-bound craft, while there also came, occasionally heard, strains of song, peculiar.in rythm and melody. This curious song was a chanty, or sailors’ working song. Merchant sailors do no heavy work without a song. Men-of-war’s men are led in their motions by the shrill notes of a whistle, or heave at the capstan accompanied by fife and drum; but merchanimen “lift up their voices and’’—sing. Collections of these songs, as sung by sailors of all countries, have been made, and form a curious library of melody and nonsense. For it is not so much the sense, but the sound principally that influ- ences the men in their choice of a ‘‘Chanty.’’ These songs are not without a certain beauty of their own, especially when sung to the ac- companiment of the tempest and the boom of the flopping sail. They are usually the genu- ine compositions of sailors, and are frequently improvized in part, at least. The melodies are recitatives, which are sung by the best and usually the loudest voice, while the chorus is taken up by all, suiting the labor to the rythm. They are of various kinds, some being adapted to the monotonous clank of the windlass or pump-brake, others suited to the quick pulls at toprail halliards or main sheet. Dana, in ‘‘Two Years Before the Mast,’’ says, “A song is as necessary to sailors as a fife and drum to soldiers. They cannot pull in time, or pull with a will, without it. Some captains say a | good chanty is worth an extra hand. Sailors have inherited this penchant for the stimulating song. The Argonauts moved to the sound of Orpheus’ lyre, and the rowers in the ancient galleys kept stroke to the strains of the Keleusura. This was explained by the whistle in the middle ages, which usage re- mained to the navy, but merchant sailors returned to the song. Boatmen are noted for their use of rowing songs in many parts of the world. Venetian gondoliers formerly repeated whole passages of Tasso’s- poems, singing in alternation the glowing verses. They still repeat parts of familiar operas, but “in Venice Tasso’s echoes are heard no more.’’ Impro- vised verses to some familiar melody are more commonly used. Love songs are very popular with them. Boat songs were and are still pop- ular among the highlanders, whose picturesque lakes resound to the echoes of the stirring melodies. These were called ‘“‘Jorrams’’ and one is given in Scott’s ‘‘Lady of the Lake.”’ A favorite one is that beginning : “Row, vassals, row, for the pride of the. High- lands.” Another fine song is given in Black’s yacht- ing romance, ‘‘White Wings.’’ Its burden is ‘*Ho, ro, Clansmen!”’ The keelmen of the Tyne have many cher- ished songs, of which the best known is ‘‘Weel May the Keel Row.’’ The same is true of the bargemen of the Loire, and other French rivers, a famous rowing song with most of them being “La Corsarienne.’’ Nor is Venice the only Italian port where boatmen’s songs are heard. They are exceedingly popular in Naples, and no visitor to that charming port has failed to hear ‘Santa Lucia,”’ a barcarolle, in the mouth of every fisherman and boatman. On this side of the Atlantic such songs are not so common. In Canada, however, they continue to be heard, and Moore’s ‘ ‘Canadian Boat Song” is but a specimen of a class of them. A recent traveler in Brazil describes the Amazoniac boat song: ‘‘The best wit on board starts the verse, improvising as he goes on, and the others join in the chorus. They all relate to the lonely river life, and the events of the voyage, the shoals, the wind, how far they have to go before they go to sleep, etc.’ The boatmen of the Nile are particu- larly adept in the songs, having one for each separate occupation. Hindoo, Chinese and Japanese have them, and no boat is rowed in the South.Seas, among the many islands, with- out a song, consisting of a short solo and chorus. Wilkes’ exploring expedition found them using one with an undoubted reference to Captain Cook: “Cook tells you, pull away; I will do so, and so must you.” The true sailors’ chanty is of the same class as these boatman’s songs. There are many such in use among mariners of all nations,

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8 BRAINARDS’ MUSICAL WORLD. although English, American and Scandinavian sailors take the lead in this nautical minstrelsy. A noted Italian writer on these themes says the Italian sailors bring the English songs home and sing them in preference to their own. These chanties are of various classes, adapted: to each class of work: First, there are the anchor songs, used in weighing anchor. These are best known to landsmen, because most frequently heard. The true capstan song is generally in ‘long meter’ and _the airs are rather pathetic in their melody. One of these best known is that given below: “Yo, heave ho! Round the capstan go; Round men, with a will; Tramp, and tramp it still; The anchor must be heaved, Yo, heave ho!” In the days of our clipper ships and sailing liners, there were many popular songs of this class, such as ‘‘Valparaiso,’”’? “Round the “Horn” “Santa Anna’ and ‘‘Rio Grande.’’ The latter consisted of any number of solo verses, with a resounding chorus, as, Solo—Were you ever in Rio Grande? Chorus—Away you Rio! Solo—O, were you ever in Rio Grande. Chorus—I am bound to the Rio Grande. Away you Rio, away you Rio, _ Fare you well, you pretty young girl, I am off to Rio Grande. The history of the pretty milkmaid who will not wed is embodied in verses sung to this tune. Our characteristic American chanties mostly come from the darky sailor, whose strong and melodious voice and musical in- stincts fit him for the role of leader in these working songs. ‘‘Oceanida,’ ‘‘Johnny’s Gone,’ ‘The Black Ball Line,’’ and others were formerly well known. One of these is ‘‘Slopandergosha :”’ SPESIMEN CHANTIES: “Have you got, lady, a daughter so fair? Slopandergosha. That is fit for a sailur that has crossed the line? Slopandergosha.” One of the finest of these songs is the weird ditty known as “Lowlands :” Solo—I dreamt a dream the other night Chorus—Lowlands, lowlands, hurrah, my John! Solo—I dreamt I saw my own true love. Chorus—My lowlands away. But perhaps the most cherished of all these chanties is “Old Stormy,’’ decidedly of negro origin. Sometimes the verses are sung alter- nately as solo and choruses. “Old Stormy he is dead and gone. ’ To me, ’way hey, storm along John. Old Stormy he is dead and gone, ; Ah! ha! come along, get along, slom along, John! Old Stormy he was a bully old man, To me,’way you storm along! Old Stormy he was a bully old man, I! I! I! massa, storm along.” Frequently, however, there is a long verse, descriptive of the death and burial of Storm Along, and a : Among the old negro songs was one witha beautiful melody, the words of which ran thus: Oh! the wildest packet you can find, Ah, he! ah, ho! are you most done! Is the Marg’ret Evans in the Black X line? So clear the track, let the bulgine run, To my high rig-a-ray, in a low-back car, Ah, he! ah, ho! are you most done? With Eliza Lee all on my knee, So clear the track, let the bulgine run! ‘‘Heave Away, My Johnny,” “Sally Brown”’ and the ‘‘Dreadnaught’’ are well-known cap- stan songs sung by our sailors in the palmy days of clippers and liners, while tramping about the capstan. Norwegian and Danish sailors’ chanties are much like those of our own ‘sailors, and are frequently composed of native and English verses, ‘‘Heaving the Anchor’’ is one of these, the chorus of which is English : “Goodby, fare you well, goodby, fare you well, Hurra, my. boys, we’re homeward bound!” rollicking chorus after it. There is another, entirely Norwegian, en- titled ‘‘Opsang.’’? Russian sailors have two favorite songs for heaving the anchor, the melodies of which are very fine. Windlass songs are much like those just spoken of. The meter is apt to be shorter, as the motions are quicker. ‘“Shanandore” isa famous one: “You Shanandore, I long to hear you.”’ : Chorus—“Hurrah! you rollin’ river.’ You Shanandore, I long to hear you.” Chorus—‘‘Ah, ha! you Shanandore.” Another is “Rolling Rio,’”’ and a true favor- ite is this: “For seven long years I courted Sally.” Chorus—‘“‘Hurrah, you rollin’ river!” “T courted Sally down in yon valley.” Chorus—‘‘Ah, ha! I’m bound away on the wild Missouri.”’ Still another celebrates the Mexican ‘‘Santa Anna.’’ ‘Did you never hear tell of that General?” Chorus—‘‘Hurrah, you Santa Anna.” “Did you never hear tell of that General?” Chorus—‘‘All on the plains of Mexico.” HAULING SONGS. Somewhat similar to these, yet having pecu- liar features of their own, are the hauling songs which are in general use all over the world. These are of two kinds, one is for the ‘short haul,’’ when the men stand in line and pull on the ropes.‘‘hand over hand.’’ Then there is the long pull chanty, used when there are many men who ‘‘walk away’’ with the rope. Inthe ‘‘short pull” chanty stress is laid upon particular words, at which signal the pull is made. One of these in use among English sailors is the chorus : “Oh! shake her up, and away we’ll go, So handy, my girls, so handy.”’, ye aloft from down below, o handy, my girls, so handy.” ‘‘Reuben Rauzo” is another song very pop- ular among sailors. It is the history of a sailor who became captain. Another, ‘‘Top- sail Halliard Chanty,’’ much used by the crews of the timber ships at Quebec, is ‘‘Sally Rochet,’’ whose chorus is ‘“Cheerily, ho; cheerily, cheerily, men.” ‘‘Whisky Johnny” is known among sailors everywhere : Oh, whisky makes me pawn my clothes, Oh, whisky gave me a broken nose. And so forth, ad libitum, with the chorus after each verse of : O! whisky; oh! Johnny! ‘“‘Tommy’s Gone to Hilo” is a well-known Liverpool chanty, with a long dragging chorus (in measure): “I’m Handy Jim, from Caro line,” with its chorus of ‘‘So handy me boys, so handy,’’ details an unfortunate courtship with a certain ‘‘Sambo Jones.’’ Although the history of ‘‘Reuben Rauzo’’ may not be easily traced, historical characters better known are the subjects of the sailors’ songs. Like “Sanaa Anna,’’ Napoleon is thus immortalized under the name of Boney. The ‘‘Chanty’”’ runs: Oh,’Boney was a warrior! Wae, hey, hu! and tells us many surprising things about him ; for instance; that he was not a Frenchman, and that he went to Elbow, wherever that may be. Russian sailors have got a special song for holystoning the decks, and there are others used for special purposes. Singing is especi- ally encouraged in the Russian service, and the national hymn, ‘‘God Save the Tsar,”’ is frequently heard from the decks of their ships. The principal motive in these “chanties’’ is sound, time and melody. Not much attention is paid to sense, as far as the words are con- cerned. F. 8S. Bassert. Chorus: “JOHN BROWN’S BODY.” The well-known song of ‘‘John Brown’s Body,” was first composed by Frank E. Jer- ome, who is now residing at St. Louis. He combined two well-known-lines, ‘‘Go tell Aunt Susey’’ and ‘‘I love to go to Sunday-school,”’ and in the union he produced the tune of “John Brown’s Body’’ as known. The first words which Jerome put to the tune in 1861 were as follows: John Brown’s body lies slumbering in the grave; John Brown was noble, loyal and brave; His mission on earth was to rescue and to save, And his soul goes rolling on! Chorus; Glory, glory, Hallelujah! (etc.) The rebels in the South can never make it pay While John Brown’s mission speéds on its way, For Freedom and Right will surely win the day, And his soul goes rolling on! These are not the words as known by the great mass of people, and ‘as sung by the army. These were written by Rey. W. W. Patton, of Chicago, who heard the original as sung by many soldiers. Mr. Patton’s words were pub- lished in November, 1861, and were as follows: Old John Brown’s body lies a-moldering in the grave; While weep the sons of bondage, whom he ven- tured all to save;. But a he lost his life in struggling for the slave, His soul is marching on. Oh, glory, halle’ujah! J bn ee he was a hero, undaunted, true and rave, And Kansas knew his valor, where he fought her rights to save; ~ And now, though the grass grows green above his grave, His soul is marching on. He captured Harper’s Ferry with his nineteen men so few And he frightened “Old Virginny” till she trembled through and through; They hung him fora traitor, themselves a traitor crew, But his soul is marching on. John Brown was John the Baptist of the Christ we are to see— Christ who of the bondmen shall the Liberator be; And soon throughout the sunny South the slaves Shall all be free, For his soul is marching on. The conflict that he heralded he looks from heaven to view— On the army of the Union, with its flag red, white and blue; And heaven shall ring with anthems’o’er the deed they swear to do, For his soul is marching on. Ye soldiers brave of freedom, then strike, while strike ye may, The death blow of oppression in a better time and way, For the dawn of old John Brown has brightened into day, And his soul is marching on. nee ET BEETHOVEN’S BIRTHPLACE. We need not refer to Victor Hugo, who pro- nounced Beethoven to have been the greatest German, in order to interest our readers in an article on the above subject. What musician, when going up or down the Rhine, would fail to stop at Boon, in order that he may see the city that calls Beethoven her own, in order that he may see the streets in which this great master ran around when yet amereboy. Yes, and when once the wanderer is in the streets, would he not also wish to see the house where the Beethoven family dwelled and the room where our great Ludwig saw the light of day? Seyfried in his book entitled “Beethoven's Studies,’’ published many years ago, offers his readers a picture of what he calls the house in which the great master was born. This, how- ever, is a false statement. The house, the picture of which he publishes, is the one in the Rheingasse, where the Beethoven family lived for some years, but it is not the house in which the composer was born. It seems strange that the citizens of Bonn should be so careless in this matter, for till this day, this house is designated by a tablet, as Beethoven’s

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BRAINARDS’ MUSICAL WORLD. birthplace. The real birthplace, however, is the house No. 515 Bonngasse, of which we give our readers a correct representation : i i | ) ees i ‘i i fm yt | = } i | | Mi ti Wy - | aici LAE . | yA be! } N Ibs. ? “ This is the first picture we have seen of the genuine birthplace of our master, and we are happy to state, that it has lately been purchased for the purpose of preservation and also for the purpose of establishing within its walls a Beethoven Museum. The rear building of the .above is the one occupied by the com- poser’s parents. There is no doubt that these dwellings above represented are exactly as they were at the time when the composer was born. Beethoven’s mothers name was Maria Mag- dalena Kewerich. She was the daughter of a cook, who was employed by a family of dis- tinction at Ehrenbreitstein. When but seven- teen years of age, she married one Johann Laym, but two years later she became a widow. Her second marriage, that with Beethoven’s father, took place on the 12th of November, 1767, and on the 16th of December, 1770, our great Ludwig was born. The young couple settled in the house 515 Bonngasse, (Bonn street) the rear building, as represented above. Their sleeping room was what might be called a Mansart room—the Germans would call it a ‘‘Dachstube,’’ and in this room was born the immortal composer. The following is a cor- rect representation of it: = - Sag RS TE : f pe athe lah fe ‘ | i nen This also is the first picture we haveseen of the room in which Beethoven saw the light of day. Says Dr. Schmidt, the room is in the same condition in which it was 119 years ago, with this exception, that in one of the walls, a new door has been placed. Look at this miserable place, and think of it, here Beethoven was born. See the old door with its peculiar heavy lock, the lowness of the ceiling and the heavi- ness of the rafters. Notice the little windows, the glasses of which are fastened together by bars of lead! Examine the warped floor, the boards standing far apart, and presenting many holes. Think of it, here Maria Magda- lena Beethoven spent her evenings taking care of her wonderful boy, while the father, who was given to much drinking, would loaf in wipvehouses, where he boasted about his sons’ gifts and his bright future. Often he is known to have said, that he, like Mozart was a won- derchild, and that like Mozart he would be great some day. Yes, he became great, but who could have conceived at that time what this boy would accomplish. Look at this dark, dreary little room! What sufferings no doubt Beethoven’s mother endured within its walls! What quiet hours young Beethoven no doubt spent there playing and keeping his mother company. But then whatever is touched by genius becomes immortal, even if it is a miser- able little room in an old house, located in an out-of-the-way street. Who would to-day care for the old building and its dingy little room, were it not for the fact that here one of the greatest musicians was born. Unworthy of attention, as this room otherwise would be, it is now decorated with a tablet and a wreath, and thousands of persons come to see it. When Bee- thoven was lying sick just before his death, someone gave him a picture of Haydn’s birthplace. Handing it to Hummel he said, “look and see, so great a man as Haydn was born in such a humble dwelling.”” Yet Bee- thoven had evidently forgotten that his birthplace, though located in a city, was equally humble. But then the gifts of genius are not always, nay, not even often, carried to palaces and to the dwellings of the great and the rich. Oftener it is laid down by the side of little infants sleeping in rough cradles, infants watched over by humble and lowly mothers. Who can doubt that Beethoven was endowed by God with his great gifts in order that he might through his works lift up and advance mankind. Musical Gossip. Minnie Hauk has begun a season in Leipsic. Karl Formes, the great basso, died in San Fran- cisco last month. Verdi is spending the winter in a hotel at Milan, engaged in making notes for a new opera. Miss Ida Fitzhugh, a young Chicago woman, is singing with the Duff Company now in California. Paulus, the famous singer who started Boulan- ger, has been singing latelyin Vienna with great success. : The New York papers are scolding because Mr. oot came to Chicago first instead of going to yotham. Miss Olive Barry, who recently made her debut here, is filling an engagement with the Levy Con- cert Company. Mr. and Mrs. Henschel intend this month to give six vocal recitals in Italy. They will no doubt be vastly appreciated in the land of song. It now appears that the Aronsons will not bring out Gilbert and Sullivan’s new opera, “The Gondo- liers,”’ which was successfully produced in London. Mr. Johannes Wolfram, owing to illness, has been compelled to turn the ery ey of Neall Stevens, the pianiste, over to Messrs. Gould Wooley, of Philadelphia. Grau’s Opera Company report meeting with great success in Texas. At Galveston the company are said to have played to the largest business ever done there by an opera company for four nights. A Miss Carlotta Johannson, a niece of Christine Nilsson (a daughter of the prima donna’s sister), is said to have a remarkably fine soprano voice and has been sent to Christiania to finish her studies in singing. Bostonians were surprised by the Bostonians in regard to the pronunciation of Don Quixote. The week previous to its production theater-goers were calling it Don Ke-ho-ta, but they were some- what taken aback by the members of the company posses it, who pronounced it as it is spelled— on Quixote. A Memphis paper says that when the Abbott Opera Company recently gave Auber’s opera, “The Crown Diamonds,” in that city Walter Allen intro- duced a modern “topical song!’”” Emma has been accused of many strange notions of art, but to permit this certainly “takes the cake.” No less coarse phrase would at the fact. The distinguished pianiste, Marie Jaell, now in Paris, has undertaken the huge task of performing all of Schumann’s works in chronological order. After this she proposes in like manner to go through the whole of Chopin’s piano works, and in January to give a concert, at which she will play all the four piano concertos of Saint-Saens in one evening. Such serial performances may be in- structive to a few, but it is doubtful if even the most skillful pianist can avoid producing a feeling of monotony and weariness. The operain which the De Wolf Hopper [Comic Opera Company will open its season at the Broad- way Theater on May 5 has been selected by the managers, Charles EK. Locke and J. Charles Davis. It is called “Castles in the Air.” The libretto is by Charles Alfred Byrne and the music by Gustave Kerker, who may join the company as musical director. The scene of the opera is the island of Martinique, and Mr. Hopper’s part is that of a colonial police magistrate, the oracle of the island. It is said to give him excellent opportunities. David Henderson, of the Chicago Opera House, has secured the rights for the Gilbert and Sullivan opera,” ‘‘The Gondoliers,” for the territory west of Pittsburgh and for the Pacific Coast. The new opera, which was produced at the Savoy, London, on the 7th inst., scored an instantaneous success, both for the author and for the composer. The plot of “The Gondoliers” is simple, and deals with the fortunes of the infant king of the island of Barataria. Upon this theme Gilbert has woven a maze of complicated events. In the music of ‘‘The Gondoliers” Sir Arthur Sullivan has returned somewhat to his earlier manner, and it is much less complicated than his laterwork. Mr. Hender- son will give the piece an early production. a

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BRAINARDS’ MUSICAL WORLD. RAG: MRORS 6 we i ie JANUARY, 1890. “Brarnarpv’s Musical Wor p ts published on the firsi of every month. The subscription price ts $1.50 per an- num invariably in advance. Single copies 15 cents. Subscriptions 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. Con- tributors desiring the return of manuscripts must enclose stamps for pre-payment of postage. We desire an active agent for the MusicaL WORLD in every town, ta whom we offer liberal terms. BG We send the MustcaL Wor LD to all subscribers until notified by letter to discontinue. _ All arreardges must be paid at the time said notice 18 given. ka We send no free sample copies of the MusICcAL Wor.p. All orders for specimen copies must be accom- panied with 15 cents. Address all communications to THE S. BRAINARD’S SONS CO., Chicago, Ill. SPECIAL NOTICE.—Renew your subscription for 1890, if you have not already done so, Re- member we send the MUSICAL WORLD to all subscribers until notified by letter to discontinue. OUR LETTER BOX. Louts.—Dwight’s Journal was started in 1852 we believe. Mr. Dwight still lives in Boston. B. K. S.—Write to Brainard’s Sons Co., Chicago, and they will inform you on what conditions you may act as agent. OLD READER.—Surely you ought to know by this time, that such communications as yours would not be admitted into our columns. FrrepLAND.—Thanks for your. kind wishes. We would invite you to interest yourself in the introduction of the Musrcat Wor:p. T. A.—Mr. Constantine Sternberg lives in At- lanta, Ga. Heisanative of Russia. = biographi- cal sketch of his life appeared a year ago. Cuicaco.—Naumann’s “History of Music’’ first appeared in Germany. A new edition has lately been published by Spemann in Stuttgart. Vereran.—‘‘Our War Songs North and South,” as published by our firm, is the only edition that has appeared. There can be no more complete col- lection of such music. Ie alaipellli cig kee THis number of the Worup begins our twenty-seventh annual volume. ts ge aE OS Ir you have not renewed your subscription, please do so at once, or notify us if you desire the WorLD discontinued. WE send greetings to all our readers, and wish them a ‘‘Happy New Year.’”’ May it be one of peace and prosperity. ENE EELS Wieacmah ase Our readers will notice this month the im- proved appearance of our music pages, which are now printed from finely engraved music plates, on stone and upon a superior quality of paper. BRAINARD’S MusicAL WoRLD has now ap- peared regularly every month for twenty-six years—never having missed a single issue. ASDA Ss Ree Our circulation the last three months was 20,620 copies, as will be seen by the printer’s certificate, published in our Business Depart- ment. eee THE circulation of BRAINARD’s Musicau Wortp has doubled during the last six months, and is now larger than it has been for years and rapidly increasing. We shall spare no pains or expense to still further increase our list of subscribers and thus extend our field of usefulness. eo Rael RoBERT BROWNING, the beloved poet, died in Venice, Italy, on December 12, in his seventy-seventh year. He was born near Lon- don in 1812, and educated in the London University. He lived long enough to be in- formed of the fact, that his last volume of poems was published and well received. Poway. acme We, this month, present our readers our ‘‘New Year holiday number,”’ and trust it will meet their approval. In April we shall issue an ‘‘Kaster holiday number,’’ which will be very attractive. At least four “holiday num- bers’’ will hereafter be issued each year—viz., Christmas, New Years, Easter and Thanksgiv- ing. Please show this number to your musical friends. —$——<—<___ THE new song, ‘‘Adeline,”’ by J. B. Camp- bell, has been pronounced the finest song pub- lished in this country for many years. Itisa real gems ‘‘As of Old’ is one of Strelezki’s happiest efforts, and will be found a charming parlor song. ‘‘Sarabande,’’ Spanish dance by Seeboeck, is a brilliant and fascinating compo- sition, while the two piano gems by Wilson G. Smith and S. A. Emery will be admired by lovers of the best class of music. We can promise our readers some rare new musical gems in the coming numbers of the WorLD. Pete ay eS 7 Ta THERE are some music teachers who refuse to read musical journals, and who look upon such publications with a suspicious eye. Yet they are the very people who need to take to themselves the advice and the lessons which these journals bring. We again ask all our readers to show the Wor LD to their friends, and we shall sincerely thank all who thus aid us. Let teachers and pupils read the same journal, for they can then intelligently discuss the lessons given and apply them. We are always glad to hear from any of our readers as to whether or not they are pleased with the WORLD. Bie Vem WE take special pride in the music pages of the WorLD this month and present them as asample of the quality of the music to be given our readers regularly hereafter. Such well-known writers as W. C. E. Seeboeck, Wilson G. Smith, Karl Merz, R. E. Henninges, J.B. Campbell, Anton Strelezki and many others will contribute original compositions, while the best European composers will be well represented in our pages. ‘‘No trash’’ wili be allowed in the music pages of the Wor tp, and all selections will be made with the greatest care, by experienced and compe- tent musicians. The music in each number will be worth more than the price of a years’ subscription. i WE are glad to learn that the State of Penn- sylvania at last falls into line, and establishes a Music Teachers Association. The attempt made in this direction some years ago by Mr. Mahaffey, of Altoona, proved a failure, and such results could be plainly foreseen, for either Pittsburgh or Philadelphia were the proper cities to start the movement. Altoona was left without any following. Unlike other associations the Philadelphia meeting takes place on December 26 and closes on the 28th. There is quite an interest manifesting itself, and that, at both ends of the State. Success to the new movement. May the organization florish, and may peace and brotherly love pre- vail. —_——_, <P $$. WE learn from the Berlin Musical Press that Xavier Scharwenka has favored the pupils of his conservatory with a series of scientific lectures on the medicinal influences of music. In one of his lectures, the speaker says, “that the complicated motions in piano-playing are only possible through the activity of the brain, and that practicing upon an instrument, is therefore not a mechanical senseless per- formance of the muscels as some proclaim or believe it to be, but it is a conscious attentive gymnastic exercise of the brain.’ He who practices without the brain co-operat- ing, fails to derive that good out of his study, which he otherwise would. Whatever students of music do, should be done through the head, the heart and the body, and thus it will be seen, that the whole man is exercised in this great study. BRAINARD’S MusicAL WORLD is being read by professional musicians as well as by ama- teurs, and tha,tin all the States and Territories of this broad land. It has earned for itself the best wishes of all who are interested in musical culture, a fact which is attested by many letters, which are being published month after month. Its pages are devoted to instruc- tive editorials and letters, to the spreading of musical news as well as to the publication of useful music. It is not local in its character, for its articles will be found of interest to eaders in all parts of the country. BRAIN- ARD’s MustcAL WorRLD may safely be placed in every household, it may be safely recom- mended by all teachers and leaders of societies, and we hope that our many friends will make an effort, not only to show this number to their friends, but also to induce them to become subscribers. If the Worup has-been - of service to you, let others see it, so that they . also may be benefitted, - -o

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BRAINARDS’ MUSICAL WORLD. Sarp a beginner: ‘‘When will I be able to play Bach and Beethoven?’’ As well may the farmer stop his plough and say, when will I gather my crop of wheat? Let him plough his field and sow his seed—and the crop is pretty sure tocome. So let the pupil prepare his mind and his hand for the performance of such master works, and when his preparations are completed he will be able to play them. Look to your daily work and not at the end of the task you have set for yourself. By looking at the end of a long journey, we will, in all probability, find it long and wearysome, while at the same time we miss many enjoyments which lie along our path of duty. The wise traveler notices and enjoys all he can see, he enjoys his journey while he makes it, and he gets there just as quick as the one who frets about the slowness of the train and fatigues of the journey. The farmer who performs faith- fully his du ies of ploughing and sowing, gets his crops just as quickly and just as well, as the one who frets over these preparatory labors, and the slowness of the crops growth. Do every days duty with~-all your heart and mind, and leave the rest with your teacher. IIe is a safe guide and will surely lead you to the summit of the mountain of art. EDISON’S; PHONOGRAPH. Edison’s phonograph is still attracting a great deal of attention in Europe, and many speculations are indulged in, as to the practical good that is to be derived from it. One writer in the Hamburger Musik Zeitung thinks, that its greatest benefit will consist in the preserva- tion of musical performances, as models for future generations. No doubt there is some truth in this, but then imagine, if you please, a phonographic picture of the first perform- ance of Schubert’s great Symphony in C, or of Beethoven’s “Ervica.’’ Certainly something could be learned from such phonographic information, but we doubt whether it would have more than a mere historic value. No leader would play the Schubert Symphony in C, as it was first performed in Vienna, and, could Beethoven or Mozart hear their orches- tral -works peformed now-a-days, they would ' see a progress, which is quite beyond our com- prehension. What an inventive people we are! If American symphonies or operas are not attracting the attention of the European art world, our inventions will always be accepted and used abroad with gratitude. Europeans often are unwilling to believe the wonderful progress that is constantly being made in this country, especially in the line of labor-saving machinery. Europeans can neither comprehend the extent of our country’s do- mains, our ideas of liberty, nor our extensive use of machinery. But whether they realize the rapidity of our progress or not, we are nevertheless moving onward and, if our moral- ity keeps pace with our scientific progress, we are sure to become eventually the greatest nation on the earth. MUSIC IN JAPAN. It is only about twenty-five or thirty years since Japan opened her portals and admitted foreign culture, but in that period she has made wonderful strides in the advance. Not only in the sciences, nay also in the arts, has the Japanese mind made unusual progress. It would have been strange, had this people failed to learn the higher meaning of musical art, if they had failed to enter into the spirit of our great master works. National instru- ments and national songs, such as ‘‘He-to-tsu’’ and others, will always live among the people, bands made up of national instruments will for along time continue to be heard in the army and navy, the blind street musicians of Japan, will hardly take to Schubert’s songs or to our musical instruments, but among the more edu- cated people, our art music is now diligently cultivated. What is being done may be seen from aconcert programme performed in the Imperial Musicat Academy of Tokio. This in- stitution was started in 1878, and is therefore but a little over ten years old. Yet, at the head of this institution stands Mr. (or what- ever we ought to betitle him )—Isawa, a native Japanese. Next to him as head teacher we find Herr Dittrich, a German. The pro- gramme just alluded to was made up of chor- uses and solo songs, of pieces for piano and violin, works by Weber, Schumann, Haydn, Mozart and Beethoven were played. Yes, even a concert stueck, composed by a native, with the name of Koto, was performed. There also was played an original ‘‘Polka Japonica’”’ for the piano. The natives display much love for art, they exhibit great perseverance in their musical studies, and are making most decided progress. The ladies are said to have pleasing voices, while the Japanese language is well suited for music. The Japanese partake a little of the character of their Chinese cousins. Like the latter, they are an imitative, and not much of an inventive people. Their playing is very correct, but lacks poetic spirit. They are mechanical performers, but though they seem unable to bring out the full meaning of a composition, they nevertheless enjoy their mu- sical performances. Those, however, who know the make-up of this remarkable people, say, that in the course of time, they are sure to overcome this difficulty and, that the future for music in Japan is indeed bright. It is wonderful what progress the world has made in the past quarter of acentury. When we went to school ag a boy, China, Japan, like the center of Africa, were almost unknown countries. Now Japan has a constitution, she has telegraphs and railroads, newspapers and schools, and in all this array of tokens of civil- izing progress, an Imperial Academy of Music could not be missing. Success to Japan—may she for ever prosper and continue on the road of improvement and progress. Now who will emigrate to Tokio, and start a musical journal? do fora young musical student! There is a field open for some one to gather laurels in. There is work to +3 ARE THE ENGLISH MUSICAL? The editor of the Berlin Musik Zeitung, Mr. Otto Lessmann, lately visited England, in order that he might attend the Leeds Festival. In his report of what he heard and what he saw, he touches on the question which heads our article. Much has been said on this sub- ject, that is derogatory to England’s musical reputation, and it is but fair that the other side should be heard also, especially when this other side is set forth by so able a critic as Mr. Lessmann. The editor alludes to the English composers of the sixteenth century, whose works, he says are not seen on modern pro- grammes. ‘There surely is no reason why they should thus be neglected for they display more than ordinary talent. Though the speculative and mercantile tendencies of a nation are apt to suppress or at least to lessen the activity of the imagination, yet Mr. Lessmann does not herein seek to find the causes of the alleged musical inactivity of the English. Everybody acknowledges that the world owes much to England in the fields of literature and science, and we go a good ways further than Mr. Less- mann and say that the world owes much to England for having proclaimed and defended human liberty. English policy may have been, and no doubt often is aggressive, and even selfish, but then the English people may well invite the world to look into history and see what they have done. Blot out England from among the nations, and a great light will have ceased to shine. Take her influence out of human history, and see where the world would stand to-day. It is a dangerous senti- ment this jealousy of two great nations, for there are a hundred reasons why they should be friendly to each other, to one why they should look at each other with suspicious eyes. But enough of this. The critic asks the question whether Germany is really more musi- cal than England. Says-he, if the amount of piano-playing is to be regarded as the standard, of course this question may be answered in the affirmative. But, continues he, if we measure the extent of cultivation of pure art, if we count the number of the priests that offer sac- rifices at the altar of music, it will be found true that England. does not need to yield to Germany, in this particular. It is his observa- tion that the Germans have very much under- rated English capabilities in the domain of music, and he adds that he hay ‘Heard choral performances of greater beauty in Leeds, than in any town on the continent. When pointing — to the choirs of Berlin, he said, he would not be unjust or ungratefui, nor would he seek to diminish their undoubted services in the furthering of chorus singing, but, continues he, neither the cathedral choir nor the Kotzolt Gesang Verein and the Academy of Singing— as chief representative of a capella and accom- plished singing—could compare in effect with this (the Leeds) powerful choir. Now Mr. Lessmann ought to know, he speaks from obser- vation, and he is evidently determined to do justice. And we say let justice be done.

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12 BRAINARDS’ MUSICAL WORLD. But then adds the critic, look to Bayreuth! Is it the German who mainly supports the great masters’ cause? ‘To the contrary, those who ought to support it, men in authority, scholars, teachers, preachers, professors, etc., toa large number turn from it. Surely the English are not the last nor the least to help keeping up these festivals. But, say some, the English are rich and can afford to take long trips, they have much money to spend. This may all be true, but so is also this fact, that the larger number of those who come from England to visit Bayreuth, come in search of esthetic pleasure. Look also at the catalogues of German musical institutions, and again you find the English. Moreover no nation pays such salaries to teachers, no nation offers such aids to the poor that aim to secure a musical education. Does it not follow from all this that the ’ English people are alive, with the desire to cultivate and to enjoy music? The writer attributes the evident decline of musical cul- ture in England to Puritanical influences. He points to the fact that in the seventeenth cen- tury music florished in English homes and churches, until it was finally branded as sinful. In an article entitled Puritanism’ and Music, and which appeared a year or so ago in the MusicaL WoRLD, we pointed to this cause as well as to others, explaining why music in its full beauty could not well thrive and florish among the early Puritans. The great English festivals are living contradictions of the oft- repeated statement, that art finds no shelter nor suitable soil for its growth on the British Isle. Look at their programmes, measure their audiences, count their expenses, notice their fidelity and enthusiasm in geting up these musical feasts, and say, if you can—that the English are not musical, or that at least they try sincerely and energetically to cultivate the art and to draw pleasures therefrom. ee coe HISTORY OF ROMANTICISM. IV. The leading spirit of the German romantic school in literature was Jean Paul Richter, of whom his critics said, that he was born in the vinegar factory of satyre. He was one of the main factors in the romantic movement, and did more than anyone else to turn the stream of classicism into the’channels of romanticism. While he did this in the line of fiction and romance, Fichte did the same work in the line of philosophy. To be romantic means to reach out for the unseen, to search for an ideal life, which is the counterbalance of the real. The romanticist bears a different relation to the world, from that of the classicist. The latter depends largely on the outward, on the excellency of form, the former, however, strives more ex- clusively after the spiritual. Realizing the discrepencies between the real and the ideal, the romanticist seeks to build up a new world, an imaginary existence, in which these dis- crepencies shall not exist. He longs for a more ideal existence, hence he turns from existing things, and revels in the land of emo- tion and imagination, and in this he often goes to excess. 3 In one sense all music is romantic, especially is this true of instrumental music. Classicism adhered strictly to beauty of form, which, as its followers claimed, must be the foundation of musical art. The principles of beauty of form are demonstrated in the works of Bach, Handel, Gluck, Haydn, Mozart and Beethoven. The latter master, however, stands on the boundary line, for the romantic spirit makes itself felt in many of his wonderful produc- tions. Criticism should always be a purifyer of art, but criticisms in the earlier part of this century had degenerated. The classic idea of beauty of form was so strongly rooted, that a work was considered good, if the form merely was correct, though the ideas cast in this form were meagre and lacked originality. The romanticists not only protested against such criticism, nay, they struck at the form itself, claiming, that it had become a chain that fettered art, and that its preponderating influence was ‘a hindrance to progress. They claimed that all that could be expressed in the old forms had been said, and, that for this reason if must be burst like a chrysalis, in order that a new art may develop itself. The romanticists were not sticklers at questions of form, they claimed that a great soul could dwell in a homely or ill-shaped body. Reich- ard, the critic, in his days claimed that Haydn and Mozart were romanticists, and when com- paring their works with those of Bach and Handel, he was right. When Beethoven how- ever produced his sonatas and symphonies, the critics were forced to move Haydn and Mozart to the classic side, regarding Beethoven as a romanticist. After Weber wrote his operas and Schubert his matchless works, Bee- thoven was also placed among the classicists. Weber was really the first romantic composer and it was the romantic element so strongly expressed in his ‘‘Freischuétz,”’ which gave this opera such a decisive victory over the classic production of ‘‘Spontini.’’ It is the romantic element, both in the libretto and in the music of this opera, which made it so intensely popu- lar in Germany, a popularity which has not died away, even to this day, dispite the fact, that well nigh seventy years have passed since it was first performed. It is the romanticism which is'expressed with such intensity in this opera that made it so powerful a production for the German mind, and which surrounds it so to speak, with a hedge of nationalism over which foreigners seem unable to climb. The “Freischuetz,’’ it may safely be said, will only be fully understood and enjoyed by Ger- mans. The very name of the opera seems to be beyond the capacity of other languages. Who was better qualified to feel the romantic element in Weber, than Richard Wagner? When the former’s remains were brought back from England, thousands of people came to the river bank at Hamburg to welcome it, and when the casket was lifted out of the ships hold, the spectators with an attachment to the man such as Germans only know, sang a hymn. Hear what Wagner had to say at the time when they brought the body of Weber to its final resting place: ‘‘Never did a German master live like thee. Wherever thy genius carried thee, into whatever bottomless regions of the imagination thou went, thou wert ever knitted by thy tender fibers to the German heart, with which thou dcidst weep and laugh like a believing child, when it listens to the legends and stories of its home. Thou couldst never betray us! See how the Brittou does justice to thee; the Frenchman admires thee, but to love thee, lies only in the heart of the German. Thou art his, a pretty day of his life, a warm drop of his blood, a piece of his heart.”’ 7 This paper—we- mean, ‘“The History of Romanticism,”’ was originally written for the Ohio State Music Teachers Association. It was spoken of by a number of reporters, one of whom said, that he did not believe we would be sustained in our eulogy of Weber. To this we reply, that the writer of this criticism mis- understood us, he could not have taken with him a correct perception of the place which we assigned to our beloved Weber, else he would not have given expression to such crit- icism. We did not speak of our masters’ works in the superlative, we did not place him on the highest pedestal, we spoke of him merely as the first romantic composer, as a composer who came very near to the German heart, who expressed German sentiment with unusual warmth and a good degree of intensity. We spoke of him not asa rival of Beethoven or Wagner—though the latter, no doubt had learned some things from Weber, but we spoke of him as the composer who won a decided victory over the Italian opera, and who helped to overcome the supremacy of the Italian opera in Germany, thereby giving the German opera a new impulse. We wrote and spoke as a German born critic and historian, and from that standpoint Weber, the romantic composer, is worthy of all we have said of him. And now that we publish these lines, enabling others also to judge, we ask whether or not we are right? The ‘‘Freischuetz’’ was the opening of a new era in operatic art. Weber showed us roman- ticism in all its forms. | In his ‘‘Preciosa,’”’ he portrayed Gipsy life; in his ‘‘Oberon,’’ he brings before us the fairyland, in his ‘‘Eury- anthe’’ we are made to see woman worship and chivalry, while in his ‘‘Freischuetz,’’ he leads us into the dense woods with their mysticisms, he brings before us the elements of the spirit world with all that which is horrible. By the side of this he pictures to us a female charac- ter, which in its day no doubt was as popular as is Gretchen in Goethe’s ‘‘Faust.’”’ Say what you will, Mendelsohn, Berlioz and Wag- ner, Marschner, Spohr, Kreutzer and many others learned from this self same Weber! This weak, lame, puny little man was a host

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BRAINARDS’ MUSICAL WORLD. 13 and Wagner deserves to be treated by itself. We can, however, not close without saying at least a few words about Chopin. When he came to Paris romanticism had already made strong inroads into the fields of French litera- ture and, as Liszt says, romanticism was the order of the day. The new was not without its powerful enemies. Says a writer, “Those who saw the flames of Genius devour the old worm-eaten skeletons, attached themselves to the musical school of which the most gifted, the most brilliant, the most daring representa- tive, was Berlioz; Chopin joined this school. He persisted most strenuously in freeing him- self from the servile formulas of conventional style, while he earnestly repudiated, the char- latanism which sought to replace the old abuses only by the introduction of new ones.”’ How much might not be said of the great influence of this romanticist! Who has not yielded to the charms of his works? How often is he misunderstood and falsely inter- preted? How often is he injudiciously used in the work of musical education? How many turn Chopin’s noble sentiments into mere sen- timentalism? How much pure delight has been afforded by his beautiful works, and what a daring original and for all most tender and womanly spirit was his. We believe in the romantic as well as the classic elements in art and literature. We are friendly to the classic, for its beauty of form brings us great and clear cut ideas, we are friendly to the romantic, if its ideas are not expressed in chaotic and formless phrases and periods, if these ideas are more than a mere catching at new forms, new chord combina- tions and melodic effects. We advise students to be friendly to the old as well as the new, to _ the classic as well as the romantic. We would however lay it down asarule for those who follow the work of musical education, never to cut lose from the classic works of the earlier masters. No matter how much we may love the modern, no matter how readily our imag- ination may yield to the romantic spirit of art, still the study of classic works is a necessity which no musical educator can dis- card. When students have gone great ways in the roads of romanticism, it will always be found beneficial to return to the meas- ured forms of a Bach, to the self-re- strained sentiments of a Beethoven. On the other hand we do not agree with those who cannot see beyond a Mozart or a Beethoven, those who fall into spasms when praises are offered to modern writers. Study the good wherever it is found, welcome the works of all good writers, no matter from what’ school or country they come. Be a cosmopolitan iu your views and prac- tices. Use also the good works given us by our native composers, encourage them in every way, help to build up art in our midst, but not simply because we, as Americans, wish to rival other nations, but simply because we wish to. create a new domicile, a new home for art in this young country, because we wish our people to become musical and because we desire them to derive all those benefits from - this art which it is designed to bestow. Let us use the works of American writers not merely because they are American produc- tions, but because they are works that deserve tudy that are worthy of our attentions. romanticists may point to Schumann, Weber, Liszt, Berlioz, Wagner and others, all of whom wielded the pen, yes, most of them with great effect. Schumann gathered around him kindred spirits who styled themselves David’s buendler. It was in the earlier career of his life that he started the Neue Zeitschrift in which he began a warfare against the classic school and in behalf of progress. He was a roman- ticist, but his school is known under the dis- tinctive title of New Romanticists.. Schumann broke with the past and early he began a con- test in the fields of music which reaches into our own times. Not only did he carry ona war against classicism, nay, he revolutionized criticism. Read his works, entitled ‘Music and Musicians,’’ so ably translated by Mrs. Fanny Raymond Ritter. What a freshness of style, what vivacity and originality one meets with in those newspaper articles. Compare them with the style of the average criticism, such as appeared in the Leipsic Allgemeine or the Cascilia and notice the vast difference. How he made the dust fly as he knocked against the powdered wigs of the Philistines, those who were opposed to progress, and held to the supremacy of musical form and theor- etical rules. How they looked in amazement at the daring of this young David, as he flung whole hands full of pebbles at the classic Goliahs! One can hardly overestimate the good Schumann has done to musical criticism of his own times. He always welcomed the new and the good, no matter from what quarter itcame. He always looked first to the spirit and next to the form. Read, if you please, his interesting article, entitled an Op. 2, in which he made the world of music acquainted with Chopin. This splendid bit of writing seems to have strayed into the columns of the Leipsic Allgemeine, it appears in its columns like a youthful face by the side of those of old gray beards. It seems to be the very standard on which is written the motto, “Excelsior.” What an enthusiast this Schumann was, and yet how he calmed down as he grew older. This youthful spirit, aided by able minds, fairly hewed a path for the new, he dealt blows to the right and the left, until old rules began to crumble and new ones were pounded into old heads. Only those who lived at that period can form an opinion of the confusion as well as the bitterness of spirit that was caused in the world of music by Schumann and his friends, and so only those who lived during the periods of Wagner’s struggles can form a correct estimate of the intense bitter- ness that was engendered by the new ideas he advanced. Read Schumann’s writings how- ever, and you can still hear the echo of his bugles and drums, and though you may no longer see the smoke of the battle, yet you can easily discern its odor. With Schumann, be- gins a new era, a work which was finally carried to greater completion, under such men as Berlioz, Liszt and Wagner. _ Having given a history of the development of romanticism in musical art, we may there- fore stop here, for the romanticism of Liszt in himself. Not only did he win a decisive victory over the Italian opera, and the foreign element in Germany, nay, with his songs he stirred his countrymen up to fight for liberty and to resist the foreign invader. .Weber’s early life fell into the most active period of literary romanticism. He could not escape its influence, hence his operas give utterance to the very essence of it. Schubert, also a romanticist, lived at the same time. Likeatrue romanticist he dwelled in an ideal world of his own, veiled with mys- ticism. His works opened to us a new world. Having had but little of this world’s goods, his ideal realm was to him a Kingdom indeed. Who can fail to be influenced by this great man’s wonderful instrumental and vocal pro- ductions? He was a romanticist, yet in many of his works he holds strongly to the classic form, in many others he cuts lose from it. Look for instance at his great Symphony in C major. What a romantic beginning with the elfhorn—as if it were a call from the far off land of fairies. Yet notice how clear and correct is the form of the first part of this wondrous composition. The same is true of the Scherzo. The romantic spirit, how- ever,, makes itself strongly felt in the Andante, while in the last part it fairly Sweeps everything before it. The com- poser seemed unable to tell all he had to say, all he had to reveal, all he felt, he battled with everything and thus he lengthened out the contest as if determined to win the victory in the.end. What an impression must this great Symphony have made upon so romantic a spirit as was that of Schumann! Whata delight must have been his, when he, after carrying the Symphony to Leipsic, he heard it for the first time. What a romance lurks out of many of Schubert’s songs, and what an influence they must have exercised when many of them, then unknown in Germany, were for the first time sung on the piano, by the skillful and very romantic Liszt. Truly he was worthy of interpreting Schubert, if anyone was. Mendelssohn with his classic education and tastes, nevertheless was a romanticist, a fact which is plainly discernable in many of his works. Yet the classic element predominates, Hear his music to the “Midsummer Nights Dream’ and other of his great works, and say whether he had escaped the romantic spirit of his times. Yet in many of his writings he was a classicist, and how could it be otherwise in a man who was trained by a Zelter and who reveled in Bach. Robert Schumann breathes the purest atmos- phere of romanticism. He was a diligent reader of Jean Paul Richter, of Hoffman and other similar writers. Their literary produc- tions powerfully influenced his mind, while Schubert and Chopin filled his soul. Most musicians find it very difficult to enter Schu- mann’s ideal world, but he who once has been domiciled there, is sure to be a Schumann worshiper. It is a remarkable fact that but few musical classicists were literati, while the

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14 Educational Hints, TO TEACHERS, PUPILS AND PARENTS. 3231. He who with bold and skillful hand sweeps o’er The organ keys of some cathedral pile. Flooding with music vault and nave and aisle, While on her ear falls but a thunderous roar— In the composer’s lofty motive free, Knows well that all that temple vast and dim Thrills to its base with anthem, psalm and hymn, True to the changelesss laws of harmony, So he who on these changing chords of life, With firm, sweet touch plays the Great Master’s score Of Truth and Love and Duty evermore, Knows too, that far beyond this roar and strife, Though he may never hear, in the true time These notes must all accord in symphonies sub- lime. —Anna Lynch Rotta. 8232, Waste neither words nor time. ° 3233. Better be a moral man, than the best musician in Boston or Chicago. 3234, Never sink beneath professional dig- nity, nor rise above modesty and artistic sim- plicity. 3235. As teacher, never discourage! Build up, impart new life wherever you can. Do not tear down and crush out aspirations. 3236. The way in which a correction is made has much to do with its effectiveness. Watch the tone of your voice and the look of your eye. 3237. for the use of their means. make of their talents and of the arts. 3238. making mistakes. Remember you yourself are to blame. self. 3289. to fret. Why are you in the world? of mankind, that is a great privilege. else. then you hardly deserve to live. 3240. Some peoples hearts and minds are like shrivelled up, yellow parchments. It is impossible to write intelligently on them, much less possible is it to draw some artistic design They must first be smoothened out and bleached, before they can be beautified, and this preliminary educational process of smoothening out often requires a great deal of time and patience. Some hearts and minds, however, can never receive a smoothened surface on which to make pure art on the rough surface. impressions. BRAINARDS’ We say men are accountable to God Likewise teachers and editors are accountable for the use they Do not get angry at your piano when Do not strike the keys im- patiently because you failed to play correctly. If there is some striking to be done, strike your- Many teachers regard work as a pun- ishment, a task that causes them to moan and Surely not for the purpose of idling away your time. To work and to do something for the progress If teaching is a task, quit it, and try something But if you are unwilling to do anything, Editorial Briets, Bordeaux, in France, gave Wagner’s ‘‘Lohen- grin.” Ambroise Thomas is engaged in writing a new opera. t Count Zichy, the left-handed pianist, concertized in Berlin. t And now Munich puts upa tablet at the house where Wagner once lodged. eter eer Prof. Schaber, of Berlin, has been commissioned to complete the Wagner monument for Leipsic. —t | Herr Siegfried Ochs, of Berlin, has lately secured the manuscript of Weber’s famous concert stueck. t The Parisian pianiste, Clotilde Kleeberg, is just now engaged in a grand concert tour through Europe. t The musical festival at Leeds, England, was a great success, and Sullivan gave satisfaction as director. t A Rubinstein Jubilee Festival was held in St. Petersburgh on the 30th of November and Ist of December. t— Since the heginning of 1888 no new work has been given in the Grand Opera of Parsi. So says the Guide Musical. t+— It is wonderful what an attachment to Lortzing there is still felt in Germany. Hamburg gave recently all his operas. t Liszt’s oratorio, “St, Elizabeth,” is to be turned into an opera, and will be given at Vienna under the direction of Herr Dr. Richter. t Vienna will next summer enjoy a musical ‘festi- val, at which 15,000 German singers will par- ticipate. Great preparations are being made. +r + At Schwelm 400 pianos were destroyed in a fac- tory by fire. Yes, we know what becomes of new pianos, but what is the end of the old ones, that is a question? + ae At the unveiled of Weber’s monument next summer, it is expected that a two days festival will be held, the programme of which will contain ‘only’? Weber’s works. t The valuable manuscript of Mozart’s ‘“‘Don Juan’ will become the property of the Paris Con- servatory after the death of its present owner, Mdme. Paulina Viardot. | t The Oberlin, 0., Record publishes weekly a page of musical news and essays. Theyare well written and no doubt are diligently read by the musical students at Warren Hall. t The last meeting of the Guild of Meistersingers was held fifty years ago last October 21. Their entire property was given to the Ulm Liederkranz, who is to see to the safe-keeping of the many interesting relics. {— The Carl Rosa Company has secured the right of performing Wagner’s operas in England. course “‘Parcifal’’ is excepted. None of Wagner’s works can now be performed in England without, permission from this company. Of’ MUSICAL WORLD. Teresa Carreno, the American pianiste, gave a concert in Berlin on the 18th of November, and surprised everybody with her powers. Otto Less- mann says that for years he has not heard such playing. Score one for America. t | Genoa celebrated Verdi’s fiftieth anniversary as a composer on the 17th of November. A new music school has been founded, which is to be known as Verdi Conservatory. The city also pre- sented him with a gold medal. Well deserved. t A musical organization has lately been started at Williams College, Mass., under the name of Karl Merz Club, the aim and object of which is to cultivate pure art. Messrs. Chas. Austin and Osear Moore are the originators of theClub. The faculty have promised their aid. Success to you boys. t Christian Sinding, a Swedish composer, has writ- ten a concerto in D for the piano, which was produced at the Philharmonic Concert in Christi- ana. Grieg heard the new work, and was so charmed with it that he embraced the young com- poser, and asked the orchestra to play a fanfare in honor of the new concerto. t Madame Minnie Hauk has been presented with the “Cross of Merit.” At Schwerin the Grand Duke sent her his gold medal for ‘“‘Art and Sci- ence.” Since then the popular Carmen has been singing to crowded houses at Leipsic, where she will for the first time undertake the part of Mis- tress Ford in Nicolai’s “‘“Merry Wives.” : t Mlle. Marie Geselschap, who has just made her debut in New York as a pianiste, is Dutch by birth, having been born in Batavia, East Indias, of a family distinguished for the artistic gifts of its members, among whom is Prof. Geselschap, the painter of the ‘“‘Ruhmeshalle” in Berlin. Mr. Nikisch has engaged her to play with the Boston symphony orchestra December 5 in Worcester, and in January in Boston. Nessler’s “Trumpeter of Sikkingen” has been played at the Alhambra, Brussels, but it does not appear to have ‘‘caught on” with the public of that city. It is stated that the audience were only saved from utter weariness by laughing immoder- ately at the situations which the composer meant to beserious. “The Mikado” is to comeon shortly at the same theater. Possibly the good folk of the Belgian capital may take it aw grand serieux. In any case they ought not to be ennuye by “The Mikado.” aaa: Miss Agnes Huntington, a contralto who has made such an enormous success as Paul Jonesin London, now has the honor of having three distin- guished men engaged in constructing a new oper- etta for her especial use. Bisson is writing the libretto, and Planquette the music, and Burnand, the editor of Punch, is putting Bisson’s French into English. Miss Huntington has just signed a new lease with the Prince of Wales Theater ata salary said to be the highest ever paid in the annals of comic opera in London. When Mendelssohn’s funeral services were held in Leipsic, which took place on a Sunday, the request was made of the authorities that the theater be closed on that evening. The answer was, that no matter how great the man was, there are thousands in Leipsic for whom Mendelssohn never lived, and who therefore are in no wise con- cerned in his death. The authorities could not make up their mind to deprive the people of their Sunday recreation, but promised to play a serious piece! And this transpired only about forty years ago in the classical Leipsic, with its Schumann, Moscheles, Hauptmann, David, Reinecke with its Gewandhaus, Conservatory, etc. Verily any American city would have shown more sympathy.

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Music of the Dance. PANLUH UANGE Just What is Wanted. All the Fashionable and Popular Dances of the Day. Arranged for Piano for Dancing Parties, etc. : Quadrilles, Lancers, Waltzes, Polkas, Fancy Dances, etc. 160 Pages. Sheet Music Size. Title Page in Colors. 50 CENTS. YOU ARE INVITED PRICE FIFTY CENTS. 00 CENTS. to examine this choice new collection of piano music specially arran ged for dancing purposes and without doubt the best collection of the kind ever published. It contains a fine selection of Quadrilles, Lancers, Waltzes, Polkas, Schottisches, Galops, Mazurkas, Marches also the ‘*Yorke,”’ “Ripple,” “Waltz Lancers,’’? (with calls) the ‘‘Newport’’ and the latest society dance ‘‘The Verona Berlin’’ which is all the rage this season, The following is a —LIST OF CONTENTS:— Adore | WAGs lav rcciinicivice gpsccseas ist geewrea& BERNA Always Joyful Galop. .......cccceseeeeeee seen Pahbrbach Arm in Arm Polka Mazurka. ............ccccceseeees Strauss Peri Tis WH Gi ovis ineacacsdcvcsccatacs sacs soceivedectadzasicacves Bendix Awfully ClOVEP.. ci .cécscccscssccsseieceeesd »...Arr. from Hunt Babil and Bijou Quadrille............ : SRE Pa Eee Riviere Beautiful Blue Danube Waltz......: oie Rote Strauss FRO AF MAGE B25. inch yabnnccs edense eenensiees Lamothe BOUMPOCHOd -W OIGZOB... vesccc. iivesscuseacavarnsessseveses Muller PSpOle Gala ep cake dnny e cacoedse Mollenhaupt BOCCACOIO “Wy BNO ie. Risedins cats hs id0bec cd Adtariensedans Suppe Breeze of the Night Waltz........... ccc ceeeees Lamothe Brid-O BRAG POrBAis ss eins see Risse aaak ede deat Coote Bridal Chimes Grand March.....................ee0000-ack Charlie is my Darling. (Old Jacobite Air)...... CRETE hone eva Ses shies che Sdocsoctcavectss Godfrey GClaSr CHS Tracic: Galan. .:.n.: ccicccsscopscpeoseccesieress Strauss CPCs Wiki hoc eibess criti Aisdeicataliog Mack Down. dm a Goah Mi neiciiisia.. Lcdcdenceiitiab din Ella Schottisélie -..0050 6. ca as Livingston OME CORN ik cs tists ssiostdiconlcsasa tan bo asaeatedd Coote Flowers of St. Petersburgh .............cceecceesssseeee Resch Forever and Forever WaltzZ............ccccssssecseseeees Tosti SO CR ar a, cin css suandnnaseecgueie canton vn eneet —-- Happy Hearts Waltzes. ..............cscessseees Schleiffarth Pe CIID soc ecovcacoccncacsscceceuticsutanaiintncapaieens Coote HGOl BUG TOG: POG wei ccs isncsvacscessavacnehsacsinrtns Faust PIO GRY: Festi Val: W BIEZ. «00. ciciccecicscasescnsccidecedesis Macy TER SIA ish inisisacicctaliadstkunitapiiesioniianes Carey Home, Sweet Home........c..cccsececcccsscescocccceseseecce ST If Ever I Cease to Love ..........cscccccceceeseccsseesenee Il Bacio Waltz. (The Kiss)....,....... Arr. by Brainard Just Before the Battle, Mother...... Arr. by H. E. K. Kirmess Parade Mar ch........,....scccceccssecees Puehringer Love Among the Roses...................Arr. by H. E. K. Love’s Recollection Waltz..............ccccce DeAnguera Manitou Daisy: Waltz ....566k RRR RS Putnam Manoa Guantiie .: 2.5.56 Se Arr. by M.J, Marening THO” GOORBIR Gs ccccccjavescs0cidiiveddaciivces ——- Mother Gays TL Mast nt isc: SRR ARR. ee Morning Dew Schottische ..................ccccseseeeeeee Snow PPE © aKa cidacchcetntiveiicen padedbebecdhtadboees Goce Persley Original Lancers Quadrille..............cccc6.. cee eeeees Pendulum Schottische................. we Rc ckbsaee Wrinkler WEIN Rs 5 cio bok Fe Laknkcsbnsascerskbnasi surgi sieebeentiaaaeets Sidney Royal Marionettes Polka .......... cece ceeee Streabbog Sounds from St. John, (Polka Staccato)...... nickigeasbaleiiesiiis culate sacthiatiisebeaccis motnia kahaccael Brainard Ten Thousand Miles Away...............cccsccsesscescees Lament of an Irish Emigrante........... Arr. by Grobe TVG TORN TPAD 6250. 6o.5soccosatesisisasbiaeassar ds Root Verona Berlin. (Latest Society Dance).......... Jones WY PME NOUS ccna senkssasanss cc sechorsacensstetssatieocusbeteenl Wy BAe SIRIOOTS as cscnpnsnrsdicseiassipnthddibiaiibas Wrinkler Wedding Bouquet Polka Mazurka.................. Drane William Tell..........,,...... sss+-srppeeeeeAFT. from Rossini Yorke. (One Heart, One Soul.),,...... Arr. by Warren —NOTICES OF THE PRESS.— “On with the dance.” The dancing season is now at hand and with it a new collection of dance music called Parton Dance Fouro, containing all the new society dances, quadrilles, waltzes, polkas, galops, ete. There must be a large demand for this attractive volume of dance music.—7'ribune. Partor Danor Fouro. An evening dancing party to be successful must have appropriate music. An orchestra is not always available and with the new volume ParLor Danck Fouio and a pianist of moderate ability, an orchestra is not necessary.—Society Herald. Dance music for the piano, The best collection of dance music we have ever seen is the new vol- ume entitled Partor Dance Foro, it contains just such music as is needed for dancing purposes.— Evening Journal. The latest success in society dances is “The Verona Berlin.” It will be foundin the Parton DANor Fouio, together with all the popular dances of the day, the low price of 50 cents.—7'wmes. This volume contains 160 pages and is sold at Lovers of the dance will find in the Partor Dance Fouro just such music as is needed for a dancing party, arranged for the piano:—New York World. SOLD BY MUSIC DEALERS GENERALLY. Hauulton's Collection BANJO MUSIC. By R. J. Hamilton, Each Piece Arranged for Either Banjo Solo or Two Banjos, with or without Piano Accompaniment. Who thought a score of years ago, when some dear old Uncle Remus, whom all the children and dogs on the plantation adored, sat picking at his banjo by the light of the little cabin fire, or strumming the same instru- ment in the soft southern moonlight, while the other darkies sang the plaintive songs of their captivity to the twanging strains, that the banjo would one day become the fashion? Whose imagination ever pictured a future for that rude instrument in which fair white fingers would evoke from it sweet strains, when it would rival in popularity the guitar, the harp and the zith- er, and would be found in kings’ palaces, play- ed upon by princes? Yet this is just what has come to pass. Now is the era of the banjo. From the very primitive instrument fashioned and played upon by the negros of the South has been evolved a graceful, beautiful creation of fine wood and silver and snowy parchment. It is rich with carving, delicately inlaid with mother-of-pearl. Sometimes it is jeweled. The fair player hangs it over her shoulder by a silken scarf, Itis packed in a softly lined case of beautifully dressed leather. It often cost as much as would have kept a plantation of darkies jolly for a year in the days when the humble prototype of this splendid evolu- tion of the darkies’ banjo was the only ‘‘piece’’ of music at their revels. In HAMILTON’S COLLECTION OF BANJO MUSIC we have just what has long been needed,a splendid col- lection of beautiful banjo music, arranged for one or two banjos with accompaniments for the piano, which can be used or not at pleasure. Following is the —LIST OF CONTENTS:— Aste Waltlet cs ciicirccukccasdidekatiian loa Collewe HOPn Pipe... ecocccscoscsceeescncocasss isos bastcuhiaclee bby aviees Common Every oe POU... cdiv ina hostels as Down Among the Daisies—Song and Dance ........... Down Among the Flowers—Song and Dance Down by the Garden Wall—Song and Danee............ Fire Bell Galop........ ines shatonbodgaapiaiesttedeheede Sits 2 IRi: FIAWBIISON’S MINOP. JIG 005.6 sssnccsson.cetes aap cae eile: LoVe’'S SIAVE GCAVOCUO oc... cncsecccccecdidsakensebsseoebas: ROM UGG | cccneenanastiie Ppree ere Tem eat tere Memories of the Ball Room Waltzes Pulman Palace Car Conducts... ccc... ccceeceeeceecoees yen of the West Quickstep .........00....cccccccccsccesceccese ed Bandana Mareh eee eee eee eee ee ee eee Ty SOOO REEOEE SETHE HEHE OER EHOEEH Heese Bees e eee eeeree SHOP OOH EO OTOR re eesesesees SHOES ESOS EEEEES EEE ee Pee eo Pie eee cee eer errr Tere eee POC COO eee SOOO oes ee eesereeseesseteseeered OPP OELOODO CO LOEOEDS 6000 OCOOR000000.06 6 0050000 dOC6CSCEES CES CC CbOS CCS CO i aN TT ARSED CIA 2 Bk ORT Ms PC es ale? HAMILTOoN’s CoLLEcTION oF Bango Music is something entirely new and novel. A rare book for banjo players containing 25 standard ieces of msuic, arranged for one or two ban- jos, with accompaniment for Piano. Price, bound in boards, full sheet music size, only $2.00. Mailed post-paid to any address, upon receipt of price,

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Music for the Parlor Music for the Parlor Organ, Every Piece a Gem. Piece a Gem. REED ORGAN FOLIO. A New Collection of Reed Organ Music. A Book that Will Fill a Long Felt Want. Sheet Music Size--160 Pages--Over 100 Pieces. Every Piece Specially Adapted for Parlor Organ. Should be Found on Every Parlor Organ. Elegant Illuminated Title, in Colors. Price 50 cts. Only Fifty Cents. Price 50 cts. There has been a great demand for music kKEED ORGAN MUSI » specially arranged for and within the com- pass of a five-octave parlor organ, and the supply of such collections is limited. Many Reed _ Organ players have had to use collections of piano music which always contains much music that is not available and that cannot be performed upon a Reed Organ. In the preparation of the REED ORGAN FOLIO, great care has been taken to admit only such pieces as come within the compass of a five-octave organ, and the selections include ‘besides many new and beautiful organ gems, old and standard favorites. The thousands who own Parlor Organs will welcome this new and choice book of music especially adapted to their wants. LIST OF CONTENTS: Almacks or AZalia WaltZ.........ccccceceeeeeeeens Beethoven | Melrose SChottische.........c.cccccessessseescseceeves Neumann Pee ii a keck 35 dap stents es tse sed bs 55s vee Hayden: | Maryland My. Maryland ........0s...cccts-ccescvcoredsannekesarneve PIRTAU Thonn iti chen s Cusnsbacek Aintd dics exatonsstonao Beethoven | Merry sleigh-ride waltz..................ccceee Pendergrass IME Es oelek cy acodies tecits coses chctrats hoes oRigh coeapetncnesannen Norwich grand Marchiose..s....ccisecscccsessceesseoneoetenes Coe APROOGEW TPIAVOIE iis Hoh BG LR RR Off im She atilly night ii... acne wath Been, Bonapartes retreat from Moscow.............se0. Schell | Over the SUMMEF SeA@..............sssesceseeceeseesees Rigoletto Beggar ME TUUOTLS WEGIGS <<. cxc6 anode 0 <kheo vent seensasdcaenes BE Ae Mba 4 COM OU, TNS PIO Gide ces insncwsorconsncscesigi nese ashoanse Heller Begssie’s fAVOrIite TONGO.............ceeeececeeceseseecceseees Mere | Pestars MElOaGG .is.ci ein FHA, SAAS Sey BeSthOverw Stal Wil OS isis Bis. Bi a anc ek edad Parlor GUeGGR MAren:...is..05.5.5.4aHarad.ay Lampard SEERA EN es sin Testy’ shan deed - pV dee haan aac okey <pVonzeoepn Peaceful GreamMsS—aANdan tC......2.+0s-s0sesccoveearsdsoesssssssoves UE he) ISR UOTE SRR. S SEGRE ee TY Romance for parlor Organ.............csceeeeeeeeeee weveee MOFZ Blue- aed a ae eae IE Pk aNd SARI ma RE La atin Ser egy 2 PEDUMBCAU’S GTOBM : si veiebins..oi55 ici bec eeeek iis cccecdedeeabenedes Hootie gener BG9 31553...56 Gai hr. a, Oh, Song without words, No. 1 ..............cecccseeteeeees Zundel CRIT sitaaes dine ocak 6S teins an nk dh cen 0828 afc Big Glover | Song without words, WI Si civcietaalinatnets tices Zundel CREM BRR ERMIDR 2 oii ncaa cnneniesds Cone ded asad costs dacacvetes Rossini | Sweet Kathleen’s lament................:ccscseseeeeeeeeees Merz Centennial mares 24h. hee cn Merz | Siegel’s grand Mareb.....s.......ccccseseeescssceesveceecs Martin COON SCHOFEISCHE............cesreeeresserescreseeresereres Dressler | Stella Mia WaltzZ..........scccsessresesesedssepesenenesees Agriette Sie WRU coyshs sana rasetiidis de tccbisias itedescver Ded tereees ET SSRI ETE WOON i sicndesc spkoecih'vs cn diecachch von. cidas sag gute’ M. J.C. DORM: WALZ. cissercecrescnaascesescssscessesasedgngeves Beethoven | Song without Words.........ceccccesssseeeceeees Cushman Dearest spot on OAL isi Aoi i. Ritts, TA Wighton | Spirit WaltZ........ccccccccccsescsssccccsssescccsceuscsess Beethoven Forever and forever WaltZ.............0.ssscsesevesseeoees POOCL) BONLAT'S WAT Lied. ss.cccnh onan ceeds dda Heaak Herz FramCeS@0 MATCH... ..csc.ccci ec ccecceseecee cee cc eens Wallenhaupt | Salute a-la—France...............ccccsssccoscceecscncscsctonccbecscccecs Ww hire MOOG ii. tiiisscoeaiis.c-ds cs WAAR ann PEO SF SCIEM OLOCOBM cs ncscccccscdoseienene cdecvcaveinccnsschaparbaunmeskiokectes Girt. ETete Dei: We ii Se Shei dlAhien. NG San BOHAvKErt’ Ss HSETONAdEss csi sent GalopAade. CUAGTIIC......0.........c:cecececscceseosecsoees Hunton | Stolen kisses—Gavotte.............:..000- el Schleiffarth Gertrudes dream WaAltZ............ccccceeseeeeeees Beethoven Spider and fly polka and WaltZ.............cs00 Eastman GOldON ANNIVETSALG.........ccececceereceeeceeceenes SCHIGHTArth { BCO-SAW WALZ. cascciccsccccctecccscc.coccecusccesecccsncescees Rosabel (PRES TARTIGIU FAN MHATON [5536056088 CET edie stones SOldiers AreaM MAPCHi..........6.ccccccssescceseeece senses re CID SIS SB GEOR URGOR occas evivcveesisinsorks sco avsettveveteasthesss Silver Lake waltz... Rie tee, Rab ALS. DOLE eeee Hours there were.......... hE ds Aavis$s. Sidioks bAdedauch ccedwiens Star spangeled OE AEE EIT EER IEG PEN Ha Sie MGs PONG... .ccts eek, Moil Sadicdain hls NT oo Ue Ee OR ae teccccs 5) daauessasdesschncccsadiovape’dantien Hecker In years I pine for thee... ....0.00.. 6... cee eceeee Lombordi | The little fishermaiden waltz...................08 Warren TEE SO TROUT GAIUS connec ccs escekesss STG BAAR BROPOTTG 4s TAMU DONG. ici case sss cee seth stots Wollenhaupt if PROM BUG Bien. 03 oie ai BAAN AGRGRIRG Lang | The dearest spot on earth...............:00.ceceen Wrighton BOOTIE WERE csixdcctesccanncdedendi ides eilecntie,e Beethoven | The Dould Soger DOY.................ccccescseececessececeeseveceveres FGM POCO is csenk Licscive sas cas cstedisvecosssdoevsesdevisaes see seseseees | “LIS home where er the heart iS.......0....s.scc.cecesessonsens Se TE ABs er oh os lores Pair tee bo Rahs ae OAS LS es OR Bev iii-| The irk T Lets HEU 106 sci sciccesisnssoseseseseseccesoscesssesecs TiO TORE WORTH ORY 016. 8.008.. DEI. LOLA. oo. cap pivetrecee The star spangeled Dan ne?................s...csccscscccrescscscees Tk EE ae esasckemah cobsesinosss Beethoven | Three tyrolean Aiss.......cccccccscccssscscosccecsecceecceecs Auber TADGOM WES aes DRAMAS IAN BIRO The Arkanesw: CrAvVOleIs BAceAn nn aes Adina: Little fisher maiden waltz...............::ccecee Warren | Then you’ll remember Me@...............c:.ceceeeceeseeees Balfe My major general’s March.............ecccceeseeeeeees ... Merz | The merry Skaters VaWBe...............cccecccesneennes Beuter Molloy’s dream WaltZies scien. cci ii Reisseger | Von Weber’s last WalltZ..........ccccsscccccceesssseeeeess Weber RSE RE A Bs GUS Eas EARS Saee o Pp ere Bm eee WTS] VIOLCE WAGE sss ssccccasasviicetescccsaysimsdansasdvnce Mollenhaupt Marching thro’. Georgia...c..ccievs.cceccsccdecivevectacnse Mack | World’s exposition i Ny Set hacen Schleiffarth Masical snuff-Dox WaltZ...............cccc ce ccceees McDonald Washington’ OE SO ivcintndis sch isauesiobmcnaps vunhquaes Merry Skaters Valse..csiiti ic cdiciec sec ceccestecdenesess Beuter | We’ve lived and loved togethetr...............secsosssessseseeee MEGEW BLOB WE es cinscoses sup isisnic cos sigovennrieee Croisez | Woodland Warblings Waltz ..........cccccsccseeceees Warren MEOODTMPRE TAAZUPEG «.. 0550060. . 020s. cece casnpen'enness Brainard + ¥ ARGO DOOGle 5. cc6ésoiies Gakecd. il. Leb Wes hese s ool iid Although adapted especially to Reed Organ, the ORGAN Ok PIAN « music can be used equally as well for the piano, SOLD BY MUSIC AND BOOK DEALERS GENERALLY, = School ol Singing Hooks. School Bells. THE NEW BOK. Its Object. The new singing-book for day-schools, just issued and entitled ‘*School Bells,” has been compiled and edited with the view of helping all school teachers, whether musicians or not, in conducting and teaching music with the aid of Black-board Exercises ; and the work is also intended as a musical text-book. The Elementary exercises are simple, yet progressive and complete, and the lessons are amusing and instructive. The Songs, No other book of this kind contains such a choice variety of SONGS FOR LITTLE CHILDREN; AC. TION SONGS; MARCHING SONGS; MOTTO SONGS ; GLEES, CHORUSES and PART SONGS by some of the best writers of Europe and America. A cul- tivation of taste and style is particularly aimed at, Other Features. ‘School Bells” contains more than two hundred and twen- ty-four pages, elegantly printed and bound, convenient in shape and size, and the songs are classified and graded in divisions, The Outline History of Music In the form of questions and answers, will be found both entertaining and valuable. Authors Represented. The authors represented in this new school-bool:, com- prise some of the most experienced and successful teacher- and composers of music—such as Carl Reinecke, Leipzig ; G. A. Macfarren, Ciro Pinsuti, London ; Franz Abt, Aug. Schlesein, Franz Silche, Germany ; Edward imbault, Paris ; and such leading American teachers as H. R. Palm. er, H.'s. Perkins, Geo. F. Root, L. O. Emerson, J. W. Suffern, W. A. Ogden and others. - _ “School Bells’ is recommended to all who are interested in the advancement of the musical art in our schools. Price, 60 cents per copy } or, $6.00 per dozen. The usual liberal discount is given to schools, ScHoot Cuimes. ~ A Successful School Song-Book. ‘One of the most useful By abe of its kind,” is the popular verdict concerning ‘‘School Chimes,” The Analytical Music Table and the Method Sketches are prominent feature o: the book, while the Elementary Exercises and pretty songs for young pupils are entertaining and attractive, ‘School Chimes,” by J. R. Murray, is used extensively in schools throughout the country, and _—ver fails to give the best of satisfaction, BRIGHT, MELODIOUS SONGS, SIMPLE GRADED LESSONS, ANALYTICAL MUSIC TABLE, PROGRESSIVE METHOD SKETCHES, ‘School Chimes” is a capital book for the Home Circle as well as the school. Price per single copy 50 cents. dozen. Liberal discount by the Merry Voices. A Book for Schools, Seminaries and Juvenile Classes, Contains Complete Elementary Instructions and Attractive exercises. This popular book has become an established favorite in a sg For the use of Juvenile classes it is without a Tlvo It contains a choice collection of : Songs, Duets, Trios, Choruses, etc., Written by experienced teachers, and compiled and edited by Prof. N, Coe Stewart, conductor of music in the public schools of Cleveland. TRY MERRY VOICES! YOU WILL LIKE IT! THE CHILDREN WILL LIKE IT! IT WILL BE A WEL COME GUEST IN THE SCHOOL.ROOM ! Price, 50 cts, The usual large discount per dozen or roe

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ADELINE. - “we “ A LOVE SONG. FOR CONTRALTO OR BARITONE. P y G.W. | | oem by Music by J. BR.CAMPBELE. Moderato con grazia. M meent * Ree as a ar od ion OA ° DARA Sue 0 aati Sa Le GR BEF 2 SS. JRRee a SRE Ger RO SORES The rosethatblushes in the light, these are fair_I love them ll, I love, I love them all. WHE | I wit tT a. | Ped | Ped x ALSO PUBLISHED FOR SOPRANO OR TENOR. Copyright MDCCCEXXXIX by The S. Brainard’s Sons Co.

Page 18

Sweet Adeline, He th | pte i mers | i aa i * in summer bowers, As collavoce. to me, I ween............ to me, I ween The song of birds N SPER ACNE RL. ORT | COTS | TARTS REM Bieta os resecarmianeinen pay id But none so fair amoroso. But none so fair 5 : 2 5 ala! ll. : .D) Pex |, & 3 ih i i f fe Sha : ‘ed fed ge Th SS ee | RARE ELE GE ODERAS PS, F EB SA OEE

Page 19

y, my = |. ee > Ree ae ee ~ = =) = ut 12 ie: Say qa ~ ag D on ) i SS \ : Hime : P > “ allie} = - 2 > é Hy - Be it 2 : ; Hla 3% = et , 2 2 a He : = . 6 ., | w =) Hh 5 N z vo z 5 © » 5 » s 5 = 3 Y ‘ > "S © ° r = § . 5 a ~~ S&S - ~ Ces o a aa [|| ~ 3) D> A a Y 78) E (IN) Sy Wan anne a | 4p 2 aay ar D Hu a>

Page 20

4 . A GRR txt, REAR RNS AORN AL) RN CID He OS EE RTARTA ls ile ERAS AES * TT STR il = * - - = | 1 i : hot 2 A ~ A RE ~ P * 2E LF 5A SS ee OE RE, e Ped , Poco piu mosso. » . ae » SUSIE ft RNS WEP 2 RES For myriadsmiles are in her eyes, _ ncaa na n her lips, And countless ro - sy blushes rise And_ ee DRS ile > RRM STC . Ra, TE ES REE AAPL RIE MTEC AIEEE ALOE » SR 5 SRR 2) SE 2 SG SERS SER RE Ae ee RY ORNS” ORE © Ae Ua) ER 1 OS Y ee m SS Be et } ae" sae flush her dainty fin_ger tips, And flushher dainty fin-ger tips.

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con amore. and fair, I ween..... Ah! noneso sweet H hid _[6h PN, yA As Adeline, and fair,I ween, Aht none so_ sweet Aili al ° ~~ = 3 ) _— eo ) line!..... oo ise rau kK Hh {|| iit . e | a a er te

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SPANISH DANCE Nod. SARABANDE. A rranged fromthe Original for Violin and Piano, W.C.E.SEERBOECK. Op. 52. Moderato. f ee ie i i go ae —| + sameeren SI SII sees sisi i ese, ft ST T_T OO Ae SS SP ABR CA th a GO A RE RO Seer PE | RRNA MESS ea a ae SN ie) nO CARRS Hae TS 23 ae er ES A | ES ‘ae este Mc on™ Bn gy : -4 4 F | } => ats "| Wit —_— | Ll 2 RE AEF NRBR TARR AY OS SE Te RS CRIS ART MA SUMED I PORE 8, OE . EES SE OO. Oe” Ra Rs Ge e.. 2 Oe | eee Ce OO (ie BR SAE ER . CUR GR Se Ee SA SE: SO RS NE SER OOOO | Ee AR SS RAE Copyright MDCCCLX XXIX_by The_S.Brainards.Sons Co.

Page 23

Fe d. — N i : EE ST _ ee ye con gva

Page 24

Piu moderato. RES ARERR SS AES, - PRED Cs SS TG TTT SE CED ES NE ca RE Ie OT ee ee ee oe Se oe CUE EEN Bilas MRS Maree CAE ASE Cy CRS Oe OS SR ER ea _ Ft Re Se TS TELE COS EE EES RE AYO ERR bee afi ad pi Re He Teed 2. RE“ YS Oo A | ’ " . t . N \ \) \) a a real ll " Bin i oe PS TL | iil | alll aoa il =A PUL ; Wt t HY It

Page 25

Cantabile. m/ w Se RAR ae nm SE wee” a" a — ‘ay on: Sw cama a we : PARR Ry 2 TO MA - Oy ee ear EES, Seem Bae REF St

Page 26

a t t mM ia fd lily 442 5 welll th i tH | | i | il TA i : ea A Ul] ty a 1] T . |e fo eS ALL, 7 Ht we HI cr a BE Ui] atk y i , ~e'2 Ce 5 FE ee OS a A SEs va con 8

Page 27

Allegretto con moto. VOTCE. PANO. 1. As of old the boat-house stands.., 2.Time and tide may changeand turn...., Copyright MDCCC LX X XIX by The S.Brainard’s Sons Co.

Page 28

Looking down the rush-ing weir, Where we waved our ling’ring hand, Tears and shadows move and fall; © Winds may with-er, suns may burn, a ee ed elie lf itr wes cme ee DS CS a A Se ST Ee COR CEM. AE CaS peer on aR eS ORAS te eeeA Er He = : = mp CTe8s., Where we parted yes - ter year; Others meet where once we met.... Love isstronger than them all; Love can make our wait-ing sweet.., ES DT CMe: LS ee Oe 22 Cae OS es RE RY eR ee a ee ee ay eet ed care” ar: Se A Rs SG ern ee: LT TS TT BPR ee lew eee il emer: Aaieweirer muda iin at eineaintiibin ln: patie > ae ek ais Sik Fe —+___—_* fa a 4 ma pA REE, ALLARD OLE ERIE D8, BE LAE GEG. AAS EE AOE. AAAI EDR GL SEE RESID. GT, is Le A A LT SS RR AERA fit RUG, 6. ee ee RD LG 2 ie i : ten. fen. Cres. f appass. rall, sev. - ¢r and are gone; Some re-mem -ber, see your face one day; Part - ed ways at Be a: tin Ce |

Page 29

some for-get, But the riv - er still flows on, But the length shall meet, And our’ hearts be joind for aye, . And our < - eaaRLMEANESET~ Ss Set COE GY 1 riv - er..... still flows on. hearts be....joind — for aye. ad olce i peer conse is Rie Ban Mn see CEE SSE CEL. Sea yp Pt et oe oe eee A rr ee eee Ee ee Sa ©: SRR eo + —+—____+__+—_ 4 ol \ . a er ees em se ee ee “

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BITTE. ) ( PLEASE. STEPHEN A. EMERY. Op. 13.N27. Moderato. Copyrighted MDCCCLXVII by H.TOLMAN & Co.

Page 31

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To Mr.J.H.HAHN. Detroit/Mich. MOSAICS NO 1. ANDANTE CANTABILE. WILSON G. SMITH. Op. 36. il i e te et? _[¢N) ; . eer a acd ara i

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THREE GREAT MUSICAL WORKS AT REDUCED PRICES. Presentation Collection of Classical Music, NO MORE APPROPRIATE PRESENT FOR A MUSICAL FRIEND CAN BE FOUND. Price Reduced from $5.50 to $2.50 per volume, Post-paid. | NSTR U i ENT AL A Collection of Classical, Piano-forte ' Music by the best authors, This volume contains 512 pages Sheet Music size, printed on fine music paper from engraved plates, elegantly bound in cloth, embossed in gilt. See list of contents on inside page. W.S. B. Matthews, the eminent artist, teacher, music critic and composer: / I have carefully examined the beautiful collection of instrumental music, just published under the auspices of your concern, and am a to say that I find ita very valuable collection of pieces, representing nearly all schools, and many degrees of difficulty. Out of the five hundred pages in it, I doubt whether there are twenty that under some circumstances I might not desire to use. _ It would be very difficult to make a better collection ofthe size, when the need of catering toa variety of tastes is taken into account. ‘The representation of the better class of writers is unusually strong, and I like, also, particularly the liberal representation of the best American write1s. I should that musical amateurs and students generally, as well as teachers would find it admirable as the beginning of a musical library. Respectfully yours, W. 5S. B. MATTHE Ws. I have recently examined your ‘‘ Presentation Collection of Classical Music,” both instrumental and vocal, and take pleasure in adding my testimony to their excellence, both as to the quantity and quality contained inthem. The practical utility of the music is excellent in this respect, viz. : each collection contains just such a class of musical compositions as would be found (unbound perhaps) upon the piano of any lover of good music. hence I imagine it to be just such a collection as will meet the general wants of musi¢ lovers, be they professional or amateurs. The elegance of the binding and the general typographical excellence need no com- ments from me. I van only say that it is, without doubt. the finest collection I have ever examined, and [ feel confident all will voice the same opinion when they have examined the music. Very truly yours, WILSON G. SMITH, Pianist and Composer, V0 C AL This volume is: the same size and style as the : Instrumental collection, but contains Vocal music only; and a glance at the list of contents on next page will show the high character of the work. _No such collection of vocal music has ever before been published. Read the following testimonials : Miss Nellie Stevens, one of Chicago’s celebrated artists: Lam in receipt of a delightful collection of classical and modern music, for which please accept my thanks. The collection is Well calculated to become a household favorite throughout the couatry. The original compositions (Mosaics’’) by Mr. Wilson G. Smith, contributed to the American Musical Association, are in the talented young composers best vein, and are among the attractive features of the collection. The excellent taste and judgment displayed in the selection of the compositions comprised in the Souvenir Collection, make it worthy of an early and extended recognition. Pours very truly, NELLIE STEVENS. Dec. 7, 1887. Gentlemen: -I take pleasure in being able to endorse your Souviner of Classi- cal Music as an admirable collection. Yours truly. Amy Fay. - WoostTER, Jan. 1, 1888. We have received two volumes of music, one instrumental the other vocal. These books are designed both for artists and amateurs, and deserve to be recom- mended most heartily. A better selection for the purpose assigned could not well have been made. and we feel sure that the volumes will give satisfaction. The print is clear and perfec,t the paper is excellent, and the whole presents a pleasing appearance. KARL MERz. These magnificent volumes have heretofore been.sold by subscription, the price being $5.50 for each volume. We have but a limited number left, which will be sold at the low price of $2.50 per volume, postpaid, until the supply is exhausted, after which none can be obtained as the work will not be reprinted. This is the greatest bargain ever offered to the musical public. Do not fail to secure these books while the opportunity lasts. Our War Songs North and South. OUR W AR SONGS NORTH AND SOUTH. With original words and tunes, each Song arranged with Piano and Organ Accompaniment. The most wonderful book ever published. Never before equalled in the history of any nation. Containing all the War Songs of the North and South, worthy of preservation—the Marching Songs, Battle Songs, Rallying Songs, Camp Songs, Humorous Songs, Songs of Home, of Mother, of Wife, of everything that is sacred and our National Songs. The greatest book of the age, containing as well the Portraits of the leading Song Writers of the North and South, with their autographtc signature and biographical history and historical description of many of the songs. A book that is not a book, nor a volume nor a work, but a combination of works—a collection of,two hundred song. Valuable Copyrights. Each song sells at retail at from 30 to 50 cents, containing six hundred and thirty-eight pages, printed on fine paper, made expressly for the book. Heretofore this book has been sold only by Subscription, and we now offer it at the following low prices: Foss Onorsti 0 pie. ce. seceeceee + $2.50 | Font, MOROC0O.... 2.00000 ise sees. $4.00, Postpaid. Gen. M. D. Leggett, of Cleveland, says: J. L. Bennett, of Chicago, Assistant Adjutant General, G. A. R., You have done a noble service t» history in making this excellent and very complete collection of the songs used on both sides in the war of the Rebellion in a form soelegant and permanent, It ought to have a large sale. Very truly etc.,; . D. LeaGerrt. ‘What an Old Soldier says of Our War Songs North and South: nee PHILADELPHIA, Pa. I must wre ern my admiration of your publication, which is unquestionably **the greatest history in song of modern times.’’ How any soldier, ‘‘ Yank.” or **Confed.,”’ can be happy without this book, goes beyond my comprehension. How any statesman, any historian, any musician, can be ready for work without a copy of ** Our War Songs, North and South,” I cannot understand. The appalling fea- ture of the work from a mercafhtile point of view, is the enormous cost entailed on you in the publication, but I feel assured that such a book must find its way amon the millions of old soldiers and their friends, North and South. From amechanica view, I have no knowledge of the existence of any musical publication which ca approach *: Our War Songs, North and South,” in typography, paper, binding an make-up, If its peer exists, I have never seen it. Iam very truly yours, J. F. Morrison, Department of Illinois, says: So far as my observation has gone, it is the only complete one published. No one who takes an interest in the war history of the country teat b diricibas it. . L. BENNETT. Hon. Robert T. Lincoln says: Tam greatly pleased in seeing again many of the songs which not only caused great pleasure, but did great public <——, during the war. Such a collection as you have made supplies a want which has been long felt, and will be an educator to those who have grown up since the war. Very truly yours, Ropert T, LINcoLn: General Martin Beém, of Chicago, says: l say very gladly for you that it must be very interesting to all ex-soldiers North and South. I would not like to part with my copy, and its pages have started almost a regiment of old recollections in review. I gladly commend it to my comrades. Very sincerely yours, MarTIN BEEM. Address all orders to THE S. BRAINARDS’ SONS CO., CHICACO.

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OUR WAR SONGS, NORTH AND SOUTH. All the War Songs ot the North and South, 638 pages. Abraham’s Daughter, or Raw Recruits............. A Life on the Vicksburg Bluff..................... All Hail to Ulysses.. .. Haynes ~ All Quiet along the Boiginas ‘To-Night. tH T. Merrill PUG i 5.5: aca BA. Arranged by Collin Coe A Tear for the Comrade thatis Gone. J. R. Murray A Vesper Song, for Our Volunteer Sisters, R. 8. Taylor Babyion is Falien................. Henry C. Work Battle Cry of Freedom.............. Geo. F. Root Mepitiy, Heavebs, Ohi seiliic oad 6. Ayes Bingen on the Rhine.. ee Pe Hatehineat Bonnie Blue Flag................. Harry Macarthy Boys are Coming Home...........R. E. Hennings Boys are Coming Home Again...Chas. C. Sawyer Boys are Marching Home................ Huntling Brave Battery Boys.. 6s 80 ep a) ee eee Brother, Tell Me of the Battle... ..Geo. F. Root Bury the Brave Where sah Fall... gre H. L. Frisbie Can the Soldier abd . Geo. F. Root Carolina... ead et ne E. Blackmar Golambia’s 8 Call. Re Ee en RAP Geo. F. Roct Columbia, Gem of the Ocean. .Arranged by C. Coo Columbia’s Guardian Angels. .... Henry C. Work Come You from the Battle-Field..... Geo. F. Root Comrades Hasten to the Battle...... Geo. F. Root Comrades, DbAm. Dyittg. i... ass ces scceians Sontag Comrades, I Am Going Home..... Geo. A. Russell Consolidation Medley, or Hurrah for Uncle Sam, C. A. White Contraband of Port Royal......... Bernard Mayer Corporal Schnaps................. Henry C. Work Cover them’ Over. 35255 0 eee O. B. Ormsby Cross of the South.............. A. E. Blackmar Dead on the Battle-Field. . . J.C. Beckel De Darkies Rally.. .. W. W. Partridge Dixie Doodle.. .. Stevens Dixie for the Thisas 3 > wsaeid d keke wae Dan Emmett Dixie’s Land. (TheStar of the West)............ Dixie, the Land of King Cotton.. John H. Hewitt Dreaming of Home..............Charles Ashman Drummer Boy of Antietem.............. Fleming Drummer Boy of Shiloh............. WillS. Hayes Dying Drummer Boy.. ieee .. Howard Dying Far from those I Tave eg gs ‘R. Thomas Dying Flag Bearer................- E. 8. Ledsham Dying Volunteer .. .. Beckel Farewell, Father, Friend ‘and Gitardlian G. F.Root Father Abraham’s Reply to the 60,000.Geo.F.Root First Gun is Fired... sicscicave sees. Geo. F. Root Flag of the ned nage seg . .Easton Foes and Friends.. a oS F. Root For Baies.. Mee Se Rpt se Re For the Deis Old Flag I Sle. ~-Stephen C. Foster Forward Boys, Forward. . .....Geo. F. Root Girl I Left Behind age is be aka oo nthe OTE Glory, Glory, Hallelujah............... Collin Coo God Bless My Boy To-Night........... . Lovegrove God Bless Our Brave Young Volunteers.G.F.Root God Save the Nation.............. Henry C, Work ROY UN Sore, 55 oco fackt oo rartre a P. Nut Good-Bye, Jefh fi. eeu isd Pi Pe Bliss Good-Bye, Old Glory..............0.. Geo. F. Root Grafted Into the Army............ Henry C. Work Grand Union Medley, «7 6.20.05 :.03 000 sk Bruen Hail!-All Hail, the Reign of Peace........ Pierson Hail Columbia............ Arranged by Collin Coe Hail to Ulysses, the Patriot’s Friend..J.E.Haynes Happy Contraband... eta .. Emerson Have You Sharpened Your ‘Seerds. ‘Ged. F. Root Fiere’s Your Male... os. i sen cc C.D. Benson Hero of Lookout Mountain......... Will S. Hays He was not Afraid to Die.......Charles C. Sawyer BOUND IN CLOTH, $2.50, -Somebody’s Darling... See following List of Contents. Honor to Sheridan. ... s.cc..cseccsess Homespun Dress on the Southern Girl..Blackmar Home, Sweet Home.......... John Howard Payne Ho! Rally Ye Braves................ E. T. Baldwin How Are You, Conscript?.. Me: .. Wilder How It Marches! The Flag of the Gnion-. .. Root I Cannot Leave the Battle- Field. . up | F Keller I Am Dying Far from those I PL ......Lhomas I Dreamed My Boy was Home Again.C.C.Sawyer I Goes to Fight Mit Siegel...............8chmidt I Leave My Home and Thee, Dear...H. Macarthy I Wish I was in the Land O’ Cotton (Dixie)...... Jeff Davis Awoke one Morn’ from a Dream, Bernard Covert John Brown’s Body Lies a Mouldering, Arranged by Collin Coe John Morgan’s Song, or How are you, Telegraph? George W. Work Just After the Battle................ Geo. F. Root Just Before the Battle, Mother...... Geo. F. Root Kingdom Coming.............s.0 Henry C. Work Lay His Sword by His Side. ........J. M. Kieffer Lay Me Down and Save the Flag....Geo. F. Root EGGS DERIGE oon occu cco keedebaces Henry C. Work Marching on tu Richmond.......... E. W. Locke Marching on to Victory............. -Carl Herman Marching Through Georgia....... Henry C. Work March On, March On............. William Lewis Maryland, Fair Maryland.................. Beckel Maryland, My Maryland........ James R. Randall Missouri.. ..-Henry Macarthy Mother, Is the Battle Overt: TP in te ata Roefs Mother of the Soldier Boy...... Her. L. Schreiner Mother, Would you Comfort Me?....C. C. Sawyer North and South. (Vocal Duett.)..Geo. F. Root Oh, Haste on the Battle............. Geo. F. Root Oh, Massa’s Gwineto Washington...C.S.Brainard O, Wrap the Flag Around Me, Boys..R. 8. Taylor On to the Van, Press On............... Henderson Oar Captain’s Last Words......... Henry C. Work Our Comrade has Fallen...........D. M. Bruster Our Country Now and Ever............. Karl Merz CEE ios ies oss Ee us sh ws Bend Macarthy Our Heroes........ ..Nathan Barker Our Own Dear Land Forever. ee J.C. Beckel. WAGs CHORIN or ioc. oo 8 oho kes tees W. H. Goodwin Poor Kitty oP gee ARO: sre Sabine C, Work Rally, Boys, Rally. . . .E.O. Blackmar Rally Ye Braves... ; ..E. T. Baldwin Rebel Kingdom Falling. Linniy ca ane F. P. Noyes Reply to the Bonnie Blue Flag.. .. Frank Rest, Comrades, Rest............. es B. Onnaby Richmond Falls, the War is Over....... Wheelock Richmond Is Ours................ E. A. Parkhurst Sixty-Three is the Year of Jubilee..... .... French Skedaddle.. gciies dix toh Va Ge spahee tee Sleeping for the ag eeienashoveat Hess C. Work Sleeping in the Battle-Field........... Karl Reden Sleep, Sacred Dust of Noble Dead...J.R. Murray Soldier’s Farewell....................0+ H. Hewitt Soldier’s Grave............ ..ssseeee.ss-- Schreiner ere) (6 00) ae Co) :) ns H. T. Knabe Beier 6 PMO 6 oe sk oa. ccneec H. T. Merrill Soldier’s Return .. ...H. T. Knabe Somebody’s Devine: aa ohn H. ‘Hewitt Song of a Thousand Sonia) ey Henry C. Work Songs we Sang on the Old Camp Ground..Frisbie Southern Marseillaise.............A. E. Blackmar Southron’s Chaunt of Defiance. ..A. E. Blackmar Stand Up for the Flag.......... Stephen C, Foster Stand Up for Uncle Sam, Boys...... Geo. F. Root Stars and Stripes of Old.......... ert CH: Geo. F. Root Sen amet nnn OteedGCnC Ne Stars and Stripes, the Flag of the Free.. _.Frisbie Star Spangled Banner.............eeeeee cess +s Key Starved in Prison...........eseeeeeses Geo. F. Root Stonewall Jackson’s Prayer........ B. A. Whaplcs Stonewall’s Requiem..................-M. Deeves Strike for the South...................d. Pierpont Sword of Bunker Hill............. Bernard Covert Sword of Robert Lee.. .. A. E. Blackmar Take Yozr Gun and Go, J obn:: a .H. T. Merrill That Rugler.. ..A. E. Blackmar The South Shall Yet hc Aieeg coey i ohn H. Hewitt The Volunteer.. ..Harry Macarthy They Have Hrokets Unt ‘their Camps. Geo. F. Root The Young Volunteer.............John H. Hewitt They Reet in-Peaee cs svc visy: s<nvseue-ces Collin Coe ’Tis Finished, or Sing ae Henry C. Work To Canaan.. ..C. 8. Brainard To-Day This ‘Hallowed ‘Dieta’ we cide: J.R.Murray Tramp, Tramp, Tramp, or the Prisoner’s Hope, Geo. F. Root .Mrs. F. L. Bowen Henry C. Work Tread Lightly, Ye Comrades.. Uncle Joe’s HailGolumbia....... Unhappy Contraband........ ....... Will 8. Hays Union Forever for Me................ Will 8. Hays Union, God Bless It Forever..............- Beckel Union, Right or Wrong............William Plain Union Volunteers............. . . Saffery Unknown Dead. . oa ahaa i. Hewitt Unreturning Bievesic .. Cook Up, Up, with Our Bente.” i aaan Vacant Chair.. gf See F. Root Vicksburg is Makin; .. Hicks Volunteer’s Farewell: mei is ‘Butterfield Wake, Nicodemus...............-- Henry C. Work Washington and Lincoln.......... Henry C, Work Was my Brother in the Battle?........ 8. C. Foster We are Coming, Father Abraham, oy 0CO More, A Volunteer We are Coming, Father Abraham, 300.000 gy hes ms We are Coming from the Cotton Fields... Wallace Weare Sitting by the Cottage Door..R.S, Taylor Werine of the Bias: 3. iii veeieaianss Church CELI CE ie CR on, anc duet ho o4 Oe cA es ones Weeping Sad and Lonely... ai .. Sawyer Weep O’er the Heroes as they F Fall. mE W. Turner We'll All Go Home Again............... Whitlock We’ll Fight it Out here on the Old Union Line, Geo. F. Root We’ll Gain the Victory Yet, My Boys..... Stevens We’ll Go Down Ourselves......... Henry C. Work We’re Marching Down to Dixie’s Land..... Locke We're Tenting on the Old Camp Ground..Turner We Saved this Great Union for You...C.C.Sawyer We Shall Meet, but we Shall Miss Him..G.F.Root We’ve a Million in the Field...Stephen C. Foster We've Drunk from the same Canteen...... Clarke We will not Retreat any More.......E. W. Locke When Johnny Comes Marching Home. L.Lambert When Sherman Marched Down to the Sea.. Work When the Boys Come Home....Charles C. Sawyer When this Cruel War is Over...Charles C Sawyer When this Dreadful War is Ended..8. C. Foster When this War is Over I’ll Come Back to Thee, Bernard Mayer When upon the Field of Glory....H. L.Schreiner Where Fierce Antietam’s Long Battle.A. Fleming Who'll Save the Left................Geo. F. Root WhoShall Rulethis American Nation..H.C. Work Who Will Care for Mother Now?....C. C. Sawyer Within the Sound of the Enemy’s Gun.G.F. Root Wounded Boy of Kenesaw......... J. P. Webster Yankee Doodle...........Arranged by Collin Coe You are Going to the Wars, Willie Boy.... Hewitt BOUND IN MOROCCO, $4.00.

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"=r OT ————————@& SOCTY Elfen Dance - ican Mamie Sa ee ae! Henninges Elfriede.. wee Valse Caprice... ......6.-.0: Henninges Etude de Goncert.. vecoblebabtn te. 4idd owed ses ds Gea ve Beuer Etude Lyrique.. wore baa oe els SAUL BEGETS Bicew sites Etude Go Bue Sack ci cgreOe eR airs RAR .. Thalterg Evening Chimes...........: Oui E ee) oe otileepey SANG be a ewewe RPT Boscovitz Fantaisie de Concert. . Ser tae dyad a preaaebas an eae .A. Goria WATER. SHOOTOERG: ian cee oh odor vewd tees Seeushe te He Bs Leybach Funeral March.. le obs doe eth oO. Seiwa eiees eae Benedict SG OIO 2355 Sid ga ise SS STORE et Swe s ae MED Nin was Ree ACLS NA August Hoffman Gavotte — Love’s Slave. . inbcwt hy Gee 4 Schleiffarth Gondoline.. Hvscs code Mths i icvnc OOS Mendelssohn Gounod’s Marche Romaine... 22211) Four oer . Arr. by J. C. M. rar te ripe dg tenor peak SE bubs eluents gt ts eS Grand Sonata Pathetic... 566 ca visies Opp AB saseas ov CieUpetene ee BOSO en Grand Valse Bril.iante.. WE bes aeae ceva vous hes MECN SME cealeen oo AMOREE Sramiseine Bird) oA NAR o's sews Pan tasie:-.iciev.d ORs. OE Mazo How the Gates Came spats Vie re V OPORROURe 664s CU e eke SA 2g Il Mandolina Polka.. .. Banfi ‘Imitation of the Guitar.. ae to the Members ‘of iis seg oe Impromptu ala Guitairie? American M eo Association BRINE O MITE iF o5 od de vad tkeve 6 cr kbetar te Op. peietidgeisernie eon Impatience. a sb ea can vitae be rie ke eOueT La Serenade de Schubert. . Seb aah sd cast eek eee aeartee ee ..F. Listz Leaves from My ae PER Po ne ee Mei B isons ea . Freitag La Preeeantiie- ikea aeons athe SAE . Sidney Smith Leisure em ve coieieesey ress eee Heller, Sis, Bale eeribeees uns W. G. Smith Little Sonata. . sae aceasta eter 36, vig: 6.. .Clementi Little Waltz ..... ; i .. Adolphe Henselt Love’s Slave Gavotte.. spaars Seine gt arth Mandoline Polka.. Piduat cabbie ere ceas ..R. Banfi March Romaine.. See Telit sour Bends:.. SORTS .. Gounod Mazurka af ot a3 . “aga spoaae ph ..Pratt e icate to the ‘em ers O e merican Melodie...... “Masieal emma ing re Wine ee Mejodie Allemande.... BTID oho MMs CRON chao tha Aeere es J. Kgghard el “Seeat ROPES of Rubi: stein Midsum. ‘Nights Dream Wed. March. ‘Four Hands. eae aie eet "Mendelssohn I FT a i aah Soar pam tote ith wt Chopin Minuet Alla Mazurka . ecied MUSE OK A ICRA S PP oth Mendelssohn’s Wedding March - ..Four Hands. ........+: "’Mendelesohn Menuetto Graziozo.. t SO ee, Fe Ree ee TOR Boccherini as : "" Adante Cantabhile.. 3 .. Al egretto Grazioso.. Mosaics, No.8. ...: <0... .cecgsee ss eee es SChOrzing,...-: ..W. G. Smith Mosaics, — baccmie fc MATT?) OE herp di Marcia.. osaics, sB¥DCODOC «005... S ( Declioated to the Members of the p eon eerie ees rgy ) Nennella. . ...-- Four Hands....... ...... Arnaud Norwegian Bridle Procession MMaibeh, é.\ck cus ia. cOOdl ai Anwee, E. Greig Op. 4, a ra agg cone Ge ow ee ere te GAT Op. 79, Andante ig viseisenereeeeeteessce sees secs sese ss Midney Smith Op. 54, Charme de. Paris. . Fe ue 2 WOO EL wa Ue ee a embers Op. 81, Evening Chimes.. Ch. cco abe outbbibele tobe steeies Sat. | eee Op. 27. Fantaisie de Concert... ye coc eee OE aE Es Ts Goria Op. 29, Impromptu...... L Sea tevbtudeviiee i ako Chopin Op. 7. Introduction and Rondo.. et cceeneealiea wade Op. 223, Melodie pepands,.. on Egghard Op. 52, Nocturne... ... .- Leybach Op, 45. Or iginal Theme. . .. Thalberg Op. 75, Polka de Concert... Ee cals’ a thd ink kad econ . Mathias Op. 93, Polka de la Reine. . Pca, cas even ood eke crak cee eras Arr, by M.C.J Op. 40, Polonaise. . Ds ELE Tt Se ee Eee eee Chopin Op. 35, Simple Histoire.. SITE See Peo Te ..Henri Ravina Op. 138, Sonata Pathetique. .. SPE STS para hy ee Petia eres es Beethoven Op 102, Tannhauser.. ate aie Sek ee “ .. Henri Cramer Op. 4, ‘Two Ba lades.. LOT Sc. Dots baie taeee ee aneeare .....Gottschalk Op 5, be March.. +s er one OScar Mayo Op 75, No. as Four Hands. . ....+.H. Schubert Op. 37. No, ‘ Barcarolle . Pete aa oe iugie .. Tschaikowsky Op. 66, No. 2, Cradle Song .. Pehiksc spam elle .F. Hiller Op. 13, No. 8, CPE SO las «a's, 5 3 <2 oa tid »-Stephen A. Emery Op. 28, No. 3. Dance Caprice .. ES EIA iia Se aM iabess. adie Op. 80, No. 2, ogee pe onc fe God tee ree cd cate eke eats . Heller Op. 24, No. 7. Rustic Dance.. Apa Eas SaMys Pash MERE FS » Vou Wilm Op. 32, No. 9. Sernade.. wis A Jensen Op. 95, No. 9, Theme from Beethoven’ 8 Choral Fantaisie. ..Ovsten Op. 13, No. 11, Unter den Fichten.. EBay ets ay 4 . Emery Op. 13. No. 4, ethane EST i; PROGR errata PERG RRR ET ogy IE Stephen A. Emery Ossian. ae erga Ay ea ere eran B82 .. Gottschalk Perpetual Motion. . 5 aaa Cc wd bin be ee huee ROE Petite Fantaisie . (Deai * ee saa 4j,08-.8 8, 9. RN NE Rw Th. Oesten 1 ica ed tothe Members of the American . Petite ate | Miisical ‘Aesociation ) , A.J. Wiley Petites Fantaisies . Rays, Ses Ey Lae re Ye, * 95, ibe Beethoven nea Oesten Petite Valse . So ete Faea i: sme Sener Phi Kappa Psi Waltzes. Sepecece 5 Sid Pleasures «f snipe we 1. ... Four Hands... *“Diabelli Poetic Caprice. . ae wily Spee LS &. ba ya .. Gottschalk Polish Dance. . en as Bo: en th be cock Gate acd ee ak ae .. Scharwenka Dink thot inOebe ee ES ee ee G. Mathias Polka de la Reine . ee aR | | emerge -Simplified by M. C.J Polka de Schulhoff................ secs: wake .. Goldbeck WNIOIIIIEET ok dir at ce nba ooh Ubi bees Op. 40... Sceseapneeds nan ten. Polonaise, Op. 75, art on Teil St Rig eRe. oc, cee eee oe Schubert Repeated Notes... i acaba er oie MR RS RE . owewees oe kt DAL DOrS Rev SFr cs Eta a Concert. OP ee, Tees Statter Rigoletto de Verdi. . Ect FI sth s nocd en. os Cat eae Rondeaux et Variations. . ekede? 2 Iiiete Praia gy a he ao Brunper Rondino revises scaseeesNOw I, TSie 3 tds 3s Fas oo Ronde and § wrahande,. PA AIRS Be PEN BOT SRR TR . Bach Rondo brilliantes.. Sh Gas gach scenes : a : ..... Dudley. Buck Rondo Capricioco. . re re Soars 99 Ree Rustic Dance, Op. 34, "No.7. ; Von Wilm.. cng is Smith Sacred Song.. Sires ok gee ES Sel Wed rc kaeenth .. Liszt Sarabande ok | Rondo Se + eet .. Bach edicated to the Members of the American Scherzino.. Musical Association.) L Wilson G. Smith PORNO, OF PUNOIOU THONG 3s os cng; aoe da onde sso. ay oh ba weirag kd paged eas by F. Liszt Serenade de Schubert... re ty ake SEGG Tare t .. Liszt Serenade, Op. Bes se ee Ee eriten oe es ae ee (TS A ORR Ripe entre ih pains ptaaaeg nr a EO where eT . Moszkowski Pee hs ices ee ae Berea EE BOCTIOs oo: 208. vies diese ok ODDO... dean t aman ee eee WR INO: Bahai des ceaae oes ous CF RE. ot pcan) ad conan (zerny Sonaten eke whence eRe aCe ate Poti ivesdeees $e Sonatina.. RR Ee TOS Rr Wie res ie .F. Kuhjau PIII SoS ro cee pea pee oe SE os! aa 36, rare 6.. ML, Clementi Sonata Pathetique. . Li sa Le ah oe .. Beethoven SUR PERRET Oe Py teee ae e g noe ac Fee Nida bo ame h Rhee Oe “A. Diabelli Song Without Words...... SSN Ae ae a eee eo Perrine RE ns so gt en oe RE. Ss -5a antes Adan oe .W. G. Smith Spring in the Doticntats sas rears At ces A hear fat Geo. Schleiffarth edicated to the Members o e Ameri- Syncope. .... ; das Manica) -Assoviation:) Wilson G. Smith Tannhauser de Wegner re m BAER “tae .. Cramer : . : e icate ‘ot e em ers O e Tempo di Marcia.... ; ‘A rheviven Musical Association.) { Wilson G. Smith ne Sattar HIN ae esc ec a ae eek cede eo hae ee Oscar Mayo Tre Leaves from My ab icine D Noche ak 1 ey eee ele MESES wt sae en An ape BEDE Gey be EE ese ara Ee ER Te TH Theme Original.. Pht) at <i SO Bie eo eae a ceed .... Thalberg The Sacred Nong... ri sncesnhd ane cgarhy snake nr ney thee Liszt True Heart’s Farewell Waltz... my oil iy 9 ere TA erie Sg Turkish Serenzde.. NE NY ate eet a, te ager Schieiffarth Tmttight Andante...4 6s. cS epee oo es 1 iy Receipt Ss rime Smith MOR EG UO ica Sees wales oe oes ee cies + oes xo kena eae week sneer Ee si BRS RIESE SRBREES Ree erg aE otis : “Chop in Valse Brilliante.. ire Fg ds Saeed s FEELS oe ey ae ‘Sidney atten Valse Lents -From Orivie SE co Laas a bends Delibes Variations - How the Gates Came saeke Sm See . Wyman Waener’s Tannhaueer.. eS Sab Oe A erie . Arr. “hy H. Cramer Weber’ fia hat Motion... cg rs Hae ie eied bv Marmantel Wedding March.. Four Hands...... ..s.csseses Mendelsrohn Wedding March.. wees -seeees From Hnguenots.. Mayo Wiewrgned 3.36 eo E CATS Bos 18: Ne 8: : ‘Stephen A. ‘Emery Riley eo Me veerec ee oioeec es CDarkish Serenade. Aon Geo. Schleiffarth Dweifel .... cece cs sees soccvesece vee Op, 13, No. 4,,.3.+-..-- Stephen A. Emery

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s CONTENTS OF VOCAL COLLECTION. Across the -_ oaepit paeesunmnes eens ; Seen piesrins seoes. James C. Macy Adelaide . oS ae oa oan . Beethoven A Love Song.. Bis vue vaek Oh ... Robert Goldbeck A Loving Heart Forever.. ’ ’Ballad.. re OF ee And the City had no Need of the Sun. ....Sacred Song... Sr ae se Nortit Angels Guard her i gree ds ae ee Oat Bay Fk =f ames B. Murra A Toast to other D . artette.. ollin Coe Autumn Winds are ishing. PPE SS rk RE Sie eo gp tee iy ia bat a Barri Ave Maria.. GoK Vos Cade NE oe Se ett R. Franz Avec Tes Yeux, Mignone... nih BON @ ec ais GURS AE RS dc aRwuRa Cin Kear ke “de Lassen Be VOR Ole Cae UE «oc i oo va nob bacac cence ca cuee Wasa ¥e woners . Mozart POM MEY BIIUD ooo occas ve dosces ceddesecss MUBPCOELO 2.0 occ cscs ss Collin Coe Bath’d in Light.. teens tn 46 wiinea . Beethoven Barcarole.. ‘gas WEB ass Steaves siuaens Kucken Beneath the Ramparts of Bethula.. US Ww aw Gakt-an eked pen clabioaas eee Beneath the Silent Stars We Stray... Sabo avop ast. J. P. Skelly SS OE RN no a oe as oe oe Re So oe tide ans oseee Trench ante mg Bounding Boat Go tients et eee . Kucken Breaking Waves oon High.. 3 Bass ss Song. ‘Thos. B. Cunningham Break, Break; Break .o.iii. occ cs@e0 cee dececes =. MONS Son saee But One Golden Hour.. Pree Wee OES 7 Bye Ba aby, SD yO lsic ic ceva cc cscs Gadi Boi A ie Hodge By the Holy Mysteries... Wseses . .Quartette.. .. .Jde P. Webster Canzonetta.. Coie CSEORREE ES Poke kupetiches ihttvee ue . Burnap D’era Un Re Di Witte oveA ioe cine From Faust.............. Gounod Che Faro.. PE OS Aa ria.. Jie losis Ae ee Cherry Blossom ‘Sweet.......... ..Song and Dance... "Chas. E. Bray Come Where Birds are Singing... Ki ...Quartette .Collin Coe Contide Ye Ayei in sh Mexnigzk eee .. Scotch Song.. panes 1d. B. eet Cradle Song.. ; NM ay: - Rosabel Cujus Animam.. : ..Stabat Mater......--...... Rossini Darling I Have Grown ‘80 Weary. ghiet Sess Song with Chorus ...... .. Gabriel Darling Take Me Back SRE: oa sage idee eat with soars -eeeees--Gabrie! Das Veilchen.. rere ie ae . Mozart Lipo of. the Better Day... .-Quartette.. Sc aeunak eens wd. Pp. Webster ey t Broke Silence.. Wate weed sete haan ae tt .....2. Clay ld Songs of Home.. SE Rag SG “Franz Abt Del Mezzo Giornoil Raggio D'or. ae Dacoat Bots nee ROME Py SE Barri Der Den Himmel.. LCE: Spr A Sir TEPC aie he” ae sc ya'ak Soe o's Cavbee ec Shoo cess Duett. .....-. Kucken Despised and Rejec wcsceseeseeeessFrom the Messiah ........ Handel Down by the Gages Wail-- Se LARS ORS oe Song and Dance...... Max Vernor Down the Old Stream .. he Si phelps ee PA he . Roeckel Dream on My Soul .................6++ RO chanes Save as" +. John C. Baker Du Bist wie eine Blume. Sel teed ke bs iver eevee .. Rubinstein Einsam wandelt Dein Freund— inF.. sSaect bi aden cyee sigh een Ks Steht ein Baum.. wah ars wend bs wanie ale o> akan inate aca W. Taubert Falling Leaf and Fading Penk doors lie a co eee Tosti Farewell Oh Starry ae: pe er, a eet ARs 6 55 Sie sedans Collin Coe Fathoms Deep:. S ccgia icc tie whew eke ass Song........... Jules Lafort Fields of Paradise....-...-.-.+- +++. 0s + ese. . Sacred Sees Sas pdt ts lates ae Chopin Flower Song...: ge ee oe oe a oe ae ectécs eae (OUR Flow Gentle Deva.. Unc Gabsae ESRC RS c ameeee J. Perry» Fondly and-Truly.. vecaeveeeee .. ROMANZA for Bsrritone. J.C. Macy Forever and Forever. .. Waltz Song.. Tosti Gaily the Dance.. ee! a uartette.... "Collin Coe Gaily port vagy ee uartette.. ..Collin Coe God Bless My ear ‘Old Mother. é .-Song abe Chorus. .... .Collin Coe Good Bye eats Ss siclaia sate ite ond Be hae ohew'e cee aL Going Out with the Tide. 224 ik a pate Sa ae ..U. C. Burnap icate e Members of the Golden Clouds. ' American Musical Association.) irs - Schleiffarth Good Night.. was cias sadbe EARS Good Night to Thee, Dearest. Serenade.. Quartette wa dah ta ieee .. ..Collin Coe Love Me, Leave iis Not.. Tate sakt duis Gan eeei’a te neat es han cathe Loving Heart Forever.. Fae CUTER Dodie bo eats Cocwad Hh bckd doM ee ikhs gk ee Mermaid’s Song PSOE aydn Methought the Stats were Blinking Bright. Quartette .. ...Coe Mit Deinen Blauen ide ga 6 askin. phase ssn tlk 0 a My Blue Eyed Lassie Peper |. Scotch Soug. se Se gp James M. North My Dear Old Mother . hates Eu aad we cis's sie = = bc has a Collin Coe My Dear and Only Love.. ee ee Se ake - Arthnr §.Sullivan Mr Darling Was Bo Fair.... ‘ ME: . W. Taubert My God to Thee I Call. : ethene Boise My Hart Wao Alaio Bioline sre Sseeeveeacve ceeeeeee eee . Gabriel My Little Maid. COACH E EEE EERE EE CORE eet eeonae sere eees ee eaeETe eee tees . Levey Night and Morning .. Save eens er ..Barnap Nightingale. . -- Vocal ae. Se umes C. Macy No Hand Has Touched ‘Them. ra ob's 6d Sioa oon ween No, I Will Sigh No More.. Br RR ieee ‘Donizetti Non Giova in Sospirar...... 2.2.6. .ceeceeeeees Tei os So toca eee ae Notthat Thy Face is Fair.. aS) Et eee Now the Dancing Sunbeams Play ..... any State Pod $c . Haydn O’er All the Way. ... eeecccee-Ue Laure O’er the Turf that Wraps 8 ThyLonelyGrave, ‘Sacred Song... eoeeeeeceee He Chopin O Fair Dove, O Fond Dove. ..Quartette.. : .Collin Coe CPEe BF Se eS ck an ide Pauais cases Cte Gees > daa tus CNAeSh ob gee ves ad ‘B. Campbell Oh Home, That Sweetest Spot. . > Saba Bis = Abt Oh How Sweet the Hunter’ Song.. Peiduwabeke exces oe Oh Keep eda’ bn eon ye Ep Ske Voli aauibew acete. Oh Moonlight Deep and Tender .. " : -- Robert Gdane Oh Music Divine . ; - -Duett.. ts Pk . H. Pixley Oh Place Your Hand in ’Mine.. J.C. oan Oh That we Two were Maying ........... "Alice "May — Oh Thou Who Dry’st the Moumer’ ) eae: Btered ‘aia baad ong as \oROrS Oh ’Tis Only Music’s an? iaga ener ee ‘Karl Merz Oh Weep for Those. . svete vd obann Muller Oh Willie, Boy, Come Hom Live whlain abriel One Summer a tas Came Sighing: to Me.; Wlichota’ .C. Macy Our Old Home.. 5s . Trio. sell ‘John Freitag Over the River .. oF ib odiswnw ss ondblanteDt@lbtok aes Palm Branches.. ode ce cvcese ces. +, HAUre Power of Song .. i DAMS ces neh Ca ee H. Pixley Protect us Through the Coming Night... +e ATIO.» Tee Pride of My Heart. --Romanza.. J.C. Macy Raft . cain Paamwies ue eS ..-Pinsuti Raise Me Up in My Bed... Sema Vesanbh te Radwiedebas ..U. C. Burnad ret ihe ats - Bong tie timo eauk ox J.C. Macy Robbie. : Jd. C. Mac tr sal Swiftly Down the Stream.. Mattie oe Gao . .Qua (Dedicated to the Wimbers of the Finn G. Smith Sailor Lasssie. A. Amarienm Musical AMCHEO.) Sancta Maria.. » sald ieee nace -..... Faure Say Will ae Marry Mee. .W. C. Levey Se Il is ng «Trio: from Beli sario ieee Donizetti Seren hand tokt anhea ee ee Shree “ot the Cross. RK oa veel SaMTTI She Sleeps.. 5 sc inbeat Oh, NS 5 = COD She is So Nice .. ‘ss eseeves+-Song and Dance. .. ee. Bray Si; La Stanchezza Moppri Me. Rs bewebs haan pause vaca ea waekie VORGL sient Beye. ae Ee saeaas yawn! 3 5 See eep My OSS BE Wl Re EAD, ECO eg RR a rouc Somebody. ‘ she ..U.C. Burnap Bonabody’ 8 Eyes Have Grown ‘Dimmer. orwuarhaes «cab ui wid U.C. Burna Song at the scremacaced Lease He om ‘hese A Gouno Standchen . 3 Nes ak se ttn Ree Neen i A Sta ever See Sweet ‘Swallow... at .. Tours a kd Sb kk sn ek Kann URE DAA D wk Rich Duett(Marriage of Figaro), ‘Mozart Poetry Sweet Shall Bloom Again...... Song and Chorus ....J.P. Webster Seg pal s Fragrant pinnae are shgtecahe .. Song with Chorus... eine Bias Webster Sun Comes, Moon Comes . Ves ee..s.P. Mariet Sunlight is Past and Gone . +++ Gradie Song... ..C. RB, Hodge Sunlight Fair?Sunlight Bright.. . Ballad ...+-- Louis Liebe I I A re re Poa Duett.. és .. Pinsuti SSUES SWUM a5 5.x x'.bs 6 cae uk WK WENREGM aics Sire 0a Maa adu Geek ge cee re Reebas Tours DOM RIN es oso 5s salsa aw mie Babe Duett me Mozart The Autumn Winds... strep hii dat os . Barri The Breaking Waves .. .. - Bass Song. rata -T. B. Cunningham The Cross of Christ . .. Sacred Song.. ..J0.L. Gilbert The Dear Old Songs of Home. . err cre ve eee. Franz Abt The Fields of penearee DETTE, Seg eee Sacred. Song.... cbecossvosds Chopin The Flower Song . Senos oid Ae Sek ou Cae AMEND bala Geld Nb BOk Gounod The Heart’s Delight .. F ET TE Shaws hidhy aig cae'e Habits J.C. Macy The Hills and Woods.. ike ahoe umae RRA Franz The Mermaid’s Song.. aa sie de kb, Axl The Nightingale . ... Waltz Song... ......- dames C. Macy There Dwelt Beside the Quiet Stream.. Ry Res ees ee ey DT The Regret .. : «lites J.C. Macy There Stands a Tree. . aaa bhi Wek ec waCowe oleae adnate Gn en enen mes ee OO CONN Gio iin «osc ks c 44-0 dc nunc puiecen.s esd saenbohes wen’ . Jules Lafort The Widow to her Child.. inate . Crouch Thine Eyes So Blue and Tender.. ONES ae bee ee Lassen Thou Dry’st the Mourner’s Tears......... Quartette.. .Merz Thoughtful Eyes of Deepest Hine « . ‘Trench Through Her Gentle Spirit. . j . Rossini Thou’rt Like untoa Flower . + Aria from ‘Stabat ] Mater. . ane Rubinstein ; .J. Raff Thou Who Guardest Earth and Heaven. cae ahha Ti Prego, O Padreeter No . ‘ GE Ss vsicivavde. Churchman Toast to Other Day.. Laide . Quartette xa ..Collin Coe To Her So Fondly Beloved... eid aly, Rubbabedwetdubin¥'iNiae due ses’ (tne To-Morrow, Sister. woes eves + DUCE... cceeee cvecsvcrcees Pinsuti To Thee My God, To Thee .call......... uartette... O. B. Boise Treibe, Treibe, Schifflein Schnelle. A TR aee A Serr mete Teast, Her Not ... Seay lS eee “ed wo Villages seis ...U.C. Bur Up the Stream in the Morning... SS iv ics ede L. Roeckel Violet...... ate SMrok scsi wtrwitanrah . Mozart Water Cresses . iV decd taker thaeen "Jules Lafort We Come, Silent Heroes. dbase Ml cwse’ Decoration Quartette ees ae | Well SG RO hou Dim ca ts Senses AF «1 pi MBean 1 Meet Again .. davwst oes OO . Lie We’re Rowing Swiftly Down the Stream. -Quartette . By pdiaccalnall - Collin Coe We Were Sitting Alone .. ag weseeeesee bs Goldbeck Whatever Life May Have in Store........Trio . cor od ohn Freitag When I Met My Darling Daisy........... ,. Song and Dancé :... . Vernor When Shall I Come to Thee.. . Sacred Song .........- . J. M.. North When the Mighty Ocean Moans.. ... Bass Song.. .....-Jdules Lafort When Thro’ Life Unblest We Rove... URS. SSE RT EG paced Karl Merz Where’er My Step May Wander. . we ie Don’t You Sleep, My Baby?.. ee > eee Soa Song. .. ..»-- Rosabel woe Te Bre. OOP CO Me oan o.oo dans cans onions cb ete Ce dgunioeeteee us Emerson ow to Her Child. (By — wragienscs ne ———— t pdetagny ss ¢ “ - Croucht Wath Angry pene Mien yer .- Pinsuti Sth "THOS s.<i: sees. bs . Lafort Wohin Ich Geh. ereeeeve @ceeere heweaccese eevee *"Duett.. eeeeeveee ve ’ * Mendelesohn

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BRAINARDS’ MUSICAL WORLD. 35. mee @Horld Letters. BY K. Z. St. Paul. Was there a musician with the name of St. Paul? Please favor me with an answer through the Wortp letters and satisfy at least one READER. There was a Saint Paul, who was famous as a maker of violins. His instruments were small in size, but had a good tone. He lived in Paris about 1650. —_—_0—- “Erlking.”’ Burra.o, N. Y., November. Mr. Editor: I am studying Schubert’s ‘‘Erlking,’” and would like to know whether I should assume a different voice when singing, the part of the father, the king and the child. A hint from you will be grate- fully accepted. Truly yours, A READER. The music as Schubert wrote it, expresses the three characters, and all you have to do is to follow that music with its expression marks and to enter into its spirit as well as that of the poem. Observe how differently the com- poser has treated the several parts, giving to the melody sung by the father assurance, to that sung by the king,enticement, while that of the child, expresses fear and terror. If ever a composer studied a poem and took in its full meaning, that composer was Schubert, when he wrote his ‘‘Erlking.”” What masterly skill he has displayed in the arrangement of the several parts—he has pointed out the way for you to follow, so plainly that you cannot err. Put yourself in imagination into the scene as discribed and endeavor to feel the force of the dramatic situation. Ifyou have thus been im- pressed, you will also, by following the com- poser, find the proper expression. There is therefore no need of achange of voice. K. Z. remembers playing the accompaniment of this song for a person, and he was so fully impressed with its dramatic force, that the whole picture became a living one. He felt, as if he himself were escaping from the spectre, and when the child cried out for the third time, he said loud enough to be heard and with an irresistible force, ‘‘Hurry on, hurry on.” Feel the song, live yourself into it, and if you have sufficient voice and dramatic force, you will also find the proper means to convey the feelings of the great composition. —_— —(0—_—_-— Prices of Composing Operas. INDIANAPOLIS, Inp., December 1, ’89. Dear Strx:—One of my pupils lately asked me what a master like Mozart received for writing operas. I could neither answer the question, nor could I gather the desired information hereabouts. So you see I come to you, the living encyclopedia —the information bureau for; your many readers. Truly, BH. Ys, Had you looked into Jahn’s very excellent and full biography of Mozart, you would have found the desired facts, but then the next question is where could you find it in Indian- apolis? ‘The author states that: “Tn the Registers of Accounts of the Vienna Theater, we read, for 1788-1789, page 45: ‘Paid to Ponte (Lorenzo), for writing the book of ‘‘Don Giovanni, 100 florins.” And little further on, (page 47) : “Paid to Mozart (Wolfgang), for composing the musie of “Don Giovanni,” 225 florins.’”’ Think of it 225 florins—for such an opera as “Don Juan!’? The unsavory libretto certainly ought at this rate not to have brought 100 florins. But then if Mozart had been as much of a world man as Ponte, he might have re- ceived more for his immortal musical produc- tion. This sum would not purchase the manu- script now. Poor Mozart! It makes one feel sad to know how he was imposed. upon. For his immortal ‘‘Magic Flute’’ 100 ducats were paid by Schickaneder, the manager of the Im- perial Theater, who made a fortune out of the opera. The popularity of the work was very great, for in the month following its first performance—(it was first given on the 30th of September, 1791) it passed twenty-four times over the boards, and on the 23d of November, 1792, it had been played 100 times. But then both Mozart and Schickaneder are dead, and it is hardly worth while to say much about their business relations. Still, as long as men will be interested in Mozart and sympathize with him in his sufferings, that long will they express contempt for the meanness of the thea- ter manager, Schickaneder. ——o — Bratsche. Wuere.ine, W. Va., December 1, 15:9. Mr. Merz: - Dear Srr:—Pardon me for adding to your labors, for you must have an immense task in answering the many questions that are sent to you. Wishing to know what sort of aninstrument a Bratche is, and having no other sources of information at my command, I call on youfor an answer. Accept of my thanks in advance. Pan HANDLE. Bratsche is the purely German name fora species of the violin family, known as the viola. It is an instrument which was made as long ago as the sixteenth century, and which is in shape much like the violin, only it is larger and flatter, yet dispite its larger size, it is played under the chin, just like the violin. The latter represents the soprano voice, the viola, however, represents the alto, hence it is often called alto-viola. Its strings are tuned five tones lower than those of the violin. The latter instrument stands thus: g .d a e The viola is tuned as follows: d a c 8 While the alto-viola is usually and mainly used in the performance of chamber and orchestral music, it is also here and there in- troduced as asolo instrument. Its tone, how- ever, has a peculiar nasal character, and this is always against it, when it is used asa solo instrument. | There were used string and bow instruments even as late as last century, which passed under the collective name of viols. They were different instruments from the one you en- quire about. Many writers say that they are one and the same, but such is not the fact. There were two kinds of viols, those that were played like the violins, by holding them under the chin, while others were played like the cello. They differed from the violin family in the shape of the F holes, in the number of strings and their mode of tuning, as well as in the shape of the body. No doubt, however, that many of the old viols were changed into violas when that instrument once became a permanent part of the orchestra. —_——_O—_—-— Sarasate. WESTCHESTER, Pa., November 31, 1889. The undersigned would like to know a little about Sarasate, the violinist, who is giving con- certs just nowin thiscountry. Please don’t pub- lish my name. Truly yours, Durry. Publo de Sarasate, the celebrated violin vir- ment is Publo Martin Meleton Sy. Navascues, was born on the 10th of March, 1844, at Pamplona, Spain. In many sketches, Christ- mas, 1846, is said to have been his birthday, and Saragossa the birthplace, but this is false. His father was a bandmaster in the Spanish army and young Sarasate therefore grew up in a musical home. When only four and a half years old he already played the violin and as the father began to realize the boys’ gifts, he procured for him the best teachers Madrid could afford. When only ten years old he played already at the Spanish Court, on which occasion he won the good will.of Queen Isa- belle, who made him.a present with a genuine Stradivari violin—nay more than that, she sent him to the Conservatory in Paris, where he studied from 1856-59, under Alard. Already in 1857 he gained the first prize of his class, and after that he won one prize:after another, and thus became the lion among’ all violinists of the Conservatory. Having established his reputation in his native country he extended his concert tours over France, England, Ger- many and America, everywhere meeting with praise and applause. He appeared at the Crystal Palace in London in 1861. Since then royal and imperial orders have.been conferred upon him by every monarch of Europe. Sara- sate played in this country twenty years ago, before his fame spread, and very few will remember him. Salo wrote for him his violin concerto, Bruch wrote for him his second con- certo and his Scottish fantasies He is one of the greatest violin players, with wonderful technic and with an enticing charming style. Of course the Spanish people having not many distinguished artists to boast of.in the fields of music, make a great deal,of their Sarasate. In New York several hundred Spanish Ameri- can residents went to the.-Victoria Hotel and shook hands with their. now famous compatriot. The Seventy-first Regiment band played some selections of Spanish and Ameri- can airs, and what remains of the original troupe of Spanish students thrummed their mandolins in-sentimental tribute to Sarasate. If it is at all possible for you to hear this master violinist by all means do so. —_—_ 0—_ Paganini Violin. Fr. Wayne, Inp., November 11. Mr. Karl Merz: ; Drar.Str:—I am an amateur violin player, who hasn’t much time to read, nor much money to buy books with. LIaddress you therefore, knowing that you. can and will give me the information I am anxious to have. What I wish to know is this: What sort of a fiddle did Paganini play on? Tell me something about it. It must have been a won- derful instrument if- it pleased him. To whom did he leave it after his death? I will.look for an answer in the Wor p letters. W. W. _ The violin which Paganini liked best among all his instruments was a Guarneri del Jesu. It was dark red in color, and according to the labe) was made in 1742... This instrument was the gift of a French merchant and amateur, with the name of Sivron. When yet quite young and on his first concert tour, the artist, for lack of parental restraint, indulged in all manner of excesses. One day, while about to give a concert in the city of Lucca, he found himself without a violin, for he had pawned his in order to pay a gambling debt. It was under these circumstances that. the French merchant, above mentioned, offered to loan him his Guarnery del Jesu, which Paganini used on that occasion. _ His playing so electri- fied the enthusiastic Frenchman, that when Paganini returned the violin, he- refused to tuoso whose name according to his own state- | take it back, saying, that he would not dare to ,

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36 BRAINARDS’ MUSICAL WORLD. desecrate the instrument after Paganini had touched it with his blessed hands. This instrument the Italian mestro loved dearly and he guarded it, like the apple of his eye. After his death, hisson, Achille, donated it to the city museum of Genoa, Pagarini’s mative city. It is now stored away in a glass case in the Sala Rosa de Municipio of Genoa, where it has been kept since July, 1851. On the scroll is fastened a card on which may be seen the seal of Achille, and beneath it are written these words: Violino di Nicolo Pag- anini. On the neck of the instrument is fastened a card, stating that this is Paganini’s violin, a fact which is testified to by fourteen Notary Public and the seal of the city of Genoa. Since 1857 the violin has been five times removed from its glass case, but only once was it used, since the mestro laid it aside never to touch it again. That was on the occasion of a musical given by the Duke of Aosta, when Paganini’s favorite pupil, Camille Savori, once more caused its wonderful tones to be heard. _ it is well for the city of Genoa to be careful in guarding such a treasure, for all we must pronounce, the glass case spoken of as a living tomb of a most noble instrument. It would be far better, if it were in the hands of some great player, for then it would fulfill the mission for which it was made. Musicians who speak from observation, say however, that the violin is not a faultless one, that the neck is too short and too thin, and that it lacks in point of excellency in other respects. By way of closing, allow me to ask why you speak of violins as fiddles? There is something vulgar connected with the latter name, which is not attached to the violin. There are men and gentlemen. All gentlemen are men, but all men are not gentlemen. A violin is a gen- tleman or a lady among its kindred, and for this reason should not thus be slightingly spoken of. Always say violin—if you please. ——O vs Musical Profession. PirtspuRGH, November 30. Only a few questions K. Z.: 1. Do you think the musical profession is over- crowded? 2. If in your opinion it is, what remedy would you propose? 3. Would you support a movement calculated to ae about public examinations for music teach- ers Your opinion on these points is wanted by a number of teachers. Yes, the profession is over-crowded, but only with indifferent teachers. There is plenty of room for good ones. Compare if you please our profession with a large family dwelling in a palace of many floors and towers. In that case you will find the basements and lower story are over-run, but go up higher, to the second, third floors and so on, and you will find plenty of room. While there seems to be scarcely standing room on the first floor and in the basement, there is so much room way up stairs, that each person has a room for himself. Yes, by going still higher up, it will be found that men have even suits of rooms for them- selves. So much about the profession being over-crowded. Now as to the remedy, K. Z. says educate the teachers through every avail- able means. Some teachers are too lazy to move, they would keep themselves in a crowded first story, rather than make an. effort to go up stairs to the second floor. Others, however, are too weak to ascend the steps, they suffer from an overdose of self-esteem, or some other ailment, that prevents them from ever going up higher. If they were to use the medicine prescribed by good musical journals, if they were to visit those sanitary institutions, known as State Teachers Associa- tions, they might in the course of time gather strength enough, to make an effort towards moving higher up. That class of teachers, however, never read a journal, they never show their faces at the yearly meetings of the profession. There are also teachers that can- not stand in high positions. They would be strong enough to go up to the eleventh and twelfth floors, but when they get there they suffer from dizziness, and thus it is a necessity for them to remain on the first floor. They must stay in the crowd no matter how much their toes are tramped upon. Many teachers, however, prefer to be in crowds, because they, like sparrows, are little fellows. Not only are ‘they small in calibre, but they have much of a sparrows disposition and tastes. Were they to grow to the size of eagles, they would probably prefer to be alone, at least once in awhile. But then having ragged and dilapitated pro- fessional garments, they like to keep in the crowd, for there they are somewhat hid from sight. When men stand alone, everything on or about them is seen, and they are therefore more exposed to criticism. No one wastes powder on sparrows, but men will shoot with rifles at eagles. Say some—high places are dangerous, moreover the higher one rises the colder is the air and the more force has the wind, while down stairs in the big crowd they keep one another warm, even if the odors in the room are far from being as sweet as are those of flowers or of rich perfumery. Are you crowded my fellow teachers? If so, let me in- vite you to move higher up. But if you are already there, let me congratulate you. Would I invoke the aid of the law in order to keep the musical tramps out of our profes- sional palace? No sir, never! [ would not give the key to that building into anyone’s keeping! I would not consent to have any- one, no not even the best man in the profession to stand guard at that door, and to say who shall enter and who shall not. Art, like religion, ought to be free—they prosper best in the atmosphere of freedom. Let art and religion keep away from the entanglements of law and governments and they will all the better work out their missions. -———() ——. Tetrachord. Wooster, 0., November 26, 1889. What is a tetrachord? What are the old church-keys? H., A tetrachord is a succession of four tones, which was the foundation of the Grecian tone- system. While modern music rests on the principles of harmony, the Grecian system rested only upon succession of tones. Har- mony in our sense of the word, was not known to them. The tetrachord was regarded as the basis, because it contained the tones generally used in declamation, for they used music mainly asa means to enhance the power of speech. Any combination of tetrachords was by them called a system. Aristotle, as well as Aristoxenes, say that the system of Pythagoras —called the Octachordum Pythagorae, con- sisted of two equal tetrachords : a I ef g a bc @d-¢ This system has been used by all Grecian theoricians, though they differed in many other combinations. The various combina- tions were the cause of a variety of systems. Thus the Pythagorean system had a tetrachord added below and above: aa. ee. | en. Sega) pens ge ete the AB od @ f-¢g alb od ¢.t ¢ a To this was added a tone below, A, and this was called the great system. Notice that the fourth tone of the first tetrachord is also the basis of the second. They had also a smaller system of which I need not say anything here. The changes of the half steps to other places in the scales produced various successions of tones, known as the mixoledian, lydian, phry- chian, dorian, etc. The development of melody in our sense was not possible in the Grecian system. With the growth of Christianity, however, the need of independent melody was felt and a new system built on the octachord, the system of eight tones was devised, excluding from it everything that was peculiarly Greek in its uses and application. The first who devised such a system was St. Ambros (374-399) bishop of Milan. His scales were: | ae: £) pe be d c f g a b ede ace ae bod «2 g a 6 cd 62 g Notice that the half steps in these scales are found at different places. St. Gregory added to these scales four others : abedetga D Cxd tet 28D cdetgabe 7 a. #- eo ek eS ‘Lhe two scales differed from each other in so far that in the first or the authentic, the tonic is the starting and closing tone é:{: g ayb ec ' a bh 0 DD ef-s in the second or the plagal scale, the tonic be- comes the middle of the scale. We have therefore the following scales : ———EE.__ EE Auth, “oD -e °° ff g:--A Boe. D Plag. abeDef ga eee _ Auth Efga Bedet a ee. Plag. oo ae. eae eee _ Auth F gab Cde F Plag. ¢ de. FRc ares —e_ >... Auth GabeDefG a6. Gere et: a These are the church-keys which are still used in the Catholic Church. Observe that on each tone was formed a’seperate and distinct scale. The character of these several scales depends upon the pentachord and tetrachord. The authentic modes consist of a pentachord and a tetrachord above, the plagal scales consist of a tetrachord and a _pentachord above—in other words, the authentic scales consist of a fifth and a fourth, the plagal of a fourth and a fifth. Observe also that the second scale is our minor, while the sixth is our major. As art progressed all these scales, except the second and the sixth were discarded and these last two were adopted as the normal scales, that is, they were reproduced in their entirety upon each of the seven tones, which led to the transposition of the scales. This is not applicable to the above, but it is the basis on which rests our modern music. When we read that the chorals of the reformation period were transposed into our modern major and minor it means, that they had been written in the one or the other of these old church-keys and that the peculiar intervals, incident to them were changed, so that they became identical

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Dear K. Z.: _heisses Fieber’’ No. 7. BRAINARDS’ MUSICAL WORLD. 372 with those of our major or minor keys. That these ancient melodies lost much of their originality by this process is easily seen. o--—— Beethoven’s Works. Los ANGELOs, CaAL., October 30, 1889. I am an amateur, but love music with all my heart. I have lately begun to study Beethoven’s sonatas by myself, having but recently finished those by Mozart. What progress there is from the one to the other. The question came into my mind whether or not Beethoven’s works were favorably criticised when they first appeared? No doubt you are well acquainted with the history of his times and can give me the desired information. Another question: Is there a book in existence that sets forth the meaning of Beethoven’s sonatas? If so, oblige me by giving me the name. Truly, A FRIEND. No sir, Beethoven was not favorably criti- cised by the musical press, that is, in his earlier years. In order to prove this, let me give you afew quotations from the Leipsic Allgemeine Zeitung, which was at that period the judgment seat so to speak, of everything that transpired in the world of music. Much ought here to be said in order that you might have a full appreciation of the standing of this journal and its editors, but this would lead me too far. Read my article on the History of Romanticism, in which I shall speak of the paper and also of the revolution in criticism, which was brought about by Schumann and his friends. Suffice it to say, that this journal was at first not at all friendly to the young composer, Beethoven. This is not surprising, for the new in art usually must fight its way into existence and recognition, or, in other words it has first to prove its power of exist- , ence, before it is recognized. This is true the world over. Moreover, German critics are peculiar fellows. They are well known for their severity towards men of genius, and for their partisan spirit. They are as a rule very severe towards those who aim to introduce the new and to overstep the rules of the past. See how badly Wagner was treated! ’Tis true this master suffered all the more because he himself wielded the pen, and because he met the critics on their own grounds, defend- ing his own works and radical art ideas. When reading the earlier numbers of this journal, and they are now lying before me, one is impressed, not only with the oppostion to Beethoven, but also with the fact, that such men as Woelfel, Pleyel, Himmel and others of that school, were constantly praised. But then father time makes all crooked things straight, especially so in the fields of art and art criticism. Where are the works of these men to-day? Where are the critics who be- littled Beethoven and who bestowed the richest praises on lesser lights? But enough of this, let us read a few of the criticisms and see for ourselves what they said about the yourg com- poser. In the number of March 6, 1799, appears a criticism of two sets, of variations by Beethoven. The one is on the theme, “Ein Maedchen oder Weibchen’’ No. 8, the other is on the theme, ‘‘Mich brennt ein Says the critic: ‘‘It is well known that Mr. Beethoven is a skillful pianist, and if it were not known, one could detect the fact from these variations. But, whether he is an equally fortunate composer, is a question, which, to judge from these attempts, can scarcely be answered in the affirmative. The critic does not mean to say that he was not pleased with at least some of these variations, and he confesses cheerfully that in composing those on the theme, “Mich brennt ein heisses Fieber,’’ the composer has succeeded better than. Mozart, who in his younger years used the same theme, but less fortunate is Mr. B. in the variations on the other theme, in which he allows himself strange modulations and an amount of crude- ness, which is nothing less than pretty. * * * No matter how I look at such modulations, th:y appear to me flat or low.” In an article on Beethoven as Pianist, which was published in the WoRLD some time ago, I showed that he was at first better appreciated in that capacity than as composer, and in the same number in which the above criticism appeared, he is recognized as an exceedingly brilliant player, still Woelfel, is also praised, and Beethoven’s superiority is said to consist mainly in his wonderful powers of improvisa- tion. In the number of May 22, 1899, a trio by Beethoven is reviewed and the immortal (!) critic says: “This trio, which in certain places is by no means easy, but more fluent than many other productions of the composer, makes a good impression. With his uncom- mon knowledge of harmony and his love for serious writing, he could offer us much that is good and which would leave far behind the commonplace works of other and often cele- brated masters, if he only- would write ina more natural style, and less in a far-fetched way.” : In June 5, 1799, we read a criticism of Three Sonatas by B. for Piano and Violin. It is rich indeed. Says the writer: ‘‘The critic, who hitherto was unacquainted with B.’s piano works, after working with much exhertion through these sonatas which are fairly over- loaded with difficulties, must confess, * * * that Mr. B. goes his own way, but what a fan- tastical and tiresome way it is. Learned! Learned and always learned, and nothing nat- ural, no melody! To be sincere, there isa learned tonemass without method, a strubbi- ness for which one feels but little interest, a searching after new and strange modulations, a pretence of disgust towards plain combina- tions, a heaping up of difficulties—all of which causes one to lose patience and pleasure.’’ * * * Having thus read the riot act to B., one would suppose the critic would wash his hands, throw the music aside, and take a piece by Pleyel to hand, but not so. Scarcely has he said these harsh words, when he adds: ‘‘But then the work should for all that not be cast away.’”?’ What condescention to say that much! But scarcely has the fellow bestowed this much praise, when he becomes evidently frightened, lest he said too much, and straight- way he adds: ‘‘If Mr. B. could only restrain or deny himself and keep more to the paths of nature.’’ The idea of an artist denying him- self. Forgive! The poor fellow knew not what he did. By the side of these criticisms appear the most flattering notices of men and works that have long since disappeared, like shooting stars, while Beethoven’s sun is stately rising. In the next volume our master is already treated with a little more regard. His three sonatas, Op. 10 are criticised in this language. ‘‘Tt cannot be denied that Mr. ,B. is a man of genius who is gifted with originality and who goes his own way.’ The critic praises the richness of his ideas, but accuses him also of a bizarre manner, whereby he produces dark artificiality or artificial darkness) * * * Now the critic becomes conscious of his long ears, he has heard the echo of his former braying, and in order to justify himself, he says, ‘“The critic, who has endeavored to get more and more accustomed to Mr. B.’s man- ner (!!) begins to value his works more than. formerly.’? The tonemass evidently was get- ting clearer to his thick head, and he is getting used to the composer’s style of writing. Oh dear critics, if there is a hollow sound heard, when your dear heads collide with the works of a great master—be sure the sound is in your heads, and not in the master’s works. Such critics abound yet. There are men who would simplify Beethoven and give him a more ‘‘piano-like’’ style, just to suit their whim and ideas, but then the great man is too big to be reached by the little pigmies that find fault with him. In the Berlin Journal of 1806, edited by the famous Reichard, B.’s ‘‘Adelaide’’ is criti- cised. Says the good man: ‘‘Mr. B. does not know how to write songs,’’ and so I might go on giving quotations to prove that the critics of those days had very long ears, and had a very jackish voice, even if they wore lion skins. Were not the overtures to “Fi- delio,’”? and in fact the opera itself so severely criticised that the master is said to have shed tears. No doubt you will ask how did Beethoven stand all this injustice? When alluding to the Leipsic critics, he wrote: ‘“They surely will make no one immortal through their twaddle, just as ‘little, as they will take away any ones immortality, if Apollo has decreed it.’’ Even till the close of his life was he misunderstood by the masses and by many critics. We are told that when he was lying on his death bed, Schupanzig, who played Beethoven’s quartettes in Vienna, came to his bedside and told him that the people did not like his last produc- tion. Calmly the master said, ‘“‘They will like them after awhile.’’ This is one of the marks of genius—that precious gift of God— that he has faith in himself, and undisturbed he follows his way. A common mortal would break down under the abuse that is heaped at times upon men of genius—but then geniuses are not common morials. A most. interesting article might be written if one would take the pains to follow up the criticisms of Beethoven’s works through the Leipsic Allgemeine and the Caecilia. Having both these interesting and very valuable jour- nals on his shelves, K. Z. may some day under- take the task of showing how the tone of press changed from bad, to the endurable, and then to praise until at last it reached a state that may be called glorification. Use Elterlein’s book on Beethoven’s Sonatas, it is translated into English. Whether Marx’s book on Bee- thoven’s works is translated I cannot tell. —————— THE TEN COMMANDMENTS. 1. Select a good teacher. 2. Have respect for and confidence in him. 3. Practice as your teacher tells you, and heed not to others. 4. Beaslave to. your instrument, that you may become its master. 5. Practice in seclusion, that you may not be obliged to do so in public. 6. Make use of every opportunity to hear good music. 7. Never be afraid to show your talent when an opportunity presents itself. 8. Always try to do your best, for that is none too good. 9. Never listen to musical bigotry; if you make a success of a composition, stick to it. 10. Let your highest aim be, honesty with your art.

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38 BRAINARDS’ MLLE. ALBANI. Mile. Albani was born at Chambly, near Mon- | treal, Can., in 1851. She was the daughter of a noted harpist, and received her preliminary train- inzin singing in the convent of the Sacred Heart at Montreal. Subsequently she took a musical course in Europe, studying in Paris eight months and afterward perfecting herself at Milan under the tuition of the gifted Maestro Lamperti. In 1870 she made her debut at Messina in ‘‘La Som- nambula,” taking the professional name of Albani. After a tour of the Italian cities she made. her first appearance at the Royal Italian Opera, Lon- don, taking both the public and the critics by storm,and leaping into a popularity, since world- wide, which she has always retained and justified. Later she sangin Paris and other European cap- itols; still later on visited America. On returning to Europe she made an engagement at the Covent Garden Theater, where until the present time she has been the chief and permanent attraction. She was married tu Mr. Ernest Gye in 1870. Her leading portrayals are Amina, Marguerite, Elsa Elizabetta, Ophelia, Mignon, Lucia, ete. Mlle. Albani has everywhere brought recognition and honor upon American musical talent. CHICAGO. The opening of the great Auditorium marks a momentous epoch in Chicago’s material and edu- cational developement. For many years this city has had an independent life in musica: and dram- atic art, but it never found fitting expression until the completion of this eminently characteristic enterprise, the most successful demonstration of that exuberant public spirit and herculean energy which have made Chicago the metropolitan marvel of the century and the West. The Auditorium is indeed a noble edifice, justly a source of unbounded pride to every Chicagoan, and equally an honor to the State and Nation, for it is without a peer in the modern architecture of the world. Original in its design and decoration which are in no particular copied from any other structure, un- aided by foreign talent in the conception or fulfill- ment of its plans—it is thoroughly American, representing in its unparalleled scope, its sub- limity of strength, its matchléss adornments and its grand philanthropy of purpose the most typical of American cities. The Apollo Club has for some years been accus tomed to perform the oratorio, ‘‘The Messiah,” either on or about Christmas, and December 25 sang itin the great Auditorium, where its concerts will in future be given. Not only was it the open- ing concert of the Club’s season, but also its first appearance with its own enlarged membership only, the Club having been assisted at the dedica- tion of the building by an extra force, drawn mainly from the Cecilian Choir. Naturally the addition of something like 150 or 200 singers who had enjoyed fewer opportunities than the old members for acquiring experience was not calcu- lated to improve the work of the Club as a whole, but the two bodies of singers assimilated remarka- bly well under the circumstances, and if something was lost in unity much was gained in volume of tone and the impressiveness of the greater mass of voices in the heavier choruses of the work. It would have been better for the musical effect if both chorus and orchestra had been brought further forward, as a large part of the sound was lost in the flies. With the stage extended over the orchestra pit and the entire body brought as far forward as the added space would permit, the work of the chorus would have been considerably more impressive, though it would undoubtedly have displeased the occupants of the front seats. The soloists for the occasion were: Mme. Nordica, Miss Gertrude Edmonds, Charles A. Knorr and Myron W. Whitney; Mr. Tomlins, conductor; Mr. Eddy presided at the organ. A very pleasant musicale was given at the ware- rooms of the Mason & Hamlin Organ and Piano Company on Wednesday afternoon, December 11. Some of the cleverest of the local artists partici- pated in the rendition of a well arranged pro- gramme, including the following selections: Allmacht” (Mozart), arranged for piano, Liszt organ, violin and violoncello, Messrs. Wild, De- Prosse, Beresina and Hess; ‘“The Two Grenadiers” MUSICAL WORLD. — —— asina”’ (Sterndale Bennet), arranged for Liszt organ and piano, Messrs. DeProsse and Wild: Noe- turne (Popper), Menuetto (Popper), Mr. Fred Hess; ‘Spanish Dances” (DeProsse), “‘Albumblatt” (Lieb- ling), ““Rhapsodie No. 11” (Liszt), Mr. Harrison Wild; Andante in A (Lefebure Weily), ‘‘Reverie du Soir’ (Saint-Saens), arranged for Liszt piano and organ, Messrs. DeProsse and Wild; ‘*L’Absence”’ (Bazzini), ““Fantasie Brilliante’ (Alard), Mr. T. Beresina; Improvisation on Liszt organ, Mr. De- Prosse; ‘“‘Bedouin Love Song” (Pinsuti), Mr. J. Allen Preisch; ‘‘Cosi Fan Tutte’ (Mozart), arranged for piano, Liszt organ, violin and violoncello, Messrs. Wild, DeProsse, Beresina and Hess. Mr. Wild played very brilliantly. Probably he has never been heard to better advantage as a pianist. The Liszt organ was very well diplayed by Mr. Angelo DeProsse. Messrs. Beresina and Hess played with their customary excellence. Mr. J. Allen Preisch contributed the vocal numbers and sang with a very good style and won encores for his “‘Bedouin Love Song.” The quartette of Liszt organ, piano violin and ’cello was exceedingly effective. There was a large and fashionable audi- ence. A complimentary piano-forte recital by Emil Liebling and Harrison M. Wild, assisted by Miss Grace Wilson and Miss R. Fuller was held at kim- ball Hall, Friday evening, December 13. The folowing programme was performed: Fantasie, EK minor, Mozart; Sonata in G major, Mozart, with second piano by Grieg, (new and performed for the first time). Variations, Op. 191 on Luther's Choral, “A Strong Hold is our God,” for two pianos, Reinecke, written for the celebration of the Reformation, (played for the first time here). Piano solos. Albumblatt, Liebling; Rhapsodie Hongroise, No. 1l, (Liszt) Mr. Wild: Voeal Cava- tina, ‘“‘Semiramide,” (Rossini) Miss Grace Wilson: Rondo in C major, for two pianos, Chopin: Piano solos, Polonaise, Op. 9, Paderewski: Le Retour, Bizet; Mazurka, Op. 3, Karganeff; Polka. Op. 30, for the left hand alone, Bial; Characteristic Pieces, Op. 21, Neupert; (all new and performed for the first time), Mr. Emil Liebling; vocal, All Soul’s Day, Lassen; The Loreley, (Liszt) Miss Grace W1l- son; yin Cake, Caprice Valse, with second piano, Saint-Saens; (performed for the first time). The pupils of Mr. Emil Liebling gave a piano recital at Kimball Hall, Saturday evening, the 2Ist, toalarge and appeciative audience, in spite of the disagreeable weather. The following pupils participated: Misses Amy Kramer, Gertrude Stern, H. Mikitynski. M. Jennings, M. Sheldon, Lizzie Fisher, Mrs. C. D. Grover, Mrs. D. J. Norton, Mrs. Sampson and Mr. D. Livingston. The second musical soiree was given at Weber Hall, Thursday evening December 19, by Baron L. DeVay, violin; W.C. KH. Seeboeck, piano, assisted by Miss Abbie Birdsall, elocutionist, drew a good size audience. Mr. Seeboeck’s playing gave entire satisfaction. He is well-known here as one of the most intellectual pianists we have, and his deep insight into the art was demonstrated by his able playing on this occasion, and proved him an artist of high rank. As awriter and composer, as well as a pianist, Mr. Seeboeck has done much for the advancement of musicin this city, and while his work is always instructive it is also always enter- taining. Heis one of the kind of musicians whom we sadly need in this country. The Harvard Male Quartette, of Boston, assisted by Mrs. Laura Dainty, reader: Miss Gertrude Lufkin, cornetist, and Mr. Collins, gave an enter- tainment at the Second Baptist Church December 5, under the auspices of the Young People’s Library Association. The Church was well filled and the programme was very enjoyable. Mrs. Dainty’s selections were particularly good, and each one received an encore. Miss Lufkin’s cornet and piano solos were aiso very well received. All the numbers rendered by the Harvard Club were good, “The Grasshopper,” which ended the pro- eae giving opportunity for considerable comic acting. The Wanderers Cricket and Athletic Club gave their seventh annual concert on December 17 at the Madison Street Theater. The stage was taste- fully decorated with articles, such as are used by the Club; in the center of which was placed a shield of medals. The concert was an enjoyable one contributed to as it was by Mrs. Carlson White, Mrs. Oolita Zimmerman, Miss Maud Jennings, Master Blatchford Kavanagh, Baron DeVay, Messrs. I. L. Hughes, Fred Vinal, Wilson Martin, John Morley and William Luske; Mr. Ernest Simon accompanied. Miss Sybla Ramus, a young girl apparently about fourteen years old, appeared in concert Thursday evening, December 12 at the Auditorium Recital Hall. She is said to have shown very early musi- cal talent for the piano, and the result of the patient training she has had, has been to make her a remarkable player for her years, with a clean touch, much force, and strong memory. She shows decided musical taste and promises to develop in timeinto an artist of genuine merit. She was agreeably assisted by Raymonde Stephens, ‘**Die | tenor; Clifford K. Crane, bass, and Carl Ramus, the young lady’s brother. A lately organized musical society that has a worthy object and is entitled to encouragement is (Schumann), Mr. J. Allen Preisch; overture, “Par- | the Pupils’ Benefit Association of the Chicago *

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—— a” here. ls i a te i es Die ee BRAINARDS’ MUSICAL WORLD. . 39 Musical College. The following ladies have been chosen officers of the association for the ensuing year: President, Mrs. W. W. Kimball; vice-presi- dents, Mrs. George B. Carpenses and Miss Maggie Wilson; treasurer, Mrs. M. T..Temple; secretary, Mrs. Henry Towne. The board of directors com- prises these officers, augmented by Mrs. Ross, Mrs. A. Farrar, Mrs. Bert Crane and Mrs. F. K. Bowes. The purpose of the association is to encourage young students of music. For those who havea greater share of talent than they have of this world’s goods, funds are to be provided to enable them to continue a musical education that prom- ises brilliant results. Concerts are to be given for the express purpose of bring out young musicians of certain ability. For those who come from dis- tant cities to study proper homes will be found by the ladies of the association, anda visiting com- mittee has been appointed comprising Miss Jose- phine Landon, Mrs. Louis Webster, Mrs. M. 38. Avery, Mrs. G. Buchanan, Mrs. Everette Brookes, Mrs. Frank Weigley and Mrs. John Sherwood. Miss Amy Fay’s lecture at Apollo Hall on Friday afterncon, December 20, was listened to with at- tention by a large and appreciative audience. Miss Fay’s subject was “The Deppe Method,” which she treated in a most interesting manner. Piano illustrations were furnished by Miss Fay’s little pupil, Laura Sandford. who cleverly played the following numbers: Etudes from Czerny’s “School of Velocity;” a. Menuet, B flat major; b. Gigue, Bach; Sonata, G@ minor, Op. 49, No. 1 (Beethoven), Andante, Rondo; Gavotte Humor- esque, Schuett; Columbine, Delahaye. Little Blatchford Kavanagh, the boy soprano of Grace Church, made a decided hit by his beautiful singing at the Press Club entertainment on Friday evening, December 7. He is a most interesting lad and possesses a charming voice. Mr. H. B. Roney, the choir director of Grace Church, is, giv- ing him adequate instruction. Dr. F. Ziegfeld, president of the Chicago Musical College, is a member of the programme committee of the Music Teachers’ National Association, which committee has in charge much of tue work of encouraging and developing the American com- poser, a work whose importance is fully realized by the members and officers of the association. The committee will have a meeting at Detroit December 30, which Dr. Ziegfeld will attend. After two years and a half of such excellent work as Master Claude Anderson has done as soprano soloist of S. James’ Episcopal Church, it was with many regrets that his departure was witnessed by his fellow choristers on Monday, December 2 at the Michigan Central depot. He has returned to his home in London, Eng., leaving behind him many friends to whom he has endeared himself by his gentle disposition and manliness; he was the recipient of many souvenirs, chief of which was a gold watch and chain suitably engraved, presented to him by the men and boys of 8. James Episcopal Church. Miss Gertrude E. Hogan, who has been studying the higher art of piano-playing for the last year with Leschitzky, of Vienna and Oscar Raif, of Berlin, will resume her teaching at the American Conservatory about the beginning of the new year. Mr. Louis Falk officiated as organist on the occa- sion of the dedication of a new organ at the Marshfield Avenue Methodist Church on Tuesday evening, December 10. BOSTON. Boston, December 18, 1889. If Boston ever had a surplus of chamber concerts it is just now. A few years ago these concerts were so few and far between that a society had to be formed to cherish them; if they continue grow- ing at the present rate we shall need a society to suppress them. There is however the consolation that they are all of excellent character. The Kneisel String Quartette is probably the best of them all, and has been giving some very fine pro- grammes, but the Listemann Quartette and the Adamowski Quartette are also very strong this season and are likely to make a great reputation. The Listemann organization has been much strengthened by the accession of Mr. Fritz Giese, who is probably as fine a ’cello player as can be found in America. He is not always as careful in the preparation of aconcert as I should like to see him, and at times astonishes his friends by un- expectedly poor performances, as he did the other night at the Baermann Concert where he played Beethoven’s ’cello sonata in an awful manner, and redeemed himself the very next day by playing excellently with the quartette. The Baermann econeerts alluded to, are also chamber concerts, and the best we have had in Boston foralong time. The programmes are replete with unusual works and they are performed in a masterly fashion. The clubs have begun their season auspiciously, the Apollo singing better than ever, and the Cecilia repeating their old success with the “Spectre’s Bride” by Dvorak, which gruesome subject has a peculiar attraction. They sing it with real enthusiasm, but their efforts were some- > * what marred by the inferior work of the lady who was cast as the spouse of the pedestrian ghost, who had evidently resolved that she would never be defiled by touching pitch. Mr. Rudolphsen too, although he had evidently the proper concep- tion of the part of the Narrator could not make his voice carry out his ideal. Mr. G. J. Parker, however, was successful as the spectre, although his voiceis not the heroic tenor needed in the part. The great event in musical circles since my last letter has been the advent of D’Albert and Sara- sate. The programmes put it “Sarasate-D’ Albert,” butthe rank runs the other way, although both are great artists. Sarasate is the prince of tech- nicists on the violin; there seem to be absolutely no difficulties for him. In the Spanish numbers he plays he is entirely unapproachable, and his harmonies are ineffably sweet. But he has nota broad tone and is not able to efface my memories of Joachim or of Wieniawski, and when it comes to playing Beethoven he is certainly not the ideal. Do not let me give the impression that heis a disappointment; he isatremendous success, but he represents a school which is not the very highest. As to D’Albert, it is a very different matter; he may without much exaggeration receive that much abused title, ‘‘the greatest living pianist,” for Rubinstein in his palmiest days was not much his superior. He is great in his interpretations of Bach and Beethoven, but is fully as great in the school of the present, and plays Liszt’s works as oneinspired. Itis avery strange thing that the two artists have not yet appeared in some work together. When Rubinstein and Wieniawski were here, the Kreutzer sonata played by the two, was the culmination of all their work; perhaps you will be favored with some such combination, but we in Boston were not. D’Albertfvisited the New England Conservatury of Music while he was in Boston, and played to the students. He gave his own arrangement of Bach’s Passacaglia there n a wonderful manner. You can imagine how much such visits benefit the students in the Con- servatory, and how much of musical atmosphere there is within its walls. D’Albert hasa wonderful technique, but with him it seems always to bea means, never anend. In this heis the antithesis of Rosenthal. The Juch Opera Company has been here for two weeks, and was very unsatisfactory to the audiences, but that was only fair, for I suppose that the audiences were unsatisfactory to_them. Small houses (with the exception of when “Faust” and “Der Freischutz’ were performed) were the rule and the work was at times beneath criticism. Juch has no right to expect the same prices as the National Opera charged with Fursch-Madi in the chief roles and the minor parts well filled. Sheis a good conscientious singer, of attractive person- ality, but not alone sufficient to constitute an opera company, and her excellent work as Agathe in “Der Freischutz”’ was ruined by the absolute slaughter of Weber’s work committed by orchestra, chorus and the lesser singers. As Carmen she was a failure; there wasa latent goodness about her assumption that reminded of Senta, of Elsa, and of Sunday-school, which was out of placein Bizet’s immoral young lady. Boston was never so agitated as just now. The whole town isin factions. Is Nikisch a great con- ductor, or not? Some say that he isa theatrical sensationalist, and others swear that he is the perfection of modern conducting. As usual the truth lies between the two extremes. Heis not as good a drillmaster as Mr. Gericke, that is sure; he iseven losing some of the perfect precision that the latter instilled into our orchestra with so much labor, but he is a more masculine and more poetic conductor, so that what we lose in one direction we gain in another. His reading of Liszt’s ‘“‘Les Preludes” was the best I have ever heard. The agitation is good for art, for in such a quarrel, people learn to think and to form independant opinions. Concerts are now beginning to grow less because of the holidays, a cessation that affords welcome relief, even though it be but temporary, to Dux. —_——- aidan The musical advantages are excel- ent. BROOKHAVEN, MISS.—The Whitworth Conser- vatory of Music gave a recital on December 14; Mr. Wm. Henninges, director. The programme was an excellent one, reflecting credit on teacher and pupils. Who would have believed thirty years ago, that in so short a time such programmes would be heard in the far South. We know of what we speak, when we Say that at that period only the lightest kind of music was used in schools throughout that part of our country. BLOOMINGTON, ILL.—The faculty of the Bloom- ington Conservatory of Music assisted by Miss Minnie Fish, soprano, of Milwaukee, Wis., gavea grand holiday concert at the Unitarian Chureh, on Friday evening, December 20. The faculty of the conservatory are: 0. R. Skinner, principal of piano, organ and theory; Mrs. Lydia Sherman, assistant, piano and organ department; Miss Blanche Mayers, assistant, piano department; S. L. Fish, principal, vocal department, and L. BE. Hersey, principal, violin department. RACINE, WIS.—Miss Merrick gave a piano re- cital at her studio November 26, with the following excellent programme: Valse in_D flat, four hands, (Chopin) primo, Miss Hellen Dutton; Germany, (Moszkowski) Miss Mable Ruggles; a, Passepieds, (Bach) b, Valse in A Flat, (Moszkowski) c, Etude, (Ravine) Miss Hattie Bates; Vocal, a, Heart’s Sor- row, (Kosehat) b, Garden of Sleep, (Isidora de Lare) Miss Eager; accompanist, Miss Mary Eager; Cradle Song, (Heller) Miss Bertha Harris; Gypsy Stories, (Henninges) Miss Selma Crawford; Varia- tions on Beethoven Minuet, Funeral March, Presto, (Saint-Saens) Misses MeMurphy and Bates. WOOSTER, 0.—A musical and literary entertain- ment was given on December 17 by Miss Frankie KeKnight, vocal teacher of the University, Miss Knestrick, elocutionist, the University Glee Club and the Stanley band. The entertainment was a pleasing one. Miss McKnight and Miss Knestrick of course were the principle participants. Both did well and earned for themselves much praise. The weekly lectures and recitals of the Univer- sity have come to a close on the 19th of December.‘ They were uniformiy well attended during the entire term. Vacation began on the 20th and school will open again on January 8. Pupils may enter the Musical Department at any time. INDIANAPOLIS, IND —Our operetta, “The Last Will and Testament,” was given on November 25, atthe Y.M.C.A. Hall. The .performance was under the auspices of the Indianapolis Orphans Asylum. The parts were performed as follows: Therese, Miss Jessie Broughton; Melinda, Miss Annie Baggs; Abigail, Miss Nettie Dietrich; Mary, Mrs. Max Leckner; Eugene, Miss Winifred Hunter. We thank the kind friend who sent us anexcellent photograph of these charming performers in their respective costumes. We were delighted with these singers at the Indiana State Teachers Asso- ciation at Lafayette, where they performed quite a number of pieces, and we are proud to have the honor of having this operetta performed by them. No doubt everything was exquisitely well done, and while we never like to hear an operetta of our own given, we regret that we were not in Indian- apolis at the time when the “Last Will” was per- formed. Greetings to the charming singers, thanks to them for interesting themselves in our work, ~ and for that very handsome picture,

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AO BRAINARDS’ MUSICAL WORLD. Business Department. Brainard’s Musical World is published monthly: The subscription price is $1.50 a year, payment in advance. Nrw SuBSCRIPTIONS Can commence at any time during the yeaz. Payment for the World, when: sent my mail, vemould be made in a Post Office Money Order; Bank Check or Draft, or an Express Money Order. WHEN NEITHER OF THESE CAN BE PRO- CURED, send the money in a Registered Letter. All post masters are required to register letters whenever requested to do so. Discontinuances.—Remember that the publishers must be notified by letter when a subscriber wishes his paper stopped. All arrearages must be paid. Returning your paper will not enable us to dis- continue it, as we cannot find your name on our books unless your Post Office address is given. Always give the name of the Post Office to which your paperissent. Your name cannot be found on our books unless this is done. The Courts have decided that all subscribers to newspapers are held responsible until arrear- ages are paid and their papers are ordered to be discontinued. Letters to the Publishers should be addressed to THE S. BRAINARD’S SONS CO., 145 & 147 Wabash Ave., Chicago, 20,620 COPIES. ADVERTISING RATES.—Ten cents per line, nonpareil type, each insertion. Twelve lines make one inch. The circulation of BrAInARD'’s MUSICAL Wor tp for the last three months has been 20,620 copies, full count. We print below certificate of Chas. N. Trivess, Printer and Binder, 71 and 73 Randolph street, Chicago: . CERTIFICATE. This is to certify that I have printed, bound and delivered to The S. Brainard’s Sons Co. 20,620 copies of BRAINARD’S MusicAL WoRLD for November, December and January. Cuas. N. TRIVEss. Chicago, December 28, 1889. TRADE CHAT. Bound volumes of the Wor Lp for 1889 can now be obtained. Price, $2.00. ‘Pauline’ is now the popular song of the day. It can be had for either soprano or contralto. Send for catalogue of ‘‘Brainard’s New Orchestra Music.” New gems are constantly being added to their list. ; A useful and popular little book, which is used by teachers throughout the land, is ‘‘J ousse’s Cate- chism of Music;” price, 20 cents. Agents for the Musicat Wor.p are wanted in every town. Liberal terms are offered and will be sent on application to our publishers. The beautiful engraving, ““New Years’ Carols,” was drawn expressly for BraInarbD’s MusicALWOoRLD by the Art Etching Company of Chicago. “Brainard’s Orchestra Music” is gaining a wide popularity. The selections and arrangements are of the best, and every piece in. the list is agem. At Waterville, Me., a 1,0.0-pound weight dropped from the clock in the Unitari2n Church, crushing the costly church organ beyond the possibility of repair. Alexandre Jean Cotelle, music publisher, and a member of the late firm of Janet et Cotelle, cf Paris, died at that capital last month, at the age of seventy-six. “Dear Love of Mine,” song and chorus by F. H. Putnam, is one of the brightest and most pleasing songs’ recently issued and cannet fail to please. Price, 35 cents. Musicians’ Guide.”’ The musical compositions of Frederick the Great Some of the Ger- man papers say that Frederick was almost as great are being pubiished at Leipsic. a musician as he was a general. To dealers, teachers, schools, etc., using large quantities of music, we offer liberal terms and dis- counts and shall be pleased to open accounts with those sending us satisfactory references. “Hamilton’s Collection of Banjo Music,” is now ready, and banjoists will find in it one of the finest collections ever issued. This is the first book ever published with second banjo and piano parts. The 8. Brainard’s Sons Co. will hereafter carry a full stock of the elegant classical publications of Wm. E. Ashmall & Co., New York, and J. H. Rogers, Cleveland. Catalogues sent on application. Violinists and all who desire to become violin- ists, will do well to examine ‘“‘Brainard’s Melodic School for the Violin,’ which is now used by hundreds of our leading teachers in preference to all others. Send 15 cents for the winter edition of ‘‘The It gives a vast amount of valuable musical information, a choice selection of new music and will be found of great assistance in ordering music or books. “Parlor Dance Folio.” This new book contains a choice collection of Parlor Dances, consisting of waltzes, galops, quadrilles, marches, lancers, the Newport, the York and other fancy dances. Also the German and quadrille calls. Price, 50 cents. We call attention to the “Paragon Music Hold- ers,’”’ manufactured by E. E. Brownell & Co., Schenevus, N. Y., advertised in ‘the Wortp this month. Itis the most practical and useful holder we have seen and we commend it to the notice of musicians. Among the dealers visiting Chicago the past month were Mr. Chase, of Grand Rapids, Theo. Presser, of Philadelphia, Mr. Ballier, of Belvidere, Ill., Mr. Dennison, of Elgin, Ill., Mr. Madden, of Danville, Ill., and Messrs. Bobzin & Van Vleet, of Detroit, Mich. Guitarists should send for The 8S. Brainard’s Sons Co.’s extensive catalogue of guitar music, which is much the largest published in this coun- try. “‘Holland’s Modern Method for Guitar” is now the favorite with guitarists, and teachers will do well to examine it. The “‘Classic Bouquet” is the title of a new col- lection of classical piano music by the best com- posers. It is uniform in style with the popular “Song Bouquet” and “Parlor Bouquet,” of which over 100,000 copies have been sold, and is fur- nished at the low price of 50 cents. _ “Brainard’s Selected Choruses” are the standard and superior editions of well-known and popular selected choruses, sacred selections, etc., are uni- versally used and preferred to all others by singing societies, choirs, schools and classes. They are clearly printed on heavy white paper. “Concert War Songs” is just the book needed in getting up the popular war song concerts now being given with such success throughout the country. War song concerts always draw crowded houses and are easily gotten up with the assist- ance of this new book. Price, 25 cents or $20.00 per hundred. “Sounds from St. John,” polka staccato by C.S. Brainard, is a great favorite with orchestras. It was played nightly at McVickers Theater, Chicago, during the past month, with great success. The Cleveland Mandolin Club are playing ‘‘Sounds from St. John,” and find it one of the most pleas- ing and popular compositions in ther repertoire. The popularity of “‘Brainard’s Dollar Method for the Reed Organ” is unprecedented in the history of similar works, over 250,000 having already been sold, and the present demand exceeding 50,000 copies per annum. The reason for this popularity is, that the book is one of the most complete and attractive reed organ methods ever published. The elementary department being simple, pro- gressive and comprehensive, while the selections of vocal and instrumental music arranged especi- ally for the reed organ, will befound most desirable and attractive. Among Mr. R. E. Henninges’ latest compositions are: “Elfen Tanz” (Elfin Dance), ‘‘“Mignonette” (Melody), *‘Walhalla’” (March of the Immortals), “Witchery” (Valse Brilliant), Gipsey stories, Sap- pho songs, “The Cavaliere” (Polonaise Militaire), “Bon Camarade” (Fantasie Stueck). We heartily recommend these fine compositions to all lovers of good music. The 8S. Brainard’s Sons Co. publish the following new music: Vocal—‘‘King Death,” song for bari- tone or bass, Anton Strelezki; ‘‘Hogan’s Flat; or, Push the Growler Out,” character song by W. H. Brockway. Piano—‘‘Pleasant Thoughts,” Ada M. Barkhuff; ‘‘Witches Dance,” Karl Merz. The same firm also publishes a “Reed Organ Folio,’’ a collec- tion of popular music of no great difficulty arranged for the cabinet organ.— Tribune. “Chapel Anthems,” by Dr. J. B. Herbert, is one of the most popular anthem bcoks published, and just what is needed by the majority of choirs. The anthems are short and easy, and contain a sufficient variety for all occasions of public wor- ship. The music is new, attractive and serviceble and will be found worthy the attention of singers of the highest musical culture. Every choirshould be supplied with “‘Chapel Anthems.” Price, bound in boards, $1.00; $10.50 per dozen. The following new publications have been re- ceived from The 8. Brainard’s Sons Co.: ‘Fear Not,” Christmas anthem, by H. P. Danks; “Christ- mas Chimes,” a collection of songs for children; “Hogan’s Flat,” song by W. H. Brockway; “Pleas- ant Thoughts,” for piano, by Ada M. Barkhuff; “King Death,” by Strelezki; “The Reed Organ. Folio,” a collection of reed organ selections; “The Musical Chatterbox No. 2,” a collection of musical morceaux for piano and reed organ.—J/ndicator. According to the Washington Post, Secretary James G. Blaine has recently purchased a magnifi- cent rosewood concert grand piano, which will be used by his many musical friends in the superb salon of the Red House. This instrument was made by the celebrated manufacturers, William Knabe & Co., of Baltimore, New York and this city. Wetakeitfor granted that as Miss Blaine is to marry Walter Damrosche the Secretary of State feels that he must have one of the best of pianos to please his future son-in-law. “How Sweet on Thy Bosom to Rest,” is a sacred solo for contralto or baritone, by H. P. Danks. It is well known that this author has made contralto and baritone voices a special study, and his solos for those voices are not only written within their easy compass, buf bring out all the strong points peculiar to them. The author expects a greater popularity for this song than any of his previous solos... It is melodious, soulful and strong, witha very effective accompaniment. Price, 40 cents; can be ordered of The 8. Drainard’s Sons Co., 145 and 147 Wabash avenue, Chicago, III. ‘Musical Chatterbox No. 2.” ‘Chatterbox No. 1” has met with such pronounced success and has become such a popular favorite throughout the country that we have prepared “Chatterbox No. 2, which will be found fully equal to No. 1, the selections being taken from our most successful and popular songs and pieces. Theeight beautiful illustrations it .contains will be found a most attractive feature, which will delight the young folks. The cover title page isa work of art, and the whole book one of the most desirable and attractive published this season. Price, 50 cents. The 8. Brainard’s Sons Co. has just published in a large volume, solidly and hansomely bound in cloth, with gilt lettering, a “‘Presentation Collec- tion of Classical Music,” designed to be equally adapted to the amateur or the artist, the pupil or

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} BRAINARDS’ MUSICAL WORLD. Al the teacher, with the general purpose of contribut- ing to the cultivation of a refined musical taste. It contains 175 different compositions selected from the works of the best composers; all arranged for piano. It is the most comprehensive collection of the class which is now recalled, and is unique among books designed for the holiday trade. It is of great value to every musician.—T7'imes. The desire for the World’s Fair seems to animate all class of the music trade in Chicago. The em- ployes of Lyon & Healy, Weber and TheS. Brain- ard’s Sons Co. report subscriptions to the fund as follows: Lyon & Healy, main store and factory, 80 SO I oi vives Scivntnsads tadbedos nba ante miks $800 00 Weer DEAT OI BE eon asic te -d0 0sckcsececalclinteentntesccxc 300 00 The S. Brainard’s Sons Co., 25 shares, or... . .. 250 00 $1,350 00 This is a much better showing than many of the largest music houses in New York have made. ——<— $< ——___—__—- TO MUSIC TEACHERS. We offer the most liberal terms and discounts, and it will be to the advantage of every teacher to write us for particulars. We make a specialty of supplying music teachers’ wants, and our long ex- perience and immense catalogue enable us to offer advantages not to be obtained of any other music house. No matter how great the distance, we can make it to your interest to send us your orders. |’ It costs no more tu send music by mail 3,000 miles than one mile, and we have customers from Maine to California. a —O—xXKr MERRY JINGLING BELLS. The latest musical novelty. In playing the following pieces the performer wears a string of little bells on each wrist, the jingling accompani ment being quite effective. Something new. Or der any selections you may wish from the follow. ing list. The bells are 25 cents extra, without discount: Cts. Merry Sleigh Ride Waltz........,........Pendegrass 40 Slelgh Bells Polka Mazurka....................cc00 Back 35 Sleigh Ride Galop ........ ......000..0ccceeseeenes Haggerty 20 enka Ride Pome. oie. os Ak AR. Truax 35 Net SEAN IE ooh cic sa ures supapienn voonapske Zikoff 30 Sleigh Beils Polka Galop.................. Marryvale 3 Raa TE GS FROG ss ids cho cis joie cSciccee catncvitve Egghard 40 ay Te Po seers os avendnc sc dnconesnadns Komsaka 40 aR TRIG FPGIIG si sissies svn vacsveniancsiyccvsanccccenced Hehl 40 Seas: Ge Bs a nib RR Vaas 35 Sleigh Ride Galop. (Duet)..........................RO006 75 A BOUQUET OF WALTZES. By the side of Strauss’ famous production, “‘The Beautiful Blue Danube,” no other waltzes have sold as well in this country as ‘Sounds from the Ohio” and ‘‘Pearl of the Sea.’”’ Thousands upon thousands of copies have been used. For years this popularity has endured, and to-day both waltzes are heard in homes on the Pacific Coast, as well as those near the shores of the-Atlantic, they are heard.on the plains as well as in the moun tains. How many teachers have used them with pleasure, and at how many hops have they been played. Mr. W. S. B. Mathews in his book en- titled ‘“‘How to Understand Music,” when speaking of ‘‘Pearl of the Sea,” says that it belongs to a class of drawing-room waltzes and partakes of the naivete of the peoples song. The same is true of the first-named waltz. Neither of them are as volumptuous as are Strauss waltzes, they are more chaste in sentiment, and in them the sensuous element does not stand out as prominent asin the *‘Beautiful Blue Danube.” Theyare good waltzes for teachers use, if such musicis desired. By the side of the above we may safely place the following waltzes: ‘“‘Goodas Gold,” “The Sigma Chi Waltz” and ‘‘Echoes from the Lake.” RIVAL SUBSCRIPTIONS TO THE WORLD’S FAIR. The Music and Drama of New York comes out with the following comparison of the subscriptions made in New York and in Chicago for the Worid’s Fair: “The Chicago music trade made a claim, some time ago, that they intended to subscribe over $100,000 to the World’s Fair, yet, at the present time, their subscription only amounts to $26,000. The New York music trade have subscribed over $80,000 to the World’s Fair fund.” As we understand it and as is generally under- stood, this $80,000 alleged subscription includes the offer of Mr. William Steinway, who promised to subscribe $50,000 if a certain sum was subscribed altogether. As the conditions named by Mr. Steinway have not been complied with, he, of course, has not really subscribed the sum. Not that we question Mr. Steinway’s liberality in the least. Hewill doubtless do more than his share anyway, as he is one of New York’s few really public-spirited citizens. But as the conditions under which he made his liberal offer have not been complied with, it is not fair to count the $50,000 in Music and Drama's argument. So New York has not subscribed any more than Chicago after a'l.—J/ndicator. —$—$ $$$ TO OUR READERS. 1. We politely request you to furnish us pro- grammes of all concerts and musical entertain- ments given in your city and neighborhood. Send them in advance and we will cheerfully notice them. Of course, inasmuch as wecan only criticise the programme, our readers cannot expect us to say anything about the performance itself. Old programmes will not be noticed. See to it that the city or town, where the concert is to be given, is mentioned on the programme. 2. Send all communications containing orders for the WorLD, in fact all business letters to the publishers, The 8S. Brainard’s Sons Co., Chicago, Ill. Questions for answers, concert programmes, etc., should be directed to the editor at Wooster, Ohio. 3. Everyone so inclined may ask the editor questions, and no charges will be made for giving answers. All question must, however, be signed by the writer, and their places of residence must be given. This is not asked with a view of publish- ing the names, for under no circumstances will they be revealed, but rather as a guarantee of good faith. Questions which are not signed will receive no attention. 4. The editor has nothing whatsoever todo with the music publishing department of the Wor p. It is therefore useless to ask him any questions aboutit. Donot send him musical manuscripts either for publication or inspection. He simply has not the time to attend to such matters. 5. When writing for information and asking for an answer by mail, do not fail to enclose a stamped envelope. The amount of two cents may seem small, but there come a great many such letters in the course of ayear. Aside from this we do not like to see people so unmindful of the rules of etiquette. 6. Write your questions plainly, so that the editor ean easily read them. Express yourself in such language that you may be correctly under- stood. 7. Questions requiring but brief answers will be noticed in the Letter Box—all others will receive attention under the head of Musical World Letters. 8. Questions unworthy of attention will be quietly dropped into the waste-basket. 9. The editor wil! always be glad to hear from his readers, and he bids them write whenever they feel so inclined. He asks them to speak a good word for the WorLp whenever it isin their power to do so, and gladly will say thank you for all such favors. OUR ADVERTISEMENTS. To some it may seem a waste of space, to publish advertisements, but upon close reflection, it will be found untrue. There may be persons, and no doubt there are many such, who do not care to read advertisements, but who would deny that there are many others who do care to read them. Yes, we go a step further and say, that it would be better, if all our subscribers were to see what is being advertised. What other means of communi- cation have those who wish to buy or sell, except it be through newspaper advertisements. How shall anew book, new music, new instruments or any other of the thousand new things that are put on the market, be made known to those at a dis- tance, except through advertising? A publication such as the MusricaL WorLp, would be incomplete without these announcements, and if. they are legitimate and truthful in their character, no one should begrudge the space they occupy. If a pub- lication like ours should neglect publishing solid reading matter, there would be a reason for finding fault with advertisements, but we are sure that our readers do not suffer for wholesome liter- ary food. We invite you to peruse our advertising columns, we ask you to look over them several times, and if you do so you may find something that will be of service to you, professionally or otherwise. We all aim to progress, we are all eager to know what new and advanced means for musical instruction are placed on the market, and where can we secure such information better, than in the advertising columns? There are many firms which have useful articles for sale, which thousands of people wish to buy, it is therefore an item of economy and con- venience to advertise and to read advertisements. We have known teachers to wish for certain things, yet they worried along without them, simply because they did not know where to get them. Had they looked into advertisements they would have known where such useful articles as they desired might have been found. They would long ago have enjoyed the benefit of improve- ments, which were advertised, a fact of which they were not aware. No doubt many teachers failed to do their work as well as others,’ they failed to do it with as much satisfaction and suc- cess aS others, simply because they themselves were uninformed about the latest improvements, while their fellow teachers, who read advertise- ments, knew all about them. And now that we have spoken to our readers about advertisements and their usefulness, we would recommend BRAINARD’s MusicaL Wor.p to all as an excellent medium for advertising. The Wor.p reaches intelligent people in all parts of the country, and cannot fail to be of service to merchants, publishers, inventors, ‘schools, teach- ers, etc. Oo — GOOD WORDS. . Rogers, Ark., November 28, 1889. Messrs. Brainard’s Sons Co.: Please send me one more copy of Merz’ ‘‘Piano Method.” This will make the fourth of this method that lam using in this school. I intro- duce them as quickly as I can, and wiil soon have no otherin the school. Yours, etc., T. L. RicKkAaury. ; NICKERSON, Kas. The S. Brainard’s Sons Co.: * Keceived Wor.Lp for December and like style of it well. Everything is first-class—in fact the monthly is a journal of merit clear through. G. S. Burerorp. TaRKIO, Mo., December 4, 89, Prof. Merz: . * * * T enjoy the Musicat Wor.p very much and should be at a loss to know_how to get along withoutit. * * * Truly, LILLIE WoopDLING. The Mid-Continent of St. Louis, edited by Rev. Dr. Taylor says: *I'hose of our readers who are musically inclined and desire to take some reliable, ably conducted, helpful musical journal, will find BRAINARD’S MusicaL Wor .p, edited by Prof. Karl Merz to be perfectly satisfactory in every respect. It is splendidly edited, is high-toned, full of the best instruction and the wisest hints, and reada- ble from beginning to end.”’ CoLumBus, O., December 18, 1889. S. Braward’s Sons Co : GENTLEMEN:—* * * * JT am an old subscriber of yours and know how to appreciate your very excellent magazine, which I consider the very best of its class in this country. Very truly yours, O. L. VoGue.

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A2 MUSIC IN PUBLIC SCHOOLS. BY PROF. CHAS. w. LANDON, [Director of Music in Claverack College.] I. Music is God’s best gift to man, the only art of heaven given to earth, the only art of earth that we take to heaven. But music, like all our gifts, is given us in the germ. It is for us to unfold and develop it by instruction and cultivation. But what practical benefit is there in its study? Is itas important as the branches that are more commonly taught in our public schools? The State teaches its children to read, write and cipher, that they may possess the arts necessary to their progress and for their several stations in life, and especially those essential to their appreciation of the in- stitutions of a free government and to the dis- charge of their duties under it. SHOULD THE STATE TEACH MUSIC? But the question recurs, Why should the State teach its children vocal music? The security and stability of a government depends upon the happiness and contentment of its people. Whatever increases their hap- piness tends to their moral elevation; and herein we have a strong reason why vocal music should be one of the studies pursuedin our common schools. The family is the foun- dation of the State; the moral tone of the fam- ily sets the keynote for the harmony of the State. It is well known that the habitual use of vocal music in a family is an almost unfailing sign of moral and refined tastes. The wealthy cannot monopolize this natural and beautiful means of culture. The public schools, which now teach the usual rudiments for the im- provement of the mind, should also, for the culture of the heart, teach vocal music. The emotion, aroused by inactive contemplation, listening to music, -is faint compared with that caused by active participation in singing and s> producing a beautiful result. Immoral character aud criminal conduct necessitate the maintenance of courts and jails, the most dis- agreeable and expensive part of civil govern- ment. Prevention here, as elsewhere, is less costly than cure. It is well to remember what Luther said about music: always be accustomed to this art, for it makes good and virtuous citizens. Music is a disci- pline, a mistress of order. and good manners. She makes the people milder and _ gentler, more moral and more reasonable. | In reform and industrial schools. singing is one of the principal means employed for soft- ening and controlling the inmates, and it is of similar value in some of our public schools. The education of the people is not complete when only the mind and the hands have been trained. Man isa social not a solitary being ; and to fit him for healthy association with his kind it is needful to educate his sympathies and his tastes. The lack of this social train- ing often is as masked in the scholar as in the rudest artisan, though, from the greater num- ber of artisans, the deficiency in them is.more commonly observed. For all, the practice of vocal music will be found the most potent agent for the promotion of social pleasure and the cultivation of a humane spirit. THE POWER OF MUSIC. Good music wields a power for good over the heart. The song learned in childhood has a restraining and ennobling influence over one for life, making him a better, happier, safer and more profitable citizen. -Music is a uni- versal art. Nature has given the human voice, which is the standard of perfection for all makers of musical instruments. Good vocal The youth must music is, for most people, the highest form of art. Join to your music words, pleasing and elevating in sentiment, and you are placing singer and listener under the best of influences. Those who have good songs with pure words will cease singing the ranting and ribald songs of the street. No one deems that our schools should furnish good moral training, and the world is fast waking up to the fact that music, wedded to good and pure words, is a powerful means to this end. The words of school songs should be good poetry, and should be on such subjects as Love of Country, Home-loving, the Golden Rule, etc. Songs containing moral precepts, and songs of the affections generally, will surely develop like sentiments in the children who sing them. In no better way can a code of morals be taught, or the sensibilities and emotions be trained and developed into their better and higher uses, as through” the instru- mentality of song. OF PRACTICAL IMPORTANCE. It is not to be overlooked that singing im- parts to the speaking and reading voice a smoother and sweeter quality of tone. This, too, is a matter of practical importance; for a sweet, smooth, and well-modulated voice im- parts to the possessor’s conversation in society, at home, or in a sick room, arare and most desirable charm. The enthusiastic David S. White says, “In the future the culture of the singing and speaking voice, and so of the ear, will be the means of moral culture, and music will be considered the most important subject taught in the schools, the basis of all true edu- cation.”’ Weall can feel the soothing and persuasive power of the smooth and well- trained voice, and we know its value in the business and social relations of life; but it is of a still greater worth to the teacher; it has been said that ‘‘a teacher with a pleasant voice, expressing high moral quality, will cul- tivate the moral character of her pupils by the mere tones of her voice, without saying a word about morals, more than would a teacher with an unpleasant voice who should teach them all the moral maxims in the world. Mental cul- ture comes chiefly through the eye; moral culture through the ear and voice. The cul- ture of the voice and the ear, then, is of primary importance. The best means of, cul- ture is singing.”’ A PASSPORT TO GOOD SOCIETY. If a young man on leaving home and going into & st.ange community, can sing well, he at once gains an entrance into the higher grades of society, and may thus be saved from degrad- ing influences. A song, heard in the street, so touched a good woman’s heart, that she made a home for the boy-singer in her house, and thus saved to the world Luther, whose life’s work was so great, that it has been said that ‘‘no person lives in Christendom whose life is not different because Luther lived and worked 400 years ago.”? The musical accomplishments of a lad, attracted and retained the powerful friendship of the Von Brennings, who took him into their home and whose refining and elevating influ- ence saved to the world Beethoven, the great- est composer and musician whose life and works have done as much in the realm of music as those of Luther in the religious world. A person may have sterling virtues; he may be honest and truthful, patriotic and. brave, energetic and industrious, without knowing music; but if he can also sing well, he will be a better citizen, and a more valuable member of the community and the State, because of his refining. and elevating influences. Yes, and his own refinements will have a superior quality and flavor not possessed otherwise. [To BE CONTINUED. | BRAINARDS’ MUSICAL WORLD. @omical Cadences, Playing by Main Strength. My friend, how do you play, by ear or by note? Neither, I play by main strength. “Do you know that young woman who sings next door?’’ “Only by ear.”’ The latest musical prodigy is a young boy in Luzerne, N. Y., who 1s said to be able to play Soins nage on a blade of grass held between his umbs. Franklin Park—How did it happen that I didn’t meet you at the Paris Exposition, deah boy? Dartmouth street—I saved my allowance fora season ticket to the Symphony concerts, you know! Miss Luphretta Cumberland (seating herself at the melodeon)—Jennie, come heah, please.” Jennie—W hat fo’—to tu’n de leaves?” F “No; , I want ye to lif’ up de keys when dey stick own.’ - Publisher—I wish you would write us a good sea story. Great Author—But I have never been to sea. I knowit. I wanta sea story that people can understand. ce a Lover—You shiver, darling! co Delicate Darling (with chattering teeth, whose musical rival is at the piano)—Yes, Charles; I think it is the air from the piano. Are you “The people in the next flat seem to be very fond of music,” remarked Fangie to Cumso; ‘‘They are using the piano every time I call here.” “I don’t think they are very fond of music,” re- yh agen ‘for they would play some occasion- ally. Mrs. Ab Stainer—I don’t see how folks can speak of music as being elevating and refining. Mrs. T. Totailer—Why, Mrs. Stainer? Mrs. Stainer—Here’s a paper says, ‘‘The audience enjoyed the performance of a full orchestra.” Mrs. Totaller—A full orchestra? Horrors! CO tis Musician—Can you give me a few pen- nies Housewife—But you haven’t made any music yet. Strolling Musician.—Certainly; but, although my instrument is sadly out of tune, I shall play unless you contribute something. Housewife—How thoughtful and kind of you! Here is a dollar. Scene—Enter policeman. _ : “Have you permission, to playin front of this house?” Street Violinist—No. Policeman—Then you will have-to accompany S. V.—All right; what shallit be, ‘‘MeGinty” or “Where Did You Get That—’’ Oh! that club! ow! Exit P. and V., with a cracked skull. A teacher of the cornet was lately engaged in giving a lesson; wishing to test his pupil’s knowl- edge he put the following question: **What does f stand for?” ‘*Korte, sir,’’ was the reply. “Right,” said the pleased master, and “What does double f stand for?” — : “Highty, sir,” quickly rejoined the pupil. The teacher strolled sadly to the window, and whistled the first strain of “The Heart Bowed own.” Returning with a preoccupied air. he murmured, “That’s quite enough for to-day; good- morning.”

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5) BRAINARDS’ MUSICAL WORLD. A3 NEW MUSIC RKVN\IN DNR ON NOR ONIN RR ONIN NOR NDIN OR RNR RRR RRR RS 7 ~ aeeees 2 ke ir RSE s b Sleep, Baby Sleep. | NS Cradle Song by Edwin Benbow................0008+ 40 cents > oe ca goer aa gree eae % This is a charming “lullaby,” the words by E. G, | F O R O N .¥ yi Knowlton. The music and arrangement are of | 7 » unusual merit and deserve the attention of musi-| 4 —=— POE SMa RE eM EOD be cians. 7] Se cr a SS S Last Night I Heard a Bird Singing. s b&b ; ; . By Fanny rate gore ssaceaten 40 cents s We will send post-paid to any address the VOCAL or IN-& ere n’t Cry. : " . . By Fanny Snow Knowlton...........cccccceseeceeees 40 cents S STUMENTAL collection of our % —— sens by Fanny Ho pata oper go lag fe ee | P f ; V {iy be : si a pleasure to recommend. ey are perfec e | 7 : : f : 1C | 7 i + x gems. K resen Q 1On O Mes O E ASSIQA pic, yi In the Chimney Corner. 7) ir By Frederick H. CoWeM.......csssssssssssseesseeennn 40cents|) or a copy of that Valuable Book 2 One of Cowen’s most pleasing and successful - ~ songs, and one we can heartily recommend. It is|¥ () by , W / S 9 S ey a by < a little gem. ar Oon Q 'e) » OO-L Emanuel. s N be ( Ny Sacred song by Paul Rodney .............ccceeeeees 50 cents | w . ; ; } A beautiful sacred song by a well-known writer | together with BRAINARD’S MUSICAL WORLD for One Year. 5 Afterwards. 5 Remember this offer holds good for thirty days ONLY, during € BE JOON W, MGNOR ic, .sciciciicccissayesteiesnestonin’ 50 cents} ¥ January 1890. See contents of each, in this number of the WORLD. & One of the best of late English songs. Both z J A y 9 2 : a words and music are_excellent. 4 DDRESS, & s THE S. BRAINARD’S SONS CO., CHICAGO < COMIC SONGS. a ‘y ee minnie RRS ARER apiascntat anda ao en aR ath ST Oe ee % ASAP AP ALP AVP AVP AVL AV AVP AVP AVP AVP AVP AE AV TE TP TE TEV TE ETE EEE EET Lilly Lally, Dilly Dally, 0! my Head. Comic song by Harry Conor...............cccccesees 40 cents An amusing character song, now being sung with marked success in the popular play ‘‘Little Puck.” Hogan’s Flat, or Push the Growler Out. Comic song by W.°H. Brockway...................40 cents A lively Irish song with chorus, very effective and pleasing. A favorite minstrel character song. That Wicked Old Cat. Comic song by Geo. Schleiffarth.................. 35 cents This is called a song with a catastrophe and it is an amusing one. A lively melody, laughable words, and in short a good stage character song that will amuse any parlor company. INSTRUMENTAL. By Wilson G. Satth a rah Vg Seas AEE 50 cents Five classic gems by this eminent composer. Teachers will find them very useful. Emma Waltz, No. 1. ~~ BY W. GC; Bi POOR OOOR wiseiicks cednadviciivacin dn 60 cents Emma Waltz, No. 2. BY Wot. B BCG A ickkedscciviivatinaanad 60 cents The above two waltzes by Mr. Seeboeck will be found very brilliant, showy and pleasing and of moderate difficulty. They are being played by orchestras everywhere and are becoming all the rage this season. Cabinet or Standard*Organ March. Beer: WIA icvceeviccsclocepabinickin besncaekbecehansaceatiiebuiee 30 cents An unsually good and effective march composed expressly for the parlor organ. Very popular. Au Matin. By Benjamin Godard....................+: scnalbetiiee’ 50 cents An exquisite composition by this famous French writer. Tarentelle. Dee Fi PRG. ish i AR ae 75 cents New, elegant and correct edition of this brilliant “Tarentelle,” which is a standard with pianists. at very showy and effective and of medium diffi- culty. VIOLIN AND PIANO. Hop, Hop! Galop. Gymnasium March, Cloverdale Mazurka. Red Roses Waltz. Humorous Gavotte. Academy Schottische. These charming “Children Festivals” are by C. Kuppe, the well-known teacher of Cleveland, 0. They are here arranged for violin and piano, 35 cents each; piano solo, 25 cents each; or violin solo, 15 cents each. THE CHLEBpRATED FAVER [)RGANS. Have been before the Public for Our Designs are Original, nearly TEN YEARS and by Neat and Tasty. Steady and Sturdy growth, have COMPLETE CATALOGUE acquired an enviable reputation. Every Instrument is Guaranteed Mailed§Post-paid on. Appli- cation. for SIX YEARS. BROAD & WALNUT STREETS, WEAVER ORGAN & PIANO CO., York, Pennsylvania, ALMER’S » MODULATIONS rn Quotation from the new Bass Song, *‘ KiNG OF THE SRA.” ot ier” ib een Se eR oo MRS 4 t Caeaes ERS Ai) a a YN” co. ] id Down wherethe braveliosleep-ing, Down where the sea-flow'rs grow. Rook or 516 HORT anpb p SIA ME i 5 Aaa BRIGHT IN ALL KEYS, FOR Gg CHURCH ORGAN- NTERLUDES anp ISTS.——— 9 $1.50 NET, NO DISCOUNT. ALMER’S IANO RIMER. P ee by np te ae pee pi anists. I refer W!th pleasure to Dr. Wm. Mason, Mr. W. H. Sherwood, Mr. A. R. Par- sons, Mr. C. Petersilea, Mr. Clarence Eddy and many others. Price 75c. PALMER’S RONOUNCING Pocket Diction-" ary of over 2600 musical terms. New and enlarged edition, 25 cents. KING OF THE SEA. A QONCERT Song for Bass or Baritone. 50c. Sent postpaid on receipt of mark prices. If your music dealer does not keep them, send directly to H. R. PALMER, Lockbox 2841. New York City. To Reed Organ Makers and Piano Dealers, We would call your attention to our Popular Series of REED ORGAN and PIANO INSTRUCTION BOOKS, which we furnish the Trade under their own name and im- print, in any quantities, at very low prices. We are supplying many of the largest houses in the country with imprinted books, and shall be pleased to give prices and full particulars to Dealers on application. Address THE S. BRAINARD’S SONS COMPANY, 145 and 147 WABASH, CHICAGO. NO. 1. Will supply a want that has long been felt by day schools, in- CHEERFUL SONGS, stutes, classes, etc., furnishing as it doesa bright and attractive col- lection of our new school music. Price 10 cents per copy; $1.00 per dozen, or $8.00 per hundred.

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A BRAINARDS’ MUSICAL WORLD. The Scratch tlub, ANTHEM BOOKS. SSS ed By H. A. CLARKE, Mus. Doc. — HE SCRATCH? CLUB, a new book by Hugh A. Clarke, Mus. Doc., is a collec- tion of musical criticisms from all stand- points, sketches and stories, in the form of conversations among the members of the Club and their friends; the object being to give the general reader some idea of the manner in which musicians discuss music. The conversational vein in which the work is written is an entirely original and highly entertaining form of presenting critical dis- cussions and subjects of educational value, which are so frequently dry and uninteresting. Dr. Clarke has cleverly avoided all ‘‘theoret- ical unpleasantness’? and his work is certain to please and instruct not only the musician but the general reader who seeks wholesome information on musical topics, entertainingly served. Paper binding, 75 Cents. Address all orders to GOULD &.WOOLLEY, Publishers, 1416 & 1418 Chestnut St., Philadelphia. Every Person INTERESTED IN Music SHOULD SUBSCRIBE FOR The Philadelotia Musical Journal, ONLY $1.00 A YEAR. "America’s Leading Musical Publication. °° OFFICIAL ORGAN OF THE PENNSYLVANIA STATE MUSIC TEACHERS’ ASSOCIATION! oe Tur PHi.aADELPHIA MusicaL JOURNAL was estab- lished in January, 1886, and since that time has, by its intrinsic worth, attained a position in the musical world, second to no other publication. Its columns are always bright and interesting to the Music Teacher, Student, Professional or Amat- tuer Musician and all lovers of the Art Divine. lts table of contents each month includes Musical Stories, Biographical Sketches, Correspondence on Musical ‘topics from all quarters, the latest Foreign and Domestic Musical News, Educational Articles by Dr. Hugh A. Clarke, of the University of Pennsylvania and other Special contributors; Personal Paragraphs, Musical Anecdotes, Depart- ments devoted to the Banjo, Violin, Mandolin, Zither, etc.; Local News, Trade Items, Reviews of Concerts and Entertainments, and SIXTEEN PAGES OF NEW MUSIC, This feature is alone sufficient guarantee that a year’s subscription is a valuable investment for any person musically inclined. Sixteen pages of music each month for twelve months, forms a collection which would cost, if purchased in sheet form, not less than $20.00, SPECIAL OFFER. As a SPecial Offer the publishers of the JourNnaL give a FOLIO OF MUSIC FREE to every person subscribing within the next 30 days. It contains 31 choice vocal and instrumental compositions. Special discount to Music Teachers sending two or more subscriptions. Write for terms. Yearly Subscription, $1.00. Single Copies, 10c. GOULD & WOOLLEY, PUBLISHERS, No. 1416 Chestnut St., PHILADELPHIA. MYERS’ BOOK OF ANTHEMS. By 8.8. Myers. Two hundred choice anthems ar- ranged with full organ accompaniment. In com- piling this work the author has kept constantly in view the tastes and requirements with which he has come in contact during his experience as a con- ductor of choir and chorus singers in many parts of the country, and has labored to furnish a collec- tion of music calculated to meet ali the require- ments of the average church choir. Size of book 10% by 9 inches, printed on the best quality of paper. Price, bound in boards, $1.00; $10.00 per ~ PRIZE ANTHEM BOOK. 244 pages of choice original anthems by the best composers of church music. The publishers, with a view to producing an anthem book that would contain the best efforts of the leading composers of church music, decided to offer cash prizes, to the amount of Two Hunprep Do.uuars, for the five best anthems written for this book. The result is one of the finest collections of choice original an. thems will be found in the “Prize Anthem Book,” by the most famous writers. We have also intro- ducedin connection with the anthems a fine col. lections of short pieces, Motets, Sentences, Quar- tettes, etc., that will meet the requirements of the majority of choirs and will please all lovers of this class of music. Price, bound in boards, $1.00; $9.00 per dozen. ANTHEMS OF THE CHURCH. By U.C. Burnap and James Flint. A new book for choirs, containing a great variety of solos, duos, trios and quartettes—gems for all the festivals of the Christian Church—popular hymns, responses, gloria patrias, te deums, anthems, etc. Just the book for every chorister desirous of using a high class of music, It contains a complete repertoire for the use of any quartette or chorus choir throughout the entire year. Price,bound in boards, $2.50; $2.75, in.cloth. BRAINARD’S CHOIR: ANTHEMS. By Alfred Arthur. A collection of choir anthems, motets, sentences, hymns, ete., by such authors as G»)unod, Barnaby, Tours, M¢Farran, Mendelssohn, Sullivan, Schumann, ete. One of the finest works of the kind ever published, and, while especially adapted for quartette and chorus choirs, is exten: sively used by singing societies, chorus classes schools, etc. Price, bound in boards, 75 cents; $7.56 CHAPEL ANTHEMS. By Dr. J. B. Herbert. One of the most popular anthem books published, and just what is needed by the majority of choirs. The anthems are short and easy, and contains a sufficient variety for all occasions of public worship. The music is new, attractive and servisable and will be found worthy the attention of singers of the highest musical cul- ture. Every choir should be supplied with “Chapel Anthem.” Price, bound in board, $1.00; $10.50 per dozen. HUNT'S CHOICE ANTHEMS. By. J. M. Hunt. A book for choirs, singing schools or conventions. The anthems contained in this book are new but not difficult. Tney consist of a fine variety of tuneful and artractive anthems appropriate to all religious occasions. A book con- venient in size and useful. The singing class will find these anthems to be excellent for practice in part singing or the study of church music. Price, only 25 cents; $250 per dozen, Favorite Winner Books, WINNER S CHOICE GEMS FOR VIOLIN.—This fine collection comprises the most popular melo- dies of the violin, including Dances, Quicksteps, Mazurkas, Marches, Waltzes, Polkas, etc., and many song-tunes, all arranged in a pleasing man- ner for the young violinist. We can cordia‘ly rec- ommend the book to all who take pleasure in vio- lin music, and we are confident that it will answer to the requirements of nearly all ordinary players. Price 50 cents, WINNER’S PRIMARY SCHOOL FOR VIOLIN.— Young violinists, and all who wish to learn this superb instrument, will find the Primary School well adapted to all their wants. Full instructions are given in the use of the violin; beautiful, pro- gressive exercises are offered for the instruction of the learner, and all the popular melodies of the day (over 100) :. be found admirably adapted and arranged. Price 50 cents. xa WINNER’S PRIMARY SCHOOL FOR BANJO.— * The growing popularity of the banjo ir. fashionable circles has created a desire with many to learn the peculiar instrument. In this fine school and self- Instructor, the rudiments of music and complete directions for performing on the banjo, with a full an ears of the chords and accompaniments, are offered and set forth ina simple, yet thorough man- ner, Price 50 cents. WINNER’S PRIMARY SCHOOL FOR FLUTE.— In this excellent school the instructions and sys- tems are placed before the learner in a manner so simple as to render a teacher unnecessary. More than one hundred and fifty popular airs and best melodies of the day are added to the general les- sons and studies, making this primary school the best work of its kind now before the public. Price 30 cents. WINNER’S PRIMARY SCHOOL FOR GUITAR.— The Guitar is one of the sweetest of stringed in- struments, and its music is always acceptable. Winner’s School will enable you to play the Guitar in a short time; and the book contains many de- lightful pieces which you will take pleasure in learn- ing. Price 50 cents. € WINNER’S PRIMARY SCHOOL FOR FIFE.—In- structions for learning the fife are given in a plain and thorough manner in this new self-instructor, and a choice collection of melodies, comprising the best martial music, song-tunes, operatic airs, jigs, etc., etc., is also to be found in this book. Price 50 cents. WINNER’S NEw METHOD FOR THE PIANO,— This admirable Method, containing the popular melodies and operatic airs of the day, is a valuable assistant to the teacher, and we know of no bettet self-instructor. It is one of the most comprehen- sive books of the kind ever published, Price 50 cents. @ WINNER’S PRIMARY SCHOOL FOR CLARIONET. ~The Clarionet is in great demand for bands and orchestras. <A fair player can always find remun- aration. To learn this instrument you will find Winner’s Primary School an admirable help as a 3elf-instructor, Price 50 cents. WINNER'S NEW METHOD FOR REED ORGAN. —This elegant Organ Method is adapted to the re- quirements of learners, and contains the rudimen- tary instructions in music, with many choice and beautiful exercises, and all the popular melodies of the day. Price 50 cents. WINNER’S PRIMARY SCHOOL FOR ACCORDEON, —The accordeon is always popular in nearly every country. Those desiring of becoming proficient in its use will find this self-instructor a very thorough and entertaining work. Price 50 cents. WINNER’S PRIMARY SCHOOL FOR FLAGEOLET. —Those desiring to learn this wood-wind instru- ment will find full and plain instructions in this ex- tellent school. Price 50 cents.

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BRAINARDS’ MUSICAL WORLD. AS { The dew 1 Th ee Yue! Q Hern Year! Q New and True Music Books. CHOICE SACRED SOLOS, 34 fine songs....+..........0. $1 CHOICE SACRED SOLOS, for Low Voice, 40 songs 1 SONG CLASSICS, Soprano and Tenor, 50 songs..... 1 SONG CLASSICS, Low Voice, 47 songs................000 1 CLASSIC BARITONE AND BASS SONGG............... 1 CLASSIC TENOR SONGS, 36 songs.............-.ceeeeeceeees 1 CLASSIC VOCAL DUETS, the very best................. 1 EVEREST’S ALBUM OF SONGS, good selections.. 1 MAUD V. WHITE’S ALBUM, tasteful songs......... 1 SULLIVAN’S VOCAL ALBUM, a master’s work..... 1 POPULAR SONG COLLECTION, 37 good songs...... 1 GOOD OLD SONGS we used to sing, 115 songs........ 1 COLLEGE SONGS, 150,000 sold............ 00. cece eeeees 50 ¢ COLLEGE SONGS for BANJO; for Guitar; each....$1 RHYMES & TUNES; Osgood, Sweet home music 1 INSTRUMENTAL. PIANO CLASSICS, Vol. 1, 44 pieCes..............ccsseeeeees 1 CLASSICAL PIANIST, 42 pieGes..............ccccccecscseeses 1 POPULAR PIANO COLLECTION, 27 pieces............ 1 POPULAR DANCE MUSIC COLLECTION............... 1 YOUNG PEOPLE’S CLASSICS, 52 easy pieces......... 1 The above are all superior books. Any book: mailed for retail price. (60 cts. EMERSON S NEW RESPONSES. ss'ccz for Quartette and Chorus Choirs; 74 short pieces of sacred music of the best character, such as .your choir needs. (35 ete., THE TEMPERANCE CRUSADE. $3.00 doz O. Emerson and Edwin Moore. Earnest, re- haa. elevated poetry and music, which will be most welcome to the best classes of temperance workers. (60 cts., $62doz.), by L. 0. S0 NG HAR MON V.. Emerson. wines shine ing Classes. Also an appropriate and good book for High Schools. Adopt, without fear, for a ss Schools, our SONG MANUAL. | (Book 1, 30 ¢., $3 doz.; or Book 2, 40c., $4.20 doz.; or Book 3, 50c., $4.80 doz.) Admirably adapted to the different ages of school life, with plain instructions and best of music. Select for practice in Re Singing one of our noble and beautiful CANTATES (send for list), or the easy Oratorlo, EMMANUEL, ($1) by Trow- bridge; or for Fairs and Festivals, the peculiarly nice, pretty and easy;DAIRY MAIDS’ SUPPER (20¢. ue $1.80 doz ) by Lewis: or for the children, Macy’s new STRANGE VISITORS, or A MEETING OF THE NATIONS, (30 ¢., $3 doz.); or the KINGDOM OF MOTHER "GOOSE, (25e., $2.28 doz.) by Mrs. Board- ” RICHARDSON’S NEW METHOD FOR THE PIANO-FORTE. From the very day of its publication, it has been a decided success, selling steadily from year to year, and giving the printer no rest with its frequent editions. Its total sales to the present ume ag- gregate nearly 450,000 COPIES! Recreation and Study are in it admirably com- bined. The book has been many times revised, and is the most perfect of instruction books. It has also had additions. Price, with American fingering. $3; with foreign fingering, $3. New England Conservatory Method for the Piano-forte. In three Parts, with American and foreign finger- ing, each $1.50, complete, $3. This fine book secured at once the powerful aid and approval of the pro- fessors and pupils of the great Conservatory for which it was compiled, and in which it has always been used. Very widely known and used. The best Companion for an Instruction Book is MASON’S PIANO-FORTE TECHNICS, containing every exercise needed for the full development of technical ability on the piano-forte. By Dr. Wm. Mason, with explanations by W. S. B. Mathews. Price, $2.50. Any book mailed for retail price. OLIVER DITSON COMPANY, Boston. The Very Best and Latest Book for Choirs. SUPERB ANTHEMS A Collectién of new Anthems, Sentences, Solos, Duets, Trios and Quartettes, etc, for Quartette or Chorus Choirs. BY H. P. DANKS. Author of Diamond Collection, Festival Anthems, Ideal Anthems, Imperial Anthems, Danks’ Canticles, etc., etc. This “SUPERB” Collection contains 35 pieces and 64 pages, octavo in form, bound in heavy paper covers. Each number is strong, melodious, not difficult, and within the edsy range of ordinary voices, with a separate organ score. Choirs of all denominations and capabilities will find these anthems better adapted to their wants than any similar production on the market. Price 35 Cents Each by Mail; $3.60 per Doz. by Express. Sent for Examination on Receipt of Price. Specimen Pages Free. BIGLOW & MAIN, 76 Seas BA Street, | 81 ecneink Street, W YORK. CHICAGO. —TONK>- MANUFACTURING C0., A Day to Teachers and Musicians or we will pay $60. permonth. Write Quick. RB E.E. Brownell & Co., Schenevus, N. Y. A LONG NEEDED ARTICLE. FOUND AT LAST. AN ADJUSTABLE BOOK OR ocial be — } eNEHee gee a] = —:MANUFACTURERS OF:——— ‘earls, pitty | “ Patented April 12, 1887, by L. M. Cary. (The Bows are spring fingers, riveted on a sliding plate and turn in any direction.) A MUCH NEEDED DEVICE for HOLDING sheet or book music open on the Piano, Organ or Orchestra stand. A HEARTY WELCOME is given by all who have used the “Holder” on account of its advantage and conyenience. MAILED ON RECEIPT OF 85 CENTS. Trade supplied by Ign. FISCHER, 229 SUMMIT ST. Toledo, Ohio. L. D. Mitchell’s XYLOPHONES, Brattleboro, Vt., are used by the best players. 812 Hawthorn Ave., Cor. Lewis St. CHICAGO. Tonk & Co., 26 Warren Ave ue, NEW YORK. GRAND SUCCESS]! Te SLEIGH RIDE BY W. M. TRELOAR. Createst Musical Novelty of the Times. Solo 75c, Duet $1. This is one of the — piano pieces published, and represents a party of young people out sleigh-riding, Itis played with bells, SPs &c. Jewels. There is a vocal part which pro- duces a grand ef- fect. It may be performed with or without the sing- ing. Keep up with the times, and or- A series of sacred solos, duets, trios, quartettes and choruses, for church concert and home use. Composed and arranged by H. P. Danks. Fear Not. Christmas Anthem with solos for bass, and SOPrano OF CENOL..4.........ceceeeceeeeees os 25 How ’Oft Alas. Solo—Alto or baritone and COTER POONER OR CHOP UB i isi cccconskicniis tised vcccctecdaceces 20 dera copy of this Come Unto me, ye Weary. Quartette............. 10 = brilliant piece, Do Good Unto all Men. Offertory sentence..... 10 =: Borage age ees a Stranger at the Door. Solo—soprano a m= be pleased with it. Re ON oles Bead CSU ncn daca Te ONe dE poead ko Soe bas cacye Wako aetk. Swiss Bells used in playing this fece 40cts. Dear Refuge of my Weary Soul. Solo—mezzo If ill send p ; BODTEDS OF WORICOING onesie csscisiss rccscedconssscdowssecis 25 seraidetale Whadeoecke ia he ee once, and state where you saw this adver- tisement, we will send you a set of ve-RREE ] Behold the Place Where They Laid Him......... TRELOAR MUSIC CO., Mexico, Mo. Easter Anthem with soprano and bass so'os 30

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AG BRAINARD’S (JATALOGUE OF (JRCHESTRA [Vj :0: WITH TROMBONE IN BOTH CLEFS, PIANO SCORE AND TUBA PARTS—MOST COMPLETE ARRANG- MENT EVER PUBLISHED. :0: usie, a : UR Publications for orchestra are carefully graded, to suit all classes of players, and arranged for the following instruments in all cases: First and second violin, viola, flute, clarionet. first and second cornets on one page, trombone in bass clef anc trombone in treble clef, bass and cello on one page, drums, vian« and tuba. All numbers are suitably for violin and piano, violin cornet and piano, or for any combination from that to full orchestr: as named above. In grading our orchestra music we use the numbers 1 to 5 GRADE 1—Very easy. GrapE 2—Easy. Grapr 3—Medium difficult GraDE 4—Moderately difficult. Grapvr 5—Quite difficult. In the following catalogue the grade of each piece is given, thus enabling purchasers to select just such music asis desired. We can furnish seperate parts of our 50 cent pieces at 5 cents each or of our $1 (0 pieces at 10 cents each. Seperate piano parts 10 and 20 cents each. New numbers are being constantly added to our catalogue. $a : Polka Staccato, composed bv I. Sounds ft om St. John, Chas. 8. Brainard, arranged by W.S. Ripley. One of the most effective, sparkling and brilliant polkas recently published and very popular wherever heard. A great favorite with theater orchestras and for dancing. Grade 3. Price, 50c, . The popular dance, by Strauss, arranged by W. 2 The Yor ke, S. Ripley in his best style. Every orchestra wants the “ Yorke” among its collections. Grade 3. Price, 50c. 3. Sounds from the Ohio Waltz, 4 beautiful and vers Karl Merz, arranged by W.S. Ripley and one of the best in ow catalogue. Over 100,.00 of the piano arrangement have been sold and it makes an unusually attractive orchestral composition Grade 4. Price, $1.00. 1 Composed by Chas. S. Brainard, a:- 4. Starlight Waltz, ranged by W. 8S. Ripley. Over 300,00 copies of this charming waltz have been sold, for piano. It is just the thing for dancing purposes and always pleases. Grade 2. Price. 50e. 1 Here is one of the prettiest 5. Stolen Kisses Gavotte, Hore is one of the pretties! ever published. Composed by Geo. Schleiffarth and arranged in Ripley’s happiest style, it is a most effective, graceful and attractive composition. Grade3. Price, 50c. Composed by Geo. " m * e,e ms 6. World’s Exposition March, 5 en tat = ranged by W. 8S. Ripley. In this you will find one of the most effective and stirring marches published in years. It is greatly admired by all who hear it and should be added to the repertoire t« every orchestra. Grade3. Price, 50c. These Waltzes are 9 7. Love’s Dreamland Waltzes, These, Waltzes arc ular of the day and are here beautifully arranged for the orchestra. by W. 8S. Ripley. They are sparkling, graceful and melodious and oi traced well adapted for dancing purposes. Grade 3. Price, Composed by John A. Metcalf, arranged by 8. Sack Waltz, D.S. MeCosh. This is the most popular waltz in the World its sale for Piano having reached over ONE MILLION copies. While quite simple it is unusually graceful and will be found .excellent for dancing. CUrade2. Price, 50c. rt ; Composed by F. H. Putnam, ar. 9. Broom Drill Galop, pomposed Py MeGoah Wil be found very spirited, showy and brilliant. It is a great favorite in the baliroom., Grade 3. Price, 50c. Composed by A. Beu- 10. Prairie Queen Schottische, omposed by A. Rew McCosh. A finearrangement of this elegant and popular schottische and one of the most attractive pieces in our catalogue. Grade 2. Price, 5ve. One of the brightest and 11. Happy Hearts Waltzes, 0n¢ of the brightest and lished for many months, composed by Geo. Schleiffarth, arranged by W.S. Ripley. It is being played by orchestra everywhere and is fast becoming a universal favorite. Grade3. Price, 50c, ; The latest society dance, all the craze 12. Verona Berlin, this season. Composed by Harry D Jones and arranged for orchestra by H. H. Thiele, leader of orchestra at MeVickers Theater, Chicago. Every orchestra needs this popular dance. Grade3. Price, 50c. A beautiful and orig- 13. Zulieka Turkish Serenade, saat ceen neaitiadinite equal to the celebrated * Turkish Patrol.’ Composed by Schleiffarth and arranged by Ripley This will be found an admirable and very effective orchestral arra .gement. Grade 3, Price dlc. 14, Persian Princess Waltz, AD exauisite and very in Ripley’s best style and one that cannot fail to please and give satisfaction. It is exceedingly graceful, original and melodious. Grade 3. Price, 50c. ee es BRAINARDS’ MUSICAL WORLD. nr SY A GREAT OFFER!! PEERLESS ATLAS OF THE WORLD. Only $2.00 for this New Atlas of the World and BRAINARD’S MUSICAL WORLD, One Year. Or the Atlas will be sent FREE as a Premium to any one sending Two Yearly Subscribers for the WORLD. -oO—=s — ——____— - — The Atlas and papers all sent by mail, postage prepaid. As a Concise and Intelligent Epitome of the World, it is Equal to Any $10.00 Atlas. Every person who reads the current periodical literature of the day needs a concise, ac- curate and comprehensive Atlas of the World, for the purpose of geographically locating the stirring events with which the world teems, and of which we learn, almost coexistent with their occurrence, through the electric currents that now girdle the globe. We live in an age of intelligence—an age of multiplied means for acquiring knowlege—an age that condemns ignorance because of these numerous sources of information so freely and widely diffused. If you wish to keep abreast of the times, by accurately locating in your mind every violent upheaval of the earth, the march of contending armies where war exists, the progress of scientific explorers in unknown lands, or the happenings and accidents constantly agitating every part of the world, you should have at hand a copy of the ‘‘Peerless Atlas of the World.” Never before has so valuable an Atlas been offered at so low a price. ——— : —— The Peerless Atlas Contains Larger and Better Maps of the Principal States than Atlases Costing $10. All Maps are Hand- somely Colored,most of them in 6 Colors. It has Colored County Maps of All the States and Territo- ries. All Countries on the Face of the Earth are Shown. It Gives the Latest Railroad Maps. Rivers and Lakes are Accurately Located. All the Large Cities o1 the World, the Im- portant Towns and Most of the Villages of the United States are Given on the Maps. . THE HANDSOME COLORED MAPS Are large, full page,with a number of double-page maps to represent the most important states Size, Open, 14 by 22 Inches; Closed, 14 by 11 Inches. of our own country. The Great Mass of Information Contained in the Descriptive and Historical Pages of the Peerless Atlas Constitutes a Whole Library in Itself. So compact has been the arrangement of this matter that only a careful investigation will reveal the large amount of valuable information given, all so grouped and classified that any purt of it may be found with\'a moment’s search. This department comprises A GENERAL DESCRIPTION OF THE WORLD, Giving its physical features—form, density, temperature, motion, the seasons, climatic conditions, winds and currents; distribution of land and water; races of people and their religions; a historical chapter on polar explorations; alsothe most complete list of nations ever published, giving their geographical location, area, population and form of government. The Peerless Atlas gives a classified list of all nations of the earth, with form of govern- ment, geographical location, size and population; population of each state in the Union for the past 50 years; population and county-seat of each county; a condensed history of each state in the Union; number of miles of railroad in each state; the peculiarities of soil and climate, together with the chief productions, principal industries and wealth of each state; the educational and religious interests of each state; the popular and electoral votes for President in 1880, 1884 and 1888, by states; list of all the Presidents of the United States; the agricultural productions of the United States; the mineral products of the United States; the homestead laws and civil service rules, and much other information -hat should be in every home, store, office and counting-room, ~ Address all orders to HE 5. BRAINARD'S SONS GO., Chicago, Il.

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ee sD Select List of the LATEST VOCAL and INSTRUMENTAL MUSIC, Any Piece Mailed, Post-paid to any Address, on Receipt of Marked Price. Send for Catalogue. By Geo. Maywo0d....cccccecsccererrerenesenes seceseeees00 CONES One of the finest romanza for soprano or tenor that has been published in years. Words by Harry B. Smith. It has a beautiful title page printed in three colors. The Old Oaken Tree. By E. A. PHEIDS ....ccccrcccccecereer eens ss te hese 40 cents This beautiful song and chorus, is by the author of the waltz song, EGome Back Dearest Heart,’ and is sure to please all those who wish for a song which recall to old times back again. It has a fine illustrated title page. The Torrents Came Upon Them, or the Johns- town Disaster. By Geo. Schleiffarth ........-.seesseeseees sessseereeedO CentS A beautiful song which will touch a sympathetic chord in every heart. A sweet and plaintive melody and an effective and well-arranged chorus. Tt has a fine illustrated title page, representing Johnstown during the disaster. Just Sixteen. By Annie M. R. Barnette...........cccccessssseeeeenes 40 cents This beautiful waltz song, which is sung by Miss Eunice Goodrich in ‘Zizi,’ is just such a song as “Sweet Sixteen” would like. Embellished with a handsome title page. Come Back Dearest Heart. Boy Bi. A. PHOUDG........000..csccscosccoresghsascavseosnccgoens 75 cents A beautiful waltz aong Sector and sung by Miss Mattie Vickers. The words are by Geo. Cooper. It hasa fine portrait of Miss Vickers on title page. The Blue and the Gray. By A. OaGar Bourne. sc. sccceseccissarscessiciccas terete sce 50 cents This song 16 dedicated to the Rev. C. C. McLean, pastor of M. E. Church, St. Augustin, Fla., whose sermon tothe “Blue and Gray” in that ancient city, June 5, 1887, was the occasion for which it was prepared. Dear Heart. BY Tito Masood oiccsivicccsscccscsascocccosce scaceaneccceceesO CONES Song for soprano or tenor. The words are by G. Clifton Bingham. Suitabte for concert use. O Let Me Dream. Bo J; Bi. Camm BOO .iccctckaniioscctcd nition 40 cents Another one of this favorite American song writer’s pieces. Dedicated to Mr. Frank R. Well. I'll Keep My Promise True. Bee Gy, Ths DU AMBN oik. ccacacecesciicktasanavassinstoannies 75 cents Sung oy. F. W. Oakland, of Thatcher, Primrose & West’s Minstrels. This beautiful song and cho- rus should be in the folio of all lovers of good vocal music. Mr. Oakland has sung this songin all parts of the country and has met with unbounded suc- cess at each performance. . When my Mother Cannot Watch Me, We Mex Firm ObeTOlO si iii sc scc cacti, ccseicssccateenncseses 40 cents A Spanish love song, written by Max Hirschfeld musical director of Rice’s ‘Corsair.’ Dedicated too and sung by Miss Alice Montague of that com- pany. God Save Ireland. Bip Gan. F. ROOR sic cinsseccinaa yess sibs 40 cents Mr. Root’s name is justly celebrated in writing patriotic songs, some of our most popular war songs such as ““Tramp,Tramp, Tramp,” “Battle Cry of Freedom,” etc., are from the pen of this writer. In “God Save Ireland” Mr. Root has asong and chorus which is sure to findits way into the homes of all our Irish-Americans. Mary on the Teeter Totter. By George Schleiffarth ...............008 seovdeieanaial 40 cents A topical ballad words by J. A. Fraser, Jr. Mr. Schleiffarth has written quite a number of good topical songs, and “‘Mary on the Teeter Totter’ should be ranked among his best efforts. : The Strife of Love. By George Schleiffarth............... ..sccccsssseeees 40 cents Song for soprano or tenor; poetry by Matthew C. Woodward. This is an excellent song for con- cert use. Key of D major. They Tell Us They Don’t, But They Do. Rice needs nointrodtction as a writer of popular music, having composed such works as “Corsair,”’ “Evangeline,” “Adonis,” ete. Bring Your Wages Home. BON Bc Da OMS 0 Riakadiscsacocechacamensisdnappoaie sooeeee40 Cents A pathetic song and chorus, one which will de- light all lovers of home comforts. As of Old. By Anton Strelezki.................... veseseeeesddD CENTS A charming little ballad by this favorite author. wae as is sure to win friends wherever it is eard. Dearest. By Anton Strelezki.........ccccccccccecseceescesseeseesdd CENTS Another one of this author’s excellent ballads, and one which will be a favorite. Town Crier. Co an a | RR Rey rere sae wm Brean 40 cents The latest and one of the best of this favorite author’s songs. Sweetheart, Good Night. Bae Wath Ge, BM Gosia on ci gnvn dsc dace ccmcorstesess 40 cents This beautiful vocal serenade is the latest and one of the happiest efforts of this eminent com- poser. Dear Love of Mine. Fe POE, Fe. PCB isivisciins cssecvcinnes cpatectedaniess 35 cents One of the sweetest little songs published in many-a-day, with a charming chorus. No one will be disappointed in this song. Sailor’s Lassie. Fe WE LIU Wis FI has cicisanccnesscecsspncacdcnsantecses 40 cents A coquettish little song about a village lassie and her sailor boy, Jack. A dainty melody with taking words. r. Smith’s songs are among the best written by American composers. Drifting in the Moonlight Down the Bay. Ba Be Os ha caine anci'ocansnduhiesckgeds cckh co obbonesel 40 cents This songisan exceedingly pleasing one, being above the standard of this class of music and has a specially taking chorus. One Little Word in Kindness Spoken. BOO BRe Cl INIT cochaniasss och cevavecns Soa stonsacteeageavascgoeed 40 cents A sentiment worthy of consideration by all. It has here a very attractive setting. Sweethearts and Wives. Pe 5 PM a snn bd s dase nnn cds Sates sti eu Rinses 30 cents The theme of this song is one that ought to in- terest all men, young and old. A quite humor pre- vades it throughout. Refrain in waltz time. Our Last Waltz. PS: Ex Las OWN cs aacsccccsonaacetsascei¥Accprassnnsisesvosees 50 cents This new waltz song whose auther has a world — reputation, hasinit every element of popu- arity. Making of the Hay. By WSO Ge aT ois sei ceiedascdsecoveeceesencecescces ..40 cents A piauant and dainty little song in waltz time. Mr. W. H. Sherwood writes: “Your ‘Making of the Hay’ is a charming song—one of the mest delight- ful I have heard in a long time, and it alone ought to make the man’s reputation who wrote it.” It eee much sung in concert by prominent vocal- Ss Ss. They All Love Jack. Bow OOM AOI io o55. incdacedeccccdiavs setter succescve 35 cents This songis one of Mr. Adams’ best efforts, and is pronounced by many to be better than his far- famed ‘“‘Nancy Lee.” Sung with immense success by Corenne in “Monte Cristo, Jr.’’ Little Merry Fat Grey Man. RO SS TAR is So Sidercncdcogecsatsdenceneteviicsaes 40 cents A very amusing, humorous, laughing song, suit- able for male orfemale voice, a song in which each hearer will unconsciously join in laughter. Hunting Song. By Collin Coe........::... Hreseatradsopsndae Hr rare Ae eee 25 cents A jolly quartette for mixed voices, easily and effectively arranged. — . Baby May. By Edward Holst................ssee8 giiteduiihccuoath -ecoeeedd CONES A dainty little ballad for parlor use. The Reign of the Roses. By Carolina LOwWthian «.....5..:....:.cccccccesetescsenes 35 cents One of the present popular English waltz songs as may be imagined by the title. Off to Sea. i Be 3: Carephele. cca es 40 cents Mr. Campbell is an American composer whose songs rank with the best English ballads. This song isa stirring sea song for tenor. Effective for concert use. Binding Sheaves. De Fi Fi; COMBI ccccuiinwiintcanmns .35 cents Jean Ingelow’s dainty poem has been treated in a very graceful manner by Mr.Campbell. It is one of this talented writer’s best songs. INSTRUMENTAL, ——s Twilight Musings. By Chas, Gimb6l Je. eo oe 75 cents A brilliant andante and waltz by this rising young American writer. A piece which should be in the folio of all lovers of good instrumental music. Dedicated to Miss Ella Paxton. Sounds from St. John. By Charles §S. Braimard............... cc. coccosssoecess 60 cents This is one of the finest Polka Staccato that has been written in years, and is fast becoming a great favorite with pianists. It has an elegent illustrated title page in colors. An Abridged Edition has been published, price 40 cents. Bon Camarade. By To. B.. Homni nee cacis oo occ eascs ak 60 cents In this original ‘piece de genre” the player will find something truly refreshing. An irresistible jolly good humor of the most refined kind pervades the whole. It is no doubt one of the finest things published in a long time. . Remembrance. Pe Pred. BH. Putian... 35 cents This is one of the prettiest Gavottes published, and rapidly becoming a great favorite; not diffi- cult, yet very pleasing. The Yorke. Arranged by Chas. Warren.................. sveveeee-40 CeltS This charming little dance has been arran from J. Strauss celebrated Polka Mazurka “ = Heart, One Soul.” All lovers of good dance mu should not fail to send for a cop “3 = Rippling Waters. By Edmund §. Mattoon...............000 aescseiad 75 cents This composition is being played in public Miss Neally Stevens, of Chicago, to Whowt Ge bind is respectfully dedicated. Werecommend it to all in search of a brilliant piano-forte piece. Tl Mandilino. By Riccardo Banfi.............sgreeeeserreneveneesseee-40 CONtS This brilliant little polka is dedicated to the Cleveland Mandolin Club andisa most and effective composition. pleasing Gavotte. By W. L. Blumenschein................ccecesee sseeseeeed0d CONES This charming little gavotte of easy technical grade is modern in its harmonies and themes and presents valuable practice for light staccato, wrist and finger action. It is thoroughly genial and melodious and fully worthy its company. Silbersterne. (Silver Star.) By Onri Body qo. ccccecssessessceomeres cesecceees :stseeeese tO CONGS This author is one of the most popular of our modern composers, and “‘Silbersterne” has become one of the most favorite of his compositions. It factits pure melodious melody will captivate all who hear it,and as an educational piece the stu- dent will find good practice for both hands. Dance of the Fairies. Be AlbOrt DOU er és scesis snc chciss Seana iasonn 30 cents A bright and pleasing waltz, which will be found admirably adapted for teachers’ use. It is carefully fingered. Caress—Valse Sentimentale. By Edmund S. Mattoon..............cccscsssccccescsees 75 cents A saloon valse of modern difficulty, thorough] melodious. The themes are divided between pond hands, affording thereby excellent practive, % what in the style of Wailenhaup. - P Some Contre-dance. By Wilson G. Smith... ecsscseeees Rohit 60 cents A highly original and brilliant caprice for con. oer ste eh apd & quaint and charact- eristic w roning Sin bass accompanim One of Mr. Smith’s best efforts. ee Bourree Antique: By W..C. Bi. SeebroeG ke. o.oo .cds oo vccccccccctnsasedes 35 cents This pretty little piece which is dedicated to. Miss Neally Stevens, the brilliant young pianiste of Chicago, is rightly classed under the head of original compositions for the piano by eminent American composers. ~ ae Woodland Beauty Waltzes. By BR. E. Henninges.....; 0.0.06 :seiessosAaccctintics w75 CONES A complete set of waltzes with asplendid intro- duction in march time. Equal to anything ever written in this Style. Robin’s Morning Song. ey Spee MR ea ORS 40 cents A bright, {pleasing composition in 3-4 time, with an introduction which was written, we are told, while arobin was singing his morning song in a neighboring tree.

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= aa << AN ELEGANT | ECIONS OF MUSIC ype) —__éRESENTATION VOLUME « FOR — A WUSICAL FRIEND. 3 PE easter setae eZ suns OES ses id een eS het en Oe Peet Pek ok ‘ sehr bie “aN THESE VOLUMES WILL BE MAILED POST PAID a) OOF CONTENTS IN THIS NUMBER ON RECEIPT OF PRICE.. DOF THE WORLD. : Chicavo, = _ THE §. BRAINARDS SONS @OMPANY, [45 AND 147 WABASH AVENUE. . : ay - Se FULL LIST .