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It may fairly be said that of such organ effects as THE LITERATURE OF NATIONAL MUSIC. these Mendelssohn was certainly the inventor. In the following air, “ For know ye not that ye are BY CARL ENGEL. His temple ?" the organ pedals, pp, play with the (Concluded from page 72.) double-basses for the first eighteen bars, after which the instrument is silent till the second movement, VARIOUS SOURCES. “But our God abideth in heaven.” The organ pedals Some interesting information concerning the music again enter here for the first nine bars. The following of uncivilised nations or tribes is occasionally to be twelve bars have no organ part, but the pedals are re- found in books of travel. It is, however, a laborious introduced toward the close of the solo (p. 162, line 4, task for the inquiring musician to pick out the inforlast bar), and in the last two bars of the same page mation from those books; he may peruse a comprethe full harmony, pp, is taken by the organ, in unison hensive journal without meeting with a single statewith the strings. In the following chorus the organ ment of use for his purpose; or, should he find one is not employed till the commencement of the domi- which appears to him instructive, there is every nant pedal (p. 168, first bar), when it has full harmony, probability that it is expressed in words so vague forte, mostly in four parts. From this point it is used and indistinct as to be useless. Nay, among the to the end of the movement, excepting in one short published journals of English travellers there are passage (p. 169, line 2, bar 4, to p. 170, line 1, bar 4). not a few in which the musical performances of There is but little more to notice in the remainder foreign nations, if they are alluded to at all, are of the Oratorio. In the short quartett and chorus, almost sure to be spoken of disparagingly, and per“ Far be it from thy path," the organ in sustained haps with an apology for noticing a subject so insig. harmonies enters with the chorus (p. 181, line 3, nificant. Most travellers are too little acquainted bar 1), the part being in general remarkably thin, with music to be able to discern what is noteworthy; sometimes having only two or three notes. There is besides, mere travelling does not make any one a no organ at the forte passage (p. 182, line 2, bar 1), keen observer. A well-prepared person, in walking but it reappears at the close of the phrase (same line, for half an hour in his garden, may discover more bar 5, third crotchet), and is continued till the end of interesting facts than a rambler during a half-year's the passage for the alto voices, when it abruptly ceases. walk in a distant land. The statements relating to the In the final chorus will be seen, at the commence- music of foreign nations given by travellers who posment, another instance of Mendelssohn's habit, sess but slight musical knowledge, ought generally already referred to, of introducing his organ to to be received with caution. These informants are emphasise certain notes in the middle of a phrase. apt to employ technical terms and expressions supHere we find two full chords for the words, " All posed by them to be artistic, which are often incorrect them,” with which the instrument enters, after which and misleading. Nay, sometimes they express just it continues for the next four bars. It is then the contrary of what they intend to say. For instance, reserved throughout the following passages of imithe natives of a country are stated to have sung in tation, coming in, as before, with a crash at “ All “ pleasant harmony," when it is evident that they them (p. 189, line 3, bar 3). In the following had sung an air in unison. A performance is said passage, The Lord careth for us,” the organ (mf, to have been “ very harmonious,” when the music with 16-feet), is used in sustained harmony till the pleased our informant; did it appear rather sad to forte (p. 191, line 1, bar 3), when it ceases for four him, he records that it was in a minor key; and if bars, the full power being introduced for the final there was something peculiar in the performance "Bless thou the Lord," which leads into the fugue. which he cannot explain, he terms it“ a wild cadence." The first part of the fugue has no organ; but it is a stringed instrument having a neck is almost sure effectively introduced in holding chords at the lead of to be called “ a sort of guitar;" and if it happens to the basses in F sharp minor (p. 195, line 2, bar 4), be mounted with four strings, we have perhaps an and at the repetition of the phrase which immediately allusion to the Greek tetrachord, with a quotation from follows for tenor and soprano. From the last bar of Burney's “History of Music.” A wind-instrument p. 196, line 2, the organ is used continuously till the with finger-holes is “a flute," no matter whether it end of p. 197. It is then taken off for seven bars, is constructed with a single reed in the mouth-hole, reappearing at the tonic pedal (p. 198, line 2, bar 3) like the clarionet, with a double reed, like the hautand continuing till the end of the chorus. boy, or with a plug, like the flageolet. A wooden My analysis has extended to much greater length harmonicon, like the marimba or balafo of the than I anticipated in commencing it. I have neces- negroes, is “a piano;" and when we are told that a sarily been very technical; I fear also very dry, except, native minstrel executed with admirable skill his perhaps, to students of instrumentation. My apology plaintive national tunes on “a mouth-organ,” we are must be that my aim has been a practical one-to left in uncertainty as to whether the instrument was show how one of the greatest masters of orchestra- a Jew's harp, or a pandean pipe, like the Hebrew ugab. tion treated the instrument. Few, comparatively, However, it is hardly necessary to show that most will be likely to have the new edition of "St. Paul" of the musical information offered in English books in their libraries; but so many will have the of travel is useless, since the student has probably octavo vocal score to which the references have ascertained this already from experience. been given, that I trust it will be possible to all Neither is it surprising that the published jour. to form at least an approximate idea of the methodnals of missionaries should generally be unsatiswhich Mendelssohn has adopted. At the same time factory for useful musical information, considering it must be understood that only an outline has been how imperfectly the mind many of these writers given. Much depends, not merely upon the dis- has been cultivated for observation, discernment, position of the harmonies for the organ, but upon the and application. It was very different with the various ways in which they are combined with the jesuit missionaries during the eighteenth century. orchestral instruments; and this could only be fully | Their scientific attainments enabled them to investishown by quoting the entire score, which is obviously gate and describe accurately the usages, sentiments, impracticable. Some assistance may, nevertheless, and accomplishments of the nations which they be given to the student even from such a sketch as visited. The result has been that some of their that here attempted; and it is with this hope that communications are still highly appreciated, and this article has been written. justly so. Page 3
On the other hand, the musical student owes a Likewise, in the musical journals, of which almost debt of gratitude to modern travellers for having every European country possesses some periodical brought over to England specimens of musical publications, interesting communications relating to instruments from different remote parts of the national music are occasionally to be met with. world. He has it thus in his power to examine Especially the Allgemeine Musikalische Zeitung, which minutely many of the curious contrivances which he was founded in the year 1798 by F. J. Rochlitz, edited finds alluded to in books of travel, and of the real from 1827 to 1841 by G. W. Fink, and subsequently construction of which it would be impossible for him by other distinguished musical savants (Leipzig: to form an idea from those books. Many of the Breitkopf und Härtel; 4to), ought to be consulted; musical instruments brought to Europe are deposited and this the student may accomplish with all the in public museums or in private collections. With greater facility since a compiled index of the contents those which are constructed with sonorous slabs of of the voluminous publication has been issued. wood or metal, with wind-instruments having finger- Now, in glancing over the numerous titles of col. holes, and with wind-instruments constructed of a lections of songs with their tunes, and of treatises, number of tubes, as is the case with the pandean given in the present survey, the student will probably pipe, the musician has generally no difficulty in surmise that the subject has been so fully investigated ascertaining the series of tones producible on the as to be nearly exhausted. But a little further coninstruments. This is also in some degree possible sideration must soon convince him that this is far with stringed instruments provided with frets; how- from being the case. True, some important progress ever, the frets, which usually consist of cords wound has been made during the last fifty years ; the most round the neck, are liable to become disarranged in the valuable books mentioned in our survey have, with a course of time, and not much reliance can therefore few exceptions, been published in the present century. be placed on the positions of the frets of most of the However, only a few countries have hitherto been stringed instruments brought from distant countries, carefully explored; the great majority remain even and often roughly handled. As regards the manner now to the musical inquirer a sealed book. Nay, of playing the instruments, and their combination in even in countries where so many searches have been musical performances, the student has of course to made that it might be thought no stone had been left consult the statements of witnesses. unturned, unexpected finds to a considerable amount Among the various sources for information on the are not unfrequently brought to light. To note an music of uncivilised and semi-civilised nations, we instance of recent occurrence. There are, as we must not leave unnoticed the periodical publications have seen, numerous published collections of Scotch of Geographical and Anthropological Societies; and national songs. Many of the editors of these colespecially certain English works treating on the lections did not gather the airs of the songs from social life, manners and customs, legends, and fairy- oral communication, but merely copied them, or at tales of some particular foreign nation. I have already least the greater number of them, from previous had occasion in the present survey to draw attention books. We meet therefore with certain favourite to these noteworthy sources; a few books of the tunes over and over again in many books. Neverkind, concerning extra-European nations, may how- theless the number of different tunes is very great; ever be pointed out here by way of example, to guide we could hardly expect to find it still considerably the inquirer on the right track. increased by new searches among the country people. "The Chinese as they are: their moral, social, However, a recent publication, entitled “ Traditional and literary character; a new analysis of the lan- Ballad Airs, procured in the Counties of Aberdeen, guage, with succinct views of their principal arts and Banff, and Moray,” edited by W. Christie (Edinburgh: sciences ;”. by G. Tradescant Lay (London, 1841; Edmonston and Douglas), suggests that even in 8vo), contains a chapter on the music of the Chinese, Scotland an efficient and discerning musical antiwith illustrations of instruments. A dissertation on quarian would find his pursuit rewarded by new the same subject, by the same author, has been pub- acquisitions. lished in "The Chinese Repository" (Canton, 1840), In Wales, at all events in the northern district of the principality, which Edward Jones ransacked "A Narrative of a Mission sent by the Governor- already nearly a hundred years ago, a search after General of India to the Court of Ava” (London, 1858; old national tunes may appear even less likely to 4to), contains much information respecting the music yield an interesting result than in other parts of and musical instruments of the Burmese. the British Islands. Still, also here, I cannot help “ Zeitschrift der deutschen morgenländischen thinking valuable additions to the Welsh airs which Gesellschaft” (Leipzig, 1851; vol. v.), contains an have been published might be obtained. In support account of the music of the Armenians, by Peter- of this opinion I shall insert here a Welsh dance tune which I heard played, about ten years ago, “Polynesian Mythology and Ancient Traditional by an old blind harper in Llangollen. He called History of the New Zealand Race,” by Sir George it “ Dixon's Hornpipe,” and played it, at my reGrey (London, 1855; 8vo), contains an essay on the quest for old Welsh tunes, with some others which native songs of New Zealand, by J. A. Davies. were well-known ones. The originality and boldness “Polynesian Researches,” by William Ellis (Lon- of modulation which characterise the tune induced don, 1829; 8vo, two vols.), contains an account of me to commit it at once to paper. Having it afterthe music and musical instruments of the South Sea wards again played by the old blind minstrel, I was Islanders. enabled to render as faithfully as possible not only “ An Account of the Natives of the Tonga Islands, the melody but likewise the peculiar treatment of in the South Pacific Ocean; compiled and arranged the harmonious accompaniment. To me this spirited from the extensive communications of Mr. William tune appears as fine as any of the finest Welsh tunes Mariner, several years resident in those islands;" by in popular favour; but, as I may in this case perJohn Martin (London, 1817; 8vo, two vols.). This haps be a biassed judge, I would rather leave it to interesting work, of which a second edition, “with the reader to form his own opinion. I do not fear his an original Grammar and Vocabulary of their Lan- judgment, provided he does not pronounce it before he guage," appeared in 1818, contains much informa- has fully imbibed the characteristics of the music. tion respecting the songs and dances of the Tonga This he will best achieve by playing it as it is Islanders, with tunes in notation. marked, “con spirito:" Page 4
In this movement episodical subjects play an important whose intelligence and boldness are somewhat in excess of part, and in the course of its first solo the pianoforte has her technical skill, and Mr. W. Shakespeare, who sang with the subjoined: his customary elegance of styl The third Concert (February 13) introduced the third novelty of the Festival-Mr. Henry Gadsby's dramatic Cantata “ The Lord of the Isles." Mr. Gadsby, I hardly has long occupied the position of a rising man. In music for the church, as well as for the concert-room, he has won success, while with particular reference to this Cantata, his incidental music to “ Alcestis" warranted considerable expectations. The “Lord of the Isles therefore awaited with interest and some measure of confidence. Unfortunately Mr. Gadsby was weighted in composing the music by the nature of the libretto, which Mr. Frank Murray adapted from Scott's poem, interpola&c. ting here and there verses of his own. Mr. Murray seems to have been guided as to plan by Mrs. Macfarren's adaptation of the “ Lady of the Lake,” just as Mr. Gadsby appears to have been in the same respect influenced by Professor Macfarren's method of dealing with it. I cannot altogether approve of either. Scott's lines, the lyrical portions excepted, This matter having been developed, the solo instrument, are in no sense lines for music, and long extracts from them for which Mr. Shakespeare writes lovingly, announces the must be a burden upon instead of a help to a composer, second theme proper : while the profuse employment of choral recitative neces sarily has a heavy and monotonous effect. The incidents he ba. in the poem chosen by Mr. Murray are, first, the interrupted bridal in Artornish Castle, which is treated with great fulness; the gathering of the clans to support Bruce, the interview of the Scottish hero and Isabel at the Convent of 3: St. Bride, the storming of his ancestral castle, the transfer of Roland's love from Isabel to Edith, and the union-at the outset interrupted-of the Lord of the Isles and the Maid of Lorn. These events have obviously been chosen less for their logical connection than for their variety and adaptedness to musical treatment, a course easy to excuse because any missing link in the chain of the story can at once be supplied from the knowledge every moderately -&c. educated person must have of Scott's poem. As regards the music it is clear that Mr. Gadsby aimed at simplicity before all, and hence neither the vocal nor orchestral parts 不 F. lie beyond the range of ordinary powers. The composer's object seems to have been the production of a popular which is afterwards subjected to graceful treatment, and work rather than a contribution to that which is artistically followed by more episodical passages. The lead up to exalted, and in all likelihood results will prove himn to have the réprise is most interesting, as, indeed, is the whole scored a success. In the “Lord of the Isles” we have a retrospect, at the close of which and a cadence a brilliant Cantata eminently fit for the use of small Choral Societies, Coda ends the work. Looking back upon the entire Con. since it lies within their means and cannot fail to please a certo, I must characterise it as remarkable for grace and majority of the public to whom they appeal. It follows, refinement, but as somewhat wanting in the strength given of course, that we must not regard the work as a test of by a symphonic employment of the orchestra and highly Mr. Gadsby's highest powers. These he has not chosen contrasted subjects.' It serves, however, to revive interest to put forth. The work begins with a somewhat extended in Mr. Shakespeare as a composer, and to determine overture in D, having two movements, Andante maestoso towards him in the musical world an expectant attitude. and Allegretto, preceded by five bars of Largo. As usual The performance of the Concerto was generally good, the prelude anticipates some of the leading themes in the Miss Kuhe playing the solo with much taste and fluency, body of the work, which are treated in a very simple and though not unaffected by natural nervousness. At its unpretending fashion, without elaboration of any kind. close both composer and executant were called to receive The melodies, however, are pleasant enough to be allowed merited applause. to speak for themselves. A setting in A of Scott's lyric, The second novelty, Mr. Wingham's Overture, has an “Wake, Maid of Lorn,” forms the opening Chorus, and avowed" poetic basis,” and rest upon the following lines contains just enough of Scottish " local of Tennyson : colour.' Love took up the glass of time and turned it in his glowing hands, Every moment, lightly shaken, ran itself in golden sands. This it must be confessed is, for a foundation, slightly chief - tain's praise the pi - brochs swell, The indefinite, but presumably Mr. Wingham's music seeks to illustrate the happiness which love can diffuse through lise. Whether it does this well or ill I am not, after one hearing, in a position to say. Indeed, lest I should un. harp the min strel joys tell, wiitingly do the composer a wrong, I had better suspend For the rest it is, generally speaking, plainly harmonised judgment altogether upon this Overture. The work is peculiar in character, and one must dissipate a sense of tive and Air, in D, for Edith (soprano), “ Tears, bitter melody, but full of appropriate spirit. No. 3 is a Recitastrangeness before a calm estimate can be arrived at. At present it seems to me that the Overture is either very ter of simplicity is fully sustained, both by the theme tears upon my bridal morn.” Here the prevailing characbeautiful or very much the reverse. In the former case its beauty is uncommon, but anyhow Mr. Wingham has boldly striven after originality, and earned the credit due to one who is not satisfied to plod along a beaten track. The Overture will, no doubt, soon be heard in London, and then ear - ly youth be-troth'd, my fan-cy glad-ly strove To an opportunity will be afforded of coming to a conclusion with adequate connaissance de cause. The vocalists at this concert were Miss Carlotta Elliott, a young mezzo-soprano, feel - ing un love. Page 5
phenomenal power and fire with the most beautiful delicacy. He commost genuine applause. There can be scarcely a doubt, changed to admiration. After the first burst of power it seems as if however, that in spite of much skill in orchestration the capacity of the man and the instrument must be exhausted. Quite the contrary is the case. manifested by the composer, and of the occasional intro The pianissimo playing of Herr Rummel is so clear, rounded, and perfect in its way that the admiration of the duction of some charming solo obbligato passages, the audience is sustained. The fire of the last crescendo carried the score of the work is overcrowded to an extent scarcely listeners away in a storm of enthusiasm such as the staid Philharmonic justifying its perform ince in the concert-room. In the pre- played one of Chopin's best-known Nocturnes deliciously. It was a After being recalled several times he dominating simultaneous employment of every available complete contrast in everything with the Liszt Concerto, and about as orchestral instrument the characteristic national element finished. Herr Rummel is yet a young man, and with his superb is not unfrequently lost sight of, and one is almost re grasp of not only the piano but of the music that he attempts there is minded of the malicious bon môt attributed to Rossini, in no telling to what heights he may attain before many years. reference to another composition, “Si c'était de la musique, The Daily Tribune is equally enthusiastic, but we quote ce serait horrible.” We are bound to add, however, in only a portion of the notice :justice to Baron Orczy, that the beauties of the music His playing of the Grieg Concerto a week ago was admirable, but in against which the witticism of the composer of “Guillaume Liszt's splendid composition he was even better. His pure and Tell” was directed have long since become universally trills, and other test places with which the work abounds; his concep brilliant technique was wonderfully displayed in the octave passages, acknowledged. Still, we cannot but think it a mistake tion of the piece was clear and beautiful; and the fire and freedom of to detach the “ballet music” from the stage surround his interpretation, especially in the finale, produced a genuine excite ment both in the audience and in the band. ings which it demands, and with which alone its undoubted merits can, in our opinion, be duly appreciated. A letter which recently appeared in the Newcastle The concert concluded with the first performance of Daily Journal protests against the plan of permitting a Mr. Davenport's Overture above alluded to, which was branch of Trinity College, London, to prepare candidates, well received, and will, we trust, be accorded another by lectures, for musical honours at Newcastle or Durham, hearing under more favourable conditions. whilst Durham University has itself the power of granting degrees. This communication immediately called forth At the usualhall-yearly examinations of Trinity College, another, which, as the subject has more than local interest, London, the total number of entries in all subjects was we print without curtailment:122, of which number 77 were successful. Six candidates Sir, -As a graduate in arts and music of the University of Durham, obtained the highest diploma of Licentiate in Music, and I am naturally interested in the letter on musical education which 12 passed for the Associateship. Certificates were also appears in your paper of to-day. About fifteen years ago, and seven granted to 10 " Students in Music," and to 49 successful to my trying for the Mus. Bac. degree, and Dr. Dykes informed me candidates in the following special subjects: harmony, that there was no regularly constituted musical curriculum. In con, counterpoint, instrumentation, general musical knowledge, sequence of this, I had some correspondence with Sir F: Ouseley and pianoforte, organ, Aute, and solo singing. The following Durham) I should at that time have gone in for a musical degree at have been admitted to the licentiateship:-C. Francis Oxford had I seen my way to incur the necessary expense. I know of Lloyd, Mus. B., Oxon., North Shields ; Walter H. Palmer, wo Durham men (no doubt there are many more) who are graduating Weston-super-Mare; E. Burritt Lane, Trinity College; to them in their own University. It seems to me that it would be a W. F. Austin, London ; F. R. Greenish, Haverfordwest; strange thing if it were necessary for an infant institution like Trinity and Joseph Selby, Nottingham. The presentation of College, London, to supply musical instruction to Durham University diplomas and higher certificates awarded at the exami- within its own walls, for the Science College of Newcastle is of course nations, was made by the Warden, the Rev. H. G. an integral part of the University of Durham.-1 am, &c., WILLIAM STATHAM, B.A., Mus. Doc., Dunelm. Bonavia Hunt, on the 11th ult. The exercise written by Ellesmere Port, Chester, January 22, 1879. Mr. E. Burritt Lane, of Trinity College, for the diploma of Licentiate in Music, was performed and conducted by The twenty-ninth Annual Report of the Committee of the composer; the choruses were sung by the choral class Management of the Choir Benevolent Fund announces that recently formed under Dr. Westbrook's direction, in funds has been secured by the purchase of some ground-rents, a more profitable investment for the larger portion of its cluding several boys from the choir of St. Andrew's, which will yield nearly four per cent. in place of the three Tavistock-place, and the accompaniments were played by a string band, led by the violin professor, M. Szczepanowski , per cent. hitherto received. The increasing influence of the assisted by Mr. H. J. Stark at the College organ. The Society, referred to in the last Report, is proved by the cir, performance of another Licentiate exercise (to which the cumstance of eight new members having been elected; and first place in the competition has been awarded by Sir several candidates, it is said, are now applying for admission. Herbert Oakeley), written by Mr. Walter H. Palmer, of The Committee again impress upon the members the necesWeston-super-Mare, had to be postponed for want of time. sity of urging the claims of the Society upon the governing The usual Students' Evening” afterwards took place, bodies of their respective cathedrals; and in doing so point the chief items in the programme being Beethoven's to the fact that the Dean and Chapter of Worcester have, Pianoforte Concerto in C major, admirably played by Miss in addition to their annual grant, kindly given permission Kenny, accompanied by the band, and conducted by Dr. for an annual offertory to be collected in the cathedral. Westbrook; Bach's Gavotte in D, for violin alone, by Considering the large number of cathedral choristers in M. Szczepanowski; Goss's Anthem, “O Saviour of the England it is sincerely to be hoped that the benevolent world,” by the choir; and songs by Master Dunster and objects of this excellent institution may be still more Mr. Stevens. strengthened, not only by a large accession of members from these bodies, but by increased support from those who Mr. Franz Rummel, whose name has often appeared in are deeply interested in the choral service. our “ Foreign Notes," appears to have created a genuine sensation as a pianist in New York, his performances at Choral Society at the Grosvenor Hall, on Wednesday, the Mendelssohn's “ Athalie” was given by the Grosvenor the “ Philharmonic Society,” and also at the Symphony 12th ult., with full band and chorus, the illustrative verses Society of New York," having elicited the warmest eulogium from the leading American critics. Speaking of being read by the Rev. Canon Fleming, the President of his rendering of Edvard Grieg's Concerto (Op. 16), the Duval, Miss Nellie Dakin, and Miss A. G. Lawrence Eliot. the Society. The solos were sung by Madame WorrellNew York Herald says: Beyond question, Mr. Rummel is one of the finest artists visiting Choral Fantasia and several part songs, The second part of the concert included Beethoven's this country that have interpreted the works of the great composers. A new song, His touch, expression, and technique fairly took the house by storm. Bonnie May” (sung by Miss Nellie Dakin), and a Trio, His recall was the signal for uproarious applause. “Would you know my Celia's charms?” both by J. H. His interpretation of Liszt's Concerto in E flat (No. 1), Maunder, were encored. At the eighty-fourth monthly however, seems to have increased the effect produced on Concert, on the 21st ult., Romberg's ** Lay of the bell" Page 6
was performed with full band and chorus, the solo vocalists of the season at the Athenæum, Camden Road, N. The being Miss Josephine Pulham, Mr. Arthur Weston, Mr. programme included six part-songs, the first movement of W. Lloyd, and Mr. T. Nettleship. Mendelssohn's “ Rondo Schubert's B flat trio and a violin solo by Mr. A. Truslove. Brillant” (Op. 22), for pianoforte and orchestra (piano. Miss C. Rawlins in her song “Olivia,” Mr. Atherton Latta forte, Miss Pulham), and Wieniawski's Second Polonaise in Leslie's “Speed on my bark," Miss Amy Dicksee in in A major, for violin, by Mr. Frank Augarde, were also “ The clang of the wooden shoon” and Mr. J. F. Probert included in the programme. Mr. J. G. Callcott conducted in “ The Message" were all very successful, and the parton both occasions. songs “ Humpty Dumpty" by Caldicott and Love wakes The fifth annual entertainment by the Violin Class, and weeps," by Callcott, were tastefully sung. Mr. A. A. under the direction of Mr. W. Fitzhenry, took place at the Yeatman, accompanist to the Society, performed MendelsBirkbeck Institution on the 22nd ult. 'Miss Alice Parry, sohn's "Rondo Capriccioso.” Mr. Henry J. B. Dart conMiss Martha Harries, Mr. Stedman, and Mr. Thurley ducted as usual, Beale were the vocalists, and their efforts were decidedly A PORTION of the Oratorio, “ The Visions of St. John appreciated by the audience, who were liberal in their the Divine," written for the degree of Doctor in Music by applause and insisted on several encores. A humorous Mr. Frederick Iliffe, was performed in the Sheldonian part-song " A Franklyn's dogge leped over a style," and a Theatre on Friday, the 7th ult. Sir F. Ouseley was preglee “ Peace," very well sung by Messrs. P. Hawkins, sent, and there was a very large audience. The solo Bryant, Freeman, H. Hawkins, and Skeen, were also well vocalists were Miss Ada Moore, Mrs. Hubert Blake, Mr. received, the first being encored. Herr Polonaski and Mr. Anstice, and Mr. Phillipps. The choir, numbering over T. E. Gatehouse (solo violin), and Miss J. Gatehouse and seventy voices, consisted of the Oxford Orpheus Society Mr. S. Jarvis (pianoforte), were very successful, and the and several gentlemen connected with the University. two selections played by members of the Violin Class, a The work contains some excellent part-writing, and its Trio in three movements by Dancla, and an arrangement rendering reflected the highest credit upon all concerned. of English airs by E. Salzmann, were enthusiastically ap. At the conclusion of the performance the composer was plauded. Two excellent readings by Mr. Charles Rendle warmly applauded. agreeably varied the programme. Mr. J. C. Dunster and Mr. S. Jarvis were the accompanists. The Lewisham Orchestral Society gave its second Members' Concert of its third season on Saturday evening, On Tuesday, the ith ult., a Musical Service, consisting the 22nd ult., under the conductorship of Mr. Warwick of anthems, songs, and organ solos, was given at St. Jordan. The orchestra numbered some thirty proficient Mary's Church, Haggerston, under the direction of Mr. C. members, and rendered Romberg's Symphony in E flat, J. Frost, the organist. The choir of the church gave an and Overtures by Kalliwoda, Suppé, Cherubini, and Hereffective rendering of Smart's Magnificat in F, Goss's " In man, also Mendelssohn's “ Pilgrim's March,” with good Christ dwelleth," Kent's “ Blessed be Thou, Lord God,” effect and attention to detail. Two members of the and Croft's “God is gone up;” the latter work deserving Society supplied the vocal portion, namely, Mr. W. Webespecial praise for the attack by each part of the suc. ster, jun., who gave “ The tar's farewell” and “The Vicar cessive leads, the precision of which was admirable. Two of Bray;” and Madame Anna Jewell, who sang Mozart's vocal Solos, “ If with all your hearts" and Sullivan's “I" Deh vieni non tardar” and Gounod's “ Ave Maria,” will arise” were most carefully given by a tenor of the both with orchestral accompaniments. choir. The organ pieces played by Mr. Frost included Dr. Macfarren's Variations on the Choral " Windsor," E. H. At the 121st monthly Concert of the St. George's Glee Turpin's " Postlude alla Marcia,” J. H. Wallis's March Union at the Pimlico Rooms on the 21st ult., Aspa's in F, W. T. Best's March in D, J. Baptiste Calkin's Gipsies” was performed, the solo parts being taken by Allegretto in B minor, and Mendelssohn's Andante in D Miss Spear, Mrs. Le May, Mr. C. Small and Mr. R. F. minor, all of which were well played, the latter piece espe- melo-piano was listened to with great attention and encored, Roberts. A solo by Mr. F. Waugh on Messrs. Kirkman's cially deserving high commendation. Miss C. Lockwood played a Rondo by Weber in good On Monday evening, the 17th ult., a selection from style and Miss Florence Wydford, Miss Bessie Spear and Handel's Oratorio the * Messiah was performed at Arch. Messrs. Smalls and Roberts were well received. The bishop Tenison's Grammar School, Leicester Square, by choir, under the direction of Mr. T. Garside, sang four the scholars (sixty in number) assisted by friends. The part-songs with much effect, two being encored. choir, numbering over 100, was conducted by Mr. Humphrey J. Stark, Mus. Bac., in a most efficient manner. Mr. Adams, The second Evening Concert, under the direction of Mr. the organist of St. Martin's, presided at the pianoforte Faulkner Leigh, at the Northfield Hall, Highgate, took and accompanied the solos throughout with much taste. place on Thursday evening, the 13th ult., at which Sir Good service was also rendered at the American organ by Julius Benedict acted as conductor and solo pianist. We Mr. R. Tyler. The solos, which were taken by Miss Marian need hardly say that Sir Julius was enthusiastically received Williams, Madame Alice Barnett, Mr. Arthur Thomas, and in his solo "Erin," and in answer to an encore gave Mr.F. A. Bridge, were admirably sung, and the choruses were Where the bee sucks." Mr. Leigh was encored in his loudly and deservedly applauded. The concert was through two songs, “La Donna è mobile” and “The Death out a success, and Mr. Tyler, who, since the serious illness of Nelson;" and Miss Annie Sinclair and Signor Broccolini of the valued music-master, Mr. Wm. Dawson, has been were both well received, as were also Madame Liebe’s responsible for the boys' training, deserves the highest com solos on the violin. mendation for the accurate and refined singing of his pupils. Mr. Thomas NetTLESHIP gave an Evening Concert at The announcement of the death of Mr. John Parry, which the Horns, Kennington, on Tuesday, January 28. The occurred on the 20th ult., will be received with universal artists were Madame Worrell-Duval, Miss Matilda Roby, Tegret, for his exceptional talent had secured for him so Miss Agnes Ross, Malle. Hélène Arnim, Miss Catherine wide a reputation that even those who never had the good Brama, Mr. Henry Guy, Mr. A. Lawrence Fryer, Mr. J. fortune to be present at his performances, which at one H. Maunder, Mr. Thomas Nettleship, Mr. Henry Baker, time gave such life to our concert season, must have heard and Mr. R. Hilton. A Solo on the Concertina was con of his extraordinary powers. He had for some years retired tributed by Mr. T. F. Williams, and Messrs. J. G. Callcott from public life; but the writer of this notice has only and J. H. Maunder presided at the pianoforie. The conrecently listened to one or two of his artistic musical reci. cert was a decided success. tations in private, and can confidently assert that he had An excellent Concert was given at the Birkbeck Institulost none of that marvellous faculty which, although often tion on January 29, by Mr. Stedman, who was assisted by imitated, has never been equalled. In social as well as musi. Miss Jose Sherrington, Miss Hélène Greiffenhagen, Madame cal circles his loss will long be keenly felt; for he was not only Jenny Pratt, Mr. Egbert Roberts, Mr. Thurley Beale, and an inborn and conscientious artist, but a genial and accom- M. Victor Buziau, with Messrs. Henry Parker and W. H. plished gentleman. Eayres as accompanists. An interesting miscellaneous On Monday evening, the 3rd ult., the North London programme was most successfully rendered and received Philharmonic Society gave their second Invitation Concert with great enthusiasm by a crowded audience. Page 7
of the elaborate volume leaves nothing to be desired to have been the first to suggest that by writing new On some 650 pages the vast number of musical works, and appropriate words some of the finest specimens of separate editions, &c., issued by the firm in question the old catches and rounds might again be favourably are enumerated, first " systematisch," i.e., in a classified introduced to public notice; and his suggestion was at order, then alphabetically, according to the names of length adopted by the Rev. J. Powell Metcalfe, who, the respective composers, while in a final division a in conjunction with the late Dr. Rimbault, produced a detailed index is furnished of the contents of those monu- volume which should find a place in every good musical mental volumes, of the publication of which Messrs. library. This admirable work, containing 377 composiBreitkopf and Härtel may be justly proud, viz.: the tions, was, however, scarcely adapted for school or class complete and critically revised editions of the works of use, and therefore did not fulfil all that could be desired : Bach, Beethoven, Chopin, Mendelssohn, Mozart, and that want is now supplied by the book under review, Palestrina. Hence, the above carefully compiled “Ver. where we find rounds, catches, and canons, with settings zeichniss will be equally useful to the music-buying to healthful and frequently poetical lines, the majority of public as a catalogue, and to the professional musician as a them having been written or selected by Mr. Metcalfe. book of reference. Some few are to be found in the larger work of Metcalfe and Rimbault, but no less than seventy-six appear only in Novello's Music Primers. Edited by Dr. Stainer. Church Choir Training, by the Rev. J. Troutbeck, the old masters, Purcell, Arne, Hayes, Boyce, and others, the “ School Round-Book.” The music is chiefly that of M.A. [Novello, Ewer and Co.] but includes some very capital modern specimens. Five of Those who imagine that by purchasing a book of this these latter are compositions of the editor, Dr. Stainer. kind they can discover how to organise and train a choir One of them, a round to the beautiful lines by Rowe, “ As without labour and anxiety will be deservedly disappointed. on a summer's day," is written for eight voices or choirs, There is no trickery in the art-hard work, patience, and and would tax the skill of accomplished part-singers. The tact are its necessary conditions, and if two choirmasters majority are, however, of a much simpler construction. could be found, one of whom with small theoretical know. The third round, " Be you to others kind,” here printed in ledge took infinite pains, while the other overflowing with 3 time, was composed by John Jenkins in 4 time, to the theoretical knowledge was deficient in strength of pur- words, " A boat, unto the ferry,” and has been considerably pose, the former would achieve success, the latter would altered, not perhaps with advantage. The time-signature fail. But it is a matter of experience that many of of " Come, buy my cherries,” should be 4 for the sake of those who are most laborious are often least methodical, uniformity. Rounds 13 and 15 have a similar metronome and it is to such persons as these that Mr. Troutbeck's time; the time signatures should therefore agree. In little book will be very useful. The work may be de- Round 57 the last word of the second line should be lie scribed as a series of essays on the formation, training, not die. Some of the compositions have very judiciously and music to be selected for the use of parochial and been transposed, and in certain instances an occasional cathedral choirs. The advice given is essentially practical bad progression has been set right by the musical editor. and sound, and though many will regret that an author We can most confidently recommend this book to all evidently so well to the front with his subject should have engaged and interested in the spread of social harmony, not said more, all will admit that nothing has been said who will find here a mine of improving and useful amusewhich is wide of the mark, and all that has been brought ment, as well as a supply of wholesome part-music both forward is pointedly put. We purposely avoid quotations, grave and gay, which, needing no instrumental accombecause the order of the thoughts expressed is so con paniment, is admirably fitted for use in schools and also in tinuous that it would be unfair to select scraps, but we the home circle. The book is of a very convenient size confidently recommend those who are interested in this and form, and is of course printed in the ordinary staff most important subject to find out what is the method and notation, but an edition in the Tonic Sol-fa notation is experience of one who has, like Mr. Troutbeck, seen active also published. service in the sphere of thought and work on which he so ably writes. The Water-Fairies. A Cantata for Female Voices. The words by Edward Oxenford. The music composed The School Round-Book : a Collection of One Hundred by Franz Abt. [Novello, Ewer & Co.] Rounds, Catches, and Canons. The words edited by the Rev. J. Powell Metcalfe, M.A.; the music edited by J. Abt has always ensured him a hearty welcome amongst The melodious character of the vocal works of Franz Stainer, Mus. Doc., M.A. [Novello, Ewer and Co.] amateurs; and the thoroughly musicianlike treatment of The publication of a new and revised edition of this his merest trifles equally commends him to the attention admirable little book will be heartily welcomed by all of those who are more conversant with what may be engaged in the work of teaching part-singing, who from termed the “severer" forms of art. A Cantata, therefore, past experience are cognisant of the fact that there is no from this composer, especially written for female voices, vocal exercise so admirably adapted to form sight-singers, and adapted throughout to the requirements of well-trained and to give confidence in part-singing, as the practice of drawing-room singers, should excite pleasurable sensa. rounds and catches. Our forefathers have commonly been tions; for although detached songs, duets, trios, and credited with a skill in sight-singing which the majority of choral pieces of unquestionable merit are always ready vocalists of the present day can by no means venture to to the hand, there can be no doubt that when all these are claim, and hardly dare aspire to. The facility acquired by combined in a continuous work, and especially when they singers of past generations may possibly have been the are composed to such poetical and refined words as Mr. result of their constant and persistent habit of “trouling Oxenford has supplied for the “ Water-Fairies," their rounds and catches," habit which has now almost be interest to the listeners is materially enhanced. After a come extinct. In the days when catches and rounds stood delicate, and appropriately fairy-like introduction for the high in public estimation, the state and tone of society, pianoforte–ending upon the dominant harmony—a simple both high and low, was very different from that which now and tuneful Chorus, “ The day is softly breaking,” steals happily prevails. Then no entertainment pleased the public in with much effect. This is succeeded by a Recitative if it were not highly seasoned with indecent situations and and Air, " This day is sweet to fairies all,” the snatches of indecent wit. One has only to glance over the pages of chorus in which are extremely graceful. The following poets and authors to wonder how princes and people could Duet, “Yonder lies the shining bower," flows on unincare to hear or read such words. Composers, men of the terruptedly as a two-part song, the varied character of the age, were of course no better and no worse than their accompaniment, however, giving much life to the piece. fellows, and so they allied their melodious strains to the This is succeeded by a Choral Recitative, a Chorus, dross which gradually, as a healthier mind and better taste" ’Neath the shining waters ”- with a charmingly chaprevailed, dragged their efforts into a proper and well-racteristic accompaniment-and (after a second Choral merited oblivion. Learned musicians from time to time Recitative) by a Ballad with Chorus, "A Queen in days have regretted that such an unworthy alliance of voice long pass'd away,” which at once arrests our attention as and verse should cause the banishment of so much clever one of the most characteristic numbers in the work. and charming music. The late Vincent Novello seems Commencing in D minor, and proceeding afterwards to Page 8
twelfth (?) such a notation as AD, D#, is against all musical cannot have had the opportunity of acquiring a sound usage; 2. If they are not tuned as a fifth no ear can bear knowledge of music. to listen to them. Hoping you will have space for these remarks, which I Of course in the ordinary equal temperament there is but write with the object of directing attention to the real one sound for E) and Di; and if music were composed for cause of the evil, tempered instruments only, to write ab, D#, might not I am, sir, yours &c., cause much harm. But unaccompanied singers and players Bridlington, Yorkshire. S. MARTIN VON GÜBB. on bowed instruments do not follow equal temperament, February 10, 1879. and to them errors of notation mean errors of pitch. There is no anomaly whatever in the Ep rising to E, everything that has been written” in the MUSICAL [If the writer of the above letter have really read as “C. W.” would seem to imagine. Take, for example, Times about musical education in schools, he should know the following chords : that over and over again we have said that teachers trade on the ignorance of parents. We never, however, address ourselves to the principals of schools who do not "keep a master for music only,” for such persons really deserve Those who wish for further information on these matters themselves.-Ed. Musical Times.] to be "put out of the field” more than the bad teachers are referred to Ellis's Primer, “ Basis of Music " (Hodgson); or to Bosanquet's “ Elementary Treatise on Music Intervals and Temperament" (Macmillan). ACCOMPANIMENTS TO ORATORIOS. I am, sir, yours faithfully, TO THE EDITOR OF "THE MUSICAL TIMES." Sir,—The publication of a series of piano and harmoTHE SIGNATURE OF THE MINOR KEY. nium accompaniments to oratorios, cantatas, &c., by the firm of Messrs. Novello, Ewer and Co., leads me to hope TO THE EDITOR OF " THE MUSICAL TIMES." that the time is past when I shall be condemned to hear Sir,-I am glad to find that others besides myself think the accompaniment of an oratorio played with the piano a more distinctive signature for the minor keys desirable; and harmonium, both taking the same part. and I shall be glad if my letter, kindly published by you in The admirable arrangement of the “ Stabat Mater” for your December number, serves to reawaken attention to the above-mentioned instruments has set me thinking that the subject, although I was not aware when I wrote it something might be done to arrange and publish this and that any music in a minor key had been published, except other works with organ accompaniment, and so supply with the ordinary signature. another long-felt want. I hope that Dr. Gilbert may make another and more I have at different times heard performances of oratorios successful attempt, but I cannot quite agree with “ C. W.," and parts of oratorios in which the organ was the only for it appears to me that the necessity for a change is to instrument used, and seldom have they been satisfactory. show, not the correlation of the two modes, but their Take the “ Messiah " for instance. The half-piano, independence of each other; for as the one is used to half-organ arrangements of this which we possess (with express ideas that the other would fail to interpret, so their accompaniment following the melody of the songs, I think it would be well that the eye should be able to &c., and their confused octave-marks to the bass) ought recognise by a glance at the signature the characteristic now to be done away with and a better state of things harmonies of the minor as distinguished from those of the instituted. major. Of course, the edition with piano accompaniment edited The large amount of music now in print with the old by W. T. Best is everything that can be desired, but as signature is a great and weighty obstacle in the way of this cannot be used upon the organ without considerable change; and should any alteration ever be made, both sig. alteration, an arrangement including Mozart's additional natures must for a time be taught, but greater difficulties accompaniments suitable for a two or three-manual organ than this have been overcome. with a limited number of pedal stops would be great Yours truly, boon to organists, who frequently have selections from February 13, 1879. J. F. this oratorio to play in the church service. Mr. Smart, by his arrangements of Handel's Choruses MUSICAL EDUCATION IN SCHOOLS. has shown himself well qualified to undertake such a task, not to mention Mr. Best, Dr. Stainer, and others. TO THE EDITOR OF "THE MUSICAL TIMES." Similar editions of “ Elijah," ," " St. Paul,” &c., would no Sir, In the capacity of a music-master in a private doubt command a good sale. school, allow me to make a few remarks on an article I hope Messrs. Novello will further deserve the thanks which appeared in your last month's issue. I have read of musicians by carrying out these suggestions, and that it everything that has been written on this subject in your will lead to an alteration in accompanying on the king of paper, and I feel convinced that those who have written instruments.-I remain yours truly, do not fully know with what they have to contend in order February 20, 1879. E. BYRON. to bring about the much-desired “cultivation of a higher class music in schools." The fault does not lie altogether “THE ELEMENTS OF THE BEAUTIFUL IN in the teachers, or, if it does, it is due to the parents of MUSIC.” pupils that it is so. The parent expects his son to learn a few “ Aashy” pieces, and is not at all particular about the TO THE EDITOR OF “THE MUSICAL TIMES." way those pieces are performed, provided there be plenty Sir,—Dr. Stainer, in his courteous notice of my letter, of loud pedal work in it and abundant “ action.” This has mistaken the point of my criticism. I ventured to sort of music being always found to pay best, is of course question, not our author's analysis, nor yet his "order of always taught. sequence," but the ground on which he justified his I think it is entirely the fault of the parents of pupils analysis. Assuming form, character, and idea to be the that music-masters who are totally unqualified to teach constituent elements of a work of art, the question reare enabled to do so, for, were parents to insist on better mains, What is the ground of the assumption ? Our music being taught to their sons, and require better teach- author's answer to this question, quoted in my letter, I inz, then these bad teachers would be put "out of the held to be incorrect and misleading, and I endeavoured to field.” show why by stating what I believe to be the true one. The suggestion in the article I spoke of, that principals On this point we are both synthetic, because we both desire of schools should not take music-masters who have not to explain facts by reference to principles. Our difference had a thoroughly sound musical education, could not be lies in the principle, not in the method. carried out, for there are so few, if any, schools where it is I am, sir, faithfully yours, practicable to keep a master for music only; and those A LOVER OF MUSIC. who have been educated to teach several other subjects February 10, 1879. Page 9
LEO, L.-Dixit Dominusom For Double in Chorus: Aswin Rond since
DURING THE LAST MONTH. announce that she is prepared to accept ENGAGEMENTS Published by NOVELLO, EWER & CO. for Miscellaneous Concerts, Oratorios, &c. For terms, address, H. G. Hopper, Hon. Sec., Schubert Society, 244, Regent Street, W, . Vol. V. 8vo, paper covers, 48.; cloth, gilt edges, 6s. , Stipend, £16. LEADING BOYS also WANTED. TRO ROUTBECK, REV. J.-Church-Choir Training according to merit." Address, Mr. W. Anscombe, 83, Dunlace koad, (Novello, Ewer and Co.'s Music Primers). Paper covers, 18.; Clapton, E. paper boards, is. 6d. N ALTO, also a TENOR is REQUIRED, for Duties, two Services on Solos, and Orchestra. Edited from the Autograph in the Fitz: Sunday and a weekly Rehearsal. Salary, £20. Apply by letter, to the william Museum, Cambridge, by C. Villiers STANFORD. Paper Choirmaster, Mr. W. S. Hoyte, 68, Boundary Road, St. John's Wood. covers, Is. 6d.; paper boards, 2s.; cloth, 3s. and CHOIRMASTER, of great SCHUBERT, F.— Song of Miriam. Chorus ORGANIST experience, desires ENGAGEMENT in or near London. Highest recommendations. Address W. W. N., Messrs. Novello, H.B.C. Benedicite omnia Opera. Post 8vo, iżd. Ewer and Co., 8o and 81, Queen Street, E.C. HA AWORTH, FRANKLIN.-Benediction Service, MR MARTIN BRADLEY, F.C.O., late Organist No. 1. O Salutaris, Litany of the B.V.M., Tantum ergo. 28. of the Priory Church, Leominster, is open to a RE-ENGAGE MENT at a Parish Church. Address, Little London, Chichester. ; A for the Holy Communion, chiefly Gregorian. Demy 8vo, is. ORGANIST, and..CHOIRMASTER: TA Gentle: man is open to accept the above in or near London. First. SELBY: B: LUARD. — Magnificat and Nunc class references. Address, Organ, 43, Hurley Road, Kennington, S.E. STATHAM, S. Magnificat and Nunc dimittis ORGANISL come in the MASTERS CHANGE Surpliced choir. No objection to an amateur if perfectly competent. hast caused." Collect. Svo, 3d. sired. T. H., care of Messrs. Novello, Ewer and Co., Berners St., W. 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Apply to C. D., Kingston BANISTER, HENRY C. “ Summer Days" Villa, Callands Road, Bournemouth. (Novello, Ewer and Co.'s Octavo Edition of Trios, &c., for Female Voices, No. 63). 3d. A TUNER (BROADWOOD) desires an ENGAGE MENT for three or four days a week; good references. AdCATTY. CAB: Sleigh Song. Chorus, with Solos dress. R. A. G., 77, Westmorland Street, Pimlico. DAY. AVIS, GABRIEL. -“Dame Wiggins of Lee." A RELIABLE TUNER and REGULATOR (forHumorous Part-Song. 8vo, 2d. merly at the finishing-bench) is open to partial or occasional employment in or near London. Outdoor or indoor. A. M. W., FIELDĀJ. T.-“The Angels' Whisper.” Part-song. Messrs. Novello, Ewer and Co.,1, Berners Street, W. WANTED, a Good Practical TUNER. One who N OVELLO'S TONIC SOL-FA SERIES. is a good pianist preferred. Address, with reference, to J. S. Watson, Music Warehouse, Southport. 99. Hence, loathed Melancholy. HENRY Lahee. 2d. JANTED, a SITUATION, Home or Abroad, PRENDERGAST, A. H. 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COR ORDER, F.-Three Songs. “ Rosamond's Epi- The NGUAGREERENTE by the Solicitor-General, for the taph;" On the Water;" “ Prayer." 25. protection of the trade under the Bills of Sale Act, together with all TAYLOR: Too The Steersman's Song. Words the trade, professional and musical news of the month, in the LONDON AND PROVINCIAL MUSIC TRADES REVIEW for February 15. The only recognised organ of the trade in England. Post-free, T. P. M. Six Songs. 8vo, 3%. monthly, 5d.; annually, 55. Ernest and Co., Racquet Court, E.C. O'LEARY, A.–The Diatonic and Chromatic CC ORGAN for SALE. A bargain. Thirty-one Scales for the use of Pianoforte Students, 3s.; the Dia- Apply to T. s. Jones, Organ Builder, 25, Pentonville Road, N. tonic Scales only, is. 6d. HUGUES.— Feuillet d'Album, pour Vand tone. Eaddress, Arcon 330, Camberwell New Road, S.E. Excellent condition Piano. Is. 6d. JO ORDAN, C. WARWICK.—Three Allegrettos for MUSICMADE EASY: The Chromatic Stave or . makes remote keys easy to read, shows the true measure of all interLÉFEBURE-WELY:--Original Compositions for als Hand öndicates the proper diens to be playedalareke Piance life the Organ. Reduced price, 2s. 6d. stamped envelope. Address, Mr. J. Dyson, Albert Road, Farnworth, Now ready, No. XVIII., 76 columns, price 2d. (blue wrapper). Bolton. A collection of pieces shortly to be published in this method. Just published. REVIEW. Letters to J. F. Reid and Nephew, 14, George A Porte, Tentitled BARCAROLE;" by G. Rossixt. Edited and POSTHUMOUS COMPOSITION for the Piano. Street, Mansion House, E.C. Trade supplied by Pitman. During this month a specimen copy will be sent free on receipt of fingered by J. W. Lawson. Price 4s. post-card. D'Alcorn and Co., 25, Poland Street, W., London. Page 10
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Net Prices. In issuing this series of Music Primers the Editor sees PERGOLESI. La Serva Padrona ... Vocal score with pleasure the realisation of a desire he has long felt, to place in the hands of teachers and students of music a CIMAROSA. Il Matrimonio Segreto set of educational works of a high standard at a price so low as to render them attainable by all. DONIZETTI. Anna Bolena 36 The growing interest in music generally, and rapid Linda di Chamounix 4 o spread of its study, so very evident in this country, render it of the utmost importance that the student's first steps in VERDI. Requiem 4 0 every branch should be directed with skill and based on CHERUBINI. sound principles. The Editor has kept this object steadily Requiem (for Men's Voices) 16 in view, and he believes that each one of these Primers MERCADANTE. will prove to be as carefully constructed in detail as it is Third Mass (for Men's Voices) 1 6 comprehensive in design. ROSSINI (posthumous works). Such a result would have been impossible but for the La Regata Veneziana-Three Canzonets 4 0 hearty support and sympathy of those authors, men of Ms. or B. 4 : known ability in their special branches of art, who have Polka Chinoise, for pianoforte Ditto, pianoforte duet embodied the results of their long and valuable experience Fanfare, for pianoforte 2 6 in their respective contributions. Ditto, pianoforte duet While gratefully acknowledging the kindness of these Soirée Musicale 16 gentlemen, the Editor cannot but express a hope that the Eco di Napoli, containing 50 of the most popular Neapolitan Primers may prove as useful to the public, and as beneSongs 3 oficial to art, as both authors and publishers have endea. Lists of every description gratis and post-free. All works produced voured to make them. in Italy, &c., promptly procured without extra charge. NEW FOREIGN PUBLICATIONS NOW READY. 1. THE PIANOFORTE (25.) - E. Pauer. NOVELLO, EWER AND CO. 2. RUDIMENTS OF MUSIC (Is.)W.H.CUMMINGS. 3. THE ORGAN (25.) DR. STAINER. BEHR, F.-Les songes dorées. Waltz for Piano. Op. 409 5. SINGING (45. Paper boards, 5s.) A. RANDEGGER. - L'Amaranthe. Polka for Piano. Op. 410 BRONSART, H. VON.-Ballade for Piano. Op.5 6. SPEECH IN SONG (Singer's Pronouncing FORSTER, A.-Six Sonatinas for Piano. Op. 42. Book I.,78.; II. Primer) (23.) A. J. ELLIS, P.R.S. GADE, N. W.-Octett. Op. 17. Arranged as Piano duet GIESE, TH.-In stiller Nacht. Serenade for Piano. Op. 271 3 7. MUSICAL FORMS (25.) E. Pauer. Frühlingsbluthen. Idylle for Piano. Op. 273 Treue Liebe. Gavotte for Piano. Op. 274 8. HARMONY (25.) · DR. STAINER. HAMERICK, A.-Nordische. Suite arranged as Piano duet. 9. COUNTERPOINT (25.) DR. BRIDGE. Op. 22... HUBER, H.-Sonate for Piano and Violin. Op. 42 10. FUGUE (25.) - James Higgs. KIRCHNER, TH.-Four Elegies for Piano. Op. 37 The same, singly each 2 0 II. SCIENTIFIC BASIS OF MUSIC Twelve Studies for Piano. Op. 38. In four books ... (15.) Dr. Stone. KRUG, D.-Les Trois Amis. Small Fantasias on favourite operas for three performers on one Piano (six hands). Op. 349, 13. CHURCH CHOIR TRAINING Nos. 1, 2, 3, 4, and 6 each 3 (Is.) - Rev. J. TROUTBeck. LASSEN, E.-Grande Polonaise for Orchestra. Op. 63– 14. PLAIN-SONG (25.) . Rev. T. HELMORE. Full score Orchestral parts • 15. INSTRUMENTATION (2s.) E. PROUT. Piano solo Piano duet 2:16. ELEMENTS OF THE BEAUTIFUL Die Linde am Ettersberg. Op. 64. Vocal score IN MUSIC (15.) E. PAUER. Five Songs with Piano. Op. 65 LOW, J.-Das Echo am See. Piece for Piano. Op. 345 818. TONIC SOL-FA (15.) - John Curwen. Ein Tag der Wonne. Piece for Piano, Op. 347 Romanze for Piano. Op. 348 LULLY.-Gavotte for Orchestra. Arranged by R. Kleinmichel- IN PREPARATION. Full score Orchestral parts 4. THE HARMONIUM KING HALL. 5 0 Piano solo 12. HISTORY OF MUSIC E. PAUER. Piano duet Piano and Violin 2017. THE VIOLIN Berthold Tours. Piano and Violoncello LYSBERG, CH.-Reflets intimes for Piano. Op. 145 3:19. DOUBLE COUNTERPOINT MATTHISON-HAUSEN, G.–Three Pieces for Piano, Op. 10 AND CANON . DR. BRIDGE. Novelette for Piano and Violoncello. Op. 12 PARRY, C. H. H.-Trio, E minor, for Piano, Violin, and (To be continued.) Violoncello 18 0 REINECKE, C.-Six Sonatinas for Piano ... RIES, F.-Quintett in C minor. Op. 28. Score ANY OF THE ABOVE MAY BE HAD, STRONGLY BOUND IN 16 0 STANFORD, C. VILLIERS.-Sonate in A major, for Piano PAPER BOARDS, PRICE 6D. EACH EXTRA. and Violoncello. Op. 9 13 VOGEL, M.-Two easy Sonatinas for Piano. Op. 35 London: Novello, Ewer and Co. LONDON: NOVELLO, EWER AND CO. Page 11
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WORKS BY JOHN HULLAH, LL.D., SUITABLE FOR PRESENTS. Professor in Queen's College and in Bedford College, London. for of Teachers and Pupils. Parts I. and II. Price 25. 6d. each; or together in cloth, 5s. EXERCISES and FIGURES contained in Parts I. and 11. of the Manual, for the use of Pupils. Books I. and II. Price 8d each. LARGE SHEETS, containing the Figures in Part I. of the Manual. NEW ORGAN VOLUMES (in Blue Paper Covers). Nos I. to VIII. in a Parcel. Price 6s. ANDRÉ, J.-Voluntaries for the Organ. Op. 65... net 30 LARGE SHEETS, containing the Exercises in Part I. of the Manual. BACH, J. S.-12 Preludes and Fugues. Edited by Scotson Nos. IX. to XL. in Four Parcels of Eight Nos. each. Price 6s. per CLARK net 30 parcel. CLARK, SCOTSON.—15 Marches (Marche aux Flambeaux, LARGE SHEETS, containing the Figures in Part II. of the Manual. &c., &c.) Oblong net 40 Nos. 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PAUER'S FAVOURITE COLLECTIONS OF CLASSICAL PIANOFORTE MUSIC (Quarto size). PAUER, E.-Old English Composers for the Virginals and Harpsichord. (William Byrde, Dr. John Bull, Orlando ARTHUR O'LEARY. Gibbons, Dr. John Blow, Henry Purcell, and Dr. Thomas Augustine Arne.) Revised and Edited by E. PAUER. With portrait of Purcell, &c. (205 pp.) Elegantly bound net 106 Sunday Music. A Collection of Short Pieces, extracted VOCAL. s. d. from the Sacred, Vocal, and Instrumental Works of the SIX SONGS each 26 most celebrated Composers. Selected, arranged for the No. 1. I dream of thee No. 4. Spring. Pianoforte, and Revised. With illustration, &c., &c. (170 pp.) 2. Ask me not 5. Silent evening. In blue paper cover ... net 7 6 3. The return. 6. The west wind. The same, elegantly bound 106 He roamed in the forest (sung by Madame Antoinette Sterling) 3 0 The Classic Companion. 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Blue cover net 30 Schumann's Fröhlicher Landmann (Transcription) HANDEL.—The Children's Handel. 36 Short Pieces for the 3 Mendelssohn's "Hear my Prayer” (Transcription) Pianoforte (Solos and Duets). Selected, Arranged (without 3 0 Hymn (Flotow's “ Stradella") (Transcription) octaves), Fingered, and Revised, by E. PAUER. With Portrait and Biography. Blue cover net 30 NATIONAL AIRS (TRANSCRIBED) each London: Augener and Co., 86, Newgate Street; Foubert's Place; No. 1. Polish Anthem. No. 5. Polish Air. and 81, Regent Street, W. 2. Danish Air. 6. Austrian Hymn. 3. Schleswig-Holstein Air. 7. Greek Air. Price is. 6d. each, post-free. » 4. Russia. Hymn. COLLEGE MARCH, for Organ or PianoWayside Sketches (in Four Numbers) each 30 The Black Knight (Romance) forte. "Very playable, and would be effective on the organ.". 3 0 Musical Standard. Morceau de Concert (There's nae luck). (Performed by Madame LA BELLE. Valse Facile. "A well-written waltz, both as to Arabella Goddard) 4 o melody and harmony. We recommend it for teaching purposes, as it Where the bee sucks (Transcription)... ... E. W. Taylor, Mus. B., L. Mus., &c., Ebenezer Place, Stafford. The Diatonic and Chromatic Scales 6 0 London: Novello, Ewer and Co. ORGAN MUSIC. Just published. CINE CABINET PORTRAITS of the following Mozart, HAYDN, Mendelssohn, Meyerbeer, &c., arranged from the of celebrated COMPOSITIONS from the works of HANDEL, CELEBRATED COMPOSERS, One Shilling each : Orchestral Scores for the Organ with pedal obbligato, six volumes, LORTZING. SPOHR. ABT. oblong folio, £1 yos. (published at £3 128.), or separately, at 55. 6d. per HUMMEL, MARSCHNER. GLINKA. volume. A list of the Contents sent on application. Also, uniform with the above : London: S. White, 38, Booksellers Row, Strand, W.C. PAGANINI. | MOZART'S SISTER. | A. V. HUMBOLDT. 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ROBERT COCKS and CO.'S CATALOGUE of
SOETSTAR OF THE WEST: Song:
PART;SONGS in the Old Notation, as also in the
THE ONLY COMPLETE EDITION. NEW MUSIC, gratis and post-free, of Pianoforte Music (new issue). Flute Music. Green Catalogue (for Teachers). Organ Music. ad lib. accompaniment for the Pianoforte by BERTHOLD Tours. Vocal Catalogue (new issue). Dance Music. In one volume, Cloth, gilt, price 5s.; or in two parts, in Paper covers, Part Music (Vocal). Latest Novelties. 28. each; in Paper boards, 28. 6d. each. Violin Music. Violoncello Music. SONGS for JOY LIMPUS. Music by Henry F. LIMPUS. 38.; post-free at half SOPRANO, ALTO, TENOR, and BASS, with ad lib. accomprice. paniment for the Pianoforte. Price, in Paper covers, 28.; in Paper board 28. 6d. AYH cover , in eand Songs, posebice co mi ampe deadly “One of the prettiest barcaroles we have seen for a long time; it is a light and graceful expression of perfect happiness.”— Vide the SOPRANO, ALTO, TENOR, and BASS, without accompani. Orchestra. ment. Price, in Paper covers, 18.; in Paper boards, Is. 6d.; or STEE TEERING New Song. Composed by F. H. twelve numbers divided as follows, price Three Halfpence each. Op. 59. Cowen, in E flat and D. 45., post-free 24 stamps each. "A good 1. In the woods 13. The woods song, with pleasing melody, on the approved model, which seems likely 2. O fly with me to be all-enduring."-Vide the Orchestra. 14. Early Spring 3. One night there came 15. Departure (Ohills, O vales) MY QUEEN OF HEARTS. New Song. Written 4. Over the grave 16. The nightingale and adapted by COTSFORD Dick. 35. ; post-free at half-price. 5. May song 17. The vale of rest Y WORLD. MY New Song. Written by C. J. 6. On the sea ... 18. Hunting song Rowe. Music by J. V. Roberts, Mus. Doc., Oxon. 35. Also, Op. 48. by the same Composer, I'm thinking of the past." Words by L. M. 7. The first day of Spring THORNTON. 35.; both free by post at half-price. 8. The primrose 19. For the New Year NFORGOTTEN DAYS. New Song. Written 9. The celebration of Spring 20. The happy lover by EDWARD OxenFORD. Music by J. L. Roeckel. 38. Also, by 10. The lark's song 21. The shepherd's song the same Author and Composer, “So far away." 35.; both free by post 11. Morning Prayer (The 22. The wood minstrels at half-price. deep repose of night) 23. The victors' return Written 12. Autumn song 24. The wandering minstrel... by Mrs. HEMANS.. The music composed by CIRO PINSUTI. 35.; Op. 100. post-free at half-price in stamps. “The melody of this song being 25. Remembrance 27. Spring song especially adapted to be sung in unison by a number of voices, it is 26. Praise of Spring 28. In the forest particularly recommended for schools of every class where vocal music *** A Tonic Sol-fa Edition of the above Songs (for S.A.T.B.) is practised."-Ciro Pinsuti. is in preparation. . (Mrs. J. W. Bliss). In G and A, 4s. each; post-free at halfprice. MEN'S VOICES, with ad lib. Accompaniment for the Piano. New forte. Price, in Paper covers, 28.; in Paper boards, 28. 6d; or twenty one numbers, price Three Haispence each. Song. Written by M. MARK LEMON. Music by ODOARDO BARRI. 35.; post-free at half-price. Op: 5o. Op. 76. 29. Turkish drinking song. 39. Song of the worthy man. 30. The hunter's farewell. 40. The Rhine. Tonic Sol-fa Notation, containing many copyright themes. A 31. Summer song. 41. 'Tis the song whose spirit. list of the series post-free on application to Robert Cocks and Co., 32. On the water. 42. Students' parting song. New Burlington Street. 33. Love and wine. EORGE FREDERICK WEST'S QUESTIONS 34: Wanderer's song. Op. 120. 43. A festal greeting. on the THEORY of MUSIC. 22nd Edition. IS.; in cloth, IS. 6d. 44. Gipsy song. " Thousands of music teachers will hail this little catechism Op. 75. 45. Hunting song (Waken, lords). with joy, because it will materially lighten the labour of teaching."- 35. The merry wayfarer. 46. Land of beauty. Vide Weekly Times. 36. Serenade. 47. The recompense. ARLY FLOW'RETS.- Popular Copyright Me. 37. Eastern drinking song. 48. Night song. lodies, arranged and fingered in the most familiar style for the 38. Farewell meeting. 49. The foundation-day festival. Pianoforte, by WILLIAM SMALLWOOD. 25 Numbers, is. each; post LONDON: NOVELLO, EWER AND CO. free at half-price. Novello, Ewer and Co.'s only Complete and Uniform Edition of the PIANOFORTE. 1218th Edition. 45.; free for 28 stamps. ENDELSSOHN'S THIRTEEN TWO-PART It is unapproached by anything of the kind that has hitherto been pro SONGS. With the Original Words. Octavo, One Shilling; duced."-Oriental Circular. Appendix to ditto, by George FREDERICK or cloth, gilt edges, 2s. WEST, 55. London: Robert Cocks and Co., Publishers to Her most Gracious Majesty The Queen and H.R.H. the Prince of Wales, New ENDELSSOHN'S THIRTEEN TWO-PART Burlington Street. Order everywhere. SONGS. German and English Words. Octavo. Paper London: Novello, Ewer and Co. DAVIS. THE KNIGHT'S RETURN 2d. GOD SAVE THE PRINCE (14th Edition) 2d. SONGS. With the Original Words. Folio Edition, complete, THE DISTANT SEA 2d. 25. 6d.; or singly, is. 6d. each, net. TO THE WOODS 2d. 1. I would that my love. 8. Can I light-hearted be? HARK! 'TIS MUSIC 2d. 2. The passage bird. 9. Evening song: THE HOUR OF REST... 2d. 3. Greeting. 10. Zuleika and Hassan. London: Novello, Ewer and Co. 4. Autumn song. II. The Sabbath morn. 5. O wert thou in the cauld blast. 12. The harvest field. Just published, price 2d., 6. The maybells and the flowers. 13. Song from Ruy Blas. 7. My bark is bounding. DAME WIGGINS OF LEE London: Novello, Ewer and Co. HUMOROUS PART-SONG. The only complete Edition. COMPOSED BY PIANOFORTE WORKS. GABRIEL DAVIS. Complete in Five Vols. Octavo, paper cover, 4s.; cloth, gilt edges, 6s. London: Novello, Ewer and Co. London : Novello, Ewer and Co. Third Edition.-Reduced Prices. Just published. PIANOFORTE WORKS. Vol. V. Octavo. Paper cover, 45.; cloth gilt, 6s. CONTENTS. FORTY-TWO ORIGINAL SONGS Three Preludes. Op. 104 A. Album Blatt. Op. 117. Studies. Op. 104 B. Capriccio. Op. 118. Sonata Op. 105. ONE, TWO, OR FOUR VOICES. Perpetuum Mobile. Op. 119. Op. 10ố. COMPOSED BY ROBERT JACKSON. London : NOVELLO, Ewer and Co. Cloth, complete, 28. 6d.; Parts I. and II., paper cover, 18. each; Single Just published. Numbers, id. WALLOW SONG," from Tennyson's Princess; From Concordia. also “SPRING-EVENING” (Frühlingsabend), and "THE "This little book is designed for singing-classes in schools, and the SUNNY SOUTH" (Sehnsucht); with English and German words, simplicity, tunefulness, and attractiveness of the small compositions it Composed by Sir Herbert Oakeley for Edinburgh Orchestral contains eminently adapt it for such a purpose." Festival, 1879. Price respectively 48., 38., and 48. Forsyth Brothers, London: NovelLO, Ewer and Co. 172A, Regent Circus, London; and South King Street, Manchester.
HAMİLTON'S MODERN INSTRUCTIONS for MI
ME POPULAR FOUR-PART SONGS BY GABRIEL covers , 2s.; cloth, eit edges: 4s. Page 13
PROFESSIONAL NOTICES. WILLIAM MILLER (Organist). S. Giles, Cripplegate, E.C., and 124, Richmond Road, Dalston, E. MISS FANNY CHATFIELD (Soprano). MR. W. F. ILLINGWORTH (Solo Pianist). For Concerts, Oratorios, Dinners, Lessons, &c., ir, St. Ann's Road, From the Conservatoire, Leipsic. Brixton, London, S.W. Address, 33, St. James's Road, Halifax, Yorkshire. MRS. ALFRED J. SUTTON (Soprano). MISS FLORENCE HEMMINGS (Violoncellist). Is open to engagements for Concerts and Oratorios. Pupil of Herr Daubert. 54, Duchess Road, Edgbaston, Birmingham. 22, Fawcett Street, Redcliffe Gardens, South Kensington. MRS. WARREN (Soprano). MR R. ALFRED J. EYRE begs to intimate to his of Mr. C. Hallé's Concerts. For Oratorio or other Concerts, address, pupils and friends that he has REMOVED to 41, Brook Street, 150, Radnor Street, Hulme, Manchester. Grosver.or Square, W. Lessons in Singing. References-C. Hallé, Esq., and E. Hecht, Esq. MRS. DAGLISH (Soprano). Pianiste. For Concerts, address, Lawn House, 35, South Lambeth For Oratorios, Concerts, &c., address, Newark, Notts. Reference, Road, S.W. S. Reay, Esq., Mus. Bac., Newark, Notts. MRS. BELLAMY (Soprano). R. J. G. CALLCOTT (Accompanist to Mr. MR Henry Leslie's Choir; Organist of St. Stephen's Church, WestFor Oratorio and Ballad Concerts, 1, Arundel Villas, Weston Road, minster; Conductor of the Grosvenor Choral Society, &c.) has Handsworth, Birmingham. REMOVED from Mortlake, S.W., to 30, Netherwood Road, West Kensington Park, W. MISS JOHNSON (Soprano). For Oratorios, Concerts, &c., address, 134, Egerton Street, Oldham. (Bass) has MISS ANNIE MARRIOTT (Principal Soprano)in M ENGAGEMENTS for ORATORIOS and MISCELLA REMOVED to 32, Brocklehurst Street, Hatcham Park, S.E. R. is to For Oratorios and Concerts, address, 8, Coleherne Road, South Kensington. NEOUS CONCERTS. Address, 36, St. Germain's Road, Forest Hill, MISS ANNETTE IVANOVA (Soprano). London, S.E.; or 40, Darlington Street, Wolverhampton. Pupil of Signor Lablache and Signor Odoardo Barri. ONALD W. KING, Professor of Singing and For Concerts, &c., removed to 29, Bedford Road, Clapham, S.W. Musical Conductor, Cumberland Villa, Cavendish Road, Kilburn. MISS FLORENCE WYDFORD (Contralto). For Oratorios, Concerts, Soirées, Dinners, &c., address, 95, St. Paul's Academy of Music, five years Music and Choir Master at UppingRoad, Lorrimore Square, S.E. ham School. For PIANO and HARMONY LESSONS, address, 17, MISS KERSHAW (Contralto). Keppel St., Russell Square, W.C. Schools attended. Choirs conducted. For Oratorios, Concerts, &c., Clarksfield Terrace, Lees, Manchester. Mus. D., continues to Orchestrate or Revise Compositions. Harmony or CounterMISS PATTI HARGREAVES (Contralto). point by post, if desired. Address, care of Messrs. Weekes and Co., 21, Belle Vue Terrace, Victoria Street, St. John's Hill, Leeds. 16, Hanover Street, W. MADAME ARNOLD POTTER (Contralto). Address, Sidney House, 257, Cambridge Road, E. ton, W. (Author of the Catechism of Harmony, Thorough bass, and Modulation," " Hiles' Short Voluntaries," "Catechism for MR. H. PIERCEY (Tenor). the Pianoforte Student," and several other important musical works), For Oratorios, Concerts, &c., address, care of Truslove and O'Neill, gives Lessons in Harmony, Counterpoint, &c., by post. 36, Union Passage, Birmingham. MR. GREENHILL (Tenor). L. Mus., T.C.L., PREPARES CANDIDATES for Musical 7, Park Place, Regent's Park. Examinations; also gives lessons in Harmony, &c., by post. Ebenezer Place, Stafford. MR. WILLIAM YOUNG (Tenor). For Concerts and Oratorios, address, 321, Monument Road, Bir- USICAL EXAMINATIONS.-CANDIDATES mingham. Repertoire includes “Messiah," " Elijah," " Creation,” “Naaman,” “ Eli,” Lobgesang,"... Moses in Egypt,"'« May Queen,” spondence. Dr. A. S. Holloway, 51, St. Paul's Road, Camden Square, “ Ancient Mariner," “ Bride of Dunkerron," &c., &c. N.W. MR. S. FORD (Tenor). COMPOSERS.-Dr. HOLLOWAY continues For Oratorios, Concerts, &c., address, Mander Street, Wolverhampton. tion. Students prepared for the profession or for examinations. If MR. VERNEY BINNS (Tenor). residing at a distance, lessons can be had by post. Faults pointed out, Of the Schubert Society's Concerts, and Pupil of Sig. Ciro Pinsuti and every information given to the young aspirant. Dr. Holloway, For Oratorios, Concerts, &c., address, 65, King Cross Street, Halifax. 51, St. Paul's Road, Camden Square, N.W. MR. STEDMAN (Tenor). 12, Berners Street, W. SINGING, and COMPOSITION. Dr. Arthur S. Holloway, 51, St. Paul's Road, Camden Square, N.W. MR. THEODORE DISTIN (Baritone). For Oratorios, Concerts, Operas, &c., address, 96, Penrose Street, SINGING AT SIGHT.-For LESSONS in this Sutherland Square, S.e. Pupils prepared for Concert or Stage. acquirement (so necessary for Members of Choirs, &c.) apply to Dr. Arthur S. Holloway, 51, St. Paul's Road, Camden Square, N.W. MR. THOS. NETTLESHIP (Baritone). R. ALLISON instructed by post Candidates who For Oratorios, Concerts, &c., address, 44, Holland Road, Brixton, S.W. passed Mus. Bac., Oxon. (1878); Mus. Bac., Cantab.; F.C.O. MR. W. MORTON (Bass). (1879) and T.C.L. (1879) examinations. 206, Marylebone Road, London. (Leeds Parish Church). For Oratorios, Concerts, &c., 3, St. Helen's Terrace, Hunslet, Leeds. West Hartlepool, requires a young gentleman as RESIDENT MR. RICKARD (Bass). PUPIL. Thorough training for the profession (three-manual organ). Of the Schubert Society's Concerts, and Pupil of Signor Ciro Pinsuti. Please address, Scarboro' Street, West Hartlepool. For Oratorios and Concerts, address, King Cross, Halifax, Yorkshire MR. THORNTON WOOD (Bass). Organist and Director of the Choir of S. Peter's Church, Of the Royal Albert Hall Concerts. For Oratorios, Concerts, &c., Eaton Square, S.W., requires a gentlemanly Youth as above, who address, 2, Hallfield Place, Bradford, Yorkshire. would have great advantages for study. MR. JAMES BUDD (Bass). For Oratorios, Concerts, &c., address, 25, Stockwell Green, S.W. at pupils' or own residence. Schools attended. Terms moderate. Mrs. Pritchard, 35, Crowndale Road, Camden Town. HENRY POPE (Bass). N.W. POINT is. Commencing May 2nd. Address, T., 38, Red Lion Square, W.C.
MR. P.W. TAYLOR, Mus, B; pOxon. F.C.O.
ARTICLED, PUPIL: Mr. W. de M. Sergison,
PIANOFORTE TAUGHT, by a Lady, L.A.M.,
For Oratorios and Concerts, address, 16, Holtham Road, Abbey Road, | THEORY OF MUSIC, HARMONY, COUNTER
FOR ORATORIO OR OTHER CONCERTS, &c., MADAMES BEATI.. Professor of Singias, servers
MADAME CROSS LAVERS, LESSONS in Croydon and the neighbourhood. Schools Soprano; attended. For references and terms, apply to Novello, Ewer and Co., Address, 7, Mornington Crescent, N.W. I, Berners Street, W. MR. HENRY CROSS, НЕ ORGANIST of RIPON CATHEDRAL Bass. teaches HARMONY and COUNTERPOINT by Correspondence. Address, St. Andrew's, Wells Street, W.; or 7, Mornington Crescent. For terms, address, Edwin J. Crow, F.C.O., Mus. Bac., Cantab. Page 14
BORD'S PIANOS. : RARY INSTRUMENT, for large stone Church now approach. THLSE CELEBRATED PIANOS ON SALE OR HIRE, AND ON THE ing completion. Reply, giving specification and quoting price, erected on floor of Church, to E, W. Crawley, Choirmaster, S. Margaret's EASY PURCHASE SYSTEM Church, Ilkley. AT 15, SOUTHAMPTON STREET, STRAND, W.C. manuals, CC swell, 6 stops in great, 5 in swell, 614 pipes, 2 (Illustrated Lists Free.) octaves of 16 feet pedals. £140. Useful CHANCEL ORGAN: One manual, 5 stops, 2 octaves of pedais. £45. CHANCEL ORGAN MALEY, YOUNG & OLDKNOW, Bargain; 15 stops, pedals." (Loo. c. Smart, Tabernacle Square, ORGAN-BUILDERS, Finsbury, E.C. KING'S ROAD, ST. PANCRAS, N.W. 19 stops, and full pedal organ. Height, 10 ft. 10 in.; width, 11 ft.; depth, 6 ft. 2 in. Address, A. B., care of Novello, Ewer and Co., Organs rebuilt to suit any position, repaired, enlarged, tuned, and I, Berners Street, W. revoiced in any part of the kingdom, at very moderate charges. Materials, workmanship, and tone guaranteed to be first class. UPERIOR toned ORGAN for SALE, suitable Specifications, estimates, and designs for chancel, bracket, chamber, and all descriptions of organs. pedal pipes. Compass CC to F. Price very moderate. Particulars N.B.---New and second-hand organs for sale. Inspection invited. on application to Mr. Statham, Bedford. THE WO - MANUAL CHAMBER ORGAN, ORIGINAL” OCARINA. case, with decorated front pipes. Price 200 guineas. Half the amount may remain, on approved security, for twelve months. Apply to Mr. Orchard, Salisbury. GUARANTEED PERFECT IN TUNE. RGAN HARMONIUM£35. Two manuals, “The tone bears a striking resemblance to the vox humana stop of walnut case. One manual with pedals, 24 rows of reeds. £21. Manua large organ."-Musical Times. factured for organ practice by W. J. Robertson, 107, Tottenham Road, These Instruments are of the BEST QUALITY now in the market, London, N. Lists, with extracts of letters from Organists. and are EXACTLY SIMILAR to OTHERS SOLD AT HIGHER PRICES for some time past. RETAIL PRICES, INCLUDING SCALE AND BOX. voiced, £3 18s. W. Day, 23, Balcorne Street, Well Street, Nos. 1 2 3 6 7 South Hackney. 25. 3d. 25. 60. RGAN PEDAL PIANOFORTE, in good condiNos. 5 and 7 are tuned to accompany the Pianoforte. tion; 2) octaves of pedals, greatly improved attachment (not WHOLESALE AGENTS: Hamilton's). First-rate chance for organ student. Owner giving up organ. L. Bradshaw, Queen Street, Kettering, Northampton. BARNETT SAMUEL AND SONS, 32, WORSHIP STREET, LONDON. wishes to SELL his PEDALIER (Pleyel). In very good con Cost £24, would take moderate prices, from 50. guineas. 100-Guinea Organs, 2 CC £12 125. Address, H. D. 172, Golborne Road, Notting Hill. manuals, 10 stops, 16-feet pedal pipes. 200 guineas, 2 manuals, 16 stops. CIOLINS, &c., by Craske, some of them fifty 300 guineas, 3 manuals, 21 stops. 400 guineas, 3 manuals, 27 stops. 600 guineas, 3 manuals, 36 stops. Larger or smaller Organs built to any Specification. Old Organs rebuilt. Additions, Repairs, Tunings, name only. The whole of this great maker's instruments on SALE at &c. Specifications and Estimates sent free. Sussex Terrace, Great Will be sent Edward Crompton's, 54, Barton Arcade, Manchester. College Street, Camden Town, London, N.W. for trial on receipt of satisfactory reference. Organs on the three years' system. RGANS for SALE or HIRE.-8 stop Organ a reputed Granсerio, a Banks' Violoncello, a Double Bass, a pair of Kettle Drums. Apply, with stamped envelope, to Wm. Wil2 stop Organ; all in good condition, taken in exchange, to be sold liamson, Stamp Ofnce, Wellingboro'. cheap. A. Monk, Sussex Terrace, Great College Street, Camden Town, London, N.W. ANKS' CELLO for SALE, in good condition. Price £15. Apply to Banks, 55, High Street, Winchester, D. CUBITT (Twenty years Manager to ICHOLAS AMATI VIOLONCELLO for SALE. INSTRUMENTS to H.M. ARMY, NAVY, &c., is prepared to Price 180 guineas. For particulars, address, Nicholas, 1, Mitre supply Instruments on the latest models, made expressly for Militia, Court, Wood Street, Cheapside, London. Volunteer, Factory, School-Bands, &c., at greaily reduced prices. Price list and terms on application to W. D. Cubitt and Son, 3, Great FOR SALE.--BRASS CHOIR STANDS, ComMarlborough Street, London, W. good order. Apply to Mr. W. Humphries, 32, Sackville Street. 'HE LATEST NOVELTY.-AMERICAN QUARTERLY SALE OF MUSICAL PROPERTY. strength, portability, economy, elegance, and practical utility. Contractors to the Army, Navy, Public Schools, and Musical Societies of will Sell by Auction, at their Great Rooms, 11, Charles-street, England, France, and America. Descriptive circulars. Address, Berners-street, London, on WEDNESDAY, April 9th, 1879, commencing J. F. Walters, Hall of Commerce, 316, Oxford Street, London. at 12.30 prompt, about 150 PIANOFORTES, by Collard, Broadwood, Kirkman, Cramer, Allison, Erard, Ziegler, Niedermayer, Darney, "A supreme and perfect harmony of Notes." Rolfe, &c., &c.; Organs and Harmoniums, &c., by Alexandre, Cramer, & W. SNELL'S IMPROVED HARMONIUMS Hermann, Christophe, &c.; Harps, by Erard and other makers, excellence, are pronounced by the profession and public the best and Legs, Screws, Ivories, Silk, Paintings, Umbrellas, Sheet Music, Music cheapest extant. Prices, designs, &c., free, of E. &'W. Snell. Works : Stools, &c., being unredeemed pledges from London and provincial King Street North, Camden Town, London, N.W. Trade supplied. pawnbrokers, also surplus stocks from several dealers. Most of the The new Spécialité " Drawing-Room” Model, 24 guineas. lots will be sold principally without reserve. Catalogues ready. The goods may be viewed the day prior and morning of sale. RGAN by Henry Willis, in Pitch Pine Case, FOR SALE, now in Trinity Congregational Church, Croydon. NEW MUSIC PRINTING PROCESS. Two manuals, CC to G, and Pedals (30 notes). Five stops on the swell, Superior to Pewter Plates and Metal Types. g on the great, and good bourdon on the pedals, 3 couplers, and 3 com 50 PER CENT. CHEAPER. position pedals. The instrument is in perfect condition, and would be PATENT PAPER TYPE COMPANY, disposed of much below cost to make room for a larger one. For 8A, RED LION SQUARE, LONDON, W.C. particulars and to view apply to Mr. Ingham, Moira House, Upper Addiscombe Road, Croydon. W. MARRIOTT & SONS, SALE, several small Second-hand ORGANS, MUSIC PUBLISHERS, Organ Builder, Leicester. 296, OXFORD STREET, LONDON. Six UNIVERSAL MUSIC WAREHOUSE. stops, pedals 27, gilt front, oak case. Price £45. Address, Authors' Works Engraved, Printed, and Published in the best style A. B., Novello, Ewer and Co., 1, Berners Street, W.
TO ORGANISTIS PEAALOrganist leaving England A. , , at V101 ,
VIOLIN, &c., for SALE: A genuine Cremona, B W. to NI
MESS BS BK Fulti X aandir Coubers to announce they
A SMALL Chamber ORGAN for SALE, Page 15
gives an undeniable example of it from the Roman system, Eight forms-functional minor, fl. mr. mnixo, antiphonal. Mr. Chappell wants to know what differ f. m. chromatic, f. m. mixo.chromatic, and positional ence there is between the Mixolydian as generally minor, p. 111. mixo, p. m. chromatic and p. m. mixogiven and the Hypo Dorian (fourth below E), both chromatic; and in the minor-major system five forms— having the same finals ? He may well ask the ques- functional minor-major, positional minor major, Þ. m. tion. If it is not an affair of ratio as well as of final mixo, p. m. chromatic, and p. mn. mixo-chromatic. that is, of the setting of the system to some form of These seventeen forms may appear formidable, if tetrachordal basis-the nomenclature of the Greek not ridiculous to some people; but in point of fact scales like that of the church modes is incompre- with supernumerary modes there are twenty-one hensible. What might be observed from the point forms, a number which corresponds with the notes of view taken in this paper could only be made a of the modern enharmonic scale, and with the little clearer by complicated diagrams and tedious number of signs to which Perne—an exceedingly explanations. By way of suggestion, it may be said clever Frenchman-reduced the Greek semeiography. that if we take the major scale as Lydian, thus, Theorists who understand the question, and know Mode the complications induced by the mixture of the 12 等 major minor and chromatic systems--not to speak 5 6 7 3 4 5 6 7 of the enharmonic-will quite comprehend how 1 Tone easily we can multiply forms of scales. The minor major form is what Gevaert calls the neo-chromatic | Dorian Greek mode; a chromatic form of the Dorian, either we get a Lydian tone (scale of transposition) and a as a question of shift, as B, D#, F, A, or of inversion Lydian mode, and a Dorian octave in power ;* that is and interval progression," as B1, D2, F, Ab, functional beginning on the dominant. The Dorian in position minor-major ; or Bb, D, F, AD, positional minor major. is the plagal form of the scale beginning on the This subject of the neo-chromatic or minor-major subdominant (A-A), or, as the Greeks called it, the mode formed the staple of a desultory conversation proslamba nomenos. Hence it appears to me incorrect at the last meeting of the “Musical Association,” in any adaptation of Greek methods to the modern when Sir Frederick Gore Ouseley read a paper on harmony system to call the octave A1–A the Hypothe " Italian and Spanish Theorists of the Sixteenth Dorian, although it is so given in the more ancient and Seventeenth Centuries.” Producing the book forms , of the Pythagorean system, and may be from a collection of valuable old treatises on the table, employed if our theories as well as practice are he showed us that Vanneo in 1533 was the first to infounded on equal temperament. In the same way, troduce the 7 in the notation of the minor scale. using invariably a series of fourths to show the tetra- Not to trouble the reader more than necessary, chordal systems, instead of fifths, the Hyper Dorian I will give the commoner forms of the tetrads of the A-A differs from the positional Dorian in the Db scales just enumerated, and irrespective of ratios. which is 10:9, as must naturally occur by a corre. Lydian. | Mixo-Lydian. sponding method employed in modern theory as we ascend in the Greek system towards the Hyperboleon | Phrygian. tetrachord. What in relation to the normal diapason Major 5 7 4 6 C is Hyper Dorian is, of course, Dorian (octave A-A Mixo 5 7 with B5) in F; and the positional Dorian is D. If, Chromatic 5 7 2 4 6 as is very probable, the church modes were originally Mixo-Chromatic 5 7 4 6 set to F, and have been gradually transposed to C, | Mixo-Lydian. the nomenclature of Glareanus in regard to the Dorian mode is after all not so far wrong. Mr. Chap | Phrygian. pell and many commentators give the Dorian in our Functional 5 72 27 4 62 system as A. Musicians as a rule work in position-- Positional 5 77 4. 62 32 that is from the tonic, not from the dominant, and Functional possibly the ancient musicians also came to treat 5 6b minor-major 76 25 4 3b the plagal or positional form of the old Dorian mode Positional as the normal scale. minor-major) 5 762 4 We will now consider the practical points of the Positional mixo 5 7 2 3 question in their relation to modern harmony, which Positional 5 62 about" harmonics,” treat more and more as a matter By way of illustration let us take the concluding barş of vertical scales of thirds. Following very closely certain well-known ancient of Bach's well-known chorus in the “ Passion music methods, let us divide the vertical scale into conjunct (St. Matthew). The modern musician, with his tetrads, the nominal root of each tetrad being the ordinary notions of two modes, major and minor, could dominant of an octave mode, and take in the major not define even the homophonic scale in which the system pour forms of scale-a major, mixo, chromatic example is written. and mixo-chromatic; and in the minor, or inverted (To be continued.) a series of what we call dominants and tonics. But in the Mixo THE GREAT COMPOSERS, SKETCHED BY lydian mode, if the nominal dominant is F the final is B. Trans THEMSELVES. posing the octave F-F (I take to be the Mixolydian'octave) by intertal progression we get a scale of G with the F*, but commencing By Joseph Bennett. on the normal tonic. The scale B-B, usually given as Mixolydian, is obtained from F by transposition, by shift, or by dislocation, and is No. V.-SCHUMANN. plagal or positional, and as such I would employ it in harmony. By (Concluded from page 139.) a systematic elimination from the general series it differs from the A CLOSING article on the letters of this composer Hypo Dorian octave in ratio. In the system suggested, only the two normal modes, Lydian and Dorian, are taken in power or as authentic may well be devoted to such expressions as are found The Mixolydian and Phrygian- an equal difficulty in the in them of the writer's opinion of artistic men and modern system-are taken in position; that is to say, the Phrygian things. We do not, it is true, look to these docufinal D is treated as a dominant, the mode differing from the Hypolydian scale of transposition (G) in ratio. ments as the sole, or even as the chief source of * A French writer, Alix Tiron, says broadly that our major diatonic scale is Dorian. The reasons he gives are not very scholastic, but we • Explained in The Musical Times of April, 1878, in an article see what he means; it is a major octave in the Dorian system. headed " A Lost Clue in Harmony."
लिलललल तो minor system. Inverted or Page 16
is much too narrow, and inexpressive of its scope MUNICIPAL ABOLITION OF SACRED MUSIC. and extent. Before concluding, I would endeavour to dispel been curiously'exemplified in Paris. Although near The tendency of History to repeat itself has just some errors which I hold to be alike unjust and injurious, but which are too often obstinately main- upon a century has passed since the event took tained. It is undoubtedly a fallacy to imagine place, and the effect of distance has toned down its that Germany or Italy, or any other country French, in the height of their first revolutionary grotesque horror, none of us can forget that the possesses a monopoly in the term classical music; madness, not only abolished Christianity, and deposed that it is an expression which properly attaches the Almighty, but formally decreed His non-existonly to the music of a particular period, a particular country, or to the celebrated names of a few ence. They turned their backs on the Everlasting eminent composers. It is no less a common error Goodness, and worshipped Reason as typified by a to suppose that music cannot deserve the title prostitute. True, the outward and visible expression classical, which is of modern growth, and moreover, of this insanity did not last long. Napoleon succeeded the production of native musicians of Great Britain to power, and his keen intellect saw that the religious and Ireland. It must be understood to be within element in humanity could not be ignored even as an the range of possibility that a great musical genius engine of statecraft. At a nod from him, therefore, may arise in this country bearing the not uncommon back came the Christian cultus, and France had once appellation “William Smith,” who shall compose should have sunk deep into the national mind; but more a God. The lesson taught was easy, and music as truly entitled to be called classical as any this appears not to have been the case. Nothing has music written by Mozart or Beethoven. It cannot been learned of common sense in matters pertaining be too often repeated that classical music is of no special period, form, style, composer, or nation. It to religion by the most energetic spirits of France, must be borne in mind, nevertheless, that to entitle and it is only for want of opportunity that they do music to be deemed classical it must possess its not revive the heathen zeal of the Convention, and unmistakable characteristics, and bear a clearly write the gates of Père la Chaise, “ Death is but defined, intelligible, classic stamp. an eternal sleep.” We do not go for proof to the It might be well if those who have hitherto used reign of the Commune, but rather to one of the most the expression “ Classical music,” without having recent acts of the Municipal Council of Paris. That a distinct notion of its true significance, were to Council, as everybody knows, faithfully reflects the substitute for it the terms “ Standard works of the political mind of the capital. Elected by universal music-classics,” or “The compositions of the great suffrage, it is as “red” as its electors, and loses no masters.” These comprehensive expressions, which opportunity of expressing sentiments which, logically might include the classic works of any, or of all carried out, would overturn the present constitution countries, styles, and periods, would be at least of society. Rarely, however, does the Council get a understood. chance of showing its contempt for religion, but the Those who would discover classic beauty in music, does come, and even when it can only be got at in a zest with which the opportunity is seized when it who would seek for musical excellence irrespective of its source, must eschew alike predilection and roundabout way, will appear from the extraordinary prejudice. They must not turn from the classical circumstance to which we now ask attention. The musical productions of this country, because, for- Municipality have long had the laudable habit of sooth, pandering to the common or vulgar taste of encouraging musical composers and societies, by a large portion of the public the music-market may little while ago, the whole matter of these concours offering prizes for competition, and it appears that, a be glutted with numberless specimens of musical mediocrity, manufactured to supply an extensive was handed over to a Committee with a view to imunhealthy demand for music of a particular class provement. Having duly considered the subject, the which is intended only for a wide circulation, and for Committee reported, through one of their number, immediate sale; and thrust into public notice by M. Levraud, who, with reference to sacred music, advertisements, '“ royalties," and other adventitious made the following remarkable observations :Good music, like good wine and modest temps. Il a atteint une grandeur incomparable avec les S. Bach, les Votre commission, messieurs, pense que l'art religieux a fait son merit, must be sought for. Much excellent music Haendel, les Haydo, parce que ces hommes de génie ont su exprimer will thus be discovered which may have long lain et traduire des passions humaines tout en mettant en scène des êtres hidden from public attention; not on account of plus cet art est incompatible, parce qu'il exprime, avec l'esprit scien any deficiency of merit, but for want of favour. fifique et de libre pensée qui caractérise notre époque; le Conseil able opportunities of becoming known. How many conséquence, d'exclure du concours la musique religieuse sous toutes Municipal de Paris ne saurait l'encourager, et nous vous proposons en musical flowers are born to blush unseen and waste ses formes. Nous n'entendons pas seulement par musique réligieuse their sweetness on the desert air ! la musique d'église proprement dite, c'est-à-dire toute composition musicale écrite sur des paroles faisant partie du domaine de la liturgie, A conspicuous instance of unmerited neglect has mais aussi l'oratorio, que l'ancienne commission, loin d'exclure du conlately been brought prominently to notice by the cours, offrait au contraire comme modèle à suivre aux concurrents. generous and spirited efforts of Madame Jenny Viard- We have given these astounding words in the Louis. Twice at her now famous concerts has been original for the sake of historic accuracy, and now, for performed by her magnificent band of instrumenta- the benefit of such among our readers as are not aclists, under the able direction of Mr. Weist Hill, an quainted with French, we supply the equivalent orchestral Symphony by the late young, and now English: deeply lamented German composer, Hermann Goetz, It reached the height of grandeur with S. Bach, Handel, and Haydn, Your Committee, gentlemen, think that religious art has had its day. which has been unanimously pronounced to be not because those men of genius knew how to express and convey human only a work of genius, but one of the finest orches- passions while dealing with imaginary beings. The more the extent tral Symphonies of recent times. How sad to con of human knowledge increases, the more this art is incompatible, on account of what it expresses, with the scientific spirit and free thought template this young and neglected musical genius of our age; the Municipal Council of Paris ought not to encourage it, yearning in vain to hear his work executed, and and we propose to you, therefore, to exclude from competition religious pining for opportunities to exhibit still farther his church music, properly so called, that is to say, every musical compomatured powers in the composition of other great sition having words that belong to the domain of liturgy, but also the works, which might have given him the right to a model for competitors to follow. , niche in the Vallhalla of the Muses as one of the So, then, there is an end in Paris of religious music, music-classics of Germany! as far as the Municipality can bring it about. M. Page 17
execution of Bach's Prelude and Fugue “à la Tarentella,” | Englishmen now hold the people who were once regarded which was enthusiastically redemanded, and elicited as an as their natural enemies. addition to the numbers of the programme, a most bril. Besides several compositions, by M. Gounod, and others, liant performance by the lady, of one of Mendelssohn's upon which we need not dwell, the programme contained * Characteristic pieces.” Miss Orridge was the vocalist the complete work from which the test piece above referred and gave the airs “Che faró senza Euridice," from to was taken. This formed the chief feature of the concert, Gluck's opera “Orfèo," and Gounod's Quando a te and the raison d'étre of M. Bourgault-Ducoudray's appearlieta,” in the rendering of which she displayed her fine ance as conductor of the choir. The esteenied French mezzo-soprano voice to good advantage, Gluck's air musician calls his work a "Symphonie Religieuse," but demanding, however, far more declamatory animation why he does so is not very clear. Attempts have been than the singer bestowed upon it. Signor Piatti played the made to find a parallel between the character of the five violoncello obbligato part to Gounod's air in his accustomed movements into which it is divided, and those (four not masterly manner. Mr. Zerbini conducted. five, save in such exceptional cases as Schumann's No. 3) At the third concert of the month (17th ult.), Haydn's of an orchestral Symphony. Fut the success of these bright Quartett in G major (Op. 17) was played as the efforts has not proved remarkable, while, for our own part, opening number, MM. Joachim, Ries, Straus, and Piatti we can only imagine that the title of the Motett humours a being the executants. Beethoven's not too frequently national fondness for striking and high-sounding names. heard Trio in E flat (Op. 3) for violin, viola, and violon. On this, however, we will not dwell. The thought undercello, was the other composition for a combination of lying Shakespeare's “What's in a name?” is neither stringed instruments produced on this occasion, and was, it philosophical nor true, but in the particular case before us, is needless to add, admirably interpreted by MM. cne may fittingly argue that “a rose by any other name Joachim, Straus, and Piatti. In association with Miss would smell as sweet." The five movements, all written, Agnes Zimmermann Herr Joachim played three of the be it remarked, for mixed voices without accompaniment, Hungarian Dances” (generally reserved for this more are respectively entitled “ Gratulatio," “ Passio,'' "" Vivus advanced period of the season), arranged by the great violin- resurgit Christus," “Desiderium Caeli," and “Gloria." ist for his instrument from the original, written for piano. Here, then, we have considerable variety of theme, extend. forte alone, by J. Brahms. The performance of the two ing from joyous ascription of praise to mournful contemartists created, as usual, the greatest enthusiasm, one of the plation of the Redeemer's sufferings and human wickedness. "Dances” having to be repeated. The only instrumental M. Bourgault-Ducoudray approached all in a becoming solo was by Miss Zimmermann, who played, with much spirit, much to the surprise, perhaps, of some among brilliancy and refinement, a Presto, Pastorale, and Gigue his English audience. Our insular prejudices, based on by Scarlatti. Malle. Redeker created quite a furore with imperfect knowledge, are not yet wholly dissipated, and her singing of Schubert's well-known “Wanderer," among them is a notion that French composers must always in which her powersul and sympathetic voice and fine be flippant and superficial, dealing, for choice, with secular declamation combined to produce an artistic effect of a rather than sacred subjects, and treating the latter more high order. It was, course, encored, as were the two with a view to popular applause than artistic expression. other songs by the same composer, viz., "Kreuzzug” and This idea, wrong generally, is specially at fault as regards Ungeduld," which the lady gave in the second part of M. Bourgault-Ducoudray, who is before all a serious the concert, and the last mentioned of which she repeated. musician. In proof we need only mention that he it was Sir Julius Benedict accompanied the vocal music. who first introduced to a Parisian audience Handel's On the succeeding Monday evening (24th ult.) the pro. Passion," " Alexander's Feast," and " Acis and Galatea,'' gramme consisted of the following works, viz: Quintett which fact alone entitles him to the respect and admiration C major, Op 29, for two violins, viola and violoncello, of every English amateur. We repeat that the great topics (Haydn.), Barcarole, F sharp major, Op 60, for pianoforte embraced in the "Symphonie Religieuse” are illustrated alone, (Chopin), “ Serbisches Liederspiel for one or in a reverent and exalted fashion. The composer, while more voices with pianoforte accompaniment (G. Hen- making free use of modern liberty in regard to modulation schel), Trio, E major, for pianoforte, violin, and violon- and harmonic progressions generally, while indulging, also cello (Mozart). The executive artists in the Quintett a fondness for picturesque effects, has based his work upon were MM. Joachim, Ries, Straus, Zerbini, and Piatti. recognised and orthodox models. He well knows the Malle. Janotha was the pianist, and was associated with Motetts of the old Italian masters, the stately grandeur of MM. Joachim and Piatti in the performance of the Trio, which often appears reflected in the work, along with not a the lady, also playing the accompaniments to Herr little of their contrapuntal skill. There are some points in Henschel's “ Liederspiel" (performed for the first time in the “Gratulatio", quite worthy of careful notice, but the this country), the vocalists in which were Malles. Fried. “ Passio," by its depth of feeling and the sombre majesty länder, and Redeker, Mr. Shakespeare, and Herr Henschel. of its well knit though daring harmonies, arrests far more We must reserve our notice of the last Concert of the attention, which is well sustained throughout the “ Vivus past month (31st ult.), until our next number. resurgit Christus.” This movement was the piece used at the International competition, and we therefore look to MR. HENRY LESLIE'S CHOIR. find in it considerable difficulty, nor are we disappointed. Å NEw season was begun by this choir on Thursday, It begins with an Allegro moderato in E major, for five Feb. 27, in a very auspicious manner. It was all along a voices, the entire jubilant effect of which depends upon matter of assurance that some public notice would be massive sustained harmonies in the higher vocal registers, taken of the success achieved in Paris last autumn, when the and striking transitions, such as occurs, for example, in choir carried off the only Grand Prize for which they could the subjoined extract:compete. Mr. Leslie met this anticipation well by giving what he styled an “International Concert,” and taking measures, not only to celebrate his own triumph, but also to acknowledge the courtesy extended to him and his singers across the Channel. For this purpose he included in the programme a variety of works by representative French composers; obtained the personal help of M. Bour. gault-Ducoudray, by whom the test piece used at the Paris Competition was written ; secured the patronage of the Prince of Wales, as head of the British Commission; Next comes a short contrapuntal passage in the same key, persuaded Mr. Arthur Sullivan, as British Commissioner led off by the sopranos :for music, to take part in the concert, and generally left no stone unturned to make the thing a complete celebration of a noteworthy event. These exertions were rewarded by The public attended in large numbers, much lum glo ri - 0 enthusiasm prevailed, and the occasion was made use of to express in a variety of ways the esteem in which Ending on the dominant, this leads to an Allegro vivo in E Page 18
and utilise the work of Trinity College, London, in respect of musical Miriam," and Weber's “ Jubilee Cantata,” the careful degrees. These could be well administered by a professor of the preparation of which was also amply evidenced by the highest standing and ability such as Dr. Armes, the Cathedral unity of feeling in all the varied dramatic portions of these organist; and would attract not only the musical students of the immediate district but also many further north. As to the permission works, and the thorough understanding which seemed to to use a room or rooms in the College of Physical Science, that is a exist between the Conductor and the choir. Much delicacy privilege which the Mayor of Newcastle himself kindly undertook to and precision were likewise observable in the execution of ask for; and in his respect I cannot but admire his foresight and thorough grasp of the situation. He can see how greatly it will consome part-songs, one of which, " The Boat,” by Schumann tribute to the efficiency of a future musical faculty at Durham to have (accompanied by horn, Mr. Catchpole, and flute, Mr. allied with it a young, strong, and healthy organisation, which is a Young), produced such an effect as to elicit an enthusiastic sworn foe to any kind of retrogression or stagnation, and has already encore, the incidental solo part in this composition being I can only thank " H. T." for giving me this opp»rtunity of throwing In conclusion, charmingly rendered by Miss Jessie Jones. In Schubert's light upon a point which must have suggested tself to others as well work the principal singers were Miss Jessie Jones and as himself. Yours, &c., FREDERIC CLARK, Organising Secretary, Miss C. Squire, and in the “ Jubilee Cantata" Miss Jessie Trinity College, London, Jan. 23, 1879. Jones, Miss Jessie M. Clark, Mrs. Adelheid Hecht, Miss Gertrude Hine, Mr. A. Smith, and Mr. T. J. Grylls. Miss The prospectus of Her Majesty's Theatre for the forthAmy Gill appeared in the double capacity of pianist and coming season proves that Mr. Mapleson has readily seized vocalist, accompanying both the choral pieces mentioned upon the first opportunity of strengthenng his list of prinwith much ability, and singing, with true artistic ex- cipal female vocalists; for, in addition to the engagement pression, Gounod's song, “ The Worker," for which a of Mesdames Etelka Gerster, Marie Roze, Vanzini, Treunanimous encore was awarded her. Miss Jessie Jones belli, Mdlles. Hauk, Kellogg, Salla, Tremelli, and many also gave, with excellent effect, Mendelssohn's " Zuleika,” other favourites at this establishment; he announces that Herr Henschel sang three songs of Schubert's, creating Madame Christine Nilsson will reappear, after an absence such a genuine sensation as to be compelled to add another, of two years. In the male department we have the names known as “Ach wenn so doch immer so bliebe," by of Signori Fancelli, Campanini, Runcio, Candidus, Brignoli, Rubinstein, to the list; and Mr. Willem Coenen, besides Leli, Del Puente, Galassi, Foli, Rota, Roveri, Ordinas, M. occupying with much skill and judgment the arduous post Thierry, Herr Behrens, &c.; and the following artists will of Conductor, played two pianoforte solos—his own appear for the first time in this country: Mdlle. Marie “ Twilight”-a charming Andante-and a transcription by Vanzandt, Malle. Stelzer, Malle. Cristofáni, Malle. Libia Liszt of one of Paganini's Studies, a piece of enormous Drog, Mdlle. Lido, Signor Tecchi and Signor G. Vazellidifficulty—both of which were received with enthusiastic Signor Masini and Mr. Carleton joining the company at and well-deserved applause. Judging from its inaugural this establishment for the first time. The most interesting concert, we confidently predict a brilliant future for this announcement is the production of Gluck’s “ Armida," young and energetic Society. for we can scarcely suppose that Verdi's “ Aïda" or the same composer's “ La Forza del destino" will now excite LONDON MUSICAL SOCIETY. much enthusiasm, either with the subscribers or the general public. An Opera entirely unknown here is, however, proA Society with the above title, and under highly influ- mised-Boito's “ Mefistofele”—which comes to us with ential patronage, has just been started, the conductorship an Italian reputation, and we trust may prove a success. of which has been placed in the able hands of Mr. Barnby. Donizetti's “Linda di Chamouni,” Rossini's La Gazza The object of the Society, as appears from the prospectus, Ladra,” and Wagner's “ Rienzi" are also to be given for is the production of works of acknowledged excellence and the first time at this theatre. Sir Michael Costa retains of every school of nationality, which have never obtained a his post as Conductor; and we may presume, therefore, hearing, or are but little known in England. The first that both band and chorus will be efficient as usual. The meeting took place on Monday, the ioth ult., at the season is advertised to commence on the 26th inst. South Kensington Museum, when Handel's Sixth Chandos Anthem, Hiller's "Song of Victory,” Max Bruch’s “Schön Mr. Ernest Gye has issued a prospectus of the forth. Ellen,” and Hermann Goetz's 137th Psalm were put in coming season of the Royal Italian Opera, which is-as rehearsal. A number of distinguished amateurs have all prospectuses should be—a simple catalogue of the already become members of this Society; and there can artists engaged, and the works which will probably be be little doubt that if the principles laid down in the Madame Albani from the list of vocalists; but Madame We miss with much regret the name of prospectus be rigidly carried out, it will most effectually supply a real want in this country, and thoroughly deserve Adelina Patti, Malle. Thalberg, and Madame Scalchi will the support and patronage of all who desire that works of re-appear; Madame Alwina Valleria, whose excellent recognised worth, which have long lain dormant, shall be services, have been so thoroughly appreciated at Her resuscitated, and that others which have for some time. Majesty's Theatre, being also engaged, for the first time enjoyed a continental reputation shall obtain an equal M. Capoul return to us, and Signori Graziani, Cotogni, at this establishment. Signori Nicolini, Gayarre, and amount of appreciation in England. The honorary Secre- and M. Maurel are included amongst the baritones. The taries to the Society are Messrs. Heathcote Long (33, St. George's Road, S.W.), and Alfred H. Littleton (1, Malle. Pasqua, Malle. Ameris, and Malle. Rosine Bloch; new comers are Mdlle. Emma Turo Mdlle. Schau, Berners Street, W.) Signori Sylva, Nouvelli, Igenis Corsi, MM. Lassalle and Four works are The letter from Dr. Statham on the subject of the Gailhard, Signori Silvestri and Vidal . Trinity College branch at Newcastle, which we extracted mentioned, " two at least” of which, it is said, will be from a local paper in our last number, elicited the following produced. These are M. Massenet's “ Roi de Lahore,” reply in the next issue of the same paper : the Marquis d'Ivry's “Les Amants de Vérone,” Signor Sır, –My attention has been called to the letter of your correspon; Clercs." Why these operas are selected, or why others Paladilhe's “Suzanne," and Herold's “Le Pré aux dent “H. T." on the subject of the Trinity College (London) branch in Newcastle. I am glad that he has raised the question as to the are not selected, is a secret known only to the lessee. If, degrees. “H. T.” asks, “Why not give facilities for taking not only included in the list we are certain that it would have been probable action of the University of Durham in respect of musical for instance, Gounod's “Polyeucte” could have been the Mus. Bac., but Mus. Doc. at Durham ? I would answer, That is just what we propose to do. Ever since the foundation of the cordially welcomed by the subscribers. The Conductors University, the musical degrees which it has the power to confer have will be, as before, Signori Bevignani and Vianesi, Mr. without examination. The fact is, as one of the university authorities his position as organist. The season is announced to only been given either by diploma or ad eundem; that is, in all cases Carrodus being principal violin ; and Mr. Pittman retains explained to our Warden some years ago, the extensive machinery required for the complete musical faculty and curriculum would commence on the 8th inst. involve too great an outlay in proportion with the probable result. Trinity College, London, on the other hand, possesses the whole The Hereford Musical Festival, which commences on active working: 'It places the advantages of an established system occasions, except that the performances will be preceded of the machinery, ready made, and well seasoned by seven years' the gth September, will be conducted as on former at the disposal of the north of England. should wish to follow the wise precedent she has herself established by a short prayer, as at Worcester last year. The principal in the recognition of external theological schools as preliminary I vocalists already engaged are Miss Anna Williams, Miss Page 19
modern part-songs. The works decided upon for the approaching Bristol The Concerts of the Bach Choir, under the direction of Musical Festival are Handel's " Samson” and the Herr Otto Goldschmidt, are announced to commence on “Messiah," Mendelssohn's “ Elijah " and “Walpurgis the 3rd inst. with a performance of Bach's Mass in B Night," Mozart's Requiem,” Beethoven's Ninth Sym- minor. phony, and Rossini's “Stabat Mater.” Engagements are We understand that H.R.H. the Princess of Wales has pending with Madame Albani, Madame Patey, Mr. Edward accepted the dedication of a Motett by Herr L. Samson, Lloyd, and Mr. Santley. The members of the choir, entitled " Incline Thine ear to my crying.” numbering 320, are already actively engaged in preparation, two rehearsals taking place every week. A MUSICAL performance by the pupils of the London REVIEWS. Society for Teaching the Blind to Read was given at the Institution, Upper Avenue Road, Regent's Park, on the The Works of G. F. Handel. Printed for the German 21st ult., the Rev. Henry Geary, M.A., in the chair. The Handel Society. Eighteenth Year. (Leipzig.] selection, which was excellently chosen for the display of (London: Novello, Ewer and Co.] the executants, was rendered in a highly satisfactory man. The magnificent edition of the complete works of Handel, ner, and reflected the utmost credit upon the Instructor to which for nearly twenty years has been in the course of the schools, Mr. Edwin Barnes, who conducted the concert publication by the Gerinan Handel Society, is now grawith his accustomed ability. dually approaching, completion. At the present rate of Messrs. SOTHEBY, WILKINSON and Hodge announce progress it will probably be at least eight years before all that they will sell by auction at their house Wellington the works are issued, as there are nearly thirty still unpubStreet, Strand, a choice collection of portraits illustrative lished. Most of the more familiar and best known have of Music and the Drama, commencing on the 31st ult., already appeared; and each succeeding year's issue, there. and continuing the three following days. These portraits, fore, brings to the knowledge of musicians some work of the property of a well-known amateur, include many very the old master which was in all probability unknown to rare specimens-some having a facsimile signature; and them. This is especially the case with regard to the there can be no doubt that the sale will attract a large operas. Out of thirty-six which are in existence-three number of artists and amateurs. of the earliest being lost apparently beyond recoveryThe Islington Choral Society gave Root's sacred Can. only four had been hitherto published in a complete form; tata, the " • Pilgrim Fathers,” at the Primitive Methodist and while it cannot be maintained that as a whole Handel's Chapel, New North Road, Islington, on Monday, the roth operas are at all worthy of comparison with his oratorios, ult. The principal vocalists were Miss Golden (Elder's many of them, nevertheless, contain much which is well Daughter), Miss Toynbee (Sister of the Captain), Miss worthy of being rescued from oblivion. Carpenter (Daughter), Mr. A. Fincham (Captai), Mr. The works given by the Society in their eighteenth year's La Resurrezione,” the Sparks (Elder), Mr. Butt (Elder's Son), and Mr.' Bird issue are the Italian Oratorio (Indian)... Conductor, Mr. George Randal; Organist, Mr. Serenata “ Parnasso in Festa,” and the two operas W. H. Whitmore. “ Siroe” and “ Tolomeo.” Of these the first-named had been already published towards the end of the last century It may be that those among contemporary composers who in Arnold's edition of Handel, which (as many of our tolerate and even advocate, meddling with the works of readers will be aware) was never completed; the other dead men will change their minds when the fashion spreads three are now printed for the first time. to the works of the living. There is danger of this, for, in " La Resurrezione” has but little in common with the view of the production of H.M.S. Pinafore” at the later Oratorios of the great master; in form and in style Standard Theatre, New York, a young Hungarian mu. it more nearly resembles his Italian operas. There are but sician, Mr. Vogrech, was engaged to “ furnish new orches- two choruses—both short ones—in the entire work, one at tration !" the end of each part; the interest of the work lies in the Some distinguished lady amateurs have instituted after-songs. Among these may be noted the fine bass air, “ O noons, for the practice of vocal music, in South Kensington, voi dell' Erebo,” which some of our readers may remember under the musical direction of Mrs. Arthur O'Leary. to have heard at one of the Handel Festivals some years Reinecke's “Schweewittchen” was rehearsed at the first ago; the beautiful soprano songs, " Ferma l'ali,” and meeting, which took place on Wednesday, the 5th ult., at Risorga il mondo," and others which might be named. Emperor's Gate. An interesting feature of the work is the orchestration, in Ar the close of the rehearsal on Tuesday, the 4th ult., which we already see Handel trying experiments in instruMr. Walter Lough, Choirmaster of S, John's, Wilton consiglio" (afterwards introduced into “Alexander Balus” as mental combination. For instance, the song " D'amor fù Road, Pimlico, was presented by the choir-boys with a "Fair virtue shall charm me"), is here accompanied by four handsomely fitted inkstand and also a bâton, the donors at violins, violas, and basses ; “Ferma l'ali” is scored for the same time expressing their appreciation of his ability two flutes, violins con sordini, a viola da gamba, basses, and kindness during the last five years. and harpsichord; “Così la tortorella ” has one flute, a A Musical Society has been formed in Chigwell the viola da gamba, a teorba, and the whole of the strings in meetings being held in the school-room at Oakhurst, the unison and octaves; and “ Per me già di morire " is acRev. W. Linton Wilson's School. Mr. Brownlow Baker companied by a solo violin, a viola da gamba, all the flutes is musical director, and Mr. Wilson secretary. Locke's and one oboe with a mute in unison (a very curious commusic to “ Macbeth” and a selection of glees will at pre- bination), and the whole mass of strings, with separate sent occupy the main attention of this Society. parts for violoncello and double bass. It is hardly needful The Saturday Popular Organ Recitals at the Bow and to add that in “ La Resurrezione,” as indeed in all Handel's Bromley Institute will be continued to the end of April . works, we find much written in the taste of a bygone day; During the past month the organists have included Mr. but the work contains many points of considerable interest W. S. Hoyte, Dr. Spark, Dr. Bunnett, Mr. Mann, and to the student. Mr. W. Rea. “Parnasso in Festa,” which was written for the wedding There have been Special Services in Hampstead Parish Orange, is for the most part a pasticcio. festivities of Princess Anne of England with the Prince of Of thirty-one Church every Friday during Lent, consisting of selections numbers which it contains, twenty-three are taken, somefrom the second part of Handel's " Messiah” and “ The times with slight alteration, from “Athaliah," and most of the Passion," by Heinrich Schütz (16th Century), conducted rest were used subsequently for the English version of the by the Organist, Mr. James Shaw. “ Triumph of Time and Truth.” A noticeable point in this At the weekly practice on Friday, the 7th ult., Mr. work is the skill with which Handel adapted the Italian | George Randal, Conductor of the Islington Choral Society, words to his music. On this subject Dr. Burney in his Page 20
Finale to “Loreley (Mendelssohn). Conservatorium clearly. The concertina possesses separate reeds for ED Concert (March 7): Octett (Gade) ; Fantasia, F_sharp and DH, and although the pitch of these sounds is now minor (Mendelssohn); Andante and Scherzo for Violin identical (the instrument being equally tempered), there (David); Trio, D minor (Mendelssohn), vocal soli. Last was in the earlier instruments a perceptible difference Euterpe Concert (March 11): Overture, “ Sturm und between them. Until the change was made, at his own Drang" (Bolck); Violin Concerto (Beethoven); Sym- suggestion, Regondi always, in passages of this nature, phony, C minor (Gade). substituted the fat for the sharp. If he will make the Berlin.-Concert of the Symphoniecapelle (February 27): inquiry, J. L. will find that solo violinists do the same. Music to " The Ruins of Athens" (Beethoven); “Wotan's The study of acoustics is most interesting, and so is the Abschied” and “Feuerzauber” from “Walküre”(Wagner); theory of colours. But I cannot perceive that musicians Choral Fantasia (Beethoven). Bilse Concert (March 1): and painters are directly concerned with these sciences. Overture, “Dimitri Donskoi" (Rubinstein); Spanish Dances Modern music being based upon the tempered scale, we (Moszkowski); Septett (Beethoven); Overture, “Les must needs sacrifice either pure intonation or the greater Huguenots" (Meyerbeer). Concert of the Symphonie- part of our musical literature. And if pigments reflecting capelle (March 5): Overture, “Faust” (Wagner); Sym- impure colours suffice for the needs of the greatest phony, C major Schubert); Clarionet Quintett (Mozart); painters, the musician may well be contented with such an Scherzo (Cherubini); Overture, "Oberon ” (Weber). approach to pure intonation as is not incompatible with Bilse Concert (March 8): Overture, " Zauberflöte" the higher aims of the composer. (Mozart); Violin Concerto, No. 1 (Bruch); “ Phaëton” I am, &c., (Saint-Saëns); Symphony, No. 1 (Brahms); Overture, Dover, March 5, 1879. C. W. Egmont " (Beethoven). Heidelberg.--Historical Lecture and Concert by Dr. L. THE DIAPASON NORMAL IN SPAIN. Nohl (March 20): Subject: The Development of Choral TO THE EDITOR OF "THE MUSICAL TIMES. Music from the Oldest Times to the Present Epoch. Musical Programme: Homer's Hymn to Demeter (?); First Py. Sir,-Your readers will be interested to learn that by thian Ode of Pindar (fifth century B.c.); "Der Wald hat a Royal Decree of February 21st the adoption throughout sich erlaubet,” for three voices (fourteenth century); Spain of the Diapason Normal (la=870 vib. per second) * Alla Trinità beata," for four voices (fifteenth century) ; has been ordered. "Improperia,” by Palestrina (1520-1594); Four-part The preamble inter alia recites: that a series of Chorale, by Bach (1685-1750); Air, “ o Isis und Osiris," measures are proposed, which, having due regard for all by Mozart (1756-1791); Prisoners' Chorus from“ Fidelio" interests, if they do not bring about the immediate general (1770-1827); Four-part Song, “ To the Forest” (Men adoption of the Diapason Normal (and this result has not, delssohn) (1809-1847); “Ave Maria,” by Liszt (born in other countries, been attained all at once) will tend 1811); " Wach auf," from Die Meistersinger," by R. sooner or later to place Spanish lyrical art on a uniform Wagner (born 1813). footing with that of the most advanced countries of Europe. Boston, U.S.-Concert of the Apollo Club (February 19): The decree provides that the National School of Music, Hymn to Music (Lachner); Movements from Septett, 'D the Academy of Fine Arts, and all normal schools for minor (Hummel); Duet, “Non fuggir," from “Guillaume elementary instruction where music is a compulsory subTell” (Rossini); “Evening's Twilight” (Hatton); “Song ject, shall use the Diapason Normal. No subsidies shall of the Spirits over the Waters" (Schubert); Songs and be granted for any theatre, concert, school or society Glees (Rheinberger, Evans, Bishop). which does not adopt the same. Salem, U.S.—Concert of the Salem Oratorio Society instruments adjusted to the new pitch, and as far as Measures shall be taken to supply military bands with (February 17): Verdi's “ Requiem.” practicable to introduce it into all churches. No public moneys shall be employed in the purchase CORRESPONDENCE. or renewal of instruments for hospitals, churches, &c., except upon proof that the said instruments are of the TEMPERED AND UNTEMPERED INTERVALS. reformed pitch. Such national funds as are at present available for the TO THE EDITOR OF " THE MUSICAL TIMES." propagation and protection of music may be employed in SIR.-I do not propose troubling you with any further the assistance of such orchestras, &c., as shall satisfy the remarks upon the German sixth. We all know how to use authorities that they are without the funds necessary to the chord, and that is, after all, the essential point. make the change. Two of your correspondents, however, having referred to Standards of pitch are to be provided for public use at my first letter, I will, with your permission, address a word the Academy of Fine Arts of San Fernando, and the to each of them. National School of Music, as well as at all provincial To J. F. I would point out that much smaller musical difficulties than are involved in a new signature for the government offices. A subsequent Royal Order appoints a commission of minor key, have proved insuperable. My contention was seven members to see that the above decree is duly carried that, taking our notation as it is, the relative signature is I remain, Sir, yours faithfully, not obligatory upon any one; and I pointed out a way in 10, Rushmore Road, Cecil BURCH. which it may be, and frequently has been, avoided. Clapton Park, E., March 17, 1879. And to J. L. I would reply that I have throughout taken the tempered scale for granted. In pleading for untem- THE MONOTONE AND SPEAKING VOICE pered intervals, I think he has forgotten one circumstance. IN CHURCH. When violinists do make a distinction between, for example Eb and D., they, in most cases, make it in an TO THE EDITOR OF " THE MUSICAL TIMES." opposite sense to that demanded by theory. SIR,-In his valuable Primer on“ Church Choir Training," passage, for instance, as the following the Rev. J. Troutbeck gives it as his opinion that the "Speaking Voice” rather than the Monotone is suitable for the Church's prayers. Allow me to make a few remarks on this subject. The chief objection to the “ Speaking Voice” is this, that so few of the clergy find themselves is executed by them as if written able to speak" the prayers with sufficient simplicity. And what more trying to the worshipper than to listen to an unctuous, well-mouthed delivery, in which the minister gives, what he imagines to be, the right emphasis to certain Eb being, as we know, theoretically the higher pitch of sentences and expressions of joy or sorrow. In using the the two, it is the pitch demanded in this case by the ear of " Speaking Voice" for praying, one who is somewhat of an the performer. orator finds it difficult to avoid vanity and display, while a A great player on a very poor instrument-unendurable bungler, by his wrong emphases, &c., distresses the conin any hands but his-once showed me this necessity very Igregation. On the other hand, by saying the prayers on Page 21
ORGAH Church ords. Margaret Mafield, Liverpool. Stipena
ANVOCAEN ROGESSOR, PAble in each one ish French and
A TUNING, CONNECTION, to bei LET.com for
EN and BOYS WANTED for the Choir of Just published. S. Ethelburga, Bishopsgate Street. Boys paid according to PRECIOSA ability. Apply at the Church, on Tuesday, April 1, at 6.30, or atter any service. AN OPERA of RESIDENCE. - Mr. ABER- COMPOSED BY CROMBIE respectfully requests that all communications C. M. VON WEBER. respecting engagements be addressed to his new residence, Ellerslie, Bedford Park, Chiswick, W.; or N. Vert, Esq., 52, New Bond Street. RGANIST and CHOIRMASTER WANTED, The ENGLISH WORDS TRANSLATED FROM THE German Version of C. A. STERNAU, BY THE Rev. J. TROUTBECK. £70 per annum. Fine three-manual Hill organ. Address, Rev. J. Price is. 60. Sheepshanks, Anfield, near Liverpool. N ORGANIST and CHOIRMASTER of some London: NOVELLO, Ewer and Co. years' experience, who has had great success in Choir . testimonials and references. A Choral Service and good Organ desired. Address, B., Organist, care of Messrs. Novello, Ewer and Co., I, Berners Street, W. LADY (Pupil of Mr. John Francis Barnett) is NOVELLO, EWER AND CO. open to ENGAGEMENTS as TEACHER of the PIANO. FORTE in Schools or FamiliesFirst-class testimonials. Address, s. d. K. D., Mr. Stedman's Musical Agency, 12, Berners Street, Oxford BARGIEL, W.-Third Trio arranged for Piano duet. Op. 37... 15 BEHR, F.-Les songes dorés. Waltz for Piano, Op. 409 Street, w. 4 0 - L'Amaranthe. Polka for Piano, Op. 410 3 0 N OPENING in a Provincial Town for a Good BRONSART, H. VON.-- Ballade for Piano. Op.5 Nachklänge aus der Jugendzeit. Tonbilder for Piano. Italian Singing. No opposition. Address, M., Messrs. Novello, Ewer CHOPIN, F.-Praeludium (Nos. 6 and 5 from Op. 28), arranged Op. 2. Two books ... each 70 and Co., 1, Berners Street, W. for Harmonium or Organ (with pedal obbligato) 30 ii. or would travel. Practical. Been through factory. W. G., GADE, N. W.-Octett. Op: 17. Arranged as Piano duet 14 0 36, Beresford Road, Stoke Newington Green. GIESE, TH.-In stiller Nacht. Serenade for Piano. Op. 271 Frühlingsblüthen. Idylle for Piano. Op. 273 3 0 TUNER (Experienced), from Treue Liebe. Gavotte for Piano. Op. 274 ... Cadby's, seeks an ENGAGEMENT.' Understands Harmoniums. GOUNOD, CH.-Polyeucte. Airs de Ballet, arranged for Address, 425, Fulham Road, West Brompton. Piano, complete 3 6 La Procession sacrée. Marche for Piano solo The same, for Piar o duet ... SALE. For particulars apply to C. J. T., High Street, Blech- HAMERICK, A.-Nordische Suite arranged as Piano duet. ingley, near Redhill. Op. 22... 8 0 HUBER, H.-Sonate for Piano and Violin. Op. 42 IBER, New and KIRCHNER, TH--Four Elegies for Piano. Op. 37 6 0 Second-hand.-Several very superior Instruments of various The same, singly each sizes, by eminent Builders, for SALE or HIRE. Can be had on easy Twelve Studies for Piano, Op. 38. In four books 50 terms of purchase... Apply, E. Carder, East London Organ Works, KRUG, D.--Les Trois Amis. Small Fantasias on favourite 9, Burdett Road, Mile-End Road, London, E. operas for three performers on one Piano (six hands). Op. 349, Nos. 1, 2, 3, 4, and 6 each 30 RGAN for SALE. Two manual, CC to G; pedal 5 0 - organ, full compass; variety of stops ; fine tone. Apply, E. C., LASSEŇ, E.-Grande Polonaise for Orchestra, Op. 63-9, Burdett Road, Mile-End Road, London, E. Full score Orchestral parts RGAN (powerful). Two manuals, 6 stops, and 27 Piano solo 50 pedals. By letter, W. J. Haywood, 179, Drummond Street, N.W. Piano duet 70 Die Linde am EttersbergOp. 64. Vocal score 50 RGAN PEDALS to Pianos organ action ; Five Songs with Piano. Op. 65 7 0 N.W. Ein Tag der Wonne. Piece for Piano. Op. 347 ORGAN for SALE. A bargain. Thirty-one LULLY.-Gavotte for Orchestra. Arranged by R. Kleinmichel Romanze for Piano. Op. 348 stops, 3 manuals, and pedals. Can be finished by Easter. Full score Apply to T. S. Jones, Organ Builder, 25, Pentonville Road, N. Orchestral parts 50 Piano solo Now ready, No. XIX., 76 columns, price 2d. Piano duet Piano and Violin REVIEW, the Musical Literature of the Month, and Journal Piano and Violoncello 2 0 of the Music Trade. Letters to J. F. Reid and Nephew, Advertising LYSBERG, CH.-Reflets intimes for Piano, Op. 145 3 0 Agents, 14. George Street, Mansion House, E.C. Trade supplied by MATTHISON-HANSEN, G.–Three Pieces for Piano. Op. 10 40 Pitman.--A specimen copy free on receipt of post-card. Novelette for Piano and Violoncello. Op. 12 70 PARRY, C. H. H.-Trio, E minor, for Piano, Violin, and MENUETTO Violoncello 18 0 REINECKE, C.-Six Sonatinas for Piano 50 RIES, F.--Quintett in C minor, Op. 28. Score HAYDN'S QUARTETT IN D MINOR, Parts ... 16 0 STANFORD, C. VÏLLIERS.-Sonate in A major, for Piano For two Violins, Viola, and Violoncello, arranged for the Pianoforte, by and Violoncello. Op. 9 13 0 AGNES ZIMMERMANN. VOGEL, M.-Two easy Sonatinas for Piano. Op. 35 each 40 WAGNER, R.-Six Transcriptions from Lohengrin for Organ or Harmonium (with pedal obbligato) 50 London: Novello, Ewer and Co. Ouverture to Tristan and Isolde, arranged for Organ or PIANO SOLO.: Price 3s. Harmonium (with pedal obbligato) 40 London : Novello, Ewer and Co. GLINKA'S POLONAISE (WITH CHORUS), Composed by Dr. Jacob Bradford. FROM "LIFE FOR THE CZAR." Octavo. Price Threepence. By the same Author. Piano, 38.; Organ, 3$. London : Novello, Ewer and Co. MARCHE HEROIQUE. HARLES SALAMAN'S LATEST SONGS.London : SIMPSON and Co., 33, Argyll Street, Regent Street, W. 28. net. A LEAVE-TAKING ... T. or s. USIC PUPIL'S REGISTER, by Dr. JACOB SWEET, HAVE Words by Algernon C. Swinburne. THE BRADFORD. Price One Shilling: ROSES Malcolm C. Salaman. London : SIMPSON and Co., 33, Argyll Street, Regent Street, W. WHAT SHALL I SEND TO THEE, SWEET? c. or B. Malcolm C. Salaman. OTICE.-To the MUSIC TRADE.-CHARLES EVA TUAL.' New Irish SALAMAN'S PIANOFORTE and VOCAL MUSIC hereto. Song Perceval Graves. fore published by Mr. LAMBORN Cock, 63, New Bond Street, has been ZULEIKA. Oriental RoTRANSFERRED to Messrs. STANLEY LUCAS, WEBER & CO., Arthur O'Shaughnessy. 84, New Bond Street. London : Novello, Ewer and Co. Page 22
RICORDI, 265, REGENT STREET, W.
POPULAR CANTATAS In the Staff Notation.
NEW ADDITIONS TO RICORDI'S CHEAP COUNTRY LIFE. By E. F. RIMBAULT, LL.D. THE BUILDING OF THE SHIP. By Henry LAHEE. PUBLICATIONS. (Folio.) 6s. (Separate Voice Pa is. ch.) Net Prices. THE WRECK OF THE ARGOSY. By W. H. Birch. PERGOLESI. s. d. 3s. La Serva Padrona ... Vocal score ° | THE BURNING SHIP. By B. F. BAKER. (25.) CIMAROSA. (Nearly ready.) Il Matrimonio Segreto 4° | THE PICNIC. By J. R. THOMAS. DONIZETTI. ESTHER, THE BEAUTIFUL QUEEN. By BradAnna Bolena 3 6 BURY. 28. 6d. Linda di Chamounix 4 °|DANIEL. By Root and BRADBURY. VERDI. THE PILGRIM FATHERS. By Root. Requiem 4 0 THE HAYMAKERS. By Root. 45. CHERUBINI. Requiem (for Men's Voices) I 6 BELSHAZZAR'S FEAST. By Root. MERCADANTE. THE BLESSING OF THE CHILDREN. By LAHEE. Third Mass (for Men's Voices) I 6 F. LISZT. THE FLOWER QUEEN. By Root. Agnus Dei (Verdi's “ Requiem"), for Pianoforte, Organ or Tonic Sol-fa Editions of all these Cantatas may be had. Harmonium 4 ° LONDON: J. CURWEN & SONS, 8, Warwick LANE, E.C. Aida (Verdi's), Transcription, Pianoforte 6 0 FOR THE CAMBRIDGE EXAMINATION. F. P. TOSTI. Amore Waltz, Pianoforte EIGHTY MUSICAL SENTENCES, to illustrate Chro 3 0 Vocal matic Chords, composed by G. A. MACFARREN, M.A., Mus. Doc., Principal of the Royal Academy of Music, Eco di Napoli, containing 50 of the most popular Neapolitan and Professor of Music in the University of Cambridge. Songs With preface and analytical table. Price 3s. 3 0 NEW WORK ON COUNTERPOINT. Lists of every description gratis and post-free. All works produced in Italy, &c., promptly procured without extra charge. TEXT BOOK OF COUNTERPOINT, by George OAKEY, Mus. Bac., Cantab. Price is. LONDON : J. CURWEN & SONS, 8, WARWICK LANE, E.C. A COLLECTION OF USE OF SCHOOLS. CLARK CLARK, SCOTSON.-15 Marches (Marche aux Flambeaux, &c., &c.) Oblong 12 Choruses from Handel's Oratorios JAMES TILLEARD. 3 0 One Shilling. 12 Songs from Handel's Oratorios First Steps in Organ. Playing London: NOVELLO, Ewer and Co. 5 0 GLADSTONE, F. E.-The Organ Student's Guide A COLLECTION OF Organ Music for Church Use 3 PAUER, E.-March Album. A Collection of 45 of the most SECULAR MUSIC FOR THE celebrated Italian, French, and German Marches. Arranged by W. J. WESTBROOK net 40 RINCK, CH. H.-Organ Music. Selected, Edited, and Adapted USE OF SCHOOLS. to English Instruments, by F. E. GLADSTONE ... net 30 EDITED BY NEW HARMONIUM VOLUMES (in Blue Paper Covers). JAMES TILLEARD. CLARK, SCOTSON.-15 Marches for Harmonium solo (Marche One Shilling aux Flambeaux, &c., &c.). London: NOVELLO, Ewer an net 3 0 Voluntaries for Harmonium solo 3 0 First Steps in Harmonium Playing THE SLEEPING BEAUTY 4 0 LOW, JOS.-Harmonium Album. A Collection of ioo Favourite Songs and Airs, &c., arranged in progressive order. For A CANTATA FOR FEMALE VOICES Harmonium solo net 30 PAUER, E. - March Album, containing 45 of the most celebrated ALFRED TENNYSON Italian, French, and German Marches. Arranged for Piano and Harmonium by Jos. Löw net 50 The same, for Harmonium solo by Scotson CLARK 3 0 HENRY L A HEE. London: AUGENER and Co., 86, Newgate Street; Foubert's Place ; Price 29. 6d. and 81, Regent Street, W. London: NoveLLO, Ewer and Co. Just published, THE WATER-FAIRIES PIANOFORTE PIECES A CANTATA FOR FEMALE VOICES The Poetry written by Edward OXENFORD. JOHANNES BRAHMS THE MUSIC COMPOSED BY Op. 76. FRANZ ABT. First Book. 8s. Second Book. 8s. Price 2s. 6d. No. 1. Capriccio. F sharp minor. No. 5. Capriccio. C sharp minor. London: NOVELLO, Ewer and Co. 2. Capriccio. B minor. 6. Intermezzo. A major. » 3. Intermezzo. A fat major. 7. Intermezzo. A minor. EW CHARACTERISTIC PIANO DUETS. » 4. lntermezzo. B flat major. 8. Capriccio. C major. By CHARLES DEVEREUX. " The Village Gossips," price 5s. Sold at half-price. (30 stamps). “Cavalry March," price 45. (24 stamps). LONDON: NOVELLO, EWER AND CO. Ewald and Co., 16, Argyll Street, Regent Circus, London, W. Page 23
The Cathedral Psalter SELECT COMPOSITIONS
POINTED FOR CHANTING, GREAT MASTERS, 8. d. ARRANGED FOR THE ORGAN Imperial 32mo, cloth .. 0 9 With Pedal Obbligato by Ditto, with Proper Psalms, cloth ARTHUR HENRY BROWN. Demy 8vo, large type, with Proper Psalms, cloth 6 Proper Psalms, separately. Paper covers. 32mo 3 "Wedding March," by Mendelssohn. Canticles, 32mo 2. March from “Tannhäuser," by Wagner. Ditto, 8vo 3. March from “Scipio,” also from Occasional Oratorio, both by 3 Handel. “Coronation March," from Meyerbeer's “ Prophète." The Psalter, with Chants, Post Quarto, cloth 5 0 5. “The Dead March" in "Saul" and "See the conquering hero comes," both by Handel. THE 6. Andantino, from the with Grand Symphony by Haydn, and “Waft her, angels," from Handel's “Jephtha." CATHEDRAL PSALTER 7. "As pants the hart," from Spohr's "Crucifixion," and“ Where'er you walk," from Handel's "Semele." 8. “My heart ever faithful" (Mein gläubiges Herz frohlocket), by CHANTS. Bach. 9. Andantino from the 5th and Andante from the 4th Sonatas, by Post Quarto, paper covers Pleyel. Ditto, cloth 10. “The Hero's March," by Mendelssohn. 3 11. "Quis est homo?” from Rossini's “ Stabat Mater." Foolscap Quarto, paper covers 12. Air et Chaur, from “ La Dame Blanche,” by Boieldieu. Ditto, cloth 13. Grande Marche Héroïque in C, by Fr. Schubert, I 6 14. Grande Marche Héroïque in D, by Fr. Schubert. 15. Overture, “Berenice,” by Handel. The Clergy can be supplied with copies, in quantities of 16. Overture "Sosarmes," by Handel. 17. Handel's Overture, “ Alcina." 18. Gavotte, from Handel's Overture, “Otho." “La Carità," by Rossini. LONDON: NOVELLO, EWER AND CO. "Angels ever bright and fair,” and “Pious orgies," both by Handel. 23. “My soul thirsteth for God," Aria from Mendelssohn's 42nd PSALMIST. Psalm. 24. “Gloria in excelsis," from Weber's Mass in G. Edited by HENRY ALLON, D.D., and H. J. GAUNTLETT, Mus. Doc. 25. " Fac ut portem,” from Rossini's “Stabat Mater." Providing Tunes, Chants, and Anthems, by the best composers, 26. "Pietà, Signore," from the Oratorio “San Giovanni Battista," by Ancient and Modern. List of editions on application. Stradella, 27. Handel's Overture to " Julius Cæsar.” ANTHEMS, &c. Edited by HENRY 28. Serenade, by Franz Schubert. for Congregational Use. Crown 8vo, cloth, 35.; crown 8vo, roan, 30. Aria, from " Alcina," by Handel. 39. 6d. ; Cheap Edition, limp cloth, is. 4d. ; stiff cloth, is. 8d. 31. Aria, from “ Artaserse," by Leonardo Vinci. 1730. “Dr. Allon has done so much to promote an intelligent use of sacred 32. Cantata, by Alessandro Scarlatti. music in Divine worship that we gladly call attention to his last, and 33. Aria, by Ch. Gluck. 1769. as we think, most wise effort in the same direction. Having issued in 34. Aria, by Domenico Cimarosa. 1784. the Congregational Psalmist'a valuable series of hymn tunes, chants, 35. “Diedi il Coro," Aria by Handel. kyries, &c., he has now published in a little pocket volume a collection 36. Siciliana Long. of anthems intended for the use of the congregation, and not simply 37: Andante. for the choir. The pieces, as a rule, require, in singing, a degree of 38. Aria, by Padre Martini. 1763. musical culture somewhat greater than that required by chorales and [Continuing.) chants, but they are, on the whole, within the reach of persons pos Price Two Shillings each. sessing a practical acquaintance with sight-singing."- The Choir. Volume I., bound in cloth, containing 20 numbers of above, now ready. London: HODDER and STOUGHTON, 27, Paternoster Row; and London: B. WILLIAMS, 60, Paternoster Row. NoveLLO, Ewer and Co. REDUCED PRICE. Price 5s., paper covers; or 7s.6d., handsomely bound in scarlet cloth, gilt lettered, gilt bordered, and gilt edges. New Edition, complete in One Volume. It contains 78 Voluntaries, all of which, except 4, were composed expressly for the work by nearly all the most eminent English musicians. "Shows in an interesting manner the present state of musicianship ORIGINAL COMPOSITIONS. in England."-Musical Times. London : Novello, Ewer and Co. EDITED BY WILLIAM SPARK, Mus. Doc., Organist of the Town Hall, Leeds. the ORGAN. Composed by T. Mes PATTISON. The first Thirty-two Parts, each containing Twenty Pages, may These Voluntaries, of medium difficulty, with Pedal Obbligato, will now be had at the Reduced Price of 2s. 6d. each. Parts i to 40 may be found eminently useful for the introduction of Divine Service, both be had in Five Volumes, each containing Eight Parts, Cloth, 213, each. as regards character and length. Price 35. A List of Contents may be had of the Publishers. London : Novello, Ewer and Co. ORGAN MUSIC. of celebrated COMPOSITIONS from the works of Handel, every form of composition to meet his tastes. The editor's own con Mozart, HAYDN, MENDELSSOHN, MEYERBEER, &c., arranged from the tributions to the work, numbering about a dozen, afford continued Orchestral Scores for the Organ with pedal obbligato, six volumes, proof of the zeal and industry he throws into the journal, even at the oblong folio, £i jos. (published at £3 125.), or separately, at 5s.6d. per end of ten years' devoted labour. It is with him, therefore, such a volume. A list of the Contents sent on application. labour of love as must earn the honourable association of his name London: S. WHITE, 38, Booksellers Row, Strand, W.C. therewith in after years when the book merges into standard retirement. We look, however to years of usefulness meanwhile, and to New Organ Work, dedicated to W. T. Best, in oblong folio, with Pedal Obbligato. even a further increase of the high reputation it now enjoys, for, as has before been remarked in this paper, we recognise in the book just the USTAV HERMANN'S SIX ORIGINAL kind of work required by organ students of the present day. We PIECES. should add also that its general get-up is highly commendable. The No. 1. Quasi duetto. No. 4. Dolce far niente (Pastorale). type is neat and bold, and the quality of the paper excellent. Novello 2. Harvest March. 5. Concert March. and Co. generally do their work well, but they appear to have a special . 3. The Pilgrim's Return 7. Promenade Militaire (Fanpride in the presentability of Dr. Spark's popular and enduring (Fantasia). fare). Organist's Quarterly Journal.”. These pieces are rapidly rising in favour with good Organists, and The Work is being continued quarterly. Subscription, ros.6d., post- will be welcome to all who desire effective original works of moderate free, per annum. difficulty, uniting the resources of the modern with the purity of the old London: NovelLO, Ewer and Co., I, Berners Street, W., and school. Post-free, is. 6d. each; the set, 6s.; handsomely bound, 8s. 80 & 81, Queen Street, E.C. London: Ewald and Co., 16, Argyll Street, Regent Circus, W.
The Organist's Quarterly Journal
FIVE INTRODUCTORY VOLUNTARIES for
standard work and while its pages afford ample music to place before STONE,T.T., Classical Organist. A SELECTION Page 24
PROFESSIONAL NOTICES, MR: R. H. T. BYWATER (TENOR) is OPEN to ENGAGEMENTS for ORATORIOS and MISCELLA- MRS. ALFRED J. SUTTON (Soprano). NEOUS CONCERTS. Address, 36, St. Germain's Road, Forest Hill, London, S.E.; or The Retreat. St. Mark's Road, Wolverhampton. Is open to engagements for Concerts and Oratorios. 54, Duchess Road, Edgbaston, Birmingham. FAULKNER MISS FANNY CHATFIELD (Soprano). addressed to his new address, No. 6, Montagu Place, Montagu For Concerts, Oratorios, Dinners, Lessons, &c., 11, St. Ann's Road, Square, London, W. Brixton, ondon, S.W. R. H. WALMSLEY LITTLE, Mus. Bac., Oxon., MRS. WARREN (Soprano). Of Mr. C. Hallé's Concerts. For Oratorio or other Concerts, address, has removed to 77, Wickwood Terrace, Millbrook Road, Brixton, S.W. 150, Radnor Street, Hulme, Manchester. Lessons in Singing. References-C. Hallé, Esq., and E. Hecht, Esq. R. FREDERICK G. EDWARDS (Organist and Director of the Choir of Christ Church, Westminster Bridge MISS ADA MOORE (Soprano) and MISS MARIE Road) has REMOVED to 140, Stockwell Road, S.W. MOORE (Contralto). IGNORINA MAZZUCATO (holding certificate For Oratorios, Concerts, &c., address, 95, Bristol Street, Manchester; of the Royal Conservatoire, Milan) gives LESSONS in SINGor Mr. Stedman's Musical Agency, 12, Berners Street, London, W. ING, either at pupil's house or at her residence, 31, Westbourne Park MRS. DAGLISH (Soprano). Terrace, W. For Oratorios, Concerts, &c., address, Newark, Notts. Reference, S. Reay, Esq., Mus. Bac., Newark, Notts. LESSONS in Croydon and the neighbourhood. Schools attended. For references and terms, apply to Novello, Ewer and Co., MISS ROSA BAILEY (Mezzo-Soprano Vocalist). I, Berners Street, W. Of the Bath, Clifton, and Bristol Concerts. For Oratorios, Concerts, Soirées, &c., 15. Brigstocke Road, Bristol. Academy of Music, five years Music and Choir Master at Upping. MADAME PATTIE KEATE (Contralto). ham School. For PIANO and HARMONY LESSONS, address, 17, For Oratorios, Concerts, &c., address, 66, Fentiman Road, s.w., or Keppel St., Russell Square, W.C. Schools attended. Choirs conducted. City Arms Hotel, Bristol. J. W. HINTON, M.A., Mus. D., continues to MISS KERSHAW (Contralto). Orchestrate or Revise Compositions. Harmony or CounterFor Oratorios, Concerts, &c., Clarksfield Terrace, Lees, Manchester. point by post, if desired. Address, care of Messrs. Weekes and Co., i6, Hanover Street, W. MISS FLORENCE WYDFORD (Contralto). For Oratorios, Concerts, Soirées, Dinners, &c., address, 95, St. Paul's R. JOHN HILES, 51, Elsham Road, Kensing. Road, Lorrimore Square, S.E. bass, and Modulation," “ Hiles' Short Voluntaries," " Catechism for MR. GEORGE COX (Tenor). the Pianoforte Student," and several other important musical works), For Oratorios and Concerts, address, 44, Park Place, Bayswater, W. gives Lessons in Harmony, Counterpoint, &c., by post. MR. S. FORD (Tenor). R. E. W. TAYLOR, Mus. B., Oxon., F.C.O., For Oratorios, Concerts, &c., address, Mander Street, Wolverhampton. MR. VERNEY BINNS (Tenor). Examinations; also gives lessons in Harmony, &c., by post. Ebenezer Place, Stafford. Of the Schubert Society's Concerts, and Pupil of Sig. Ciro Pinsuti. For Oratorios, Concerts, &c., address, 65, King Cross Street, Halifax. 'HE ORGANIST of RIPON CATHEDRAL teaches HARMONY and COUNTERPOINT by Correspondence. MR. STEDMAN (Tenor). For terms, address, Edwin J. Crow, F.C.O., Mus. Bac., Cantab. 12, Berners Street, W. MUSICAL STUDENTS. - GENTLEMEN MR. H. PIERCEY (Tenor). For Oratorios, Concerts, &c., address, care of Truslove and O'Neill, of living a few miles from town, can be received into a private family, 36, Union Passage, Birmingham. with board and residence, upon moderate terms.--Address, F. W., 87, Parrock Street, Gravesend. MR. GREENHILL (Tenor). 7, Park Place, Regent's Park. (R. S. CORBETT, Mus. Bac., Cantab., F.C.O., MR. THOS. NETTLESHIP (Baritone). Musical Examinations. Twenty-six pupils have passed various For Oratorios, Concerts, &c., address, 44, Holland Road, Brixton, S.W. musical examinations this year. Address, Bridgnorth, Salop. MR. HENRY POPE (Bass).R. CHARLES TREW (Professor at the London 16, Holtham Road, Abbey Road, N.W. Academy of Music) begs to announce that he holds CLASSES at his residence, for ladies and gentlemen wishing to study Harmony. MR. D. SUTTON SHEPLEY (Bass). Counterpoint, and Composition. Fee, One Guinca per quarter. 35, For Concerts, Oratorios, &c., apply 1, Hope Street, Halifax, Yorkshire. Great Portland Street, W. MR. W. MORTON (Bass). on the ORGAN, the PIANO, and also in SINGING. Address, For Oratorios, Concerts, &c., 3, St. Helen's Terrace, Hunslet, Leeds. 18, Aldersgate Street, E.C. MR. RICKARD (Bass). R. ALLISON instructed by post Candidates who Of the Schubert Society's Concerts, and Pupil of Signor Ciro Pinsuti. passed Mus. Bac., Oxon. (1878); Mus. Bac., Cantab.; F.C.O. For Oratorios and Concerts, address, King Cross, Halifax, Yorkshire. (1879) and T.C.L. (1879) examinations. 206, Marylebone Road, London. MR. THORNTON WOOD (Bass). HURCH OF ENGLAND HIGH SCHOOL for of the Royal Albert Hall Concerts. For Oratorios, Concerts, &c., GIRLS (Limited), 6, Upper Baker Street, Regent's Park, address, 2, Hallfield Place, Bradford, Yorkshire. MUSIC SCHOOL: Head Mistress, Miss Macirone, late Professor of FOR ORATORIO OR OTHER CONCERTS, &c., Royal Academy of Music. Fees, two or three guineas a term. Pupils MADAME CROSS LAVERS, SCHOLARSHIPS to be competed for by pupils of not less than one Soprano; year's standing in the Music School will be awarded by Professor Address, 7, Mornington Crescent, N.W. Macfarren, of which due notice will be given in the papers. MR. HENRY CROSS, FRANCIS J. HOLLAND, Chairman. Trinity Term begins Friday, May 2. Bass. Address, St. Andrew's, Wells Street, W.; or 7, Mornington Crescent. MR. W. F. ILLINGWORTH (Solo Pianist). by post in HARMONY and COUNTERPOINT. References from present pupils if desired. Terms very moderate. Address, From the Conservatoire, Leipsic. Magister, Musical Times Office, I, Berners Street, London, W. Address, 33, St. James's Road, Halifax, Yorkshire. HERR W. SCHMIDT (Solo Pianist). RGAN PRACTICE or INSTRUCTION.–Three Manuals, each of 56 notes, pedal organ, 30 notes, 18 effective From the Conservatoire, Cologne, For Concerts, address, W. S., Messrs. Robert Cocks and Co., 6, New stops, and blown by the Automatic Hydraulic Engine. Terms, which are strictly inclusive, on application at Blennerhasset's Organ School Burlington Street, London, W. and Studio, ia, Vernon Street, Pentonville, W.C. Sole Agent 'for the HYDRAULIC ORGAN BLOWER. The RS. BUCKNALL-EYRE, A.R.A.M., begs to M intimate to her Pupils and Friends that her address in future ticulars, and estimates as above, free. Inspection invited. cheapest, simplest, best, and most effective ever invented. Full paswill be 41, Brook Street, Grosvenor Square, W. At home on Saturday afternoons, May 10 and 17. R. with 2 manuals, 16 stops, and full compass of bourdon pedals. Street, Grosvenor Square, W. Page 25
THE ONLY COMPLETE EDITION.
NEW FOREIGN PUBLICATIONS.
MENDELSSOHN SE FORUR: BART SONGS for
s. d. BACH, J. S.-Suite in D, arranged for Piano solo by R. Klein ad lib. accompaniment for the Pianoforte by BerthoLD TOURS. michel In one volume, Cloth, gilt, price 55.; or in two parts, in Paper covers, BEETHOVEN, L. V.-Contra-Tänze, arranged for Piano solo 28. each; in Paper boards, 28. 6d. each. by Isidor Seiss 3 0 BÖDECKER. L.-Three Short Sonatas for Piano. Op. II. Nos. I and 2 each 30 SOPRANO, ALTO, TENOR, and BASS, with ad lib. accomNo. 3 2 opaniment for the Pianoforte. Price, in Paper covers, 2s.; in Paper BRAHMS, JOH.-Studies for Piano. boards, 28. 6d. No. 3. Presto, hy J. S. Bach. (First arrangement).. No. 4. Presto, by ). S. Bach. (Second arrangement) No. 5. Chaconne, by J. S. Bach. (For the left hand alone)... 4 SOPRANO, ALTO, TENOR, and BASS, without accompaniBRUCH, MAX.-Violin Concerto. Op. 26. Arranged as Piano ment. Price, in Paper covers, Is. ; in Paper boards, is. 60.; or duet twelve numbers divided as follows, price Three Halfpence each. CONRADI, A.--Easy Trio for Piano, Violin, and Violoncello. Op. 49 Op. 59. GASSMANN, A.-Aux Bords de la Mer. A brilliant and 1. In the woods 13. The woods ... characteristic piece for Piano. Op. 14 ... 2. O fly with me 14. Early Spring 4 0 GIESE, TH.-Frohe Laune (Bonne Humeur), for Piano 3. One night there came 15. Departure (О hills, O vales) GOLDMARK, C.-Quintett, for two Violins, Viola, Violoncello, 4. Over the grave 16. The nightingale and Piano. Op. 30... 5. May song 17. The vale of rest ... 40 HANDEL, G. F. -Recitative and Air for Soprano, with Flute 6. On the sea ... 18. Hunting song obbligato, from “L'Allegro," with an accompaniment for Op. 48. Piano by Rob. Franz 5 0 7. The first day of Spring HAMERIK, A.-Jüdische, Trilogie, for Orchestra. Full score 14 0 8. The primrose 19. For the New Year HUBER, HANS. – Römischer Carneval. Humoreske for full 9. The celebration of Spring 20. The happy lover Orchestra. Full score 10. The lark's song 21. The shepherd's song Orchestral parts II. Morning Prayer (The 22. The wood minstrels JUNGMANN, A.-Beim Fensterl'n. Sérénade montagnarde, deep repose of night) 23. The victors' return for Piano. Op. 340. No. I 12. Autumn song 1 24. The wandering minstrel... Abschied (l'Adieu), for Piano. Op. 340. No. 2 Op. 100. Matrosengesang, for Piano, Op. 340. No.3 25. Remembrance Sängerfahrt, for Piano. Op. 340. No. 4 27. Spring song } 26. Praise of Spring 28. In the forest Emmy, for Piano. Op. 340. No. 5 Herzensschläge, for Piano. Op. 340. No. 6... Mein liebes Heimathland, for Piano. Op: 342. TONIC SOL-FA EDITION. KAFKA, JOH.--Nachtigallen Maigesang. Melodic Piece for Piano. Op. 182 3 Nächtliche Wacht. Nocturno for Piano. Op. 183... (S.A.T.B), complete. Edited and translated into the Tonic 3 Edelweiss-Strausschen. Impromptu for Piano. Op. 184... Sol-fa Notation. By W. G. McNAUGHT Price Is., or 21 numbers at 3 0 KIRCHNER, TH.-Dorfgeschichten. Fourteen Pieces for Id. each. Piano. Op. 39. Books I and 2 each 7 0 Serenade for Piano, Violin, and Violoncello ENDELSSOHN'S FOUR-PART SONGS for KLEINMICHEL, R.-Valse Caprice for Piano. Op. 39 3 MEN'S VOICES, with ad lib. Accompaniment for the PianoTwo Melodies for Piano. Op. 40 forte. Price, in Paper covers, 28.; in Paper boards, 2s. 6d; or twenty. 3 0 Polonaise for Piano. Op. 41 one numbers, price Three Haispence each. Six Sonatinas for Piano duet, quite easy, without octaves. Op. 50. Op. 76. Op. 43. Nos. 1-6 each, from 3 0 to 5 29. Turkish drinking song. 39. Song of the worthy man. Silhouetten. Twelve easy Pieces for Piano. Op. 44. 30. The hunter's farewell. 40. The Rhine. Books I and 2 ... each 6 0 LEITERT, GEO.-Romanze for Piano. Op. 44... 31. Summer song. 41. 'Tis the song whose spirit. 32. On the water. 42. Students' parting song. LISZT, F.-Transcriptions for Piano, from E. Lassen's Music 33. Love and wine. to Hebbel's Nibelungen and Goethe's Faust. Book I. Op. 120. 5 0 34. Wanderer's song. Book II. 4 0 43. A festal greeting. Book III. 7 0 44. Gipsy song: Op. 75. LÖW, J.-Im Rosenthal. Idylle for Piano. Op. 346 45. Hunting song (Waken, lords. --- Im Circus. Polka Caprice for Piano. Op. 351 3 46. Land of beauty. 35. The merry wayfarer, MOZART, W. A.-Twenty-one Andantes from his Concertos, 36. Serenade. 47. The recompense. arranged for Piano and Harmonium, by D. L. Besozzi 37. Eastern drinking song. 48. Night song. each 5 o to 7 o 38. Farewell meeting. 49. The foundation-day festival. Andante, from the Sonata for two Pianos, arranged for LONDON: NOVELLO, EWER AND CO. Piano and Harmonium, by D. L. Besozzi 5 MÜLLER-BERGHAUS, C.--First Quartett for two Violins, Viola, and Violoncello. Op. II Novello, Ewer and Co.'s only Complete and Uniform Edition of Second Quartett for two Violins, Viola, and Violoncello. Op. 12 SONGS. With the Original Words. Octavo, One Shilling: RAFF, J.-Valse brillante for Piano duet. Op. 156 6 or cloth, gilt edges, 2s. RUBINSTEIN, A.-Caprice russe, for Piano. Op. 102... Sérénade russe, for Piano 3 SAINT-SAENS, C.-Second Symphony in a minor. "Op. 35. Full score SONGS. German and English Words. Octavo. Paper Orchestral parts covers, 28.; cloth, gilt edges, 4s. net 25 0 SCHOLZ, B.- Tanz im Lager, from his opera Zicten 'sche Husaren." Piano duet. Op. 30 ... ENDELSSOHN'S THIRTEEN TWO-PART 4 0 SCHUMACHER, P.-Symphony (Serenade), D minor." Piano SONGS. With the Original Words. Folio Edition, complete, duet. Op. 8 16 28. 6d.; or singly, is. 6d. each, net. SCHUMANN, ROB. -"“ Manfred."Op. 15: Fragments 1. I would that my love. 8. Can I light-hearted be? d'Orchestre. Full score 2. The passage bird. 9. Evening song, Orchestral parts 3. Greeting 10. Zuleika and Hassan. SPINDLER, FR.-Spinnrädchen. Op. 164. For orchestra. 4. Autumn song. II. The Sabbath morn. Parts 3 5. O wert thou in the cauld blast. 12. The harvest field. WEBER, F.-Easy Trio in G major, for Piano, Violin, and 6. The maybells and the flowers. 13. Song from Ruy Blas. Violoncello. Op. 13 ... 7 7. My bark is bounding. WOLFRUM, P.-Sonate in B minor, for Organ. Op. I 5 o LONDON: NOVELLO, EWER AND CO. LONDON: NOVELLO, EWER AND CO. Just published. Price ros.6d. The only complete Edition. . Octavo, paper cover, each 48.; cloth, gilt edges, each 6s. PRELUDE, MAZURKA, SCHERZO, AND MARCH London : NOVELLO, Ewer and Co. FOR PIANOFORTE, Just published. COMPOSED BY AGNES ZIMMERMANN. Vol. V. Octavo. Paper cover, 4s. ; cloth gilt, 6s. CONTENTS. Op. 22. Three Preludes. Op. 104 A. Album Blatt. Op. 117. Or singly: Studies. Op. 104 B. Capriccio. Op. 118. No. 1. Prelude 3s. | No. 3. Scherzo 43. Sonata. Op. 105. Perpetuum Mobile. Op. 119. 2. Mazurka 38. 4. March 45. London: NOVELLO, EWER and Co. London : NOVELLO, Ewer and Co. Page 26
Glancing at the foregoing examples, a musician sentimental style. In their minor and chromatic might say, “ It is simply a question of transposition.” forms they have a poetically vague and undecided It is certainly a question of transposition, but by but iridescent effect; something similar to what interval progression, and not as he understands the colourists call “ pavonian” or “shot colours." The term transposition; that is, by shift only Ex. 2 mixture of modes we get by the employment of the represents nominally—but to avoid complications, not“ modal" or modic sounds 3 and 6 are seen in this completely—the progressions in Ex. 1 in relation to diagram representing a vertical scale of tetrachords. one tonic ch. Although Ex. 2 changes its tonic relation at bar 4 the principle is the same, and it Lydian | Dorian | represents literally and absolutely what occurs in Ex. I. 5 I 7 3 2 (10:9) Ex. 2 shows the principle of the movable Doh by a Mixo- Eolian kind of reversed method. Ex. I shows the principle Lydian of the fixed Doh, the change of pitch, the “pictorial In some respects, imitating Westphal, we can classify effect” of the common notation. Both principles are this particular system of " superposed modes " as equally indispensable in music and musical theory. Dorico-Mixolydian, or Dorico-Eolian, or simply The homophonic or horizontal scale gives different Eolian. As specific modes they may be called Mixos results to the vertical scales or“ harmony modes." on this principle * :In bar 3, Ex. 1, the melodic mode is “ functional Lydian Mixo-Lydian minor-major"—that is, the inverted mode of the third or Dorian,* with the leading note of the major Lydian system 5 7 2 4 6 1 3 scale. We see here very plainly how the chord of the “German sixth” is produced by no harmony 1 | Mixo.Dorian | method, but by the natural movement of the melody Dorian system 7 4 6 I 3 5 or form of scale. Helmholtz and others before him Dorian have long since pointed out, but only en passant and not systematically, how the chords of the extreme where there is no change of root there is no modulation. There is a rule quoted by Dr. Macfarren that sixth are a relic of the ancient homophonic modes. When rightly applied the rule is important, though In the bar in question there is no doubt about the last triad, which is that of P. In relation to that curiously ignored by the best writers, who never tonic, it is equally certain that the preceding chord seem safe in the use of chromatics if the problem is at all doubtful. is 65, 1, 3, 4, as given in the numbering over Example 2. In Example 1, bar 3, the By seems to be only a We may quarrel over the root of the second of two and it would be so if there were no change of root in passing or melodic alteration of the preceding chord; consecutive chords, but that once fixed the numbering the next. The Ba as 6 of Db the sub-dominant of the preceding chord will be the same whatever may of Ab is what the Sol-faists call le. In most technical, be its root. A change of root in one or other chord and in all the scientific theories that I know of, alters the order of progression, and therefore the chords are still treated either as purely abstract harmony mode ; the order 4 gives Lydian ; 2 gives combinations or without any thoroughgoing system Dorian ; 7, Phrygian; and 5, Mixolydian. These numbers are those of the dominant chord (5, 7, 2, 4) farren, who-if I may be permitted to pay him a of tonal or modal relation. For instance, Dr. Macin reversed order. If we proceed in the double high compliment - rivals Fétis intuitive octave of thirds, thus theorist, says the chord determines the resolution. In the system here suggested the general rule is just 5 7 4 6 1 3 the reverse; the resolution determines the chord. Hence Lydian Mixo-Lydian the Bly in the example is 4 (fe)-a diezeugtic semisystem system tone in relation to F, the following root. the dominants 6, 1, 3 represent superposed modes. In deference to the correspondent who throws The 4, or sub-dominant, is common to both systems “perfect fifths” and “beats' at us, as if we had as an added sound in the Lydian and a nominal never heard of them before, we make the root of the dominant in the Mixolydian system. The progres German Sixth A? (or D5 in Ex. 1, bar 3); and it is sions 6, 1, 3, or rather 6 and 3-the order inot so as a question of harmony. The 4 is an exigency representing a progression, as explained in the next of the melody or scale. In common musical phraseoparagraph-are used in modern music in passages logy, founded on the shift from one horizontal scale such as Dr. Macfarren in his Lectures alludes to in to another, Ex. I is in Do modulating to Eb, and Rossini's trio in “William Tell” as “Gallicisms.” concluding in Ch. The definition can only be They are, however, the staple of the modern effects clumsily modified by allusions to the major and used by Mendelssohn in some of his overtures, by minor modes of ch unless we have more modes than Wagner in the Grail music of the Lohengrin, and two. According to received methods, of which there appear in most music of the “tone-picture” and are only two worth classifying, the old system of figured bass counting from a temporary bass note, and a little • Helmholtz, who on the subject of Greek music represents the newer systeni of figured bass counting from a fundaopinions of many authors he has consulted, gives two examples of the Derian cadence in harmony. In his second example, from Handel's * In its adaptation to modern notions, Greek music naturally divides! "Samson” (page 476, English edition), he evidently intends the Dorian itself into system and sub-system Hypo and Hyper; MODB hypo and cadence to be the last one in the example--minor triad of At to triad hyper, and octave piagal and authentic. The octaves are of the of Ef-order of progression, 5. Westphal would assuredly have same ratio as the normal scale, whatever it is, tone or mode. Congiven the same nomenclature. In the system here proposed the pro- sequently the Eolian octave in the Lydian or Dorian system, whichgression 5 (subdominant to tonic, or Church plagal cadence) is Mixo- ever we take as normal, retains the same ratios. Otherwise it is a lydian. Mr. Ellis, the translator of Helmholtz, points out in a note question of change of modal system, not of the octave. In equal temthe particular progression in the example he considers to be the perament or in the Pythagorean scale, only seven modes are possible; Dorian. The order of progression is 2, and agrees so far with the and they are simply seven octaves of one system. The Pythagorean system. Dr. Marx gives different names to the same progressions, system was evidently a practical device for musicians; a device like and appears to be no authority on the subject, and is evidently guided our equal temperament. Thus we find half a dozen different names solely by the homophonic modes in the beautiful examples he gives. given to the same octave, such as octave A-A, Hypo-Dorian I generally observe in books where the examples are most beautiful (Ptolemy), Dorian (some modern commentators), Hyper-Dorian, that theory is scarce. Mr. Ellis, by the way, corrects the term “mode Eolian, Locrian, Syntono-Lydian (Westphal), &c., &c. Unless these of the sixth," used by Helmholtz, and calls it the mode of the “minor various titles each represent theoretically a different tetrachordal shift sixth.” The corrected form, I think, is not much better than the and change of ratio, the whole thing is ludicrous. To exact "just original. The true expression is mode of the third, direct or inverted intonation” in practically adapting different ratios to our modern The same of the rest, 1, 2, 3, 4, 5, 6, 7.
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