« ElőzőTovább »
complished Mile. Gnerabella, and the less experienced though improving Mile. Georgi.
The splendid weather on the day of the last concert — a " May day" in the brightest sense, enhanced the attractions of the programme, solid and various as they undoubtedly were, and made the now comfortable and commodious music room of the Crystal Palace seem the most agreeable resort imaginable. Tho acoustic conditions of this ingeniously contrived structure are at present unexceptionable; and only by those nearest to the public entrance, which, when the attendance is unusually large, as was the case on the present instance, is either partially choked up or presents an almost unintermittent stream of in-goers and outgoers, is any sort of inconvenience experienced. Elsewhere every note, whether from singer or from player, can be plainly and favourably distinguished. The orchestra, which has never ceased to make progress since Herr Manns undertook the direction, is now, for its numerical strength, equal to almost any body of instrumental executants that could be cited. Its performances are alike vigorous aud delicate—model-performances, to do them justice, in their way. With the spirit of research for which Herr Mann's is famous, ho had, for the occasion under notice, taken down from the shelves of his well-stored library a symphony probably unknown except to some half-dozen "music bookworms" in Great Britain; but not the less on that account a work of singular interest and merit. Of all the composers of whom France can boast the most earnest, industrious, and ambitious was Muhul, for whom Napoleon I. might have done so much, and did so little. Mehul's domain, it is true, was the opera, nevertheless, the French Gluck had aspirations of which the German Gluck was innocent. He longed to be a Mozart in the concert-room, just as he was a Gluck on the stage, and thus he composed symphonies for the orchestra and instrumental works of almost every kind. Of the six symphonies which he has left, his own compatriots know little or nothing. The one in G minor (conventionally pronounced the best, because the other five have never been essayed) is now and then heard of at the Gewandhaus concerts in Leipsic, rarely, if, indeed, ever, at those of the Conservatoite in Paris. Herr Manns, however,—a cosmopolite in art, though German by birth and education,
-is alive to the deserts of that which takes root under other climes. He has " revived " Mehul's symphony in G minor as he has "revived" many other undeservedly forgotten pieces; and it'is to be hoped that, emboldened by the real interest with which it was listened to, he may be induced, not only to repeat this particular work, but to try another, sooner or later, from the same pen.
The pianoforte solo—Weber's brilliant and superb Concert-stuck, always admired by musicians, and, when rendered in the proper spirit by a skilful performer, just as acceptable to the public at large—was received with the accustomed favour, the pianist, Miss Arabella Goddard (who stands high in the good graces of the Crystal Palace audience), being recalled at the conclusion. The performance of Miss Goddard was magnificent throughout, and accompaniments were given to perfection by the band. Miss Goddard's second piece—Thalberg's fantasia on the Serenade and Minuet from Don Giovanni—was equally successful, and in deference to the unanimous wish of the audience, the young and gifted pianist returned to the orchestra and played another fantasia (" Home, sweet Home ") by the same popular writer. The vocal music comprised "Vcdrai carino," and an air from Mr. Alfred Melon's Victorinc—in the first of which a young and seemingly nervous debutante (Mad. Gordon) produced a favourable impression, the last being at present beyond her means. Mr. Suchct Champion also sang a graceful romance by Herr Blumcnthnl, and the charming ballad from Mr. Mucfarren's Robin Hood, "My own my guiding star —both with applause. The dashing overture to Rossini's first "grand" French opera—the maturer version of his Maometto Secondo—wound up the concert (which afforded universal satisfaction) with brilliant effect.
At the concert to-day, Herr Joachim is to play Mendelssohn's concerto, and the first symphony (in C minor) of the same composer will be given.
The Wandbrino Minstrels.—The concert in aid of the Brompton Hospital took place, and moro than came up to what had been anticipated. The audience, one of the most brilliant ever assembled in St. James's Hall, was also one of the most indulgent—liberal of applause where the effort to please was manifest, and ultraliberal where, as more than once occurred, earnest ^endeavour was rewarded by success. "In short, the performances were enjoyed from first to last, and in frequent instances appreciated with such downright heartiness as must have greatly flattered the amateur singers and players who were induced to make a public exhibition of their talents on behalf of a very useful and commendable charity. When this concert was originally projected it was intended that the proceeds should be handed over to the fund for the relief of the families of those who got
fered in the Hartley Colliery—which may account for a conspicuous feature in the programme, viz.—an ode upon that lamentable calamity, written by Mr. Shirley Brooks, and set to music by the Hon. Seymour Egei ton. The poem is one of great literary power, full of bright fancy, and remarkable for the flow no less than the finish of its numbers; worthy, in short, of its distinguished author, who has more true poetry in him than the world has yet acknowledged. The music is divided into five parts, respectively fitted to each change of rhythm adopted by the poet,—a recitative, accompanied (Mr. Underdown); a part song for five voices (chorus); a recitative for tenor (Herr Rumpel)l a ballad for tenor; and a final chorus. The striking numbers are the five-part song ("When the laurel wreath is woven"), and —notwithstanding the close resemblance of one particular passage to a prominent theme iu Weber'g overture, The Ruler of the Spirits—the final chorus. The execution was, for the most part, highly creditable; and the audience not only encored the part-song, but unanimously recalled the composer at the termination of his work. The ode was preceded by Beethoven's overture to JEgmont; the first tenor air and a chorus ("Yet doth the Lord see it not") from Elijah (solo singer llcrr Kumpcly; and the Barcarole from Professor Sterndale Bennett's fourth pianoforte concerto—a beautiful composition, as all amateurs are aware, and played to perfection, as all amateurs will believe, when it is stated that Mad. Angelina Goetz was the player. The second part of the concert began with the overture to Guillaume Tell (encored) and ended with the Overture to Oberon—both orchestral masterpieces offering difficulties to players of long professional experience, and therefore doubly trying to amateurs, with whom the practice of music is an occasional means of relaxation. The Guillaume Tell overture, moreover, was immediately followed by the elaborate introduction to that magnificent opera, for chorus and solo voices (solos by Mr. Tom Hohler, Dr. Davies, Mr. Frank Skcy, and Mr. Underdown —two tenors and two basses), which together with the adagio from Mendelssohn's Symphony in A minor (" Scotch "), also introduced in the second part of the programme, gave further proofs that in some instances ambition slightly outweighed discretion. Horsley's glee "By Celia's arbour )" Mr. J. L. Halton's arrangement of " My love is like the red red rose," as a part-song for chorus (extremely well given); a cleverly-written solo for cornet-a-pistons (with accompaniments for the orchestra), the composition of Mr. Frederick Clay, performed by Mr. A. B. M it ford; and two vocal solos — an aria from Donizetti's Dom Sebastiano and Gordigiani's "Un Ricordo " — both sung with remarkable taste, the first (encored) by Mr. Tom Hohler, the last (and, though not encored, the best) by a gentleman whose name we could not learn, * completed the programme. The orchestra, consisting of upwards of seventy performers (thirty from the ranks of the "Wandering Minstrels ") was conducted, with the nerve and decision of an old practitioner, by the Hon. Seymour Egerton. The chorus numbered something short of 200, and in each department — soprano, alto, tenor, and bass — voices of rare strength and freshness were detected. Singers and players were exclusively amateurs.
————- ~ «
Dramatic Equestrian And Musical Association.—The Anniversary festival of this association was held at Willis's Rooms. At the first blush it might appear strange that an occasion to the rest of the world bearing somewhat of a solemn and penitential character should be selected; but a moment's reflection will show that ordinary rules do not apply to the theatrical profession. In this respect resembling the gravest of callings, they are busiest when mankind at large is making holyday, and it is a fact entitled to be set against the accusations charged upon the votaries of the stage, that of their limited vacation they are willing to devote one night to the sacred cause of charity. Had the celebration taken place one evening earlier, it would have fallen on the concluding night of the Carnival, with the mysterious rites of which the Germans, under the name of Faschtngs, associate the origin of their dramatic literature. Be the merits of the question what they may, one fact is beyond dispute, that the members of the profession mustered strongly in support of an association which seeks to provide a sick fund for the relief of dramatic, equestrian, and musical performers. Conventional usage being laid aside, ladies were invited to join in the proceedings, and Mrs. Stirling and Miss Amy Sedgwick occupied seats to the right and left of the chairman, Sir Charles Taylor. The following members of the corps dramatique were likewise among those present:—Miss Fanny Stirling, Miss Rosina Wright, Miss Charlotte Saunders, Miss Sarah Booth, Miss Clara Fisher. Mr. B. Webster, Mr. P. Bedford and Mrs. Bedford, Mr. and Mrs. Toole, Mr. and Mrs. Swanborough, Miss Button, &c An excellent dinner was provided, at
* Mr. Underdown.
the conclusion of which, grace having been said and the usual loyal toasts given, the chairman, in proposing the toast of the evening, said that of all the charities to be found in this wonderful city of London there was none in which the money was applied more directly to the object in view than that which he had the honour to advocate. It was especially deserving of support, because those who were relieved, instead of becoming completely broken up, were often enabled by its means to work on prosperously to the end of their days. During the five years over which the accounts extended, it had relieved 2,575 days of sickness, it had met 155 cases of distress, and had paid for 256 journeys to places where employment had been provided for necessitous applicants. Its beneficial operation extended to all, whether it were the gentleman who played Hamlet or Macbeth, the humbler performer who went on with a banner at M. a night, or the carpenter who sustained an injury from a "vampire trap." For a payment of 12s. 6d. a year, or 3d. a week, a sum of 5s. weekly was insured in case of sickness, or 10/. to cover funeral expenses. Through the kind generosity of patrons they were enabled to give 5s. where a benefit society could, at the most, prudently and properly offer 2s. Mr. B. Webster, whose name had been coup led with the toast, in responding, assured the company that he felt an interest in the welfare of the association deeper than many persons could possibly imagine. He had known the want of a bit of bread; he had wandered by the seashore, glad to get the smallest fragment the waters might cast up; he had suffered and worked on industriously and honourably in a career which had at length led him up1 to his present position. Mr. Webster warmly eulogized the association, and concluded by proposing "The Health of the Secretary, Mr. Anson." In the course of his remarks Mr. Anson stated, that owing to the prevalence of sickness, the cases relieved during the last six months were almost as numerous as in the whole of any previous year. Assistance had been afforded in 31 cases, and 72 journeys had been paid for. Mr. Webster proposed the chairman's health, who gave in return that of Mr. Roberts, coupling his name with the toast of "The Fine Arts." Mr. Thomas Taylor then introduced a toast which he said was always welcome, but was that night attended with peculiar interest — " The Ladies." Mrs. Stirling, on behalf of her professional sisters, thanked the Dramatic Association for the change in the order of their dining, and in a short speech, delivered with feeling and great ease of manner, touched on the evils from which the association was calculated to rescue poor actresses. The company shortly afterwards adjourned to the bnll-room, where the festivities were prolonged to an advanced hour. Under the leadership of Mr. Genge, several well-known musical artists contributed to the success of the festival; and Mr. Toole, as usual, voluntered his services as toastmaster. Upwards of 170/. was collected in the course of the evening.
Drury Lane Theatre. — On Thursday night Mr. Charles Kean took his benefit, and played the character of Othello. Much curiosity was excited on the occasion, for thirteen years have elapsed since he last sustained the part in London, and to a large portion of the present generation of playgoers his interpretation was completely a novelty. His Othello also derives a sort of historical interest from the circumstance that it is based in a great measure on his father's conception, and therefore preserves a tradition which would otherwise be entirely lost for every one under the age of forty. We reserve for another opportunity a detailed notice of his peculiarities, and now simply record that Mr. Kean played with all the determination of an artist who has resolved to produce an extraordinary effect; that in the third act he astonished his audience by his vigour and his pathos; and that, altogether, he conveyed an impression that the greatness of another period was revived with singular freshness. After the fall of the curtain he was twice called, with an enthusiasm that could not be mistaken.
Hatharket Theatre.— A charming little domestic drama, pointed with a very wholesome moral, has been written by Mr. Westland Marston, and produced at the Haymarkct, with the title of The Wife's Portrait. Though it is in two acts and involves several changes of scene, it may fairly be ranked among those slight pieces in which the stage becomes an animated cabinet picture: but the sentiments it embodies are so true, the dialogue is so nicely written, and the characters, without being exaggerated, are sketched with so distinct an outline, that the mind of a poet and an artist is discernible throughout. David Lindsay (Mr. Howe), described in the bill as a "classical tutor and a man of letters," is one of those perverse gentlemen who insist on writing epics that no bookseller will publish, and classical tragedies that no manager will produce. He consoles himself for the neglect with which he is treated by the trite reflection that the slights of contemporaries will be compensated by the plaudits of posterity; but his wife Clara (Mrs. Charles Young), who has been brought up in greater luxury than himself, and finds that their income scarcely suffices to cover the weekly bills, cannot
help repining at what she deems a waste of available talent. Under these circumstances, a 'mutual estrangement arises; the lady regarding the gentleman as a selfish being, who, to gratify his own vanity, neglects the interests which should be nearest to his heart; while the gentleman looks upon the lady as a prosaic creature, wholly unable to appreciate his sublime aspirations. Indeed, so completely does he act on this conviction that he scarcely deigns to communicate any of his plans to Clara, but generally confines his discourse to his sister, Miss Lindsay (Mrs. Wilkins), whose overflowing good nature alone prevents her, from becoming an object of jealousy. Even the thought of parting is entertained, when a letter arrives from Clara's wealthy relatives in Scotland, who offer to undertake the care of her little girl. The offer is gladly accepted, and David, who has the charge of taking the child to the north, sets off at once, still betraying the selfish ideality of his nature, by evincing the greatest anxiety about a worthies* tragedy, while he will scarcely bid his wife a respectable good-bye. In the first act, though the wife is unquestionably in the right, her sound views are expressed with such repelling sulkiness that, in spite of one's better convictions, one is inclined to sympathize with the husband. But in the second act the intrinsically affectionate nature of Clara is fully exhibited. David's absence has awakened all her better feelings; she is anxious to make everything comfortable against his return, and happy in the anticipated pleasure of communicating to him the good news that a London manager will produce the tragedy, thanks to the cuts that have been made, and the "effects " t*at have been brought in by David's very practical friend Dexter (Mr. W. Farren). However, the proper hour of return passes away, no David is to be seen; the pleasures of anxiety are exchanged for its pains, which in turn give way to despair on the arrival of an evening paper with the telegraphic information that the vessel in which David was to perform part of his journey has been destroyed by collision with another of larger size, and that his name is not on the list of the saved. The tortures endured by Clara nearly turn her brain, but they do not last long. David not only comes home safe, but his heart has been softened by his visit to Scotland, where he has been reminded how Clara left her wealthy relatives to follow his uncertain fortunes, and whence he brings a portrait representing her in early youth. The loving couple, convinced that on both sides the heart is all right, have now only to rush into each other's arms and vow, he to be more reasonable, she to be less cross, for the future. In bringing this simple tale into dramatic shape, Mr. Marston has not confined the action to the place of Lindsay's residence in London, but, with a singular boldness, has introduced the scene showing him with his wife's relatives in Scotland, and when he departs we behold all their terrors as they witness, from their balcony, the collision of the two steamers. At the present day, when, under French influence, we almost lay it down as a principle that scenes should never change, save from absolute necessity, within the limits of a single act, this sudden leap from Scotland to London, in the second act of a short piece, seems at first sight strangely inartificial, especially as the moral idea could be completely carried out within the precincts of London lodgings. But the use for which Mr. Marston employs this singularity more than answers any technical objection that may be raised against it. By becoming almost spectators of the collision, without seeing the rescue of David, the audience share the harrowing anxieties of Clara to an extent which would not have been attained had the telegram been their only source of information. Nevertheless, we would advise the novice not to take for a precedent the violent expedient so skilfully employed by Mr. Marston. Though this is an age of railways, our dramatic locomotion is less rapid than in the days of Elizabeth. The character of Clara Lindsay is admirably played by Mrs. Charles Young, whose overwhelming agony in the second act comes into wondrous contrast with the chilly sulkiness of the first. It is a real, earnest abandonment to. the violent emotion of the moment. David Lindsay is a less thankful personage. His sufferings are rather of the chronic than the acute kind, and Mr. Howe is not to be blamed if he cannot makeaneglected genius the cause of a strong excitement. Most amusing, on the other hand, is Mr. Dexter, the practical literary man, who is everything that David is not, and, while he has not a tithe of his friend's genius, gains an ample income by accommodating himself to the taste of the times. At the same time, his head is so little turned by prosperity that he pays homage to the superior genius of his less practical friend, and is always ready to help him with his counsel, even at the risk of giving offence. We know not whether most to commend—the delicacy and the geniality with which this part is drawn by Mr. Marston, or the hearty spirit with which it is played by Mr. W. Farren. Mrs. Wilkins is good humour itself as Miss Lindsay, though towards the end she plunges but timidly into the abyss of grief. The "mise en seine" of this piece is in every respect complete, and the sudden change of scene to Scotland allows the introduction of a very beautiful view of the banks of the Clyde.
JUST PUBLISHED, PRICE 2s. M.,
Bertha had a happy heart,
Always careless, always free; Cupid misVd her with his dart,
As he hid behind the tree. And she, laughing at his art,
Clapped her little hands with glee. Bertha then was very young.
Always laughing, always gay— Joyous were the songs she sung,
As she plucked the flowers of May— Nor could ardent lover's tongue
Steal her little heart away.
Bertha, she is older now.
Always thoughtful, always sad— Shades of sorrow on her brow.
That her girlhood never had. Could a lover tell you how,
Love drove little Bertha mad? Bertha laugheth now no more,
Always quiet, always wild; All forgot her songs of yore.
That her rosy hours beguiled— Is that Allan at the door?
Surely little Bertha smiled.
London: DUNCAN DAVIDSON & CO., 244 Regent Street, W. I NAVIGANTI (The Mariners).
BY ALBERTO RANDEGGER.
"VIEW TRIO, for Soprano, Tenor, and Bass, Price 4s.
JLII (With English and Italian Words.)
"In the composition of this unaffected and graceful trio (which is inscribed to those excellent professors of the vocal art, Sig. and Mad. Ferrari), Mr. Randegger has shown not only the melodic gift, and the knowledge of how to write effectively for voices, but a thorough proficiency in the art of combination, and, as it were, a dramatic spirit, which might win favour for an opera from his pen. Each voice (tenor, basso and soprano), in the order in which they enter, has an effective solo, followed by an ensemble (or' tutti') for the three voices in the major key (the trio begins in C minor), the whole terminating with a coda, * sotto voce,' the effect of which, if smoothly rendered by three good singers, must be as charming as it is new. The more of such 'terzettinos' the better."—Musical World.
London: DUNCAN DAVIDSON & CO., 244 Regent Street, W.
Just Published, price 3s.
MISS STABBACH'S NEW SONG,
"Miss Stabbach sunt? "The Morning Ride " with great telat, it being admirably salted to her voice. The song itself possesses great merit. In its composition it is pleasing, lively, in the idea fresh. A continual flow of melody running throughout, and the delicacy with which it is wrought, mark this song as a favourite. The words by Claribel, which are sparkling, light and gay, have been wedded to music of endearing sweetness.M— Dorset Chronicle.
London: Duncan Davison & Co., 244 Regent Street, W.
NE W EDITION.
THE VOICE AND SINGING
(THE FORMATION AND CULTIVATION OF THE VOICE FOR SINGING),
By ADOLFO FERRABL
WHEN this Book first appeared we foretold its success; our conviction being founded on the author's freedom from conventional trammels, the strong good sense of his opinions, the novelty and yet evident soundness of his precepts, and the conciseness and practical value of his examples and exercises, of which every note is dictated by a clear and definite purpose. The Influence of Signor Ferrari's method of forming and cultivating the voice, as it is explained in this treatise, is enhanced by the efficacy of his personal lessons in his practice as one of the most eminent teachers of the dayi and this work has consequently come into general use as a manual of vocal instruction, not only in the metropolis but throughout the kingdom. In this new edition the author has made various important additions to the work, especially to the Exercises. Formerly they were confined to soprano or tenor voices; exercises for one voice being also available for the other. But, for the contralto, or the barytone, provision was not made. This desideratum is now supplied, partly by means of entirely new exercises, partly by giving the old exercises likewise in transposed keys, and partly by adapting the soprano exercises also to the contralto or barytone, by the insertion of alternative passages In small notes. By these means the utility of the work is very greatly increased. We have said that the remarkable qualities of this book are the author's freedom from conventional trammels, the strong sense of his opinions, and the novelty yet evident soundness of his precepts ; and this we will show by quoting, unconnectedly, a f Daily News.
i few passages which cannot fail to strike every reader.—
r " The chief value of this excellent treatise on the art and practice of singing is in the elaborate chapter upon the formation and cultivation of the voice, which precedes the practical exercises. Signor Ferrari alleges that "every one who can speak may slug," and he discusses this fact not only with great Intelligence but with excellent common sense. As a teacher of long and varied experience he speaks with authority, and the rules he lays down for the development of the vocal organs may be consulted with advantage by all students of the art of singing. His book, in short, labours to overcome the two leading difficulties which beset the scholar, viz., the production of the natural or real tone of the voice, and the proper management of the breath."—
London; Published, price 12s., by
AIRS, BALLADS, Ac. IN THE OPERETTA
"ONCE TOO OPTE N."
COMPOSED BY HOWARD GLOVER.
THE SOLEMN WORDS HIS LIPS HAVE SPOKEN."
Grand Air. Sung by Mile. Jenny Baub
1 THE LOVE YOU'VE SLIGHTED." Ballad. Sung by
Mile. Jenny Baub
1 STRATAGEM IS WOMAN'S POWER." Ballad. Sung
by Miss Emma Heywood
'LOVE IS A GENTLE THING." Ballad. Sung by
Miss Emma Heywood
'A YOUNG AND ARTLESS MAIDEN." Romance.
Sung by Herr Reichardt
'THERE'S TRUTH IN WOMAN STILL." Romance.
Sung by Herr Reichardt
"THE MONKS WERE JOLLY BOYS." Ballad.
by Herr Formes
"IN MY CHATEAU OF POMPERNIK. Aria Buffa.
Sung by Herr Formes
QUADRILLES AND WALTZES.
"Fontainbleau Quadrille," by Carl Strauss
"La Belle Blanche Waltze," ditto
In the Press.
Brinley Richards' Fantasia, or, "Once too Often."
"Mr. Glover's operetta is a decided, and, what is better, a legitimate, 'hit.' The songs before us have already attained a well-merited popularity. 1 The monks were jollyboys'is as racy as the best of the old English ditties, harmonised with equal quaintness and skill, and thoroughly well suited to the voice of Herr Formes. * The love you've slighted still is true' (for Mile. Jenny Baur) has a melody of charming freshness. Not less a model ballad in us way is 1 A young and artless maiden ' (for Herr Reichardt), which sets out with an elegantly melodious phrase. Perhaps more to our liking, however, than any of the foregoing, excellent ana genuine as they are, is 1 Love is a gentle thing' (for Miss Emma Heywood), which enters the more refined regions of the ballad-school, and attains an expression as true as it is graceful. The opening holds out a promise which the sequel entirely fulfils. We shall look with real interest for the remaining pieces of M Once too often." —Mxuical World.
London: DUNCAN DAVIDSON & CO., 244 Regent Street, W.
11. Reclt, & Romance, "How peal on peal of thunder rolls." - - !B. 2
11. Trio, "By the ti'mpest overtaken." - - - T. B. B. 3 0
13. Trio, "My welcome also to this roof." - - T. B. B. 3 0 13*. Cabalctta, "Can it be, do 1 dream 1" - - - - - B. 2 0
14. Duettlno, "Let the loud timbrel" (Unison.) - - T. B. 2 0 14J. Recitative, "Nay, do not run away." - - - - - - 20
15. Air, "Though we fond men all beauties woo." - - T. 2 6
16. Duet, "Thou weepest, gentle girl." - - - S. B. 5 0
17. Drinking Song, "Let others sing the praise of wine." - - T. 3 0
18. » Ballad, "The Paradise of Love." - - - - S. 2 6
19. Finale, Act II 9 0
19a. Trio, «' What man worthy of the name." - - S. B. B. 8 0
I9J. Entr'Acte 20
20. * Ballad, "Hail, gentle sleep." T. 26
21. Concerted Piece ...........10 0
22. Ballad, "A loving daughter's heart." - - - - S. 2 6
23. Concerted Piece - - ...60
24. Rondo, Finale, "With emotion p«st all feeling." - - S. 3 0
N.B.—Those marked thus (*) have transposed Editions.
Favourite Airs from Balfe's Opera, " The Puritan's Daughter," arranged by
W. H. Caltcolt, in 2 Books Solos, 5s. j Duets 6 0
*W. H. Holmes's Fantasia, "The Puritan's Daughter" 4 0
Brinley Richards's " Bliss for ever past." ...-.---30 Brinley Richards's Fantasia on the Favourite Airs - - - - . - 40
Galop, from " The Puritan's Daughter," arranged by C. Coote • « - - 3 0
Other Arrangements in the Press.
THE MUSICAL STUDENT'S MANUAL, Combining
X>i\. IL—On Rhythm, to complete the Work, will be published short./.
The " Manual " is used as a text-book at the Borough Road, Stockwell and Westminster Training Colleges.
"One of the best elementary books for learning music, as a science, that we hare yet leen. It is very cheap."— Globe.
"The subject is treated with clearness and ability. The difficulties of almost every page are cleared up as the journey proceeds, and the leitrner feels himself in company with a fellow-student, who, being slightly In the advance, blandly beckons him on."— Critic.
*' New Tunes to Choice Words." Second Edition. 32 Easy, Original, Juvenile four-part Songs, cloth Hvo, Is. 6d.
t." So widely known and prized in schools."—Educational Record.
Messrs. Boorky fir Sons, 28 Holies Street, W.; .Messrs. Groombeidge & Sons, Paternoster Row.
COLLARD AND COLLARD'S NEW WEST - END
NEW SONG BY CLARIBEL,
PUBLISHED THIS DAY, PRICE 3s. BALLAD.
WRITTEN AND COMPOSED BY CLARIBEL,
Author Of u Janbt's Choice," &c.
The Dew lay glittVing o'er the grass,
A mist lay over the brook;
Thp swallow her neit forsook.
Lay thickly the grouml adorning.
At five o'clock in the morning.
And Bessie the milk-maid merrily sang,—
For the meadows were fresh and fair. The breeze of the morning kiss'd her brow.
And played with her nut-brown hair. But oft she turn'd and look'd around.
As if the silence scorning: 'Twas time for the mower to wet his scythe
At five o'clock in the morning.
And over the meadows the mowers came,
And merry their voices rang,
To where the milk-maid sang.
Despite her comrade's warning,— The old, old story was told
At five o'clock In the mor
EVANS'S ENGLISH MODEL HARMONIUM, with two rows of keys, price 6G guineas in oak case, or 70 guineas In rosewood case, combines every modern improvement. The most beautiful and varied orchestral effects can be produced upon this Instrument, which possesses every gradation of tone from the greatest power to the most delicate piano pieces. The English Model Harmonium la managed with that facility which chaiact<-rlt>es all Evans's Harmoniums, and is equally effective both in the drawing room and church.
Boosey 8t Chino, Manufacturers, 21 Holies Street, London, W.
EVANS'S PEDAL HARMONIUMS, with independent Pedal Reeds, can be had either with a single or double row of keys, at prices from £51 to 130 Guineas j also with the new patent self-acting blowing machine,
Boosby & Cuing, Manufacturers, 24 Holies Street, Loudon, W.
ASHDOWN and PARRY (successors to Wessel and Co.) beg to inform the Profession that they forward Parcels on Sale upon receipt of references in town. Returns to be made at Midsummer and Christmas.
Their Catalogues, which contain a great variety of Music calculated for teaching purposes, may be had, post-free, on application.
London : IS Hauover Square.
JFINCHAM, Organ-pipe Maker, Voicer, and Tuner, • 110EUSTON ROAD, LONDON.
Amateurs and the Trade Supplied at the Lowest Terms •
BUCALOSSI, PROCIDA. Sweet Violets' Waltzes (illustrated). Price 4s. i>:..- Flowers of the Valley Waltzes, illustrated, '•->-<• ** Merrie England Waltzes do.
Ditto Flowers of the Valley Waltzes, illustrated. Price's.
Ditto "Merrie England Waltles do. Price 4s.
Ditto Water Lily Waltses, do. Price 4s.
Ditto Crown of Roses'Polka, do. Price 3s.
Ditto Regatta Galop, do. Price 3s.
Ditto Gipsy Polka Mazurka, do. Price Js.
Ditto Midnight Galop, do. Price 3s.
Cramer, Beale & Wood, 201 Regent Street, W.
COOTE, CHARLES. Carolina Polka (illustrated). Price 3s.
Ditto Simon Boccanegra Quadrilles, Illustrated. Price 4s. Ditto Un Ballo in Maschera Quadrilles, do. Price 4s. Cramer, Beale A Wood, 201, Regent Street, W.
STANLEY, G. Summer Rambles Waltzes. Price 4s. Ditto. Prairie Flower WalHes (illustrated). Price 4s.
Cramer Beale & Wood, 201 Regent Street, W.
CROAL, G. Old England Quadrille (illustrated). Price 4s.
Cramer. Beale Sc Wood, 201 Regent Street, W.
MAMMA WON'T BRING ME OUT. Sung by Mrs.
THOU TO WHOM MY LOVE IS ALL MY CARE.
Sung by Mr. Walter Bolton, composed by K. Lani». Price 2s. 6d.
BRIGHTLY O'ER LAND AND OCEAN. Song.
Cramer, Beale & Wood, 201 Regent Street, W.
EDOUARD DE PARIS.—MEZZANOTTE. Fantasia on the favourite quartet from Flotow's opera " Martha." Price 4s. Ashdown Ac Parry, 18 Hanover Square.
TJENRI ROUBIER. —ES1LDA. Fantaisie-Polka de
1 1 Salon. Price 3s.
As'mmwN & Parry, 18 Hanover Square.
HENRI ROUBIER. — FLEUR PRINTANNIERE. Fiintauie-Misurka de Salon. Price 3s.
Ashdown & Parry, 18 Hanover Square.
HENRI ROUBIER.—VALLLANCE. Morceau Militate. Price 3s.
Ashdovtn & Parry, 18 Hanover Square.
JULES SPRENGER.—INVITATION a la POLKA.
•J Morceau de Salon. Price 3s.
Ashdown & Parry, 18 Hanover Square.
JULES SPRENGER.—SOUS le BALCON. SerenadeMorceau de Salon. Price 2s. 6d.
Ashdown & Parry, 18 Hanover Square.;
London: ASHDOWN & PAR.RjY.