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wonderfully mild perfume of content. This First Part of the Passion-Music must at all times produce a deep impression upon every audience prepared to hear it, and capable of appreciating this side of art.
Out of the Second Part, which, on the whole, is less striking, we shall content ourselves with directing the reader's attention to one or two movements, since lengthened analyses of musical works, without copious noted examples, which we cannot here introduce, simply fatigue, while at the same time they present a by no means vivid picture to the mind. The piece with which the Second Part commences is certainly one of the finest and most admirable compositions in the whole work. It is an air—"Ah! now is my Jesus gone!" B minor, 3/8—for contralto, with accompaniment of the chorus. The latter (in admirable keeping with the purport of the verbal text) is worked out in canonical form, lightly, flowingly, and naturally, developed. This is nothing surprising in Bach, of course, but it captivates every musical mind in a network of never-ending attractions. In this piece again, in which we would direct special attention to the highly original and remarkable treatment of the bass, we are at a loss to know which we shall admire the more: its tremendous power of logical development, or its wonderful depth of feeling.
Having spoken of so much that is extraordinary and worthy of admiration, we will mention one piece which we do not admire, but which, on the contrary, we consider a fearful specimen of bad taste in the treatment of the vocal part, though that bad taste, by the way, was, as is wellknown, the taste of the period. The piece in question is No. 41, a tenor air, in which the artist has to sing, for instance, what follows:—
"Wir Milan uns mit Thrancn niedcr,
is composed for a double chorus, and, treated melodiously rather than contrapuntally, is particularly simple.
And now let the reader reflect on the mind that man must have possessed who could immerse himself in such a work with such profound and holy devoutness, carrying it out with such indescribable industry and burning enthusiasm, and then giving it to the world, without troubling himself in the slightest degree about the fact that by it he might gain reputation, honour, or even money. If we would realise to ourselves all the greatness of the men of times gone by, we must not forget even trifles like these. It is true, however, that of all easily contented mortals, Bach was the most easily contented. He felt that he was naught but a chalice produced for the glory of the Eternal; how he was exhausted and replenished only he, with quiet, blessed delight, was aware. C.
* "We tears do we sink down to grieve,
The Exhibition Inauguration Music.—Those persons who were not fortunate enough to be present at the opening of the International Exhibition, will have an opportunity of hearing the whole of the music performed on that occasion, at the Exhibition Concert announced to be given at Exeter Hall on Whit-Monday. Considering the decided superiority of the building for musical effect, and that the chorus and orchestra will consist of 400 performers, under the direction of Mr. Benedict, it is a question whether the music will not be heard to greater advantage than on the occasion of its original production.
Here Joachim has returned from Hanover. He played at Mr. Anderson's grand morning concert yesterday.
SiQifoa Verdi leaves London to-day for Italy, carrying with him, it is hoped, the fixed conviction that Her Majesty's Commissioners and the English nation have little or nothing in common.
New Arrival.—Mile. Caussemille, pianist (from Paris).
Roncomi.'—Our operatic readers will be glad to learn that this great artist is recovered, and will be in London by the end of the month.
Thalbebg is daily expected.
Sicnob Sanqiovanni Of Milan. — A statement has appeared in several of the Italian and French journals, that Signor Sangiovanni (chief teacher of singing at the Conservatorio of Milan) has accepted an engagement at St. Petersburg, as head teacher of the Conservatorio now in progress in that city. There is, however, no foundation whatever for the report. Signor Sangiovanni will remain in Milan.
- - ■— —
Pbiscess's Theatre.—Mr. and Mrs. Charles Kean commenced a temporary engagement at this theatre on Saturday week, the play selected being Mr. Dion Boucieault's version of Louis XI. The house was well filled. Mr. and Mrs. Kean were cordially greeted. Kean played with his accustomed spirit, and developed the comic side of the character with irresistible humour. The tragic element can scarcely be said to enter into this play at all, and Mr. Kean wisely abstains from any endeavour to introduce it. He contents himself with amusing his audience, and his audience are content to be amused. A more un-kingly king than Louis W. was never presented on the stage, but a more eccentric dotard has seldom been held up to public laughter. Mr. Kean effects this so well, as to lead us to regret that he does not more frequently apply himself to comedy, for which certainly he has a natural bent. No actor at present on the stage could make Louis XI. as diverting, and, if we may say so, as agreeable as he does,. In the richness of the humour we lose all the venom, and though the long death-scene is over-elaborate, and destitute of solemnity, we forgive it for the sake of the fun, previously enjoyed. Mrs. Kean, in the humble character of the peasant's wife, wins all hearts by the vivacity and heartiness of her performance. The other characters were in the hands of the Misses Chapman, Messrs. Cathcart, Everett, Basil Potter, Meadows, and Shore. Mr. Kean was twice recalled, and received the usual ovation. i
On Wednesday night Mr. Charles Kean represented the sympathetic twins in the favourite drama of the Corsican Brothers for the first time since his retirement from the management of the Princess's Theatre in 1859. The play is arranged according to the plan which was adopted in 1851, that is to say, the incidents in Corsica are assigned to the first net, while the simultaneous incidents in Paris take place in the second. By this arrangement the more sombre scenes are separated from each other by the gaieties of the masked ball. Through the acting of Mr. Kean and the perfection of the mechanical contrivances, by which the utmost reality is given to the apparently supernatural phenomena, this best of dramatic ghost stories proves as attractive as ever, and the theater was crowded in every part. The highborn, courteous, and vindictive Corsican is raised by Mr. Kean far above the level of ordinary melodrama; and in the third act, where he appears as the incarnation of an avenging Nemesis, his stern, earnest demeanour and concentrated energy are admirably effective. Every faculty, mental and corporeal, seems strained to the one work of retribution, which, without passion or scruple, he calmly performs as a solemn duty. Mr. Jordan as Chatcau-Renaud is a good representative of a professed manslayer, though he lacks some of the conventional attributes of the French roui. The fantastic pleasantries and bustle of the masked ball are managed in the best style.
fetters to tin Cbitar.
Sir,—The admirable article which has appeared in the Musical World and also in another paper, on the subject of the "Sons of the Clergy" Festival, has, I may take for granted, been read by precentors, sncccntors, and every one else in any way connected with our cathedrals. The perusal of it gave me, in common, I dare say, with many besides, very great satisfaction. It is high time compositions such as Kent's, and a few others that I could name, were excluded from St. Paul's and Westminster Abbey. That anything so commonplace should ever be heard at St. Paul s in particular, where the services and anthems of Mozart's pupil, Attwood, so many years organist of that cathedral, ought to be especial favourites (notwithstanding, as say the Purists, they are not in the strict ecclesiastical school), is to me inexplicable. In what follows I do not speak of either of our metropolitan cathedrals, but of many in the country, where it is time an improvement was effected in both the music and the singing. This latter remark I should like to be applied to a few churches in London, where something approaching to cathedral service is attempted. Those taking prominent positions as singers, should, I affirm, know something of the Art they are supposed to profess
My present object is to try to account for the fact, that the "worn-out platitudes" of Kent are retained, and also that the anthems of Greene, Felham Humphreys, and others, are not more often introduced. I shall experience little difficulty in doing this. To go at once to the primary cause, I affirm it to be in consequence of the bad pay given to choristers at country cathedrals, where such as bootmakers are the vocalists (save the mark !). I am answered immediately by an authority, that the pay is the same as it was upwards of two centuries ago. True, I reply, in one sense, but not in another. Sixty pounds a-ycar in Victoria's time is far different from sixty pounds a-ycar in Elizabeth's time. Then a shilling was as valuable as is a sovereign now (vide Wm. Cobbctt's works). Consequently, while the payment is now most illiberal, it was then fully remunerative. And a reference to cathedral books will show that, in many instances, the lay clerks' appointments were held by reverend gentlemen, who (pleased with the salary) thus combined the office with that of minor canon. But now these situations are held by such tradesmen as I havo named. I have in my possession a book which tells that, even in Dr. Greene's time, many of the gentlemen of the Chapel Royal, St. James's, were minor canons at St. Paul's. In the present day, however, the pay to choristers at country cathedrals being so inadequate, it cannot be supposed that gentlemen, musicians and vocalists, the rightful occupants of these stalls, should hold the positions of vicars choral. And when we know that, as a rule, the lay clerks are tradesmen who have their proper callings to attend to, and who, at certain hours of the day, doff the apron and don the surplice, how can it be expected that such glorious anthems as many of Croft's, Greene's, Purcell's, and Boyce's, not forgetting those of Pelhnm Humphrey, should be properly rendered? The tame, commonplace productions of Kent—many of whose anthems I have always thought to be quite worthy of an old woman, and whose most popular .composition, by the way, has its prototype in an anthem to the same words by young Stroud (who, had he not died a boy, would probably have left behind him a name worthy to be recorded on the tablets at St. James's Hall, by the side of Gibbons, Blow, &C.) —are nearly the only anthems that can be performed, and are, consequently, stock pieces at English cathedrals. It is quite time a change was effected, and I am heartily glad you have drawn attention to the subject. Better works than Kent's ought more frequently to be heard, and their execution should be entrusted to vocalists whose position and character ought to be in every respect equal to that of the minor canons, and whose remuneration ought to be in conformity thereto.
Without being accused of having the least wish to flatter, to which I would not stoop, I hesitate not to state that it is impossible for anyone to have read the musical notices that have from time to time appeared within the last three years, without being sensible of a firm determination on the part of the writer to elevate the standard of musical taste in this country. I am equally anxious that the music and the singing in our cathedrals and churches should evidence a similar determination on the part of those with whom the management of these things rests; and I am alike solicitous to see the singers at our country cathedrals what they ought to be, and what I believe they were in the days of Tallis. The surplice should cover a vocalist and a gentleman, not a bawler and a cobbler. The position of a lay clerk is in itself one of respect, not of contempt ; and the holder should be sensible of the importance and the responsibility of his office. Then the "worn-out platitudes" of Kent could give place to the compositions of such writers
The following is from the Leeds Mercury: "An opportunity, very largely embraced, was offered to our I townsmen on Saturday evening, of hearing the ceremonial music composed by Meyerbeer, Bennett, and Auber, for the opening of the Great Exhibition, and which, for the first time, was performed on the Town Hall organ by Dr. Spark. It is scarcely necessary to say that the<o compositions, which have been described as amongst the finest musical works of modern times, formed a most attractive portion of the opening ceremony, and produced upon those who had the pleasure of hearing them a very powerful impression. Dr. Bennett's Ode, composed to the poem of the Laureate, was of course much less successful in its performance, from the absence of vocal accompaniment—tho chorus, indeed, being its chief charm — but the harmony and melody of the composition afforded an amount of gratification which only a work of grace and beauty can. The Overture and Grand March by Auber aro written in the brightest of orchestral tones, and are worthy of the composer's best efforts. M. Meyerbeer's March is a ture work of art, in every way worthy of a great dramatic musical composer. Dr. Spark's performance commanded the applause and admiration of the large audience which had assembled. He was warmly encored in the ' Hymn of Nos.' "
A correspondent from the Land's End writes us that:— "The members of the Camborne (Cornwall) Choral Society gave an evening concert in the Institution Hall, on Friday, May 23rd. Tho first part of the programme was devoted to sacred music. 'As pants the hart,' soprano solo and chorus, from Spohr's Crucifixion, was beautifully rendered, Mrs. Nunn singing the solo. During the evening this lady appeared Several times, and was much applauded. 'The heavens are telling' (Creation) was performed by the choir in a most excellent manner, and concluded the first part. Locke's music to Macbeth was a great success, and the audience appeared delighted not only with the music, but also with the manner the solos and choruses were performed. The conductor was Mr. John H. Nunn.
"The Ilayle (Cornwall) Choral Society gave a highly successful concert of sacred and secular music at the School-room, Foundry Hill, on Thursday evening, May 22. Mrs. Nunn sung several times, and was unanimously encored in Kreb's pretty song, with violin obbligato 'Dearest, I think of thee'"
POETRY BY A MUSICIAN.
Musicians are supposed to hold Poetry in considerable contempt, and when they want "words" to set, they nr* thought to desire that such words should be of the kind least calculated to distract the attention of the hearer from the music. Great compassion has been expressed in musical circles for Dr. Stcrndalo Bennett, on account of his having been obliged to compose music to suit the "fur-fetched " ideas of tho Poet Laureate; and though Dr. Bennett repudiates such compassion, and considers that music and poetry may give and receive honour by alliance, he is regarded as an exceptional composer, and is one. Most music-makers like the sort of words which they would themselves write. And it is unjust to say that they would always write rubbish. Mr. Punch has received a poem in which a gentleman who plays on an organ in the country, and advertises that he shall be happy to teach other persons to play on an organ (the locality is not Hogsnorton), expounds, in poetry, his views of music. And as this gentleman comes out in a way worthy of his vocation, Mr. Punch is tempted to reproduce the lines, only suppressing the writer's name for fear of exciting the jealousy of his brother professionals.
"Music it both a science and an art
That reflnea the mind and that cheert the'heart.
And keeps fearless youth from many a snare,
And rclievet old age of many a care.
An ait to diminish old age of care.
And a science, to guard the young so fair!
Then nor wealth nor honour with it compare.
"Karth's Goddess, thou dost with thy charming dart
Now, this subtle employment of poesy in honour of music is so artistic, that henceforth wo hope there will be less readiness to believe that the musician docs not appreciate the poet, and Mr. Punch is much obliged to the correspondent who has supplied him with the newspaper whence is extracted this refutation of a vulgar belief.
Sib,—As I observe you speak of the oratorio last night at Exeter Hall as being "crowded and uncomfortable, as usual," I beg as one of the sufferers most feelingly to endorse your remarks.
I paid 30s. for my seat, which was numbered and reserved. The space allotted was the smallest possible for a man to squeeze himself into — about the same given to a small charity schoolboy in an organ gallery. My knees were pressed against the sharp edge of the opposite form, through the back of which the stiff crinoline or bustle (as it used to be called) of a stout "female party "bulged and rested on my lap. My left-hand neighbour, evidently under dire compression, complained that I did not sit in the centre of my number, though I meltingly assured him that it was impossible for me to move without sitting upon ray perspiring neighbour on the right, which I was not inclined to do, however much we were all ourselves sat upon by the managers of these "delightful reunions." The edge of a step came in the middle of the soles of my feet (by way of a pleasant repose after along day's walk on London pavements), the result, no doubt, of placing the scats closer in order to "accommodate," as it would be called, but really to squeeze and * take in," a larger number of people. Add to this the heat, the want of ventilation, the bad lighting, and I thought, exquisite as was the music, it was far too dearly purchased. What can I compare it to—figs in a drum? herrings in a barrel? No; they are but dried vegetables and cured fish, dead and inanimate. I can only compare our state last night to gasping niggers in a slaver, or to what one might suppose the inmates of purgatory to suffer (if there be such a place) while listening to heavenly harmonics which they could not enjoy,—if, indeed, Exeter Hall be not, on oratorio nights at least (for I would not for the world affront Lord Shaftesbury), II Purgatorio itself.
Tour obedient servant,
Mag 29. C. A.
Adolphe Adam On Vivibr.—There is a strange contrast between the elevated, severe and serious talent of this celebrated artist and the character of gaiety—nay, almost buffooney which distinguishes him as a man. But that which places Vivicr npart from the wits of society and the loustics (loose sticks) of the Atelier is this—that his pleasantries and his mystifications have not so much in view the amusements of others as of himself.
WILL UNO BIS NSW SONG,
"HAST THOU NO TEAR FOR MEP"
COMPOSED EXPRESSLY FOR HIM BY
MRS. ANDERSON'S GRAND MORNIKO CONCERT; MADAME ANICHINI'S CONCERT, At Ladt Dowkiuiri■;
MISS STEELE'S CONCERT, Hanover Saciu Rooitt.
WELSH AND 3 N G.L I S H iP.OETBY,
JOHN THOMAS (prncmdd Gwalia).
The Welth Poetry by Talhaiark. The English Poetry by T. Oufhant, Esq.
(To the Mute).
(The Minstrel's Adieu to his
Complete In Two Volumes, price one guinea each. And the separate numbers, either at tong, or quartet, price two shillings each. The Harmonlied Voice-parts, publithcd separately, for the convenleno of Choral Societies, price Threepence per page. Alto Welth Melodies for the Harp, by John Thomas, in Two Volumes, price alt. each, or in separate numbers, St. 6d. and 3*.each.
LONDON: ADDISON, HOLLIER * LUCAS, S10 REGENT STRBET.
HANDBOOKS FOR THE OPERA. —BOOSEY & SONS beg to announce that, owing to the repeal of the paper duty and the increased tacllitiet that now exist in the printing of mutlc, they are enabled to Itiae the whole of their well-known Series of Operas, for Voice and Pianoforte, at a reduction of SO per cent rrom the prices at which they were originally published. The operu are perfectly complete, with the whole of the recitatives, &e.t In two languages, and are bound in limp cloth, to at to form portable companions to the theatre.
DON JUAN (English and Italian Words)
FIGARO (English and Italian Words)
ZAUBERI I-OTE (English and German Words)
ERNANI (English and Italian Words)
NOIIMA (English and Italian Words)
SONNAMBULA (English and Italian Words)
DINOItAH (English and Italian Words)
SATANELLA (English Words)
DER FRE1SCIIUTZ (Eniilish and German Wordt)
FAUST (English and German Wordt)
LUCRF.ZIA BORGIA (English and Italian Words) i
1L BAHB1EIIE (English and Italian Words)
IPHIGENIA IN TAUUIS (English and French Words) ,
THE FOLLOWING COMPOSITIONS, by this eminent Composer, are published by DUNCAN DAVIDSON & CO.:—
"Here on the mountain," with Clarionet obbligato .« ... ... ...
Violin or Violoncello in lieu of Clarionet, each ** Near to thee," with Violoncello obbligato ... ...
"The Fisclicrmaiden" ... ... ... ... ... ...
The Lord's Prayer for Four Voices, with Organ ad lib. ... ... ...
Separate Vocal parts, each ... ... ... ...
"Thin house to love Is holy." Serenade for Eight Voices ... ...
Separate Vocal parts, each ... •» >. * 'Aspiration," for Bass, Solo, and Chorus of 3 Sopranos, 2 Tenors, and 1 Bass
Royal Wedding March (Quatrteme Marche aux flambeaux). Composed for the „ marriage of the Princess Royal of England with Prince Frederick William
of Prussia ... ... 5 0
London: Duncan Davison & Co., 244 Regent Street, W.
This Day is published, price 4s.
MILLE. TITIENS' New Song, "THE SONG OF FELICIA," with German and English Words. Composed by MOZART ; the English Version by H. Andrews, Esq.'
London: Duncan Davison & Co., 244 Regent Street, W.
This Day Is published, price 3s.
SIGNOR GARDONI'S new Song, «ALICE *' (Qual inclita Stella—Alice, where art thou ?), with Italian Words.
London: Duncan Davison & Co., 244 Regent Street, W.
THE CECILIAN PITCH PIPE (a new invention), for the waistcoat pocket. Is superior to all others, being much more powerful in tone than any other at present in use—the pitch does not vary, whether souuded Piano or Forte—is easily repaired, or the pitch altered if required.
Price (any note) 2s. Gd. Post-free.
EVANS'S ENGLISH HARMONIUMS for Cottages, Schools, Drawing Rooms, Churches, Literary and other public Institutions, are made in every possible variety at prices from 6 to 140 Guinea*. The Manufacturers have to announce the complete success of a New Patent Self-Acting Blowing Mach ine, the only self-acting blower that has ever succeeded, which may be seen in operation at Holies Street daily.
'1 he most distinguished living musicians, including Balfe, Stern Dale Bennett, Cipriani Potter. Best, Henry Smart, &c, have testified to the extraordinary merits of Evans's Harmoniums.
See testimonials attached to Illustrated Catalogues of Harmoniums, to be had gratis of the Manufacturers,
Boosev ft Ching, 24 Holmes Street, London, W.
EVANS'S ENGLISH MODEL HARMONIUM, with two rows of keys, price 66 Guineas in oak case, or 70 Guineas iu 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 is managed with that facility which characteriies all Evans's Harmoniums, and is
equally effective both in the drawing room and church.
Boosby ft Ching, Manufacturers, 24 Holies Street, London.
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 ISO Guineas; also with the new patent self-acting blowing machine. Boosbt & Cuing, Manufacturers, 24 Holies Street, London, W,
ASHDOWN & PARRY (successors to Wcssel & 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 Hanover Square.
JFINCHAM, Organ-pipe Maker, Voice, and Tuner, , 110 EUSTON ROAD, LONDON.
Amateurs and the Trade Supplied at the Lowest Terms.
/BOLLARD & COLLARD'S NEW WEST-END
tj ESTABLISHMENT, 16 Orosvenor Street, Bond Street, where all communications are to be addressed. Pianofortes of all classes for Sale and Hire.
City Branch, 26 Cbeapslde, E.C.; ... t.
POPULAR EDITION OF
METZLER & CO.'S THE LILY OF KILLARNEY,
A ROMANTIC OPERA,
DION BOUCICAULT AND JOHN OXENFORD, ON BALLO IN MASCHERA. |
THE OPERA, COMPLETE, BOUND IN CLOTH, 258. . (With Italian and English Words.) ALLA VITA CHE T'ARRIDE (Tell me not the grief). Aria
. 8. d. DI TU SE FEDELE (Row on, our daily toil is done). Barcarolle
OVERTURE ERI TU CHE MACCHIAVI QUELL ALMA (My heart so sad).
... 20 MORRO MA PRIMA (When others lest me). Preghiera
SONG—A bachelor's life. (Hardress) SAPER VORRESTE (The joys of childhood's day). Canzone ...
2 0 DUET — The moon has rais'd the lamp above. (Hardress VOLTA LA TERREA (Joy's fair bower). Ballata ...
and Danny Mann)
- - 2 6
SONG - The above arranged as a song
SONG - It is a charming girl I love. (Myles.) In B flat and in A 2 “OSCAR." Mazurka. Mad. OURY
SONG - In my wild mountain valley. (Eily.) In D and C minor 2 DEUX SOUVENIRS (Nos. I and 2) (easy). A. MIOLAN - FANTAISIE. H. W. GOODBAN ...
SONG, with CHORUS, ad lib.- The Cruiskeen Lawn •
CHORUS- The Hunting Chorus -
AIR and DUET—The eye of love is keen. (A.Chute & Hardress) 4 0 MASKED BALL QUADRILLES. T. BROWNE .
SCENA — A lowly peasant girl. (Danny Mann) .
ROMANCE (separately)-The Colleen Bawn. (Danny Mann) 2 6
BALLAD-I'm alone. (Eily.) In E flat and in C -
- 26 VALSE. NADAUD ... ...
*** | DUET -I give the best advice. (Eily and Myles) .. GALOP. NADAUD ... TARENTELLE. NADAUD
- ACT III. The three last named are from the incidental Ballet Music, and are the sole copy right SONG- The Lullaby. (Myles). In A and in F . of METZLER & CO.
TRIO-Blessings on that rev'rend head. (Eily, Myles and
Father Tom.) In D and in D flat
DUET-Let the mystic orange flowers. (For two equal voices) NEW MUSIC FOR THE PIANOFORTE.
BALLAD_Eily Mavourneen. (Hardress). In F and in D:
RONDO FINALE-By sorrow tried severely. (Eily) - 2 6 MADAME OUR Y. SUNSHINE. Valse de Salon
PIANOFORTE ARRANGEMENTS. . .," OSCAR. Mazurka. " Un Ballo in Maschera”
"" LA CHASSE DE COMPIEGNE. Fantaisie ...
THE OVERTURE. Arranged by the Author - -
THE FAVOURITE AIRS. In two Books. W. H. Callcott
Ditto. As Duets. In two Books. W. H. Callcott
THE FAVOURITE Airs. In two Books. Franz Nava -
Ditto. As Duets. In two Books. Franz Nava .
SET OF QUADRILLES. Charles Coote • • MARCHE DES AMAZONES
Ditto. As Duets
SET OF QUADRILLES. “The Cruiskeen Lawn.” Pierre Laroche.
Illustrated by Brandard
Waltz. “Eily Mavourneen.” Chas. Coote. Illus. by Brandard
SET OF Waltzes. Pierre Laroche. Illustrated by Brandard
... 26 GENTLE ANNIE Transcription
GALOP. Pierre Laroche . . .
“ I'm alone" . METZLER & CO.'S New Vocal Catalogue is now Ready, and may
“ It is a charming girl I love”
“ The Cruiskeen Lawn". be had on application.
KOHE. "Fantasia on favourite Airs .
G." A. OSBORNE, Fantasia on favourite Airs
“Ricordanza” - .
LINDSAY SLOPER. Fantasia on favourite Airs -
RIMBAULT. Six favourite Airs, casily arranged :-
2. “The Lullaby” .
“I'm alone". 37, 38 & 35 GREAT MARLBOROUGH STREET, W.
6. “The Colleen Bawn” AND PIANOFORTE AND HARMONIUM WARE ROOMS at No. 16,
CHAPPELL & CO., 60 NEW BOND STREET.