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knowledge, and raised the music above the nervous interpretation of the words, without sacrificing the psychical truth of expression in the melody. At the same time, he developed the received forms, and created, especially for the so-called concerted pieces, perfectly new ones, distinguished for a scope never before known, and for an amount of work previously unattempted. Such a finale as that in the second act of Lodoiska, and that in Les deux Journées, was without parallel upon the French operatic stage, and if Spontini subsequently surpassed Cherubini in these grand points, he enjoyed the advantage of Mozart's great example, which he was enabled to follow, while it was impossible, as we have already proved historically, that Cherubini could have known anything about Mozart's chefs-d'œuvre, when composing Lodoiska, Medea, Elisa, and Les

deux Journées.

That he afterwards deeply respected and reverenced Mozart is certain. He was the first to introduce that master's Requiem to the notice of the Parisian public (in 1805). "Despite the disinclinations of the Parisians for German music," said German papers of the period, "and, despite the repugnance of Parisian artists to such a difficult performance, Cherubini's zeal and love for this work of Mozart enabled him to get it performed by 200 of the best singers and instrumentalists, and performed, too, in such a manner that, on the very same day, he received a request to repeat it. As a mere musical work, unassisted by any of the brilliant adjuncts of the stage, it had produced a deep impression on the Parisians." Gerber, from whom we take the above, adds, in his new Lexicon der Tonkünsler (vol. 1, p. 698), that Prince Esterhazy, on leaving Paris in 1810, after having resided there several years, sent Cherubini a ring worth 4000 dollars.

The worthy Gerber makes an interesting confession, by the way, as to how much Cherubini was in advance of his age. After relating, under the heading "Cherubini," the observations of Joseph II. and Napoleon on the music of Mozart and Cherubini, with respect to the "too many notes," he continues thus:

"When such could be the opinion of two of the most accomplished dilittanti (Napoleon, as we all know, had no right to the title) in Vienna and Paris, what can be the opinion of others in places where art is immeasurably less flourishing and less practised? Unfortunately, I fear that, with the extraordinary progress of instrumental compositions, this would at present be the unanimous opinion of the majority of diluttanti on hearing such music, supposing them capable of saying what they thought with the freedom of a Joseph II. or a Bonaparte. For how is it, how can it be, possible for them, unprepared, to follow the artist in the expression of his multifarious ideas entwined into a whole? Who will choose, and who will be ready, to thank him for the great but unappreciated art he has employed? We feel inclined to exclaim to composers: Even though ye should turn again and become as children, ye will not,' &c.-It is the same over-tension, the same relation which the new-fashioned theology and philosophy of the professors in our academies bear to the ideas and powers of comprehension of the rest of

the world!"

And yet the same man says of Beethoven (1810):—

64

How desirable is it that the health and life of this extraordinary artist should be spared, in order that we may be enabled to gain from his great and lofty genius still much more that is rare, admirable, and tending to perfect art itself. It is a pity that, in most of his works, his genius inclines to seriousness and melancholy; sentiments, on account of the misfortunes of the period, only too predominant in his German fellows! Happily, the encouraging and joyous spirit of Haydn still exists among us in his works, and by their means we may still be enabled to recover a more happy frame of mind."

Now, Cherubini was also acquainted with Haydn's symphonies, which he appreciated most highly. According to a statement of Reichardt, in the Briefs aus Paris, these symphonies were the cause of the greater breadth and depth of Cherubini's style. Cherubini proved how great was the veneration he entertained for Haydn by the answer he gave his friends when they urged him to dedicate the score of Les deux Journées to the old composer: "No; as yet I have written nothing worthy of such a master." No one will now reproach him, as the critics of the time reproached him, with his music being too learned; on the contrary, it must be admitted that his most recondite polyphonies and contrapuntal combinations are invariably clear and transparent. That the French could not appreciate his style of melody, and that his tunes, with a few exceptions, among which is the first romance of the water-carrier in Les deux Journées, never became popular, was really no fault of his.

The melody with him is not only beautiful and noble, but appears in new forms. Fétis himself, whom no one, certainly, will accuse of injustice to the French, says:—

"There is a copiousness of melody in Cherubini, especially in Les deux Journées, but the richness of the accompanying harmony, the brilliant colouring of the instrumentation, and the inability of the public of the period to appreciate the combination of such beauties, were so great, that the real worth of the melody was not at all understood; thus, it was lost sight of beneath all those things for which the French possessed no intelligence. Their critics and biographers, who do not know what they are saying, accuse Cherubini's melodies of want of originality, while originality is precisely one of their most marked characteristics, since, with all their charm, they are perfectly new and unusual in form. There would be more justice in accusing him of not having always been guided by a perception of what was requisite for the stage. His first idea is almost invariably a happy one, but his partiality to give his notions greater breadth, by working them out, often causes him to forget the exigencies of the dramatic action; the outline becomes too extended as he is writing; he is too much taken up and carried away by musical considerations, and the consequence is that the situation sometimes suffers. Too elaborate development injures the animated progress of the action."

As is well known, the musical epoch of the nineteenth century began in the last ten years of the eighteenth. First and foremost, Mozart, then Haydn, in his last twelve symphonies and the Creation, Winter, and, among the Italians, Piuini, Salieri, Cimarosa and Paësiello, contributed their most valuable treasures, while Cherubini, in his Lodoiska and Medea, and Beethoven in his earlier works, came forward as the representatives of the new period. The abovenamed Italians, to whom were added, after 1800, Simon Mayr, Paer, etc., rifled the inheritance left by Mozart, but they were deficient in the sacred fire bestowed from above. Even the patronage of the mighty ones of this world, especially of Napoleon, and the petty courts of Germany, could not save them from perishing. Oulibischeff describes most correctly, in the introduction to his last work, the two overpowering circumstances which, in the first few years of the present century, proved the ruin of Italian music:

"In the first place, Mozart's operas, at the commencement little understood in Germany, and as good as unknown in the rest of Europe, began, with the new century, to become national works among the countries, there was light in the world of music. The man of all times, Germans; while they were spreading in Russia, France, and other of all places, of all nations, became also the man of the day, the fashionable composer-an honour which did not fall to his lot till some long. We can easily understand how much this popularity of Mozart, fifteen years after his death, and which he was not destined to enjoy after his decease, must have thrown the Italian masters of the transition period into the background. But there was another rival element still inore terrible and destructive to them, namely, the contemporaneous rise of the true dramatic music of the nineteenth century, the music founded by the great masters of the French school-Cherubini, Méhul, and Spontini. What could composers who continued to work according to a worn-out system do against such works as Lodoiska, Les deux Journées, Faniska, Joseph, and Die Vestalin, which Europe received with enthusiasm, and in which it instantly recognised itself? Even France, which gave the first impulse to the nascent century, was naturally the first to find in music expressions and forms for the storm-loaded time it had produced. Music mirrors the state of men's souls, just as literature reflects a people's mind. If, on the one hand, Gluck's calm and plastic grandeur, and, on the other, the tender and voluptuous charm of the melodies of Pinini and Zacchini had suited the circumstances of a state of society nourished with classical exhibitions, and sunk in luxury and gallantry, nothing of all this could satisfy a society shaken to the very foundations of its faith and its organization. The whole of the dramatic music of the eighteenth century must naturally have appeared cold and languid to men whose minds were so moved with troubles and wars, and even at the present day, the word 'languor' will, perhaps, best express generally that which no longer touches us in the operas of the last century, without quite excepting even Mozart himself. What we require for the pictures of dramatic music is larger frames, including more figures, more passionate and more moving song, more sharply marked rythins, greater fulness in the vocal masses, and more sonorous in Lodoiska and Les deux Journées, and Cherubini may be regarded not brilliancy in the instrumentation. All these qualities are to be found only as the founder of modern French opera, but also as that musician who, after Mozart, has exerted the greatest influence on the general tendency of art. An Italian by birth, and the excellence of his education, which was conducted by Sarti, the great teacher of compoIsition, a German by his musical sympathies, as well as the variety and

profundity of his knowledge, and a Frenchman by the school and principles to which we owe his finest dramatic works, Cherubini strikes me as being the most accomplished musician, if not the greatest genius, of the nineteenth century. The overtures of Lodoiska, Les deux Journées, Faniska, and Medea, to which we must add Méhul's Chasse du Jeune Henri, models of our modern instrumental music, so picturesque, so poetic, and so full of warmth and effect, and which Beethoven, Weber, and Mendelsshon were destined subsequently to elevate and bring to perfection. Hadyn and Beethoven acknowledged Cherubini to be the first of dramatic composers. But such masterpieces, to be fully understood and enjoyed, demanded musical education, and an intelligent audience, and, as a natural consequence, could produce no impression on the masses.'

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In conclusion, we may add a few anecdotes, gathered from a

friendly source, and more or less characteristic of Cherubini. In

the after dinner conversation at the Tuileries, the exact words of

Napoleon, when finding fault with the orchestra for being too loud in Cherubini's operas, were: 66 ' Il y a trop d'accompagnement."

Cherubini did not forget this, and when, several years later (in

1805), the Emperor spoke to him at Schönbrunn, about the opera of Fanisha, the composer observed:-" Sire, cet opéra ne vous plaira pas."—"Eh, pourquoi non?"-"C'est qu'il y a trop d'accompagnement." A musician, speaking to him about H. B. in Paris, said, among other things: "B. me dit qu'il n'aime pas la fugue." "C'est que la fugue ne l'aime pas," was Cherubini's dry rejoinder. One evening he was present at the first representation of an opera written by one of his best pupils,† who was in the same box as himself. Cherubini not having uttered a word, the composer at length exclaimed: "Mon cher maître, voilà deux heures que nous écoutons, et vous ne me dites pas un mot.”—“ Mais vous ne me dites

rien nonplus", said the unbending master. (Translated from the "Niederrheinische Musik-Zeitung," expressly for the "MUSICAL WORLD," by J. V. BRIDGEMAN.)

To be continued.

HANOVER SQUARE ROOMS.-An entertainment entitled "The Songs of Scotland" was given here on Monday, by Mr. Kennedy, a Scottish vocalist, who has been lately reaping considerable reputation in his own country by his reading and vocal efforts. The entertainment comprises no absolute novelty, unless we take as such a selection from Allan Ramsay's Gentle Shepherd, which pleasing burden, indeed, is not sufficiently known to the English reader. Mr. Kennedy has an extremely pleasing tenor voice, and sings with a great deal of taste. Cer

these single-handed vocal entertainments-we have had no public singer who could so truly and naturally render the Scotch songs in their native dialect, like Mr. Kennedy. His most effective efforts on his opening night were "The Flowers of the Forest,"-a perfect specimen of ballad singing-the dialogue song "My boy Tammy," and "Come under my Plaiddie." But indeed, with so sweet and expressive a voice

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as Mr. Kennedy possesses, and with such delicious music to interpret, H

success was inevitable. Mr. Kennedy also recites well, but his chief effect is referable to his singing. The new entertainment cannot fail to please and gratify all who hear it.

From a Brighton correspondent, we learn that

Herr Joseph Derffel gave his first pianoforte recital of the season at the Pavillion, on Thursday last, to an audience at once numerous and select. The programme contained in all eighteen pieces,-four of which were vocal. The remainder were of a variety of “ schools," ranging from Liszt up to Beethoven. There was but one piece by the latter composer-the Sonata in C, No. 3 of Opus 2-in itself a great treat. Still I should like to have heard more of the same class, par

ticularly when the programme sets forth-"these recitals are offered

as veritable lessons by example." Without wishing to banish the lighter class of music, it would be as well if more of the classical elements had been brought forward at such concerts, when the audience consists

almost exclusively of young, amateurs, whose tastes must, of necessity,

be affected by the "examples" set them by their teachers. I know Mr. Derffel to be one of the right sort, and cannot but think the omission of more sterling music was an oversight. In Beethoven's music, Herr Derffel is quite at home. Few male performers to our mind-Charles Hallé, of course, excepted-enters more fully into the spirit of Beethoven's piano music than Herr Derffel; whilst in mere digital skill it would be almost impossible to find a superior. Upon the next occasion I hope to hear more of Beethoven, even at the expense of Thalberg. The opportunities of hearing his music are ↑ Halévy.¦

*Hector Berlioz.

£6 6s.

EIGHTY-THREE VIOLIN QUARTETTS.

ANDEL'S MESSIAH (BY JOHN BISHOP). Folio, 15s.
and 18s. 8vo., 6s. 6d., 3s. 6d., 2s., and 1s. 4d.
ANDEL'S ISRAEL IN EGYPT (BY JOHN BISHOP).

H 2s.; and Folio, 158.

HAYDN'S CREATION (BY BISHOP). 2s., 4s. 6d., folio,

CTAVO EDITION OF SAMSON (BY JOHN BISHOP). 2s. Folio, 15s.

OCTA

HORSLEY'S VOCAL HARMONY. 6 VOLS., 98.

B

£3 2s.

B

EETHOVEN'S SEVENTEEN QUARTETTS. £6 66.
Also his FOUR TRIOS and FOUR QUINTETTS (all by ROUSSELOT)-
EETHOVEN'S NINE SYMPHONIES FOR PLANO.
£3 3s.

OPKIN'S AND RIMBAULT ON THE ORGAN. Royal
8vo., £1 11s. 6d.

R'

IMBAULT ON THE PIANOFORTE. Royal 4to., £1 16

EST'S 130 CHORUSES OF HANDEL, for Pedal Organs.

BES13 38.

ROBRET COCKS & Co., New Burlington-street, London; and of all Musicsellers and Booksellers.

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Published this day.

A NEW EDITION OF THE PIANOFORTE

STUDIES

BY

STEPHEN HELLER,

Thoroughly Revised and partly Re-written.

Published under the immediate superintendence of the Composer.

EXTRACT FROM PREFACE.

"A great number of Studies for the Pianoforte already exist, solely intended to form the mechanism of the fingers.

"In writing a series of short characteristic pieces, I have aimed at a totally different object.

"I wish to habituate both Students and Amateurs to execute a piece with the expression, grace, elegance, or energy required by the peculiar character of the composition; more particularly have I endeavoured to awaken in them a feeling for Musical Rhythm, and a desire for the most exact and complete interpretation of the Author's intentions.

"STEPHEN HELLER."

THE EDITION CONSISTS OF FIFTEEN BOOKS, PRICE SIX SHILLINGS EACH.‘

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FOR

OR ORCHESTRA.-MEYERBEER'S GRAND EXHIBITION OVERTURE is now ready, for full orchestra. Price 12s Also AUBER'S GRAND EXHIBITION MARCH, for Orchestra. Price 7s. 6d. BOOSEY & SONS, Holles Street.

SIGNOR GARDONI'S NEW SONG, «Pourquoi."

By SIGNOR MURATORI. Sung by SIGNOR GARDONT at the Concerts

of the Nobility during the present Season, with immense success. Price 2s. 6d. BOOSEY & SONS, Holles Street.

SIMS

IMS REEVES' NEW SONG, "She may smile on many." By HOWARD GLOVER. Sung by Mr. SIMS REEVES with unprecedented success. Encored on every occasion. Price 3s. BOOSEY & SONS, Holles Street.

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OOSEYS' SHILLING MESSIAH, complete Vocal

Score, with Accompaniment for Pianoforte or Organ, demy 4to (size of "Musical Cabinet"). Price 1s.-BOOSEY & SONS have much pleasure in announcing their new Edition of the "Messiah," printed from a new type, on excellent paper, and in a form equally adapted for the Pianoforte or the Concert-room. The text revised by cheap music, this book is quite unprecedented, and it is only in anticipation of the G. F. HARRIS, from the celebrated Edition of Dr. JOHN CLARK. As a specimen of universal patronage it will command at the approaching Handel Festival the publishers are able to undertake it. Orders received by all Booksellers and MusicseĤers. Post free, 1s. 4d. An edition in cloth boards, gilt, 2s.

BOOSEY & SONS, Holles Street.

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Duet.

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THE RING AND THE KEEPER.

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N OPERETTA, written by J. P. WOOLER, Esq., the Music composed by W. H. MONTGOMERY.

THE DEAR FORGET-ME-NOT.

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MY LADY'S PAGE
KEEPER, TAKE THIS RUBY RING. Duet

THE JOLLY BEGGARS.

WHEN I BADE GOOD-BYE TO PHOEBE.

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The Popular

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2 6

THE

ALEXANDRE HARMONIUMS

AT

CHAPPELL'S, 50 NEW BOND ST.

ALEXANDRE AND SON

HAVE taken out a new Patent for the Drawing-Room Harmonium, which effects the greatest improvement they have ever made in the Instrument. The Drawing-Room Models will be found of a softer, purer, and in all respects more agreeable tone than any other instruments. They have a perfect and easy means of producing a diminuendo or crescendo on any one note or more; the bass can be perfectly subdued, without even the use of the Expression Stop, the great difficulty in other Harmoniums. To each of the New Models an additional blower is attached at the back, so that the wind can be supplied by a second person, and still under the new Patent the performer can play with perfect expression.

THE NEW CHURCH HARMONIUM,

WITH TWO ROWS OF KEYS.

These Instruments are a perfect substitute for the Organ; the upper keyboard has a Venetian Swell, and acts as a Soft or Choir Organ, on which a 2 6 perfect diminuendo and crescendo can be produced; and the lower keyboard answers the purpose of a Full Organ. The tone of these Instruments more closely resembles that of an Organ than any Harmonium yet produced, being rich and pure in quality. The construction is of a simple character, and not likely to be affected by damp, rendering them peculiarly suited to Churches. An additional blower is attached to each Instrument.

2 6 30

...

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HILDREN." Words by LONGFELLOW. Sung by Miss 1. Three Stops, Percussion Action, additional Blower, and in Rosewood

66

CHIL

PALMER with the greatest success.

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THALBERG'S NEW COMPOSITIONS.

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MELODIES OF SCHUBERT.-Transcribed for the

Pianoforte.

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MESSRS. CHAPPELL have an enormous Stock of the

16 FIVE-GUINEA AND SIX-GUINEA

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HARMONIUMS,

COMPASS, FOUR OCTAVES;

ALSO THE

NEW FIVE-OCTAVE HARMONIUM AT

SEVEN GUINEAS:

THALBERG'S SONG WITHIN THE CONVENT And of all varieties of the ordinary kind, which are perfect for the CHURCH,

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N ENTIRELY NEW WORK, containing Original 4. Five Stops (two rows of vibrators),

AN

Contributions of Vocal and Pianoforte Music, by Balfe, Hatton, H. Smart, G. Linley, Goodban, Brinley Richards, Glover, and most of our popular English Composers. Illustrated by the best Artists, and most handsomely bound. Price One

Guinea.

Exhibited, Class 16, No. 3425, as a Specimen of Music Engraving and Printing, and Chromo-Lithography.

METZLER & CO.

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Guineas.

7. One Stop (with percussion action), Oak Case, 16 guineas; Rosewood 18 8. Three Stops (ditto), Rosewood... 20 9. Eight Stops (ditto), Oak or Rose

11.

wood

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32 40

23 10. Twelve Stops (ditto), oak ditto (ditto), Rosewood 45 26 12. Patent Model (ditto), Oak or Rosewood

6. Twelve Stops (four rows of vibrators), Oak or Rosewood Case 35

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55

Testimonials from Professors of Music of the Universities of Oxford and Cambridge, the Organists of St. Paul's and Westminster Abbey, the Professor

37, 38 & 35 GREAT MARLBOROUGH STREET, W. of the Harmonium at the Royal Academy of Music, &c., &c., together with

AND

PIANOFORTE AND HARMONIUM WAREROOMS AT No. 16.

full descriptive Lists (Illustrated), may be procured on application to CHAPPELL & CO., 49 & 50 NEW BOND STREET.

Printed by HENDERSON, RAIT, and FENTON, at No. 13, Winsley Street, Oxford Street, in the Parish of Marylebone, in the County of Middlesex.
Published by JouN BOOSEY, at the Office of BOOSEY & SONS, 28 Holles Stroet.—Saturday, September 27, 1862.

"THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT MUST BE DEDUCTED: IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES."—Göthe.

SUBSCRIPTION-Stamped for Postage-20s. PER ANNUM

Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28, Holles Street, Cavendish Sq. London, W.

VOL. 40-No. 40.

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SATURDAY, OCTOBER 4, 1862.

ONGS OF SCOTLAND.-HANOVER SQUARE ROOMS.THURSDAY NEXT, October 9-Mr. KENNEDY, by Desire, will repeat his ENTERTAINMENT on the SONGS OF SCOTLAND, on THURSDAY Evening, to Commence at Eight o'clock. For the Fourth and last time. Pianoforte, Mr. Land. The Programme will comprise the most successful pieces in his répertoire, including Recitations from Burns' "Tam O'Shanter," and Allan Ramsay's "Gentle Shepherd." Stalls, 4s.; Family Tickets, for Four Persons, 12s. Area, 2s.; Back Seats, 1s. Tickets at Mitchell's, Old Bond Street; all the Principal Music Sellers, and at the Rooms.

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T. MARTIN'S HALL, LONG ACRE.-To be Let

music halls, admirably adapted for musical, religious, or literary purposes, or for any object requiring large space, together with class-rooms, a good dwelling-house, cellars, and conveniences. For particulars apply p.p. to Messrs. DANGERFIELD and FRASER, Solicitors, 26, Craven Street, Charing Cross.

PRIZE MEDAL FOR PRATTEN'S PERFECTED FLUTES, WITH THE OLD SYSTEM OF FINGERING.-BOOSEY & SONS have much pleasure in announcing that these instruments have received the Prize Medal of the International Exhibition. An Illustrated Catalogue may be obtained upon application to the manufacturers, BoosEY & SONS, 24, Holles Street, W.

PRIZE MEDAL FOR BOOSEY & SONS' MILITARY

BAND INSTRUMENTS, CORNETS, &c.-BOOSEY & SONS have much pleasure in announcing that these instruments have received the Prize Medal of the International Exhibition. An Illustrated Catalogue may be obtained upon application to the manufacturers, BooSEY & SONS, 24, Holles Street, W.

ASHDOWN & PARRY (successors to Wessel & 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.

THE

London: 18 Hanover Square.

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 sounded Piano or Forte-is easily repaired, or the pitch altered if required. Price (any note), 2s. 6d. Post-free.

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RGANIST-Wanted, a Situation for a BLIND NEW SONGS BY W. VINCENT WALLACE.

Organist. Letters to be addressed to Mr. F. Plaw, Vestry Hall, Pancras-road, N.W

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"The Song of May"

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"When thou and I last parted"

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3s.

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39.

London: DUNCAN DAVISON & Co., 244 Regent Street, W.

EW SONGS BY ALEXANDER REICHARDT "Good Night" (Cradle Song)

NE

"Memory" (dedicated to Miss Helen Hogarth) "Are they meant but to deceive me?"

"The Golden Stars"

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WORE DE

NEWSPAPE

PENN

MON DROT

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