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well adapted as to Mr. Weiss, but none can er.ter so falls into the feeling i Our correspondent from Belfast writes as beneath:of the part or better realise its goblimity and pathos. The tenderness “ Too much praise can scarcely be given to Mr. Robinson and Mr. and devout spirit of resignation infnged by Mr. Weigs into the air, “ It is ' H. G. Loveday for their spirited attempt to introdoce first-class chamenough, () Lord,' were especially worthy of notice. Mr. Sims Reeves ber music-more especially the instrumental quartet - into this town; with his matchless voice and irojassioned delivery realized in their fall and it is to be sincerely hoped that the public will give their warın supsignificance the min led elevation and sweetness of the two airs, If port to the scheme. The critique of their first concert in the Vers Letter with all year hearts,' and 'Then shall the righteous,' and never gave of to-day is so good that I send it." them with finer effect. The execution of the latter air was distinguished by a power and brilliancy of voice that almos: blinded one to the earnest, The critique of the News Letter is as follows:yearning, hopeful spirit in which the prediction was uttered, and the ap- The first of a series of quartet concerts took place at the Musical planse which followed took, though in vain, the form of an encore. Miss Academy of Mr. and Mrs. Robinson. To Mrs. Robinson and Mr. H. Palmoer, in the contralto music, acquitted herself with judgment, spirit, ! J. Loveday the merit of introducing, for the first time in Belfast, this and vocal power. Probably her most successful effort was the air, Woe high-class style of music is due, and from the attention and silence with unto him, though. () rest in the Lord' proved more effective with the, which the immortal works were listened to, we have every reason to beucneral public, and availed her the tender of an encore which, notwith- ¡ lieve that a most successful future may be anticipated. It is the more standing the noble President's endorsement of the popular verdict, she creditable to the audience to have paid the best possible compliment of rezolutely derlined,
1 silence to the quartets, &c., as, generally speaking, the public re" Mad. Goldechmidt's qualifications for oratorio music generally, I quires a certain amount of training to get accustomed to the various and the impassioneel soprano music of Elijah in particular, are so well beauties of such works, which, when known, fully repay the attentive kuow that we feel little need be said to convey the effect of her per- listener. The programme, which was well and judiciously selected, was formance. The dramatic fire which she infusce into every utterancë has composed as follows: --- Part I.-Quartet-No. 78, in B flat (Haydn)Jothing of the conventional tragedy queen passion about it; indeed it is Messrs. Loveday, Levey, Wilkinson, and Elsner. Sonata – Pianoforte altogether opprysed to the uburlon and outward demonstration charac and Violin, Op. 23 (Beethoven)-Mrs. Robinson and Mr. H. J. Loveday. teristic of ordinary dramatic impersonations, and manifests itself exclu- Saxophone Solo (Kucken). Quartet in D (Mozart). Part II.- Quartet nively in a convincing and unaffected carnestno, and concentration. ! (Weber) Pianoforte; Violin, Viola, and Violoncello -- Mrs. Robinson, Miss Sunanna Colc exhibited a sweet and penetrating voice in the music | Messrs. Levey, Wilkinson, and Elsner. Prciude and Fugue in A minor of the youth who is sent to look for tokens of the expected rain. The (Bach)-Mrs. Robinson. Saxophone Solo (Schubert). Quartet - No. unaccompanied trio, 'Lift thine eyes,' was song so much to the satis- | 5, in A (Beethoven). Haydn's quartet is generally termed · The Rising faction of the public by Mad. Goldschmidt, Miss Cole, and Miss of the Sun,' from its bright and flowing opening, and brilliant crescendo l'almer, that it had to be repeated. Mr. Otto Goldschmidt conducted -meant by the composer to give the idea of the great orb starting from throughout with tact, self-possession, and spirit, and Mr. Stimpson was, the East and shining forth in his full splendour – was cxecuted with is usual, irreproachable in the organ pari.”
precision and brilliancy. The Sonata of Beethoven in F - one of the The Brighton Eraminer gives a glowing account of the per
inost attractive of the immortal composer – was faultless in every re
spect, and must evidently have been studied by Mrs. Robinson and Mr. formance of the Sistery Marchisio at Mr. F. Wright's concert, /
H. J. Loveday with the conscious conviction of its importance, as all which took place at the Pavilion on Saturday. M. Vieuxtemps'
the passages were interpreted with neatness and precision, and, what is violin playing was one of the conspicuouy features of the enter
even of greater moment, the lights and shades were carefully attended tainment. The Brighton Gazette is not legs enthusiastic in its
to. A distinguished amateur played Kucken's Maid of Judah,' on a praises of the Sisters, and is even more original in its criticisms. new and very fine-toned instrument, and acquitted himself in this, as The following will be read with peculiar satisfaction :
well as in a solo in the second part, with finished taste and judgment. " Thoy commenced with the duct from Norma, “Deh con te,' in
Bach's prelude and fugue in A minor was given by Mrs. Robinson in a which Grimi and Alboni (Qy. when did Alboni play Adalgisa?) so much
style worthy of the composition -- more would be needless. Weber's distinguished themxelves in their carlier years. The sisters Marchisio
| quartet gave special satisfaction, and the concert concluded with Beetrendered it even with greater nicety as far as light and shade were con.
hoven's in A, in wbich occurs the favourite air with variations. Messrs. cerned. Their voices dovetailed and blended beautifully, in short it was
Levey, Wilkinson, and Elsner were specially engaged from Dublin for the very perfection of duet singing. The modulations were perfect, and
the occasion -- their services having been secured for the series. A we should imaging that there are no other two sisters in the habitable globe
universal feeling of satisfaction prevailed amongst the audience, which that ever sang so sweetly and harmoniously together."
will, doubtless, increase in numbers at each successive performance." At Leeds the Sisters Marchisio appear to have been no less successful. The Leeds Times and Leeds Intelligencer both speak
MUSICAL SOCIETY OF LONDON.-- The present season could scarcely of them in the highest terms, on the occasion of their first appear have been more brilliantly inaugurated than by the conversazione of ance at the fourth of the Leels Subscription Concerts. M. Vieux Wednesday last, when the large room of St. James's Hall was densely tempe is also enthusiastically praised. The great Belgian violinist, thronged by the members of this most flourishing society, which now indeed, mooing to have created a marked sensation throughout the numbers nearly 1,300 subscribers, embracing most of the celebrities of " Marchisio" tournée.
the profession. As these pleasant meetings occur twice in the year, at
the comincncement and close of each season, it requires no small amount A correspondent writes from Manchester as follows:
of ingenuity to find attractive objects in sufficient quantity and variety "At the Inst of M. Hallé's concerts in Free Trade Hall, the pro- to furnish forth the necessary artistic embellishment, and it reflects gramme was more discursivo, if not altogether less interesting than in considerable credit upon Messrs. Salaman, Stockdale, and Dr. Rimbault The majority of instances. There was no symphony. Ti donc ! What || that they succeed on cach occasion in producing a novel and interesting in the line of it well-trained orchestra? The overtures were Guillaume collection, not only of the heterogeneous kind usually met with at gatherTell and the Nozze di Figaro, by the Italian Mozart (in a dramatic ings of this sort, but of the description bearing more particularly upon Nonse) and (in a dramatic senso) the German Rossini. M. Hallé avail. the art which gives its title to the association. From the first secular ing himself of n chorns which was this evening at his disposal, treated music book printed in England (Thomas Whythorne's Songs, 1571), to the audience to the Choral Fantasia of Beethoven, for piano, band and the latest grand pianoforte by Broadwood, there was something to chorun, which was a treat in every respect. As a solo he gave the interest visitors curious in musical matters — M. Victor Schelcher, Dr. scherzo and rondo from Weber's romantic sonata in A flat. (* If no Rimbault, Mr. Charles Collard, M. Ole Bull, &c., being the principal more, why so much?' as King Arthur says to the ghost in Fielding's contributors in this department. The orchestra, corered with crimson Tom Thumb. Why not, in short, the whole of the sonnta?) The great cloth and adorned with statues, whose whiteness was still more strongly feature of the concert was the magnificent Lorely, in which Mendelssohn thrown up by the surrounding shrubs, evergreens, and flowers ; the has given us a dramatic finale equal to any extant. Miss Parepa sang organ partially concealed by heavily festooned curtains ; while the the part of Leonorn with extraordinary vigour. The chorus was also opposite end of the hall was similarly draped, displaying in the recess displayed in choral movements from Fru Diavolo, Iphigenia (Gluck), a group of the graces in verdant retreat, and only half revealed by a Idomeneo (solos by Miss Paropa), and Mendelssohn's hills, O vales.' soft pale green ligit, oil and water colour pictures, choice proof engrav. Moreover, Miss l'arepa gave the laughing-song,' from Auber's Manon ings, busts of all the composers, photographs of nearly cvery musical Lescuul, Arditi's Il Bacio' (both encored), and “Non mi diri' Last, professor of note, stereoscopes, microscopes, wood carving, suits of not least, we had the chorus of Dervishes (a wonder!) and the Turkish armour, silver plate by Messrs. Hunt and Roskell and Elkington and March from Beethoven's Ruins of Athens."
Co., autograph lett ers, bronzes, every variety of delicate perfume,
THE PURITAN'S DAUGHTER.
THE LIBRETTO WRITTEN BY J. V. BRID GEMAN ;
specimen of drawing-room telegraphs (though, by the way, what use a
NEW OPERA. telegraph can be in a drawing room, where people are usually supposed to talk to each other, it is difficult to guess); all these, and a hundred other objects, which must be included under the comprehensive title of &c., &c., helped to entertain the eye, while the musical sense was not by any means left ungratified; several glees being contributed by Messrs. Foster, Cummings, Montem Smith and Winn, Mlles. Parepa and Florence Lancia, with Mr. Tendant, giving their services as solo
A GRAND ROMANTIC OPERA IN THREE ACTS; vocalists, and Miss Emma Lewis (pupil of Mr. Charles Salaman) making her first appearance as pianist with Chopin's Scherzo in B flat minor, Messrs. Frank Mori and Salaman officiating alternately as accompanists. Altogether a very agreeable evening was spent by the
THE MUSIC COMPOSED BY members of the society. COLOGNE.-The fifth Gesellschafts Concert excited more than ordinary
M. W. BALFE. interest, from the fact that Robert Schumann's “Music to Scenes from
COMPLETE-PRICE TWO GUINEAS. Faust," his most comprehensive and most important vocal work, was performed at it, in all its entirety, for the first time. Every place in the
CONTENTS. body of the hall (the Gürzenich) and in the gallery was full. The ex
ACT I. pectations of the public were more than realised, and the warmest thanks No.
VOICE. S. d.
Overture are due to everyone who took a part in the performance, beginning with
. . 4 0 the talented conductor, Herr Ferdinand Hiller. An immense number
" Hate, hate."
T. B. 30 of musicians and musical amateurs came long distances on purpose to
S. B. 40 “My own sweet child,"
• B. 2 6 hear the performance. For instance, one gentleman, Herr Kirchner,
" What glorious news" (C accompanied by a couple of friends, came all the way from Winterthur, Recit. & Chorus, with Solos, “Let us haste.'
Soprani. in Switzerland, where he is Musical Director. A great sensation was
Solo & Chorus, “By earth and air." .
Concerted Piece, " What do we see?". produced by the presence of Mad. Clara Schumann. On the 21st inst.,
“Oh, father, pity!" this lady herself gave an exceedingly well attended soirée in the Hôtel Duet,
"Oh, reflect ere you decide."
- - S. Disch. Herr Stockhausen supported the fair bénéficiaire by his admir
10. Finale, Act I. . able singing of four songs : “Harold,” by Ferdinand Hiller;" “ An die
“Bliss for ever past." . . . S. or B. Leier” and “ Aussanthalt," by Schubert, and “Sonntags am Rhein,"
ACT II. by Schumann. In obedience to the unanimous desire of the audience,
1 11. Recit, & Romance, " How peal on peal of thunder rolls."
- B. 2 he repeated the last. Mad. Schumann played R. Schumann's Quintet, 12. Trio,
“By the tempest overtaken."
T. B. B. 3 Ferdinand Hiller's Capriccio, Op. 81, two of Mendelssohn's Lieder ohne | 13. Trio,
“My welconie also to this roof."
T. B. B. Cabaletta,
“Can it be, do I dream ?". Worte, Beethoven's D minor Sonata, Op. 31, Sarabande and Gavotte
T.B. (G minor), by J. S. Bach, and andante and presto by Don Scarlatti, - 141. Recitative,
“Nay, do not run away."
Air, On the same evening, Herr G. Koch gave his annual concert in the
“ Though we fond men all beauties woo.". . 16. Duet,
“Thou weepest, gentle girl." middle ball of the Gürzenich. This concert, also, was exceedingly well
17. Drinking Song, "Let others sing the praise of wine attended, the various airs and concerted pieces, by Mozart, Spohr, Beet
- - S.
19. Finale. Act II. . - - - - - - horen, Stauptmann, Hiller, Rosini, Reissiger, Handel, Righini, and C. M.
" What man worthy of the name." . S. B. von Weber being warmly applauded. The executants were all pupils of
194. Entr' Acte .
Ballad, MUSIC FOR CHURCH of ENGLAND SERVICES
seco “A loving daughter's heart.” : : : : s. 26
23. Concerted Piece in the TONIC SOL-FA NOTATION.
Rondo, Finale, “With emotion past all feeling." : : s. 3 Edited by John CURWEN.
N.B.-Those marked thus (*) have transposed Editions. The CHORAL SERVICE of wesTMINSTER and ARMAGH. Harmonies by JAVES TURLE, Esq. Price One Penny.
Favourite Airs from Balle's Opera, " The Puritan's Daughter,” arranged by TALLIS'S CHORAL SERVICE. Price One Penny.
W. H. Callcott, in 2 Books - . . . - - Solos, 5s.; Duets 6 0 JACKSON'S TE DEUM, in the "Tonic Sol-fa Reporter, No. 53," Price One
W. H. Holmes's Fantasia, " The Puritan's Daughter"
- . 30 JACKSON'S JUBILATE, SANCTUS, and GLORIA, in the “ Tonic Sol-fa Re Brinley Richards's Fantasia on the Favourite Airs Price One Penny. Galop, from “The Puritan's Daughter," arranged by C. Coote
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3 0 JACKSON'S DEUS MISERÉATUR, CANTATE DOMINO, and KYRIE
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- - - - 4 0 porter, No. 78." Price One Penny.
Other Arrangements in the Press.
London : ADDISON, HOLLIER and Lucas, 210 Regent Street.
KENT'S “SING O HEAVENS," in the “ Tonic Sol-fa Reporter, No. 46." Price VANS'S ENGLISH HARMONIUMS for Cottages,
V Schools, Drawing Rooms, Churches, Literary and other public Institutions, are Dr. WHITFIELD'S “IN JEWRY IS GOD KNOWN," and Dr. CROFT'S
made in every possible variety at prices from 6 to 140 guineas. The Manufacturers * CRY ALOUD AND SHOUT," in the " Tonic Sol-fa Reporter, No. 63." Price
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ani Potter, Best, Henry Sinart, &c., have testified to the extraordinary merits of MASON'S “ LORD OF ALL POWER,” WINTER'S HEAR MY PRAYER."
Evans's Harmoniums. and HARWOOD'S " VITAL SPARK," in the “ Tonic Sol-fa Reporter, No. 90."
See testimonials attached to Illustrated Catalogues of Harmoniums, to be had gratis Price One Penny.
of the Manufacturers, CHANTS, RESPONSES, &c., containing 3 Sanctuses, 5 Responses, 4 Glorias, 37
Boosky and Ching, 24 Holles Street, London.
THE SABBATH TUNE BOOK (Edition T), containing 111 Psalm Tunes and
V two rows of keys, price 66 guineas in oak case, or 70 guineas in rosewood case, ** The Sabbath Hrmn-Book" (Edition J), price Eightpence, containing 630 pieces, in
combines every modern improvement. The most beautiful and varied orchestral effects cluding the “Child's Own Hynin-Book," and the Canticles of the Church of England,
can be produced upon this instrument, which possesses every gradation of tone from with Scripture references to the principal hymns, is adapted to this tune-book.
the greatest power to the most delicate piano pieces. The English Model Harmonium THE SABBATH HYMN and TUNE BOOK (Edition F), containing 467 hymns,
is managed with that facility which characterises all Evans's Harmoniums, and is 77 tunes, with “ Congregational Anthems," “ Chants, Responses," &c. and the West
equally effective both in the drawing room and church. minster Choral Service (as above). Price Two Shillings. The same (with the excep. tion of the Choral Service) in the Established Notation (Edition !). Price Two
Boosey and Ching, Manufacturers, 24 Holles Street, London, w. Shillings.
AD ACCOUNT OF THE TONIC SOL-FA METHOD. Four copies for One Penny.
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251 to 130 Guineas; also with the new patent self-acting blowing inachine. with Mr. William H. Thodey, Richmond House, Plaistow, London, E.
BOOSEY and CHING, Manufacturers, 24 Holles Street, London, W.
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ER, STEPHEN. Deuxième Canzonette. Price 4s.
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NAPOLEON, A. Un Ballo in Maschera, Grand Fan
tasia, Price 4s. COLLMICK.-Elfin Revels. The last new piece by this
Cramer, Beale avd Wood, 201 Regent Street, w, graceful writer, a most charming composition. Price 3s.
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LLCOTT, W. H. Simon Boccanegra. Favourite
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MMA WON'T BRING ME OUT. Sung by Mrs.
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I'LL TELL YOU WHY I'D LIKE TO BE A ROSE.
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NEW EDITIO N.
CHAPPELL & CO.'S THE VOICE AND SINGING
NEW MUSICAL PUBLICATIONS. (THE FORMATION AND CULTIVATION OF The voice for SINGING),
By ADOLFO FERRARI.
CHAPPELL AND CO.'S NEW MUSICAL ALBUMS. W HEN this book first appeared we foretold its success ;
our conviction being founded on the author's freedom from In volumes, beautifully bound in various coloured cloths, with gold conventional trammels, the strong good sense of his opinions, the
letters and gilt edges, price 4s, each, 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 CHAPPELL'S ENGLISH BALLAD ALBUM, his practice as one of the most eminent teachers of the day ; and this
Containing 36 Songs by Balfe, Wallace, Barker, Glover, Linley, Lover, work has consequently come into general use as a manual of vocal instruction, not only in the metropolis but throughout the kingdom.
Walter Maynard, and other popular Composers, all with Pianoforte In this new edition the author has made various important additions
Accompanimente. to the work, especially to the Exercises. Formerly they were confined
Price 4s. bound and gilt edges. to soprano or tenor voices; exercises for the one voice being also avail. In this Album will be found many of the most popular Ballads of these able for the other. But, for the contralto, or the barytonc, provision favonrite composers. 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 CHAPPELL'S FIRST ALBUM DE DANSE small notes. By these means the utility of the work is very greatly increased.
For the Pianoforte ; containing 10 sets Quadrilles, 50 Valses, 40 We have said that the remarkable qualities of this book are the au
Polkas, chiefly by Charles D'Albert. thor's freedom from conventional trammels, the strong sense of his
Price 4s. bound, with gilt edges. opinions, and the novelty yet evident soundness of his precepts ; and this we will show by quoting, unconnectedly, a few passages which cannot fail to strike every reader. “ Voices are too often ruined by giving pupils difficult songs, in
CHAPPELL’S SECOND ALBUM DE DANSE order to gratify their vanity or that of their friends, before they have acquired the power of sustaining the voice, throughout its natural ex. | For the Pianoforte : containing Quadrilles. Valses, Polkas, Galops. tent, with a firm and clear intonation. When it is recollected that it Schottisches, Varsovianas, Polkas, Mazurkas, Redowas, and French has taken years of application and study to enable professional singers Country Dances. to execute properly the songs we are accustomed to hear attempted by almost every young lady who is requested to sing in a drawing-room,
Price 4s. bound, with gilt edges. the absurdity of the prevailing system becomes self-cviuent.
N. B._. The two Albums de Danse comprise a complete collection of " I strenuously advise all who wish to sing not to defer the com- all Music requisite for the Ball-room. mencement of this study, as is generally the case, till the pupil arrives at the age of 17 or 18, by which time young ladies ought to be good singers, but to commence early, at about 13 or 14 years of age, and resisting the gratification of singing a number of songs for the amuse
CHAPPELL'S CHRISTY MINSTREL ALBUM, ment of their friends (the word may be taken in more senses than one),
Containing 52 Songs, with Choruses and Pianoforte Accompaniment. to devote sufficient time to what may be termed the drudgery of singing, so as to enable them to acquire the power of sustaining the voice, easily
N.B.-This collection alone contains various popular Songs, including
“I'm leaving thee in sorrow, Annie,” “ Friends of my Youth," " I'm to themselves and agreeably to the air,
returning to thee, Annie," “ Rosaline," &c. “Many young ladies now-a-days speak habitually in a feigned voice.
Prico 4s, bound, with gilt edges. Here lies the greatest difficulty in teaching, or practising singing; for should neither the pupil nor master know the real tone of the voice, the more earnestly they work together the sooner the voice deteriorates. In my experience I have found this difficulty most easily overcome by
CHAPPELL'S SACRED VOCAL ALBUM making the pupil read any sentence in a deep tone, as though in carnest conversation, beginning two or three notes below what they consider
ow what they consider | Contains 36 Songs and Ducts, by Handel, Barnett, Glover, the Hon their lowest notes ; but, as the lower and richer tones of the voice are
Mrs. Norton, Smart, Abt, Moore, Marcello, &c. generally objectionable to young singers, all of whom are ambitious to sing high, it requires much firmness and some coaxing on the part of
Price 4s. bound, with gilt edges. the master to get the pupil to submit to this exercise. I cannot advise too strongly the greatest attention to the free and natural development of the lower tones of the voice : it is to the stability of the voice what
CHAPPELL'S ITALIAN SONG BOOK, a deep foundation is to the building of a house.
"In conclusion, I must add a few words on a subject of great im | Containing 32 Italian and German Songs, by Verdi, Mozart, Flotow. portance to the pupil who makes singing a study. I mean the spirit in Schubert, &c., all with English as well as the original Words, and
Schubert. &c. all with English as well as the ori which instruction is received. Every emotion of the mind affects the
Pianoforte Accompaniments. voice immediately ; therefore it is of the utmost importance that the
Price 4s. bound, with gilt edges.
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POPULAR INSTRUMENTAL WORKS
THE CONCERTINA MISCELLANY.
THE CORNET MISCELLANY.
THE ORGANIST'S REPERTOIRE.
A Magazine of Modern Music for Concertina and Piano. By George Case. Price FOR THE CORNET-A-PISTON AND PJANOFORTE. Arranged by THOMAS
HIARPER. Price 3s, each number. 2s. Gd, each number.
15. Don Pasquale 1. Masaniello 27. Il Trovatore (2nd)
2. Il Trovatore
16. Norma 2. The Creation 28. Les Huguenots
3. I Puritani
17. Les Vépres Siciliennes 3. Lucia 29. National English Melodies
4. Lucrezia Borgia
18. La Sonnambula 4. Irish Airs 30. Norma
19. Fra Diavolo 5. French Airs 31. Fra Diavolo
6. Lucia di Lammermoor
20. Favorita 6. Guillaume Tell 32. Russian Melodies
7. La Traviata
21. I Lombardi 7. Popular Dance Music 33. I Lombardi
€. Der Freischutz
22. Guillaume Tell 8. Il Trovatore 34. Prendi l'anel, Duet
23. Second Selection, Trovatore 9. American Melodies 35. La Carita and I Marinari
10, Linda di Chamounix
24. Nabuco 10. Don Giovanni 36. Robert, toi que j'aime
25. Satanella 11. Stabat Mater 37. Beethoven's Kreutzer Sonata
12. Robert le Diable
26. Dinorah 12. Rigoletto 38. Crown Diamonds
13. Les Huguenots
27. Martha 13. Puritani 39. The Midsummer Night's Dream
14. Fille du Régiment
28. Don Juan 14. Lucrezia Borgia
40. La Traviata (2nd) 15. Stabat Mater 41. Popular Freach Songs
A. English Airs
C. Scotch Airs 16. Don Pasquale 42. Stabat Mater (3rd)
B. Irish Airs 17. Ernani 43. Luisa Miller
D. American Airg 18. Songs without Words
41. Martha 19. La Traviata
45. Stabat Mater (4th) 20. Les Vépres Siciliennes
46. La Favorite 21. Wedding March
47. I Martiri 22. Zampa
48. Stabat Mater (5th) 23. Scotch Airs
49. Stabat Mater (6th) 24. Figaro
50. Satanella 25. La Fille du Régiment
51. Dinorah (1st) 26. The Bohemian Girl 52. Dinorah (2d)
A Selection of Classical Compositions from the Masses, Oratorios, and Motetts of the
great Masters, arranged from the Orchestral Scores for the Organ with Pedal Obbli.
Meyerbeer 2. Gloria in Excelsis Deo
12th Mass Mozart Cujus Animam .
Rossini 5 Quoniam tu solus
Haydn Gran Dio, padre nostro
Meyerbeer 5. Splendente te Deus
Mozart Worthy is the Lamb.
Handel Et Resurrexit
Mass in C . Beethoven Gloria in Excelsis Deo
Pergolesi Price 1s. each.
Fac ut l'ortem
Stabat Mater Rossini Der Erdkreis ist nun
Mendelssohn 1. Robert, toi que j'aime 20. Libiamo, Brindisi 10. Te Deum laudamus
Graun 2. Quand je quittais 21. Parigi o cara
Requiem . Mozart 3. Nobil Signor 22. Di provenza 12. How are the Mighty fallin
Funeral Anthem Handel 4. No caso egual
23. Ah ! forse lui 5. Va pensiero
24. Sempre libera 6. Ernani involami
25. Rovers, Rulers of the Sea 7. Tutto è sprezzo
26. Wouldst thou win me 8. La mia letizia
27. The Power of Love 9. La donna è mobile
24. The Glorious Vintage of Cham. 10. E il sol dell'anima
pagne 11. Questa o quella
29. Come into the Garden, Maud 12. Bella figlia
30. M'appari tutt' amor 13. Introduction and Galop Rigoletto 31. Ombra leggiera 14. Miserere-Ah! che la morte
32. Sei vendicata assai 15. Il balen del suo
33. Da quel di' and Fancuille che 16. Si la stranchezza 34. Santa Maria
Price 1s. each. 17. Merci, jeunes amies 35. Se l'ora suonera
1. Robert, toi que j'aime 18. Ami! le cæur d'Hélène 36. Gran Dio, padre nostro
2. Quand je quittais 19. Jour d'ivresse
21. Parigi o cara 3. Nobil Signor
22. Di provenza 4. No caso egual
23. Ah ! fors è lui 5. Va pensiero
24. Sempre libera 6. Erani involami
25. Rovers, Rulers of the Sea 7. Tutto è sprezzo
26. Wouldst thou win me 8. La mia letizia
27. The Power of Love 9. La donna è mobile
28. The Glorious Vintage of Cham. 10. E il sol dell'anima
pagne 11. Questa o quella
29. Come into the Garden, Maud 12. Bella figlia
13. Introduction and Galop Rigoletto 31. Ombra leggiera A Series of Fantasias for Flute and Pianoforte. Price 35. 6d. each.
R. S. PRATTEN’S RECREATIONS FOR
FLUTE AND PIANO.
11. Dies Iræ, Tuba mirum, and Rex tremendæ
CASE'S POPULAR RECREATIONS FOR
VIOLIN AND PIANO.
PRATTEN'S FLUTE MISCELLANY.
30. M'appari tutt' amor.
14. Miserere --Ah! che la morte
32. Sei vendicita assai 15. Il balen del suo
33. Da quel di' and Fancuille che 1. Fantaisie on English Airs 5. Mazurka Brillante
16. Si la stranchezza
34. Santa Maria 2. Fantaisie on Irish Airs 6. Pelka di Bravura
17. Merci, jeunes amies
35. Se l'ora suonera 3. Fantaisie on Scotch Airs 7. Grande Valse Brillante
18. Ami! le coeur d'Hélène
36. Gran Dio, padre nostro 4. Fantaisie on American Airs 8. Fantaisie on Dinorah
19. Jour d'ivresse
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in the Parish of St. Bride, in the City of London. Published by JOHN BOOSEY, at the Office of BoosEY & Sons, 28 Holles Street.- Saturday, February l. 1862.