18C3 may be concluded without reserve. Herr Joachim, having created a new and universal taste for the music of Bach, has imposed upon himself the honourable duty of standing forth as modern champion to th? greatest and most profound of the elder German masters. He is now Bach's apostle no less than Beethoven's, and, happily, quite equal to the task of representing both with dignity. The other players in the quartet were MM. We ll, Webb and Piatti; the other singer was Madame Florence Lancia; the pianist, Mr. Charles Halle. We append the programme, which yielded in interest to none of its 111 precursors:—


Quartet In D Minor (string*) Sehubcrt.

l'riero et Barcarolle (l'Etoile du Nord) Meyerbeer.

H„ . "Stars of the summer night'

80nff" "I know thou dost love me Molique.

Sonata In A flat, Op. 39, for pianoforte alone Weber


Selections from Sonata, in B minor, for violin time ... Bach.

Song, "The Message" Ulnmentlial.

Song, "The merry Flower Girl" G. A. Osborne.

Sonata, In A, dedicated to Kreutzer,for Piano and violin Beethoven.
Conductor Mr. Benedict.

There was not a flaw in the entire performance. No more perfect quartet-playing than that of Schubert's " D minor " (the most imaginative, and admirable, perhaps, of all his instrumental compositions) has been listened to, even at the Monday Popular Concerts; Mr. Halle has never displayed more consummate ability than in the romantic and truly beautiful sonata of Weber; Mr. Sims Reeves threw a world of feeling into the graceful songs of Herr Molique (from a set of six, dedicated to himself), and was compelled to repeat M. Blumenthal's pretty "Message;" and Herr Joachim in the "Sarabande" and "Bourrue," from Bach's second solo sonata, produced the accustomed extraordinary sensation. Being, as a matter of course, unanimously called upon to 'produce some other movement from the same source, Herr Joachim did so with the heartiest goodwill. About to take leave for so long a period of one of the most thoroughly musical audiences before whom he had probably cvcrappcarcd, the gifted Hungarian violinist played as though he felt it, and created an impression not easy to be effaced. Madame Lancia, too, seemed inspired by the occasion, imparting more than ordinary expression to the prayer and barcarole from Meyerbeer's opera, and more than ordinary spirit to Mr. Osborne's lively little song. About the " Kreutzer" duet of Beethoven—the executants being MM. llallc and Joachim—we need say no more than that it was the culminating point of one of the most stirring and exciting concerts ever held in St. James's Hall. The crowd was so enormous that several hundreds of persons were sent away for whom it was impossible to find even standing room; and, though the rows of stalls were very considerably increased in number, the extra chairs, placed in every direction, to accommodate late comers, almost choked up the avenues. And this, too, at a concert exclusively devoted to quartets, sonatas, andjsolo songs, the 112th in the space of little more than three years!

The Monday Popular Concerts are to be resumed on the 12th of January, 1863. ,

HANOVER SQUARE ROOMS. A well-known entrepreneur, Mr. J. Russell, has advertised for some days past a series of three miscellaneous concerts in the Hanover Square Rooms—the first of which took place on Wednesday night. The programme was on this occasion just of that character most likely to attract the visitors to London at this particular period, and the singers and players were numerous and strong enough to give it due effect. The direction being vested in Mr. Land was a sufficient guarantee that the entertainment would be excellent of its kind; and by no means its least agreeable features were two familiar glees by llorsley and Webbe, in the first of which (encored) Mr. Land was associated with Messrs. Baxter, dimming, and Winn; in the second, by the same gentlemen, with the addition of Miss Wells. The solo singers included Madame Gassier, so long famed as a vocalist of the florid and brilliant type; Mdllc. Marie Cruvclli, the contralto, whose improvement in voice, style, and execution was noted last season at more than one concert in Exeter Hall and elsewhere; Herr Hermanns, whose loud-toned "bass" has on several occasions, at Her Majesty's Theatre, given sonority to the sepulchral music of the Commendatore; Mr. Swift, one of our most genuine English tenors, with a voice that alone should make his fortune; and last, not least, Mdlle. Amelia Corbari, known and esteemed by all frequenters of the Royal Italian Opera, and who now by her thoroughly artistic rendering of the great soprano scene from Der Frcuchutz showed herself mistress of a style for which she had not previously obtained credit. To each of these— Mr. Swift suffering from hoarseness, excepted—was allotted a solo air; two or three concerted pieces being also set down in which their respective talents were combined. The vocal music, unacccompanicd by anything else, would have made a capital entertainment of the

sort, more especially at this busy time. But Mr. Land—or Mr. J. Russell (to whichever of the two we are indebted for this musical feast)—was lavish in providing for the gratification of his patrons. A Polish pianist of the "bravura" school, M. Frederic Boscovitch by name, at three different intervals, gave no less than seven of his own compositions —" Songs of Sirens," "Prieres," "Mameluke dances," "Amazons' Marches," etc.,—which he played eon amount and to the evident satisfaction of his hearers, who recalled him at the end of the first " service." Better (far better), M. Sainton, the genuine " Emperor" of French violinists, played one of his own admirable fantasias in his own admirable manner, and (which was the most extraordinary display of the evening) a duet for violin and doublebass, with Signor Bottesini—incomparable master of the last-named, in most other hands, ungrateful instrument (that is, of course, away from its proper place in the orchestra). This duet from the pen of Signor Bottesini himself is an extremely clever, ingenious, and effective composition, exhibiting to eminent advantage the capabilities of both instruments, and revealing a talent for combination which belongs only to the highest musicianship. The execution on either hand was really wonderful, the surprise and delight of the audience being manifested in repeated bursts of applause and a loud " recall" for the performers. Notwithstanding his lond absence it was clear that Signor Bottesini had not been forgotten. When we left there was still more music, both vocal and instrumental, to follow; but enough has been said to give some idea of the varied attractions of the programme. The accompaxists were Messrs. Land, Hargitt, O. Williams, and Bottesini.

The second concert took place on Thursday afternoon, and began with a selection from Beethoven, which included the canon (quartet) from Fidelia; the violion romance in F (played to perfection by 31. Sainton); "In questa tomba" (extremely well suited to the voice of Mdlle. Marie Cruvelli); the "Savoyard" and "The stolen kiss" (which Mr. Sims Reeves has made famous at the Monday Popular Concerts, and in which Mr. Swift by no means unworthily emulated his preposterous contemporary); an air to Italian words, " Dimme ben mio," which fell upon Mdme. Gassier; and the Moonlight Sonata, upon which M. Boscovitch fell diagonally. The Pesthian pianist is lee, at home in Beethoven, although it was his second appearance in London, and at his first he was styled wrongly, it would appear, Polish instead of Pesthian. The second part comprises another fantasia for the double-bass (Sonnambula—the night before it was Lucia), miraculou.«ly manipulated by Signor Bottesini, who was recalled; a German song (von Schaffer), attributed to Herr Hermanns, whose voice has occasionally the I<orniesian tone; some pianoforte solos by M. Boscovitch, composed by M. Boscovitch, who was more at home in Boscovitch; licdert Le Dessauer and Schubert attributed to Mdlle. Cruvelli: the drinking song from Macbeth, to Mdme. Gassier; the *' Carnaval Je Venise on the double-bass, " by desire," and Signor Bottesiui. The accompaniments were as on the preceding evening.

The third and last concert took place on the same evening with a miscellaneous programme. The same singers and players took part, with the exception of M. Boscavitch (who was at home). The pianist never was one of a more serious cast, namely, Herr Ernst Pauer, who, united with M. Sainton, gave a superb performance of the KreuUer Sonata, and played two graceful pieces of his own (•' La Cascade " and "Galop de Concert") in most brilliant style. M. Sainton also charmed the audience with his capital fantasia or airs from Rigoletto ; Signor Bottesini gave another of his wonderful solos, and (by desire) his duet for violin and double-bass was repeated. Mdlle. Corbari appeared for the second time, and made as favorable an impression as before with the Cavatini from Maria de Rohan; while to the singers we have already named were allotted a well-varied selection of pieces from Italian and German composers, which were all executed more or lea to the satisfaction of the audience.

Such varied attraction as these concerts presented, would, one might have thought, have drawn more numerous audiences to the elegant rooms in Hanover Square.

Concerts Of National Melodies.—The concert given on Thursday— a consequence of the success of the preceding concert—attracted even a larger audience, in spite of the very indifferent state of the weather? The addition of Mr. Sims Reeves's name, we may presume, made all the difference. The programme was, so to speak, milder and briefer than the former, and the Irish element was not so much in excess. Mr. Reeves, we need hardly say. was the special feature. He gave '• My own, my guiding star," "My pretty Jane," and, with the chore*. Purcell's " Come, if you dare." He was in splendid voice, and sang with immense effect, all his pieces being encored. He, however, ody consented to repeat the song from Rubin Hood. Miss Banks was eiKC-rvd in the old ballad " On the banks of Allan Water," and Miss Palmer if "Terence's Farewell" — both well sung. The choir were mom applauded in the " Blue bells of Scotland " (arranged by Xcithardtv. "The Minstrel Boy," (with accompaniments of tho twenty harps), and "Rule Britannia," the first two being enthusiastically redemanded. Mr. Aptommas was encored in his harp fantasia on Scotch Melodies, when ne played his Welsh Solo "Ar Hyd y nos." These concerts appear to have strong fascinations for a certain class of the public, and, with a little more care and judgment in the management, promise to restore themselves into a special attraction.


The large room in which the late Mr. Albert Smith so often recorded his Ascent of Mont Blanc has been restored to brilliant condition by Mr. Edmund Yates, who has opened it for a new entertainment, given by himself and Mr. Harold Power. Under the superintendence of Mr. W. Beverley the portion of the room occupied by the audience has been transformed into the semblance of a spacious conservatory, profusely adorned with artificial flowers. A servant in livery attends to direct the visitors to their places, and every detail in the arrangement is marked by an appearance of elegance and comfort. The stage remains in its former place, and has been furnished by Mr. W. Beverley with two beautiful scenes, one representing a drawing-room and the other a sea-side view with moveable billows, respectively illustrating the two sections of the entertainment, which goes by the general name, "Mr. Yates's Invitations."

The first section of the entertainment' is entitled the Evening Parlxj. Mr. Yates, who appears in proprii persona, is awaiting the arrival of his guests, and is soon joined by Mr. Harold Power, with whom a discussion ensues as to the sort of recreation which is to be provided. Next arrive several musical amateurs, Dr. Dobell Dee, Baron YddeU, and Mr. D. Tweedle; but theee are all outshone by a Mr. Goodrich, strong in the possession of an " ut de pqitrine." In spite of his transcendant genius Mr. Goodrich is interrupted by Jack Bagot, a professed "funny" vocalist, who sings a description of " London Society." What is called "A quiet evening with a little music" being thus illustrated, Mr. Yates proceeds to the description of the "Regular Evening Party," and recounts a contest between Paterfamilias and the female members of his household, the latter of whom are resolved on giving an evening party, while the former is strongly opposed to everything of the sort. The ladies are triumphant, and the festivity takes place. Prominent among the guests are Miss Ferrers, the belle of the ball, and a bashful young gentleman, and the arrival of a number of theatrical notables allows Mr. Power an opportunity of displaying his imitative talent. Jack Bagot, the funny man, again makes his appearance, and the evening terminates with a song about " London Bandits" of the present day.

In the second portion of the entertainment, which is entitled the "Seaside," Messrs. Yates and Power are supposed to retire to an imaginary watering place, and don a costume suitable to the sands. Their emigration gives occasion for a description of two doctors of opposite schools, one of the bluff, grumpy type associated with the memory of Abemethy; the other, the mincing, insinuating gentleman, who is supposed to be particularly adapted to ladies and children. Jack Bagot, of facetious celebrity, and Miss Ferrers, the beauty, and the bashful young man are shown under the influence of sea breezes, and a song entitled " Bubbles of the Day" concludes the whole. The verbal description of the several personages is greatly enlivened by an admirable series of sketches by Messrs. John Leech, Frith, and Marcus Stone, and are exhibited in a portfolio.

The labours of Mr. Edmund Yates and Mr. Harold Power are generally so divided that the task of impersonating and describing falls . to the lot of the former, while the songs are awarded to the latter. This division is not strictly followed throughout, for Mr. Harold Power not only gives some imitations of London actors, but occasionally delivers part of the lecture. He shines most in his comic songs and imitations, while Mr. Yates is a finished illustrator of life and character, firmly adhering to the principle of Mr. Albert Smith, in presenting various types of character to his audience without becoming an actor. There is no change of dress, save from the costume of an evening party to that of the sea-side; but the various personages are vividly shown and it is doubtful whether Mr. Yates deserves most praise for this literary composition of his entertainment, or his skill in embodying his own creations.

PRIZE MEDAL FOR BOOSEY & SONS' MILITARY BAND INSTRUMENTS, CORNETS, Ac.—Booetr * Bona have much pleasure la announcing that these instruments have received the Prize Medal of the International Exhibition. An Illustrated Catalogue may be obtained upon application to the manufacturers, Booiit * Sore, 24, Holmes Street, W..

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No other House In Europe can offer so large a collection of valuable Musical Works at once suitable for presents and invaluable to Students and Professors of Music and Amateurs, No library can be made up without careful consultation of this unique List, which contains works as remarkable for elegance of appearance as for intrinsic excellence.


PIANO. 367th Edition, M. "Great pains were evidently bestowed in the production of this work by Mr. Hamilton, whose indefatigable exertions results, in giving to the musical world one of the best elementary works ever published. To all who will make use of it, it will prove invaluable; for it will facilitate the pupil's progress, and relieve the teacher of much labour."—Vide Christian .Vacs, October 23.


11A good Instrument is a valuable desideratum, and Messrs. Cocks and Co. of New Burlington Street have conferred a 'boon on the public in the production jof tho Universal Piano. The price is only £25, and is quite a marvel of cheapness, combined with excellence of quality. It may be had in rosewood, or walnut case, with ogee fall, silk front, and full fret, at the above moderate price. This Is worthy of consideration by all who are contemplating making a purchase.—Vide Christian Herald, October 10.

"London: Published by Robert Cocks and Co., New Burlington Street, where the Hanover Square Rooms may be engaged. To be had of all Muiicaclleri and BoosOMUfttl*'

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Favourite Airs from Wallace's Opera, Love's Triumph, arranged by W.

Callcott, in Two Books; Solos 6s., Ducts

Flute Accompaniment to each Book

Berger I Francesco), Fantasia

Glover (Charles W.,) " Night, love, is creeping"

Gems of the Opera

Osborne (G. A.), Fantasia

Richards (B.), "Those withered flowers"


Schulthcs (Willictm), Romancsca


Trekell (J. Theodore), Fantasia

"Lovely, loving, and beloved...

■ "Night, love, is creeping"

Quadrille, " Lovo's Triumph," arranged by C. Coote (Illustrated)
Valse, ditto ditto (Illustrated)
Galop, ditto ditto (Illustrated)
The Page Polka, ditto ditto (Illustrated)
Grand Selection for Military Band, by C. Godfrey, Senr

Other Arrangements in the Press.

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Introduction and Air, " I have brought my daughter."

Ballad, " Those withered flowers." Soprano

Duo, " To the secret ." Soprano and Tenor

Ballad, " Lovely, loving, and beloved." Bass

Ballad (Transposed)

Scstettu, "In mystery shrouded" Soprano, Contralto, Tenor, and three


Reclt. and Air, " Night, love, is creeping." Tenor

Air (Transposed)

Duet, " Hear nie, I must speak." Soprano and Tenor

Finale, "All to the ball"

Separate Vocal Parti arepuoliihed.

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BOOSEY'S SIX CHRISTMAS CAROLS, pri« Sixpence: BOOSEY'S SIX CHRISTMAS SONGS, price Sixpence. Witt Piano Accompaniments.

Boosey and Sons, Holies-street.


\J BOOSEY & SONS beg to announce that, regarding Handel's ektf dtrmi as the most appropriate musical work that could l>e selected as a gift for Chririm*, they have prepared a very beautiful edition expressly for the present season, it ii printed on fine-toned paper, royal 4to (the size of "Mendelssohn's Songj williost Words"), and contains an interesting Memoir of Handel, and a Portrait copied fryffl the painting at Windsor. It is very superbly bound, gilt edges, price 7i. W. Ai i prize, a more suitable volume could not be found.

Boosey &, Sons, Holies Street.

rpHB ST. JAMES'S ALBUM for 1863. Messrs.

J_ BOOSEY and SONS bog to announce tho publication of this superb Albuic. which, for variety of content*, beauty of Illustrations, and richness of Inmlinp, a quite unequalled by any othor annual ever published. Tho contributors t» ik? "St. James's Album" are M. W. Balfe, Brinley Richards, W. Kuhe, Henry Sman, Laurent, Clariliel, Musgrave, Borger, Wagner, Elliott, and Golliulck. The Illustrations are by Brandard, Packer, W. Boosey, Concannen, and Lee. "The St. James's Album" is now ready, price one guinea> post-free.

Boobky & Sons, Hollos Street.

BOOSEY'S GUINEA BEETHOVEN.—Now Ready, in one volume, superbly bound in half morocco, gilt edge*, price 21s., Uoosryi Sons'new and complete edition of Beethoven's 32 Sonatas, for the Pianoforte, dit».l by W. Dorrell. with Biography by G. A. Macfarrcn, and Portrait by Lynch.

The Daily Xeics says:—"There is not one edition (English, German, and French) that wc have seen from which, taking all things into account, correctness, clangs elegance, and price, we have derived so much satisfaction as the edition before us." Boosey & Soss, Holies Street.

-THE BALL-ROOM MUSIC-BOOK, price 4s., superWy

I Iwund, gilt edges, contains 40 Polkas, 60 Valses, 10 Galops, 2 Varaoviasii, Schottischcs, and 12 complete Sets of Quadrilles.

Boosey and Sons, Holles-strcct.


X handsomely bound, contains 31 Morccaux de Salon by Ascher, Cramer, Taleif, Leduc, Dreyshock, Goria, Commettant, Roseilen, Bardarzewska, Ac.

Boosey and Sons, Holies-street.


I Sa.y superbly bound, gilt edges, containing 120 Songs, with Choruses ud Pi*" Accompaniments. Or in two vols., 4s. each. - *

Boosky ik Sons, Holies Street.


J_ green cloth, gilt edges, contains 54 Pieces for Pianoforte aud 28 Songs. suitable for the youngest performers.

Boosey and Sons, Holies Street.


I published this tiny, price 4s., superbly bound, gilt edges, contains W sta»Jari Songs by Drs. Arne, Shield, Carey, Unity,'Dibdin, Purcell, &e. All with Piaarf"* Accompaniments. This collection comprises all the most celebrated songs ia U: English language.

Boosey and Soss, Holies Street.




Price 4s.

"An exquisite Romance, which no imitator, however ingenious, could have written—as quaint, as fascinating, and at the same time as Thalbergian as anything of the kind that has been produced for years." — The Timet.


New Series Price Ss. each.

No. 13. Serenade from " II Barbiere."

14. Duet from " Zauberflotc."

15. Barcarole from "Giani di Calais."

lfi. "Lacidarem," and trio, "Don Juan."
17. Serenade by Greiry.
13. Romance from "Otello."

"Among the hitherto unknown compositions were some selections from the 'Art of Singing applied to the Piano,' 'Transcriptions' of Operatic Melodies, arranged in M. Thalberg's ornate and elaborate manner, invaluable to Pianists who believe that the instrument of their choice can, under skilful management, emulate the violin itself in the delivery of catUabile passages.— The Times.

Boosey <fc Sons, Holmes Street.

FOR (ORCHESTRA.-- MEYERBEER'S GRAND EXHIBITION OVERTURE is now ready, for full orchestra. Price Us. Also Aober's ORAND EXHIBITION MARCH, for Orchestra. Prioe Ji. 6d.

Boosey A Sons, Holies Street.

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. S T TJ" Z) I E ^ fi v


Thoroughly Revised and partly Re-written. Published under the immediate superintendence of the Composer.


Musical World, Nov. 8.

"Graceful and vigorous in turn, highly finished, and thoroughly original, as are the larger number of M. Stephen Heller's compositions, it is probable that his Studies are destined to achieve the widest and most lasting popularity of any of them. These combine in a very eminent degree the useful with the beautiful; while, in every instance, they reveal, not only genuine qualities of workmanship, but serious thought and a mind that soars above common-place. Their purely aesthetic merits, however, have been very unanimously admitted, by the world of musicians and cultivated amateurs, as well as their admirable adaptibility, not merely to impart those subtle requisites the acquisition and spontaneous application of which alone can give to the performer a legitimate style and natural expression, but also to form the mechanism of the fingers. To the first desideratum M. Stephen Heller, in his brief, unassuming, and thoroughly sensible preface frankly lays claim; indeed, he specifies it as the immediate object towards the facilitation of which he has dedicated his labor. The last, on the other hand, he has—though perhaps unconsciously and without premeditation—simultaneously and with no less entire success accomplished. The publication of a complete edition of the Studies is therefore likely to be hailed with universal satisfaction—alike by professors and teachers, who are able to put them to such excellent uses, and by amateurs, who pursue the study of music, mainly for the delight and recreation it affords them."

» Athenjeuji, Nov. 22.

"Messrs Ashdown & Parry have just published! new edition of M. Stephen Heller's 'Studies,' in all fifteen books. This, moreover, is what it professes to be—a work revised, and, in places, rc-writtcn by its author. M. Heller has amplified and extended some of the Studies, and introduced entirely new matter, to what extent we will not attempt to specify. The collection, as it stands, is unique in modern music—one not to be studied without profit, and pleasure to boot. No tremendous difficulty of any kind is attempted, and the student who wishes to command the exaggerations of the modern florid school must be referred to- such writers as MM. Henselt and Thalberg, and Dr. Liszt. Yet, no one can play M. Heller's more arduous Studies without having that mastery over the instrument which enables him to render as well as relish the best classical authors. Again, the wealth of real musical idea contained in these fifteen books is something rare and precious. Besides being useful, these studies are beautiful. They may rank, in short, with Cramer's Studies—with those by Prof. Moscheles,—widely differing from both; and it may be said, without strain of the truth, that there is no living composer who could produce a volume comparable to this. A more interesting and permanently attractive Christmas present could hardly be found for musician, be he old or young."




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Just Published,



For Various Instruments, Is. 6d. Each.

Composed by GRORGE B. ALLEN.
Recently performed with the greatest success.

Chappell's Popular Violin Tutor.

Chappell's Popular Drum and Fife Tator

Chappell's Popular Flute Tutor.

Chappell's Popular Pianoforte Tutor. Chappell's Popular Cornet Tutor.

Chappell's Popular Clarionet Tutor. Young Lubin of the Vale. Song (Tenor) .

2 0

Chappell's Popular English Concertina Chappell's Popular Harmonium Tutor. My own dear native Fields. Song (Contralto) .

2 0 1 Tutor.

Chappell's Popular Singing Tutor, The Man of the Mill. Song (Baritone or Bass).

Chappell's Popular German Concertina Chappell's Popular Harmony Tutor.

Chappell's Popular Seraphins-Angelica Be still, O! ye winds. (Soprano and Tenor) .

| Chappell's Popular Guitar Tutor.

The Autumn Sun. Four-part Song .
Where the primrose decks the well. Song (Soprano) .

Complete Pianoforte Score, bound, 12s.
Separate Vocal Parts, 3d. per page.

Chappell's Favourite Airs in the "Lily Chappell's Favourite Airs in " Larline,
of Killarney."

and “ Victorine." Chappell's Edition of Verdi's “Un Ballo Chappell's 100 Irish Airs. in Maschera."

Chappell's 100 Scotch Airs.

Chappell's Edition of Mozart's “Don Chappell's 100 Christy Minstrel Melodies. LIST OF

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Chappell's 100 Dances (Second Series). to Ditto.

Chappell's Favourite Airs in the “ Queen Chappell's 100 Operatic Airs.
Danish National Hymn

Transcription . .

I Topaze," and in the “Rose of Castille." | Chappell's 100 Popular Songs. King of Italy's March


Chappell's 100 Sacred Songs, Anthems, Chaprell's 100 Hornpipes, Reels, Jigs, Chant du Patriot

Morceau de Salon :

Psalms, and Hymns. 3 0

Chappell's Favourite Airs in “Robin Chappell's Eighteen Airs, with Easy Sunshine . .

Valse de Salon .

La Chasse de Compiegne


0 Rosalie the Prairie flower

Impromptu .
4 0

Oscar Mazurka :

Chappell's Edition of Verdi's “ Un Ballo Chappell's Favourite Airs in "Robin Jessie the Flower of Dumblane

4 0 in Maschera."

Mes Souvenirs d'Ecosse. No. 2. .

Chappell's 100 Dances (Second Series). Chappell's Favourite Airs in “Lurline"

Chappell's Favourite Airs in the “ Queen and “ Victorine."

Topaze," and in the “Rose of Castille." Chappell's Favourite Airs in “Il Trova

Chappell's 100 Sacred Songs, Anthems, I tore" and “ La Traviata." Castles in the Air. Scotch Melody. Fantaisie

Psalms, and Hymns.

Chappell's 100 Dances (principally D'ALASCHER

Chappell's 100 Irish Airs.


Chappell's 100 Scotch Airs.
Espoir du Cæır .

Chappell's 100 Operatic Airs. Virginska


Chappell's 100 Christy Minstrel Melodies. | Chappell's 100 Popular Songs.

0 Marche des Amazones


Chappell's 100 Sacred Songs, Anthems, Chappell's 100 Irish Melodies. Charlie is my darling

Transcription :
Psalms, and Hymns.

Chappell's 100 Christy Minstrel Melodies Der Freyschütz .

Fantaisie brillante

Chappell's 100 Scotch Melodies. Farewell but whenever

Transcription .

0 Giorno d'orrore . (Semiramide).

CORNET-A-PISTON, Lass o' Gowrie .

Transcription : Meeting of the Waters

Chappell's Favourite Airs in the “Lily | Chappell's Favourite Airs in “ Robia
of Killarney."


Chappell's Airs from “Un Ballo in Chappell's Favourite Airs in “Lurline''

Maschera." Auld Lang Syne

Transcription .

Chappell's 100 Dances (Second Series). Chappell's 100 Operatic Airs. Comin' thro' the Rye


Chappell's Airs from the “ Amberwitch." | Chappell's 100 Dances (principally D'AlJock o' Hazeldean


6 Chappell's Edition of Verdi's “ Un Ballo bert's). March of the Cameron men .


2 6
in Masehera."

Chappell's 100 Irish Airs.

Chappell's Favourite Airs in the “ Queen Chappell's 100 Scotch Airs. Roy's wife .


Topaze," and in the “Rose of Castille." Chappell's 100 Christy Minstrel Melodies. Scots wha hao


2 6 Chappell's 100 Sacred Songs, Anthems, Chappell's Twenty-dre Duets for to
Psalms, and Hymns.

Blue eyed Nelly

Transcription :
3 0

Cruiskeen Lawn

3 0 Gentle Annie


4 0

Chappell's 100 Sacred Songs, Anthems, | Chappell's 100 Operatic Melodies.
Psalms, and Hymns.

Chappell's 100 Dances (principally D'AL-

Chappell's Favourite Airs in “Robin bert's.) Carnaval de Venise


Chappell's 100 Irish Airs.

Chappell's Favourite Airs in “Lurline," | Chappell's 100 Scotch Airs. Enchanted Grotto

Fairy Nocturne .

and « Victorine."

Chappell's 100 Christy Minstrel Melodies. Vesper Dewdrops .



Die Post . . Schubert Transcribed . . 2 6 Chappell's 100 Operatio Melodies, Songs, , Chappell's Popular Songs. In 2 Books
Die Tauschung

Dances, &c.

each ls, 6d. Der Neugierige


HARMONIUM, From “L'Art du Chant." As played by the Composer at his Concerts.

Chappell's 100 Dances.

Chappell's 50 Sacred Melodies.

Chappell's Popular Songs, Guitar Ac- Chappell's 60 Secular Melodies. METZLER & CO.

companiments, 2 Books. 37, 38 & 35 GREAT MARLBOROUGH STREET, W.| AND

Care should be taken to Order CHAPPELLS Cheap Works, as they PIANOFORTE AND HARMONIUM WAREROOMS AT No. 16.

alone contain D'ALBERT'S and other popular Copyright Songs.

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Victorinorite Airs in "Lurline"

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opeli's Airs from 1, Second Series). L


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Printed by HENDERSOX, RAIT, and Festox, at No. 13, Winsley Street, Oxford Street, in the Parish of Marylebone, in the County of Middlesex.

Published by Joux BOOSEY, at the Office of BOOSEY & Boxs, 28 Holles Street.-- Saturday, December 13, 1862.

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