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Chorus and Air, would be accepted—no price is fixed. My own choice would be to have them go together in some permanent public library.
Vienna. A. W. Thatek.
Rotal English Ofeba.—The success of Mr. Benedict's new opera, The Lily of Killarney, goes on increasing, rather than diminishing. Miss Louisa Pyne, replaced, on two occasions last week, in the part of Eily O'Connor, by the clever and obliging Miss Thirl wall—who, with the true spirit of an artist, "understudies" the repertory of her superior, so as always to be ready on an emergency—has now definitely resumed the character. A short repose has been of real benefit to the gifted English "prima donna," the pride of our lyric stage, and on Saturday night her voice was as fresh and vigorous as her singing was exquisite. The opera has now been represented twenty-three times, it will run to the end of the season. We believe that nothing has been settled with respect to the contemplated removal, during the forthcoming summer season, of the Royal English Opera to Drury Lane Theatre. It is now said that Mr. Wallace's new work will be brought out at the beginning of next season.
Pbomenade Concebts.—The announcement of an intended series of Promenade concerts, under the name of Jullien, will take the metropolitan public somewhat by surprise. The explanation is, that a son of the late much-respected maestro contemplates a renewal of the popular musical performances, he having, it is said, at his command all the resources of a first-rate orchestra. The project for many reasons deserves encouragement and support, which it will doubtless obtain.
Mb. Mask Lemon About London.—The interesting course of readings by Mr. Mark Lemon at the Gallery of Illustration having reached its close, the entertainment will be carried by him into different parts of the country. A round of provincial engagements will, we understand, occupy Mr. Lemon until the 21st of April, when he will again revisit the first scene of his recreative and informing labours.
Royal General Theatrical Fund.—Mr. Alfred Wigan will occupy the chair at the next Anniversary Festival of this institution, which is fixed to take place on Monday, the 14th April.
Miss Wtndham.—This well-known actress was, on Saturday week, married at Kensington Church to Captain Henry Baring, son of Henry Baring, Esq., M.P. for Marlborough.
Mixb. Titiens is fulfilling a month's engagement at Barcelona.
The Sisters Mabchisio are at Turin, where they are engaged at the Opera for two months. They return in May.
SACRED HARMONIC SOCIETY. The first appearance of Mile. Titiens at the concerts of this institution, with the conjunction of the Lubgesang of Mendelssohn and Rossini's Stabat Mater in the programme, crowded Exeter Hall to a degree almost unknown. The two styles exhibited in these very dissimilar works are fully appreciated by the Teutonic songstress; but Rossini is evidently more familiar to her than Mendelssohn. The success, however, of her debut on the timehonoured platform will, no doubt, induce her to give further attention to the works of Handel and Mendelssohn, wherein she may be assured a solid reputation is to be attained. The facile delivery of the higher phrases in "Praise thou the Lord" (Lobgesang) brought Mile. Titiens at once prominently before the audience, and throughout the work there wag no diminution in the strength of voice and clearness of tone, which have been her attributes for some time past. The passage on the words "The night is departing" may be cited as an especial instance of grand and effective delivery, though certainly inferior to that of Mad. Novello. In the Stabat Mater, the "Inflammatus" (the high C in which rang out with wonderful power and brightness) was the noteworthy feature as s solo; but the best singing of the evening was in the duet," Quis est homo ?" in which Mad. Sainton was second soprano. Since she first appeared in public as Miss Dolby, we never remember the last-named lady singing with more vigour of style and finished delicacy of expression than on this occasion.
It is seldom we hear two such artists, foreign and English, in a duet; and still more rarely do we find the native singer upholding so successfully the honour of the national school. Mrs. Netherclift (late Miss Fanny Rowland), who was second treble in "I waited for the Lord" (Lobgesang), sang her part in a truly excellent manner: perfectly correct in time and tune and with real feeling for the beauty of the music. Mr. Wilbye Cooper undertook the tenor part at a very short notice, and added to his reputation for careful and tasteful singing. Signor Belletti won unanimous good opinion in the " Pro pee- cans," and the other bass music of the " Stabat Mater."
The chorus singing was generally first-rate; but the passage in the Lobgesang, commencing " Therefore let us cast off the works of darkness," is, we fear, never to go well; nor the "Amen " of the " Stabat Mater," one of the very rare fugues with which Rossini has favoured us. The band played the three orchestral movements of Mendelssohn's work irreproachably. The intense melody of the second movement (in G minor) created a sensation, while the occasional purity of the Adagio (so marked religioso) was appropriately a unique specimen of instrumental performance.
The programme was repeated yesterday evening, the principal soprano music being Sung by Miss Parepa. It was a genuine triumph for her. Her reading of the music of the Lobgesang was very spirited and pointed. The "Inflammatus" (Stabat Mater) was another success. The duet u Quis est homo?" was again encored. Mr. Wilbye Cooper enhanced the impression he created a week since in the "Cujus Animam.". „
MONDAY POPULAR CONCERTS. At the concert on Monday night (the 77th) Herr Joseph Joachim made his first appearance since 1859. When the Monday Popular Concerts were originated (in the spring of that year) the quartetplaying of this distinguished violinist was a never-failing attraction. If at that time it was pronounced, and justly so, "unrivalled," it is difficult to find terms for it now. Herr Joachim is one of those earnest and conscientious artists who, uniting enthusiasm with the severest judgment, never know what it is to stand still, but, aiming at an ideal standard, are continually approaching nearer and nearer to perfection. That he is, beyond comparison, in every sense, the most admirable performer on his instrument to whom that country has given birth which reckons the greatest of great masters among her children, must be unanimously admitted. A musical prodigy as a boy,—which those in England who heard him play Beethoven's violin concerto at the Philharmonic Concerts when only thirteen years of age (in 1844) can attest,—he has made such excellent use of his natural gifts, has looked at his art from a point of view so serious, and with so fixed a conviction that it is a thing to be revered, and never for any consideration to be trifled with, that now, as a man, though still young, he holds, by general consent, the very highest place his ambition could, under any circumstances, have urged him to covet. Comparisons may be instituted between other eminent artists, one excelling in this, one in that particular; but Herr Joachim stands apart from the rest, and the advocates, however warm, of his contemporaries would never for an instant think of questioning his supremacy. A thorough proficient in every style, it is, however, as an interpreter of Beethoven that he especially excels—indeed, sets competition at defiance. Nobody in our time has played Beethoven's music like him; and as the two great schools of Paganini and Spohr—the characteristics of which, though the antipodes of each other, are happily and advantageously combined in modern art— have created a class of players equal to the achievement of what before these schools existed would have been deemed impracticable, it is more than probable that no one at any period has expressed Beethoven's thoughts with such irreproachable mastery and skill. That he should, therefore, come forward, after three years' absence, with one of the quartets of "the immeasurably rich musician," was natural and to be expected. To his honour, also be it said, Herr Joachim accepted for the occasion one of those later compositions which, owing to their profound and recondite character, are, even in the present day, least understood, and in consequence, by the majority, least appreciated — the fifteenth quartet (Op. 132), in C sharp minor. He must, at the
and able direction of Mr. Augustus Manns. Mr. Manns sees that there are other elements of attraction besides excellence —novelty, to wit, which he endeavours to turn to the best account. The programmes in general contain some one work which is either introduced for the first time at the Crystal Palace Concerts, or has been played once or twice previously, and is little known elsewhere. On Saturday week Beethoven's Pastoral Symphony, and Schumann's Overture to the Brides of Messina, were given. The band also accompanied M. Sainton in his own violin concerto, a work not only indicating a thorough master of the resources ot the instrument, but an intelligent musician to boot. M. Sainton played splendidly, and was loudly and unanimously applauded. The eminent French violinist also gave his own Scotch fantasia, a % brilliant affair brilliantly executed and warmly appreciated, and all the more interesting from being accompanied on the pianoforte by his accomplished lady. The vocalists were Mad. Sainton" Dolby and Miss Emma Charlier. It was the first appearance of the last-named young lady, who sang the ballad, " The Forsaken," and Mr. Wallace's "Sweet Spirit, hear my prayer," but so nervously as to preclude us passing an opinion. That the voice is of good quality is all we can at present say. Mad. Sainton-Dolby gave the " Evening Prayer" from Mr. Costa's Eli, with quiet and devotional fervour, and by her excellent performance pleased universally. In Mr. Henry Smart's ballad, "The Lady of the Lea," she obtained an irresistible encore. .
Notwithstanding the inclemency of the weather, which combined the nipping cold of winter with the rude blasts of the March wind, the music-room was well filled at the second concert, on Saturday last, and the performances went off with considerable spirit. The symphony was Mendelssohn's in A minor, and its execution was literally everything that could be desired. The adagio was perfectly played, the passages for the wind instruments being as harmoniously blended as though the sounds were produced by one performer on an instrument capable of representing the combination. This is the result of the constant playing of the same executants under the same conductor. The only overture was Cherubini's Les Abencerrages, which concluded the concert. Moscheles' fantasia, Recollections of Ireland, was so well played by Miss Fanny Howell, a pianist of great promise, who made her debut at one of Mr. Hullah's concerts at St. Martin's Hall, three or four years ago, that the young lady was recalled to the platform and applauded very heartily. The vocalists were : — Mad. Guerrabella and Mile. Georgi. Mad. Guerrabella gave a brilliant version of " Ernani, involarai," and was encored, though she declined the repetition of the caballetta. She also gave much satisfaction in the well-known ballad "Kathleen Mavourneen." Mile. Georgi was favourably received in " O mio Fernando," and Horn's "The deep, deep sea."
At the next concert (this day) Miss Arabella Goddard will perform. "According to the way the announcement of this fact is printed," says the Morning Chronicle, " it would appear that she is to play Mehul's symphony in G minor, for the first time in England." It would assuredly be the first time that Miss Goddard has played it in this or any other country. We take it that Miss Goddard is to perform (piece not specified), and that Mehul's symphony is to be done by the band.
Mr. Halle's concerts in the Free Trade Hall have worthily concluded with a performance of Mendelssohn's St. Paul. Of this the Guardian says:—
"The principal singers were Mile. Pnrepa, Miss Palmer, Mr. Wilbye Cooper, and Mr. Thomas, Mr. Henry Walker occupying the responsible post of organist. As St. Paul consists for the most part of choruses and narrative recitatives, the airs, ducts, and concerted pieces being, as in Handel's Israel in Egypt, comparatively unimportant, it does not afford so much room for the display of individual talent as the Messiah and Elijah. All was done, however, that could be done. Mile. Parcpa sang the recitatives allotted to the soprano with great breadth, power, and purity, and did ample justice to 'Jerusalem! Jerusalem',' Mr. Cooper sang admirably throughout, as well in the recitatives as in the air, and duets with Mr. Thomas; and Miss Palmer displayed her fine taste and feeling in the music allotted to the contralto. 'But the Lord is mindful of his own' was sung most chastely and expressively. In 'Consume them all, Lord Sabaoth,' Mr. Thomas was perhaps less effective than in 'O God! have mercy upon me,' and in 'I praise thee, O Lord, my God." The choruses were all executed in a praiseworthy manner, especially considering that the singers cannot have had the same amount of experience of St. Paul as of Elijah and the wellknown works of Handel.
"In concluding our notices of these truly magnificent concerts, Mr. Halle may be congratulated upon the success that has attended them— a success due alike to the indefatigable perseverance and savoir /aire he has displayed in getting them up, the high character of the music performed, the splendid orchestral band brought together and perfected under his auspices, his own fine pianoforte performances, and the high character of the artists, vocal and instrumental, that have been engaged. It may also be added that the most perfect faith has been kept with the public, the original programme of the series having been carried out to the letter, as the following retrospective glance will show. Beginning with the orchestral performances, and these, notwithstanding the excellency of the vocal element, have, along with the pianoforte performances, constituted the real strength of the concerts, nine grand symphonies have been performed, viz.: Beethoven's Pastoral (twice), the C minor and the eight; Mozart's in C major, G minor, and E flat; Mendelssohn's Scotch and Italian, and Haydn's Surprise, in addition to several selections from symphonies which need not be enumerated. Then a large collection of overtures, comprising twelve that may be termed classical, viz.: Der Freischutz, Guillaume Tell (twice), Euryanthe, Oberon (twice), Leonora, Buy Bias, Die ZauberflSte, Jessonda, Anacreon, Figaro, La Chasse du jeune Henri, and Les Abencerrages ; six of the modern Italian, viz.: Semiramide, Olympia (twice), 11 Barbicre, Otello, Siege of Corinth, and Fernand Cortes; eight French, viz.: Fra Diavolo (twice), Zanetta (twice). The Syren, Le Domino Noir, Zampa (twice), Le Lac des Fees, Le Dieu et la Bayadere and Masaniello; to which must be added Tannhaiisser, which must be classed by itself. In addition to these Mendelssohn's beautiful music to A Midsummer Night's Dream has been introduced, and many smaller orchestral arrangements that need not be enumerated. Following the band performances, the following instrumental concerted pieces may be mentioned:—Beethoven's quintet for piano and wind instruments, Mozart's Ottetto for wind instruments alone, and a selection from Hummel's Septet. The pianoforto performances of Mr. Halle have been numerous and of a high character, viz. Weber's Concertstiick, Mendelssohn's Concerto in G minor, Beethoven's in E flat and C minor, also his Choral Fantasia, Mozart's sonata for two pianos (twice) and one for piano and violin. Besides these, numerous small pianoforte solos have been introduced, drawn from the works of Mendelssohn, Schubert, Weber, Chopin, Heller, Thalbcrg, Lizst, Bach, and Scarlatti. The other instrumental soloists have been M. Lavignc (oboe), Lazarus (clarinet), Piatti (violoncello), Blagrove (violin), Vieuxtemps (violin), De Jong (flute), Miss Arabella Goddard (piano), Otto Goldschmidt (piano), and Herr Heller (piano). Coming to the vocal element of the concert, three complete oratorios have been given, viz.:—Judas Maccabaus. The Messiah, and St. Paul, in addition to one miscellaneous choral concert, and one introducing Mr. Henry Leslie's celebrated choir. Gluck's opera with full chorus has been twice recited, and Weber's Der Freischutz once, and for these, and for the concerts generally, the very best vocal artists of the day have been engaged, as the" following names show, viz... — Mad. Lind Goldschmidt, Mile. Parcpa, Mad. Sherrington, Mike. Titiens, Mad. Rudcrsdorff, Mad. Sainton-Dolby, Mrs. Sunderland, Mad. Guerrabella, Miss Armstrong, Mile. Cosselli, Mile.
Agnes Barr, Miss Palmer, Miss Banks, Mr. Sims Reeves, Signor Bclletti, Mr. Wilbye Cooper, Mr. Weiss, Mr. Montem Smith, Mr. Irving, and Mr. Thomas. From this retrospective glance it is easy to see that such concerts, besides conferring a great deal of rational and pure enjoyment, must have the effect of raising public taste, and of acting upon the moral character through the refining influences of good music. Great stress was justly laid upon the refining influences of art, when, in 1857, the Art Treasure's Exhibition was opened with its countless artistic treasures, and its beautiful and truthful motto, ' A thing of beauty is a joy for ever;' but musical art is more powerful for good than even painting, and contains, also, its countless treasures, waiting only fitting means and appliances to be brought to light. Mr. Halle, whose fine taste would lead him instinctively to what is good, even if his knowledge and experience as R musician were less than they are, has done much, and is, we venture to hope, destined to do more."
We read the subjoined in The Aberdeen Journal:— "At the ordinary meeting of the Aberdeen Choral Union, Mr. Latter, the conductor, was some time since presented, on behalf of the members, with an elegant gold hunting watch, in testimony, as the inscription bore, of their high esteem. Mr. Valentine, Chairman, in making the presentation, paid a deserved compliment to Mr. Latter's very high professional abilities, and also his gentlemanly personal qualities, which have made him so popular. Mr. Latter, in happy terms, expressed the high value which he placed on the gift now presented to him; stating that he felt it to be a pride and a pleasure to occupy the position of conductor of such a body as the Choral Union, in whose prosperity he felt the deepest interest. There was a full attendance at the meeting, and the proceedings altogether were of a very hearty and gratifying character."
The Manchester Examiner and Times has the subjoined:— "Saturday being St. David's Day, a concert of Welsh melodies was given in the Free-trade Hall Assembly Room, under the auspices of the Cambrian Literary Society. The red dragon of Wales, with the ancient motto Y ddraig goch a ddyry gychwyn (the red dragon leads the van), adorned the wall behind the platform; and the royal arms, supported by national flags, were displayed at the other end of the room. The principal features of the concert were the pianoforte performances of Mr . Brinlcy Richards, whose brilliant arrangements of popular melodies are in every musical portfolio, and the harp performances of Mr. John Thomas. Mr. Richard's playing is like his arrangements, clear, brilliant, and powerful. The mastery of the harp displayed by Mr. Thomas created quite an enthusiasm, and he was repeatedly encored. Indeed, encores seemed to be the rule of the evening, for there were no fewer than eight. The vocalists were Miss Kate Wynne, a promising young l ndy, whose fresh, sweet voice was heard to effect in several of the expressive melodies of her country; and a little lady whose debut should have been postponed for some years, but whose father (known among the bards as Llcw Llwyvo of Denbigh) sang in capital style a number of patriotic songs. Perhaps the most interesting portion of the entertainment was the musical curiosity peculiar to Wales, called 'penillon' singing. In this Llew Llwyvo and Idris Vychan (Mr. John Jones, of Manchester) sang alternate stanzas; and the art was for singing and harper, the former of whom is supposed to be improvising the words, to stop at the same moment, Mr. H. V. Lewis, of Liverpool, accompanied the songs on the piano. The concert concluded with the National Anthem."
A Concert was given on Wednesday evening, the 26th ult, at St. James's Hall, on behalf of the Hartley Colliery Fund. It was a veritable monster entertainment, but did not prove eminently attractive notwithstanding. The singers, players and items of the programme were so numerous as to preclude the possibility of our doing more than mentioning a few of the most prominent performances. Among the vocalists Mad. Florence Lancia was especially noticeable for her fine expressive rendering of the scene " Softly sighs " from Der Frieschutz; Miss Stabbach for her admirable singing in a new song, entitled "The mourning bride;" Mile. Gcorgi for her agreeable voice, and the commendable method exhibited in the scena "O Mio Fernando " from the Favorita; Miss Robcrtinc Henderson, for her clear voice and pure expression in Herr Bauer's "Gondoliero;" and the sisters Alessandri, for their compact ensemble singing in Gabussi's duetto " J,a Zicgarc." Rossini's Grand Coro " La Carita," by all the female singers, did not go so well as a few rehearsals might have made it. The special instrumental feature was a grand quartet fur four performers, ou two pianofortes, the composition of Herr Ascher, executed by Messrs. Harold Thomas and Ernest Bauer, Lindsay Sloper and Wilhclm Ganz.
NE W EDITION.
THE VOICE AND SINGING
(THE FORMATION AND CULTIVATION OF THE VOICE FOR SINGING), By ADOLFO FERRARI.
WHEN this Book first appeared we foretold its success; our conviction being founded on the author's freedom from conventional trammels, the strong good sense of his opinions, the novelty and yet evident soundness of hi- precepts, and the conciseness and practical value or his examples and exercises, of which every note is dictated by a clear and definite purpose. The Influence of Signor Ferrari's method of forming and cultivating the voice, as it is explained In this treatise. Is enhanced by the efficacy of his personal lessons in his practice as one of the most eminent teachers of the day; and this work lias consequently come into general use as a manual of vocal instruction, not only in the metropolis but throughout the kingdom. In this new edition the author has nude various important additions to the work, especially to the Exercises. Formerly thev were confined to soprano or tenor voices; exercises for one voice being also available for the other. Out, for the contralto, or the barytone, provision was not made. This desideratum is now supplied, partly by means
of entirely new exercises, partly by giving the old exercises likewise in transposed keys and partly by adapting the soprano exercises also to the contralto or barytone, by the insertion of alternative puMgei in rmall notes. By these means the ^imt^of
the work is very greatly increased. We have said that the remarkable qualities of this book are toe author's freedom from conventional trammels, the strong sense of his opinions, and the novelty yet evident soundness of his precepts ; and this we will show by quoting, unconnectedly, a few passages which cannot fail to strike every reader— Daily News.
London; Published, price 12s., by
AIRS, BALLADS, &c. IN THE OPERETTA
"O NO E TOO OFTE N."
COMPOSED 1IY HOWAHD GLOVER.
'T6e Solemn Words His Lips HAVE SPOKEN."
Grand Air. Sung by Mile. Jenny Baor (?
"THE LOVE YOU'VE SLIGHTED." Ballad. Sung by
Mile Jenky Bade
• STRATAGEM IS WOMAN'S POWER." BaUad. Sung
by Miss Emma Hbywood
"LOVE IS A GENTLE THING." Ballad. Suug by
Miss Emma Heywood
"A YOUNG AND ARTLESS MAIDEN."
Sung by Horr ReieiiARDT
"THERE'S TRUTH IN WOMAN STILL" Romance.
Song by Hcrr Reiciiardt
■ THE MONKS WERE JOLLY BOYS." Ballad.
by Herr Formes
"IN MY CHATEAU OF POMPERNIK. Aria Buffa.
Sung by Herr Formes
QUADRILLES AND WALTZES.
"Fontainbleau Quadrille," by Carl Strauss
"La Belle Blanche Waltze," ditto
In the Press.
Brinley Richards' Fantasia, or, "Once too Often."
"Mr. Glover's operetta is a decided, and, what l> better, a legitimate, 'hit.' Hie song* before us have already attained a well-merited popularity. 'The monks were jolly boys'Is as racy as the best of the old English ditties, harmonised with equal quaintness and skill, and thoroughly well suited to the voice of Herr Formes. 'The love you've slighted still is true' (for Mile. Jenny Baur) has a melody of charming freshness. Not less a model ballad in its way is 1 A young and artless maiden ' (for Herr Reichardt), which sets out with an elegantly melodious phrase. Perhaps more to our liking, however, than any of the foregoing, excellent and genuine as they are, Is 1 Love is a gentle thing' (for Miss Emma Heywood), which enters the more refined regions of the ballad-school, and attains an expression as true as it is graceful. The
'■■<«<■ We shall look with real
opening holds out a promise which the sequel entirely fulfils interest for the remaining pieces of " Once too Often.' —Muticat World.
I NAVTGA1TTI (The Mariners).
BY ALBERTO RANDEGGER.
"In the composition of this unaffected and graceful trio (which is inscribed to those excellent professors of the vocal art, Sig. and Mad. Ferrari), Mr. Randegger has shown not only the melodic gift, and the knowledge of how to write effectively for voices, but a thorough proficiency in the art of combination, and, as it were, a dramatic spirit, which might win favour for an opera from his pen. Each voice (tenor, basso and soprano), in the order in which they euter, has an effective solo, followed by an tnumbU (or tulti') for the three voices in the major key (the trio begins in C minor), the whole terminating with a coda, ' sotto voce,' the effect of which, If smoothly rendered by three good singers, must be as charming as it is new. The more of such 'terzettinos' the betur."—ifsinca/ World.
Lohdoh: DUNCAN DAVISON & CO., 244.Regent Street, W.
THE PURITAN'S DAUGHTER.
A GRAND ROMANTIC OPERA IN THREE ACTS;
THE LIBRETTO WRITTEN BY J. V. BRIDGE MAN;
THE MUSIC COMPOSED BY
M. W. BALFE.
COMPLETE—PRICE TWO GUINEAS.
Recit. & Chorus,'
"Here's to wine, and here's to beauty."
"Hale, hate." T. a
"I would ask a question " (Comic) - - S. B. "My own sweet child." ----- B.
"What glorious news" (Comic) - B.
lith Solos, "Let us haste." - - - Soprani. "By earth and air." .... Male Voices.
"what do we see?" ------
"Oh, father, pity 1" - - - S. B.
"Oh, reflect ere you decide." - - - S. B. *' Pretty, lowly, modest flower." - - - S.
"Bliss for ever past." - - - - S.orB.
Favourite Airs from Balfe's Opera, " The Puritan's Daughter," arranged by'
W. 11. Callcott, in 2 Books Solos, 6s.; Duets 6 0
W. H. Holmes's Fantasia, "The Puritan's Daughter ". -40 Brinley Richards's " Bliss for ever past." -30 Brinley Richards's Fantasia on the Favourite Airs - - - - - .40
Galop, from " The Puritan's Daughter," arranged by C. Coote - - - - 3 0
The Storm Valse, from "The Puritan's Daughter," arranged by C. Coote - 4 0
Other Arrangements in the Press.
THE MUSICAL STUDENT'S MANUAL, Combining the Essential Elements of Musical Knowledge, with a succinct guide to the reading of Vocal Music, by Thomas Men By, Editor of the "Golden Wreath/' "New Tunes to Choice Words," Ac.
Div. I Relating to Sound, pp. 136, price 2s.
Dm . 11.—On Rhythm, to complete the Work, will be published shortly.
The " Manual " is used as a text-book at the Borough Road, Stock well and. Westminster Training Colleges.
*' One of the beit elementary books for learning music, as a science, that we hare yet seen. It is very cheap."— Globe.
"The subject is treated with clearness and ability. The difficulties of almost every page are cleared up as the journey proceeds, and the learner feels himself In company with a fellow-student, who, being slightly lu the advance, blandly beckons him on."— Critic,
"New Tunes to Choice Words." Second Edition. 32 Easy, Original, Juvenile four-part Songs, cloth 8vo, Is. 6*J.
"So widely known and prised in schools."—Educational Accord.
Messrs. Boosey & Sons, 28 Holies Street, W.; Messrs. Groom Bhjdgb & Sons, Paternoster Row.
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