YoL. 8.

Ufontents.

GENERAL .. . ...........••.. , ....•......... .... page 455 . A Barber's Lo,·e.-(Poetry] .-Comical Chords.

EDITORIAL ..•••• . •••...• .. .. .... . .•....•..•••.. page 456 ldliPamgraphs.- 'rhe Southern Hotel Opening

1\fLl tiic.--The Utility of Musical M:agazines. MUSICAL .....•••••• .... •••.••......•........... page 458

Music in St. Louis.-Lesson to "'l'wilight Mnsings." Lesson to "One Little Moment More, .l\laud."

:\fiSCELLANEOUt:l ......... .... ....... ~ ........ page 460 Major and Minor.-Baltimore.-Ghostty Music

-· 'l'he Si11ger's Revenge.- Gluck Before Wagner.-Tenor Yersus Baritone.-Gott­hnld Cal'lberg. - Flamina. - Smith aud Jones.-Beethoven's Last Conducting ..

MUSIC IN THIS NUMBER.

"Goldbeck's Harmony" . ... .................. page 470 "Twilight Musings "-E. 1!". Johusop. ..... : ...... page 481 "Le Printemps "-1!'. Ghopin .......... . ......... page 486 "One Little l\loment .l\fore, Maud "-C. Esta-

brook .. ................. .. ....................... page 489

KUNKEL BROS .. Publishers, S"r'. LOUJ:S.., MO. l

Ho.10.

Entered at the Pos t Ofllce at St. Louis , Mo., and admitted for transmission through the Mails at Second· Class nates. Copyright : Kunkel Bros., 1881.

•

450 KUNKEI ... 'S MUSICAL REVIEW, JUNE, 1881.

LADIES USE CORTICELLI YOU WILL LIKE IT

MILLS: FLORENCE AND LEEDS, MASSACHUSETTS. S7illES~88Jd Fr8~ ~8U!FJiWE~!F:

·--·.: .... .. 1

~J( and ~J~ North Yourth ~treet, ~t. Louis, No. ·

• I

She sweetly smiled and aid, ''My love How stupid you must be;

· Have you not heard the praises sung By maidens fair and free,

Of thread that's pure and smooth and strong,. That never knots or breaks 1

The silken thread that maidens use Who seldom make mistakes?"

THEY UsE THE "UNEQUALED CORTICELLI."

.I

I

.I

KUNKEL'S MUSICAL REVIEW, JUNE, 1881. 451

~~sORIB .R'' SuPERIOR to all

others in Tone, Du­

rability and Work­

manship ; hav.e the

indorsement of the

Leading Artists.

FIRST MEDAL of

Merit and Diploma

of Honor at Centen­

nial Exhibition.

PRICES

}:{EASONABLE :

Cash or Installments

~ -SOHMER & CO., Manufacturers, GrandT Square and Upright PianoHF ortss

Nos. 149-155 East Fourteenth Street,

OLSHAUSEN & KIESELHORST, Agents for St. Louis, Mo., No. 10 S. FoURTH Si'.

BEHNING

Agraffe Attachment couNEU FmsT AvENUE. """'1th. :r=.prcvod. Patent II MANU.FACTOUY, EAST SIDE BOULEVAUD, 124TH ST., II

AND NAME noARD. ' Warerooms, No. 129 East 125th Street.

452 KUNKEL'S MUSICAL REVIEW, JUNE, 1881.

SPECIAL TIES I-+ +SPECIAL TIES 1 .-OF~ '!r&Ut GBII&1r iii'Wii~LB'tl BQ\18!1 .-OF-.,

MEBMOD,JACCARll ~CO. Corner Fourth and Locust Streets,

ST . LOUIS., J).I.CO.

$6 00 Fine TriPle Plated Double Wall • . lee Pitch~rs, each one warranted and

stamped Mermod, Jacc~rd & Co. These are the best bargains ever offered in Ice Pitchers in St. Louis and are intensely appropriate· to·the season. ·

$10 00 Nickel Stem-Winding Watches, • warranted good time-pieces and satis­

faction guaranteed to each purchaser by Mermod Jaecard & Co.

$35 00 Solid Gold Watches, for Gen­• tlemen, warranted good time-pieces,

satisfaction guaranteed.

$1 50 Small American €locks, neat and · • attractive time-keepers-warranted.

$15 00 Solitaire Diamond Rings, for • ladies, from $15.00 and upwards in price.

Our stock of Rings is very large and choice.

$35 00 Solitaire Diamond Ear-Rings.

$30 00 Solid GoldWatches,forLadies, • Our varietyof Ear-Ringsisveryexten-• warranted good time-pieces, handsome sive, the largest in the west, and no one should pur-

and attractive in appearance. chase Diamonds before examining our stock.

JEir' The above are lJut a few of th~ e~tr_aordinary inducements we offer to buyers of goods in our line. Every article is absolutely of the quality 1t IS represented to be, the price is marked in plain figures and there is but one price to all. Can and see us. ·

CHOICE MUSIC BOXES OF EVERY GRADE AT VERY LOW PRICES.

MERMOD, JACCARD & CO., Cor. 4th and Locust Sts~

New .. Concert Up:right Pianos.

Her:Majesty's Opera Company. COL.:J. H.:MAPLESON, Director.

TO THE MESSRS. HAINES: NEW YORK, Aprillst, 1880.

Gentlemen:-Having haol an opportunity of usin~ your "New Concert Upright Piano{o1·te,'' at the Concerts gtven by He1· Majesty's Opera Company, at the Madison Square 'l'heatre, we beg to compliment you upon your great success. Your New Upright surpassed our expectations. You can justly claim a superiority over any Pianoforte we have hitherto seen for Con­<!-ert purposes which is equally as well adapted for accompany­ing the voice. Wishing you a continuance of the great suc­~ess already achieved as manufacturers of the first rank,

We remain, very truly yours, ITALO CAMPANIN'I, ' :MARIE MARIMON,

ANNA DEBELOCCA, ' ANTONIO F. GALASSI, SIGNOR BISACCIA1 EMILE AMBRE,

ALFREp H. PEASE.

Brignoli, Thursby, and Others.

TO THE MESSRS. HAINES: ' NEW YORK, May 28th, 1880.

We have used your "New Conce1·t Upright'' .on our recent tours, and the peculiarly successful manner in which it stood the severesttests, such as i~ave heretofore been applied to the Grand Piano only, comman'ds our unqualified endorsement.

Appreciating your great success as manufacturers of the First Rank,

We remain, very truly, OLE .BULL, PIETRO FERRANTI,

MAURICE STRAKOSCH, EMMA C. THURSBY, A. TORRIANI, JOSEPHINE CHATTERTON-BOHRER,

P. BRIGNOLI, JULIA CHRISTIN, ALFRED H. PEASE.

The Emma Abbott Grand English Opera Company.

TO THE MESSRS. HAINES. NEW YORK, October, 1879.

Gentlemen:-During our rehearsals of "Paul and Virginia," "Romeo and Juliet" and "Carmen," at your warerooms, we had ·every opportunity to fttll1t test your New Upright Piano­fortes and found them singulai·ly adapted for the heaviest as well as the lightest music, combining therefor gr~at power with sweetness of ton·e, a:nd in every respect superior inst1'u­ments. Their tones likewise are brilliant, rich and clear, and sustain the voice most admirably.

Appreciatively yours, EMllfA ABBOTT, MARIE STONE,

TOM KARL, ZELDA SEGUIN,. PAULINE MAUREL, A. E. STODDARD•

WM. MACDONALD, ELLIS RYSE, Wlll. CASTLE.

WAREROOMS, 124 FIFTH AVENUE, NEW . YORK.

STORY & CAMP, General Western Agents, 188 & 190 State Street, CHICAGO. 203 North Fifth Street, ST. LOUIS.

KUNKEL~S MUSICAL REVIEW, JUNE, 1881. 453

~---------------------~~-----------~--------------------·--

B A R R s A

Is One of the Sights of the City at this Time .A.S 'J:'::S:E

GREATHOUSE T Is piled from Olive to Locust Street, and from basement to roof, with

-----1 the careful cullings of the wide world's dry Goods Markets. 1-----1

R IT'S JUST WONDERFUL

That ANY Thoughtful Housekeepe1·, That ANY Ba1·gain-Httnte1·,

That ANY one of Limited Means, That ANY Pw·chase1· of Dry Goods,

0 I----I WILL NOT FIRST Go TO BARR'S! ~----•

R

s

WHERE there is a Million Dollars worth of Goods to choose from. WIIERJ~ the Quantity of Goods Sold Insures the J. .. owest Prices. WHEHE Shopping; is made Pleasant as well as Profitable.

READERS, TAKE OUR ADVICE, And do your Trading at the Wl\f. BARR DRY GOODS CO.'S Great Central Store, Sixth, Olive to Locust Street, St. Louis.

T 0 R

R

E

j. KENNARD & SONS, -DEALERS IN-

~ACE ·AND )JA_;MASK _f:uR__T AIN pooDS.

LARGEST CARPET HOUSE in the WESTERN COUNTRY.

~Call and see our Stock before purchasing elsewhere.~

420 & 422 N. Fourth Street, ST. LOUIS.

454 . KUNitEL'S MUSICAL REVIEW, JUNE, 1881.

WEBER PIANO-FORTES. ~GALAXY OF STARS~

Who pronounce the WEBER PIANOS the best Pianos in the world for their " Sympathetic, Pure, and Rich Tone, combined with Greatest Power."

''AN INSTRUMENT WiTH A SOUL IN IT."

~~AREPA ROSA. I*' NILSSON,

M.fl.RIE ROZE, PATTI,

O.fl.RRENO, STR.!lUSS,

MILLS, 'GIL.MORE,

KELLOGG! RIVE-KING,

THURSBY, LUOO.fl,

GODDARD, C.fl.POUL,

WEHLI,

.!lLB.fl.Nl, C.!lRY,

MURSK.!l, TO RRI.!l.NI,

O.!lMP.fl.XINI, MUZIO,

BRIGNOLI, And many other-",

PRICES REASONABLE. TERMS EASY.

WAREROOMS, FIF"TH A VENUE, COR. SIX"TEEN"TH S"T ., NEW YORK.

BROTHERS Have shown themselves to be so far superior to all otherR in Excellence of Workmanship, Elasticity of Touch, Beauty of Tone, and great Durability, that they are now earnestly sought for by all persons desiring

THE VERY BEST P:IARO.

CAUTION.-All genuine Decker Pianos have the following name (precisely as here shown) on the pianos above the keys :

Low Prices. 1Dttktt' J!i:r-«il!n-~. ~t-fu J,o-xk.

Easy Terms. ~SEND FOR ILLUSTRATED CATALOGuE.~

No. 33 Union Square, NEW YORK.

-JIV/lt!l-.. -' --~---~-----== . :=. == == . -==- -==- . _ _ ,_- -- ---·-- -·---== ....=. -::=: -==- -== - -=- ~\-=- ~

A JOURNAL

~ · ll!tvof£i[ fq JJ).usic, J(rt, l[iltraturt, ,alul the IJ!rama. ~

========~-----===============~==========~~~====~~==-========

VoL. III. JUNE, 1881. No. 10 .

THE BARBER'S LOVE.

"Fair maiden. wilt thou share my fate?" A love-sick barber cried;

"Oh no," said she," J can not be A little shaver's bride.

"Thy lip, pomade, doth wound me deep, And cutteth sharp and· keen;

Soap preciou art thou to my heart, Which hones no other queen.

"And since to be my bonny bride Thou wilt not condescend,

I fear my days h ave run their race, And reached their lathe1· end.

~·This form must crumble in the dust, These lips in death grow dumb,

This barber's mug, so fair and snug, Mustache-n petle become."

- V'W~maown Bard.

"' ' 0, scissors! W h erefore talk like this?" The maiden fair replied,

" And razor row because, forsooth, I will not be your bride.

"'' Comb, whisker round; some trim yeung lass You'll win if you'll but try;

Don't beard dolt, brush off the tears, And ne'er curl up and die!"

Alas! he would not heed her words, But took a s-un-poor soul-

" And blew hiR brains out?"-No, not much, Tie banged his barber's poll.

-Yawcob Strauss.

COMICAL CHORDS.

I)O fishermen castanet for Spanish mackerel?

A MUSIC-ALE is not necessarily a concert in a beer garden.

KICK your corn through a window glass, and the pane is ;gone forever.

"SIX into four you can't," as the shoemaker mildly suggested .:to a lady customer.

SONGS of the baker: ·'Tell me where;is fancy bre(a)d," and ''If dough-ty deeds."

ADAM ate the apple, and his descendants have been en-core­,ing the little mischief ever since.

IT is said the ordinary life of a bee is only ninety days. The .end of a bee, however, is very lively.

"I TAKE no note of time." says the poet. Many musicians ·are " jes so," as Solon Shingle remarks.

A BOSTON man has a nose that can smell music when he -can't hear it; a musical scent, as it were.

liE was fond of singing revival hymns, and his wife named "their baby Fort, so that he would want to hold it.

MICIIIGAN has a man with three arms. He is the only fellow :alive who can take two girls to a singing school and enjoy it.

T ins is how it is put on a sign in a l\Iassachmetts town: "Violins, umbrellas, and other musical instruments repaired."

THE singer is better otr than most mortals. lie is happy when he :finds his cake in do. Si?-Lowell Courie1·. La mi!­·Camb. :l'ribune.

THE relatives were arranging a marriage. "I would call your attention," said the fond father, '·to the fact that Leonie ·doesn't play the piano, nor sing, nor p~int; in fact she hasn't a .single d·isagreeable accomplishment.-F'1·ench Pape1·.

SAID a musical editor of another: "Jle maybe a good schola).' but he can't parse a beer saloon."

WHEN a musical performer is unable to properly express a composition, how would it do for him to try mailing it?

A CELEBRATED music composer is getting up an opera that will introduce a chorus of hogs. It is for the next festival at Cincinnati.-Boston Post.

A JUS'.riCE of the peace in Greenfield. Mass., who married an elderly couple the other day, was paid his fee in dried apples. The wedding was a swell affair.

"You say it was two hours before midnight that you waited for the lady?" - ·'Yes." - "Then you're like Bernhardt." "Why?"-'' Because attenuated."

DRINKING beer may quench the thirst, but it will not refresh the memory.-N. Y. News. That delicate matter is one of the u npleasant duties of the bartender.

It is useless for physicians to argue against short-sleeved dresses. The Constitution of the United States says: "The right to bear arms shall not be interfered with."

THE invitation given in the new song, ''Meet me at the Bars," seems to be very generally accepted, judging from the crowds we see at those where ,the screens are removed.

"l\fiKE DOOLEY, who lately left his lodging, will take notice that if he does not return soon and pay fur the same, he shall be advertised," is the way an advertisement in an Irish news­paper read.

They were at a dinner party, and he remarked that he sup­posed she was fond of ethnology. She said she was, but she was not very well. and the doctor had told her not to eat any­thing for dessert bu t oranges.

IN the spring the female fancy Lightly turns to thoughts of bonnet,

With a maze of gimp and ribbons And a bunch of feathers on it.

THERE is an advertisement in an English paper that is inter­esting. Two hoys are wanted for a church at Bournemouth, who •· have good treble voice and ear." One is probably to have a treble voice and the other a treble ear!

No BENEFIT-An Indiana newspaper writes: Mr. Geo.· F. Helderle, of Peru, Ind., says that he had suffer ed very much with rheumatism and used many remedies without benefit. He found the desired relief in St. Jacobs Oil.-Atch-lson Cltarn­P'ion.

HERR PROFUNDO (apologizing for the prima dona's non­appearance): Laitees unt shentlemen, Mees Cary will not sing to-night, she have a little horse. (Laughter.) No, no! I should ave said she ave a small colt!! (Goes off swearing at the difficulties of, the English language.)

"BuT my deah fellah," said a newly arrived Englishman to the Galveston hack-driver who called him •' colonel," "but, my deall fellah, I don't belong to the army, you know." ''That don't make any difference; here in Galveston we call almost every loafer and dead beat colonel or major. Hev a kerridge , general?

IN a book recently issued, which has for its object to teach people to "make home happy," it is boldly asserted that a man is ''what a woman makes him." It is not easy to carry this theory to its logical couclus1on. 'Su~posing a wife makes her

~l~~~f;ge\~~oo!~~~s~~~ile;.~~~~ d~~~!st~: n!~t~~I~~reful people

AND now they say that Theodore Thomas didn't refuse, while in Cincinnati, to beat Lime with a ham. 'l'he trouble originated in his inability to keep a firm grip on it, and when he was whacking out something very clilncult, it would get away from him, and take the trombonist in the eye or the 'cellist in the shirt front, and they didn't like H.-Boston Post.

Du MAURIER, the artist who ridicules the pretensions of society in Punch, was recently at "a small and early," and applied a test to discover whether or noL a singer was an amateur or a professional. He said to the lady in his benevo­lent manner," Are you in good voice?" She replied •• Capital voice-never better." Du l\Iaurier said,'' he is a profe~sional. If she had been an amateur she would have had a cold."

456 KUNKEL'S MUSICAL REVIEW, JUNE, 1881.

1/innhel~ s I!JinsicaliJeview. I. D. FOULON, A.M., LL.B.,

SUBSCRIPTION-(Including Postage.) Four Months, Six Months, One Year, Single Copy,

EDITOR.

$ 50 75

1 50 15

.l¥ir' All matter intended for pttbUcation in theRE VIEw should be addressed to the editor, cm·e of Kunkel Brothers, St. Louis, Mo., in time to reach St. Louis at the latest by the 23d of tlte month p1·e" ceding the month of publication.

· Subscribe1·s findina this notice marked will understand that their subscription expires with this n·umber . The paper will be discon­tinued unless the subscription is renewed p1·omptly.

Special to Teachers. -The music that appears in the REVIEW is also publi.shed by

us in regular sheet form, and can he had from all mus1c deal­er>~, or from KUNKEL BROS. direct.

The same careful fingering, phrasing, etc., exists in all our editions. '

SINCE the pt.blication of the specimen pages of Robert Goldbeck's Book on Harmony, we frequently receive letters from musical people, desiring to know whether Mr. Goldbeck would give lessons in harmony by mail. We are authorized to state that arrange­ments can be made to that effect by directly address­ing R. Goldbeck, care Kunkel Bros., 311 S. Fifth st., St. Louis, Mo.

opinion, but which it were out of place to discuss here. But that the committee having the arrange­ments in charge, and who were more than lavish in many· useless expenditures, should, for the sake Of saving the paltry sum of $90, have awarded the con­tract for furnishing the mnsic to the Arsenal. Band,. rather than to the St. Louis Grand Orchestra, is a matter which does concern us, and for which we can conceive of no excuse save that perhaps the music furnished by the military band was more in keeping· with the balance of the entertainment than would have been the superior work of the St. Louis Grand Orchestra.

It may be true that the Arsenal Band is composed of as good·material as the majority of military bands, but it will hardly be seriously claimed that good musi­cians would enlist for $15 a month and their board .. At any rate, no one who has heard the performances. of the St. Louis Grand Orchestra and of the· Arsenal Band will, unless he wish to write himself down a numskull, pretend that the latter can at all compare with the former. From a musical stand-point then, the members of .the committee who had the matter "in charge, must either confess their own ignorance, or their belief that the large company of the " elite " of St. Louis society, who were supposed to be pres­ent at the Southern ball, were incompetent to distin­guish between good and poor music.

Two o'r three of our exchanges complain that Granting the musical ignorance of the committee-· there are "musical cliques'' in the cities where they men, ·it ·would seem that their business sense ought to are -published. Our good city of St. Louis is free have led them to employ the men who, with their from that reproach, and is likely to remain so for families, are residents of the city, who pay their quota. some time to come, because it takes more than. one of taxes into the muniCipal treasury, and \vhose pres~ man to make a clique, and St. Louis musicians univer- ence is itself a source of profit to the mercantile com­sally "flock apart by themselves." In that way they 1imnity. But no, the few dollars appropriated for feel sure to be h1 good company and to commune what should have been the most prominent feature of with none but truly artistic souls. the occasion, the music, must be paid to Uncle Sam'&

I cheap pensioners! . As WE had predicted, the case of Pearce vs. Maple- It is an admitted fact that St. Louis musical taste is

son et al., was not tried on the Gth of May, but will far from what it ought to be. Shall we be compelled soon come np on a demurrer. 'I'hat is probably the to believe that its business men have no business. last that will be heard of it; at any rate it will now tact? have to go over to the October term, when, should it be tried, our English confreres can republish the cheap fun which they prematurely attempted to poke at our American conrts, in theLr accounts of a "trial " that had not yet occurred.

·THE UTILITY OF MUSICAL MAGAZINES. Nowadays, when not only the learned professions

but even the mechanic.al arts have each their r:;pecial periodicals, it need not be argued that an nrt as uni­versal, a science as boundless as that of music, should

THE SOUTHERN HOTEL OPENING MUSIC. have its own papers and magazines. 1'he success of That a millionaire, who boasts of his public spirit, many such publications in securing large li_sts of sub­

should have asked and received a bonus of $!25,000 sm·ibm·s is in itself proof sufficient that the musica1 to rebuild the Southern Hotel; that after it was built, public want just what is furnished them by the mu­he should have allowed, if not encouraged, the busi- sical press. But it may be doubted whether the larger ness men of St. Louis to contribute some $10,000 ad- proportion of the subscribers to musical joumals fully ditional to defray the expenses of an opening ball; realize the many good purposes served by a properly that at the banque~ the best of the viands should conducted musical magazine. have been a menu elegantly printed in the worst of Talking to our own subscribers, we may be allowed! back-kitchen French; and that speeches should have to use our ~wn REVIEW as an illustration.' Since ~t been made lauding to the skies the liberality shown :has passed mto an adage (most adages he, but this by the enterprising proprietor in allowing his fellow- happens to tell the truth) that-

"A little nonsense now and then citizens to spend money for him; these and many Is relished by the best of men." other things connected with the opening of the new -(which, being interpreted, means, of course, mu­Southern Hotel, are matters on which we have our sical people), some space is devoted to " Comical

KUNKEL'S MUSICAL REVIEW, JUNE, 1881. 457

Chords," and more than one crabbed musician (strange that there should be crabbed musicians!) while he has audibly grumbled at what he called our ·"waste of space on foolishness,'' has read every line oOf "Comical Chords," and secretly enjoyed what he pretended to blame. We have also been credibly in­formed that the digestion of more than one meal had been facilitated by the trifles e;athered in these columns. 'The editorial discussions of current topics, the ·accounts and criticisms of musical works and per­formances, however faulty they may be in them­selves, must, in all cases, have at least one beneficial result, in setting the readers to thinking for them­selves. The news carefully collated from all parts o0f the world and presented in short paragraphs under "''Major and Minor," constitute an interesting pano­Tamic view of what is going on in the musk.~l world. The biographical notices of eminent musicians, living :and dead, the accounts of new musical inventions, •compositions, and discoveries, the best thoughts of the best musical writers and teachers put in a terse, prac­tical way, must furnish the minds of those who pe­ruse them with data and suggestions which they would vainly seek for elsewhere. 'l'he music pro­vides ou the one hand a cheap supply of material for study and practice, and on the other an excellent means of becoming acquainted with the best of the latest musical compositions. When, as in the RE­VIEW, the music has been carefully selected, so as to ;give nothing but works of genuine merit, and espe­pecially when, as in the REVIEW again, these selec­-tions have been carefully annotated by eminent teachers, the music becomes a means of musical edu­-cation which can not be over-estimated. Even the advertising pages are valuable to the careful reader, :for he will often find advertised there the very thing he has long wished he might find. 'l'hen too, a mag­.azine such as ours is a musical missionary; the un­musical members of the families who receive it find in it from month to month milch that interests them; if nothing else the choice stories it contains, and, un­·consciously almost, the other pages are read over and an interest in music and musical literature is aroused in those who, but for the magazine, would never have taken the least interest in musical questions.

OuR readers' attention is, for the last time, called .to the advertisement of the special introductory terms -of Goldbeck's Harmony, on page 469. 'l'he offer there made will positively be withdrawn after the 20th in­:Stant and the price of the work will, thereafter, be $1.50 per copy. Orders not accompanied with the cash will not be entered. Please bear this in mind. 'rhe publish­-ers' contract with the author positively forbids their -entering as orders for the special edition advertised, any orders not accompanied with the cash. By rhe time this number of the REVIEW reaches the majority of our readers the first forms of the book will probably be on the press.

MR. KIESELHORST, formerly of Olshausen & Kieselhorst, has opened new piano warerooms on Laclede Avenue, St. Louis. He has taken the agency of the Miller. 1\lr. IUeselhorst has a good piano to push, and he is a good man to push it.

Polyphonic Writing.

. The greatest, profoundest, and most beautiful style of four-part writing is that in which each voice is in­dependently developed, the chord combinations being merely the result of the harmonious blending of the different parts. This fndeed is the process of compo­sition of the masters, as evidenced by their polypho­nic (see index) style of writing. Part-thinking is the attribute of the master, cho?Yl-thinking that of the less skillful. We must nevertheless take into account the fact that the science of Harmony in the sense of ' 'Physical Beauty of Sound" is essentially a modern achievement, and that, so long as it does not obscure or crowd out of existence the polyphonic style, its influence is highly conducive to the progress and ex­pansion of musical art.

Bach and Handel are the representative wrlters of a perfect polyphonic style (Canon and Fugue), spring­ino- (in ways that need not to be explained here) from a ~eep feeling of religious devotion. -Haydn, imbued with the same spirit, but tempered by a child-like love of nature, is the link between Bach and Handel and Mozart and Beethoven, who again may be considered the originators of a style in which human feeling and passion struggle for supremacy. 'l'hey naturally asso­ciated with their artistic forms and classic style a grander expansion of Harmony and external or physi­cal beauty of sound. Mendelssohn and Schumann fol­lowed in their footsteps- Mendelssohn reviving religious fervor, expressed in the more captivating accents of modern Melody and Harmony. Liszt ana Wagner have sought to cultivate to the utmost bold­ness of Harmony, beauty of sound and development of material force. Lately Kiel, Brahms, Rubenstein, and others have sought to combine with these exter­nal and dazzling qualities the depth and manyfold voicing of the old masters. 'l'his, therefore, is clearly the music of the immediate future, and it is gratifying to notice strong currents of this tendency everywhere in the great world of music- of Europe and to some extent of America. It may be added that the general musical public is not yet sufficiently cultivated to ac­cept this style in opera, and that it is at present con­fined to the oratorio, cantata, symphony, and smaller instrumental and vocal works, which are recognised and supported by the most refined among the musical people.- F1·om Goldbeck's jo1·thcoming Treatise on Rann,ony.

A Strange Discovery.

Prof. Tyndall, of London, has just invented a new scientific apparatus that, when properly used, gives most singular re­sults, and shows that the wonders of the photophone have only just begun.

The photophoue has already been described. It is an instru: ment invented by Prof. Bel1 for causing a beam of light to con­vey a telephonic message to a distance.

ln the new apparatus, a beam of light from a lime light, or even a candle, is thrown upon a common glass fiask having a long neck. To this is fastened a rubber speaking tube that may be placed to the ear, so that any sounds in the :!task may be heard through the tube.

Between the flask and the light is placed a circular disk of metal, having narrow slots, or openings~ placed like the spokes of a wheel round the edge. When the aisk is at rest, the beam of light may pass through one of the slots and fall on the flask.

If, now, the disk is made to turn rapidly on its axis, the light will reach the flask in a series of flashes, as it shin es through the slots one after the other. Here the curious discovery comes in. When the flask is filled with a gas , or a vapor, say the vapor of sulphuric ether, common street ~as, or oxygen, per­fumes like patchouli or cassia, or even smoKe, and the beam of light is made to fall on the Jlask in a series of alternate flashes, the operator, listening with the speaking tube at his ear, will hear stran o-e musical sounds inside the flask.

The pitc~1 of these tones will correspond exactly with the speed with which the disk is made to turn, and each kind of gas or vapor in the flask will give a different kind of note, some soft, some loud, and some very sweet and musi ·al.

This is certainly the most remarkable discovery since the photophone, and it shows that light may be made the means of making sounds audible at a distance, even when the eye can see no difference in the light. It even uggests the idea that f~1~1~v:l~~:r yet be able to hear the sounds of the fires raging

- - ' -------- . -- ~--

458 KUNKEL'S MUSICAL REVIEW, JUNE, .1881.

~usical. Never Is a nation finished while it wants the grace or art; Use must borrow robes from beauty, life must rise above the mart.

MUSIC IN ST. LOUIS.

popular piece of the evening, _and brought the fair performer four successive recalls.

Miss Kathleen Henry in the Allegro of the Reinecke "Con­em-to in E minor." ~nd Miss McEwing in the Weber "Concerto· in C major," exhibited excellent schooling and taste. The Epsteins are evidently doing good work in the Conservatory.

The singing of " The Kerry Dance" by Miss Flora S. Whitney· was an excellent rendering of this popular song. Her elocu- · tion was unusually good, and she seems in a fair way of mas­tering the di1Iicult art of singing easy songs. Mr. Goodl'ich's.. masterly schooling was seen in the manner in which she ren-

. dered her selection . The Saxophone Quartette has been reorganized. Its mem·

bers now are Messrs. Enzinger, Knittel, Boulanger and Osten­dorf.

Mr. A. J. Goodrich has resigned his position at the Conserva­tory and will leave St. Louis the 6th inst. for .Ann Arbor, 1\:t:ich., accompanied by Madame Goodrich, and Miss Robertson, of Baton Rouge.

At the Third Annual Entertainment of the Pioneer Society, Miss Mattie Loth played Jean Paul's "William Tell .l<~antasia,'' and Mrs. J. P. Weil "Satellite Polka de Concert," by J. C. Alden, Jr. Both pieces were rendered with taste a11d spirit.

On the afternoon of May 6th the pupils of the Mary Institute "'ave a " Musical Rehearsal," under the direction of Mrs. Brainard. To mention the name of Mrs: Brainard as the direct­ress is to say that the programme was judiciously chosen and arranged and that the "rehearsal" was in a:ll respects suc­cessful a~d creditable to the participants.

"L'Afrique," the new" satirical opera," libretto by Sch~tyler, music by w. c. McCree1·y, held the boards at the Olympic during the week beg-inning May 16th, and drew full houses. To call the opera satirical is a misnomer; it is rather a miti· gated form of the opera boujfe. The music of l\1r. McCreery is highly creditable to one who is not. a professional musician. Many of the cwias are fresh and taking, and the opera, as a whole, is a success. The vocal effects .arc alw:;tys good, some­times excellent. The orchestral sconng, whiCh, we under­stand, is the work of Mr. Mayer, was all. that could be ?esired. The participants (all home talent) all d1d well; but Mtss Car­penter tl)e leading soprano, and Mr. Branson, the principal tenor 'deserve special mention for the excellence of their vocalization, as well as for the effectiveness of their acting.

A musical entertainment was given at "The Pickwick," on May 12th, by the singing classes of Mix C. Hax and some of the instrumental. pupils of Profs. Chas. and .l<~red. Schillinger, assisted by the 'Va:;hington .Amateur Orchestra. This combi· nation of several classes is one which'might be imitated by many of our music teachers. 'l'he "Sonnambula l!'antasie," played by Miss Laybach, Jlielnotte's "Trovatore Duet," played by Misses 0. Kayser and · E. Mayer, nnd Miss Beach's rendering of Webe1·'s "Concert-Stueck in .1<~ minor," and Miss Rehbein in the two movements of Beethoven's Sonata Pathe­tique deserves special meution am~:mg piano selections . .

Miss Ottilie Beckman sang an ar1a from "Robert le D1able" in very good style, and Mr. Koch earned an encore l.>y his excel· lent smging of his aria from" Ernani.''

Prof . .l<'red. Schillinger, both as conductor and violinist, en· hanced the good impression of his abilities given by his pupils.

The following is the programme of the concert to he given l\Iay 26th, one day too late for detailed notice in this i sue, at "The Pickwick," by Robert Goldbeck:

1. Piano-Son::tta in D minor~ op. 31, No.2, Beethoven. a . .Alle· gro. b. Adagi?. c. ~&'itato: l\lr. Gol~bcck. _2. Yocal-Qui la voce-Puritam, Belhn~. M1ss Cornelia Pctrmg. :3. Vocal­Quartette-Sunset, Goldbeck. Mi ss Henrietta J~eisse and Pau­line Schuler, Messrs. T. U. Doan and Oscar II. Bollman. 4. Piano-a. On ·wings of Song, .llfendelssohn-Liszt. b. Hungarian l~hapsody, Liszt. Mr. Goldbeck. 5. Vocal--Convien l'artir, Donizetti. Miss Henrietta Leisse. 6. Voice and Ylolin-Spring .Jj~lowers, Reinecke. Mrs. All.>ert 1<~ . Dean and Mr. George Heerich. Second Part.-7. Vocal Quintette-Oil, how can I e'er forget thee? Goldbeck. Mrs. Dean, Misses Petring and Schuler, and Mes f'n> . Doan and Bollman. 8. Piano-a. Song Without Words, Mendelssohn. b. Mazourka, Chop·in. c. Ara­beske, Sch~tmann. Mr. Goldbeck. 9. Vocal-a. Margaret at Her Spinning " rheel, b. Hark, Hark, the Lark, Schube1·t. 1\Irs. A. F. Dean. 10. Yiolin-La 1\ic:\laneolie, Prume. Mr. George Heerich. 11. Vocal-Staccato Polka, Mueller. Miss Jessie Foster. 12. Piano-a. Dreaming by the Brook, b. Love's Devo­tion, c. Ungnri~;eh, Goldbeck. Mr. Goldbeck. 13. Vocal quin · tette-Prineess nnd Gardener, Goldbeck. Mrf' . Dean; l\I1sses Petring andLeisse, Schuler (Princess) , and Mr. Tiollman (Gnr· dcner).

The third musical soiree of the Beethoven Con.;er\'atory took place at Association Hall on May 24. ThiH wa s one of the best, if not the best entertainment ever gi\ren by the Conservatory. A " nocturne for violin and piano," composed by l\lr. George A. l{issel, and played by himself and Prof. Waldauer, exhibited a great deal of talent for composition. l\Ir. Kissel, who has been for the last two years under the tuition of Prof. M. I. Epstein, is quite a young ma1_1,_ only aJ.?out eighteen yea~·s old, we believe, and tiHR compos1t10n mdiCatcs that he w1ll yet make a name for himself among the better class of musical writers. ·

The Alden Concert Polka, . Satellite," one of the most effect­ive and brilliant concert pieces ever written, was played by l\Iiss Mamie Clark in excellent style. It was certainly the most

Mr. Waldauer appeared twice, and his playing was, as ever,. capable and scholarly. An enlarged :field of usefulness is opeTh to the Conservatory. ·

The musical soiree we spoke of in our last as being: about to be given at the piano warerooms of Gonover Bros., under the management of the Epstein Brothers, took place as. announced. Notwithstanding the fact that the strike of the street-car drivers and conductors was in full force, quite a large audience was present. .

The brothers Epstein appeared at their best in their selec· tions, which were all brilliantly rendered. Mr. A. J. Epstein's playing of the Rive-King arrangement of the "Wiener Bon­bons Waltzes" was unuiSually fine. It is doubtful if the gifte(\' · composer could herself have improved upon the interpretation of Mr. Epstein. The octette. of Rubinstein, of which two· movements wQre played, was the novelty of the programme •. It was played in good style; indeed, considering that several of the performers were merely amateurs, the peformance was remarkable. The piano part, played by Mr. l\1. I. Epstein, was especially noticeable for its excellence.

The assisting vocalists all acquitted themselves creditably. Miss :E'isher, in "Ernani, fly with me," was at least up to her ordinary standard of exeellence. The same may be said of Miss Russell. l\Jiss Pauline Schuler sang "Ah, mon .l<~ils !" in a most excellent manner, and was warmly encored. She has a splen­did voice, and will surely make her mark as a vocalist. Mr. • Otto Bollman sang very acceptably. He fs improving.

Mme. Petipas, whose name did not even appeal' upon the programme, played the accompanimenl s in a way which stamped her as a genuine artist. Mme. Petipas has recently come among us from Canada, without pufferY. or ilourish of· trumpets, hut the work both of herRelf and pup1ls at this enter· tainment is recommendation enough for competent judges .. w ·e welcome her as a valuable addition to St. J ... ouis musical talent.

Musical Peckniffs.

~~Jiho~;~~t1~b~1~n ,;~~~ ~fe~ii:.~~e fi~::sh~e?lkt~·~ltl~l~~llf.l~sii Chorus" much better than the Seventh Symphony, has a clear,.. moral advantage over the dishonest amateur who declares that he prefers the Seventh Symphony to the "Anvil Chorus.'•·

This advantage is one of sincerity and frankness. 'l'here is a well marked seale of taste, as there is a scale

of sounds, and scarcely any two persons can be found who are· upon the same round of this very long ladder.

Our ears ..,.et cultivated without our consciousness. We aU remember that when we took our iirst music lessons, we could not detect the difference in the interVals of the 11atnral scale. Our teachPr told us that from the third to the fourth and from the , cventh to the eighth were only half steps. By and by we felt it. So it must be when the cultivated friend tells u s that the music of Beethoven is much purer and sweeter than that of Verdi, and we do not understand it. Our ears arc not yet able to appreciate the superiority of one composition over the other--that is all. ·

Then let us say so! The moment we pretend to like Beetho· ven because we have observed that intelligent and experienced musicians do so, we arc trying to make people believe that we are occupying a higher round on the ladder of taste than we­really do.

It is here that; snobbery stepe in . But it is always a great deal betterfor art that simple honesty

should not step out. The pretense of admiration for intellectual music, because

such admiration argues an advanced taste, is the worst sham· with which modern muoic is beset.

It has led to an evanescPnt and shifting kind of fashionable idolatry. It has presented us with the spectacle of genteel audiences assembling to won, hip that which they do not com. prehend, hecaul:le such worship argued intellectuality.

It has rai sed and diffused the error that music can express. ideas. It ha:::; set up popular lJets where we wanted masters,. and kept sterling and honest merit out of sight because such me1 it did not agree with the factitious standard. .

We can not, of coul'se, expect all the men who have never learned the alphabet to go about confessing it. But we can certainly demand of those who have never learned it, that they shall not go about insi ting that they have. It is not yet a :finally adjudicated question whether intellec­

tual attainment enhances the sensuous enjoyment of music. Al~ intellectual development no doubt opens up to us new sources of enjoyment, but arc they not always in the direction of intcllectua.!ity. As to the intensity or quantity of pleasur­able emotion produced in man by musical soundR, who shall Ray that the tom-tom of the savage is not more emcacious to­the rude nature than the violin is to the civilized man.

'.rhe Indian, who, when taken to the opera and asked his opinion of it, replied·with a grunt, "one man play fiddle, an­other play fool," was at least a sincere amateur and critic.

KUNKEJ.J'S MUSICAL REVIEW, JUNE, 1881. 459

Bi1t can we say as much better of the developed man who, after listening to three hours of opera in which not one note appealed to his sensuous nature, declares that his soul has been satisfied?

The constant effort of the modern intellectual mind is to give even absolute music definite purpose• and literary shape. Whereas it is essenti-ally without form and void, so far as ideas are concerned. ~

Wagner has used all the skill of a metaphysician to make men believe that music expresses thoughts. I'i:e has employed all the craft of a mathematician to wed one art to another, as if any art which used the means of another was not acknowl­edging its own weaknes!:'.

But we must, after all, come back to the elemental truth that music does not, and can not, exoress anything but feelings, which are essentially and totally distinct from thoughts.

And there we are met at once by the una:.1swerable fact that though all men can not think until they are .developed, all men can feel by nature, It is necessary to ground ourselves upon these stark truisms

occasionally, because musical snobbery would set up an exclu­sive and inner consistory. of tones for the elect. It would have us dispense with feeling altogether, and lavish a formulated admiration on the thought wnich fabricated 1 not on the emo­tion that created. It would hav() music pamt, carve, photo-

,graph, mimic, interpret, argue, declaim and satirize. It would measure the vibrations o! a tonic sigh, and accept the impres­sion only when the vibrations are up to the stant;iard. It goes to the concert with a literary spirit level and a. trancende\}tal lexicon, to prove to us in sound what Corot, in Faris, and, more recently, Whistler, in England, have be'en trying to prove in color-that if you pretend to comprehend the incomprehen­sible, you will pas for better men than all who are honest men.

Corot believed in reducing the cosmos to a ~rey chaos. 'Yhistler desires to erect the universal into an inspired vagne­ness. Great thought is necessar,y to succeed in either of tf1ese undertakings, and for that the world will honor them, for the world thinks they have succeeded. Corot's pictures resemble .nothing so much as a brill~ant' mn. ical criticism, in which the mind sw-ims and is lost.

Rossini once said-it was at the timP. of Meyerueer's brilliant debut in Paris, when George Sand and all the other essayists wrote him into ,:udden ~lory, very much as the precinces laid hold of J .. iszt-Rossini sa1d that much of the modern music was chiefly valuable for the rhapsodies it stimulated. Ever since that time literature has given itself the task of findmg ou.J;what the musician means, and ·we have to-d.ay a large class of culti­vated people who possess a purely literary sense of Beethoven .. They have read about him and his work until they are filled with the thoughts of his examiners. They come to the eJljoy­ment of his compo~titions very much as an engineer comes to the enjoyment of a landscape. They bow to him-if they bow at all-Yery much as fashionable tourists bow to cele­brated statues.

But this is something wholly distinct from the musical appre­hension. You may be sure when the listener insists up·on judg­ing Beethoven with a historical map in his hand, that he is not enjoying, he is laboring.

1.\'lusie, when it performs its mission perfectly, affects the judgment through the sensibilities. We can not make a dia­gram of the ethereal pleasure. It is only the quacks who nre­tend that sunlight can be bottled, and a song· pressed ouffor preservation in a herbarium.

Intellectual snobbery narrows the domain of emotionRl delight. lt would give to its own set exclusively what belongs to tho race, and make a man give the password and the grip before he shall he acknowled as a creature of feeling.

If those fellows have any coneC>ption of a heaven it can.not be like that of Jeremy Layton's poor widow, who believed it was a place where she could sit fo1·eycr in a white apron and sing psalms. .~: o, they must pictm·e it as a Yast summer garden, where the saints employ themselves while listening to the angel orchestra, in criticising the tempo, and searching for consecutive fifths.

New York.

NEW YORK, 1.\'lay HJ, 18$1.

There were seven performances, four evening, aud three mat­inees. 'l'he important works were Handel's "Dettingen Te Deum" and "The Messiah," the Jifth and ninth symphonies of Beethoven, Jtubinstein's "Tower of Babel," of Berlioz's '' Grande Messe des M01·ts, Requ-iem."

The last two were the novelties. A great many opinions of these compositions have been giv. n by different writers. I say write1·s for the reason that no competent critic or musician will give such decided opinions about such important compositiqhs, after a single hearing. .Both works were listened to with' great attention ·by the musical portion of the audience, while tl;w "unwashed" pronounced both "great bores."

To the •' Tower of Babel" 1~ubinstein has given the name of '' am·ed Opera," of which he is writing a series. lie has already written three-" Paradise Lost," "Tower of Babel," and the ·• Maccabees." The" Paradise Lost" in the :first edi­tion he called an oratorio.

The action of the opera all lies within a single scene~ It was unfortun'ately placed immediately after Handel's" Te Deum." Although undeniablv Rubinstein is a man of great genius, he is no match for the Saxon giant, and his work suffered by the CO)llparison.

1\Ir. Thomas sails for Europe in a few days to secure soloist!!~ for the three festivals that he is en~aged to conduct next Spring-New York, Cincinnati. and Clucago. He will thus be enabled to bring over the best talent in J!:urope, which could not be done for a single festival. Rumors of ''Patti and Joachim" are in the Jt,ir. Without a doubt the festivals next spring at the places abov cnamed will be the most important · ever held in Arp.erica, if not in the world. Mme. Gerster and her impressario (that was) have not parted friends. 1\ft:. Gar­dini declares his wife will never sing for him .again. Rumo1·s in the air·' that she will sing for Max Strackosh." I doubt it very much. Herr Joseffy will remain with u s another season~ and will make a tour of six months, which will include Califor­nia. Abbey, who is now in Europe, will make an effort to engage either Saint Saens or Cari lieyman, for a tour next sea­son, so we are not likely to t~ uffer any drought in that line. It is not stated which viaJlO manufacturer will be made happy, as the bids are not allm yet.

vYe ure being" Olivetted" and" Mascotted" to death. You will suffer in tho same manner soon; the country will be over~ run with "Olivette," •' l\1 ascott," "Billee Taylor,'.' and the dear only knows how many other comic opera companies next sea7 son. The shoe dealers ought to do a good business.

Mr. J. C. l!'reund, formerly of the Musical1'imes and Trade Review, has returned to the city. He has had tile necessary capital offered him to start his paper again. He has not yet decided whether he will do so or not.

In the death of Mr. Gotthold Carlberg musical journalism has lost one of its brightest lig·hts. He leaves a wife and child. He died very suddenly of aneurism of the ' heart.

There was some little stir over the Beau- plan Ambrc operatie smash-up. Ambre and her husband claim to have lost $80,000 this season. The poor people who were stranded here by them were sent home by the French line yesterday. the funds being raised by subscription. No confidence is placed in the state­ment made by Mrs. 'l'ournic that her husband had eloped with l\lme. Ambre. 1\Ime. Ambrc left with her husband.

Max Strackosh has returned after a most disastrous :financial season. In fact, all the musical ventures last season proved unfortunate. except Mapleson's Opera Company. Maploson made a great deal of money, much more than he lost last sea7 son. •

There is some talk of llemy l\lapleson joining- forces with Col.llayerly and giving English opera again. I am a" doubting­Thomas." I don't bel•eve Haverly will do anything so foo'lish_

W1lhelmj and Sternberg have returned. It is said .'\fr. Stern­berg will remain and settle in New Yorl;:, and that . Wilhemj will do the same. The latter makes a groat deal of money selling violins , a business which he finds very pro:fitable. lie always has one worth any ]nice, which a certain celebrated violin maker will certify to, and when forced to name a price. modestly puts it at $500. as being no p1·ice at all for it, yet 'Vil­hemj will take $300, lie is willing to sell it at a sacri1lce so that the students of tho violin may obtain good instruments. This is very small business for a great artist like 1\fr. Wilhemj to be engag<'d in. I wonder if Remenyi sells violins also?

Tho advance sheets of Goldbeck's Hm·mony that have been published in the REVIEW, have created a lively interest amono­musicians-professional and · amateur- here, and the wori will undoubtedly meet with a large ale. It is worthy of SUCh a profound mus1cian as its author is known and acknowledged to be by the entire musical world. It is the clem·est and. most comprehensive work of its kind that has so far been given to the public, and shoulcl be in the hands of every musical stu-dent. . c#·

.l!JDI'.rOR KUNKEL'.S 1\lUSICAl, Hl•:nEW:-All quiet in the musical world. 'l'hc great festival is over. · Damrosch covered himself with glory; so did Campanini and Whittney. Gerster, Cary, and Miss 1Icnnc received their share. Mrs. Imogene Brown, Toedt, and Stoddard added nothing to their reputa­tions. Mrs. Imogene Brown was the weakest plank in the fes­tival. She is a fair church SO])rano, "only this, aud nothing more." 'Vhy such inferior singers are pushed into such prom­ine)lt positions is "one of those things no fellow can find out." Cary and Gcr ter did not make the success their friends looked for. Mme. Gerster is not at home in that style of mu ic. Dr. A LEAR ED man in Prague has discovered that Bismarck is Damrosch has gained many warm admirers by his real mas- descended from. a mu;,ic teacher of about A. D. 1000, and this terly work. The first festival ever held in this city has proved has set Bizzy busy practising vocal exercises to see whether both an artistic and a Jinanci,al success, far beyond what even the talent has descended to him. He goes round the palace the doctor's most sm1guiRe friends had dared to hope. The singing '·In dat schwcet by unt pye" and" Tarling ve vas get­acoustic qualities of the large armory of the eventh Regiment ting olt," until Kaiser Wilhelm says he cap't stand it any are admirable, seating 12,000, which includes chorus and longer, and this will probably lead to further ! complications in Ol'Chestra.. The soloists could be heard distinctly in every part Europe.- Score . of the vast building. 'l'hc chorus numbered 1,200; the orches- . tra 250. The distribution of the instruments was as follows: A MICHIGAN journal relates the following: Amos James. 40 :first violins, 4.0 second violins 30 vioh,s, 26 violoncellos, 26 Esq., proprietor of the Huron House, Port IIm·on, Mich., sui­double basses, 6 1lutes, 4 oboos, 2 English horns, 4 clarionettes, fered so badly with rheumatism that he was unable to raise

· 2 bass clarionettes, 8 bassoons, 12 horns 1 16 trumpets, 14 trom-~ his arm for three months. Five bottles of St. Jacobs Oil curecil bones, 4 tubas, 10 tympani, 2 bass drums, 3 cymbals, 2 harps. him entirely.-Pottstown Daily Ledge1·.

460 KUNKEL'S MUSICAL REVIEW, JUNE, 18Sl.

MAJOR AND MINOR.

Le Canada Musical is now a thing of the past. R. I. P. BEETHOVEN is to have a statue;in Central Park, New York.

IT is said that a statue of Ole Bull will probably pe p laced in one of the public squares of Boston.

THE Musical Re·view of New York has "pasljed in its checks." It died of too much 'Vaguer.

M. AUDRAN, composer of "Olivette," and other popular operettas, is a tenor singer in the Paris Opera House.

A. McMARTIN, founder of the Musical Review did not long survive his paper. Amateur journalism loses in him one of its best representatives.

THE last appearance of Gerster prior to her depa1·ture for Europe, ·was with Thomas' orchestra, at the Boston Music Hall on May 14th. The Miller Grand was used upon that im· portant occasion.

THE Chicago Inter- Ocean speaks highly of the rendering by Mr. Geo. Schleiffarth of "Bubbling-Spring," Rive-King, and of his own "Moonlight Fancies " at an entertainment recently given by Union Lodge No.9, I. 0. 0. F.

THE Chase Piano Company writes: "We are now doing the Jargest busjness ever done in the history of the company. Our new buildings are progressing rapidly and by October we hope to be able to meet the growing demand :tor our pianos."

THE Faculty of instruction of the Petersilea Academy o:t Music of Boston, one of the best music schools in the country, has received a valuable accession in the person of Mr. Lavallee formerly of the Paris Conservatoire and recently director of the Academy of Music of the Province of Quebec.

l\1ANY thanks to Albert Weber for invitation to his wedding, which occurs on the 7th inst. The REVIEW would like to be there, but since it can not, it sends its best wishes to both bride and groom. We presume that Weber's "Invitation to the dance" will be a feature of the wedding programme.

THE English department of Education has recently issued a return which shows that in 28,532 departments of schools in England and Scotland the following musical systems are in use: Hullah's in 691schools, the old notation with movable do in 676 schools, more than one system in 61 schoolsi and tonic sol-fa in 3,987 schools. The remaining 23,117 schoo s teach by ear, using no system.

IN r~ondon there are 800 music publishers and dealers in musical instruments. The number of teachers of music is over 3,000; during the year 1880, over 1,300 public concerts were given and about tOO Italian and 50 English operatic perform­ances. London has eventy amateur choral or instrumental associations. The number of pieces of music published in Engl'and during 181:!0 was 2,800.

HAYDN'S prorluctivity was enormous. From his 18th to his seventy-first year, he composed 113 symphonies and overtures; 163 pieces for viola da gamba; 20 divertissements for various instruments; 3marches; 24 trios; 6 solos for violin; 15 con­certos for various instruments; 30 sacred works; 83 quartets; 66 sonatas; 42 duets; 5 operas with German text for puppets; 5 oratoi·ios; 366 Scotch a1rs; 400 minuets and waltzes; and 25 operas.

THERE is an interesting- relic of the l?ast in Pesth at the present moment- the violm of Louis XIV, made by Amati at the express order of the " Great" monarch. The sides are adorned with fieurs-de-lis, while on the back are painted his Majesty's arms and motto . • Down to 1789, this instrument was kept in the Garde-1\Ieubles, Paris, but subsequently, after many adventures,_ came. into ~he possession of Lipinsky, the violinist, who left It to lus family.

A PARLOR soi1·ee musicale recently given by the pupils of Miss Helen Beecher at the residence of Mrs. D. L. Zabriskie, at St. Charles, Illinois, created quite a stir in that little ciry. The playing of Siebert's" Trembling Dew Drop Mazurka" and of the ~'antaisie on Ernani by Anna Zabriskie, a young Miss of only eleven summers, was really remarkable. The opening duct •• Butterfly Caprice" Melnotte, played by Miss Lizzie Beecher and E stelia Goodhue, and the closing trio played by Prof. Hatch Mr. Stewart and Miss Beecher, were also remarkably good. '"Bliss all Raptures Past Excelling," Robyn, sung by 1\'fiss 1\'lary Beecher was the most notable of the vocal numbers. Miss Helen Beecher is doing good work in St. Charles.

MME. JULIA RIVE-KING has decided not to give any con­-certs during the coming· season. '!'his will, of course be regretted by music lovers throughout the country. At the request of many who have desired to avail themselves of her instruction, Mme. King has consented to devote herself during the coming year to teaching exclusively. She will take a limited number of advanced pupils. Mrs. King is one of the best pianists of ~h.i s or any other country, and also .a thorough theoretical rousw1an. vVe under tand that Mrs. Kmg has not yet made up her classes, but should any of the readers of the REVIEW desire to avail themselves of her invaluable knowl­-edge and skill, we would advise them to make their applica­tion as soon as possible, as Mrs. King is sure to be besieged with applications. The REVIEW IS the first pa,per to make t11.1S authoritative announcement, and therefore It readers w1ll have the first opportunity to apply for admission to Mme. Rive-Ring's classes. Her permanent address is Steinway .Hall, New York.

Baltimore.

BAT-TIJ\10RE, l\Iay 23, 1881. MR. EDITOR: -The Oratorio of the Messiah, by the Oratorio

Society of Baltimore, was a brilliant success, considered artist­ically, as regards the rendition of the music, and :financially, as regards the receipts from voluntary subscriptions and admissions to the public rehearsal. That it wasi is not to be wondered at. The press threw open their co umns in its behalf with an abandon that was refreshingly lavish, to say the least of it, and even the ministry made a spontaneous effort to assure its success. one eminent divine attending all of the rehearsals and singing at the concert, and another, on the Sun­day preceding the concert, during his sermon, telling his hear­ers, with eloquent and thrilling force, of the early history of Handel, when he wrote and first produced his great Oratorio of the Messiah. How, when he failed to draw an audience, he made it a matter of special prayer, and how, finally, his prayers were answered, his efforts crowned with success, thousands crowding to hear it and thousands being converted to Chris­tianity through its in1tuence, and finally advisin,~r his congrega­tion to avail themselves of the opportunity of hearing it, and then in his concluding prayer, invoking the blessin~ of Deity upon the singers; that they might be duly impressea with the words they sung, &c., &c. The singers, from 500 to 600, occu­pied terraced platforms on either side of the stage, the orches­tra in the centre and the director and solo singers to the front. It was a gala sight, the varied dresses and different style and expression of hair, countenance, &c., the fluttering of fans, the decorations in the way of evergreens and flowers and trim­mings; the dazzling splendor of the calcium lights thrown upon all of this produced an effect that may be ~;een but never described. And then the audience, large, brilliant, enthusi­astic, when the.tnagnificent Hallelujah chorus was sung, arose "en masse" and remained standing until it was finished. Everything passed off pleasantly. The weather was hot-" red hot." One of the tenor singers who sat high up, and, by the way, sings in one of our church choirs, said it was hot as-­the bad_ place. Bette1: look out; ~1e may have an opportunity of makmg the compar1son. All d1d well, and were enthusias­tically zealous in their efforts to make a success of the affair. Mr. Sutro, who has recently been elected !"resident of the Oratorio Society, was ubiquitous; now in the orchestra, now in_ the ,chor_us, and now s~tting ~n th!3 balcony of the gallery 'Yith Ius w1fe (a very bnght, mtelhgent and preposseseing little lady, the daughter of Hon. A. H. Handy, of Mississippi and one of the best amateur piano players in Baltimore). '!'hi~ concert has given music an impetus that nothing else could have done, and created an interest and enthusiasm that will last for years, and greater than all of this, has developed a capactty that has _fairly. astonished the community.

The followmg IS a l1st of officers of the Oratorio Society elected May 2, 1881: President, Otto Sutro; Vice President' Edgar G. Miller; Treasurer, William H. Graham; Secretary' William A. Hanway; Librarian, A. K Shriver; Directors Rob: ert Garrett, Edward Otis Hinkley, D. L. Bartlett, Frank P. ClArk, E . G. Daves, Charles A. Vogeler, Innes Randolph.

The Rossini Musical Association gave Handel's Oratorio of Samson at the Academy of Music, May 3. The choruses were fairly rendered and the solos well sung. The audience was large, but a sicker crowd you never saw; they are used to a light, miscellaneous style of pro?-ramme, with a great deal of variety, and therefore could not ' stomach" the grave solemn and, to a certain extent, monotonous effect of an Orat~rio. A few more efforts of the kind will either lose them their audi­ence or else gain them an entirely different set of hearers. Don't be rash!

The Oratorio of Judas Maccabeus, by the Peabody Chorus Class, was a dead failure-chorus small, audience small· actually had to hire singers to help out on the choruses! Fie! for shame!

'!'here was a nondescript concert at the Academy of Music May 9, at which it was hoped that his excellency, the President of the United Statee, would be present. He didn't come how­ever, and the public generally followed suit. '!'he audience was light-painfully so, the programme stale, the performance tame and poor. The affair was gotten up by a very energetic little_ lady for ~er _own benefit- a kind of self-presented testi­momal- but 1t d1dn't pan out! But we will pause just here and take up our portrait gallery.

William Tarbutton, I rofessor of .M:usic in the Eastern and Western Female High Schools of Baltimore, is a native of the eastern shore of M!lryla~d- past sixty years of age, full .figure, of venerable and Imposmg appearance, well Yersed in music and has probably helped to turn out more good readers of music than any other teacher in this place. His enemies like his failings, are few; his friends, like his Yirtues, many. He is a valuable member of the Oratorio Society.

John Theophile. Professor of Muoic in the Southern Home SchoolforYoungLadies,No.197N. Charles street, and Madame Lefevre's Young Ladies' Academy, ro. 59 E ranklin street and organist of Grace l\1. E. Church, is one of our very best l~iano and organ teachers. After haying faithfully studied music and qualified himself to teach in his own country, he visited Leip­sic, German)1

, and_ remained some tin~e, studying at the Con­serv_atorJ: of l\Iusw there. He has 9.mte a number of pri\'ate puPils -IS gent~e, modest, unassummg an_d unaffected ; is the composer of qmte a numuer of really mentonous pieces.

EVEHY 1\ION'J.'H.

. MIS~ GOLDSTICKER, a native of St. Louis, whose stage name IS Rosma I sadore, had a very narrow escape from bnrnino- in the fire of the opera house at Nice. "'

KUNKEL'S MUSICAL REVIEW, JUNE, 1881. 461

GHOSTLY MUSIC. Spiritualism, which is represented ·by those who believe in

it to be vastly superior to Christianity, differs, of course, from the latter in its revelations as to the state of music in the other world. The Church has always held that the angelic host sines and plays on the harp and trumpPt in a way altogether beyond the reach of criticism. Though a good deal can be done with harps and trumpets, we are not shut up to the conclusio<l that these are the only instruments ut<ed by the blessed ghosts in Paradise. Probably the term t1·umpet is a general one, and includes trombones, sax-horns, and other in­struments on which the chromatie scale can be played. How­ever this may be, the Church has always taught that the angels are accomplished musician~, :md has never thought it worth while to repel the blasphemou suggestion that accordions, banjos, and such like debasing reservoirs of vulgar noise are known beyond the boun<'ls of this miserable earth .

But 3piritnalism, on the other hand, show" us that. the state of musical culture among ghosts is no better than that which characterizes an Indiana country town. 'l'he average ghost plays o..n only the most exec1·a.ble imtruments, and sings only the most empty and agg• :wating songs. As for producing a decent tone with the trumpet, or playing the simp·lest melody with a harp, the ghosts of Spiritualism have never even ven-

THE S INGER'S REVENGE.

A '!'ALE 0}' RUSSIA.

CHAPTER I.

[This truthful little sketch from the Musical Herald is not signed but bears internal evidence of being from the pen of L . 0. Elson.]

MINKA felt that they both loved her,-Wobbleoff, the tenor, and Bombitsky, the pianist of the court. She had never been loved by any one before, and she felt she was doing a Rushian business. At eve, the­tenor would come to her humble hut and sing Put me in my little Kibitka, The Sarnovar's-man, and other of the most noted works of Lvoff, Lvite, Lvdanks, and other noted Russian composers. Bombitsky would then sneer, and say that such singing ought to cause his arrest as a Nihilist, and would efface the impres­sion by Moszkowski's Silve1·y Waves, and Tschaikow­sld's variations of Horne, sweet Home, until the tenor was wild with jealousy. '!'hen he would melt Minka to sad tears by the cadenzas of Strauss' waltzes, which he played with the left hand alonel holdin~ her hand clasped in his right. "Strauss shows which way the­wind blows," muttered the tenor; and he meditated a deep revenge.

CHAPTER II.

. turcd to make the attempt. '\oVhen a "materi alizin~~: seance" is held the medium alway!\ requests the circle of believers to sing, alleging that under the influence of music ghosts ma­teria.lize with comparative ease. But what are the songs that are sung in spiritual circles? The "Sweet By-and-By" is a fair sample of them. They are invariably the illiterate senti­mental songs popular among people who know absolutely nothing about music. They are sung through the nose with the mechanical sameness of the barrel-organ, and with a dragging of the time that is simply maddening. One would thinK that if the singing of the" Sweet By-and-By'' could in­duce any ghost to materialize, it would be a larg-e ghost with a heavy club and a wild desire to brain the smgers. Unfor­tunately, this is not what ordinarily happens. The singing is followed by the appearance of ghosts

1 who are in the best of Minka felt that she loved Bombitsky. She desired

~1~~i1i~a:rl~r~~~~~;~~1?'0~e~~~c~~!:~~s~~~.w~~ ~~~1:~~t~~~c;~ to send Wobbleoff to pursue the even tenor of his fatal to our respect for ghosts. If a ghost will deliberately way; but she felt that he was a base man, and might come to earth to hea1· people whose voices are as cracked as commit some desperate deed. She had endeavored'to· their bra~ns sing the "Sweet By-and-By," th_cy arc wholly unfit have him arrested for uttering false notes; but the chief to be_notH_led by pe~·sons of any sort of mus~cal cultu~·e.. of the police was secretly a Nihilist and would not ot~,~1~s"~~·ld~~~en~~~dn~~ b~u:;1~-~1ri~~~~o'1l~J1\If~·~~~If~ ~~n~l~ I interfere with a brother conspirator. 'That night, the· ghost has yet _materialized ~vho can play on a dect::nt instru- tenor might have been seen (had the police done their ment. What 1s eve~ worse 1s the fact that the ent1re ~hostly duty) crawlin5 cautiously through a window of Min-world seems to be given over to the accordeon. OccasiOnally k , h · 'd l d d · a ghost will strike the strings of a ~uitar so as to produce a ~ s ouse. nee msi e, 1e wen e hiS way to the discordant noise; but the accordion 1s positively the only in- p1ano, and smeared a substance over the keys. Hav­strun~ef.lt wl~ich ~hosts will play _in pub~ic. If S_pil'itu_a~ism is ino- done this he cautiously crawled out again. true, 1t 1s evident that the first t'hmg a disembodied spirit does 0 ' is to learn to play on the accordiOn. l\fen who in this world CHAPTER III. would have smitten to the earth the wretch who should have tried to place an accordion in their hands, will, in their 'l'he following night, the lovers were again together,. ghostly estate, take up the instrument from the medium's their happiness only marred by an occasional false table, and proceed to encourage its asthmatic wheezing. ff

It is ce1·tainly very strange that we should thus detcri6rate note from Wobbleo , who was singing, "Will you after death. The late Daniel Webster was confessedly one of love me when I'm old?" the greatest men of any age. He never played on any instru- "I don't know what changes my sentiments may ment, and, in fact, had no liking whatever for music; but his undergo by that time .. " responded Minka ·, "but vou. view" of the accordion were such as become a statesman, a J

Christian, and a gentleman. Yet, now that he is dead, -he has may call again then, and I will inform you whether I devotPd himself with much assiduity to the accordion, and will or not. Play me something, Bombitsky." when he condescends to materialize for the benefit of a room- "Ha !" interrupted the tenor: " he always plays ful of Spiritualists-as he frequently does-he is pretty sure to s~y: "Gimme that there accordion and I'll play a little the same things, and always without notes. I doubt suthm;" whereupon he plays the "Sweet By-and-By," if he can play anything at sight." "Mollie Darling," or "Beautiful Spring." George Washing- "I can play any coml'\osition at sio-ht, even with one ton is equally bad, and even Shakespeare has repeatedly t: '"' shown that he share the ghostly fondnes~for accordions. eye closed," responded the proud piani.st.

Inevitably, this casts a gloom over tfie future world. If, "It is well," sneered the tenor, "I have here with me when we are de11d, we sink to the accordion, and find pleasure a new composition of my own, a Nihilistic symphony in the "Sweet By-and-By," we are decidedly better off here than we will be hereafter . So far as we can learn from mate - in seven movements. You will observe that it begins rialized gho ts, there is not a harp nor a bras instrument in pppp and continues very softly until this chord (a the other world, and, if there were, there is not a ghost who diminished seventeenth), which is to be struck fffff. could play on them. Were we to adopt the hypothesis that D h' k · h' dd · ·~ only the ghosts of bad men had the power to return to earth, 0 you t In you can giVe t IS su en climax." and that their familiarity with the accordion is acquired while "I hav.e force enough for two more f's if you wish undergoing punishment, we might feel a little encouraged; them," calmly replied the pianist, as he sat down be­but, in point of fact, the ghosts of the very best and noblest fore the instrument. men play the accordeon, so that the hypothesis suggested is clearly untenable. He began very softly, so softly that one might have

,Our best plan is to decide that Spiritualism can not be true. heard a (belaying) pin drop. Minlm sat beside him in It is far more probable that mediums lie, and that Spiritualists ecstasy, although very little of the sound was audible. are deceided, than it is that Daniel Webster and Dante play the accordion. r ... et us cherish our old belief in celestial harps 'l'he fatal diminished seventeenth chord approached. and angelic tl'nmpets, and hope that in the future life we shall It came. Swooping his arms wildly in the air, he let be free from the sight and sound of the accordion. Perhaps the c sh d th · B 1 11 11 the fallen angels, having dropped and broken their harps, m ra own upon e piano,- ANG · · · · · torment miserable sinners by singing" The Sweet By-and- 'l'he fragments of the two lovers spread over three By." and accompanying rhemselves on the accordion; but counties. 'l'he tenor, who had fled, had smeared surely, in any other part of the universe of ghosts, that itro-glycerine upon the keys, and achieved his diabol­}V~·c~~~i~~;~strument and revolting song must be unknown.- ic revenge. He was never heard of more. By order of . . _ I the benevolent Czar, the remains were carefully swept . I. L .. SCHOF:N_, of Ne_w York, an. exct::lle~t vtollmst by the way, up· but as they could not be assorted with certainty IS paymg a vtstt to his parents m this City. He looks exceed- tl ' ' b .· d · . h h . '11 . ingly well, and as he is a good fellow, we exceedingly regret le;y- were une ~n one giave, Y_V ere t ey st1 Ie-that his stay among us is only tem1Jorary. main, a fearful testimony to the smger's revenge.

462 KUNKEL' S MUSICAL REVIEW, J UNE, 1881.

J. -HOWARD FOOTE, 31 .llfaiden Lane, N ew York ,

and 188 and 190 S tate St., Chicago. SOLE U. S. A GENT l!'OR

AND BAND INSTRUMENTS, Badger's .Boehm Flutes, Bini GuitaTs,

.llfeyeT Flutes and Piccolos. Manufac tmcr of Band To Rtrumcnts, Guitars , etc.

I mpor ter of t he bes t Violin S trings made . General Used by I.evy , Ar· A gent for the OrJ~ uine tte . Catalogues fr ee. Men·

buckle and all artts ts. tion Kunkel 's Musical R eview.

CEO. "'VVOODS ~ CO .. , UPRIGHT PIANOS,

P AR10R ORQANS 1

High Grade Instruments Only. CAMBRIDGE PORT, MASS,

ESTABLISHED 1850.

B. SHONINGER ORGAN 1CO'P'Y, Fact~ry Ncs. 97 to 121 Chestnut St.,

N E W H A V EN, - - - - CONN. Manufacturers of

Firrl•class Organs i Uprirht PiUlo ·f~rte s~ .

FREDERICK BLUME.

Music Publisher, 861 BROADWAY. N.Y.,

Two doors above 17th St.

All Foreign and America r Pul>lic.a :wns in Stock. Cal t.log ues mailetc.

Glu ck Before Wagn er . Wagner's adherents are wont to represent him as

the Messiah of a new revelation in reference to operatic music , but Gluck's letter to the Grand Duke Leopold, of 'l'uscany, asking his permission to ded­icate to him his opera of "Alceste," which we herewith reproduce and in which he briefly explains hi s musical theories establiehes that over one hundred years ago, he had anticipated Wagner in the leading featnres of his system. But let us hear Gluck:

I

'' W'henl undertook to compose mnsic for 'Alceste, ' 1 proposed to abolish entirely all those abuses intro­duced by the injndidous vanity of singers. or by the excessive complaisance of masters, which have w long disfigured the Italian overa, and instead of the most splendid and beautiful of all entertainments, rendered it the most ridiculous and tiresome. My purpose was to restrict music to its true office, that of ministering to the expression of the poetry, and to the situations of the plot, without interrupting the action, or chilling it by superfluous and needless or­namentation. I thought that it should do what bril­liancy of color and skillful light and shade effect for a correct and well-designed drawing, by animating the figures without distorting their contours. I wished, therefore, to avoid arresting an actor in the most ex­cited moment of his dialogue, by causing him to wait for a tiresome ritornella, or, in the midst of half­uttered words, to detain him on a favorable note, either for the purpose of diFplaying· his fine voice and flexibility in some long passage, or causing him to pause till the orchestra gave hi m time to take breath for a cadence. It did not appear to me th at I ought to hurry rapidl r over the second part of an aria, possibly the most impassioned and important of all, in order to have the opportunity of repeating regu­larly four times over the words of the first part, caus­ing the aria to end, where, in all probability, the sense did not end, merely for the convenience of the singer, or to enable him to vary a passage according· to his caprice. In short, I have striven to banish the abuses against which reason and g·ood sense have so long protested in vain. My idea was, that the overture should prepare the spectators for the plot to be rep­resented, and give some indication of its nature; that the concerted instruments ought to be regulated ac­coruing to the interest and passion of the drama, and not leave a void in the dialogue between the air and the recitative, so that the meaning of a passage might not be perverted, nor the force and warmth of the action improperly interrupted. Further~ I thought that my most strenuous efforts must be directed in search of a noble simplicity, thus avoiding a parade of difficulty at the expense of clearness. I _did not consider a mere display of novelty valuable, unless naturally sugges~d by the situation and the express­ion, and, on this point, no rule i n composition exists that I would not have gladly sacrificed in favor of the effect produced . Such ~re my principles."

TENOR VERSUS BARITONE.

Is there not a good deal of sense in what follows, written by "An IndiO'nant Bass" to the New York Ilour: A saying whic91 has grown to be accepted as proverbial is, that "variety is the spice of life," and it has become an aim amongst us moderns to discover a new sensation. Operatic composers have fallen into a certain groove and have stuck in it usque ad nauseam, thereby continuing the perpetration of a horrible injustice to an estimable class of men. Why should the possessors of baritone voices be doomed to the representation of 1·oles the mainspring of whose action is always villainy of the deepest dye? And why should the tenors be cast for the parts which portray every­thing that is heroic and lovely? 'l'his narrow view of things on the part of composers is eminently agah1st nature and is calculated to g ive a very incorrect and unhealthy tone to the minds of the female portion of

KUNKEL'S MUSICAL REVIEW, JUNE, 1881. 463

<the musical world which attend operatic perform­.-ances. It can scarcely be denied that, if the laws -of nature were not modified by fashion, the strong, hearty, full-flavored man would be the favorite of the fair sex. It follows, therefore, that the baritone voice, which answers to these conditions in the man, should be cast for the successful lovers, and that the tenors should be relegated to the parts of cheming, :ficlde, half-hearted rascals that, if the truth were told, they frequently are in real life. Here, sir, is a new point ·Of view for musical composers and, as we are a pro­.gressive people, is it not for our native musicians to seize the oppo'rtunity of advancing towards operatic realism. Even that gl'eat musical iconoclast~ Wagner, has not perceived the falsity of the relative positions which tenors and basses assume.

GOTTHOLD CARLBERG. Gotthold Carlberg-, at one time musical editor of the

Music Trade Revi6w, and since then connected in sim­ilar capacities with several Eastern musical journals, recently died inN ew York, his adopted home.

Mr. Carlberg was born in Berlin, Prussia, June 15th, 1838. . 'l'he celebrated organist Thiele was his :first instructor on the piano. Young Gotthold was then .but four years old, but showed great natural musical

BEETHOVEN CONSERVATORY, 1603- OLIVE STREET,

A. -w- ALDA UER, DIREO'rOR.

All branches ot Music taught at this Institution,. and every one represented by a first-class

Teacher aJD.d ::E"'erfc:>rlD:1er•

This Conservatory keeps open all Summer for the accommodation of pupils and such teachers who want · to peifect themselves during the Summer Term.

TUITION-$12, $16 and $19 per quarter, either for Instrumental or Vocal lessons, Scholars may enter .at any time, The beginning of their quarter commences with the first lesson they take.

Send for circulars.

c. F. Zl M MERMAN N'S MUSIC HOUSE,

238 N. Second St., Philadelphia, Pa., -Makes a Specialty of All Kinds of-

talent. His father, a banker, intended him for the St • d. M • ( M h d" .medical profession, but allowed him at the age of nine · rings an USICa ere an ISe .to study the violin under Prof. Greenwald and at :fifteen to begin the study of harmony, on condition . that he would not neglect his other studies. At ·eighteen, seeing his son's bent for music, his father gave him permission to devote his entire time to its ·study and to choose it as his future profession.

In February, 1857, he came to America and in Oct­tober, 1R58, became musical editor of the New York Staats-Zeitung. There he became a pupil of Carl Anschuetz with whom he studied counterpoint for nearly two years. In 1861 he returned to Berlin where

:.he became editor of the Neue Berline1· Musilc Zeitung, . .and engaged in other musical work. In 1863 he went .to Vienna to study the cultivation ot the voice under Luigi Salvi and C. M. Wolf. In 1869 he published .through Hartheben in Vienna two works: "Ueber -Gesangslcunst tmd J(unstgesang," and "Die f{unst San­_ge1· zu Werden." In 1870 Mr. Carlberg· became musi­-cal director at the Teatro Grande, Trieste, and in 1871 he went to St. Petersberg ·where he met Prince Galit­zin with whom he, for the s ond time, came to America. He settled in New "Y ·k, which remained

.. his home to the day of his death. Financially his

. latest enterprises were not successful and his disap- . pointment is supposed to have hastened his death. Carlberg was an incisive and independent writer and .his death is a real loss to musical journalism. ______ _.._._._ ____ __

HENRY BJ~HNING, Jr., called on us recently. He reports business as in a very flouri shing condition, and the outlook for .the coming season extremely encouraging. He has estab­lished several agencies in the West.

Mn. CARL RICHTER has ueen engaged as Vocal Teacher in the . Beethoven Conservatory. He enters upon his duties on the

.·6Lh inst. Mr. Richter is already well known in St. Louis as a capable musician.

Those of our readers who may wish to visit the Summer resorts of Wisconsin, Michigan and Minnesota, or the Springs •in Vir,fl'inia, will find tickets for sale at the Vandalia Line office, 100 N . .1! ourth Street, St. Louis. The Vandalia people are noted for their courtesy, and they will give full information on appli­cation . The rates are extremelv favorable, and people con­templating summer trips would. do well to take this matter . under consideration.

DR. BARTOL has recently given out a most original idea: lie proposes the substitution of music for st imul ants (alcoholic .and other)! This will at Jlrst seem novel. but we do not des­pair of yet seeing the stimulant seekers filing into Music Hall and shouting for "One Symphonv Straight," ·'Two Sonatas Sour," "One Mixed Chorus," ,r Two Chromatic Punches," "One Orchestral Smash," etc., etc., and then going home with a h eadache. and tapering off the next day on hymns and soda. We can imagine the short polyphonic passage between ·the conductvr and the person who won't pay for what he -ordered. and his p1·esto movement out! But . perhaps, the ordi­mances will forbid anything but '' tonic."-Sco1·e.

Generally, Concertinas, Accordeons, Violins, Guitars, Zithers, Etc., Etc .

I call special attention to my own manufacture of Drums, Ban,jos, Tambourines, Flutes, Fifes, and Brass Band Instruments.

Proprietor of ftve patents and publisher of ZIMMERMANN'S SELF-lNSTHUCTOR FOR CONCERTINA AND ACCORDEON.

Every one should see ZIMMERMANN'S PATENT PIANO IN· STRUCTOR, teaching this instrument by FIG-URES-the great­est production of the age.

Send for circulars and learn the prices of my goods, which defy competition. · · ~DEALERS will find it to theilr, advantage to make my ac­

quamtance.

FIFTEEN Y!ARS !!_!SUCCESS. '

NICHOLAS LEBRUN, Manufacturer, Importer, and Jobber In

MUSICAL INSTRUMENTS .Andl MuBioi{Jf,l Mero!kandlwe,

207 SOUTH FIFTH STREET • ST. LOUIS, MO.

'~iiiiiiiiiiiiiiTii'EiiNiiFiiiiiiiRiiiiSiiiiiiTiiiiPiiRiiiiEiiMiiiiiiiiiiUiiMiiSii.iiiiiiiiiiii~ Sole Importer of the celebrated "Rough Diamond" Italian

strings for violin, guitar, lJanjo, cello, and double bass, and of the" Ne Plus Ultra" German accordion. Bands supplied and instruments repaired at lowest :figures. Dealers supplied at New York :figures. Sample orders solicited, Jean White's and Howe's entire catalogues in stock at publishers' prices . Largest and best stock west of the Mississippi. Ten assorted samples of "Rou~h Diamond'' violin, guitar, or banjo strings mailed upon receipt of $1.00. ~

GREAT JOY. For Gospel Meetings, Reviv­als, and Sunday Schools. By :~s~l\lil:Wfii~~~ed Bierly,

HELPING HAND. Purest and Sweetest of all

Sunday-School Song Books. By W. T. Giffe.

Soc each. $8.60 per doz.

SONG CLARION. For Singing Schools, Conven­tions, etc. By W. T. Giffe.

SOp each. $5.00 per doz.

First 20 Hours In Music. For Beginners on Piano or

Cabinet Organ. By Robert Challoner. 75c each .

Western Anthem Book. For Chorus or Quartette

Choirs. By W. T. Giffe. 11.00 each. 19.00 per doz.

MUSIC MADE EASY. The Most Practical Music Primer of the Day. By Robert Challoner. 60c each.

464 KUNKEL'S MUSICAL REVIEW, JUNE, 1881.

VOSE·& SONS ..

SUPERIOR

UPRIGHT

Manufacturers of

I PIANO-FORTES, I OFFICE AND W AREROOl\1S:

AND SQUARE

535 WASHINGTON ST., BOSTON.

$f PERKINS' ~ GRADED ANTHEMS.

::130<>:8::. 1.

BY :S:. S. FERKIN"S. Contains Solos and Duets for all voices, Offertories, Re­sponses, Opening and Closing Pieces, Hymns, Anthems, etc. Adapted for all Denominations. Nearly sheet music size, 176 pages, durably bound in heavy boards. Price, $1 per copy; $7.50 per dozen. Specimen pages mailed free. Published by

~ WM. A. POND & CO., r::f!J ~ . 25 Union Square, N. y, .e;;tb

SOLE AGENT IN THE UNITED STATES FOR

Edition Peters, Augener cf Co., Breitkopj 4' Haertel.

No. M Uuion Square, West Side, near 17th St., NEW YORK.

THE PETERSILEA

ACADEMY OF MUSIC, ELOCUTION AND LANGUAC.r;S,

281 Columbus Avenue, BOSTON, MASS.

Grade of musical edl).c~tion as _high as m Europe. Prtvate or class lessons. Educat10n of ftne soloists and teachers a specialty.

BEGINNERS ONLY TEN DOLLARS PER TERM. . History and Theory of . Music,. Harmony, English

L1teratur~ Concerts, U.eadmgs, P1ano Recitals and Ensemble Lessons free. Situalions procured for 'grad­uates. .Send for circular.

~OLINEUX'

QRG~~~J~!~~!OR~' Is a muslc11l magrtzlne devoted exclusive!> to t11e Interests nf Orl!aulsts and conductors. Each nuru­ber contains an Ot'illinal Anthem. a Part Sonl!', and a Voluntlll')', wr ,tten by thP best musicians. The n•a<lln)l matter fumlsht- s blo)lraphical sJ;ctch· es of the most prominent American , , .jlanists rle­scrlptlons of noted organs. essays on church m~slc, and other matters of l(eneral intert'st.

BUBSCl!!P'l'ION P:RI:E, $1.00 PER YEAit. Sample copies sent upon application.

GEO. MOLINEUX, 40 4th S~., Bro:klyn, N. Y~

FLAM INA.

BY COUNT A. DE VERVINS.

Don Cresar de Bazan, the hero of this story, is a. personage whom several dramatic authors have introduced upon the stage, because he represents less. an individual than a character. He is to the youth of a by-gone age what Mr. Prud'homme is to the modern French bourgeois, John Bull to the English­man and Jonathan to the Yankee-a type, but the type of a class and an epoch only, while the folly and vanity of Mr. Prud'homme, the red hair, the voracious appetite and the terrible jaws of John Bull as well as the tricks and eccentricity of Jonathan are always true. But we must not philosophize­that would be too sad and I have resolved to be gay to-day at least. Let us then turn our backs upon the present to peer into the past and I shall tell you a story of former days.

The scene is laid in Spain in 17- under the reign of a monarch vvhom I shall call Don Pedro, in order not to swell the list of the writers who attribute to· real kings all the crimes and ignominies brought forth solely by their imagination, whenever such monstrosities can add anything to the interest of their tale. 'fhe result is that those who have learned, history in novels alone (and they are many) have,. of those poor kings, an opinion which is not abso­lutely just. But I am escaping from philosophy only to take refuge into politics, falling from Charybdis. into Scylla. In order not to commit the same fault . again, I will simply tell you my story:

As I have promised you to be gay, I shall begin by introducing you into a cell of the Cm·cel Real of Madrid, and as it is rather clark, I must describe for­you its two present occupants. One is a lad of from fourteen to fifteefl years of age, the other a fine look­ing nobleman of twenty-eight or thirty. When I say "fine looking nobleman," I must explain. Only a few clays before, the Duchess de Mendoza, as she was promenading in the Prado with the Duke of'" Alvar, had met him, and struck with his haughty mien, the elegance of his form, the nobility of his gait and the regularity of his features, had asked her escort with much interest: ''Who is this man who­is dressed like a beggar and looks like a prince ? "

He was therefore very fine looking, but as the Duchess has just naw revealed it to you, his costume did not corresponcr with his good looks, and this is what necessitates the explanation I have just made~ 'l'he hat he wore was outrageously out of shaper although jauntily cocked up over the right ear and provided with a long feather. But what a feather 1 His doublet was of white silk ornamented with slashes of blue satin, but it had lost nine of its twelve· aiglets, and the rain and the snnshine had-- --· shaded it, on the elbows, in the back, and upon all the folds made by long usage, with tints more or less deep,. which announced to all beholders a long history and numerous vicissitudes. His breeches and stockings, which had once been light blue, lil.:e the slashes of his sleeves, were neither newer nor in better condition than his doublet, and his belt, made of thick and ill-tanned leather, seemed to have come from the· equipment of some soldier who was fonder of solidity· than of elegance in his accoutrements. But I must say that the sword which hung from that belt was worthy of a king's panoply, it was long and thin,. like all 'l'oleJo blades and its basket-hilt which was of solid silver, as was also its scabbard, was surely one of the finest pieces of work which had gone out of Florence or Milan in two centuries. But j nst now our personage was without this sword, for, remember, he •\·as in nrison and therefore ·Unarmed.

His companion was, as I have also stated, a lad of fourteen or fifteen, tall, slenaer, very dark haired and clark skinned, who must have had at least as mucb Moorish or Gypsy as Spanish blood in his veins. He

KUNKEL'S MUSICAL REVIEW, JUNE, 1881. 465

wore the uniformJof the fifers of «the King's foot­;guards, and that was indeed what he wa.s.

The nobleman called the youth Lazarillo and he himself was, as my rea:ders have already guessed, Don Cresar de Bazan.

Don Cresar de Bazan! 'l'he name alone is a poem! 'To this day, it a wakens in the mind of all the Oaballe1·os ·Of Castille and Arragon the recollection of an entire ·epic in which numberless duels, tales of love and foolish prodigalities are woven together, crossing and •blending like the colors and designs of a Smyrna ·carpet or an Indian shawl. The name means gener­osity, courage, wit, nobility of heart and extravagance of imagination, united to the most careless and jolly -of philosophies. In a word, it is, in its way, unique, ·Celebrated and great as that of the Cid Compeador! Ten times a millionaire at twenty, he was ruined five years later; but in the meantime he had dazzled the -city and the Court by his adventures and eccentricities. 'Then, when he had nothing left but the small pension to which he was entitled as a ][night of Oalatrava·, he bravely resigned himself to it, for he was endowed with one of those admirable organizations which c~n accommodate themselves to all conditions without ·ever· stooping to meanness. Instead of resorting to make-shifts or soliciting some State office which would have maintained him at Court, but in a necessarily precarious position, the proud Caballero unhesitatingly abandoned a society which he had ruled from the summit of his extravagancies, to become the hero Df the populace, among whom he lived and solved the difficult problem of remaining noble while living .among· the mean.

True, he knew no one, but upon the other hand he was known by everybody, because he " thrashed" the alguazils of the king and of the Alcalde-Major, with a lordly freedom which aroused the enthusiasm ·Of the people. He not unfrequently drew his sword in the street in broad day-light to defend ~ither a woman ·who had been insulted,. or to deliver some poor devil set upon by robbers; then with a gesture which was his only he motioned the curious away, saying to .them : " Come, keep off you knaves ! " And with his hat awry, his hand upon the hilt of hi rapier, he proudly walked to some low gaming house out of which he seldom came until the morrow, half drunk, feeling his empty pockets and saying to himself with imperturbable good humor: "Well, 1 have just played with clowns and they have cheated me as if they had been real noblemen! "

It is to an adventure of the sort I have just spoken of that we owe the pleasure of meeting him now at the Oar·cel Real. But this time it was a grave matter; so grave indeed that, unless, like Marshall Biron, he should :fight with the executioner, it was likely that Don Cresar would never again :fight with any one. He .had been sentenced to death and was to be executed -on the morrow ot the day when our story begins.

This is what had occurred: Don Cresar was leaving the tavern (for, nlas, save when he went thither, that was always the place whence he came) when he saw, as he was crossing the Alcala square, a captain of the foot-guards; beating a fifer of his company, the boy of fourteen or :fifteen whom we already know, and striking him so brutally that all those who stood around them felt indignant, though no one dared to say anything to one of the king's officers . As for Don Cresar, he did not hesitate to interfere, in the first place, because all acts of violeuce all abuses of brute strength shocked his aristocratic instincts, and in the n'lxt place because his sword which was very fine. as [have said, was perhaps somewhat bewitched, for it danced of its own accord within its scabbard whenever there was a :fight in the neighborhood. 'l'he result was that Don Crosar drew his sword and slew the captain in the presence of his soldiers, in thP. square of Alcala and in broad daylig·ht. The scandal ·could not have been gTeater; yet, there was in those <days much toleration for faults of this nature and

~The E. F. :S.A.:K:ER,,

UPRIGHT PIANO (ELLIOT PATENTS.)

OFFICE AND FACTORY:

~.._486T05u0 HARR J SON AVENUE,

"' BOSTON, - MASS. A \ ________ ---

"SCHEIDLER'S"

NEW PIANO SCHOOL. PRICE, $3_

Mailed free of postage for examin­ation. Special inducements to teach­ers for introduction.

GEORGE WILLIG & CO .. , No.6 N. Charles St., BALTIMORE. ,

M.lNUPACTU:RlUt OP

u~:;; I PIAN 0-FO RTES[ ~~~~K Patent Pedal Upright Piano-Fortes

a Specialty. 681 Washington Street, BOSTON.

PELTON, POMEROY & CROSS, GENERAL AGENTS FOR

Chickering & Sons, Hazelton Bros.,

Ernest Gabler, Decker & Son, and Pelton,

PoJ1'!eroy & Cross Pianos, · -AND-

WilCOX & White, Taylor & Farley, and

Pelton,. Pomeroy & Cross Organs,

Nos. 150 & 152 ST~TE STREET, C:S:::CCAGO? ::CLL.

466 KUNKEL'S MUSICAL REVIEW, JUNE, 1881.

The Albrecht Pianos

IQ.rAGENTS WANTED~

Address for illustrated Catalogue and Price List

ALBRECHT & CO. No. 610 Arch Street, Philadelphia, Pa.

.f!IO.E3:.A.EFP.EB., , -MANUFACTURER OF-

Square and Upright Piano-Fortes, 524 & 526 West 43d Street,

NEW YORK.

&- These Pianos were AWARDED A PRIZE nt P .A.RIS INTERNATIONAL EXPOSITION, 1878.

RAVEN[ Upright and Square Pianos

- UPRIGHT PIANOS A SPECIALTY.

a-1ll Instruments Warranted of the Best Material and Construction. '"8

WAREROOM, 13 EAST 16th STREET.

Manufactory, i2 Washington Place, near Broadway.

ESTABLISHED 1829.

::EJILLIN'GS ~ 00 .. JM:I:.A.N"''"'F .A.C'::I:'"''"'EEES.

Grand, Square and Upright

PIANOS. We make our own Cases. We make our own .Actions.

We fully Guarantee our work. The Best Pianos at Lowest Prices.

0J'li'ICE AND WAREROOMS: FACTORY:

2i E. i4th Street, 124 & 126 W. 25th Street, NEW YORK, U. S. A.

L:IGHTE &. ERNST., Old House oj Lighte, Newton 4" Bradbury, Established 1840.

MANUFACTURERS OF FIRST·OLASS

PIANO-PORTE.S, No. 10 Union Square,

NEW YORK CITY. · .... ,,., ..

I

Don Cresar might have escaped capital punishment, had not the officer whom he had slain been own nephew to the G1·and Co1·regidor of Castille, that is to say to the man upon whom all his judges were dependent. He was unanimously sentenced to be shot, by the soldiers of the captain and upon the very spot where he had killed him. 'l'he only favor he received was that the child whom he had so terribly protected and who had given himself body and soul to his deliverer,. might visit him at all hours in his prison and even share his captivity until the day of his execution, if he so desired.

It was noon, and at six o'clock the monks of the Annunciad were to come after him to conduct him to· the chapel where a pious custom of devout Spain. demanded that thos~ who were sentenced to death: should be shut up for twelve hours, so that, in their solitude, they might think, repent, and implore the· clemency of . God, when they could no longer expect anything from that of men. · ·

Lazarillo 's eyes were very red and his face was. swollen from much weeping. Bazan, on the contrary,. seemed very calm. Reclining upon a wooden bench,. his back against the wall, he was now silent, but. from time to time a slight smile flitted over his lips, probably at the recollection of some gay adventure whose memory he evoked for the last time. All at once his smile became broader, indeed it changed to· genuine laughter. Lazarillo cast upon his companion a glance of awe-stricken wonder.

"By the very holy Virgin of the pillar," said he,. "how can you laugh at such a time, my Lord?"

"Oh," he answered, still laughing, "it is because I recall a good jol{e! Only think, my little Lazarillo, I was once before sentenced to death; only that time l was to be beheaded instead of shot. On the day of my execution- -''

''Which did 11.ot take place?" interrupted Lazarillo. "No, I met a priest who was carrying the last sacra-­

memts to a dying person, and the law, as you know,. orders the pardon of those sentenced to death under such circumstances. Besides, the old king was fond! of me, I had numerous friends, for, I was still rich and:_ -"

"Why," again interrupted Lazarillo, more interested' in the present than in the past, "the king might now- -"

"It is not likely," replied Don Cresar, who. divined his thoughts, Don Pedro does not know me~ I had left the court before he ascended the throne, and as he was raised in the Asturias, I don't think that he ever saw me. But, to return to our story, I was tell-· ing you that I was being driven to the place of execu­tion, when a venerable looking old man, with a long; white beard, his face bathed in tears, his bosom rent with sobs, prang before the horses, at the risk of being run over by the horsemen of my escort, cry-­ing: ''Mercy, mercy for Don Cresar!"

''It was yonr father!" said Lazarillo, much movedl at the sorrowful scene.

Don CreRar laughed outrighL and answered: "Why, no, he \YaR one of my creditors!" And when his­hilariousne~f' had subsided, he added: "It was old Mose:- from the Calle del Ca1no, to whom I owed a. fe·w tlwusand doubloons, and as all my estates woulct have escheatcd to the crown, if I had been executed,. you understand his interest and his despair."

.Just then the door of Don Cresar's cell was thrown wide open and there walked into it a nobleman of some forty years of age, dressed in black velvet, his. breast covered with the badges of the orders of Cala­trava~ of the Golden Fleece, and of San Giacomo. His­neck was stiff in his tarred ruff, his glance was harsh and deceitful, but his thin lips were shaped into a smile which he seemed to wish to make amiable and benevolent. He was accompanied by the captain of the Ca1·cer Real and his principal assistants, who fol­lowed him obsequiously. Bazan and even Lazarillo­recognized him immediately, for he was known andJ

"';,

KUNKEL'S MUSICAL REVIEW, JUNE, 1881. 467

hated by all Madrid; it was Don Jose de Santarez, Marquis of Olivarez, minister o~ the pleasures ~till more than Minister of State of H1s MaJesty thfl Kmg, Don Pedro.

Don Cresar arose as he entere<l and bowed to him with charmi~g, but .somewhat ironical gracefulness, and said: " Your Excellency will surely pardon my not offering you an arm-chair.'~ Don Jose conde­scended to smile, then he dismissed with a gesture, those who had come with him, but he did not lower his o-lance to Lazarillo, who besides, had withdrawn into

0the darkest corner of the cell; it is also probable

that Don Jose carried his head so high that his glance could not reach down to the little fifer. As soon as the door had closed at the majestic beck of the minis­ter, he turned slowly toward Don Cresar and spoke to him with all the solemnity implied by their respective situations and the haughty conceitedness which was natural to him.

"Count de Bazan, 1 hasten to inform you that I am sent to you by His Majesty the King as a bearer of good news- -''

''Indeed!" interrupted Don Cresar, smiling, "are you bringing news of an inheritance?"

"Let us talk seriously,~' said the minister, reassum­ino- his supercilious air, that is to say his natural air, "a

0n inheritance would be of but little use to you, since

you are to die to-morrow." "Humph!" remarked philosophically the incorrigi­

ble Ba7.au, "we die Romewhat every day!" "But His Majesty," continue<l Don .Jose, "in con­

sideration of the illustrious services rendm·ed in .for­mer years to the crown and to the country by mem­bers of your family, offers yon his pardon."

''Why, His Majesty has had a capital idea!" said the indefatigable coffer, "and I shall be much obliged to you, my dear Marquis, if yon will convey my thanks to him.''

''Upon condition,., continued the minister- -·'Ah, there is a condition!" interrupted Bazan

again. "Let us hear what it is!" "'!'heir Majesties, for I am speaking now in the

name of my master and of his august consort, their Majesties I say, desire that you hould marry."

"That I should marry!" cried Don Cresar, astounded. ''Listen and yon will under tand me," continued

Don Jose with redoubled olemnitv. "You have heard of Flamina, that wonderful singer who came from Italy a few months since?"-Bazan lost his iron­ical mile and became attentive-Don Jose continued: "Her immense talent has conquered everybody, the public as well a~ the Court. Her Majesty, the Queen, has desired to see her and ha been captivated by her wit, her education, which is excellent, and her virtue which is no le ·s great than her beauty and her talent. All these merits have in ph·ed Her Maje. ty with a genuine interest in the celebrated singer whom she would like to keep permanently near her; but, in order to be admitted at Court he must bear another name than that of Flamina. Now," continued he; without being able to entirely conceal hi · embarrass­ment, for he knew the pride and the proud independ­ence of Ba:~.an, '•there is no name more noble than yours !"-And as Don Cresar remained silent, he re umed in the most insinuating tone: '•N otwith-tanding your follies, I have alway felt a great inter­

est in you, and that sentiment suggested to me to pro­pose to Don Pedro to pardon you and to give you an office which would permit you to resume your place at Court, on condition that you should there present the protegee of the Queen, which you can only do by marrying her.''

Don Jose, against his custon, was almost telling the truth, for it was indeed he who had suggested to the King the combination by which Flamina could be introduced to the court, but the Queen did not know her, or at least never had seen her save upon the stage, while, on the contrary, the King entertained for her feelings whose warmth was increa. ed by the very fact

II -~ -

L. "V\T .A.TE::R.S, 1\U.NUI'ACTURBB AND DBJ.LBJl llf

WOODWARD & BROWN,

Pi&n~-r~rt~ M&Duf&~turua, 582 Washington St.,

BOSTON.

II

I]

KRANICH & BACH'S

Celebrated New Patent Agraffe Pianos. LORING & BLAKE'S

PARL.B •a&ANS, The best in the World.

MERKEL .& BO B. Manufacturers of PIANOS,

(SOLE AGENTS.) 204 South Fifth Street, ST: LOU IS.

G J

HAZELTON BROTHERS,

Piano-Forte Manufacturers, 34 and 36 University Place,

Bet. lOth and 11th Sts., NEW

GEAND, SQ"'" AE::El,

AND UPRIGHT PIANOS.

468 KUNKEL'S MlJSICAL REVIEW, JUNE, 1881.

N. E. Cor. Eleventh and Olive Streets,

ST. LOUIS, MO.

PIANOS and ORGANS (new and seco.nd-han<l) Bought, Sold, or Ex· changed. Pianos for Rent-$2.50 to $7 .0(' per month.

1\IJ:..A.. T~I..A..S

· Patent Piano Footstool, WITH PEDAL ATTACHMENT

FOR YOUNG PUPILS.

This Footstool should be with every piano on which children are to play.

Highly recommended by the most prominent teachers-among ewrs; S. B. Mills, Fred. Brandeis, Chas. Kunkel, Louis Staab, A. J. Davis, A. Paur, Chas. Heydtmann, H. S. Perkins, W. C. Coffin, etc. .Q-Send for Circulars.

L. MATHIAS, 305 Summer St., Toled.o, 0.

New YorK Costume ~azaar, 118 S. Fourth Street,

ST. LOUIS.

'l'HEATRICAL AND

Masquerade Costumes To Rent and 1\Iade to Order.

The largest variety of Costumes con· stantly on hand. Also, Wigs'-Whiskers, Mask ;; , Trimmings_ and French .l:'aint.

CHARLES WOESE, Costumer;

BUY YOUR

Bfi~KEJF~ .A.ND FJ:NE

WILLOW WARE AT

ERNEST BEHNE'S

W ~~t~rn Will~w W 1n BAZAR.

218 NORTH FIFTII STR.

that Flamina seP-med the less· disposed to share them. The celebrated singer was an Italian and had been

three or four months in Madrid where she had worked a revolution in the art of music, for she had imported into Spain the first operas which were seen by the Court. I say 1

' the Court" because this sort of enter­tainment was for a long time limited to the class which alone seemed competent to appreciate the new beauties with which the Italian masters had endowed the stage.

It will be remembered that after the dismemberment of the Roman empire, what was left of the Greek and Roman civilization had taken refuge at Byzantium. Enrope was then under the sway of barbarians, arts were but little cultivated, and until the beginning of the sixteenth century the only compositions worthy of the name of music were religious compositions, which were surely great, majestic, and solemn, as is attested by the works of Palestrina, Orlando Lasso and their cotemporaries, but in their works monody, with all its power of expressing individual feeliug, was unknown. 'l"'he "moralities" and ''mysteries " a species of dramas drawn from the Bible or from religious legends, inartistically arranged by the monks or the priests, and at first played exclusively in churches, had the same sacred character and the songs they contained were always choru ~ es. ·

But after the conquest of Con tantinople by Soliman, the Byzantine mtists were compelled to seek a refuge in Europe to escape the persecution of the Turks, and it was principally to Italy that they flocked and pro­duced by their influence the new era which we very properly call the renaissance, for it was really a re­generation, a new birth of arts and letters in the West.

In translating the Greek dramas, the Hellenists were soon brought to recognize that music had played an important role in them and that certain scenic effects or other beauties were, so to speak, inseparable from it; but as no one knew what Greek music had been, studies and researches began, in which numerous illn trious men took part, at the head of which are numbered Giovanni Bardi, of the family of the Counts of Vernio, Vincenzo Galilei, father of the immortal astronomer, Pietro Strozzi, Girolamo Mei, Ottavio Rinuceini, Ginlio Caccini, and a little later Jacopo Peri.

It was Vincenzo Galilei who gave to the music which I shall here call profane, to distinguish it from sacred music, the first impulse. He began by writing a dialogue between Bardi and Strozzi in which they discussed together the merits of ancient a11d modern music; then he composed a vocal solo with viola accompaniment, whose theme he borrowed from Dante's Inferno and a little latter he set to monody some of the lamentations of Jeremiah. Giulio Caccini followed in his footsteps and published in 1601 under the title of "New Music" an entire series of songs for one voice, and the following year Ludovico Via­clamo published his ' 1 Church concerts," written for one, two, and three voices, with org·an accompaniment. Viadamo's compositions are considered far superior to those of his predecessors, for they contain all the qualities which we demand of our modern music, breadth and uavity. harmony and melody.

The way had then been opened by the mas terR. whom I have just named, when Emilio del Cayaliere, a Florentine artist, gave to the stage two pa~torals: "Il fiati1·o" and ''La disperazione di Fileno," drawn from the works of Lanra Guiddiccioni, and which may be considered as 'the first two operas of modern times. It was however .Tacopo Peri, one of the fre­qnenters of the Corsi palace, wllo first succeeded in obtaining the approval of musicians and HelleniRts, by writing the musical score of "Da}JYme, '' words by Rinnccini, followed by "Ew·idice, '' which was still more succes. ful.

Claudio Monteverde, of Cremona, had followed J. Peri and surpassed ltim greatly. Among· the other works of this master, ".A1·iane," in which the artist exhibits as much scenic ability as musical ·cience and genius, is justly admired.

KUNKEL'S MUSICAL REVIEW, J UNE, 1881.

Fifty years later, the new art and the new method had made immense progress; that was the time of Francis Colletto, otherwise Cavalli, of Giacomo Caris­simi and of Marco Antonio Cesti, who have all written recitatives full of life and variety. Alessandro Scar­latti, pupil of Carissimi' and founder of theN eapolitan musical school also made many improvements in dramatic music, as the music of the opera was at first called. lie perfected the recitative, the arias which he composed are yet models of freshness, melody and musical feeling___:.finally the orchestration of his operas is always graceful and proves a surprising amount of knowledge, for the time when he wrote .

From Italy, the new style of music, that i to say opera, passed into France where it was imported by Cardinal Mazarin. 1n that country the first composer was R. Oambert, but his efforts met with but little. Ruccess n.nd French opera really came to life only under Jean-Baptiste Lully. ln England and Germany it was Italian artists who introdued the opera; in Spain, it was Flamina.

(To be continued in our next.)

Hard Work. "What is your secret of success?" asked a lady of Turner,

the distingmshed painter. He replied, "I have no secret, madam, but hard work."

Says Dr. Arnold: "The difference between one boy and ano ther is not so much in talent as in energy."

"Nothing," says Reynolds, "is denied well directed labor, and nothing can be attained without it."

"Excellence in any depat·tment," says Johnson," can be ob­tained only in the labot· of a lifetime; and it is not to be pur­chased a.t a lesser pr ice."

"'.fhere is but one method," says Sidney Smith, "and that is hard labor; and a man that will not pay that price for distinc­tion had better at once dedicate himself to the pursuit of the fox."

"Step by step," reads the l!"'rench proverb, "one goes very far."

'·Nothing," says Mirabeau, "is impossible to the man who can will." "Is that necessary?" "That shall 1>e. This is the only law of suceess."

·'Have you ever entered a cottage, ever traveled in a coach, ever talked with a peasant in the fielu, or loitered with a mechanic at the loom?" aslwd Sir Bdward Bulwer Lytton, "and not found that each of those men had a talent that you had not, knew something that you did not? The most useless creature that ever yawned at a club, or counted the vermin on rags under the sun of Calabria, has no e, cuse for want of intellect. What men want is not talent, it is purpose; in other words, not the power to achieve, but the will to labor. I believe that labor, judiciously and continuously applied, be­comes genius.''-Exchange.

--------~~--------ALBUMS OF MUSIC.

Send 25c. and receive a copy of Kunkel Bros.' Album of Music, containing twenty-eight pieces of l\lusic worth $12.00.

Send JOe. and receive a copy of the New Album of Diamond Music, containingJt>an Paul's ce lebrated Fantasie, "Last Rose of Summer," "Sprite of the Wind,'' and J. Kunkel's piano duet, •'Visitation Convent Hells," worth $3.00.

REAMEDY. F O R

IHEUIIITIIII~ Neuralgia? Sciatica? Lumbago? ·

Backache? Soreness of the Chest, Gout, Quinsy? Sore Throat? Swellings and

Sprains? Burns and Scalds? General Bodily Pains? -

Tooth? Ear and Headache? Frosted Feet and Ears? and all other Pains

and Aches. No Preparation on earth equals ST. JACOBS OIL as

a safe, suire, si1nple and chea,p External Remedy. A trial entails but the comparatively triflin~ outlay of 5 0 (Jents, and every one suffering With pain can have cheap and positive proof of its claims.

Directions in Eleven Languages.

SOLD :QY ALL DRUGGISTS AND DEALERS I~ MEDICINE.

A. VOGELER & CO.,

469

~~,ij~~ ~~rm~ otG~E~ ~~~JA~22~T~] B~~Mc~~Y Extraordinary Announcement to the Musical Profession!

TO benefit the musical profe~s~on and at the same ti_n~e secure the immediate general acceptance of Robert Goldbeck's book of Harmony- compl'lSlll~ a complete exposltlon of the system of chords and the manner of handling them. treati~es on strict and free style of c~mpositio~; the formation of melody; ~o~Tect and incor~·ect musical writing;, an

analysis of the faults tnat may be r~adily committed, and the manner of avotdmg them; a pnmer of general musical knowledge and an Index Dictionary for mstant reference to any subject or technical term in use- the publishers,l\fessrs. KUNKEL BROS., of St. Louis, 1\~o., have detennined to give away 25,000 copies of this work at less than cost price. The book Will be ready and promptly tssued on the 20th of June, lS~h, at the price of $1.50 per copy; but with the objects above stated in view, all copies ordered BEFORE the 20th o.t June, will lJe mailed to any address at 35 CENTS EACH.

Consider,_ teachers, musicians, and all musical pe~ple of Amer!ca, that you have here an opportunity to obtain the clearest and most eastly understood work upon the art and sctence of musw, by Robert Goldbeck, whom we consider one of the finest musicians living, for

35 CENTS PER COPY, IF BOUGHT BEFORE THE 20TH OF JUNE, 1881 · The number to be thus given away not to exceed 25,000. With the last copy of this special sale our books will be closed.

Send in your orders early so that you may secure a copy. There will be positively no more than 25,000 copies issued at this price (35 cents), as our loss upon these w_ill amount to over $5,000. We have paid to the author a very laro-e cash price for this work, after having subjected it to the critical examination of competent authorities, who have pronounce'a it to be without an equal.

-""'NOTICE.-Cash must accompany every order. The names of the parties ordering will be entered upon a special book and their orders :tilled between the 2~th of June and lst of July, 1881. On the last named day all of the special sale copies will be in the hands of our subscnbers. The book will be gotten up with the same care and will be in every respect the same as that sold after the first of February at $1.50, as marked upon each copy. Write your name and address carefully so that no error of mailing may occur.

-W'SEE SPECIMEN PAGES. KUNKEL BROS., 311 S. 5TH ST., ST. LOUIS.

72

Ex

. 20

."i.

GO

LD

BE

CK

'S

~ --

~--~=

91

___

__a,_

-6

'-

-==----

----=

:

+--

:1= cm

·rec

ted

: l -f9

--~

. .L

2..

-(9

-

--

. ·=

==

==

-O

J

·-

f9

__

o_

Th

e m

usic

al r

ead

er w

ill

perc

eive

th

at t

he

fou

r p

rece

din

g e

xam

ple

s fu

r­ni

sh,

even

aft

er c

orre

ctio

n, a

wk

war

d,

un

bea

uti

ful,

und

esir

aDle

suc

cess

ions

. W

e m

ay t

here

fore

rea

dil

y c

oncl

ude,

th

at t

he

do

ub

lin

g o

f th

e le

adin

g to

ne,

in

th

e ch

ord

of

the

6th

of

the

Do

min

ant,

is

rare

ly a

ccep

tabl

e.

AD

VIC

E:­

In p

lay

ing

the

se a

nd

oth

er e

xam

ple

s u

po

n t

he

Pia

no

, p

ain

s sh

ou

ld b

e ta

ken

th

at e

ach

to

ne

in t

he

cho

rd i

s so

cle

arly

str

uck

, th

at t

he

ear,

att

enti

vel

y d

i­re

cted

up

on

th

e pr

ogre

ssio

ns

in q

uest

ion,

w

ill

·in

tell

igen

tly

per

ceiv

e th

e vo

icin

g (o

r co

nsec

utiv

e m

oves

) of

th

e J?

arts

, th

us

cult

ivat

ing

th

e cr

itic

al

. po

wer

fo

r de

tail

s.

It m

ay b

e re

pea

ted

th

at c

onse

cuti

ve o

ctav

es d

o n

ot

nec

­es

sari

ly s

ou

nd

bad

ly;

the

fau

lt l

ies

rath

er i

n t

he

inel

egan

ce a

nd

po

ver

ty o

f ·w

riti

ng,

and

lac

k o

f v

arie

d i

nd

epen

den

ce i

n t

he

mo

vem

ent

of p

arts

, th

us

pro

ceed

ing

by

:par

alle

ls.

Nay

mor

e, t

her

e ar

e m

any

occ

asio

ns,

even

in

4 p

art

wri

tin

g,

bu

t m

ore

fre

qu

entl

y i

n f

ree

op

erat

ic c

r sy

mp

ho

nic

st-

yle,

wh

en a

se

ries

of

cons

ecut

iee

octa

ves

is b

eau

tifu

l an

d p

osit

ivel

y ne

cess

ary

. T

he

ear,

an

d t

hro

ug

h i

t th

e mind~

can

no

t fo

reve

r,

in u

m·e

liev

ed

cons

tanc

y, l

iste

n w

ith

ou

t un

easi

ness

to

th

e ri

ch a

nd

co

mp

lica

ted

eff

ect

of a

sh·

ictl

y p

oly

­p

ho

nic

sty

le.

In t

he

foll

owin

g ex

amp

le,

for

inst

ance

, th

e ef

fect

of

the

con

­se

cuti

ve o

ctav

es,

occ

urr

ing

t"'

ice,

at

even

per

iodR

, co

uld

no

t b

e im

prov

ed

up

on

by

su

bst

itu

tin

g 4

in

dep

end

ent

Dar

ts.

Ex

. 20

H.

etc.

It i

s ev

iden

t th

at t

he

hig

hes

t ar

t of

mus

ical

wri

tin

g c

onsi

sts

in 1

.-now

ing,

th

rou

gh

car

efnl

stu

dy

, ·w

here

th

e st

rict

law

mu

st b

e ad

her

ed t

o, a

nd

wh

ere

it m

ay b

e su

Rpe

nded

, fo

r th

e p

urp

ose

of g

ain

ing

gre

ater

bea

uty

or

exp

ress

ing

h

igh

er a

spir

atio

ns.

HAR~fONY.

73

Inv

ers

ion

s o

f th

e C

ho

rd o

f th

e D

om

ina

nt

7th

. §

95.

Of

thes

e w

e ·w

ill

giye

onl

y th

e m

ost

fav

orab

le i

jo·si

tion

s, f

or

bre

v­

ity

's s

ake,

as

the

read

er h

as l

earn

ed,

by

thi

s ti

me,

to

var

y t

he

com

bina

tion

s b

y d

ispe

rsio

ns a

nd

dis

plac

emen

ts.

Th

e re

mar

ks

mad

e co

nce

rnin

g t

he

Ch

ord

of

th

e D

om

inan

t, a

pp

ly a

lso

to t

he

Ch

ord

of

the

Do

min

ant

7th

. It

may

be

add

ed,

that

pos

itio

ns f

avor

able

in

th

e k

ey o

f 0

. ar

e n

ot

nece

ssar

ily

equ

ally

fa

vora

ble

in a

ll o

ther

key

R.

'l'he

re a

re d

iffe

renc

eR i

n k

eys

mu

ch h

igh

er o

r m

uch

lo,v

er.

Ex

. 20

8.

Ex

. 20

9.

Ex

. 20

7.

1st

Inv

ersi

on

-Ch

ord

of

the

5-6.

1~:::('9 =

-=-(!9

-=~=

-f9

-f9

-e--~--~-

-f'9

-

----

-~--~----

_Q

_

~= =~-

~ :

=-: ~

---

.. ---

;;-

-(j --

---li --

6-6

;j

:j

;,

G

;) 5

2

It w

ill

be

ob

sen

ed t

hat

th

e B

ass

ton

e is

ne\

'er

doub

led

in t

he

oth

er p

arts

, as

th

at w

ou

ld r

end

er t

he

cho

rd i

nco

mp

lete

. S

nch

in

com

ple

te c

hord

s m

ay

how

ever

, as

hef

ore

stat

ed,

occ

ur

in s

ucce

ssio

ns o

f ch

ords

wh

en r

end

ered

ne­

cess

aril

y un

avoi

dabl

e, o

r ev

en d

esir

able

, fo

r th

e sa

ke o

f flu

ency

in th

e vo

ices

, o

r re

ason

s of

eup

hony

. S

ome

of t

he

hw

ersi

on

s of

th

e ch

ords

lie

rat

her

hig

h

or

low

in

th

e k

ey o

f C

. S

nch

m~1

y b

e m

ore

fav

orab

le i

n o

ther

key

s, t

hose

for

in

stan

ce o

f G

or

F,

in ·w

hic

h t

hey

are

tra

nsp

lan

ted

in

to a

med

ium

reg

ion

. In

th

e fo

llow

ing

exam

ples

we

shal

l in

tro

du

ce th

ose

keys

. 'l

'ran

spar

ency

an

d

~

0 18

I~

~

00. ~

~

00. ~

~ ~ ~

~ I~ II~

llj I~

74

GO

LD

BE

CK

't;

bea

uty

in

the

mer

ely

ph

ysi

cal

sonn

d of

the

har

mon

ies,

are

con

side

rati

ons

of

care

an

d w

eig

ht

to a

mus

ical

wri

ter

\Yhe

n m

akin

g c

hoic

e of

key

s.

Su

cc

es

sio

ns

of

the

Ch

ord

s o

f th

e T

on

ic,

Do

min

an

t a

nd

Do

min

an

t 7

th w

ith

th

eir

In

ve

rsio

ns

. §

96.

1Ye

haY

e n

ow

ad

yan

ced

suf

ilei

entl

y fa

r in

th

e st

ud

y o

f H

arm

on

y

to e

nte

r u

po

n t

he

pra

ctic

e of

cho

rd s

erie

s.

If t

he

read

er h

as w

ell

dige

sted

th

e p

rece

din

g e

xp

lan

atio

ns

and

rul

es,

no

dif

ficu

lty

wil

l b

e ex

peri

ence

d in

ad

van

cin

g "

·ith

th

e au

tho

r at

a r

npid

f;te

p.

Ch

ord

s o

f th

e T

on

ic a

nd

Do

min

an

t u

po

n t

he

ir

Fo

un

da

tio

n T

on

es

. §

97.

It w

ill

be

rem

emb

ered

th

at t

he

chor

ds o

f th

e T

onic

an

d D

om

inan

t ar

e h

arm

on

iall

y r

elat

ed t

o ea

ch o

ther

, be

caus

e th

ey h

ave

on

e to

ne

in c

om­

mo

n,

and

mel

od

iall

y b

ecau

se t

he

chor

d of

the

Do

min

ant

cont

ains

th

e le

ad­

ing

ton

e w

hic

h i

s ~rmpathetically i

neli

lwcl

to

mov

e to

th

e 'l'

onic

. .

4 5

Inco

mp

lete

'.r

he t

on

e in

co

m-

-_

1 __

__

__

_ :_

_ _j

_ _: _

_ ~~ --

---+

..:.

~· g

, di

~.t~

ed.

. ~1~: )l@n_~-f~

!"'~ 14

-~~~=-

c.;~ -(9

$

Plano.)~

--§1

""_

-1=

---

,l -r

---i

-__

_ --!-

-12-

-"9

-_F

_i_t

~~~~§~~£~~~~

lnco

mp

lete

Voi

ces.

(~6

~:~ =-~ ~:,-_j

:::~~~ 9

=--~--

-~-=

e _a-=~ -~

--

--

---t

--!'

9--

--r

--

---1

'9

--

-I

-I

1o

~.

EE--

-lg_

:12

~=t: =-~-~--z:;l

__

_ =~

-= --~

-~-e=

~mw~££

~

(9

-1

'9-

---

----

--------

Ex

PL

AN

AT

ION

S.-

!.

Th

ese

cho

rd s

erie

s do

no

t ne

cess

aril

y fo

rm t

he

be-

liAR

MO

NY

. 75

gin

nin

gs

of

pie

ces;

th

ey i1

1ay

occu

r an

ywhe

re,

exce

pt t

hat

thos

e cl

osin

g w

ith

th

e D

om

inan

t co

uld

no

t e

nd

a

piec

e.

2.

Th

e B

ass

mov

es t

hro

ug

ho

ut

by

fo

un

dat

ion

tone

s.

3. T

he

lead

ing

to

ne

inv

aria

bly

asc

ends

hal

f a

step

"·h

en

the

cho

rd o

f th

e T

onic

fol

low

s th

at o

f. th

e D

om

inan

t.

4.

1Vhe

re t

he

cho

rd

of t

he

Do

min

ant

foll

ows

that

of

the

To

nic

, o

r 'V

ice

·rers

a.,

the

ton

e w

hic

h t

hey

ha

ve i

n co

mm

on

is

reta

ined

in

th

e sa

me

par

t, e

xce

pt

at N

o. 5

, w

her

e th

e m

elo

dy

c d

e in

duce

d d

isju

nct

mo

vem

ent

in t

he

Alt

o an

d r

reno

r p

arts

of

the

firs

t tw

o c

hord

s.

5.

Co

nju

nct

mo

vem

ent

gen

eral

ly p

reva

ils

in t

he

up

per

p

arts

, ex

cep

t w

her

e th

e sa

me

chor

d. o

ccur

s tw

ice,

in

dif

fere

nt p

osit

ions

, as

at

Nos

. 2,

3,

4, 7

, 8,

9

(an

d a

t 5

from

dis

pla

cem

ent

of t

he

ton

e in

co

mm

on

),

wh

en d

isju

nct

mo

vem

ent

nece

ssar

ily

ensu

es.

6. T

he

diff

eren

ce b

etw

een

th

e ch

ord

seri

es f

or

Pia

no

an

d t

hose

fo

r V

oice

s li

es i

n t

he

stri

ctne

ss o

f co

mpa

ss

for

the

latt

er.

7. U

nif

orm

, co

nju

nct

an

d d

isju

nct

mo

vem

ent

of s

ingl

e p

arts

, an

d d

irec

t,

obli

que

and

co

ntr

ary

mo

yem

ent

bet

wee

n t

wo

par

ts,

all

occ

ur

freq

uent

ly i

n t

he

abov

e ex

ampl

es.

8. K

os.

10,

11

and

12

sho

w t

hat

th

e sa

me

iden

tica

1 ch

ord

str

uct

ure

may

be

rep

eate

d w

ith

ad

van

tag

e.

9. A

t N

os. 3

an

d

8 w

e ha

ve i

ntr

od

uce

d i

nco

mp

lete

cho

rds

to i

lln

stra

te t

hei

r oc

casi

onal

ac­

cept

abil

ity.

Fa

nc

ifu

l M

elo

dy

. §

98.

Sim

ple

as t

he c

ho

rd s

erie

s of

Ton

ic a

nd

Do

min

ant

are,

th

ey a

dm

it

of v

arie

d f

anci

ful

mel

ody.

T

he

inve

ntiv

e fa

cult

y of

th

e st

ud

ent

may

be

ex­

erci

sed

by

bu

ild

ing

up

on

th

e B

asse

s g

iven

bel

ow,

chor

ds m

ade

agre

eabl

e in

th

eir

succ

essi

on b

y a

goo

d fl

uent

mel

od

y f

or t

he

Sop

rano

.

In t

he

foll

owin

g E

xam

ple

th

e p

arts

hav

e b

een

mov

ed a

bout

, m

ore

or

Jess

, w

her

e th

e sa

me

cho

rd i

s re

pea

ted

. T

hu

s v

arie

ty o

f ef

fect

is

insu

red,

an

d t

he

rep

eate

d c

hord

s ar

e sa

ved

from

mon

oton

y.

·

Ex

. 21

1.

}~anciful M

elod

y.

~

~ z ~

trJ ~ 00 ~

~

00.

1-1 ~ ~ ~

trJ <

1-1 trJ ~ ~

~ ~ ~

,.. ,.. 00

00 ,.. >1

>­-:

t '"""

76

GO

LD

BE

CK

'S

6 7

~=t~--= ~~ ~ r:

t? ft--

W ~

-(9

-==

---(9

----

(9

--(9

--

:!==

--

jo

--r-

-

Ex

. 21

2.

Pia

no.

lTo-

wes

.

HA

RM

ON

Y.

77

EX

PL

AN

AT

ION

S.-I.

In

th

e m

ajo

rity

of

the

fore

goin

g ex

ampl

es w

e h

ave

caus

ed t

he

cho

rd o

f th

e 6

th t

o ap

pea

r in

its

mo

st f

avor

able

co

mb

inat

ion

of

tone

s, t

hat

in

wh

ich

th

e fo

un

dat

ion

to

ne

is d

oubl

ed,

as i

n N

os. 1

, 2,

4,

5, 6

, 7,

9,

10,

and

in

sev

eral

pla

ces

in N

o. 1

1.

2.

At

No

.3,

the

3d (

e)

is d

oubl

ed

wit

h g

ood

effe

et.

Bel

ow

·we

app

end

exa

mpl

es,

in w

hic

h t

he

do

ub

lin

g o

f th

e 3d

cau

ses

faul

ty p

rogr

essi

ons;

su

eh s

houl

d b

e g

uar

ded

ag

ain

st.

3.

In n

o

case

has

th

e 3<

1 of

th

e ch

ord

of

the

Do

min

ant

bee

n d

oubl

ed,

that

bei

ng

th

e le

adin

g t

one.

T

he

do

ub

lin

g o

f th

e le

adin

g t

on

e oc

curs

rar

ely

in

th

e w

ork

s of

th

e m

aste

rs

(th

at i

s,

at 4

r,a

rt w

riti

ng

).

It d

oes

no

t so

un

d w

ell,

an

d i

n

unsk

ille

d h

and

s, m

igh

t re

adi.

ly p

rod

uce

con

secu

tive

oct

aves

. T

he

3d

of

the

cho

rd o

f th

e T

onie

, on

the

ro

ntr

ary

, is

fre

quen

tly

-dou

bled

, sh

ow

ing

ho

w

esse

ntia

lly

the

chor

ds o

f th

e T

onic

" an

d D

om

inan

t di

ffer

fro

m e

ach

oth

er,

alth

ou

gh

ex

actl

y t

he

sam

e in

th

e ar

ran

gem

ent

of t

hei

r in

terv

als.

E

lsew

her

e th

e ch

ord

of

the

To

nic

has

bee

n c

alle

d on

e of

Rep

ose,

th

at o

f th

e D

om

inan

t on

e of

Mot

ion

. J.

Th

e d

ou

bli

ng

of

the

5th

(al

way

s re

ferr

ing

to

the

cho

rd o

f th

e 6t

h) o

ceur

s at

No.

8,

and

in

sev

eral

pla

ces

at N

o. 1

1.

It i

s co

rrec

t to

do

uble

th

e 5t

h, b

nt

the

effe

ct i

s n

ot

so r

ich

th

an t

hat

of

chor

ds i

n w

hic

h t

he

fou

nd

atio

n t

one

is d

oubl

ed.

Th

e m

ann

er i

n w

hic

h t

he

par

ts p

rogr

ess,

oft

en

nece

ssit

ates

the

dou

blin

g of

the

5th

, an

d p

erh

aps

it is

as

wel

l th

at·a

ll c

hor

ds

sho

uld

no

t b

e eq

uaE

y ri

ch.

Fa

ult

y P

rog

res

sio

ns

th

rou

gh

th

e D

ou

bli

ng

of

the

T

hir

d.

Ex

. 21

3.

Flu

en

cy

of

the

sin

gle

pa

rts

att

ain

ed

th

rou

gh

th

e

Do

ub

lin

g o

f th

e T

hir

d.

J<;x

21

4.

3d

do

ub

led

.

~

--1-

----

-!

---,-=

--~---1-

==

1--

-t-

-C

.-'1

_

1-

-z:t;-~-

( --===~-

~-t: ~~ :=

I~

~ -~ -'

--t----~ --

-

~--·~

-t

=-

~ --=

--=-

·---

' 4

6

~ ~

~:!:

) ~ ~

ttJ

ll

00 ~ riJ ~ ~ ~ ·~

ttJ ~ ttJ ~ ~

~ ~

~ ... 00

00 """

.78

GO

LD

BE

CK

·s

§ 99

. T

he

read

er i

s re

min

ded

th

at

wh

en s

pea

kin

g o

f ll

ou

bli

ng

th

e 3

d,

the

3d o

f a

cho

rd i

n i

ts o

rig

inal

po

siti

on

is

mea

nt:

in

Ex

. 21

4 th

e 3

d i

s b

, o

f th

e ch

ord

g b

d.

Th

e fl

uenc

y o

f th

e S

op

ran

o a

nd

Bas

s, a

nd

th

e o

ther

par

ts i

n

con

seq

uen

ce,

cou

ld n

ot

hav

e b

een

att

ain

ed e

xce

pt

thro

ug

h t

he

do

ub

lin

g o

f th

e 3

d.

Th

is s

ho

ws

that

ther

e ar

e ca

ses

in w

hic

h th

e ll

ou

bli

ng

of

the

3d

is

no

t o

nly

a n

eces

sity

, b

ut

a v

irtu

e.

NO

TE

.-O

bse

rve

that

the

cho

rd o

f E

x.

214

in w

hic

h t

he

3d i

s d

ou

ulc

d,

is t

he

cho

rd o

f th

e T

on

ic (

Key

of

G),

no

t th

e ch

ord

of

the

Do

min

ant

wit

h i

ts l

ead

ing

to

ne.

'

Th

e C

ho

rd o

f th

e 4

·6 o

f th

e T

on

ic.

Th

e ch

ord

of

the

4-6

pro

per

ly p

rep

ared

an

d r

eso

lved

(s

ee p

arag

rap

ns

67,

68,

69 a

nd

70)

:

Ex

. .

215.

Pia

no.

Voi

ces.

1 2

§ 10

0.

Th

e h

um

an e

ar,

we

may

say

, is

att

un

ed t

o c

ho

rds

bu

ilt

of t

hir

lls'

fo

r w

hen

we

hea

r a

sin

gle

to

ne,

th

e ac

cess

ory

to

nes

(al

iquo

t o

r o

ver

ton

es),

w

hic

h a

re e

yolv

ed a

s it

co

nti

nu

es t

o s

ou

nd

, fo

rm in

ess

ence

ju

st s

uch

a

cho

rd b

uil

t o

f th

ird

s.

An

y d

evia

tio

n t

her

efo

re f

rom

th

is c

om

bin

atio

n c

an b

e b

ut

tem

po

rary

, an

d m

ust

sp

eed

ily

ret

urn

to

a c

ho

rd,

bas

ed u

po

n a

th

ird

, to

HAR~IO~"'Y.

79

saLi

::;fy

th

e ·c

\'er

pre~ent U

\·man

ll f

or

a p

enn

ancn

t ch

ord

of

rep

ose

, d

wel

lin

g

wit

hin

ou

r ea

r.

A d

wrd

of

the

-!-G

th

en,

rest

ing

, as

it

docs

, u

po

n a

4th

, is

a

dey

iati

on

fro

m t

he

nat

ura

l ch

ord

, an

d m

ust

be

foll

owed

by

on

e re

stin

g u

po

n

a 3

d,

or,

in

tec

hn

ical

lan

gu

age,

it

mu

st b

e ?'

esoh

:ecl

. 'l

'he

cho

rd o

f th

e 4

-G

may

th

eref

ore

in

a.

cert

aia

sen:

:;e b

e re

gar

ded

as

on

e of

dis

son

on

ce,

and

tlw

to

ne

wh

ich

cau

ses

the I[Utt~i-dissonauce,

is

the

4th

, T

he

stri

ctly

co

rrec

t re

solu

tio

n t

akc8

pla

ce o

y h

aYin

g th

is 4

th d

esce

nd

hal

f a

step

, as

at

:Ex

. 21

G,

K o

. 1

(mo

tio

n f

rom

3d

to

-!th

ch

ord

).

1<--.

rom

th

e sa

me

reas

on

s th

e ea

r m

ay

del

igh

t fo

r a

len

gth

of

tin

\c i

n b

ein

g l

ed a

way

th

rou

gh

maz

es o

f co

nso

nan

ce

and

dis

son

ance

, b

nt

it c

ann

ot

be

sati

sfie

d u

nle

ss t

he

mu

sica

l p

iece

ret

ul.'n

S fi

nall

y, a

t it

s cl

osi

ng

po

int,

to

th

e ch

ord

of

the

To

nic

.

Pre

pa

rati

on

of

th·e

Ch

ord

of

the

4·6

f'

C~ §

§ 67

, G

S, 6

9 an

d 7

0.

XoTK-

~H E

x.

215,

~o. 3

, th

e. r

eso

luti

on

of

the

dis:

;on

an

t 4.L

h (f

) i:

; fr

ee,

the

reso

luti

on

to

ne

(e)

bei

ng

su

pp

lied

by t

he

bo

pra

no

.

Inc

ide

nta

l C

ho

rd o

f th

e 4

·6

f'ee

§ 70

wit

h E

xs.

Hf.l

an

d 1

50.

§ 10

1.

It i

s of

th

e u

tmo

st i

mp

ort

ance

th

at t

ho

rea

der

~lw

ultl

un

der

stan

d

the

tlif

fere

nce

bet

wee

n th

e cl

lorl

l of

th

e 4

-6 w

hic

h i

s p

rop

erly

res

olv

ed (

and

g

ener

ally

pre

par

ed),

an

d t

hat

\\·h

ich

is m

erel

y a

n in

cide

ntal

ch

ord

of

the

4-6.

1.

'l

'he

cho

rd o

f th

e -!

-6 o

f th

e T

on

ic (

seco

nd

in

ver

sio

n)

is t

hat

wh

ich

, wit

h

som

e fe

w e

xcep

tion

!',

app

ears

pre

par

ed a

nd

res

olye

d.

2.

'l'he

ch

ord

of

the

-!-6

of

th

e D

om

inan

t is

th

at

wh

ich

app

ear:

:; i

nci

­de

ntal

ly.

Th

ese

two

ch

ord

s of

th

e -!

-6 c

on

trib

ute

to

sho

w t

he

esse

nti

al d

iffe

ren

ce

bet

wee

n t

he

cho

rds

of t

he

To

nic

an

d D

om

inan

t.

Fro

m t

he

sali

ent

char

ac­

teri

stic

s of

th

ese

two

ch

oru

s of

th

e -!

-6 w

e co

ncl

ud

e th

at

that

of t

he

To

nic

is

the

mo

st i

mp

ort

ant.

'l'

ha.t

of

the

Do

min

ant

is m

erel

y a

lin

k c

ho

rd,

and

as

such

doe

s m

uch

les

s p

rom

inen

t se

rvic

e th

an t

he

ori

gin

al p

osi

tio

n a

nd

fir

st

inv

ersi

on

(ch

ord

of

the

6th

) o

f th

e sa

me

cho

rd.

'l'l

lat

(-!-

6)

of

the

To

nic

is

con

seq

uen

tly

use

d m

nch

mo

re f

req

uen

tly

th

an t

hat

( -!

-6)

of t

he

Do

min

ant.

Pre

pa

rati

on

of

the

Ch

ord

of

the

4·6

. §

102

. T

her

e ar

e m

any

way

s o

f p

rep

arin

g (

intr

od

uci

ng

, n

sher

ing

in

) th

e ch

ord

of

the

4-6

. A

t th

e p

rese

nt

we

are

dea

lin

g "

·i~h t

\YO

cho

n18

on

ly, T

on

ic

and

Do

min

ant,

an

d w

e co

nfin

e o

nrs

elye

s to

exp

lain

th

e p

arti

cula

r k

ind

of

' p

rep

arat

ion

ob

tain

able

uu

dP

r th

e ci

rcu

mst

ance

s.

Oth

er k

ind

s o

f p

rep

ara­

tio

ns

wil

l b

e ex

pla

ined

in

th

eir

pro

per

pla

ce.

In t

he

foll

ow

ing

ex

amp

les

the

cho

rd o

f th

e -!

-6 i

s p

rep

ared

by

th

e ch

ord

of

the

Gth

, o

r b

y t

he

cho

rd o

f th

e T

on

ic i

n i

ts o

rig-

inal

po

siti

on

. ..J

?oth

th

ese

cho

rds

rest

up

on

a 3

d.

'/

~

d ~ ~ ~ 00 a 00

~

eJ ~ ~ <

~

t.'fj ~ ~

d ~ ~

~

00

00

~

~ "' ~

80

GO

LD

BE

CK

S'

1. Chor~~of

the

4-6

of t~1

e •.

roni

c p

rep

ared

b~Chor~-~~he 6

th.

~~==

-(2-

19--=a

-~

~== ==~

~== ==~==

Ex

. \

I I

I p

216.

<.

I

1~---=

=---==

----=

-(2 -

-e....

__g=

= I

-19-_a

I

6 2

I

2. C~o

~rC!_ of

the 4;~

pr~par

e==e

Ch

01

::Jh

e

Ton

ic.

--~-==~==!9-~==

Ex

. )

i I

l 21

7.

\ •

~--==-r:z-

~ ---f-------

(2 _[_

_____

Q_

----

-r--

~--r;#---

An

ex

amp

le o

f ch

ords

wit

h m

any

par

ts (

doub

led

ton

es):

lc:

_Q..

..

f+ -~~

--__

___$

_

Ex

. ---

£~= ~ =1

9 =

218.

1!?

.....

_a

_

-(.9

-g

-12

::E:2:

: .... (

2 ....

~ ~~

F F -~

6

ExP

LA

NA

TIO

NS

.-1.

In

the

se c

hord

s th

e o

rig

inal

ton

es h

ave

bee

n s

ever

al

tim

es d

oubl

ed.

In c

onse

quen

ce o

f th

is s

ucce

ssiv

e oc

tave

s an

d f

ifth

s, i

n t

he

sam

e p

arts

, en

sue.

'l'

hese

are

no

t fa

ulty

, si

nce

ther

e w

ou

ld b

e n

on

e w

ere

we

to r

Pdu

ce t

hec

sam

e Ch~

ord ser~S:~

~~·t W

=I·

itin

g,

thu

s:

---L....--~~--(9--

-Y2

-61~-

-(9

-E

x.

-----r--

-·---------

219.

)

C2....

_3

--=

--.-

-£=

-(

2-~-

_---

--1:

2--!9

-~=

-_

Q_

__

_ L

~

==

L

~

--===

= 3.

In

th

e ch

ords

mar

ked

"·i

th a

cro

ss,

at E

x.

219,

th

e th

ird

h

as b

een

o

mit

ted

. In

th

e ch

ord

of

the

Do

min

ant,

th

e f

shar

p o

mit

ted

is

the

lead

ing

to

ne.

Its

omis

f'ion

in

th

e 'T

rebl

e im

prov

es t

he

gen

eral

so

un

d.

In t

he

cho

rd

of t

he

Ton

ic,

the

omis

sion

of

the

3d (

b)

give

s th

e en

tire

ch

ord

tran

spar

ency

. It

h:-t

s b

een

men

tio

ned

bef

ore

that

a T

hir

d,

low

in

th

e B

ass,

has

a g

row

lin

g

effe

ct,

wh

ich

is

no

t ag

reea

ble.

HA

RM

ON

Y.

81

Bas

ses

for

Ex

erci

ses

wit

h I

nv

ersi

on

s-,V

rite

bo

th f

or P

ian

o a

nd

Yoi

cef':

1

: f9

-

---~

--

--

. --(9~--

-(9

-

ftn=~WE~12=-~~~~

I 6

6 6

6 4

2

~~=-t-i~ ~ =

] ~-=1===-(2

--

_3

I

6

~--

......... __

___,__

_ .....

....

~

' I~

l,ffi:UJ-~

4 6

G

6 ~

Th

e C

ho

rd o

f th

e T

on

ic a

nd

Do

min

an

t 7

th u

po

n t

he

ir

Fo

un

da

tio

n T

on

es

. §

103.

T

he

cho

rd o

f th

e D

om

inan

t 7

th c

on

tain

s th

e le

adin

g a

nd

sub

lead

­in

g t

ones

. 1.

Th

e L

ead

ing

asc

ends

in

pre

fere

nce.

T

he

Su

ble

ader

des

cend

s in

pre

fere

nce.

Ex

. 22

0.

Pia

no.

1

good

.

2 3

corr

ect,

bu

t n

ot

so

no

t f'

O g

ood.

eu

phon

iou

s.

No

.3 i

s n

ot

so g

ood,

bec

ause

th

e S

uble

ader

is

mad

e to

ase

end.

It

cou

ld

have

bee

n m

anag

ed a

_s f

ollo

ws,

"·h

en h

owev

er t

he

clos

ing

chor

d is

in

com

­p

lete

:

Ex

. 22

1. ~~=

---~==-C2

I ~__

__:

~-~--~

L

-=-3

-.

~

~ 8 ~ ~

~ ~

\ 00

. :o

il ,... I~

IJ ~

.~

I~ ,: <

~

tr.l ~ ~

~ z trJ

~

00

00 ~

KUNKEL'S MUSICA.J_J REVIEW, JUNE, 1881. 475

- T ::H:E-

.EMERSON PIANO COMPANY, •:0 0 10

r

·10 {\]

.Z <{ .I r-'W ~. l:t

·0 _2

"0 0 en "0 s::: tU G) "0 tU :e

CESTABLISHED IN ~849 )

-MANUl'ACTURERS OF-

SQUARE~ UPRIGHT AND COTTAGE

~ ~ =w? /,.,\ ~""=rr ~ ~ ~ J~~~~~ ~)~t

"'1'1 0 ""!:

Warerooms-595 Washington Street, BOSTON, MA~S.

MASON & HAMLIN CABINET ORGANS,

WINNERS OF THE

~OKLY GOLD -BDAL~. Awarded to American Musical Instruments at PARIS EXPOSITION, 1878; the highest

distinction in the power of the Judges to confer .

. PAB.IS, 1878, Two Highest Medals. SWEDEN, 1878. PHILADA, 1876. SANTIAGO, 1875. VIENNA, 1873. PARIS, 1867.

AT EVERY WORLD'S EXPOSiTION FOR 12 YEARS THEY HAVE BEEN AWARDED THE HIGHEST HONORS

.At the PARIS EXPOSITION. 1878, they are awarded the GOLD MEDAL, the highest recompense at the -disposal of the jury; also the highest CO-LABORER'S MEDAL for excellent workmanship. They have also ereceived the GRAND GOLD MEDAL OF SWEDEN AND NORWAY, 1878. No other American Organs ·ever attained highest award at any World's Exposition. Sold for cash, or payments by installments. \Latest CATALOGUES, with newest styles, prices, etc., free.

MASON & HAMLil\J ORGAN CO. BOSl!"ON1 NEW YORK OR CHICAGO.

476 KUNKEL'S MUSICAL REVIEW, JUNE, 1881.

~ Grand, Square and Upright. ~

Factory: 34th Street, bet. lOth and 11th Avenues . .

WAREROOMS: No. 11 East Fourteenth Street, NEW YORK ..

c. Kurtzmann, Man~er of Piano· Fartea,! eaaBa, &Qllaam ARiJ lJ~P!lilil!!~u.

106, 108 & 110 Broadway, BUFFALO, N.Y.

CORRESPONDENCE SOLJCI'l'ED.

KUNKEL'S MUSICAL REVIEW, JUNE, 1881. 477

( /"'\ We Offer Special fr~ducements to Parties Wishing ( /"'\ 1/) '-' .../ to Purchase, ~ ...,/

;: ~~~~ OREA~er~n~~~·;;;;~~ 0 ~ ~ ~~/-j 0' ~ . General Agents for the Orguinette. < .. y / /Y. ~

·~ ' WRITE US BEFO C<E PURCHASING AND SAVE 1r0 ~ ·~ MONEY ;; \ /

Excellent in Tone. Perfect in Execution. Plays all the Latest Music.

T::S::E

Mechanical Drguinette ~ompany, Sole Manf'rs a~d Patentees,

83~ BROA.D'W'AY,

NEW YORK,

And by their authorizeft agents through­out the country.

READ & THOMPSON, General Agents for the .ORGUINETTE, 915 Olive Stree-t.

·celluloid Piano Key Company (Limited), P. 0. Box 420.]

-FOR-

· No. 216 CENTRE STREET. [NEW YORK.

Never Turns Yellow, Discolors, Shrinks or Warps.

Piano, Organ and Melodeon Keys Fourth Year. No Complaints.

~Over Two Hundred Thousand Sets of Celluloid Keys now in use."'a

A~ SUMNER,

~PlANO~.I nrtGAN~.~ SOLE AGEN'"T FOR

TheW eber. '[he Hazelton Bros. The J, P. HALE. ~1hB C. KURTZMANN Pianos. and STANDARD and PACKARD ORGANS

708 & 7 1 0 Locust Street, St. Louis, Mo.

478 KUNKEL'S MUSICAL REVIEW, ~JUNE, 1881.

THE LEADING PIANO OF AMERICA.

WAREROOMS AND FACTORIES:

235, 237, 239, 241, 243 and 245 East 23d Street, New York.

KUNKEL'S MUSICAL REVIE W , JUNE, 1881. 479

BOOKS FUBLIS:H:ED B Y

OLIVER DITSON & CO., BOSTON, MASS .

•

-----------In Press, an Excellent Choir Book, and a

First-Class Low-Priced Book for Singing Schools, Both by L . 0. Emerson.

LIGHT and LIFE! Now look out for a rousing good new

SUNDAY SCHOOL SONG BOOK with t he above title. 'l'he compiler, l\ir. R. M. Mcintosh, is well-known to hu ndreds of thousands as one of the most suc­cessful providers of sweet melodies and bright hymns for the ~reat Sunday School public. Our best writers and composers nave contributed. 'l'he book has a beautiful title, is well printed, and is every way desirable. Send for specimen pages (free), or specimen copy, which is mailed for the retail price, 35 cents.

THE BEACON LIGHT! SUNDAY SCHOOL SONG BOOK,

by J. H. TENNEY and E. A. HOFFl\lAN. Specimen copies mailed for 30 cents. Liberal reduction for quantities. Ditson & Co. respectfully call attention to the marked improvement which is apparent in their newer publications for Sunday Schools. 'l'he best talent in the country has been employed in compiling them, and they have been received with marked favor. THE BEACON LIGHT is the work of two of the best hymn and tune composers in the country, is a carefully •· win­nowed'' book, only the best 100 : out of 500 manuscripts having been retained. We have not many Sunday School hymns better than

" Love of the Savior, tender and precious, Deeper and broader than ocean or sea,

Stronger t han death, so pure and so gracious, Oh, in thy fullne[:ls iiow sweetly to me."

or "lie who conquers, wins a crown

When he lays hi armor down, l<'or we bear the cross no more, When we reach the golden bore."

Attention is also directed to WHITE ROBES (30 cts.) bv Ab­bey and Munger; and to GOOD NNW (35 cts.) by .R. M. Mcin­tosh. These e,-cellent books are still in demand. Their authors have also uew books in progres , which will soon be announced.

OPERAS ! $2 00---------AIDA---------$2 00 2 00---------·CARl\lEN---------- 2 00 :3 00 M I GN 0 --------3 00 50--------0 LI V lD T '1' E 50

l 00-------S 0 R C l!J R E R------- 1 00 l 00------'1' liE M A S C 0 T--- ---- 1 00 100------M US K E.T ] j, E R S -------- 1 00 2 00-----B 0 C C A CCI 0------2 00 2 00------F A T I l iT Z A---.--- 2 00 2 00 l\f E F I S T 0 F E L E------ 2 00 l 00-----L I T T L E D U K E 1 00 50-----B I L L E E T A Y L 0 R---- 50

2 00----P R E A U X C L E R C ----- 2 00 150---B ELLS 01<-, CORNEVI'LLE---150 l 00----PI U. ATE S 01<-, PENZ ANC E---- 100 l 50---D 0 C T 0 R 0 F A L C AN '1' A R A--- 1 50 ~ 50--D A M N A T I 0 N 0 F F A U S T--- 2 50 P ublished in good style, with text and all complete. Also

almost any other 1 Operas you can think of; very complete editions, w ith Librettos.

THE .A~NTHEM HARP. By DR. W. 0. PERKINS. Price $1.25. (Just out.)

A new book intended as a successor for "Perkins' Anthem Book," published some years since, and which was a decided su ccess. 'l'he new book contains music perfectly within the reach of common choirs, and is destined to have a great sale.

DITSON & CO. also call attention to their three books for SINGING CLASSES; recently published, already very popular, and worthy of universal adoption.

JOSEPH'S BONDAGE Sacred Cantata. ($1.) • By J. l\L CHADWICK.

Really a very brilliant affair, if given with appropriate dresses and scenery; and these are easily arranged. Good music.

Listemann's Method of Violin Playing~. ($3 .00) By B. LIS'l'EMANN, pupil of David, Joachim, and Vieuxtemps. The teacher who can say "David played so and so," or" Joachim thought thus in this matter," has a great ad­vantage, and as Mr. J_,. himself is a distinguished Violinist, it will be seen that this book has great c laims as one of the best.

For Ama t eur Orc hestr as. QUINTETTE ORCHESTRA. 2 Violins, Cornet, Clarionet and

Bass. 5 books, each $1.25. Complete $5.00. WINNER'S BAND QF.)WUR. (:111.00.) Music for Viol in or

Flute, Cornet or Clarionet, 2d Violin and Violon-cello. Capital easy collection.

SONG ECHO (75 cents.) By H. S. PERKINS. A • collection of School Songs in great

number and variety, there being nearly 300 pages and about 200 songs, which are of the proper kind for High Grammar, or for High School, Seminary or Academy cholars. The book has sold very largely.

CARMINA COLLEGENSIA .. PRICE $:3-BYII. R. WAJTE.

Although we all try to make" jolly" songs, it must be con­fessed that the" etudiants" know how to do it best; for afte1~ cooking and compacting the wit, they have a way of strewing Attic salt upon it which impart, an exquisite flavor. This is an elegant book, containing nearly all the current college songs, and will make any musical home brighter by its presence~ Nice gilt editi(}n for $4.00.

A portion of the same songs are published under the name of "University Songs ($2.50); an•l a still smaller book, well compiled, is entitled" Student's Life in Song" ($1.50).

ORGAN Gm~rs. ($2.50.) By 1!-,. L. Davenport. ORGAN SmLECTIONS. ($1.50.) OHGA :riST'S POH'l'l<-,OLIO. (2 Vols ., each $2.50.) By RimbaulL OH.GANIST'S RELIANCE. (10 Nos., each $1.25; complete $6.)

zultilL~§e~~ ~~~~··VOLUN'l'ARIES AND INTERLUDES .. ($1.50 . ) •

CLARKE' ' HOB.'!' VOLUNTARIES. ($1.50.) By W. II. Clarke. In these six well-made books will be found a very larg~ num­

ber of voluntaries, some classical, some new and liJ:?ht, but all good. Organists will be glad to use the longer ones mtact, and to adopt the shorter compositions as themes from which to vary.

MUSICAL PAS TIME, for Violin, by S. Winner .... ..•• •.... $1 50 VIOLIN AMUSEM II:NTS, for Violin, by S. Winner . ....... 1 50 MUSIC OF TilE DANCE, for Violin, by S. Winner........ 75 FLUTE BOUQUET, for Flu te, by . Wmner ....... . ....... 1 50

Capital collections of music, mostly quite easy. Notice that most easy m usic for Violin may also be played on the Flute, and vice versa.

480 KUNKEL'S MUSICAL REVIEW, JUNE, 1881.

LESSON TO II TWILIGHT MUSINGSIF BY CHARLES KUNKEL.

A. Give the melody of this movement with elastic­ity and freedom, and endeavor to draw from the in­strument a full singing tone, observing well the dyn­amic marks of light and shade, piano ancl c1·escendo.

The melody is played with the right hand excepting where the left hand contains the melody note along with those of the accompaniment it ha. to strike, as at E.

The melody, as the student will notice, is written almost entirely in the bass clef. All the notes in the bass clef on this page, with stems turned upwards, belong to the melody; those that are turned down­ward, to the accompaniment.

Be careful to heed the phrasing as indicated. Unless it receives proper attention the rendering of the mel­ody will suffer.

rrhat the student may un<lerstand the time and pro­gression of the melody and accompanying parts ·Clearly we will analyze them.

~J-~_r, t:5-~~=:=!_-=-====--~"=--~==3 ~~==---==---==---==---=======t --------.------

These notes of the first measure represent the mel­·ody, and are four quarters full.

These notes of the left hand, appearing below and above the melody. are accompaniment and represent likewise four quarters.

8--------

~--t ~-)'~ --.+.1~--~.J-~- ~ ----~--w;-jil==-"'------

-=-'!s.=======-~-~-==~-'fs__ -------------------------

(.)

These notes for the right hand are likewise accom­paniment, representing;, with the rest, again four quarters.

'l'he student, after having fully comprehended that the movement of the melody is independent from that of the accompaniment, will have no trouble to render the same in perfect time. It is advisable to play the various parts, as given above at first, each alone with the right as well as the left hand.

B. M. M. f:l.tancls for Maelzel's Metronome-an in­strument, or rather a clock, said to have been invented by Maelzel in the year 1815 to enable composers to indicate the precL e time in which a composition should be performed. Parties not in possession of a metronome can tal<e the exact time thus indicated by a watch. For instance ~-60 at the beginning· of a piece signifies that sixty quarter notes are to be played in a minute-one qnarter to each second . If 1

19- 90 that ninety half hotes are played in a minute, one-and­a-half notes or three-quarter notes to each second.

C. The pedal muRt be employed with the greatest of care; both in oL·der to keep the harmonies clear and distinct, and to g;ive the melody its proper sup ­port.

'l'he half note 0 of the melody, which can not be sustained by the fing;er a;; the hand irnvels off to per­form the upper noLes of the accompaniment (exam-

ple 3) is sustained by the pedal, otherwise it would cease to sing or vibrate.

D. The octave mark above the third quarter affects the notes of the left hand as well as those of the right hand.

Written. Execution: 8----

~~ c - ~ II .- ~d if~ ~===::----:----- -:_--i-1----

~ ~ ~ ~E. 'fhe notes "Gs" in brackets, are the same note. 'l'he notation of one being· in the treble, the other, i the bass clef. They (the two notes struck as one o the piano) are struck with the left hand for obvious reasons.

J!· T~is 0 belongs to the melody. Had it been wntten m the bass clef it would not have been so easily read.

G. Observe the j e1·mata, making quite a stop, like­wise heed the ritard. The three grace notes preced­ing the D mu ·t be given in time without dragging. 'fhe 1'itard affects the D and C only.

H. . Do not hurry this part, and be careful to play it as indicated by the dynamic marks.

I. From here to the third measure a steady increase of tone should be made, likewise a slight accele1·ando may be made producing good effect.

J[. Observe the 1·ita1-cl, making· it very gradual. L. From here play in ordinary waltz time. M. 'l'he half note A, with stem up and down, rep­

resents two partR (voices) ; the upper moves on at three. This manner of writing is preferred by many com­posers to this.

I _J ! -·- ~ ~~ *~~-~,~-~

----r-.-~1

Obse~ve also that all the notes but the upper note F are t1ed. Hence, not struck again.

N. Give the triplets very evenly and heed the ac-1 cented bass note as marl~ed. The emphasizing of the octave on t.he second beat prodnces a beautiful an­tagonistic:-a sort of a syncopated counter-rhythm. In repeating the part, play it very piano and an oc-tave higher with both hands. ·

0. Sustain the half notes and lift the hand after striking the notes of the third quarter as if it had been gently propelled by a spring.

~IL~C ~ • MANUFAQTURJ: RS OF 0

Square and the Imperial ....

\UPRIG~rofiANOS .. 030 Washington Street, BOSTON. Jlf.AS~.

oo,. ~ ""fl,O.· ''es/J ~'3-\""

oll(]ellce Sol' 't d A.g;cn.ts__.-;;. :::---.:_:-~-~

M ADAME JULIA RIVE-KING, ___ No. 163 East Seventy-Fourth trcct,_ ~ew York City.

A GREAT OFFER ' New ORGANS, 830, up; · 1 New PIANOS, 8150, up

GASH-WARRANTED Six yeaL"s . Second Hand Instruments at BARGAINS. Monthly PHyments rer.eived and for lent. Illustrated Catalogue FREE. HORACE WATERS & CO., 826 Broadway, N. Y.

_./~ I Ped.

Ped.

Twilight l\lusings, -1.

TWILIGHT MUSINGS. REVERIE.

-$ Ped.

~ I Ped.

8 - - - -

-·- -·-1 I Ped. -$ Ped. -$

_..a. I\ 0 I\ ffi~ c::::!: I

I I -~ ~-·­- --~I J -

0!= =-==.., JJ. == -~- • -'=-""·====~=======-~

---""*-~-=a· =-~-- ~--~-·-l~-'-----1---· r--·--==== ~;t--~ -==== tt-~ 1 3 I I + 1 3 I I ~ r--= ~/ I ~ ~ o---._1

I .L == ~·-- I ~ _1_ == -· ~ ·-:l~ -- ~'--,~~ - -• :::,...<- P...:----=---

- -· 7 I 1

-• -1 "--I Ped. $ Ped.

Copyright, 1881, by K UN K E L B R OS.

$ Ped. $ $ Ped. $ Ped. $Ped.

K rita1·d. 21214+2

$ Ped. $ Ped.

Twilight l\'[usings,-2.

$ Ped. Twilight l\fnsings,-3.

$ -•-1 Ped.

-·-1 1 -· -'-I $

Ped. 8 - - t a· -fJ r-., r-., empo lo

r 7.L ~L. : L I I ---- I I -#-- -

---- - -4--· - r.-. --~-~~__:_..-.=-==

-*-~---~:~-~~.£a:• ---11!--~-~-~-~~~~ ---~--~--

\.; \.1 2-=::: 3K 1 fJ J _d-----......r-..

4 2 4 -...._ 4 _,........._1 1 :J 1 + ~ -...._ J5_11- _K II- -fl.- -fl.- -fll.- ..,..--...,1 ~

1/ -11- -11- -11- -t= ~ +- -11--1- +- -r:2 / -!'- 1/ 4:ltll-+ +- -{!2.- • -fll. -r--fll.-11- fll. +--~ -11- -r- -r- +- +--f.- -r- -r-- 2 -1 1 +- + tti--

I ~-~-~=-;--~r-r-t-t--l--l-;:-l--1--l-~-f--ll-l--1--ll-r---t---II-12:X--s--!-~o<-....--t. :L_h-ze-- - - 1'9-- ..... -~-1--1-- ;7 - J,ool - J,ool - -~-t--1--1--1--f- -L---r---..:.f--f--=- ~-1-1"' -~+-~-- ~-.!.-- --a- - -~-~-~ 1--~+-1--f--+- ----=t:_-:::-_r:--t;r- . -h-===r=-- - +-====-~---- ------ --==== -~=4 --==~-

(.. ~ . ' --:- ~ + ~ ....----.... ....---.... ~ nr-:

--· ~- -~::.__ ~fl.- - fl. - "-- - 11- 11- ------;.-. __ ~-----~- ~--=-t2:==~_2-$== =====- -~===;=:: _~-~--_, ·~~- =:l=±=F_=l=!_9 -·-==r===---~~= II F==~== ~t: t:::- =--'==t: t:==·-·-t==~B- -=~-~ Ped. $ Ped. ~ · Pe'fi. $ Ped. $ Ped. $ Ped. $

e1· Twilight l\Iusings,-5.

an do . Ped.

~rintttttp5. ~ (SPRING.)

F. CHOPIN. Ocnvre posthnme, op. 70 ..

-----BH·------

- -... .....----...r-----~---. -1 4 -· - ·) :! 4- ~ 4- 2

-~--- ~-- t= > - -1'-- .._,~ ~ 1 -· -- .... _ - 1 -~- - - - --- -· +=

-' __._. +- f != ill w t t.J -r- -I- E += %--~ ~- _ -=1==------• ~==LL~==~ - --a--- ::::.._ __ -7'1{'--; -~----w-·- ---~-~ ==~---~= -""=""-==--==2-= ~-=--==--==--=--= ===---!"1-:= ~ = ====--=------------------------- -----

------------

Copyright-Kunkel Brothers: 1881.

-C2-~ -· -~. ~ ~ ~ _._ . _._ _.._ -"-- -!L- · ~ ..._ ~ :I- +- ol+..i f=-....-.;---2+--g - 3 111L;--11t-it-11t--h-.--;---£--IIIJ--+--~:,., ___ ..J__-+If'l!--;---lf-"--"---!1!~--+- -----~~~----11!- -_ _!l_______ - ---- --- _ _!f~----•- - ·---•- !=

__ l!...::• ~--=~ -r--=t=--=~~;; =!====....;;;;~- =~===--===--=~= = _ _!_--=t=-~--=r--: -~------------- ------------------t- -- I -

:::::>

f ~ -~ i ~~- _,_

=~ -~ =•- : - "1-!! L: =I= ~ ~ ~--~~-----·-~------·- -----~--~~---~- -ol+!-~--

f£_~===-~==--==---== ~===~===--===--=== - 11- -=--===--==--= - ·===t===-= ~=== ==----:----== __ l!_·--~--- -1----- ::::::t::=_t= _____ --------1-- ----___ ,_! _______ L_ ___________________ _L_ ---

====- ------- -- -·- -·- _,__ _,__ - -- -~- _L_ _c:__ - · - ----·- -- - -- 4 _._ --- ... ~-- -----~-- ------===------- ---~--- - --=1-~--~--~--:I- ---~= ------ --- -t- - -~-

- . · -__ t=- - --- - =t E ·i - ~ ~~== . .- ----==--== itb. -$ iJtb. -$

(LePrintemps-2. J

I \

488 KUNKEL'S MUSICAL R~IEW, JUN.l!J, 1881.

LESSON TO 'ONE LITTLE MOMENT MORE, MAUD' BY A. J ,' GOODRICH.

A. Remember the advice given in previous lessons. .Read the words first in 01;der to determine upon the -correct reading. Then sing accordingly. Do not forget, however~ that the mensural proportion of rhythm must be preserved whenever the value of a -certain note is altered in order to correspond to the natural pronunciation of such words as little, happy, never, and the like. One example of this will be suffi.­·cient:

As much value must be added to the second note as was taken from the first note, and vice ve1·sa. But if the dotted quarter note were only held the value of a ·quarter, there would be but seven eights in the measure.

B. The punctuation marks, before and after the name, "Maud," are to be observed by slightly sepa­rating the tones. The third measure should be sung like the first.

C. '.rhe words here are quite confidential, to be sung lightly, but pronounced distinctly.

Separate one tone from another whenever there -is a comma, dash, or semi-colon.

The phrase marked accelemndo is to be sung a trifle faster as far as D.

D. Separate the first from the second B here; also, the second from the third B; the note above Maud must come in promptly upon the second beat, but without a strong accent. The note above guess should be held nearly three beats and be only slightly dis­·Connected from the note above 'tis, as the sense is not -complete until we come to E.

The two notes written against ea1·, must be joined together smoothly so as not tore-pronounce the word.

ln such cases always accent the first note and sing the second one more lightly.

E. Dwell upon the tone B above the name Maud, ·diminish it slightly, and sing the conclusion of the strain in an ad libitum manner, with considerable accent.

F. This strain in E~ seems to be more in the cant­abile style: therefore sustain the tones their full value.

G. Hold the A~ about two beats, and separate it from the· declaration which follows. " I've loved you long and well," may be sung more slowly and with more tone.

H. The melody here is designed to harmonize with the counterpoint in the accompaniment, and should .be suno- in time. For the next measure , see D.

I. i?he words here should be sung as if punctuated in this manner: ''And yours, (was it for me, Maud?)" 'l'he reference is, of course, to the sigh.

The last sentence requires strong accents, and some .anxiety of expression.

Breathe only at the places marked with an inverted ·Comma, and always endeavor to inflate the lungs slowly and fully.

The general character of this ballad requires a light and persuasive tone of voice, and a distinc~ enuncia­

·tion of all the words in the poem. Young ladies and gentlemen who sing ballads without any understand­ing of the sentiment' involved , or the manner of

The second verse is to be sung· in the same general manner; though such exceptions as at G will readily occur to those who have studied the previous lessons.

$20.00 Worth of Music for '75 Cents! Important Announcement .

The publishers have just issued KU KEL'S PARLOR ALBUM No. I, containing- twenty-two choice selections of vocal and in­stl·umental music, which in sheet form would cost $20. The more difficult pieces are accompanied with lessons similar to those that appear in the REVIEW, making the book invaluable alike to teachers and PUlJils. The regular price of this ALBUM is $1, but in order to immediately secure for it a good introduc­tion by the sale of the :first edition, 10,000 copies, they will .till all orders the next two months at 75 cents :per copy. The AL­BUM contains 130 pages, is printed on fine tmted paper, and its contents are as follows:

VOCAL I Love But Thee (English and German words) ......... . Robyn. The Parting (duet; English and Italian words,

and lesson) ....................................... Tamburello. Bliss All Raptures Past Excelling (vocal waltz;

English, Italian, and German words and les-son) .................................................... . Robyn.

Leave 1\fe Not Lonely ................................ Tamburello. The ·w edding Day (English and German words,

and les on) ................ . .......................... . Bidez. Angels' Visits ........................................... . Melnotte. The Stolen Kiss (English and German words) ........ . Epstein. Why Are Roses Red? (English, Italian , and Ger-

man words, and lesson) ............................ . Melnotte. INST RUM ENTAL

Norma (operatic fantasie, with lesson) ................... . Paul. Il 'l'rovatore (operatic fantasie, with lesson) ........•.... . Paul. William Tell (t1peratic fantasie with lesson) ....... ....... Paul. 1\farthll- ( oper~tic fanta~ie) .. : ............... ·: . ......... : .. . P<!-ul. Bubblmg Sprmg. (capnce with les~on) ............. . Rwe-!C~ng. Gem of Columbia (grand galop, with lesson, .... ....... Szebert. Skylark Polka (with lesson) ............................. . Dreyer. Shower Qf Hubies (tone poem, with lesson) ......... . Prosinger. Maiden's Longing (reverie, with 1esson).......... . . Goldbeck. Love's Devotion (romanza, with lesson) .............. Goldbeck. The l! irst RidQ (galop) .................................... . S~dus. Cuckoo and the Cncket (rondo) .......................... . Szdus. 1Vaco Waltz .............................................. . Sisson. The Jolly Blacksmiths (caprice, with lesson) ............. . Paul.

AGE NTS WANTED FOR T HE REVIEW.

Premi ums for 1881. The publishers desire to increase their subscription list for

the year 1881 10,000 subscribers, and in order to accomplish this end they offer the following premiums to any one sending two or more subscribers-these premiums are offered in addition to the regular premium that every subscriber is entitled to :

Send 5 subscribers and receive a Violin, Flute, Guitar, Piano Stool or Piano Cover, worth $3; for 8 subscribers, either of these artides, worth $5; for 12 subscribers, one worth $12; for 8 ·ubscribers, a Metronome, worth $6; for 12 subscri­bers, a Metronome with bell, worth $10; for 2 subscribers, a Music Portfolio, worth $1; for 3 subscribers, one worth $1.50; for 4 subscribers, one worth $2.

Musi c a nd Mus ic Books. For 15 subscribers, Julia Rive -King's celebrated Piano

Compositions, 22 numbers, bound, worth $22 ; for 3 subscribers, either Dictionary of 15,000 musical terms, worth $1.50, Bee­thoven's 32 Sonatas, complete, worth $1.50, or Weber's com­plete work ·, worth $1.50 ; for 2 subscribers, Hayden's 10 Sonatas, worth $1, Mozart's 18 Sonatas, complete, worth $1, or Mendelssohn's 48 Songs Without Words, royal edition, worth $1; for 4 subscribers, Goldbecl;;:'s Vocal Method, worth $2.50, Bausemer and Kunl;;:el's celebrated edition of Czerny's Etudes de Velocite, worth $3, or Richter's 1\fanual of Har ­mony, worth $2; for 5 subscribers, Richardson's Piano 1\'Iethod, worth $3.25, Gennania, 40 select German Songs, by the most renowned authors, with Eng-lish and German word ·, worth $S; Wich.tl's Young Violinist, worth $3, Maza's Violin 1\'Iethod, worth $3, or Carcassi's Guitar 1\fethod, worth $3; for 8 sub­scrilicr., Stainer'sRoyall\lusical Dictionary,with illu trations, worth $5, or Berlioz's Modern Instrumentation and Orchestra­tion, worth $5.

J{:unl;;:el's Musical Review fo r one year for 2 subscribers, containing during that time $30 worth of the choicest instru ­mental and vocal music, accompanied with lessons.

expressing it, would be as greatly surprised as pleased Form Showing and Explaining How to Subscribe to to hear l\~adame Nilss?n or <?-eorg H ensch el interpret Kunkel's Musical Review even a simple sono- like this one. '.rhe effect they . . ·

. d · · 00 ° t . h t tl · . · . T Inclosed ftnd flfty cents, beino- subscnp t10n to your REVIEW pro. uce lS owmo,, n~ so I_HUC 0 1en VOices Ol exe- for fom·months. Send me the following music as the premium, cutwn, as to their m telbgence, and the scrupulous 'I that this :-; uJJscription entitles me to. [Address.] care with which they observe every sign and symb ol --that ·8 c 1 1 t d t ke tl ean·ng· st ·on'o- and If you wish to subscribe for a longer time, increase the . l a cu a e 0 rna 1e nl < 1 I o < I amounts you send accordingly-i.e., for six months, 75c.; for :plan1. one year, $1.50.

One Little Moment More, Maud. Noch einen Augenblick~ Maud.

E.A.LL.A.D.

Words by JOHN C. SAXE. Music by C. ESTABROOK.

------~----------

Moderato.

2. ~iein Blick ver - rath mich dir, Maud; Im bren - nen- den Ge -· sicht Du

1. N och ei - nen Au - gen - blick, Maud, N och ei - nen Au - geu - bliek, Jch A B · V _ , ~ -----1--s __ --..... ---~-----j- -~ _j _____ __ y-~-- ---j----1-j- ------ ---j- -+= -GJ---*--• -

~-- ---· • -·=-= - -~ . ~--- ~ • , ·--= - - - ----One lit ../tle mom- ment m01·e,

My eyes have tolcl 1ny love,

2. lies'st die Wahr- heit 'raus,

1. hab' ein Wort fiir clich, c

J.lfaud , One lit - tle nwm -mmt rn01·e,

J.liaud, And on m,y bum - ing cheek,

Maud, Selbst wenn cler Mnnd nicht spricht.

Maud, Halt's li:in - ger nicht zu - riick.

I

You've

Mein

Nur accel.

~-...j-=j-==r-==--!-=1-~-____::::-~_=1_· ===~--~=----------~ • =-. =it== ~-- =d - ~~ -=1- -=1---=- ~ ..-. ~ -= - . -~===i~3 -------- ______ , __ ,_ -P---~--~- - -o-----p

1. have a wol'cl to speak, JJiaud, I nev - e1· spoke be - fore. What

the ten - clr>l' tO?tght, 11Iaud, "'liy lips. 1·e-jnsed to speak. I

Copyright-Kunke Brothers: 1875.

2. Hen; ge -, hort uur dir, Maud- Viel Wor - te ich nicht find, Ge-

1. Lie - be kann es sein , j\laud , Und, ist':.; nicht T1iu - schung hier, Mu-D a tempo .

.------------------....... .------------------....... ---~ ~ ~- _r-t-~ ~ !-r ~ 4 --:JJt~ ~ -~

can it be lnt t A.ncl do I riuht - ly uuess, 'Tis

yave !fOU all ?n!f heart, JII/url, ' Tis nee(l - less to con - fes:·; ; Ancl j;f--------1-------------·-------==~ ~---=--=~==~ =""* ==l==j ===l= ==j ===-1- -=j==~-· ==j==-1--1-i:---- ---- - -------.j---- --------1----- ------1----l- -tJ - -- ----.. - - ----..:J_-:---==1=-----:=_---_.------=---==-----

-.- -· - -#P -fill -.- _._ T T -.-

I ~==--=j====--==~-=i=--*==-- -=j- -- -j ~ ~ -j- --------- -::J--- 3 ____ ==1-- - ==-----------j-------~--------=-------------p_--------------·------------------

2. hort dcin llcrz anrh mir, Maud? Sag' "ja ", lieb llerz, ge - sehwind. Ver-

1. sik ist's dei - nem Ohr, Maud,- Sag' ja, dn glau- best mir. Wo-

. E V ?'it. a tempo. I I ' I ------~ ~

--.;J--~-~---~-~---1---j--~~----- ~zr----~fr ~===~==- -. ,. ~= =~ ~ -. ·- ·= =~ === ~ --:= -~ "' !~ ~­p.: -=t=_=t:== __ -~·----- ---·--· - ----- -

S'iC in · ymt1' ear, Maud, Oh dw· - ling tell me "yes". The

will yott give me yours, Maucl CJ Oh cla1· - ling tell me "yes". 'Tis

~ ----------------~- -------- - -------==j==---~=--=--:= =j==---~== - ~==---==---=--=----:= ---=--=--*----~-----~- ---~ --- - --===1-----=t=w --=====r-------=·--______ , ______ ---4------, _--H- - =J=-1=---

., a a 1 . i-•- ~ - -3 2 1 ;j'-. Y;) ._.13 + + ~ • + .t 1

colla paTte. 1

2 4 + ~

. --=f ~-=--~ --*= -~ ~-~ ~~ ~ ~ ~ ==1 ~~~~;~- -=- -- -- -=== -T

2. schmah' nicht ol - che I~ieb ', Maud, So En - gel - rein und treu - - Ich

1. von m ein Ilerz ist voll, Mand,- 'VaR soll ·wohl a - gen ich- Nicht F .

.----- -... v .-----=12:=-===1=--==1===~==@==---==::J=--=~==R=---=--=---=--==l==E--===--==-----==3 =-- " ~ • E=: -::::::__~ - •_ - E: ~- ~. !-:E-~ ~ ~~ 3

of my heart, Mattd, Th eJ·p's Ut - tle neecl to tell, There's

to stm·ve a love, Mrwcl, 8o wor- Rhip - fHl ancl true, I

[On e Little Moment More, Maud-2.]

•

2. wei..:s ein 1. Wor - ie rei - ehPH

ll.:tllf.\, :Man<l, Ge - nug - sam gro::;s fiir zwei. .)laud - Ja, lnng' schon liebt' ieh dich! ! !

·---~ v

,~--· ----~--...j-~----::j---=4-~§ _::j..=-~------~-~--~1: _..___::::j.==::::::j==---__!- -•== --=--=·=--=-...~=--==1=== =--=·=--rtj=--===1= ---.,--===~=- ~-=---_1/__ _ _ _ .. __ ,. __ t _ _ -~----·----·-- · - -· - - - "+'!.__- · - - --;---- .!'L...l.!---r---r--r--- - - - - ------- - ---- - - - --- - zj- -- --

1. lit - tle 1uwl to S((!J, Mawl, I lo~"-'d yon long and W Pll.

2. know a lit - tlA cot, J.lfand, Q1tite lm·ue e - nouuh j'u1· two.

~ -~-=1~~~--=~-J ==~a, - ~ _a=:- -= ~ ::j _:~~~ ----=1------~-==1----~-----~-·----:F-"11- ~19----------- --a- --ill-- ---· - -• - -• - -• --,J- -.:.,....-' -+ -• - -tz::;>_ ~-r --:J-.___,. .___..,. ...,. -.:.,....-' - z::;>- ~~- ~!t

4 ~· 1 +

·--=~ ==::::::j. ===:j- -~ - . _- =~~ l =c --1L--- - ---- ---- - ------ ---------- ------ -- ---~-- ~-

....k.-----zj-----~-----·- Q _ ____ _ ~---!-- ~-

+ ~ - - ~

2. Nur mir gc 1. Ein Siillf - zer

ho - rest clu, ~I:lud,

of - fen - bal't, MaiHl, Und nie ,,·irst du Das JIC'r:t., wie oft

be - reu'en, man :find't,

H __. --._ V

Im Galt

IL ~E --E ~ - J--1:=~- .~ -~-=@ _j ~ -__:~ _1-~ t.l· There's lan - gnage in a sigh, Maud, One's mean - ing to ex - p1·ess, And 2. Ancl yon will be my own, J.l'Iaud, .And ,1/0tt will ev - er bless, Through

_j ___ ...j __ ...j_.---l_- -,------- --j----1---j--!-

~---'=!'1 ~ ~ L ~ __j =j i===L --.· + F-~ -·-: 4--·- - --,J---_1.------=s=· -_-_,_---,J---· ---=-·-~~--1 · _-a

a 4 4 + + 1 +

2. ~oun - schein dei - ues GI iicks, Maud, Deiu ",J a, es soll so sein! " 1. der von dir fiir mich, Maud? Sag' ja, lieb Herz, ge- schwind.

V t'it. a tempo.

~_!J----+:=---J _ __j_~--1-----j--£~------ ~--=------ ----~ ··==--·--~--~= =•--=--j==--.=;==.,- =j==--,--=--!--==1- _:=:j===--==--==~

==l====+=-=t===-~--= =~·==--=====---= ~~~=--=~==~- ~-==--==---===-it fm· me, JJfaucl 'J. Oh dm· - ling, tell me "yes".

your sun - ny life, JJfaucl, Th e clay :I.JOtt an - swered "yes".

(One Little Moment More, Muud-3.]

•

492 KUNKEL'S MUSICAL REVffiW, JUNE, 1881. ·

\.ARC EST WAREROOMS!

Haines Bros.,

~="ischer,

Story & Camp

PIANOS -AND-

ESTEY ORGANS.

FINEST STOCK! LOWEST PRICES! EASIEST TERMS !

STORY & CAMP, 203 North Fifth Street, ST. LOUIS.

PIANO-FORTE 1v1ANUFACTORY,

700 Harrison Avenue, from Canton to Brooklyn Street, BOSTON, MASS ..

KUNKEL'S MUSICAL REVIEW, JUNE. 1881. 493

continue, and it was imperative, at whatever price, to inform Beethoven of the impossibility . But no one '~rould undertake the ungrateful task. Duport dared not venture; for .Umlauf there was something partic­ularly delicate in making sueh a communication, and it was only natural that he should endeavor to escape the task. While the point was being discussed, Beethoven moved about nneasily in his chair, tuming his head right and left so as to read in the physiogno­mies around him what wa goin~ on; but on every side he beheld only mute impassibility. "Suddenly/' ays Schindler, ''he called me in an imperious voice,

and, holding out his tablets, ordered me to give him the solution of the enigma. 'l'rembling all over, I

Smith-The papm·s say Patti is coming to the United States· traced the words: 'Let me entreat you not to proceed . . Tones-Well, my paper says she is not. 1 '11 1 · f 11 1 1 H

SMITH ANQ JONES.

Smith-And, by the way, my paper says Dengremont is WI exp a1n nlore u Y w 1en you are at lOme.' e -eighteen years old or more. gave one leap from his chair, and, gettin<r over the

Jones-And my paper savs he's only iifteen. pit-railing, exclaimed: 'Let us go quickly I' He then Smith-I dare say they all lie. · ·a t b th t 1 · 1 d · tl · t1· Pf Jones-Yes, they do, old boy, they do. 1 n a one rea 0 ns o glllgs, · len In tle arr-

gasse, Leimgrube suburb. When he got indoors his BEETHOVEN'S LAST CONDUCTING. strengh failed him. He fell inertly on the sofa, and,

covering his face up with his hands, remained mo-rt was in the autnmn of 1822, says L e Menestrel that tionless till dinner-time. After he sat down to table,

Beethoven's Fidelio was reproduced on the boards of too, it was impossible to extort a word from him."­the Krernthnerthor theatre. As soon as it had been "'l'hat fatal November clay," adds Schindler, "was ·decided that the opera should be put on, tne question the most sorrowful one in the career of the poor com­was discussed as to whether Beethoven should be poser, who was so terribly tried. Ho,vever great his asked for his co-operation by conducting it. Beetho- anguish may have been on previous occasions, never ven's cruel infirmity, which continued to grow worse, before had he received so fearful a blow. Only too should have caused the rejection of this idea, bnt the frequently I had an opportunity of seeing him ex­desire of seeing him once more at the head of an or- po ed to vexation, and more than once 1 beheld him ·chestra rendered the persons concerned incapable of bent down under the weight of his misfortunes, but due reserve. 'rhe unfortunate composer was, there- I had always known him, after a moment's prostra­fore, asked to direct the study of his W')rk, and, tion, raise his head and triumph over adversity; on uneonscious of his misfortune, unhesitating-ly ac- this occasion, l10wever, he was stung to the quick, -ccpted. It was resolved, however, to give him as. a and to the day of his death lived under the impre --coadjutor to OapellrneistP?' Umlauf, who was to stand sion of the terrible scene." behind his chair and restore order among the instru- ------------ -mental host if by chance the composer's deafness I A'r the funeral of Lord Beaconsiield the organist was directed ·should thro'w 'them into 'disorder Uulucl·ilv 'this to play Beethoven's" Funel'all\farch," as the lJo~y was borne

. · . . · " ·'' through the nave of the church, and" Oh, Rest m the Lord" precautiOn proved InsuffiCient, as vve shaH see. On as the procession left the building-. The great s tatesman was the day of rehearse!, Beethoven, accompanied by a dev~te~ .lo';~r of these two selections, especially the al'ia Schindler, went to the theatre and took his seat at the fl'om EliJah ___ •••-----conductor's desk. 'l'he overture went off without any PREMIUMS hitch, but at the very first vocal number-the duet · bet'vveenJacquino and Marcelina-there was confusion Kunkle's Musical Review. -among the artistic phalanx. Alas ! it was only too -certain that the master did not hear a note of the vocal parts, and could not, therefore, be relied on to mark the proper moment for each artist to join in. Amid the general confusion Umlauf restored silence, parleyed for an instant with the two singers, and gave the sig·nal: da capo. Again it was impossible to go through with the number to the end; the instrnmen­tnJists followed faithfully the beat of their conductor, but the sing·ers, getting perplexed and troubled , were unable to keep time. 'l'his state of things could not

~All our subscribers receive, as a premium, the full amount of their subscriptions in music of their own selection. Thus, a four months' subscription entitles the subscriber, without further charge, to fifty cents' worth of music, a six months' subscription to seventy-jive cents' worth, one year's subscription to one dollar and fifty cents' worth. · ~Send for our new and elegant Catalogue of

modern and c ssical music. 'l'HE PUBLISHERS.

WAR.EROOMS: 666 ·wASHINGTON ST., BOSTON,~ MASS.

Correspondence Solicited and Agents Wanted.

•

I' ! I

•

494 KUNKEL'S MUSICAL REVIEW, JUNE, 1881.

TIMES PRINTING HOUSEl (:,:::,~:~:~~:~-0:--\ i SCHOOL CATALOGUES, i : i i PROGRAMMES, i ! INVITATIONS, I JAS. R. BISSELLJ PROPRIETOR.

~RTISTIC PRINTING~! ADDR~O '

j THEATRICAL PRINTING,!

j POSTERS, ETC. l 1 -ALL IN- f

i NEW AND NOVEL

lDESIGN"S.l l OFFERED AT PRICES THAT l

CHARLES E. WARE, Business Manager, · '.fiMES BUILDING, ST. I,OUIS.

t DEFY COMPETITION .. ~ <:>

.... ...................................... ....

ST. LOUIS

" -~ PIANO MANUFACTURING CO., ) OFFICE AND FACTORY, 1922 MENARD ST.,

I ST. LOUIS, :MO . . / ~

-~~ • G)\~ GEO. MITTAUER & CO.J PRoP's. E M. BOWMAN (Editor Weitzman's l\fanual of Musical M I. & A. EPSTEIN, Pianists. Address 2012 Olive Street,.

1 Theory), Organ, Piano·Forte, and Theory, Jefferson Av- • or Beethoven Conservatory, 16th and Pine Streets. enue and Benton Street.

Rev. T.P. Childs, Troy, Ohio has the only known means of Permanent Cure for this loathsome disease. A full Statement of his method sent free. CuRE yourself at HoME. No charge for consultation by mail. Address

REV.T.P. CHILDSTROY,OHIO.

SIGNOR 1!". PAOLO TAMBURELLO, the distinguished Com­~._ poser and Vocal Teacher, has migrated to New York City His address IS room No.3, 907 Broadway.

J'C>~N" SO~:::EI..C>E:J:>E::Fa.,

PRACTICAL PIANO MOVER,. Special attention paid to Moving and Unpacking Pianos.

PRICES REASONABLE.

Address: MERKEL & SONS, 214 Soutb Flcth Street.

JACOB CHRIST, Manufacturerof and Dealer in N"o. ::1.16 S. F:lfih. S't:ree"t,

ll••is aad Bk•~s~ llePeb ~ i '•ilo•~· Opposite Southern Hotel, ST. LOUISJ MO .. 203 SOUTH FIFTH STREET,

ST. LOUIS, MO. D1·ess Coats and EverJ,ing Suits a Specialty.

MARCHAI~ & SMITH,

The only House in America th:!:r~ls Piano and Organ on its own merits, sending direct from factory to purchaser, avoiding all commissions, middlemen's profits and dealer's expenses. Our Pianos and Organs have been

TRIUMPHANT THE WORLD OVER. FOR'l'Y 'l'HOUSAND sold. Not one dissatisfied purchaser.

Guaranteed for Six Years. Sent for trial. Purchaser takes no responsibility till the instrument has

been tested in his own house and approved. Magnificent Pianos and beautiful Organs cheaper than any

other house. ~Circulars, with thousands of commendations, sent free.

MARCHAL & SMITH, 8 West 11th St., NEW YORK.

KUNKEL'S MUSICAL REVIEW, JUNE, 1881. 495

co. ~a.:n. -u.fa.ct-u.:re:rs of

SQUARE, SQUARE GRAND. AND IMPERIAL UPRIGHT GRAND

IL IIJ]C~:NJO~~ Every Instrument Fully Warr·anted.

OONSERV ATORY. Tuition in music, $15 per quarter, with the ablest teachers.

This includes collateral advantages amounting to one hundred and twenty-five hours of musical instruction in a l:lin~~;le quar­ter, which is twice as much as is offered by any musical insti ­tution in Europe. Students in the Convervatory have access to a library containing over 8,000 volumes on music. English branches free. Pupils now received. Send for calendar.

E. TOURJEE, Music. Hall, Boston.

MUSICAL HERALD. A monthly journal of 32 pages, for teachers, students, anu all

lovers of music. The foremost writers in all departments of musical culture, including voice, piano, organ, orchestral in­struments, choral music, both secular and sacred, harmony, theory, etc., have been engaged, making it a journal indiHpcn­sable to a good musical education. Pastors, chori ter:-; , organ­i. ts, and choirs will be especially interes ted in the department of Churcll and Sunday-school music. Terms , $1.50 a year, which includes

$10 Worth of Music of the highest character. Address THE ~fUSICAL 1-IBRALD Co., Music Hall, Boston, ~laHs. Send stamp for postage.

AD-VICE TO SINGERS, BY A SINCER.

This little book is worth many times its co:st Lu every teac ltcr and student of mmliC. It is designed for a poeket companion, to be referred to daily, and a:; such will prove almost invalua­ble. It may be obtained of book and mu:;ic dealers generally. Price, Jlcxible cloth , 7:'5c. Folcnt by mail. I<J . TOlJI{,J I~E.

MLlSiC Hall, Bo-Lon.

Q) Q >== c3 00 1-< +"' >== s Q)

.s ~ c3 ~

::a 0 1-<

>. 0 '"C

~ c3 ·z ~ Q) ~00 ~ ~

Q)

.s ;a c3

~ ~ 8 0 00 ~ Q)

Q) 1-< Q

'+-< ~ 0 c3 Q) 1-< Q ~

c3 s:: -a ~

1-< .._3 c3 00. -::; z ~ '+-< 0

~ ~ ...... s:: r.Q

0 0

~

RICHMOND, INDIANA.

G-ElC>. ~I::L.C?:rEl::Nr MANUFACTURER OF '

Church and Parlor Pips 0 rganst· Office and Factory: 639 & 641 Summit Ave.,

SAINT LOUIS, MO. Tuning and Repairing done at short notice. Drawings, Speci11.­

cations and Prices furnished free on application.

~

~ s. f

~ .~

~ 0 ~ g; ~ ~ r:IJ ~

~ ' Q> .... = ~ ~

lo!j

s; =" ~

= ~

~ """' e 00.

~ ~

00. ~-

•

' i

•

•

~::S..A.LT:J:l.'\I.I.C>~, J.'\1.1:::1:).~

Grand,. Square and Upright PianoHF artss These Instruments have been before the Public for nearly :fifty years, and upon their excellence alone have attained an. un­

pwrChased pre-eminence, which establishes them as unequaled in Tone, Touch, Workmanship and Durability. Every P1~no fully Warranted far :five years. Prices greatly reduced. Illustrated Catalogues and Price Lists promptly furnished on appli?atwn.

-wM. KNABE & CO., 112 Fifth Avenue, New York. Nos. 204 & 206 W. Baltimore St., Baltimor:e

READ & THOMPSON, Wholesale and Retail Dealers for the KNABE PIANO, Sl.S OLJ:VB STRRET., ST~ . LOU:xts· .. MO • .

CHICKERING & SONS' GRAND, SQUARE ·AND UPRIGHT

===5 7 '0 0 0:::::=::::: BOLD SINCE APRIL 1st, 1823.

The use of the Chickering Pianos by the greatest Pianists, Art Critics and Amateurs, has given to the Chickering pianos an universal prestige and reputation far above all other Pianos manufactured in this country or Europe. The overwhelming verdict of the very highest art talent, including Dr. Franz Liszt, Gottschalk, Dr. Hans Von Bulow, Louis Plaidy, Stephen Heller, Carl Reinecke, l.\'Iarmontel, Arabella Goddard, and hundreds of other masters of the art, places the Chickering Pianos of to-day at the head of the entire list o{ Pianos made in the world.

Illustrated Catalogues and Price Lists mailed on application to

CHICKERING & SONS, Cor. 18th Street and 5th Ave.

Chickerb:l:g Hall, New York, or 156 Tremont Street, Boston, Mass.

)