The Monthly Musical Record, 1893

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THE MONTHLY
Jfttral Jprnri.
Volume XXlII.-l89^;K\i;v
LONDON :
AUGENER
&
CO.
86, NEWGATE STREET, E.C.
THE NEW YORK
PUBLIC LIBRARY
814265
AS 'OK, LENOX AND
TlL_UtN
(2
FOUNDATIONS
19i7
_*
I N D EX.
Amalgamated Musicians' Union, The. By E. Prout .
145, 248 I Incorporated Society of Musicians
PAUB
Bach, J. S., The Organ Works of. By S. S. Stratton 319, 245, 271
Bach, J. S., The Shakespeare of Music. By Ernst Perabo . 54
Bach's " Wohltemperirtes Clavier," Dr. H. Riemann's Analysis
of. By E. Prout
98
Bach's " Wohltemperirtes Clavier," Dr. H. Riemann's Edition
of. By E. Prout
Beethoven and Cramer
ISO
Beethoven Festival at Bonn, The
_
Beethoven's Pianoforte Sonatas ......
Best's, W. T, Edition of Bach's Organ Works . 219, 245,
Best, W. T. " The National Anthem." From Cecilia. 174.
,,
Cecilia. A Collection of Organ Pieces 128, 202,
Biblical Operas
Blow, Dr., and his Pupils
Charles Gounod
Jensen, G. Classical Violin Music ....

34, 63, 255
" Gavotta Graziosa." No. 13 of Perles Musicales. '
Piano Solo .
57. 58, 59
,,
"Gavotta Graziosa.' For Violin and Piano
57, 61, 63
Vortragsstudien
63, 87
Johajin Sebastian Bach, the Shakespeare of Music. By Ernst
Perabo
54
Kirchner, F. ' Menuet a la Reine." Op. 432.. Piano Solo
; .2 of Six Little
223, 227
Krause, _E. " loyful Play inthe Garden.",. .-fh:
Sketches. Op. 77..- Vialio-Solo- V ". .
,_. ,
Kreuz, E. ' A LafceÛffairy Boat.'.' No. 4 of Six Songs '
Op. 26
104, io6, 107
Concerts :
Bach Choir
89. '35
Crystal Palace Concerts
. 16, 64, 65, 89, 111, 226, 257, 275
Frickenhaus', Madame, Recital
112
Ganz's, M. Wilhelm, Concert
178
London Symphony Concerts ....
17, 65, 275
Madame Patti's Concert
159
Miscellaneous Concerts and Musical Items . 17, 41, 65, 90, 112,
135, 160, 178, 208, 231, 257, 276
Operatic Concerts
130, 159, 178
Paderewski's Recitals .
16, 276
Philharmonic Society .
40, 90, 130, 159
Richter Concerts .
160, 177
Royal Choral Society .
. 40, 65, 90, 112, 276
Sefior Sarasate's Concerts .
40, 64, 159, 257, 275
The Popular Concerts .
16, 41, 64, 89, 257, 275
The Promenade Concerts
. 207, 226
Wagner Concert .
. 90
Westminster Orchestral Society
89
Connection between the Preludes and the Fugues of the
Wohltemperirtes Clavier .
121, 47
Cramer, Beethoven and .
150
Leclair. "Gavotta Graziosa."';. -No. jj. of-T^rles Musicales

Piano Solo-, \
I
'. ' .
. S7, s8, 59
"Gavotta GraztosaV* A'rr. for Violin and Piano by
G. Jensen .*
57 61 6
Letters from Leipzig 8, 33, s6, 80, 104, 126,' 132,' 174," 200, 223^
249, 272
MacCunn, Hamish. "Dreamland." Song.

.
. 9,10,11
Mars and Music
266
Max Pauer in Vienna
81
Mendelssohn-Bartholdy, -Eelix
26
Mere Names
198
Missing Music
265
Modern Opera, Studies in. A Course of Lectures delivered
in the Philosophical Institution, Edinburgh, by Franklin
Peterson ...
6, 30, 53, 77, 123, 149, 169, 217, 267
Moffat, A. "The Fairy's Tea Party." Two-part Song for
Female Voices
272, 281
Moritz Rosenthal and Eugen d'Albert
32
Musical Festivals :
North Staffordshire
248
Worcester ....
....
222
"Musical
Form,"
E.
Prout's.
By
Dr.
C.
W.
Pearce
.
.
193
Dr. Blow and his Pupils
Musical
Notes,
17,
41,
65,
90,
112,
136,
160,
183,
209,
231,
257,
276
Dr. Hugo Riemann's ' ' Dictionary of Music "
171 Musical Prodigies, Youthful
121
Music in Leipzig. (See Letters from Leipzig.)
Examination Music of the Associated Boards of the Royal
Music Pages . II, 35, 59, 83, 107, 131, 155, 179, 203, 227, 251, 281
Academy and Royal College
224, 250
North Staffordshire Musical Festival
Felix Mendelssohn-Bartholdy
26 Noskowski, S. " Feuille de Trefle." Op, 44, No." 3. Piano 2|S
S010
152. 153 l
Giuseppe Verdi
4g Novelties of Augener & Co. . 24, 48, 72, 96, 120, 144, 168, '192,
216, 240, 264, 300
Gluck's ' ' Armida " .
.
.
.
,
.
.
.73
Gounod, Charles ......... 241
Old Masters, The .
3
Operas :
Halevy, F.
97 Criterion Theatre
208, 275
Harmonic Analysis. By L. Prout ... 4, 26, 50, 74, 101 Daly's Theatre
. 226
Haydn's Symphonies
,
x6g Drury Lane .
106
iv
INDEX.
TAGB
Reviews {continued :
Operas (continued):
Gaiety Theatre
226, 275 10, 63, 87, 106, 273. Jensen, G./34, 63, 87, 106, 255, 273.
Guildhall School of Music Operatic Class .... 130 Kelly, 225. Kirchner, 9, 58, 63, 153, 17s, 201, 255.
Haymarket Theatre .
.
40 Kjerulf, 176, 202, 225, 274. Kleinmichel, 224, 250, 273.
Lyceum Theatre
15, 64, 88 Kreuz, 10, 63, 87, 106, 176, 202, 225, 256. Lachner,
Lyric Theatre
88, in, 257 255. Laubach, 127, 224, 250. Leclair, 58, 63. Lee, 176.
Miscellaneous Operatic Items .... 39, 178, 208 Loeschhorn, 9, 58. MacCunn, 10, 87, 106, 176, 202, 225,
Palace Theatre
178 256, 274. Mackenzie, 39. Mann, 57. Mart, 20T. Mayer,
Prince of Wales' Theatre
m, 159, 257 82. Mendelssohn, 58, 63, 82, 127, 175, 201. Mitchell,
Princess's Theatre
256 202. Moffat, 10, 39, 154, 2j6. Moniuszko, 250.
Royal Opera, Covent Garden .
.
15, 64, 129, 154, 177 Moszkowski, 58, 87. 154- Mozart, 87. Naylor, 154.
Savoy Theatre
130, 256 Nicholls, 82. Nicode\ 105. Noskowski, 58, 82, 105, 153,
Operas and Concerts 15, 39, 64, 88, 106. 129. 154, 177, 207. 226, 250. Palmer, 274. Pauer, E., 9, 58, 88, 104, 153, 201.
256, 27S 273. Pauer, M., 39, 58, 82, 105, 128, 153, 175, 202, 224. 255.
Operas, Biblical
217 Pearce, 176. Perles Musicales, 58, 82. Pfeiffer, 58.
Organ Works of I. S. Bach, The. By S. S. Stratton 219, 245, 271 Pleyel, 63, 87. Prout, E., 202, 249. Purccll, 255, 273.
Rea, 63. Reger, 34, 82, 105, 128, 176, 274. Reinecke,
Our Music Pages .
9, 34, 57, 81, 104, 127, 152, 174, 201, 223,
249, 272 10, 81, 82, 105, 127, 128, 153, 175, 201, 274. Rittcr, 10,
34, 63, 87. Rode, 63, 106. Ronald, 39. Scharwenka, 87,
75. Schubert, 128, 176, 224. Schumann, 58, 106. Schytte,
Pauer, E. Pianoforte Library
9, 58, 104, 153 63, 104. Senior, 128. Short Original Pieces, 250, 273.
,,
The Pianoforte Teacher. Articles intended for
Silas, 225. Simpson, 63. Smallwood, 255. Smyth, 88.
Educational Purposes . 7, 31, 55, 79, 103, 124, Squire, 39, 176, 224. 274. Stanford, 134, 224, 225. Strelezki,
\ ...
151, 172, 199, 221, 247 9, 10, 34, 58, 82, 105, 127, 153, 175, 201, 220, 255, 273.
Pauer, M. " Wfltx," , No. 8. of Miniatures. Op. 7. Piano
Swepstone, 274. System of Notation, 207. Thomas,
Solo . ". " ' 'tJ
; .' . ,.# .
.
. 81, 82, 83 -E., 128, 154, 176, 202. Thomas, O., 226. Wagner, 223,
Pauer, Max, in Vienna . ' .
... 81 Weber, 176, 256. Wood, 255, 275. Wurm, 153.
Pearce, Dr. C. W. E.- frout's .' I Musical.'ôrm " .
.
. T93 Riemann's, Dr. H Analysis of Bach's " Wohltemperirtes
Perabo, E. Johann* Sebastian* Bejel/, the Shakespeare of
Clavier." By E. Prout ... 98
Music . VV." ; V'"--'* ;
54
Dictionary of Music .... 171

Peterson, Franklfn.."Stu^s.1h'M^drn Opera. A Course of
,,
Edition of Bach's "Wohltemperirtes
Lectures delivered'in the /'hilpsophfcal Institution, Edin
Clavier." By E. Prout .
.
. 242
burgh .
. .
6,*3d,-5j, 77, 123, 149, 169, 217, 267
Pianoforte Teacher, The. Articles intended for Educational
Beethoven's Pianoforte
52
Purposes. By.E. Pauer . 7, 31, 55, 79, 103, 124, 151, 172, Sonatas,
199, 221, 247 Stratton, S. S. The Organ Works of J. S. Bach . 219, 245, 271
Strelezki, A. " Deuxieme Valse Melancolique." Piano Solo.
Preludes and Fugues of the Wohltemperirtes Clavier, Con
nection between
121, 147 Studies in Modern Opera. A Course of Lectures delivered in34, 35
Prout, E. Dr. H. Riemann's Analysis of Bach's " Wohl
the Philosophical Institution, Edinburgh. By Franklin
temperirtes Clavier"
.
.
.
.
.98
Peterson, . .
.6, 30, 53, 77, 123, 149, 169, 217, 267
,,
Dr. H. Riemann's Edition of Bach's "Wohl
169
temperirtes Clavier "
242 Symphonies, Haydn's
,,
The Amalgamated Musicians' Union
145, 248
Prout's, E., " Musical Form." By Dr. C. W. Pearce . . 193 The Amalgamated Musicians' Union. By E. Prout . 145, 248
Prout, L. Harmonic Analysis
... 4, 26, 50, 74, 101 The Beethoven Festival at Bonn
152
The Old Masters
3
Received for Review
39, 129 The Organ Works of J. S. Bach. By S. S. Stratton 219, 245, 271
The Pianoforte Teacher. Articles intended for Educational
Reinecke, C. " How Bright is the Earth." No. 9 of Vocal
Purposes. By E. Pauer 7, 31, 55, 79, 103, 124, 151, 172, 199,
Ducts. Op. 217
127, 128, 131
221, 247
Rf.vif.ws :
Acton, 274. Allison, 273. Ashton, 58. Augener's Library
The Year 1892.
. ,
1
of Pianoforte Music for Study and Amusement, 9, 58, 104,
Tschaikowsky, Peter
266
153. Bach, 87. Barnett, 9. Beethoven, 87, 201, 255,
273. Behnke, 176. Best, 128, 202, 224. Bordier, 106.
Verdi, Giuseppe
49
Broadwood, 207. Bruckner, 128, 154. Chambcrlayne,
Vienna, Max Pauer in
81
273. Claussmann, 105, 128. Cobb, 39. Concone, 255,
274. Corder, 58. Cowen, 225. Dunkley, 225. Dvorak,
Wood, C. "Characteristic Piece in Canon." Op, 6, No. 3.
106. Dyck, 256. Examination Music, 224, 250.
Piano Solo
249, 251, 255
Fuller-Maitland, 57, 207. Goddard, 272. Goodwin,
Worcester Musical Festival
222
255. Gurlitt, 58, 82, 128, 175, 201. Hadow, 10.
Wurm, M. " Valse de Concert. " Piano Solo . . 201,203
Handel, 34.
Haydn, 39, 58, 82, 105, 128, 153,
175, 202, 224, 255. Heale, 63, 176, 202, 225, 236.
Youthful Musical Prodigies
121
Hegyesi, 34. Henschel, 154. Henselt, 58. Hermann,
{Registered for Transmission Abroad.)

Subscription, Free by Post\ 2s. 6d. per Annum, payable in advance, by Catk or Postal Order, to Augener and Co.,
86, fcewgate Street, London., E.C.
Vol. XXIII., No. 265.]
JANUARY
THE YEAR 1892.

THE beginning of the past year was marked by a most
regrettable event of much significance, which goes far to
counteract the many favourable signs of musical progress
which wc see when looking back over the events of the
year. This was the collapse of Mr. D'Oyly Carte's
Royal English Opera in a little less than a year from the
time of its establishment. It is sad to turn back to Mr.
Carte's address to the public, and read, " 1 am endeavour
ing to establish English Grand Opera. . . . The enterprise
is in the hands of the public, and it rests with them
whether a national opera-house shall be established on a
permanent basis or not." This failure, following on the
similar failure of Mr. Carl Rosa and a long line of
predecessors, must be accepted as final ; and we have to
recognise the fact that the capital of the world, with
twenty or thirty theatres, and five times that number of
music-halls, does not contain music-lovers enough to
support one theatre for serious lyric drama in its own
language. It is a humiliating reflection, and if anything
could make it still more humiliating, it is the fate of the
theatre thus left vacant. The intended Temple of the
Muses will become an adjunct to a refreshment-bar for
the devotees of tobacco and whisky, and will re-echo the
applause bestowed on the frenzied dances of the modern
Mxnads, and the apotheosis of the London costermonger.
Mr. Carte's company is now dispersed to the four winds,
and how excellent it was is shown by the high position at
once secured by so many of its members in other fields.
Miss Esther Palliser, Miss Lucille Hill, Messrs. Ben
Davies, O'Mara, Oudin, Salmond, Bispham, and
Frangeon Davies, may be named without prejudice to
others almost equally excellent. Another detail referring
to the extinction of past glories should not be forgotten
the destruction of Her Majesty's Theatre, which, though
not actually the historic building associated with the
palmy days of old Italian opera, at least stood on the
same site, and had many glorious memories of its own,
for it was here that Titiens and Nilsson, Murska, Trebelli,
Giuglini, Cardoni, Santley, and scores of others drew
crowds in the Maplesonian days.
' ' Men are we, and must grieve when eVn the shade
Of that which once was great has passed away."
265
i,
1893.
[Price 2d. ; per Post, 2M.
And now let us turn to the other side of the picture.

Whilst English opera at Cambridge Circus tottered and
fell, French, Italian, and German opera at Covent Garden
enjoyed almost unprecedented favour under the able
management of Sir A. Harris, who, as the star impresario,
seems to have ousted the star vocalist from the first place
in popular esteem. A stronger company has scarcely
ever been got together : among the ladies were Mmcs.
Melba, Eames, Nordica, Macintyre, the sisters Ravogli,
Mravina, Arnoldson, Calve-, and Deschamps ; while the
male contingent included the two De Reszkes, Van Dyck,
Maurel, Lassalle, Montariol, Plancon, Dufriche, &c: and
all these for French and Italian works only. With such
a company there was little need for novelty, and in ths
absence of any better reasons to justify the selection,
perhaps we should suppose that a desire (very uncommon
among operatic managers) to give a chance to un
recognised talent led Sir Augustus to produce Mr.
Bemberg's Elaine and Mr. De Lara's Luce deWAsict, and
(later in the year) Mr. L. Emil Bach's Irmengarda. The
production of Mascagni's Amico Frits was more intellig
ible, but, though fairly successful, it is far from equalling
the Cavalleria.
These two works introduced a new
comer, Mme. Calve, a fine singer, and an actress of a very
high order. But the great feature of the season was the
performance of Wagner's Ring ties Nibelungen, together
with his Tristan u. Isolde, and Beethoven's Fidelia, by
an entire German company, singers, chorus, and orchestra,
imported for the purpose. Although, with the exception
of three ladies, Sucher, Klafsky, and Heink, and two or
three of the male vocalists, Grengg and Lieban, the
vocalisation of the principals was rather unsatisfactory to
English ears, the dramatic ability shown was so striking,and
the ensemble in general so excellent, that a brilliant success
resulted, and henceforth it is clear that Wagner's works
are none of them too advanced for the English public.
This success will do much to promote the performance of
German opera in England, and Sir A. Harris and Herr
Mahler, the conductor, deserve our hearty thanks. An
autumn season of opera at Covent Garden was little
inferior either as regards the performances or popularity.
Signor Lago, to whom we are indebted for the intro
duction of Cavalleria Rusticana, attempted a short
autumn season of opera at the Olympic Theatre ; but
THE
MONTHLY
MUSICAL
circumstances were against him, and the season came to

a premature end. He, however, gave us Tschalkowsky's
Eugen Onagin in English, and a one-act piece of much
promise, Cczdmar, by Mr. Granville Bantock. Tschal
kowsky's work is hardly likely to be popular in this country;
for, in the absence of a knowledge of the poem from
which it is derived, the libretto seems incoherent, and the
music exhibits an incongruous mixture of styles.
The Carl Rosa Opera Company, though it no longer
visits London, has given performances in most of our
chief provincial towns with great success. Verdi's Otello,
Mascagni's Cavalleria, and Bizet's Djamileh (a work as
yet unheard in London), have been added to the already
large repertoire of the company. One of the most
significant and satisfactory symptoms of progress is to be
found in the operatic performances now given by all our
chief musical training colleges ; the Royal College
students having performed Cornelius' Barber in
December, 1891; Gluck's Orfeo a few days ago; whilst
the Royal Academy pupils gave a number of operatic
scenes from Mozart, Flotow, and Wagner ; and the
Guildhall students, Auber's Fra Diavolo. Important
results may be expected from the initiative thus taken.
The field of comic opera has not been less cultivated
than in previous years ; we may mention the works of
native origin, which are certainly not inferior in merit or
popularity to those of their foreign rivalsSir A. Sullivan's
Haddon Hall (to a book by Mr. Sydney Grundy); The
Mountebanks of poor Arthur Cellier, who died at the end
of the previous year, a few days before his work was
produced ; Cigarette, by Mr. Haydn Parry; and The
Baroness, by Mr. Cotsford Dick. An opera of a more
serious cast was Nydia, by Mr. George Fox, which was
first heard at the Crystal Palace. Before quitting music
in connection with the drama, we should mention the
incidental music written for Henry VIII. by Mr. Ed.
German, that for Hamlet by Mr. Henschel, and for King
Iâr by Mr. Hamilton Clarke. Dr. Parry's music to the
Frogs of Aristophanes hardly belongs to the same class,
but should be mentioned, for it suggests that the accom
plished composer may yet give us a comic opera.
The concert-giving societies and concert entrepreneurs
have as usual displayed enormous activity, but (except at
the Crystal Palace) with some falling off of enterprise in
the production of new works. Neither the Richter
concerts nor the Philharmonic have given us any important
novelty, and it has been left to Mr. Manns to encourage
young composers, a task which he always delights to
perform. To him Messrs. German, Cliffe, McCunn,
Lidgey, Wallace, and Barclay Jones have owed the intro
duction of new works to London audiences. Taking into
account the enterprise with which they are conducted,
and the excellence of performance, the Crystal Palace
concerts remain our chief boastlong may they flourish.
An unfortunate event has led to Mr. Cowen's resignation
of the conductorship of the Philharmonic orchestra ; and
though it is not likely that the performances will be
allowed to deteriorate under Dr. Mackenzie, his successor,
yet such occurrences injure the morale of an orchestra.'
Mr. Henschel's excellent concerts continue to grow in
favour as they deserve, and the addition of a choir may
be expected to increase this favour. Sir C. Halle's
attempt to obtain a footing for his Manchester orchestra
in the metropolis has failednot from any shortcomings
of the band or its conductor.
The Monday and Saturday Popular Concerts retain a
faithful few, but it cannot be denied that, save on excep
tional occasions, the attendance at these concerts is not
what it used to be. Some change is much needed. One
admirable result of these concerts is the establishment of
RECORD.
[January I, 1893.
chamber concerts in the suburbs, such as those of the

Musical Guild, Messrs. Hann, &c, many of which
deserve and enjoy local support in a high degree.
Pianists, violinists, et hoc genus omne, have come
forward in swarms, two of the number, M. Paderewski
and Sefior Sarasate, towering far above all others in
popularity and perhaps also in merit : the pianist in
particular achieving a triumph which, if sublime, has also
something of the ridiculous. Among other visitors new to
this country, Mile. Chaminade deserves special mention
as a composer of merit as well as an accomplished
player. Other pianists were Siloti, Slivinski, Lutter, Max
Schwarz, Wilibald Richter, and Isidor Cohn ; among the
violinists, Mile. Gabriele Wietrowetz and M. Gorski.
A new choral society, the Middlesex County Choral
Union, has been established to give choral works in
central London, and it is to be hoped that the opening of
the new Victoria Hall will, by providing a suitable locale,
help to further this end. Meanwhile, the Royal Choral
Society continues to give its admirable performances at
the Albert Hall. Still, it may be doubted whether such
an influential body ought to be satisfied with merely
repeating such works as Messiah, Redemption, Elijah,
The Golden Legend, Berlioz' Faust, &c.
Dvorak's
Requiem is their only work this year which is not
thoroughly familiar.
It is to the provincial festivals that we have to look for
the production of new works (a fact not creditable to the
metropolis), and they have not failed this year to do
their part. Leeds gave us Mr. Cliffe's second symphony
(a worthy companion to his former) and Alan Gray's
Arethusa; Gloucester produced Dr. Parry's Job, Mr.
C. L. Williams' Gethsemane, and Miss Ellicott's Birth of
Song; while the Cardiff Festival (a new birth) brought
Dr. Joseph Parry's (another Parry) Saul of Tarsus.
Job is probably the most important novelty of the year.
Mention should also be made of the good work done by
the Bach choir and some suburban choral societies, such
as those at Finsbury, Highbury, &c. Three distinguished
musicians, now Sir Joseph Barnby, Sir W. G. Cusins, and
Sir Walter Parratt, have received the honour of knight
hood ; but without disputing the claims of these gentlemen,
the world may well ask, Why these more than some
others ? The appointment of Sir J. Barnby to the post of
Principal of the Guildhall School of Music was generally
welcomed, and it may be hoped that important results
will follow, for at present the Guildhall School hardly
takes the position it might.
On the Continent the year has not been remarkable as
regards the most musical of continental nations. Brahms,
the most illustrious ofc German living composers, has
produced nothing important since his divinely beautiful
Clarinet Quintet, and no other composer has been able
to fill with sound the void created by the silence of the
chief. None of the grand operas produced, such as
Moszkowski's Boabdil, Draseke's Herrat, Weingartner's
Gencsius, Kienzl's Heilmar, &c, have earned more than
a succe's d'estime; nor, with the exception of Ignaz BriiU's
Gringoire, have the lighter works been much more
successful. At Vienna, the great Musical and Dramatic
Exhibition showed an almost unequalled collection of
musical treasures of every kind, and it is greatly to be
regretted that the epidemic prevailing at the time deterred
so many visitors from going to see a sight the like of
which will hardly be seen again for a long time. But
the theatrical performances in connection with the
exhibition did little or nothing for the glory of German
music. It was the Bohemian company from Prague and
the Italian companies who reaped all the laurels. The
performances of the operas of Smetana made a great
January I, 1893.]
THE
MONTHLY
sensation, and may possibly lead to the introduction of

the great Bohemian's works to many European theatres.
Young Italy has acquitted itself bravely this year, and
the lead of Mascagni is likely to be soon challenged by
Leoncavallo, author of / Pagliacci, Umberto Giordano,
author of Mala Vita, and Pierantonio Tasca, the newly
famous writer of A Santa Lucia.
Meanwhile the
patriarch of Italian music, Signor Verdi, whose Falslaffha.s
been a leading topic of discussion throughout the year,
holds over his work till February next. Signor Mascagni
must rouse himself for his next effort, for his last two works
live largely on the reputation of his first, and his rivals
are numerous, talented, and enterprising. The North
too, as well as the South, is sending out strong candidates
for operatic honours ; as, for instance, August Enna,
whose opera, The Witch, has made its way since January
from Copenhagen to several German towns, and hopes
shortly to make a triumphal entry into Berlin itself.
French music makes on the whole a better show than
German. M. Massenet's Werther was something more
than moderately successful at Vienna, and at home the
new managers of the Grand Opera and the Opera
Comique have displayed an unusual activity and judg
ment. The production of Reyer's Salammbo, of SaintSaens' too long unjustly neglected Samson el Dalila,
and of Berlioz's Troyens shows the direction that mana
gerial enterprise is taking. In the concert-world, too,
M. Gustave Charpentier is pushing vigorously to the
front, with a crowd of jeunes aspirants at his heels. And
the forward movement extends to Belgium, where M.
Paul Gilson has sprung into fame at a bound with his
symphonic poem, " La Mer."
Elsewhere, too, in Norway, Sweden, Spain, Portugal,
and America, we see the most encouraging signs of the
spread of musical taste, and the growth of musical talent;
so that, altogether, we may look forward with cheerfulness
and hope to what the year 1893 will bring us, provided
only that we ourselves will discourage the planting of
musical weeds, and encourage the growth of the good
seed wherever we find it.
The list of deaths for 1892 does not include any name
of quite first-rate distinction, but it comprises very many
from whom good work might have been hoped. Among
the chief persons whom we have lost are Mr. A. Goring
Thomas (March 20), Mr. Chas. Ed. Stephens (July 13),
Robert Franz (October 24), Ed. Lalo (April 23), Ernest
Guiraud (May 6), Ferd. Poise (May 13), Herve" (Nov. 4),
Baron d'Orczy (Jan. 20), H. Dorn (Jan. 10), and Mr.
J. Old (Feb. 4) composers ; among singers, Mme.
Trebelli (Aug. 17), and two prima donnas of a former day,
Mme. Rose Csillag and Charton-Demeur, besides Sig.
Ciampi and Bottero, singers of the old Italian buffo
school ; writers of dance music, Carl Faust and A.
Wallerstein ; teachers of singing, Sig. Lamperti and Mr.
E. Behnke ; biographers, Karasowski and Lampadius ;
publishers, Carl Warmuth and Alphonse Leduc ; together
with many others, whose deaths have been noticed in
our columns, but which do not seem to need recapitula
tion.
THE OLD MASTERS.
IT is now 1893, and therefore, one more year separates
us from those whom the world is pleased to call " the
Old Masters." What a familiar term it is! Everyone
is supposed to understand what is meant by it ; but only
start a discussion, and, like many other current terms or
phrases, it will be found to mean one thing to one person,
another to another. Drawl out the word " old," and
shrug your shoulders a la Franqaise, and it will be clear
MUSICAL
RECORD.
that by "old" you mean "old'fashioned." On the other

hand, pronounce the word firmly and with a certain depth
of tone, and you will convey the idea that the composers
to whom you refer are those whose reputation rests on a
solid basis, and whose fame entitles them to veneration
and even to affection.
We live in a radical age, one in which the traditions of
the past are being roughly handled, and one in which the
littleness of much that surrounds us not only hides from
us the greatness of the past, but also the true greatness
of the present. It would not be desirable, even if it were
possible, to prevent free thought and free inquiry into the
laws and customs which have been handed down to us
from past centuries ; but without calm judgment or sweet
reasonableness there is considerable danger of liberty
becoming mere lawlessness.
Men seldom adopt the happy mean, and setting aside
for the moment those who know that everything in this
world has only a relative value, and who feel that each
age is, to a great extent, a law unto itself, they may be
roughly divided into two partiesthe admirers and con
temners of the past. Each, up to a certain point, is right,
and each only sees clearly in which direction the other
errs, so that it seems almost impossible to make them
reasonable, or see each other's mistake. For instance,
though there may be old-fashioned things in Handel and
Bach formal figures, cadences, or ornaments which
have survived the purpose for which they were intro
ducedthe assertion that these composers are oldfashioned is far too sweeping. Those who have not been
properly trainedi.e., who have commenced their musical
education backwards, in listening to the works of Handel
and Bach have their attention attracted by the quaint
phraseology, and to that they listen and not to the deep,
earnest message underlying it. To those who can thus
read below the surface such things no more interfere
with the greatness of the music than the spots on the
sun with its brightness. The fact that even Handel and:
Bach were not always inspired, and that they have written
pieces in which the mannerisms are painfully prominent,
sometimes causes confusion in argumentthe quaint
features in the best music of these composers form acci
dental, not essential, elements.
Then again, on the other side, it is a mistake to swear
altogether by the Old Mastersto accept them in all
matters as eternal verities : this is the foolish obstinacy of
those who would maintain that the world is standing
still when it is fast moving round : they deceive themselves,
and, besides, act unjustly towards the great men of the past.
Look calmly for a moment at the matter : start from a
very early epoch, say the 13th, 14th, or 15th century, and
everybody agrees that the music is old-fashioned. About
Bach and Handel there is difference of opinion. So
also of early Haydn and early Mozart. Any attempt to
point out any marks made by time in Beethoven is still
fiercely resented, while to even hint at any weakness in
Wagner's music would be very dangerous, especially in the
presence of his worshippers. Thus, opinion varies accord
ing to distance. So long as there is any connecting link
between us and a composer, one tries not to see any sign
of mortality. There are still, for instance, connecting links
with Beethoven and Schubert, though more than half a
century has passed since they died. Men are yet living
who knew them and held converse with them. The
masters of the past were ahead of their day and gener
ation, but they are not ahead of that day and generation
which fully acknowledges their genius. Then, again, new
masters are springing up, and, if only one will look at
matters boldly, it will be found that, as we lose touch with
the old, so do we attach ourselves to the new ; the
THE MONTHLY MUSICAL RECORD.

process is so gradual that we are scarcely aware that life is
a panorama. Everything in this world is said to have its
use, and of admirers and contemners of the past it may
be said that the former prevent changes too rapid, and
the latter affections too lasting. It is well to strive after
the happy mean, but, perhaps fortunately for the happi
ness of the world, so few are able to attain to it.
[January I, 1893.
key-note or tonic), to which all the others (except the

mere complements of the tonic, the other notes of its
common chord) bear the relation of unrest to rest, and
toward which, therefore, they have an ultimate tendency.
2. Those theorists who limit the contents of a key to
seven notes take the key-signature, or the diatonic scale,
as the basis of their investigations, and treat all acci
dentals, except mere " ornamental notes," as implying
modulation. The author feels that there is a great
deal more to be said for this limitation of key than most
HARMONIC ANALYSIS.
"Day theorists" (those who follow Dr. Day's system,
By Louis B. Prout.
presently to be explained) are willing to admit ; for the
whole treatment of chromatic chords (chords containing
INTRODUCTION.
The analysis of harmony is a subject upon which, con notes foreign to the key-signature) shows that they do
sidering its paramount importance, very little seems to not belong to the key in the same sense as the diatonic
have been written. In these articles an attempt will be chords do. But the term modulation is always under
made to put before students who may feel the need of stood to imply change of key (i.e., change of tonic), and is
guidance in this study a few of the most important of the therefore misapplied to such chords as contain accidentals,
hints and suggestions which the author has found help but still tend toward the same tonic or " point rf repose"
ful to his own pupils and to himself. Some explanations as is shown by the context in many cases.
3. There is, then, another element in key besides the
and definitions of familiar theoretical terms have been
inserted, to make the paper as complete as possible ; but "diatonic," viz., the "chromatic": we cannot improve
it has not been thought necessary to deal with so rudi upon Macfarren's definition of the term " chromatic "
mentary a matter as the classification of intervals, though "consisting of notes indicated by accidentals, which
it cannot be too strongly impressed that it is useless to induce no modulation? Every reader of this paper is
attempt any study of harmony without a thorough know aware that there are twelve different notes in a chromatic
scale, and if we give each accidental the same name,
ledge of these.
Richter's system of analysis has been followed in its whether ascending or descending, we obtain five chro
notes ar.d the total of twelve notes in the key ;
general outlines. A capital letter followed by a colon matic
indicates a major key, a small letter a minor key (G := while if we give each two names (sharp or flat, etc.)
G major, a :=A minor, etc.) ; the Roman numerals /. to according to circumstances, we have ten chromatic notes
VII* inclusive being used to denote respectively the and a total of se%'enteen. Each of these views, as stated
seven scale notes. A large numeral denotes a chord with in the last paragraph, has its supporters (see further, 5) ;
a major 3rd, a small numeral one with a minor 3rd ; the but where the author ventures to think Dr. Day is not
marks and ' following the numeral show that the quite lucid is in giving the chromatic notes an equal
5th of the chord is respectively diminished or augmentedj foothold in the key, so to speak, with the diatonic.
4. Key, then, contains two distinct elements, the dia
a small 7 following the numeral shows that the chord
consists of 3rd, 5th and 7th. The letters b, c, and d are tonic and the chromatic, the latter only belonging to the
added (after the "Tonic Sol-fa" method) to denote key by virtue of its resolution therein. This idea will be
respectively that the 3rd, 5th, or 7th of the chord is in further worked out below, and must be clearly grasped at
the bass (commonly called the first, second, or third the outset. Chromatic notes and chords may (with one
or two exceptions) be described as notes and chords
inversion of the chord).
The student may be reminded that the terms " con " borrowed :' from some key related to the prevailing key.
5. Whatever may be said for the view that chromatic
cord" and "discord" signify respectively a "chord of
rest " and a " chord of unrest" and that the latter conse notes which resolve upwards should be written as sharps,
those which resolve down as flats, it is surely not logical
quently requires " resolution."
to suppose that the same key contains, for example, both
The very first principle of harmonic analysis is the G$
and Ab, etc. ; at least Dr. Day's theory of a fixed
study of tonality; since music, as we understand it,
cannot exist apart from key, it is evident that nothing harmonic notation for the chromatic scale simplifies
and is defensible on grounds now to be ex
can be ascertained concerning the true harmonic con analysis,
The theory of seventeen notes to the
struction until we know the keys through which the plained.
chromatic
scale
will therefore not be further regarded in
music passes, and the exact points of modulation. How
to recognize these is, therefore, the first question to be this paper.
THE "DAY THEORY."
solved by the analyst.
6. The foundation of the " Day Theory " may be ex
KEY : DIATONIC AND CHROMATIC ELEMENTS.
plained (so far as regards those points which concern the
I. A thorough knowledge of key signatures and their analyst) in a few simple statements :
i. The 5th is (next to the 8ve, which is a mere duplica
meaning may, of course, be presupposed, since no one
will commence harmonic analysis until these are under tion of the same note) the most perfect of all intervals.
stood. But before any attempt can be made to define
ii. Therefore keys whose tonics are a perfect 5th apart
the limits of the duration of any one key, some common are the most closely related ; if, perhaps, we except the
footing must be found in an exact definition of what we major and minor key having the same tonic. (Day
understand by key. Eminent theorists are divided in seems to have been the first to clearly realise this im
their opinion as to the number of different notes con portant relationship.)
tained in a key, which is variously computed at 7, 12, or
iii. The diatonic scale is composed of the notes of the
17; but all are agreed that key is the relationship of the common chords of the tonic and of its 5th above
notes to one note selected as a point of repose (called the (dominant) and 5th below (jK^-dominant). These are
the primary chords of the key. The tonic chord gives a
* /.=tonic (the notr), //.=supertonic, ///. =mediant, IV. = subdcmi- central element, the dominant a sharp element, the subnant, V. dominant, VI. siiLmediant, K//.=IeadinR note.
The same
dominant a flat element ; tonality being therefore a
in urdinary type (not italics) signify chords on these notes.
January I, 1893.]
THE
MONTHLY
MUSICAL
three-fold conception, the tonic bounded by related chords

on either side.
iv. The most important discord is the "lh on the
dominant (combining the sharp and flat elements, and
tending toward the tonic centre). This chord, Dr. Day
points out, contains a major yd, perfect 5///, and minor
yt/i, approximately the same intervals that are given by
Nature's harmonic chord ; such a discord is called///Wmental.
v. There is only one diatonic " fundamental discord "
in the key ; this can easily be proved, for both the other
notes which give major 3rds (/. and /V.) give also
major 7ths. But the fundamental discord of each of the
related keys (dominant and sub-dominant) can be borrowed
( 4) as "chromatic chords"; thus giving a circle of
fundamental discords corresponding with the circle of
primary concords. Dr. Day calls V7 of V. the " supertonic 7th" (V. of V. = II. of course\ and V7. of IV. the
"tonic 7th" (V. of IV. = /.) ; but he omits to make it
clear why these are the available fundamental discords ;
and it will be helpful to the student of analysis to think
of them in the aspect in which they are here presented
V7 of V. borrowed, and V7 of IV. borrowed.
vi. The correct notation of the chromatic scale can be
found for a minor key by "borrowing" from the scales
of the related minors ; e.g., the diatonic scale of C minor
(harmonic form) gives the following :
Ex. 1.
The related scales are G minor and F minor (5th above

and 5th below] ; the chromatic note (in c minor) between
Ct and V> is therefore D? (from F minor), that between
E? and F is Etf (also from F minor), that between F and
G is fJ (from G minor), between a? and Btl are Ajf (from
G minor) and B? (from either of the attendant keys).
Here is the chromatic scale written out without key
signature :
fcECO&D.
and may well have their foundation in the dominant,

which is generally considered as the antithesis of the
tonic or note of rest. But the " Day theory" of 13111s is
needlessly cumbrous, and seems to confuse many very
dissimilar chords under one name ; let us simply under
stand by his "dominant major 13th" a diatonic discord ;
by the ''dominant minor 13th " a discord borrowed from
the tonic minor; by a " supertonic major or minor 13th "
one borrowed from the dominant major or minor key ;
and by a " tonic major or minor 13th " one borrowed from
the sub-dominant major or minor. This idea of " borrow
ing" will be followed here, as it throws a flood of light
over the " Day theory " ; those who wish to analyse on
Day's method can easily apply it to what follows in these
pages, thus :
The generator of any key (according to Day) is its
dominant. Therefore a chromatic chord is generated by
the dominant of the key from which it is borrowed ; for
example :
The available keys for " borrowing" in C major are G and

F, and the tonic minors of these three keys (Remark vii.
above). Chord 3 suggests c minor (e? and lit! together
belong to no other diatonic scale), and its generator,
according to Day, is G (dominant of c) ; chord 5 suggests
F (key of one flat) and its generator is c (dominant of F) ;
chord 6 suggests G (one sharp), and its generator is D
(dominant of g) ; chord 8 suggests G minor (k and \0
occur in no other diatonic scale), and its generator is I)
(dominant of g) ; chord 9 suggests C minor (nil and a!?
together), and is generated by G.
N.B. These are not mostly " I3ths," but any chord
illustrates the principle equally well ; having found the
generator, Day theorists can easily name their chord by
merely reckoning the intervals.
Ex.2.
HOW TO RECOGNISE THF. TONALITY.
The internals from the ionic in a chromatic scale are

therefore minor 2nd, major 2nd, minor 3rd, major 3rd,
perfect 4th, augmented 4th, perfect 5th, minor 6th, major
6th, minor 7th, major 7th. If it be noticed that neither
tonic nor dominant admits of chromatic alteration, and
that no note appears in more than two forms, every
name can be correctly found. N.B. Unless the student
thoroughly familiarize himself with this notation for the
chromatic scale, progress in analysis of chromatic har
mony will be impossible.
vii. All the resources of a minor key can be "borrowed "
into its tonic major (on the principle that "the greater
includes the less') ; hence the notation above given for
the chromatic scale of c minor belongs also to c major.
The only difference between two keys standing in the
relation of "tonic major and minor" is that in the former
the major 3rd and 6th are diatonic notes, the minor 3rd
and 6th chromatic ; while in the latter the reverse is the
case.
viii. Day extends his system of " fundamental dis
cords" beyond chords of the 7th to 9ths, nth?, and
I3ths ; a moment's thought will show the student that
this really amounts to deriving the whole diatonic scale,
when found in dissonant combination, from its dominant
(Mr. E. Prout does this in Chap. XVIII.ofhis"Harmony :
its Theory and Practice"). In support of this view, it
may be remarked that discords are " chords of unrest,"
7. Having now defined the modern conception of key

(the material furnished by the diatonic scale of the tonic,
with portions of certain related keys borrowed as "chro
matic "), we may consider the question, " flow to recognise
the tonality."
i. Observe the key signature. If all the notes are at
first in accordance with this we commence in the
major key suggested by that signature ; but if there are
accidentals raising all (or all the most important) notes
which would have been the dominant of that major key,
we are in the " relative minor," the accidental being its
leading note.
ii. Other accidentals will generally (unless^ merely
"ornamental notes") suggest some other key, which
may bs ascertained by any student who is familiar
with key signatures. New sharps are generally "leading
notes," as this is always the last note sharpened (vide the
signatures of sharp keys) ; and if two or more sharps are
added, the sharpest (as shown by the order in the key
signatures, F$, c$, c.J, r>$, a$, f.*, b) is the leading note.
AT.B.This order of sharps given in parentheses is im
portant ; it is often desirable to ascertain which is the
sharpest note in a chord, even when the notes are actually
t>'s or S's, for the same order of ascending 5ths obtains
throughout ; thus both ?'s and tJ's follow the same order
as jjf's, and A is a sharper note than F, d) a flatter note
than n?, etc.
iii. New flats are either sub-dominants of a major key
or sub-mediants of its relative minor, according as they
THE
MONTHLY
are accompanied. If it is the relative minor, there will

be an accidental sharp note as well, and it will therefore
be unnecessary to test the key by the flat.
iv. But, admitting the possibility of chromatic har
mony, it does not necessarily follow that a suggested
modulation will be confirmedfar from it ; the context
must decide. No arguments will be needed to support
the following self-evident statements :
A tonality, the impression of which is oncefixed on the
mind, will remain unchanged until something occurs to
contradict the impression.
No single CHORD can fix the tonality ; every modula
tion is therefore effected by a PROGRESSION (the movement
from one chord to another, or occasionally from one note
to another).
{To be continued.)
STUDIES IN MODERN OPERA.

a course of lectures delivered in the philo
sophical institution, edinburgh.
By Franklin Peterson.
(Continuedfrom Vol. XXII., fge 268.)
IV.TRANSITION TO THE MUSIC DRAMA (continued).

As we see in the Flying Dutchman the point of departure
from previous Opera Schools and traditions, so in Lohengrin
do we find the first complete embodiment of Wagner's
idea the Music Dramawhich was to attain such a
marvellous development in Tristan and Parsifal.
It was after Wagner had finished Lohengrin that he
wrote these valuable essays, which added so much to his
reputation, and in which he formulated the theory he
afterwards carried so consistently into effect. It is im
portant to note this order of events, because it is so often
said that Wagner's theory was formulated first and his
operas written afterwards, and in accordance therewith.
As a matter of fact, "Opera and Drama,'' written in 1852,
contains no theory the principle of which is not justified
in Lohengrin. And as the vast majority of critics and
public, with all true musicians, are unanimous in praise
of Lohengrin, we cannot do better than pause to con
sider the contents of such a universally acknowledged
masterpiece. We may thus review and strengthen our
position before making further advance.
The drama opens on the banks of the Scheldt, where
Henry the Fowler has summoned his nobles to meet
him and to discuss preparations for the approaching
struggle with the Huns. The first duty, however, is to
administer justice at home, and so he calls on Frederick
of Telramund to state his complaint. Frederick had
been left by the dying Duke of Brabant guardian to his
two young children, Elsa, and her younger brother
Godfrey. Although Frederick does not include the fact
in his account, we learn that he has several times asked
Elsa to marry him ; but, consistently repulsed, he has
taken Ortrud to wife, a woman of magic power. Elsa
was not so much his desire, but the fair lands of Brabant ;
and, incited by his wife, he now seeks to destroy Elsa's
claim to her dead father's lands, and so allow him to
obtain possession of them. For Godfrey has disappeared,
and Frederick's charge is that Elsa had decoyed him into
a wood and murdered him, that she might inherit the
dukedom. All are horrified at the incredible story, but
Frederick throws down his gauntlet and offers to fight in
mortal combat for its truth. The king summons Elsa to
answer for herself, and murmurs of admiration for her
beauty, and disbelief of the horrible accusation, are heard
on all sides as the lovely young girl appears, overcome
with grief. She seems hardly to comprehend the gravity
MUSICAL
RECORD.
[January I, 1893.
of her situation, and it is no little surprise to all present

when she calmly accepts the arbitrament of a duel to the
death. The king demands to know the name of her
champion. Amid breathless silence, and with eyes look
ing far into some mysterious distance, she begins the
recital of her dreamhow as she sat in lonely grief im
ploring help from Heaven, she fell into a deep sleep, and
how comfort was brought to her heart by the vision of a
knight in glittering armour, who leant on his sword as he
spoke words of sweet consolation. In an ecstasy, Elsa
concludes : " Heaven will send him, and he shall be my
champion."
The king advises her to choose a less shadowy knight,
but she holds to her decision, and as it is now noon, the
king orders the herald to sound the summons to combat.
A deep silence succeeds the ringing voice of the herald,
then a low murmur in the crowd. Elsa kneels to the
king, and prays him to order a second summons, as her
knight was perhaps too far away to hear the first. Again
the herald's voice sounds forth, and Elsa and her maiden
attendants fall on their knees, and lift their hands and their
hearts to heaven. Suddenly an excited whisper is heard,
and a movement is noticed among the men at the river
bank ; and louder and louder grow the cries of excite
ment as a boat appears, drawn by a swan, and bearing a
knight in silver armour, with the device of a swan on his
helmet and on his shield. After bidding an affectionate
" Farewell to the Swan "an interesting and beautiful
example of the old recitativo secco influenced by modern
forms and thoughtthe noble-looking stranger steps
down to the circle near the king and greets him. Then,
turning round, he announces that he has come to fight
for Elsa of Brabant, and to prove Frederick's foul lie on
his own body. This supernatural knowledge of the state
of matters proves to many of Frederick's supporters that
he is in the wrong, and they advise him to withdraw the
charge. But Frederick, in a very excited song, an
nounces his determination to abide by the trial by com
bat. Lohengrin, turning to Elsa, asks if she has any desire
to retract the vow she made to give herself to her deliverer,
and whether her love for him was true and strong. As if
still in a dream, she declares her love for her brave knight,
and Lohengrin solemnly demands a promise from her
" These questions ask me never,
Nor think upon them ever :
From whence I hither came,
What is my rank or name."
Half-unconsciously Elsa promises, and Lohengrin repeats
the terms of the vow still more impressively. Elsa pro
fesses perfect trust in him, and solemnly undertakes the
promise. In an impressive prayer the king asks heaven
to award victory to the right, and in the short duel which
follows Frederick is overthrown and disgraced.
The introduction to the second act seeks to paint the
struggle between doubt and duly which occupies the
whole act. The curtain opens on the square, with the
steps of the old cathedral on one side, and on the other
the entrance to the Palace, where Elsa is the guest of
the king. Two figures gather the individuality of
Frederick and Ortrud, as our eyes become accustomed to
the darkness of midnight. When Frederick bitterly
taunts Ortrud with the failure of her plans, and blames
her for his disgrace, she advises him to leave the develop
ment of the future action to her. He leaves her to work
her own way, and the next scene gives her the desired
opportunity. Elsa, clothed in pure white, appears on the
balcony, and confides her happiness and her love to
the stars and the breezes of night. Ortrud attracts
Elsa's attention, makes her disgrace the occasion to
excite the tender-hearted girl's compassion, and uses the
January I, 1893.]
THE
MONTHLY
MUSICAL
RECORD.
opportunity to make Elsa doubt her champion, and to king's dress, and the simplicity of Elsa's white weddingsuspect that he came by magic and would leave her as garment, and the quiet seriousness of the whole.
lightly. In the song in which Elsa says proudly that
(To be continued.)
Ortrud cannot grasp the happiness of perfect love which
knows not doubt nor fear, there is one phrase which
afterwards appears in the love-music of the third act.
Xhe PIANOFORTE TEACHER:

A Collection of Articles intendedfor Educational purposes,
consisting of
Advice as to the Selection of Classical and Modern

Pieces with regard to Difficulty, and Suggestions
as to their Performance.
By E. PAUER,
Soon after Elsa has drawn the apparently unwilling

Ortrud into her palace-gate, the dawn begins to lighten up
the scene. Retainers, soldiers, girls of the village, and
country people with produce for sale, gather in the castleyard, while the fresh morning air is filled with the happy
sound of trumpets calling and answering each other from
the turrets of the castle. The babel of chattering, gos
siping tongues is only interrupted by the herald, who
announces that it is the king's pleasure to confer the title
of Guardian of Brabant and the hand of Elsa on the
unknown knight who saved her in her need. The crowd
does not break up, however, for this is Elsa's weddingday, and they are waiting to see the procession and to
wish the beautiful bride good luck. At last four pages
appear at the top of the long, broad staircase which leads
from Elsa's palace, and a solemn and lovely march is
heard as the train of brilliantly dressed ladies descends
to the square and crosses it towards the cathedral.
Louder and heartier grow the good wishes of the
people as Elsa appears, bowing right and left to her many
well-wishers, and gradually nears the cathedral entrance.
As she is about to enter, Ortrud pushes in front of her,
commanding her to stand back, and a stormy scene en
sues. The king and Lohengrin enter the stage, and the
excitement becomes intense. A very weak point in the
drama here is that neither Lohengrin nor the king
notices that Elsa, standing alone, is subjected to the evil
influences of Frederick and Ortrud, and it is only alter
eighteen pages of the vocal score that Lohengrin turns
to Elsa : " Elsa, why is it that you are trembling ? " Again
he leaves her during a long chorus, and Frederick uses his
opportunity. Lohengrin's attention is at last directed
to a source of danger against which he ought to have
guarded all along. He orders Frederick never to come
into his sight again, and Frederick retires. The marriage
procession forms anew, and all enter the minster. On
the threshold Elsa's fear makes her look back for a
momenther vow, broken already in spirit, is blared out
from the orchestra, and Ortrud holds up her hand in
proud triumph as the curtain falls.
The introduction to the third act is an Epithalamium,
which in the hands of a first-rate orchestra is extremely
effective. The curtain opens on the bridal-chamber ; the
bridal-song is heard in the distance, and by two opposite
doors enter Elsa with her bridesmaids, and the king with
Lohengrin and the attendant pages. When the two
parties meet in the middle, the king places Elsa's hand
in Lohengrin's, while the maids remove Elsa's veil and
the pages Lohengrin's surcoat and sword. The pro
cessions cross and go out by the opposite doors to which
they entered, and the two lovers are left alone for the
first time. It is impossible to convey the charm of the
scene : the high vaulted chamber, dimly lighted with
one hanging lamp, the costumes of the pages, as they
perform the quaint old rite, the magnificence of the
Principal Professor 0/ Pianoforte at the Royal College of Music, &c.

(Continuedfrom Vol. XXII., page 271.)
STEP III.
Bennett, W. Sterndale. Capriccio in d minor. Op. 2.

This youthful work contains much that is interesting ;
not exactly easy to play, it will, if played sufficiently fast,
produce an agreeable effect.
Bennett, IV. Sterndale. Allegro grazioso in A. Op. 18.
Two composers, Dussek and Mendelssohn, had a decided
influence upon Bennett's piano pieces. At the time when
the English composer was a student at the Royal
Academy, the sonatas of Dussek were stock pieces, and
the fame and originality of Mendelssohn's works began
to exercise a great power upon the young composers.
The student will do well to practise the by-no-means
conveniently-to-bc-executed passages with great attention,
for the technical figures must not be a stumbling-block,
or hinder the fluency of the composition.
Bennett, IV. Sterndale. Rondo piacevole in E. Op.
25. Its character reminds one of Mendelssohn's Caprice,
Op. 33, No. 2, in the same key. The performer must
succeed to infuse by his playing a certain contrast into
the piece, which, it cannot be denied, is wanting in the
work itself.
Bendel, Franz. Mozart, Andante, Menuet, and Adagio.
This talented composer was born on the 23rd March,
1833, at Rumburg (Bohemia), and died at the early age
of 41 (22nd July, 1874), at Berlin. He was a pupil of
Proksch (Prague) and Liszt (Weimar). The above three
pieces must not be understood to be transcriptions or
arrangements of any of Mozart's pieces ; they intend
merely to pourtray their style, and, as far as it is possible
to imitate the style of a great composer, it cannot be
denied that Bendel succeeded tolerably well.
The
Andante favori in F has a soft, agreeable, and har
monious expression. The Menuet favori in E flat is the
best of the triad ; it possesses energy, good rhythm, and
a charming cantabile. The Adagio favori in A major is
very smooth and tuneful.
Bendel, Franz. Pastorale (Celebrated Concert Studies,
No. 20) in G. A most useful study for polyphonic legato
playing. The expression is soft, the harmonies charm
ing ; in short, the "Pastorale" deserves great attention.
Bendel, Franz. Heart's-ease (in F). Written in a
popular style, which will be appreciated by those who
are not fond of earnest or serious music.
Bendel, Franz. Sweet Remembrance (in D flat). An
effective drawing-room piece, requiring a rather large
hand.
Bendel, Franz. " L'Etoile des Alpes" ("The Star
of the Alps "), Tyrolienne, in F. A good, melodious, and
well-sounding piece, offering an acceptable and not diffi
cult task to learn by memory.
Bendel, Franz. " Invitation a la Polka," in E flat. It
possesses the genuine polka expression, and is not only
a good rhythmical study, but also an effective drawingroom piece.
THE
MONTHLY
MUSICAL
Bendel, Franz. " Le petit Ruisseau," in D flat. It

may be used as an excellent shake-study.
Bendel, Franz. Three characteristic pieces. No. 1,
" Lied," in G ; good for the sustained, cantabile style.
No. 2, " Prayer," in B ; requires good tone, well applied
use of the pedal, and continual variety of touch. No. 3,
" Ungarisch," in the Hungarian style ; the right ex
pression lies more in a sharply given rhythm, than in
feeling ; its character is cheerful and manly.
Bendel, Franz. Lyric Poems. No. 1, Andante sostenuto, in E ; somewhat in Rubinstein's style ; a large hand
is required in order to execute the broken chords in
an even manner. No. 2, Andante con moto, in G
minor, might be called a study ; the accompaniment,
divided between the two hands, must be played in a light,
airy, and pliable style. No. 3, Andantino expressive,
in u flat ; simple, graceful, and very harmonious.
No. 4, Con intimo sentimento, in D flat. The left-hand
part must be played smoothly, and deserves to be prac
tised at first without the right hand. No. 5, Andante
con passione, in F sharp minor ; a rich, mellow, and
singing tone must be given throughout.
No. 6,
Moderato grazioso, in E flat ; in the form of a slow
valse.
Beethoven, L. van. "Six Sacred Songs," transciibed
by F. Liszt. The great beauty and sincere expression of
Beethoven's Songs have been religiously kept undisturbed
by one of Beethoven's greatest admirers, the genial
F. Liszt.
Dohler, Theodore. " Nocturne," Op. 24, in D flat. The
popularity of this piece has now lasted for more than
half a century, and is therefore a sufficient guarantee for
its effect.
Clark, Scotson. " Tone-Piclures." No. 2, " Romanza,"
in A flat. Singing and simple. No. 3, " Bounce," in
C major. Bright, and with a hardy expression.
Clark, Scotson. " La Reconnaissance," Nocturne, in
E flat. Written in the most popular style.
Clark, Scotson. " Water Lily," Valse brillante. in
A flat.
Reminding one of Wollenhaupt's "Valse
HeYoique." A showy drawing-room piece.
Clark, Scotson. " La Perle," Polka brillante, in E'flat.
Very cheerful.
Clark, Scotson. " Menuet a la Pompadour," in'F major.
In a stately, somewhat pompous style.
Clark, Scotson. " Atghanen Zug," Galop, in E flat.
Very popular, but not original.
A good rhythmical
exercise.
Clark, Scotson. " Hunting Song," in A flat. An effec
tive drawing-room piece.
Clark, Scotson. " Melody," in A major. Very simple ;
requires a good deal of variety of touch.
Clark, Scotson.
" The Cascade," in E flat. An
Arpeggio study, very similar to Blumenthal's well-known
" La Source."
Clark, Scotson. " Gloria " (r> major), and " Agnus
Dei " (D major), from Gounod's Messe Solennelle. Very
effective transcriptions.
Cipollone, Alfonso. " Prima Affetto " {Pensiero sentimentale), in B minor. A pretty melody with an intermeezo in semiquavers, which have to be played very
lightly, in order to avoid their sounding like an exercise.
Cipollone, Alfonso. "Veloce Club," Galop brillante, in
E flat, Op. 151. A fiery, throughout animated and
brilliant piece.
Chiuatal, F. X. " Last Idea," by C. M. de Weber, varia
tions in B flat. Weber's "Last Idea" is one of the "early"
ideas of Reissiger ; how it came to be almost universally
called Weber's idea, it is impossible to say.
Franz
Xaver Chwatal (born 1808 at Rumburg, Bohemia, died
RECORD.
[January I, 1893.
1879 at Elmen, near Magdeburg) was one of the most

experienced educational composers. The variations are
practically written and tolerably effective.
Calkin, J. B. " Fantasia on Airs from Zampa,"
Op. 23, in a major. The so-called dramatic or operatic
fantasias are now more or less out of fashion. They
were a vehicle to acquaint the persons with the most
famous airs of an opera in a brilliant garb. Such is also
the case with Calkin's Fantasia, and as Herald's (the
composer of Zampd) airs are all engaging and
" catching," the present fantasia will succeed to find some
patrons.
Brissac, fules. " Santa Lucia," Neapolitan Barcarole,
Op. 81, in E flat. The very popular air is here tran
scribed in a convenient, yet tolerably brilliant manner.
Gounod, Charles. " March " from the Opera Sappho,
arranged by Grobe, in c major. Pompous, solemn, and
very popular.
Gottschalk, L. M. " Pasquinade," Caprice, in D flat.
A highly effective drawing-room piece.
Gottschalk, L. M. "Dance Ossianique," in A flat. In
the style of a brilliant polka movement.
Lbschhorn, A. "Six Instructive Sonatinas." No. 1,
in C, Allegro, very melodious ; Adagio cantabile, in F, an
excellent study for playing firm chords ; Allegro ma
grazioso, very cheerful and bright. No 2, in G, Allegro
non troppo, has a rather martial expression, requires
great firmness of time ; Allegretto, in c, in the character
of a Siziliano (pastoral dance) ; Vivo ma grazioso, in G,
very animated and gay. No. 3, in F, Allegro non troppo,
an excellent rhythmical study ; the student will do well
to count most accurately ; Andante mollo, in D minor,
very melodious and singing ; Vivo in F, a kind of Scherzo,
full of vivacity and cheerfulness. No. 4, in a minor,
Allegro moderato, slightly melancholy, but very fascin
ating ; Commodo in cthe term commodo must not be
confounded with con motocommodo means in an easy
going, comfortable manner, whilst con moto means with
movement and vivacity ; Vivace is full of animation and
well-sustained life. No. 5, in B flat, Allegro marcato,
possesses a firm, rhythmical expression, somewhat march
like, the interspersed scale? require a smooth and brilliant
performance ; Andante in D minor, very simple and
naturalthus pleasing and interesting ; Alia Polacai,
this once so very popular rhythm is here welcome, for it
offers a good contrast to the former softness and suavity.
No. 6, in D minor, Allegro moderato, a most charming,
well- written piece, which possesses lemarkable unity and
continuity ; Andante con moto, in F, sharply marked and
rhythmicised ; Allegro vivace, a kind of Scherzo,
capricious, but full of life and mirth.
(To it continent.)
LETTER FROM LEITZIG.

We have been favoured with quite a shower of operatic novel
ties lately ; Keinecke's Gotwerntur ron Tours being followed
by Mascagni's VAmico Frit:, Mozart's tlastiai mid Bastienne,
Casilda, by H. von S.-C, Flotow's liuira, Ponchielli's Gioconaa,
and Mozart's La finta Giardiniera. The last-named is popu
larly known here as " Die Giirtnerin." Mozart wrote it when
he was only eighteen, but the work is very charming, and has
been well received. L'Amico Fritz, as I anticipated, did not
find much favour ; and, after a very few performances, public
interest ceased to be excited by it, so the work was withdrawn.
The hollow and pretentious strains of Gioconda were not likely
to please the Leipzig public, and that work also has now been
relegated to the limbo of oblivion.
At the seventh Gewandhaus concert, Berlioz' " Carnaval
Romain " and Beethoven's symphony in B fiat were the chief
orchestral items. The first of these, though executed with
January I, 1893.]
THE
MONTHLY
masterful skill and in the most rapid tempo, created but very
little impression. The fact is, that its ideas are not sufficiently
charming to catch the popular ear, while the learned are
annoyed by the want of efficient contrapuntal treatment. The
principal subject, which is strongly reminiscent of Auber, Is
repeated no less than twelve times without essential modifica
tions. The judicious hearer cannot fail to be struck by the
poverty of the working out, and in these days Berlioz' tricks of
orchestration have ceased to be surprising. Since his day the
world has seen Wagner, who far surpassed Berlioz in the matter
of orchestration, and, moreover, possessed remarkable contra
puntal skill. At this concert, Herr Concertmcister Prill played
Vieuxtemp's popular concerto in A minor, and Spohr's
Gesangscene, being warmly applauded for each. The vocalist
was Fraulein Jordan, of Berlin, an excellent soprano.
At the eighth concert Herr von Ilerzogenberg conducted his
symphony in is fiat, a clever work, which had already been
heard at these concerts two years ago. The Scherzo is perhaps
the most effective movement, but the whole work is excellently
scored, though it lacks something in that spontaneity which
we so much admire in the great masters. The novelty at this
concert was a selection from a mass for male voices by Robert
Volkmann, sung by the Lehrer Gesangverein in excellent style,
and to the evident enjoyment of the audience ; Chefubini's
"Medea" overture and Beethoven's Triple Concerto com
pleted the scheme.
With such executants as Professor
Reinecke, Herren Ililf and Klengel, at the solo-instruments
(pianoforte, violin, and violoncello), it goes without saying that
the rarely heard Triple Concerto received a worthy interpre
tation.
The programme of the ninth concert was devoted to works by
Brahms, who is now regarded as the leading representative of
the classic school in Germany.
His works are too learned and
difficult for the general public to understand and appreciate as
yet, and this point was strongly brought home at a concert
entirely made up of his compositions. His splendid Symphony
in D is certainly one of his most pleasing as well as masterly
creations. It was received with enthusiasm. The Pianoforte
Concerto in D minor, with its frequent reminiscences of
Beethoven's Ninth Symphony, was fairly played by Herr
Robert Freund, of Zurich, but failed to make much impression.
Herr Freund also played the Rhapsody in minor, and two of
the Hungarian Dances which Brahms has so splendidly arranged.
Frau Metz-Langsdorf sang two songs with viola obligato, and
three with pianoforte accompaniment only. The songs with
viola were new to us, but, as the singer was out of voice, it
would be unfair to pass judgment upon them.
A great number of " artists' concerts " have been given,
indeed, so many, that we can only find room to mention one or
two of them. That of Frau Lilian Sanderson was, on the whole,
disappointing. Her vocal means, never very large, have become
still further curtailed, and her choice of songs was much to be
deplored.
She only gave two examples from the classical
masters. Herr Stavenhagen was the solo-pianist at this concert,
and Frau Soldat-Roeger the violinist.
A remarkable pianistic prodigy is Raoul Koczalsky, seven
years of age, who recently appeared here. He will step into
the shoes of Otto Hegner, and is certainly quite as astonishing a
player. Though we cannot but deplore the sending of such
mere children on tour, we must, nevertheless, admit that the
playing of the new boy-pianist is certain to excite much public
interest. He already plays with much fluency pieces by Chopin
and Liszt, and has acquired the tempo rubato and other affec
tations which mar the performances of grown-up virtuosi.
Herr Fritz von Bose, Miss Edith Robinson, and Herr Kiessling
have continued their series of popular chamber concerts, for
which the public are beginning to show appreciation. The
fourth concert of chamber music at the Gewandhaus began with
Beethoven's Sonata in c minor for pianoforte and violin, played
by Herren Reinecke and Prill. This was followed by Professor
Dr. Reinecke's new Octet for wind instruments flutes, oboe,
two clarinets, two bassoons, and two horns : a very charming
work in four movements, which I can strongly recommend
to English instrumentalists.
Without making any arduous
demands on the technique of the players, it gives unusual scope
for the display of true musical feeling.
MUSICAL
RECORD.
OUR MUSIC PAGES.

With this month's number is given the song " Dream
land," No. 4 of Hamish MacCunn's Vocal Album. We
are pleased to add one to our list of native composers
who can give us examples of song-writing such as this.
We refer our readers to a notice of the six songs under
the reviews.
attrition**
Library of Pianoforte Music for Study and Amusement.
Junior Grade.
Book I'll. Edited by E. Pauer.
(Edition No. 5,963 ; net, is.)
London : Augener &
Co.
To those who are looking out for a useful present
to give to their young friends, we can recommend
this little volume, got up in the publishers' usual excellent
style. It is divided into three heads, viz. : studies, pieces,
and recreations, and they have been judiciously selected by
Herr Pauer from the works of Bach, Haydn, Mozart,
Beethoven, and several modern writers, including the
ever-tuneful Gurlitt. It has been fingered for teaching
purposes, and there is nothing in the book which should
not please, or is beyond the reach of a juvenile of average
intelligence and capability.
Melodic Studiesfor the Pianoforte. By A. Loeschhorn.
Books XII. and XIII.
(Rhythmical Problems).
London : Augener & Co.
We have referred so recently to this series of studies
that we need not do more now than call attention to the
latest instalments, with English fingering.
Edelweiss, Tonbild. Op. 414. Waldesruhe, Idylle. Op.
41S. Saltarelle. Op. 421. VON F. KlRCHNER.
THESE three salon pieces for pianoforte solo are good
examples of this composer's style ; they are short, tune
ful, and easy, the Idylle (Waldesruhe) being rather above
the average in merit. We may assume that they all find
admirers from the fact that the composer has now
reached the opus number of 421. This is all the more
remarkable if, as we believe, nearly all this work consists
of one type of easy pianoforte pieces, many of which are
certainly most useful and recreative for the young, and
particularly suitable for school purposes.
Morceaux pour Piano seul.
Par Anton Strelezki.
No. 26. Istorietta. 27. Barcarolle en la mineur. 28.
Valsette en la bc"mol majeur.
29. Valse mdlancolique en si. 30. Serenata en la majeur. London :
Augener & Co.
The five pieces before us are written in Strelezki's
happiest style ; the same grace and elegance pervades
them all. We can take no exception to any of them, and
as they arc rather easier to play than many of the earlier
works, without being less attractive, we feel confident that
they will please all who try them. We would especially
recommend them to the attention of teachers.
Home Scenes. For the Pianoforte.
By John Francis
Barnett. London : Patey & Willis.
Mr. Barnett has something original to say, and, as may
be expected, he says it well. There are nine chapters
to his tale, headed respectively, "Welcome Home,"
" Grandfather's Legend," " The Old Violin," " Children's
Dance," li Cricket on the Hearth," " Fireside Tale,"
ro
THE
MONTHLY
" Falling Shadows," " Cradle Song," " Merry Making "
each contrasting well with the other. Although present
ing no insuperable difficulties in the way of execution,
they require careful treatment as regards phrasing and
expression, and to one who has been properly taught,
these pieces will give distinct pleasure. The work is
dedicated to H.R.H. the Princess Christian, who is her
self an accomplished musician.
MUSICAL
RECORD.
[January I, 1893.
manner of treatment of each of its themes. The violin

part is fingered in the 1st and 3rd positions, and is care
fully bowed, and as the very simple 'cello part is an
ad lib. one, the sonatine may be played either as a duet
or trio.
When Thou art Nigh. Song by Hamish MacCunn.
Words by Thomas Moore. London : Augener &
Co.
This song is exceedingly well written for a tenor voice ;
Camaval. Scenes mignonnes pour piano seul par ANTON and a singer whose notes are good in the upper as well
Strelezki. (Edition No. 6,465 ; net, is.) London : as the lower registers, and who has some power of ex
Augener & Co.
pression, will find it assuredly a most effective solo. The
The title of this piece brings irresistibly to one's mind melody and accompaniment are alike charming.
the great masterpiece of Schumann, and as one or two
numbers at least are palpable imitations, that they Album of Two-Part Songs for female voices, with
naturally suffer very much by comparison is obvious.
pianoforte accompaniment. By A. Moffat. Book I.
We might appreciate the work more if this were not the
(Edition No. 4,1 1 la; net, is.) London: Augener &
case, but one is apt to withhold praise which might other
Co.
wise have been bestowed. The motives themselves are Six songs
in duet form for 1st and 2nd soprano, two of
weak and thin, the composer depending mainly for effect which" Hail ! thou merry month of May," and
upon the manner in which he writes chords. These he " Waxen lights are gleaming brightly "are worthy of
usually has in wide position ; they produce sometimes a special mention, the former being quite Mendelssohnian
noisy effect which is enjoyable only when the themes of in character, while the latter is a well-written vocal gavotte
a work are sufficiently important. We cannot help think in old English style.
ing that our remark in last month's review is here
The Tree that wanted other Leaves. A song to set my
strikingly exemplified.
little sister to sleep. For female voices, solo and
two-part chorus, with pianoforte accompaniment.
Barcarolle du Concerto (en ut) pour Viola avec accontBy Carl Reinecke. Op. 190. London : Augener
pagnement dOrcheslrc, Op. 20. By EMIL Kreuz.
& Co.
1. Transcribed for Viola and Piano. 2. Transcribed
for Violin and Piano, by the composer. London : On opening this song our attention is at once caught by
the clever and well-executed illustrations (some twentyAugener & Co.
A review of the Viola Concerto will be found in last four in number) which adorn its pages, making it especially
month's number of the Record. The Barcarolle is un suitable for presentation, and for Christmas time nothing
doubtedly the prettiest and most taking movement, and could be nicer. The words have the character of a fable,
the viola part has been most effectively arranged for and convey a useful moral. Carl Reinecke's music is, at
violin by Mr. Kreuz. The piano part is as interesting as the same time, original and tuneful, according well with
the solo part, and the duet is, therefore, excellent, whether the words ; always simple to sing and play, besides being
descriptive when occasion demands. There are a few
for viola or violin and piano.
errors in the printing which will, no doubt, be speedily
Serenade. Par Anton Strelezki. Op. 191. No. 4. corrected, otherwise this song of thirteen pages calls for
b. Pour Piano d 4 mains, c. Pour Violon et Piano. our highest praise.

Vocal Album. Six songs with pianoforte accompaniment
We are already acquainted with this charming little
by Hamish MacCunn. The words by Lady
piece in its original form as a piano solo. It is one of
Lindsay, i, Wishes ; 2, A Flower Message ; 3,
those attractive little pieces which always pleases and
Doubling ; 4, Dreamland ; 5, Golden Days ; 6,
becomes popular owing to its graceful and melodious
Hesper. London : Augener & Co.
character. It is no doubt on this account we are in The talented composer of these delightful songs is
debted to the composer for the above pretty arrangements, already well known to the musical public, his orchestral
both of which are equally good.
ballads having been frequently played by our principal
orchestras. To us, however, these six songs come as a
Practical School for the Violin. By E. W. Ritter. pleasing addition, revealing his abilities as a song-writer.
Book VII. (Edition yfiiog ; net, is.) London : We hardly know which of the set we most admire, each
Augener & Co.
one becoming our favourite in turn as we try them, their
This volume forms the third of three books (Edition delicate sentiment touching us more and more as we
76iot'g) on major and minor scales with exercises and become better acquainted with them, Lady Lindsay's
duettinos in the first position. The scales are given in beautiful words enhancing their value, being in each case
semibreves with Cherubini's accompaniments, and in what is most suited to the music, both together making a
addition to special finger exercises this book contains melodious combination certain to please even the most
most interesting duettinos by Blumenthal, and one in Qjf fastidious. They are written for a high voice, No. 2
minor by Campagnoli ; for the study of bowing they are touches on I! natural, No. 4 on A, the others on fJ, G,
particularly good. All the numbers excepting the finger and a? ; and we think they are rather more suitable for
exercises are for two violins.
soprano than tenor.
Studies
in Modtrn Music. By W. H. Hadow, M.A.
Sonatine en Sol Majeur. Par F. Hermann. For
Seeley & Co.
pianoforte and violin. (Edition No 7,389a,- net, is.)
For pianoforte, violin, and 'cello. (Edition No. This volume contains three essays on Berlioz, Schumann,
and Wagner. The story of the gifted but eccentric
7,389^/ net, is. 4d.) London : Augener & Co.
This sonatine is effectively written for each instrument, French composer, culled from the " M^moires," makes very
and is sure to please on account of the musicianly pleasant reading, but on that we need not dwell. A word
January 1,1893.]
n_
DREAMLAND,
SONG
by
Mamtsh Mac Gum.
Allegretto con moto.

p mutertoto
VOICE.
^S
if %
*=.$
Wilt thou come with
me
to
We
will
Dream
land?
Dream
PIANO.
land
lies
o .
ver
m
pop
the
sea;
r
pies
That
p p '
have en.twined
float
m
for
Copyright /A9S, byjiugenrr * f.?
thee.
on
raft
of.
12
E
come
^^m
iHF^
with
me
to
Dream
land?
It
^m
lies
be
yond
Thou shalt
tra - vel, thy head
on my
the
=S
Fp-"TT
^
hill;
[January 1, 1893.
shoul
der,
En
p mpri'ss.
rr if
jr pp
wrapt
in thy
ber
slum
^^
Wilt thou
still.
PP
^frWW^
pp
ê , ,J J J
January i, 1893.J
come with
me
to
Dream
gd
p r
Or the mys - tic . al
light,
land?
The
r
pale
Au
stars shall
ro
i3
lend
us
ra
Shall
poco erase.
1
rTT3
f
guide our steps through the night
come
with
me
to
Dream
land?
With thy
their
ten.der.est thoughts take
14
[January 1, 1893.
January I, 1893.]
THE
MONTHLY
or so, however, may be said about Mr. Hadow's "Estimates

and Appreciations." We quite endorse his statements
that there is " not one composer in the history of music
who has more claim to originality than Berlioz," and that
" he never seems to have reflected that, even in the
spiritualised language of music, there are some things
which it is better not to say." One is forced to acknow
ledge the genius displayed in the Ronde du Sabbat of the
Symphonie Fantastiquc, yet that genius might have been
employed to better, nobler purpose. Mr. Hadow says
that Berlioz looked upon music as a definite language
capable of communicating definite ideas, and adds that
in defence of this principle he prefaced so many of his
instrumental works with a scheme or programme. It
seems to us, however, that he wrote those programmes
to explain what the music of itself was unable to doviz.,
the thoughts which stirred the emotions, and led to the
writing of that music. Our author regrets that "we should
so rarely admit to our programmes the work of a man who,
with all his faults, is the strongest and most original
representative of a great artistic nation." But is this
regret quite justified ? Two of his best works, viz.,
Faust and the Symphonie Fantastiquc, are heard fairly
often in London.
In the essay on Schumann it is remarked that "the
spirit of Bach is far enough removed from romance, but
his form, in many essential respects, anticipates it en
tirely." This is, indeed, a curious phrase. To our thinking
Bach was romantic in spirit, and, but for his form, would
have appeared still more so. A composer who could
turn even fugues into romances, what would he not have
accomplished without the fetters of fugal form ! In speak
ing of Wagner and Schumann, Mr. Hadow quotes from
a letter written by the latter to Mendelssohn. The letter
is not new, but one sentence in it deserves special notice.
The writer, after declaring that there is " much that is
musically trivial" in 'Tatmhauser, adds"In short,
Wagner may become of the highest importance to the
stage."
This utterance shows how far-sighted was
Schumann, and yet, apparently, he could not see the
weakness of his own opera Gcnovcva. What our author
himself has to say of Wagner may be gathered from one
brief quotation : in the whole range of musical art he tells
us " will be found no greater name than that of Wagner."
Mr. Hadow's book also contains a chapter on musical
criticism. He considers that critics are necessarily either
obscure, as there is no special terminology for the art of
music, or dogmatic, " declaring such a piece of work is
'good' or 'bad,' without giving any reasons at all."
Indeed, he almost seems to look upon them as unnecessary
evils. But has he not a " mote " to take out of his own
eye ? Some of his remarks about form, about Wagner's
dramas, etc., savour strongly of dogmatism.
$perasf ano Concert**

ROYAL OPERA, COVENT GARDEN.
In the concluding week of the autumn season some changes
had to be made, owing to the Queen's command to Sir Augustus
Harris for a performance of Carmen at Windsor Castle on Satur
day, December 3rd. The theatre was accordingly closed for
two or three nights, and reopened on the following Monday with
a performance of Carmen, with the same cast as at Windsor
Castle. On Thursday, December 8ih, was produced the new
opera of Herr Emit Bach, the well-known pianist. The opera
Irmengarda made a favourable impression.
It has a curious
libretto, founded upon an event ot German mediaeval history.
Conrad the 1 bird, mler of Southern Germany, finding the
citizens of Weinsberg in Suabia inclined to revolt, besieges the
town, and a proposition is made by Captain Cunibert that, in
MUSICAL
RECORD.
15
order to spare the ladies from the horrors of the siege, they
should be allowed to carry from the fortress as much of their
valuables as they can take on their backs and arms. Captain
Cunibert makes the suggestion owing to the love he bears for
Irmengarda ; but the heroine is already betrothed to Herr
Lucas, a citizen of Weinsberg. Captain Cunibert comes as an
envoy of King Conrad, makes love to Irmengarda, but is chal
lenged by her lover, and there is a duel. But the humour of the
subject is the resolve of the ladies to carry on their backs out of
the fortress their husbands as their most valuable possessions.
The king is pleased with their devotion, pardons the refractory
citizens, and renames the fortress of Weinsberg as the " Castle
of Woman's Constancy." A fairly good performance was
given, and the music of Herr Bach was much applauded, the
only hindrance to complete success being the mixture of styles.
At one moment we find the composer writing in the style
of Wagner, and immediately after we have a melody as
light and tuneful as a ballad in an English opera of the old
school. Many portions were very pleasing, and the audience
did not fail to applaud liberally. It was rather absurd to see,
at the end of the first act, two immense floral lyres handed up
to Madame Valda and Mdlle. Guercia. This is one of the
operatic customs of the past which should be entirely abolished.
Such nonsense is unworthy of an operatic, or indeed any musical
performance. But there was much to praise, and if Herr Emil
Bach will get a better libretto, and trust to his natural gift of
writing pleasant melody, he might produce an opera that would
give entire satisfaction. Madame Valda, as the heroine, sang
and acted well, and Mdlle. Guercia, as her companion Brigitta,
also sang agreeably. Signor Guetary, Signor Abramoff, and
others, acquitted themselves well, and M. Carl Armbruster con
ducted with much spirit. The company appeared in Carmen
at Windsor Castle with great success, Mdlle. Zelie de Lussan
representing the heroine, and Miss Esther Palliser appearing as
Michaela. Her Majesty was pleased to compliment these
ladies, and also Sir Augustus Harris, for the admirable arrange
ments he had made.
ORPHEUS AT THE LYCEUM THEATRE.
The brilliant success of the Royal College students at the
Lyceum Theatre on Saturday afternoon, December 10th, more
than fulfilled the highest anticipations ot the friends of the
Royal College. Everything favoured the representation, which
was a remarkable one, considered as the effort of students. In
the first place they had a noble theatre to perform in, as
Mr. Henry Irving had kindly placed the Lyceum at their dis
posal, and charming scenic effects were introduced. Then Pro
fessor Villiers Stanford adopted the plan of the Cambridge
representation, and instead of giving an ordinary operatic
display, with ballet dancers and a kind of pantomimic display,
a purely classic performance was seen, the performers adopting
Greek costumes in all their simplicity and grace, and the whole
of the stage arrangements were carried out in the same style.
Nor was the music forgotten. The air of Bertoni, usually inter
polated, was omitted, and altogether the performance came
nearer to the intentions of the composer than is customary on
the operatic stage. For much of the completeness of the repre
sentation, credit was due to Mr. Richard Temple of the Savoy
Theatre, who did his work admirably. The great feature of
the afternoon was the acting and singing of Miss Clara E. Butt.
This young lady has remarkable qualifications for her task.
She has a commanding figure, and although only twenty years
of age, she is, as Rosalind says, "more than common tall,"
being six feet two inches in height ; but, being well proportioned,
Miss butt looked stately in her classic costume as Orpheus.
Her face is pleasing and expressive, and notwithstanding her
little experience, she acted with a great deal of intelligence.
But besides these personal advantages, Miss Butt has a voice of
beautiful quality, a contralto with more than the ordinary con
tralto compass. Ii is even, pure, and sympathetic, throughout the
entire range, and already the young vocalist has acquired com
plete command of it, and sings with freedom, and in excellent
style. In the opening lament at the tomb of Euridice, she gave
due expression to the grief of the hero, and in the second act she
also displayed much ability. Her singing of the music of the
third act was admirable, including the " Che Faro," which was
16
THE
MONTHLY
encored. Altogether Miss Butt achieved a positive triumph,

and if she is careful in her future studies, and allows her beautiful
voice to develop gradually, so as to acquire its full power and
quality in the lower tones, we shall probably have in the future one
of the finest contralto singers of our time. Great praise may also
be given to Miss Maggie Purvis, who, if she does not possess the
exceptional organ of Miss Iiutt, sang with much grace, tender
ness, and vocal skill as Eurid ice. Miss Ethel M. Cain was
Eros, and looked charming, her singing and acting being alike
worthy of praise. Miss Reynolds as the Wandering Spirit also
acquitted herself well. Professor Stanford kept the orchestra
well in hand, although the young students were disposed at
limes to play with greater force and energy than the music of
Gluck demanded, especially in the accompaniments.
The
chorus was excellent, variety of expression being given, and a
full, rich tone. Some of the stage cffecls were admirable, and
the performance attracted unusual attention, most of the musical
celebrities of the day being present, among them Mdlle. Giulia
Kavogli, whose Orfeo is so deservedly admired. The audience
was very large, and at the last moment two extra rows of stalls
were added. Sir George Grove was warmly congratulated on
the success of the perlormance, which reflected the greatest
credit upon the Royal College of Music and the students who
took part in the performance.
CRYSTAL PALACE CONCERTS.
On Saturday, December 3rd, there was a fine performance of
lieethoven's Eroica Symphony.
The only orchestral item
besides was the Prelude to Sir Arthur Sullivan's Light of the
World. Vocal music was in the ascendant, and among the
items portions of the unfinished oratorio Chris/us of Mendelssohn
were included. Chris/us was to have been a companion to
St. Paul and Elijah, but scarcely a third of the work was com
pleted.
The portions composed were first heard at the Bir
mingham Festival of 1852, and it appears rather strange that
forty years should have elapsed without more frequent per
formances of the music. Mr. Manns was to be congratulated
on the concert. The "trio of the wise men " was given by Mr.
Piercy (tenor) and Messrs. Salmond and Fairbaim.
The
choruses went effectively, especially the dramatic portion be
tween Pontius Pilate and the Jews. The chorale for male
voices was greatly admired.
The Crystal Talace Choir has
much improved, a fact we are glad to record, as it was at one
time a subject for regret that so fine an orchestra should be
under a disadvantage when great choral works were performed.
Amongst other items may be named the pathetic setting of
Lord Tennyson's "Crossing the Bar" by Dr. Bridge. Mr.
Henry Piercy sang with good taste an air from Gluck's
/phigeiiia in Taurts ; and Mr. Norman Salmond sang "O
God have Mercy," from .SV. Paul, in excellent style. Mr.
Hamish McCunn's Cameroniaris Dream was another successful
item, and Mr. Manns, as usual, distinguished himself as con
ductor. At the concert of Saturday, 10th, Dr. A. C. Mackenzie
was seen as the conductor, Mr. Manns being engaged at Glasgow
to conduct the Glasgow Choral Union.
Dr. Mackenzie had a
most cordial reception, and was quite at home on the Crystal
Palace platform.
The Overture by Dr. Mackenzie to Shake
speare's Twelfth Night was heartily applauded. The Prelude to
his opera Colomba was also giver. 'It was quite worthy of being
heard again, and should not be neglected at orchestral con
certs. The Symphony was the G major of Haydn, usually
called "The Oxford" Symphony owing to its being selected
when Ilaydn received his doctor's degree at Oxford.
The
work was charmingly played by the band. The Overture to
Wagner's Kienzi was heard with great pleasure. Jean Gerardy
played the Concerto for Violoncello in A by M. Saint-Saens.
The youthful violoncellist played with great spirit, and with the
fullest command of the instrument. His phrasing was excellent,
and his manipulation of chords displayed great executive skill.
He also played Dunkler's " Fantasia Capriccio," which was
encored, and gave a Solo of Popper
Miss Esther Palliser was
suffering (rom hoarseness, and could not appear. Miss Ada
Paterson sang instead, and was well received in Spohr's " Rose
softly blooming" and one of Grieg's songs. It was an excellent
concert, and Dr. Mackenzie had reason to be gratified with his
MUSICAL
RECORD.
[January I, 1 893.
reception. At the concert of the 17th Mr. Manns was again a'
his post. Mozart's Symphony in I), the " Parisian," was given>
and Mr. F. Corder's Overture to his opera Nordisa. This was well
received, as was the Overture to Tantihditser. Dr. Mackenzie's
" Pibroch," for violin and orchestra, was an item in which
M. Sauret distinguished himself. Mrs. Katherine Fisk, the
American soprano, sang Handel's "Awake Saturnia " with
great success.
POPULAR CONCERTS.
On Saturday, December 3rd, the first set of the " Liebeslicder
Waltzes" of Brahms proved a great attraction. Mrs. Henschel,
Mine. Fassett, Mr. Shakespeare, and Mr. Henschel gave a
charming interpretation of these lovely melodies. The piano
forte was played by Miss Adeline de Lara and Mr. Henry
Bird extremely well. The Sextet in c major by Brahms was
also played, Messrs. Gibson and Whitehouse assisting the
regular quartet of players. Miss Adeline de Lara was cordially
applauded in the Impromptu of Schubert, Op. 142. She also
joined Signor Piatti in three of Schumann's Stuche im Volkston.
On Monday, December 5th, the visitors to the Popular
Concerts held high festival, for M. Paderewski, who it was
feared would lie unable to appear in London previously to his
departure for San Francisco, was induced to take part in the
concert as well as to give a recital on the following Tuesday.
Happily, M. Paderewski, although weakened by his severe
illness, seemed quite himself again after striking the first chord
on the pianoforte, and, indeed, such a reception as he had was
enough to inspire anybody. There was a fine performance of
Mozart's Clarinet Quintet, in which Herr Muhlfeld played
exquisitely. M. I'aderewski's playing of Chopin's Sonata in
11 minor was one of the noblest interpretations of that work
imaginable. In the final movement some might have objected
to the extreme rapidity of the artist, which, with all the wonder
ful executive power of the pianist, one seemed to feel hurried
the music. In the scherzo, M. Paderewski was very brilliant
The study of Chopin in c minor was given as an encore and in
a style that was unrivalled. The Beethoven Trio in 1: flat
proved that the pianist could be as sober and dignified in his
playing as the beauty of the music demanded. He sacrificed his
individuality to the great composer, and therefore the rendering
of the pianoforte part in the trio was all that could be desired.
Lady Halle and Signor Piatti took part in the trio, which, under
such circumstances, was an extraordinary treat for the audience.
The concert of Saturday, December 10th, again introduced
the Clarinet Quintet of Brahms, Lady Halle. Mr. Ries, and
Signor Piatti assisting, and Herr Miihlleld playing the Clarinet
portion with delightlul purity of tone and grace of execution.
Miss Agnes Zimmermann was the solo pianist, and played the
Ballade in A flat and Nocturne in E minor of Chopin admirably.
Signor Piatti gave a Suite of Bach for violoncello, and Miss
Giitin Barnard sang extremely well. On Monday, the I2lh, the
Sonata for clarinet and pianoforte in F. flat, by Weber, was an
attractive work, and to many a novelty. It was played by Miss
Agnes Zimmermann and Herr Miihlfeld, whose fine tone blended
charmingly with the finished execution of Miss Zimmermann,
who also played two of the lighter pieces of Henselt, "La
Gondola " and " Romance Russe." The charm of Henselt even
in small works like these cannot easily be resisted, and Miss
Zimmermann enhanced it by her refined playing. On Saturday,
the 17th, Mozart's Clarinet Quintet was repeated. Sir Charles
Halle played Schubert's A minor Sonata, and with Lady Halle
the "Krentzer" Sonata.
M. PADEREWSKI'S RECITAL.
Extravagant was the delight of all lovers of the pianoforte
to learn that M. Paderewski would, after all, give them a
special treat by performing at a recital on Tuesday, December
6th. Happily the pianist has such a variety in his style that
there was no fear of monotony. He is equally at home in
Chopin or Handel, in Beethoven or Liszt, one of whose
rhapsodies displayed his remarkable gifts with the greatest
effect. As to the enthusiasm of the audience, it was simply
astounding as the result of the attraction of a single performer.
But there are not many pianists of M. Paderewski's calibre, and
January I, 1893.]
THE
MONTHLY
he is, besides, going away for a long time, and everybody wished
to hear him. One of the greatest successes of the recital was
Weber's Sonata in a flat. This reminds us how unaccountably
the higher works of Weber have been neglected by the famous
pianists of the day, but assuredly few composers have imparted
a greater charm to music for the pianoforte than the composer of
Der Frieschiitz? The brilliant playing of M. Taderewski
absolutely electrified the audience by ils power, execution,
and expression. M. Paderewski gave recitals at Brighton,
Manchester, Liverpool, and Wolverhampton, and he had in
each of these towns an enthusiastic reception. lie was treated
with regal splendour by the London and North- Western Com
pany, who provided him a saloon carriage, in which was a
splendid Erard pianoforte. Had he been a real prince instead
of the prince of pianists he could not have met with greater
homage.
THE MUSICAL GUILD.
The talented young artists who are giving a series of concerts
at the Kensington Town Hall under the above title were heard
on November 30th in Rheinberger's quartet in E flat for piano
forte and strings, Miss Maggie Moore, Miss Winifred Holiday,
Mr. Alfred Hobday, and Mr. Whitehouse being the performers.
Miss Annie Fry and Miss Donkersley played Dr. Hubert
Parry's " Partita " lor violin and pianoforte in D minor, and Mr.
Claude Hobday was enthusiastically applauded for his contrabasso solo, Bottesini's " Melodie " in E minor. Schubert's
string quartet in A minor, op. 29, was the concluding item, and
Mr. Magrath was the vocalist.
LONDON SYMPHONY CONCERTS.
The last of these concerts until after Christmas was given on
December 1st, when the orchestral playing was particularly
fine. Raff's Lenore symphony was the most important item of
the concert, and Mr. Henschel and the performers under his
control may be warmly complimented upon the admirable
rendering of a symphony which in its way is classic and likely
to increase in popularity. After the weird finale in which the
spectral journey of the heroine is described so admirably in
music, Mr. Henschel was recalled to the platform and greeted
with the greatest enthusiasm. The double concerto of Brahms
in A minor, op. 102, for violin and violoncello was admirably
played by M. Gorski and M. Carl Fuchs. The overtures to
Obcron and Die Mtisltrsinger went brilliantly. Miss Evangeline
Florence sang Elsa's song from the second act o( Lohengrin
with much taste. Mr. Henschel has made some changes in the
four additional concerts to come, and the programmes will be
found of a most attractive kind. A number of fine works will
be included, and several important artists will take part, among
them the Belgian virtuoso violinist, M. Cesar Thomson.
MISCF.LLANEOUS MUSICAL ITEMS.
ALL who desire to see the advance of English music will learn
with pleasure that the opera by Mr. V. H. Cowen will be
produced at Genoa in January next. What singular changes
have taken place in the world of music of late years. Not long
ago we were enthusiastic over the lighter forms of Italian opera,
and Donizetti and Bellini were the operatic idols. Now we
have the remarkable event of an English composer having a
grand opera produced for the first time in Italy. But there is
something to regret as well as something to rejoice in. The
composer who should be winning glory and profit in his own
land has to seek an opening abroad, and the theatre in which
his work was to have been given has been transformed into a
music hall. However, when Italy accepts English music, we
may hope that London may eventually be able to establish a
national opera. Signor Mazzucato has made an excellent
translation of the libretto of Mr. Cowen's opera, which was
founded upon the novel of Ouida by the late Mr. Gilbert
a Beckett. We fully anticipate and earnestly hope that Mr.
Cowen may have a triumph at Genoa. The sympathy and
interest of the audience will be secured by two important
Italian scenes, one of them representing the carnival at Naples,
for which Mr. Cowen has written most animated music. There
MUSICAL
RECORD.
17
are also other Italian scenes of city and rustic life which will
assuredly help to make the reception of the opera all the more
favourable. It is a story also that will be likely to captivate an
impulsive audience. We must not dwell longer on the subject
at present, but trust next month to record a brilliant success for
a most praiseworthy native musician. Royal enthusiasm for
music is always welcome. The Duke of Edinburgh is as fond
as his lamented father was of good music, but after a day's
shooting with the Earl of St. Germans, the sportsmen lost their
train, but managed to get to Plymouth in a guard's van of a
special train. The duke was in time to lead the orchestra of
the Amateur Society. The daughters of H.R.H. were present,
and Dr. Mackenzie's "Dream of Jubal'' was the work
performed. The duke sent a telegram to Dr. Mackenzie to
compliment the Principal of the Royal Academy on his beautiful
work.Mdlle Minnie Hauk has been "starring" at Zurich.
The artist was warmly appreciated. That talented musical
family, the Hanns, gave at the Brixton Hall on Monday last the
first of their Brixton Popular Concerts with great success.
Mdlle. Jeanne Douste also gave a pleasant recital at the
Princes Hall. On the 13th the Guildhall School gave an
orchestral concert at Guildhall in the presence of the Lord and
Lady Mayoress and Sheriffs, and on Saturday the 17th, a per
formance of Mozart's Marriage of Hgjro at the school. We
were present, and have to congratulate the students. Miss
Ballard sang the English version of " Dove Sono " with much
taste; Miss Jessie Hudlesion was excellent in "Yoi che
Sapete," and Mr. Epstein as the Count, and Mr. Sargent as
Figaro, acquitted themselves well ; Sir Joseph Barnby con
ducted. A new Choral Society, "The Middlesex Choral
Union," gave a good performance of Handel's Joshua on the
15th, and on the 16th Yerdi's Requiem was admirably rendered
by the Bach Choir.
iHuattal
#otea*
*
The production of Samson et Dalila at the Opera (on
November 23rd) has not only added to the credit of
M. Bertrand's management, it has removed from Paris
the reproach of knowing nothing of one of the chief
works of one of the greatest of living French composers;
a work produced in Germany fifteen years ago, and lately
made familiar to numerous provincial audiences. True,
it was played for a few nights at the Eden Theatre in
1890, during the very brief season of M. Y'erdhurt's
management, but these performances (though of con
siderable merit) were too little patronised to do much for
the reputation of the work. Although the earliest of M.
Saint-Sains' stage works (it was finished in 1872), it is
still the most highly esteemed, and it now remains to be
seen whether it will win the same favour in the capital as
it has received in Rouen, Lyons, Marseilles, and other
French towns. The chief honours of the performance
fell to M. Vergnet, the representative of the hero. Mme.
Deschamps, as Dalila, and M. Lassalle, as the High
Priest, seem to have left something to be desired. The
two ballets and mise-cn-se'ene were superb, and the
general performance admirable.
The opera of Saint-Satins being a comparatively short
work, a one-act piece, Slralonice, libretto by L. Gallet,
music by Alix Fournier, has been brought out (December
9th), to be played with it, but does not appear to have
made any particular success. M. Fournier has been an
unsuccessful competitor for the Grand Prix de Rome,
and some critics wonder why such a chance has been
given him. The rehearsals of another new opera (also
on a classical subject), Dtidamie, by M. Henri Mare'chal,
are being actively pushed forward, and the work will
probably be produced in January.
Meanwhile, M.
Bertrand has gone to Munich to study the performance
of Die IVai/eiire, the production of which is intended to
i8
THE
MONTHLY
be a great feature of the season of 1893. Aida also is to

be revived shortly with Rose Caron as Aida (for the first
time), Mme. Richard as Amneris, and MM. Alvarez and
Renaud as Radames and Amonassro.
At the Opera Comique the production of Werther has
been delayed by an important change in the cast, M.
Delmas being substituted for M. Gibert in the title-part ;
the new tenor has also had such a cold that he has been
unable to rehearse. Mme. Calve is just about to appear
as Carmen for the first time, but it is stated that notwith
standing assiduous practice, she finds herself unable to
perform on the castanets with the perfection she desires,
and will therefore substitute some other exhibition of
skill. The strike of the choristers has ended in their
obtaining some addition to their salaries.
The 66th season of the Concerts du Conservatoire
began on November 27th, when M. Paul Taffanel, the
distinguished flutist and newly-appointed chef conducted
for the first time. The chief items were the Eroica
symphony, Leonora overture, and Saint-Saens' Rouet
d'Ompkale. M. Taffanel seems likely to prove a worthy
successor to the former illustrious chiefs who have held
the same post.
M. Colonne has followed up his performances of
Berlioz1 Faust by producing L'Enfance du Christ. At the
Concerts Lamoureux the Choral Symphony has been
given, and two novelties, Variations symphoniques for
'cello and orchestra by L. Boellman, and a symphonic
overture (?) by Evstafieff, a Russian composer, whose
Poanc melancoliqne has had some success.
A NEW mass by M. J. B. Weckerlin, which was sung at
S. Eustache on November 25th, is well spoken of.
A PIECE performed by marionettes, to words by M.
Bouchor, with music by Paul Vidal, has been revived at
the Theatre d'Application with much success. M. Pougin
says of it that it offers an artistic impression absolutely
unique of its kind, and gives an idea of actual perfection.
On December 1st, Mme. Alboni celebrated the fiftieth
anniversary of her debut on the stage, by a reunion
musicale at which she once more delighted her guests by
the charm of her wonderful voice and incomparable
style.
The Town Council of Angers has decided to withdraw
the small subvention hitherto granted to the Association
Artistique of that town, and thus the most excellent and
famous of all the provincial concert-societies of France
is threatened with extinction.
The Academie des Beaux-Arts has elected M. Tschaikowsky as corresponding member for the section of musical
composition.
Maitre Martin, an opera in four acts, libretto by
M. Eug. Landoy, and music by Jan Blockx, was produced
at the Brussels Thdatre de la Monnaie on Nov. 30, and
was fairly successful. Blockx is one of the most talented
and best-known disciples of the Antwerp composer, Peter
Benoit, and this is (we believe) his first opera ; but he
produced a ballet, Milenka, in 1888, the music of which
had great success both on the stage and in the concertroom. The cast of the opera included Mmes. Lejeune
and Archainbaud, MM. Leprestre, Gilibert, Ghasne, and
Isouard.
At the Berlin Hofoper, Weingartner's Genesius was
withdrawn by the composer after two performances ;
partly, it seems, from dissatisfaction with the hostile
feeling manifested by a certain section of the press and
the public. The work, story and music, is analysed at
length in the Allg. Musik-Zeitung, by Herr Lessmann,
who thinks very highly of it. Certainly the libretto seems
interesting, whatever the music may be. The author has
gone to Italy for a short holiday. This novelty was
MUSICAL
RECORD.
[January I, 1893.
followed, on Dec. 5, by another, Der Bajazzo, which

is the / Pagliacci of Leoncavallo, with a new title, and
in a German translation by Ludwig Hartmann ; this had a
great success, and the young composer was recalled and
applauded many timesthe Emperor himself congratu
lating him on his work. The principal soloists were
Frau Herzog, Herren Sylva and Bulss. The opera was
preceded by Mozart's Bastien u. Bastienne, played for
the first time in Berlin we can scarcely say with what
result, as the Allg. Musik-Zeitung says the rendering was
so poor that it made no effect, whilst the Signals tells us
that it had a very warm reception. Die Hexe, by the
young Dane, August Enna, is to be the next novelty, and
after that Mascagni's / Rantzau.
Such activity is
something marvellous, for operatic affairs at Berlin gener
ally move very slowly.
At Kroll's Theatre, also, novelties follow fast on one
another. On Nov. 16 was the premiere of a new Italian
opera, never performed before on any stage, A Santa
Lucia, the composition of Pierantonio Tasca, a young
Sicilian musician never before heard of outside his own
country, and scarcely at all known even there. It is one
of those realistic tales of modern low life which the
Cavalleria introduced on the stage, and thanks to its
own intrinsic merits, and an incomparably fine rendering
of the chief female part by Signora Bellincioni, it made. a
great sensation, and has been several times repeated.
The lady just named has been taken into great favour
by the Berlinese, and she proposes to return to Berlin
next April with an Italian company, and produce an
opera of her own composition. Another intended
novelty, the Mala Vita of Umberto Giordano, had to be
postponed for some days, owing to the indisposition of
Signor Stagno, and perhaps also to some objections of
the authorities, for the subject is of a somewhat risky
character. It was at length produced on the 13th, with
the two chief female parts played by Signora Bellin
cioni and Madame Moran-Olden ; and with two such
performers, it is not wonderful that it made a great effect.
Massenet's Werther has found its way to Weimar, the
first town where it has been produced since the original
production at Vienna last February. Its reception was
fairly favourable, though not quite enthusiastic.
The new training-school for young artists desiring to
take part in the Bayreuth Festspiele, was opened with
twenty-two pupils. Herr Kniese appears to give all the
instruction in singing, and the dramatic teaching will be
undertaken by Frl. Marianne Brandt, who has removed
to Bayreuth for the purpose. The selection seems an
excellent one.
Ruiunstein conducted the first performance of his
Children of the Heath at Bremen on Dec. 2, when
the composer and his work were received with great
enthusiasm.
THERE is quite a rage just now among opera managers
for producing Mozart's two boyish operas, and, curiously
enough, Bastien uiut Bastienne, the earlier of the two,
written when Mozart was only twelve, is more often pro
duced than the later one. Within the last few weeks, we
read of it at Berlin, Hamburg, Bremen, and Mannheim,
besides Vienna, where it was first disinterred. La Finta
Giardiniera has appeared at Lcipsic and Strasburg.
Other theatres are preparing to follow suit with both
works, which may now be said to be the very oldest
operas that keep the stage.
Concerts in Berlin are too numerous to admit of
detailed mention, but among the concert-givers whose
names will be familiar to English ears are Mme. Amalia
Joachim, who is repeating her admirable cycle, Das
Deutsche Lied, Mme. Sembrich, Mile. C. Kleeberg, Mme.
January I, 1893.]
THE
MONTHLY
Gerster, and Mile. Eibenschiitz, Herr Waldemar Meyer,

Arno Hilf, the Leipsic violinist, and Mr. Leonard
Borwick. There are, besides, the concerts of the Phil
harmonic, and of the Konigliche Kapelle, at which,
however, nothing very special has been done ; and,
finally, the concerts of the various choral bodiesthe
Domchor, the Wagner-Vereine, and the Kotzolt'sche and
Stern'sche Gesangvereine. These are not all, but are
probably enough for our readers.
A competition has been started in Berlin for the
erection of a memorial to Haydn, Mozart, and Beethoven
jointly. Four sculptors have sent designs which are now
being exhibited to the public.
One of Mr. Eugene D'Albert's new works has been
introduced to the public of Bremenhis second piano
concerto, which he played at the fourth Philharmonic
concert, with a success supposed to be largely due to his
masterly execution of it. Mme. Carrefio will shortly
perform the work at Berlin.
At Hamburg they have produced a version of an
Italian opera, Le Villi, by Giacomo Puccini, a young
composer of much promise. The work had considerable
success, and the composer was called out ten times.
Apparently they adopt Italian customs as well as works
at Hamburg.
Here is the programme of the recital given at Leipsic
by the little seven-year old pianist, Raoul Koczalski, on
December 7th: Gavotte (Bach); Rondo in a minor
(Mozart) ; Menuett in B minor (Schubert) ; Larghetto
and Finale from Concerto in F minor (Chopin) ; Waltz in
E minor (Chopin) ; Romance (Rubinstein) ; Hungarian
Fantasia (Liszt), together with two pieces of his owna
Gavotte and Waltz, Ops. 43 and 46 ( !).
Herr Johann Krusf. has been chosen to fill the post
of second violin in the Joachim-Quartett, vacant by the
death of H. de Ahna. Herr Kruse has scarcely settled
in Bremen, when he is now called upon to return to
Berlin.
Vienna is full of musical activity just now. The
Hofoper has brought out a new opera in three acts,
Signor Formica, by Ed. Schiitt, which was kindly re
ceived, but is not likely to remain long in the repertoire.
Then, at one of the Gesellschaft-Concerts, there was a
new work by Bruckner, Psalm cL, for solo, chorus, and
orchestra, which contains some excellent music; at a
Philharmonic Concert a new and pleasing Serenade for
strings and two horns by Robert Fuchs ; and at Hellmesberger's first Quartett-soire'e, a new piano quintet by
Nawratil. Frl. Adele aus der Ohe, a .once well-known
pianist, has returned from a long stay in the United
States, and reappeared as a performer ; and, lastly,
another juvenile violinist, Rosa Hochmann, a pupil of
Prof. Grun, has exhibited her remarkable talent.
It is satisfactory to record that Lohengrin has been
played at Darmstadt, and Siegfried at Dessau, both
without any cuts. If this goes on, there will soon be no
cuts anywhere.
Reinhold Becker, a composer hitherto best known
by his compositions for male voice choruses, made his
debut as an operatic composer at Dresden on December
8th, by the production of a three-act opera, Frauenlob,
libretto by F. Koppel-Ellfeld. Excellently interpreted by
Frau Marie Wittich, Frau Schuch, Herren Anthes and
Scheidemantel, it had an enthusiastic reception.
Frau Lilli Lehmann has given a vocal recital at
Dresden entirely devoted to selections from the works of
Aug. Bungert.
The Imperial Opera of Berlin celebrated, on December
6th, the 1 50th anniversary of its foundation. The old house
(the interior of which was burnt out in 1843) was first used
MUSICAL
RECORD.
19
for a performance on December 7th, 1742, the opera then

played being Graun's Cdsar und Cleopatra (written for
the occasion). The programme on the present occasion
was a curious jumble : Overture, Iphigenia in Aulis
(Gluck) ; Prologue by Emil Taubert ; Overture to Graun's
opera; Or/eo, Act II. (Gluck); Le Nozzc, Act II.
(Mozart); Fidelio, Act II.; Freischiitz, Act II., sc. 1 ;
Le Prophete, Act III., sc. 2 ; and Gdtlerddmmerung,
final scene.
Herr Jozef Hellmesberger is retiring from the
post of Director of the Conservatorium of Vienna, which
he has held since 1859.
Kiel's Christus, a work which has not been much
heard of late, was performed at Stuttgart on November
28th by the Neue Singverein, under the direction of Herr
Ernst SeyfTardt, a pupil of Kiel, and was so favourably
received that it is proposed to repeat the performance.
Ivar Hallstrom, one of the most distinguished com
posers of Sweden, has just brought out, at the Royal
Opera of Stockholm, a new work, The Daughter of
Granada.
The authors of Maid Marian, Harry B. Smith and
Reginald De Koven, produced at Boston, on October
31st, a new operetta, entitled The Fencing Master.
The Falstaff of Sig. Verdi will probably be pro
duced at La Scala early in February, the cast, which
includes ten singing characters, being now apparently
settled to the composer's satisfaction. It is said that the
University of Cambridge proposed to give Sig. Verdi
the honorary degree of Doctor of Music, but he declined,
on the ground that at his age he could not travel so far
as this country. Sig. Boito is reported to have accepted
the same honour, and will probably visit England to
receive the degree.
Mr. F. H. Cowen has gone to Italy to superintend
the rehearsals of his new opera, Signa, which is to be
produced during the present month at the Teatro Carlo
Felice, Genoa.
The Rantzau of Mascagni was produced at Rome,
Teatro Costanzi, on November 27th, and enthusiastically
received.
Two other new operas have had fair success, Rudello,
by Sig. Ferroni (Milan, Teatro Carcano, December 1st),
and Gualtiero Sivarlen, by Andrea Gnaga, another young
composer (Rome, Teatro Costanzi, November 13th).
This latter is described as a concerto for the tenorthe
tenor being Sig. Tamagno.
A young pianist, Maria Rex, eleven years old, has
begun to create a sensation at Milan.
The Westminster Orchestral Society has issued the
prospectus of its eighth season ; there are to be three
orchestral concerts, supplemented by a complimentary
one to the conductor, Mr. S. Macpherson, besides two
chamber concerts. The concert on May 3rd will consist
entirely of English music, which indeed is well repre
sented throughout the season. The society deserves
support.
The second half of the season of the Crystal Palace
Concerts, extending from February 26th to April 22nd,
will contain several very interesting itemsa mass by
Dvorak, overtures by Marshall Hall and F. Lamond, and
a Marche solennelle by E. German. Joachim, Otto
Hegner, Julius Klengel, and other eminent artists, vocal
and instrumental, will appear.
Among books relating to music lately published are
" Beruhmte Geiger der Vergangenheit und Gegenwart "
(Famous violinists of past and present times), by A.
Ehrlich, which contains eighty-seven biographical notices
of famous fiddlers, with portraits ; two biographical and
critical monographs, " Anton Rubinstein," by Eug. Zabel,
THE
20
MONTHLY
MUSICAL
RECORD.
[January I, 1893.
and " Carl Reinecke," by W. J. von Wasielewski ; and the CLASSISCHE VIOLIN MUSIK BERUHMTER
second volume of Sittard's *' History of Music and the
MEISTER des I7ten und iSten Jahrhunderts.
Theatre at the Court of Wurtemburg," 1733- 1793, Nach den Originalwerken fur Violine und Bass (oder den vorhandenen
which contains much new and authentic information Orchesterpartituren) bearbeitet und mit Vortragszcichen versehen
relating to the stay of Jomelli at Stuttgart, 1753-1770,
VON GUSTAV JENSEN.
s. d.
during which time he produced there no fewer than
7401
Francesco
Geminiani.
Sonate
I.
(A
dur)
net,
i thirty-six operas.
742
..
..
,, II. (H moll)
net, 1 We have scarcely any deaths to record this month. 7403
G. B. Somis. Adagio and Allegro
First mentioning two which were overlooked last month,
Pietro Nardini. Adagio
Otto Tiersch, a writer on the theory of music (died
J. B. Senailh*. Aria
net, i net, i November 1st), and Albert Jungmann (died November 7404 G. Pugnani. Sonate (e dur)
.. net, i 7th) a writer of some elegant salon-music ; we find only 7405 J. B. Senaille. Sonate (o dur)
7406 Arcangelo Corelli. 3 Sonaten (a dur, E moll, e dur) net, 1 6
Gotthard Bruckner, one of the brothers Bruckner, who 7407 Giuseppe Tartini. 2 Sonaten (g dur and G moll)... net, 1 6
painted most of the scenery for the Bayreuth Theatre, 7408
,,
,,
Sonate (c moll) ...
net, 1 and Mme. Charton-Demeur, a once famous prima donna, 7409
,,
,,
Sonate (c dur) ; Giga (g dur)
net, 1 7410
Henry
Purcell.
The
Golden
Sonata
(for
two
Violins
and
who owes her fame chiefly to her selection by Berlioz
Piano)
net, 1 to create the part of Beatrice in his opera of Beatrice et
Francesco Geminiani. Sonate VIII. (d moll)
... nat, 1 Benedict v\ 1862, and the part of Didon in his Troyens 7411
7412
,,
,,
Ausgewiihlle Sonatensatze
net, 1 the following year ; in these roles she fully satisfied even 7413
L. Borghi. Sonate II. (A dur)
net, 1 the exacting composer. Apart from these remarkable 7414
,,
Sonate IV. (G moll)
net, 1 creations, she was little known in France, and, indeed, 7415 Antonio Veracini. Sonate (2 Violins, Piano, and Violon
cello ad lib. )
net, 1 most of her active life was spent abroad. She was born
7416
,,
,,
Sonate. (a moll)
net, 1 in 1824, and died on November 30th.
7417 G. Torelli. Concerto (for two Violins and Piano)
net, 1 6
EBENEZER PROUT'S
Theoretical Works in Augener's Edition,
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Aitftner's
Edition.
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Second Edition
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AND
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,.8KEY TO THE ADDITIONAL EXER

CISES TO E. PROUT'S "HARMONY"
..
..
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W. A. Mozart Andante, Menuetto, and Rondo

Arcangelo Corelli. Follia con Variazioni (D moll)
W. A. Mozart. Adagio (E dur) ; Rondo (c dur)
F. H. Barthelemon. Sonate (e moll)
G. F. Handel.
Sonate (A dur)
Vivaldi. Sonate (A dur)
Veracini. Concert-sonate (E moll)
Jean Marie Leclair. Sonate IV
G. F. Handel. Sonate X. (G moll)
,,
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PROUT'S
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PRACTICE." Second Edition
7418
7419
7420
7421
7422
7423
7424
7425
7426
7427
VIOLIN SCHOOL.
Elementary. First bowing Exercises, &c. ist position

Minor Keys, Ornaments and special Bowing Exercises,
ist position
Study of the Oiher Positions
" Der Vcrfasser bidet mit seiner Vlnlinschulc ein ungeinein sor^'faltig jfearbetrete*
Studienwcrk ilar. welches sich (lurch die ifriindHchite llelnntllunj; der ( .eiienteclinik;
auszcichnet
Anf erscliopfende Wei-* bind darin die Aofang'stuten des vTolinspietes
Iwriicksichtigt. In aiesein Fuukt wird zumeiit von den I-clutru gefelilt. Kaum ist
dem Schutcr das Instrument In die Hand ueffeben wordeu, so Jaszt man ihn auch
vchon kleitie Stiickc spielen, wahrend es auch /unachst darauf ankoaim:, ihm einige
S<c herhe-it in der Bogenfii hnnig. sowie in der Anwendung des elcinent.tren Fin^c sit/es zu geben. Uaner komint cs, dasz Anfanger meiit auf die uiiertraglichste Art
kr.itzen un<l unrein greifen. Die ItoKi-nfiihrung al>er ist das ers'e und wi htigste
Erfjrdernisz zur l-rzeutjung cines yutcn Tunes, weshalb sie lanêre /eit fiir sch
alle'ii geubc wcrden musz, und zwar a if den leeren Saiten. Hit mm dann deal
Schiiler dahin gebracht, dasz er auch die Bachstiicjjendcn Grille in dvr ersten Lie
,m lernt hat, so ist cm Fundament gAwmineii, auf dem man *chrittweise mit Hrfoljf
we'tcr hauen kann, Alles dies lehrt die Violinschule CourvoiMer's in exacter Wtise,
wt- -In II > sie olme jeden Vurliehalt zu empfahleu ist. Schwerlicl: wird in in unter den
zahlreich vorhandenen Wcrken dicscr Art tint! bessere Meth >de anmmlen. uU die in
K- -ie stehende. Die beiden eniten Thcile brschaftiijen sich uusschlies/licli mit der
ersian I-aye. Uie ubrtgcii l'ositionen bib zur acnteu sind lui druten Theil bg;limdclc." Signale. October, 1897.
London : AUGENER & CO., 86, Newgate Street, and t, Foubert's Place, W.
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X
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..
..
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Analysed. By EBENEZER PROUT, B.A. Lond., Pro
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London : AUGENER & CO., 86, Newgate Street, E.C. ; and 1. Foubert's
Place, W.
January i, i893.]
THE
MONTHLY
MUSICAL
RECORD.
21
Of December 22nd, 1892, has the following Review :

NEW PIANOFORTE MUSIC.
Among the large number of publications issued by Messrs. Augener, the new edition of Sterndale Bennett's wcrks, by Hcrr Pauer, Is of great
value. The lovely concerto in F minor, a work which concert-goers, for seme strange reason, are sever permitted to hear, is arranged so that the
orchestral parts can be played on a second piano, a proceeding which should bring back some of its old popularity. The fine, though very difficult,
Fantasia in a, Op. 16, is interesting not enly in' itself, but by reason of its being dedicated to Schumann in return for his magnificent "Etudes
symphoniques." The three romances and the Capriccio scherzando are also sent ; it is to be hoped that before long a complete edition of the master's
works will be brought out, if necessary by arrangtnieLt with other firm?. A Romance in a flat, by J. F. Harnett, has all the grace for which we look
in the composer's best work. A serenade in four sections, by F. Kirchner, forms that prol fie composer's Op 4C1 ; the pieces are a little old-fashioned,
but will serve well enough for educational purposes. Of the four pieces called "Petits Rayons," by S. Noskowski, '" Champutre," a pretty pastoral,
and " Polonaise melancol que" are the mo>t pleating, and in another grrup of " DiversiteV' a pretty " Humoresque" will be found. Among recent
compositions by L. Schytte, a very expressive nocturne in a minor is the best and most effective; his "Alia Menuet" (why two languages should be
used when the title has but twp words is not clear) has more of the characteristics of the form than a minuet in d minor. The first of a long series of
pieces by A. Strclezki, " Valsctte," in d major, is curiously identical in theme with the entrancing valse in Chabrier's delicious op6ra comique, Lc Koi
malgrr iui, a work we can hardly hope to hear in England until the higher forms of light opera find more acceptance than they do at prcsen*. A
pretty nocturne in C sharp minor, dedicated to M. Paderewski, a serenade in u, a graceful vabe-impromptu, two so-called " valscttes" in flat and A flat
respectively, deserve special notice. All are salon pieces, but rank high in the class; nearly all would be more effective if the main subject were
relieved by a second theme in contrast with it; as it is, many of the p;cces are merely studies on a single figure or phrase.
A vo'tune of (our
" Wanderstunden" show the composer in a more earnest mood, and he pays Schumann the tributs of s'mcerest flattery in a scrips called
" Carnaval-Scenes mignonnes," a series which would be recognised as absurdly Schumannescpie even if thac master's title had been left
alone.
*' Arlequinade," by G. Pfeiffer, is a quaint and very taking little piece, and Edith Swepstone's *' Spectral Hunt " is suffi
ciently characteristic, though perhaps unduly long for the purpose. " Dashing Cavalry," " Viennese Humour,'' *' bird of P.'iradise," and
*' Loving Hearts," by A. Czibulka, are drawing-room pieces of the typs once far too fashionable. Krause's ''Little Sketches," and " A
Child's Life." by E, Pauer, are albums of easy pieces which should be a good preparation for their great model, the Schumann album. A
clever suite for the left hand alone, by Mr. Pauer, shows what can be done by a little ingenuity ; it contains pleasing examples of the oithodox suite
movements. The " Library of Piinoforte Music," by ihe sam = editor, contains, in sever*! numbers, graduated in respect of difficulty, nnny pieces of
different periods well worthy to be preserved ; a caprice by August Eberhard Miiller. and some careful arrangements from Schumann's works for the
pedal-piano, are among the most valuable of the contents. The second "Gavotte Album," by the same ollector, jji/es sp;cuiifiis by Lully, Core'li,
Loeillet, Leclair, Domenico Zipoli, J. Gossec, and others, l>esides more famous composers. In the carefully edited "Anthologie Classique et MoJcrne,"
a recent issue is occupied with Handel's ch.iconne, with 62 variation*. Anions pianoforte duets an interesting group of " Shrâs de l'lle Maurice," by
Weckeilin, a book of "Dailies Styriennes,' by E. Pauer, of " Danses masoviennes," by S. Noskowski, and a book of "\alses nobles," by L. Hegyeni,
deserve favourable mention; four duets by Marie Wurm are excellent specimens of that class in wnich the primo part is intended for very young
performers ; in this case a compass of five notes i* n:ver exceeded, but a remarkable degree of variety and even charm has been attained in the con
struction of the teacher's part. H. Heale's "Preparatory Pianoforte School" is a valuable instruction b>K)k, containing nuny well-chosen examples,
and all the necessary requirements of the elementary student. Among the later books of Locschhorn's " Melodic Studies " are two bx>ks of "Rhythmic
Problems," devised with ^reat in2enuity. and calculated, in some cases, to puzzle even advanced musicians. They are not merely enigmas, however,
but nearly all of them have character and beauty, and they have the advantage of being published, like the rest of the series, in both notations of fingering.
Mr. Pauer's 20 " Esquisses rhythmiques" are less formidable than those just referred to, but are sufficiently valuable for educational purpose*. The
" Culture of the Scale," another of the same editor's albums of studies, is a collection in which every imaginable variety of" scale-passage is set b;fore the
student ; the value of those in which unusual accents occur U very great. The pieces chosen by the Associated Board of the Royal Academy and the Royal
College for the local examinations are, as usual, issued by this firm, with fingering and other editorial additions, and duet transcriptions of some of the
symohonies of Mozart and Haydn, by Max Pauer, and of two of Mendelssohn's overtures by E. Pauer, are also scut, besides some rondos and a fan ta.it 1 by
C. Gurlitt, for two pianos, which at least add something to the limited repertory for this combination.
And of November 23 rdy 1892;
SECULAR CHORAL MUSIC.

To judge by the supply sent by Messrs. Augener & Co., the demand for cantatas, &c, for female choirs must be enormous. Two cantatas by
Edith Swepstone call for most favourable notice" The Ice-Queen." adapted from Andersen, is extremely picturesque ; the solo numbers and the
three-part choruses are alike interesting and skilfully written, and the story is well and effectively told.
"The Idylls of the Moon " consist of some
five sections, some of them suggested by Andersen's "What the Moon Saw," and not less effective than the other work, though the various episodes
have not much connection with each other; a pretty "Ave Maria," with violin obbligato, is a most taking number, and the difficult task of setting
to music of such limited scope incidents in the French Revolution is cleverly managed. The scraps of the " Marsellaise " which interrupt the course
of this scene are happily introduced, and the finale, called a choral duet, and representing a dialogue between the moon and the sea, makes a capital
close. The story of "The Forest Bells," by J. Acton, is not less picturesque than these, but its setting is decidedly less striking. At the s.ime time
it contains many pretty numbers, notably a contralto solo, with bell-1 ke accompaniment.
"The Fairies," by the same composer, and '"The Fairies'
Festival," by Seymour Smith, have the same subject, and the libretti of both are by Mr. E. Oxenford ; the latter has a good deal more variety of
style, since the former is made up almost entirely of dance movements. " May Time," also by Seymour Smith, is another example of the tame class
.nil
of work, a little more conventional in character.
"Snowdrop and Rosebud," by that prolific composer Reinccke, is a favourable specimen of a fori
which he has so often used with success. Schumann's romances for female voices, Opp. 69 and 91, are issued both in albums and separately; they
are among the bes'.-existing works for ladies' choirs, and it is strange that they are not more often heard. The beautiful " Meerfey," in five parts,
>hows what a master can do within somewhat narrow limits. A good deal easier to learn are some light and pleasing duets, with choir ad libitum^ by
Alfred Moffat, and a large number of " vocal dance tunes," by H. Heale ; these last have the merit of not being perversions of instrumental works, but com
positions of professed originality. " The Quarrel of the Flowers " is a musical recital in costume, t^c music of which is scarcely of primary importance ; it is
oy Louis Diehl, and will be found to serve its purpose in accompanying the entertainment, which seems suitable for very young Children. Four little volumes
of " Children's Songs," by Reinecke, are issued in tonic olf-fa notation, and should be highly prued by teachers of tnis system. By what is possibly a
mere coincidence, the words "When good King Arthur ruled this land" are set to a tune the first, line of which is ident cal with that of "Rule
Britannia." The scries of "Glees and Choruses for Female Voices," by H. Heile, contains some useful adaptations from the works of Cailcott,
Web be, SpoftVrth, Stevens, Bishop, and others, the bass part of which is easily and conveniently transfened to the contralto register. Glees and
rounds by bithop alone occupy four volumes, and a series of twenty-four rounds by H. Heale contains some ingenious settings of well-known words
from the English classics. For male-voice choirs may be strongly recommended Mr. Gadsby's clever cantata "The Cyclops," which contains many
characteristic choruses and effective solos for tenor and bass (Ulysses and Pulyphtmus), and may be trusted to find favour wherever it is heard, since
it is one of the composer'* most original and successful works. In the series of pari songs issued for the Strollers' Society, Dublin, the works in this
form by Schumann have now been completed by *' Love's Quest " ; "A Servian Serenade," by Joseph Striuko, consists of a baritone solo supported by
a humming chorus: Schubert's "My Silvan Nest" and "The Two Powers" hive been provided with excellent translations of the original words;
"The Martial Law" is an adaptation from Gretry, which should be very effective; a scries of "Graces tie fore and after dinner," by H. MacDonnell,
ihow some skill in harmony, and a not very striking part-song, " Change," by Emil Kreuz, is also in the same series.
London: AUGENER & CO., $6, Newgate Street, E.C., and i, Foubert's Place, W.
22
[January I, 1893.
Pianoforte Studies and Schools, with English New Pianoforte Studies and Schools, with
Fingering.
Continental Fingering.
ABECEDARIAN
(THE)
IN
PIANOFORTE
~ * PLAYING.Elementary Pianoforte School, arranged in easy steps

leading from the first beginning up to the degree of difficulty of dementi's
1st Sonatina in c :
Part I. 17 Melodious Pianoforte Duets. The Treble (for j. d.
the Pupil) within the compass of five notes. Crotchets
only used ; no rests
040
Part II. 10 Melodious Pianoforte Duets. The Bass (for
the Pupil) within the compass of five notes. Duets
1 to 6, only crotchets and no rests. Duets 7 to io, semibreves, minims, and crotchets used
040
Part III. Introduction to the Rudiments of Music. Daily
Exercises, Duets within the compass of five notes of
different value, Airs and Melodies (in the Treble clef
only)
040
Part IV. Daily Exercises. 14 Instructive Pieces, Airs and
Melodies
040
Part V. Daily Exercises, Variations, Airs, Pieces, &c,
leading up to the degree of difficulty of Clementi's 1st
Sonatina in c
040
AUGENER & CO., 86, Newgate Street, and 1, Foubcrt's Place, London.
NEW
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TRAINING SCHOOL for the PIANOFORTE,

Selected, Arranged, Revised, and Fingered by E. PAUER.
ENGLISH FINGERING.
First Step.
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The Year 1892

The Old Masters
Harmonic Analysis. By Louis B. Prout
Studies in Modern Opexa : a Course of Lectures Delivered
in the Philosophical Institution, Edinburgh. By
Franklin Peterson. {Continued) ..
..
The Pianoforte Teacher : a Collection op Articles Intended for educational purposes, consisting op
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FEBRUARY
INCORPORATED SOCIETY OF MUSICIANS.

The second sitting of this society was held in London at
the beginning of last month, and during the week speeches
were delivered by men prominent in the musical pro
fession. One of the objects of the society is to provide
opportunities for personal and friendly intercourse
between its members, and for the discussion of all matters
relating to music or musicians. This object is a praise
worthy one, for union is strength, and already the inter
course of the last few years has done much to remove
the impression that musicians cannot dwell together in
amity. Is it possible that difference of opinion with
regard, say, to the root of the chord of the added 6th, or
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vent musicians from meeting together in a friendly way,
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familiar with the poets and novelists of their own and
other nations, and he might even, and without flattery,
have credited these distinguished musicians with a know
ledge of literature generally, and also philosophy. These,
of course, are exceptionally gifted men, and the majority
of musicians cannot hope to equal them in knowledge ;
still, it is wise to set such before us as models worthy
of imitation. The more cultured musicians of the present
day not only find many of their brethren narrow-minded
and, in proportion, dogmatic, but, on the other hand,
they meet with cultured amateurs, who, if inferior to pro
fessionals in the mere technics of the art, can yet dis
course on music with intelligence, earnestness, and above
266
i,
1893.
[Price 2d. ; per Post, 2jd.
all with catholic taste. Musicians then, according to Dr.

Mackenzie, must be up and doing, if they wish to be
properly recognised as a body. His advice will naturally
be appreciated by those least in need of it ; but it is to
be hoped that some will take his words to heart, and not
only practise their art, but think about it.
Sir John Stainer spoke with much earnestness on
"Technique and Sentiment in Music." An experience
of thirty-five years' active work has proved to him that
skill in technique has been constantly on the increase,
but that sentiment has not advanced pari passu. He
blamed the national tendency towards the suppression of
sentiment, the tendency of the present system of educa
tion to rub down any individual traits of character, and,
in fact, tried to remove all blame from teachers. But it
seems to us that while all the reasons which he assigned
for this want of sentiment in playing, the want, in fact, of
that end for which technique ought to be the means, were
certainly just, part of the blame rests with those by whom
students are guided. The increase of culture advocated
so strongly by Dr. Mackenzie would affect this matter
favourably : for teachers in sympathy with all the arts,
teachers who have held converse with the great minds of
the past and the present, would naturally try to awaken
sentiment in their pupils. At presen', in many cases,
music seems to be taught merely for the purpose of dis
guising emotion. Sir John Stainer spoke against the
study of the masterpieces of the great composers by
students merely in view of a competitive examination.
There is, of course, a danger of the letter rather than the
spirit taking hold of the pupil's mind. But here again
the influence of a good teacher could do much. In
some cases, no doubt the intellectual study of a Bach
fugue or Beethoven symphony interferes with the true
enjoyment of the music ; but, in a well-trained mind, and
with sympathetic guidance, the intellect of these com
posers seems pressed into the service of their emotions
for the purpose of revealing the latter in their full
intensity.
Dr. Campbell gave an interesting lecture on " The
Musical Education of the Blind ;" Mr. W. G. M'Naught
one on " The Progress of Music in the Elementary
Schools ;" Dr. H. Hiles on " Form in Music ;" and Mr.
J. A. Hipkins on " The Old Claviers."
26
THE
MONTHLY
MUSICAL
FELIX MENDELSSOHN-BARTHOLDY.
Fashions change. Mendelssohn at one timeat any
rate, in this countrywas extolled to the skies, but now,
in certain quarters, there is a tendency to depreciate his
art-work.
The third edition of August Reissmann's
" Felix Mendelssohn-Bartholdy : Sein Leben und seine
Werke,'' appears then at an opportune moment. The
writer is a great admirer of the master, and yet his praise
is tempered with judgment.
The state of music in Berlin at the commencement of
the nineteenth century is briefly described, and the rapid
changes in musical taste are graphically illustrated.
Naumann, Reichardt, Himmel, Fesca, Neukomm,
Schneider, are mentioned as the prominent composers of
that day. What does the present generation know
about them ? At the Mtiser Quartet Society the works
of Haydn, Mozart, and Beethoven were performed, and
the modern composers were Onslow, Spohr, Fesca, and
Romberg ; now they are neither modern nor ancient, but,
Spohr excepted, almost obsolete.
In discussing Mendelssohn's youthful attempts at com
position, our author passes in review the great masters
from the time of Bach and Handel, showing how different
in each case were the manifestations and developments
of genius. Next to Mozart, Mendelssohn displayed the
most wonderful mastery of form almost from infancy, but
his individuality also soon showed itself. In the piano
forte quartet in B minor, and even earlier, can the germs
be detected whence sprang the Midsummer fright's
Dream music, and the Melusine and Hebrides overtures.
Our biographer enters into much detail concerning the
composer's youthful work, Die Hochzeit des Camacho,
which he justly regards as of special importance, with
regard to the master's whole development. The overture
directly related to the opera, and the employment,
although to a limited extent only, of representative themes,
sounds promising ; but then Weber had just produced his
Der Freischiitz. Still, the power of characterisation and
the descriptive music in the work are, in their way,
remarkable. The pianoforte sonata in E (Op. 6), which,
by the way, has never been heard at the Popular Con
certs, in spite of its weaknesses and digressions, presents
points of interest. It is here said to have been composed
in 1827, but Sir G. Grove says March, 1826. With
regard to programme-music, Mendelssohn's biographer
reminds us that the finest commentary of the wonderful
Midsummer Night's Dream Overture, composed in 1826,
is the music to Shakespeare's play, composed in 1843.
With different and less formal training, Mendelssohn
would probably have been an out-and-out romanticist.
The difference between the overture just named and the
" Calm Sea and Prosperous Voyage " is well pointed
out : the one depicts a world foreign both to the com
poser and to us ; the other was the outcome of purely
personal feeling.
As in discussing Mendelssohn's youthful creations our
biographer calls to mind the early days of other com
posers, so he introduces the subject of Mendelssohn's
visits to England by a bird's-eye view of Haydn's and
Weber's English experiences ; this is, to a certain extent,
padding, but of a useful sort. The remark that Frei
schiitz and Oberon prepared the way for Mendelssohn
has much truth in it. Weber was thus of double service
to the young artist.
In discussing Mendelssohn's songs, our author says
much that is interesting as to the manner in which he
approached a poem, as compared with Schubert and
Schumann : he did not, as the latter, surrender himself
entirely to the foreign individuality. And generally in
RECORD.
[February I, 1893.
his remarks on Mendelssohn as a composer, Herr Reissmann shows fairly both the strong and the weak points.
He is a sympathetic critic, and of such in connection
with Mendelssohn there are few in these days. Walpurgisnacht ranks, he says, not only among the best of
Mendelssohn's works, but among the best of all ages.
In the former part of this judgment, at any rate, he will
find many who agree with him. Of the Elijah book we
are told that, in spite of many attractive situations, it is
unsatisfactory, in that the very zealous prophet ends his
career as an old man weary of life, and that this affected
the composer in his music. But be this as it may, Herr
Reissmann believes that Mendelssohn's individuality was
not strong enough to do full justice to the Biblical
drama.
HARMONIC ANALYSIS.
By Louis B. Prout.
{Continuedfrom f. 6.)
PROGRESSIONS FROM CHROMATIC CHORDS WHICH
AVERT MODULATION.
8. After any chord containing only diatonic notes, it

matters not (from the analyst's point of view) what chord
shall follow in order to preserve the tonality, as they are
themselves essentially in the key ; but chromatic notes
are only secondarily connected with the key (see 4), and
the question now to be answered isHow shall modula
tion be averted after a chord containing chromatic notes?
9. There are three principal methods of averting modu
lationall logical, intelligible, and easily to be recognised
in analysing :
I. The common chord of the tonic is, of course, the
chord of tonality ; hence, if a chromatic chord is suc
ceeded by the tonic harmony of the prevailing key, there
is no modulation (unless there be a melodic progression
alien to that key, 16).
II. The contradiction of a chromatic note by its dia
tonic form (e.g. of F$ by F 'p in key of C, cfl by c| in
key of E, etc.) will necessarily nullify the suggestion of a
new key, which has been shown to be the property of
chromatic harmony, and will therefore reestablish the
prevailing tonality.
III. The progression of a chord borrowed from one of
the attendant keys to a chord belonging to a different
one, will also preserve the feeling of the prevailing
tonality (unless there be a melodic progression alien to
that tonality, 16) ; for the second suggestion cancels
the first. The most frequent and effective cases of the
application of this method are in the progressions from a
chord borrowed from the dominant key to one borrowed
from the subdominant, or vice versa, which may aptly be
described as an effect of counterbalancing, or compared
to the return swing of a pendulum, still leaving the
original tonic as a centre point, or point of repose. An
example of this process may be seen in ex. 3 (p. 5),
chords 5 and 6, chord 5 being borrowed from the
subdominant key, chord 6 from the dominant, and the
key of c consequently remaining unchanged. N.B.This
is the exact counterpart in chromatic harmony of the fol
lowing simple diatonic key-formula :
February I, 1893.]
THE
MONTHLY
10. It must not be supposed that the foregoing sum

mary of the principal methods of averting modulation is
altogether exhaustive ; there are a few progressions which
are generally recognised, from force of association or
other circumstances, as inducing no modulation which
ought, judged by the principles here laid down, to disturb
our impression of the key. But such progressions are of
very rare occurrence, and at least the immediate context
will afford the needful clue.
PROGRESSIONS WHICH CAUSE MODULATION.
11. A study of the means of modulation will be helpful
to the student of analysis ; indeed, this division of our
subject may be regarded as the corollary of the preced
ing. We have already dealt with the suggestion of new
keys by chromatic chords, and it has now to be con
sidered by what means the suggestion shall be confirmed,
or, in other words, what progressions ( 7, last paragraph)
induce modulation. It may be well to remind the reader,
though our best theorists have already pointed it out, that
the name " chromatic chord " will not be applicable to
chords which modulate into the key whose signature they
suggest ; for they become, in their treatment, "diatonic"
in' that new key. Inasmuch, however, as progressions
(and not chords) define key, Macfarren's phraseology is
perfectly accurate when he speaks of the chords in ques
tion as "taken as chromatic in one key, and left as
diatonic in another key." As this double treatment of
chords at the moment of modulation is a matter of con
siderable importance, it is worth while to give a simple
illustration :
Ex. 5.
12
fM
=*s=
A careful analysis of even this very straightforward pro

gression will illustrate several points of interest ; the keysignature suggests the key of C major or A minor, and, as
the g's are natural, it will be c major ; the first chord,
being the chord of C major, suggests this ; the progres
sion from chord 1 to 2 strengthens the suggestion, that
from chord 2 to 3 affords the proof, for chord 2, which is
diatonic in no key but C major or minor, resolves upon
the chord of c major ; had it been C : v7 borrowed into
one of the attendant keys, the B or F would have been
chromatically contradicted 9, II. or the following
chord would have been I. of the key into which it was
borrowed 9, I. or else would have belonged to some
other key than C 9, III. ; the tonality having thus been
established, we must regard the progression from chord
3 to 4 as belonging to the same tonality (according to 7,
last paragraph but one) ; but chord 4 suggests the tonality
of G, from which key it is " borrowed," and the chord is
therefore " taken as chromatic in C ; " whilst its resolu
tion upon the tonic of the key from which it was borrowed
( 12) proves that we have a modulation into that key,
and it is "left as diatonic in G." N.B. If only one
aspect of a modulating chord is regarded by the analyst,
it must be its aspect in regard to the new key, because
it is already suggesting this new key. Thus, the full analy
sis of the above example will bec : 1. vr i.| ; v'7}g : 1. ;
while the simple method will be c : 1. v7 1. g : v, I. The
former is to be recommended to all who desire to obtain
an intelligent grasp of the means of modulation.
12. The most obvious method of confirming a modula
tion is to follow a chord containing accidentals (or notes
foreign to the prevailing key) by the TONIC chord of the
key which it suggests (compare 9, I.). So frequently is
this practice followed that if a doubtful chord (as regards
MUSICAL
RECORD.
27
its tonality) is followed by a concord, the student may

nearly always assume that that concord is a tonic, and
can thereby, of course, ascertain the key. One or two
possible exceptions will be noticed later (21); but, to
prevent misunderstanding, it should be stated that if the
doubtful chord is followed by a common chord belonging
to the key which has prevailed up to this point, it will not
necessarily be a tonic ; the method of analysis here indi
cated is to be of assistance in recognising modulation, or
the establishment of a new tonic.
13. A modulation will also generally take place when a
chord suggesting a new key is followed by another chord
suggesting the same key, esp:cially if there is some
melodic progression alien to the key before prevailing.
14. Some chords pave the way, as it were, for modula
tion, without absolutely proving it ; the chief are :
I. An accented 'I, which almost always sounds like the
second inversion of a tonic, and leads towards a modula
tion to the key of which its root would be the tonic.
II. A " fundamental " seventh, which always suggests a
dominant, and may even cause a modulation, to the key of
which it is the dominant without being resolved (accord
ing to 12) upon its tonic.
15. Modulation may also be effected by the use of
certain melodic progressions ; in order to understand
these, it will be necessary to examine the melodic
tendencies of the chromatic notes ; diatonic notes may of
course follow one another in any order without changing
the key, even unusual leaps from the leading note not
being of themselves sufficient to cause modulation. The
melodic properties of the five chromatic notes of a major
ke>'?//., ?!/!., pv., ? vi., and '? vn. may with advantage
be separately considered ; first, however, one or two
general laws may be stated :
I. Any chromatic note may move a semitone upward
or downward without disturbing the^tonality ; for it is
thus shown to be part of the chromatic scale.
II. A leap from a chromatic note in the case of a
change from one to another position of the same ciofd
will not induce modulation.
%>//. The natural tendency of this note is certainly
downward a semitone, for it is the submediant of the l$ey
of iv. minor, " borrowed." But its melodic progression to
any note of the scale is possible without disturbance of the
tonality, for the key which it suggests is sufficiently
remote to need the support of other accidentals, and if
modulation is effected it will be through some harmonic
progression.
t>///. This is the one only note which necessarily dis
tinguishes the tonic minor from the major key ; hence a
leap from it, or a step of a tone upward, generally causes
modulation (unless, of course, the accompanying chords
disprove it, when the modulation is indeed averted, but
at the expense of beauty and coherence of effect).
$/v. This is the only note necessary to effect a modu
lation into the dominant major key ; hence its use as a
chromatic note requires great care, and it will almost
invariably move a semitone either upward or downward,
according to law I. above. As with !?///., it is possible to
make it leap and at the same time to restore the feeling
of the key in some other part of the harmony, but an
atrocious " false relation " would generally result.
vvi. This note will not of itself suggest any one new
key, as either of the keys from which it can be borrowed
requires the support of other accidentals ; therefore, its
melodic progression is not bound by any special law.
bvsi. This note is sufficient of itself to cause a modula
tion to the subdominant major key ; and is therefore, as
a chromatic note, restricted in its treatment. Besides
rising and falling a semitone, it can, however, fall a tone,
28
because, though this is a progression from one chromatic

note to another, yet the two do not (unless the second be
made a portion of the minor chord of IV.), both suggest
the same key ( 13), 7 vi. naturally suggesting /. minor
rather than iv. minor ; nor do they ignore (by passing
over) any note essential to the tonality, the diatonic note
so passed over being merely the submediant (compare
'6, II.).
The melodic properties of p//., tyv. and p VII. in a minor
key are the same as in the major ; while ti///. in the. minor
(to call this raised mediant \ut. would involve some
logical inconsistencies ; a major mediant has to be
treated as 6, *'*., normal; so also b/v.) presents the
antithesis to p///. in the majorif it leap, or fall a whole
tone, :li5 tonality is disturbed ; and jjfv. should seldom
leap, nor indeed can the fall of a whole tone from it be
considered as generally an agreeable melodic progression.
16. The melodic progressions, then, which may ciuse
modulation are from p///., 4// '., or p/'//. of a major key,
and from tt///., J/K., J}r/., or P /'//., of a minor :
I. By leaping from these notes (except 15, 11.),
which gives them a diatonic character ; such leap being
to a note of the scale which they suggest.
II. By step of a tone from them in a manner now to be
explained. Let it first be lenembered that a diatonic
major scale has its semitones between in. and IV. and
between I'll, and 1. ; these miy be therefore considered
as its characteristic step progressions. Secondly, the
student must call to mind that "chromatic" notes are
only secondarily " in the key." Combining these two
thoughts, it will surely become obvious that a step from
P///. to IV., which ignores the " characteristic progression "
///. to //'., and moves more than a semitone from a
chromatic note, causes ?///. to assume a diatonic character,
and changes the key :
Ex. 6.
Key C major.
C major.
C minor.
PPP
f=f
bed
s=t
^.-"J
Similarly, a progression downward a tone from \iv. to

///. will cause a modulation, even though the chord 0/1.0/
the. original key may /nllow ( 9, 1.) ; for the approach of
///. from a tone above destroys the feeling that it is a
mediant at all.
KeyG.
^=tfe
J.
m?M
Similarly also, a progression from Pr//. to /., proves that
the latter is no longer regarded as /. ; for a tonic must
have a leading note a semitone below, and it becomes in
feeling a dominant.
[February I, 1893.
disturbance of the tonality ; it has already been stated that

diatonic notes are perfectly free in their progression, and
there is no suggestion of a change until the chromatic
element enters : and as it is not chords but progressions
which cause modulation ( 11.), it will be in quitting the
chromatic chords that the ambiguity, or the modulation,
is felt.
In like manner, th; semitone progressions in a minor
key from ///. to //. and from VI. to V. are its "characteristic
step progressions;" hence a movement of a whole tone
downwards from fi///. or tJ/Y. can of itself cause a modu
lation ; especially the first-named, the mediant being the
" modal note " of the scale.
17. There is one other melodic law of some importance
to the analyst, viz., the law of auxiliary notes. "Auxi
liary notes" (treated in many text-books amongst
" passing notes," but seeming to deserve a separate name 1
are ornamental notes, not themselves forming parts of the
chords against which they are heard, but preceding or
following (or both) a note of such chord at the distance
of a tone or semitone. Most appoggiaturas, acciaccaturas, the ornamental notes of shakes, turns, mordents,
etc., give familiar examples.
Passing notes, strictly
speaking, fill in a space between two chord-notes, and in a
sense belong equally to both ; auxiliary notes belong to
one harmony note only, though they may both come from
and return to this, and so have much of the passing note
character, Example 9 (*).
Ex. 9. *
>)
im
(/)
J=J=.
to
zJ=J:
=T
(<fl *
mmm FdJ
The notes marked with the * at {a) {b) and (c) above
are auxiliary notes, each being ornamental to but one
harmony note ; that at (d) is a passing note, belonging
equally to two chord notes (e and G).
18. The "law of auxiliary notes," to which reference
has just been made, is with regard to their distance from
the harmony note to which they are ornamental, whether
it shall be a tone or a semitone. Only if the auxiliary
note is above its chord-note have we any binding law
(consequently this is the most useful aid to the student of
analysis), vis. :
If the harmony note be diatonic, the auxiliary note
above it must be the next note 0/ the diatonic scale ;
except only if the harmony note be submediant of the
minor scale, when its auxiliary will necessarily be the
flattened 7th, not the " leading note," which latter is at a
distance of more than a tone.
N.B.This is a modern rule, and the old practice was
to write auxiliary notes in accordance with the diatonic
scale of which the prevailing chord was the tonic. So
that Mozart cannot be supposed to have intended the
following for a modulation through the key of B minor,
though on modern ears a momentary impression of that
key is created.
Pianoforte Sona'a in A.
KeyF.
ft J U-^f^
gfll ^^
--
I f]_
i
I l-U
*^mim
19. From the application of the above law, or still more

from the natural downward tendency of most dissonant
N.B. The reverse of these progressions (ir. to P///. ; notes, arises a general principle which does not amount
///. to jfir. ; /. to pv/f.) may of course be used without to a law, but which is usu illy followed by modern com
February I, 1893.]
THE
MONTHLY
MUSICAL
posers. If a harmony note is ornamented with an auxi

liary note below, this is generally only one semitone below,
the Chromatic element being often necessary to effect
this. By this means, an upward tendency is given to the
note (on the principle that sharp notes rise) so strong
indeed that it is no longer possible for it to fall without
violating the law in 18.
N.B. The stronger is the natural downward tendency
of the diatonic note {e.g. in the case of the sub-dominant)
the more generally is this practice of chromatic raising
followed, provided, of course, it is used as ornamental
to the note above.
20. From the foregoing remarks on auxiliary notes, it
will be seen that while Ex. 1 1 (a) is perfectly natural in
the- key of C ( 19), yet so apparently simple a use 0/
auxiliary notes as that at (A) will prove (according to
18) that we are in G.
RECORD.
but is it to the key of G major? No, for the no(e which

would in that case be the tonic is approached by step of
a tone from below (the ear again decides against the
tonality of g).
(Similar examples can easily be formed containing leaps
from the G (Ex. 12 (a), chord 4) and the F (Ex. 12 (b),
chord 5), e.g., from o to E, and from F to D or B ; these
would equally well prove that the notes in question were
diatonic, and that the modulations were not to A major
and G major respectively.)
Since then, in these cases, the concord of resolution
cannot be a tonic, the question is,What other concords
may follow the discords at a point of modulation ? The
natural answer is, The other primary chords, V. and IV.
(usually the former). Herein is our solution ; in a major
key there is only one of the primary notes, the dominant,
which has another diatonic note a tone below it. In a
minor key the mediant is a whole tone below the subdominant, but then this latter is a minor chord, while V. is
always major, so that there is no danger of confusion.
For example, at Ex. 13 (a) we are modulating to G, of
which the chord of D major is dominant; but at (b) we.
are going to the key whereof D (bearing a minor chord) is
either subdominant or a secondary note (e.g., supertonic).
Ex,w
Where there are many passing and auxiliary notes to
gether, as in scale passages, etc., the key can often be
determined almost at a glance by the application of these
guiding principles. How to distinguish auxiliary and
passing notes from chord notes in intricate passages, will
be considered later.
21. It wate said in 12 that if a chord of uncertain
tonality is followed by a concord, this concord is almost
always to be regarded as a tonic ; a few possible excep
tions will now be intelligible, as they are based on the
laws of melodic progression, which we have been
discussing.
I. If the concord be approached by the melodic pro
gression of a major 2nd upward to its root, that root
cannot he. a tonic, according to 16, II., and Ex. 8. The
following examples show the possibility of such pro
gressions :-
2?
. *
<g#=f=t
aE
-k
4=
-T==B
II. If a chromatic discord or chord of uncertain

tonality be followed by a major common chord, the
progression containing the fall of a semitone to the root
of the latter, it (the latter) will almost invariably (unless
in its second inversion, 14, I.) give the impression of a
dominant chord rather than of a tonic, especially if the
key of which it would be dominant is more closely related
with the key quiUed than is that of which it would be
tonic. (The dominant is much more easily and naturally
reached by fall of a semitone than tonic.) Thus in Ex. 14
the modulation will probably be to A minor (of which E is
the dominant), not to E major.
Ex. 14.
J-j:
{N.B. In each of these examples a final accent is

purposely omitted until the question of key has been
argued out.)
At (a) the music commences in C (the progression from
chord 1 to chord 2 proves this, containing all the notes
of its diatonic scale, and the concord having c for its
root) ; in chord 4 an accidental appears suggesting the
key of F, but the chord following is not that of F ; to
what key, then, are we modulating? Chord 5 is a
concord, yet it cannot be a tonic, since its root A is
approached by step of a whole tone from below. (Any
trained ear will reject the feeling of the key of A here.)
At (b) we commence in A minor (suggested by the
accidental G$l, confirmed by the A minor chord, and by
the sequel) ; chord 5 might from its ambiguous character
be in any key, and we are wholly dependent on the
resolution for a settlement of the question ; the following
chord is a concord, that of G major ; we have modulated,
III. A few other possibilities might be enumerated,

but would only serve to confuse the student, and are ot
exceedingly rare occurrence If the idea in 12 be but
firmly grasped, and at the same time the student
habituates himself to looking forward a chord or two,
there will very seldom be any difficulty.
22. In the case of mere transitions, it sometimes
happens that the tonic chord of some of the keys
touched upon does not appear at all ; in such cases the
melodic progressions, the fundamental sevenths (which
are generally dominants), and such other aids as may
suggest themselves, must be used in finding the key. In
very complicated passages, an idea can generally be
obtained of the key from observation of the notes from
which melodic leaps are made, as these notes are usually
diatonic. Passages built on chains of fundamental
So
THE
MONTHLY
MUSICAL
RECORD.
[February I, 1893.
sevenths, the root of each rising a 4th or falling a 5th, movement in the accompaniment, and sung now by the
sad clarinet instead of by Elsa's living, loving voice.
are constantly modulating, the formula being :
Lohengrin summons the attendants and bids them
r. v JC: Ij I f F: I, )
(Bt>: I, ) .
care for her and take her on the morrow to the king, in
whose presence he will answer her question. The broken
Each tonic becoming, by the addition of a t>7th, a new vow from the orchestra closes this powerful scene, and
dominant; this may briefly be called "a chain of without any pause we are transported to the banks of the
dominants."
Scheldt, when to the sound of a bustling march the nobles
23. If all the parts move chromaticaHy, modulation are gathering with their retainers to follow their king
seldom, if ever, results.
and Lohengrin to battle. The promise and the doubt
( To be continued.)
which broke it accompany Elsa's appearance, and a sad
version of her deliverer's motive tells of her broken heart.
A deep silence falls on the assembly when Lohengrin
proudly stands forth to tell them who he is. " On
distant shores which you can never visit rises the castle
a course of lectures delivered in the philo of Montsalvat. There stands a holy temple so glorious
that earth has never seen its like ; and in it a holy vessel
of wondrous power is guarded with pious care. 'Twas
brought to earth by angelic hands, and committed to the
{Continuedfrom fngt 7.)
care of holy men. Its miraculous power is yearly renewed
IV.transition to the music-drama (concluded). by a divine dispensation, and it is called the Grail. The
We now approach the most delightful, the most wonder knights who enrol themselves in its service have super
ful part of Lohengrin. The two preceding acts have natural powers bestowed on them, and they go even to
shown the possibilities of the Music Drama in capable distant lands on its missions, nor do they lose its pro
hands. This scene in the third act shows even more tection so long as they remain unknown. As soon as
plainly the power of the greatest musician who ever they disclose their mission or name they must return.
wrote for the stage. No one will say that Wagner can Now listen while I answer the doubting suspicion. I
write Fugues approaching those of Bach, or Symphonies come as a messenger of the Grail ; my father, Parsifal,
to be compared with Beethoven's ; but any one who gives reigns King of the Grail knights, and my name is
this scene a fair hearing cannot but acknowledge that no Lohenc.rin."
one approaches Wagner in a love scene on the stage, no
The secret revealed he must leave them. The swan
opera can be compared with Wagner's Music Drama. with the boat is descried, and to the minor version of the
One of the most beautiful touches in the literature of theme which heralded his own triumphant arrival, Lohen
music is the modulation when the last sounds of the grin prepares to depart. As he is about to enter the boat
bridal chorus have died away and Lohengrin turns to Ortrud steps forward taunting him and Elsa. She owns
Elsa, " We are alone, the first, the only time since we that by her enchantments she had turned young Godfrey
have met." The phrase I quoted from the second act into a swan. On hearing these words Lohengrin kneels,
appears, as he says, "Now we are secluded from the and in answer to his prayer a dove floats down and takes
world, no ear can hear, while heart opens itself to heart." in its beak the golden cord by which the boat is drawn.
A lovely melody developed from the same melodic germ, The swan disappears and in its stead stands young
and used afterwards with pathetic effect, accompanies Godfrey, whom Lohengrin takes to Elsa's arms. He
Elsa's words, " When I look on thee, my heart's own enters the boat, and as he disappears Elsa falls lifeless to
treasure, joys do I feel that mortals ne'er possess." Her the ground.
maiden heart swells with love and happiness till she sings,
Let us rapidly review the outstanding features of this
" Is this only love ?" But the serpent is in the garden. ideal story told in such ideal music. The prelude fulfils
Elsa is only a woman, a creation to which has been one of Gluck's requirements most admirably in preparing
ascribed all the curiosity there is in the world. "But I the audience for what is to follow, as the Tannhauser
must never know the name by which I could call thee, my overture fulfilled the other. Throughout the work we
highest joy ! " Lohengrin calls her caressingly by her have Elsa's dream, her love song, the Quintet, the King's
name. "Ah, how sweet my name sounds on your lips Prayer, and Lohengrin's love song to silence those who
would you not like to hear yours on mine ? " Lohengrin would deny to Wagner's memory the divine gift of melody
tries to divert her thoughts and drawing her to the win and the ability to write airs. The Quintet in the first and
dow, through which the pure light of the moon is stream the Love Duet in the last act are models of these forms
ing, sings his beautiful song of love.
judged by old and established rules, and the choruses
Only for a time ! The thought is welling up in Elsa's show ample power to compete with those of other masters
breast and it must out. Nearer and nearer the fatal in the art. Besides these, Frederick's fiercely excited
subject she comes till she works herself up into a hysterical song before the duel, Ortrud's invocation, and Lohengrin's
state and seems to hear again the Grail music. With staring recital of his name and lineage show the extraordinary
eyes she is gazing again on the river. ' The swan, I see dramatic intensity which has ever been more and more
it, it draws the boat it calls to him." In the greatest at Wagner's disposal. And further there are three
excitement she cries, " I must know it, tell me thy name features which must be detailed. Firstly, the creation of a
and from whence thou earnest hither." At that moment new character. Elsa, beloved by all of us, has no proto
Frederick with four accomplices enters by a secret pass type in fiction, and must be called a real creation. Secondly,
age, and Lohtngrin has only time to snatch his sword the delineation of character development as shown in
from the scabbard, which Elsa holds to him. He strikes Elsa, the innocent, wronged girl trusting in Heaven, selfrenouncing, self-effacing, to her champion happy in
Frederick dead and Elsa faints in his arms.
A long pausea few melancholy notes from the basses, virgin love with the seed of doubt sown in that
and Lohengrin sighs, " Alas, now all happiness is fled ; " fair soil, developing and ripening till the forbidden
and the love song which Elsa sang in such happiness tasting of its baleful fruit closed the gates of her
Thirdly, the happy use of
has a most pathetic soundno longer with a passionate Paradise upon her.
February I, 1893.]
THE
MONTHLY
familiar supernatural elements to emphasise, not to

contradict natural development.
Grant the necessary
belief in magic as we do when we read Hans Andersen
or the "Arabian Nights." That is, I mean that these are
powers, good and bad, which concern themselves with
individualsthat Ortrud was not talking vain words
when she declared that she had turned Godfrey into a
swan. The main supernatural features are Elsa's dream
of her heaven-sent champion, and that he from the
Grail Castle arrived in time to save her. I think no one
can reasonably object to these parts of the old chivalrous
story. I always like to see Lohengrin in the duel right
hard with Frederick, for the supernatural powers of his
weapons are those granted in every age to the right.
" Thrice armed is he that hath his quarrel just." Ortrud's
invocation to the powers of evil to assist her in destroying
Elsa's faith need not be echoed by the woman of to-day
in so many words, or in the same faith in demons, when
she devotes an evil heart, a malicious tongue, to ruin happi
ness or to blast reputation. Many a heroine in fact and
fiction gives away her heart suddenly, irretrievably.
Then, as is natural, her timid nature becomes afraid and
mistrustful of itself. She hesitates, alternately trusting
and doubting, loving and fearing. If she allows fear and
doubt to overcome, there is no necessity to stipulate that
her lover's name be unrevealed for a yearthere is no
necessity for a swan or a magic summons. When the
rift appears in the lute the music is silenced either in the
fourth or in the nineteenth century. These romantic
elements in the old story merely stand for, or rather
emphasise, the well-known tendencies in the economy of
the human heart.
A more detailed justification of the supernatural, as
Wagner employed it, will be offered when we come to
consider the story of Tristan.
(Io be continued,)
The PIANOFORTE TEACHER:

A Collection of Articles intended for Educational purposes,
CONSISTING OF

By E. P A U E R,
Principal Professor 0/ Pianoforte at the Royal College ofMusic, &c.
{Continued front /. 8.)
STEP III.
Goria, Alexandre. "Serenade et Variation." Op. 9

(b flat). The first part is for the left hand only, and is
thus a highly useful study, whilst the brilliancy of the
whole is enhanced by the supplement of the right hand
(page 3).
Goria, Alexandre.
" First Concert Study." Op. 7
(e flat). It may be said that this now popular study
made Goria known as a fashionable composer.
Goria, Alexandre.
" Etude de Concert."
Op. 8
(e flat). Requires an easy wrist and great distinctness.
Gluck, C. iV. Gavotte from Paris and Helena, tran
scribed by E. Pauer. Like Handel, Gluck was a very
economic composer, for he used the same piece in another
work. Thus, this gavotte appears also in the ballet Don
fuan. This gavotte from Paris and Helena is, in itself,
a little insipid, and the simplicity of the time is brought
to the highest pitch ; however, as the celebrated Brahms
thought it worth his while to arrange it for Madame
Schumann, who created a great furore by its performance,
it showed itself desirable and practical to present it also
in a garb accessible to stars of lesser magnitude. In this
much easier arrangement the original key of G has been
MUSICAL
RECORD.
retained, whilst the transcription by Brahms is in the

key of a.
Gautier, L. " La Vivandiere," Marche Militaire (F).
A bright but unpretentious movement.
Forbes, George. " Euryanthe," by Weber.
Fantasia
(E flat). The airs taken are from the overture, Adolar's
Romanza, the finale of the first act and the second sub
ject of the melody.
Daase, Rud. Op. 95. " Reconvalescence," Romanza
(a flat). A pleasing melody of two pages.
Eyken, G. J. van. Serenade by Gounod (f). The
charming Serenade is arranged in a moderately easy
manner.
Eyken, G. J. van. " The Rivulet " (G major). A kind
of study : it has to be played in an animated manner, as
the melody itself does not possess much interest or
beauty.
Egghard, Jules (really Count Hardegg). "True Love,"
Romanza (e flat).
The late composer was really an
amateur, who changed his name in order not to offend
his aristocratic relations. Some of his pieces obtained a
moderate reputation and popularity. The piece, " True
Love," is a little sentimental, but, as there are many
persons who are somewhat inclined towards sentiment
ality, it will be welcome to those.
Egghard, Jules. "Maiden's Orison "(Prayer) (g major).
Easy, and tolerably effective.
Egghard, Jules. " Le Jet d'Eau," Impromptu de Salon.
Op. 76 (G). A kind of arpeggio study in the style of
Blumenthal's well known " La Source."
Egghard, Jules. " Les Chants du Peuple." "Melodies
Autrichiennes" (f). Two very well-known popular airs
are here transcribed in an effective manner.
Egghard, Jules. " Chanson du Chaudronnier," Morceau caracteristique.
Op. 124 (G minor). A simple
and unpretentious piece with a badly chosen title.
D'Ourville, Lion. '' Forget-me-not," Gavotte (f). Writ
ten by an experienced hand ; very popular.
D'Ourville, Leon. " Shepherd's Song," Pastorale (a).
A good task for strengthening the memory.
D'Ourville, Leon. " The Prisoner of Chillon," Song
without words (E flat). Very simple.
Dorn, Edouard.
" Operatic Fantasias " Guillautne
Tell (Rossini), Martha (Flotow), Masaniello (Auber), II
Trovatore (Verdi), La Figlia del Reggimento ( Donizetti).
In as far as the construction, length, manner of treatment,
and degree of difficulty chosen by the arranger is con
cerned, these pot-pourris may be taken en bloc. The
popularity they have attained is a guarantee that the
general public was satisfied.
Dorn, Edouard. " National Airs "" Robin Adair "
(Scotch melody), "The Minstrel Boy" (Irish melody),
" Home, Sweet Home " (English ? really Neapolitan
melody), "Happy England" (English airs), "Dreams
of Wales" (Welsh airs). All these are arranged in a
brilliant and effective manner.
Dorn, Edouard. " Vivat Regina," Marche Loyale (c).
An effective march movement.
Dorn, Edouard.
"Bright Eyes," Mazurka (E fiat).
Cheerful and brilliant.
Dorn, Edouard. " Happy Thoughts," Caprice a la
Valse (A flat). Written in a popular style.
Dorn, Edouard. "Silvery Peals" (F major); " Gondolina" (G major); "Good Words" (E flat), Romance
expresssive ; " Eventide " (c major) ; " Glittering Spray"
(c major) ; " Daisy Chains (f major) ; " Break of Morn"
(A flat) ; " Up With the Lark," Chant Matinal (f major) ;
" White Lilies," melody (g major) ; " Sweet Hope," Pensee Me"lodique (b flat major); " Sunny Smiles," Romance
varie'e (E flat major) ; " Snow Pearls," Caprice (G major).
32
THE
MONTHLY
MUSICAL
All and each of these twelve pieces will be found effect

ive, and of very moderate difficulty.
STEP IV.
Dohler, Theodor. Tarantelle (g minor). Op. 39. There

are only a few tarantelles which obtained a world-wide
reputation Auber's Tarantelle in the " Muette de Portici "
(Masanie/lo), that of Rossini in his " Soirdes Musicales,"
that of Heller in A flat, and the present one by Theodor
Dohler, who might be called a disciple of Thalberg.
Besides being a well-constructed, melodious, and highly
effective piece, it is a capital study for playing octaves.
It deserves to be warmly recommended.
Betide/, Franz. " Souvenir de Prague," Polka de
Concert (e flat). May be recommended as a very bril
liant and captivating drawing-room piece. The per
former, in order to do justice to the piece, ought to have
a very loose wrist.
Betide/, Franz. " La Cascade " (d flat). A very cheer
ful, elegant, and pleasing movement in * time. The
part in G flat, page 4, requires force, but on no account
any thumping.
Bennett, William Sterndale.
Three Impromptus.
Op. 12. No. 1 (d minor), slightly melancholy, and of
tender, soft expression. No. 2 (E major), peaceful, quiet,
and full of feeling. No. 3 (f sharp minor), of consider
able difficulty. The performer must have a certain, reli
able hand, and sufficient nerve. As a composition, No. 3
is decidedly the best of the set.
Thalberg, Sigistnund. " (Euvres Choisies." As Thal
berg was unquestionably one of the greatest pianists, and
did much to widen and vary the scope of pianoforte
playing, his works possess an unusual interest for the
student. The present volume contains twelve distinct
pieces : " La Cadence," Impromptu en forme d'Etude
(a minor). The beginning requires a perfect staccato,
and the subsequent variation (page 2, last line) must
represent the turn in its greatest perfectionbrilliant,
clear, and round. " Le Trifle," Etude from Op. 26. The
name " Trille " is not given by the author, but has been
added by the editor in order to point out the character of
the piece and ils necessary representation. The student
will soon find that the chief difficulty he has to contend
with, is the gaining of complete independence of the
fingers of the right hand, but the left hand also comes in
for its share of unpleasantness. " Ondine" (from Op. 26)
is a highly effective piece. The melody ought to be
brought out with distinctnessa round, full, and mellow
tone ; whilst the arpeggios, divided between the hands,
have to be psrformed with the greatest evenness, soft
ness, and pliability ; indeed, they almost represent the
graceful folds of a fine veil. "La Petite Roue" (from
Op. 26). Of great use, but also of great difficulty. "An
dante " (D flat), Op. 32. If the term "academical" is
here admissible, it certainly would fit this "Andante," for
it is smooth and perfect in form, thoroughly correct,
finished with the greatest care, but cold and conventional,
like all academical productions. No one will deny that
it is an exceedingly useful piece for practice. Fifty years
ago it was the " Cheval de Bataille " of many virtuosi, but
in our present day the public would miss that certain
spicy, eccentric, and sensational character which alone
arrests now any attention. " Les Arpdges" (from Op. 26,
No. 12). This is an arpeggio study of the first order.
Towards the end, the performer has to show great energy
and an almost inexhaustible power of touch. " La Babillarde"(E major, also from Op. 26). An excellent stac
cato study ; requires utmost distinctness and neatness.
" Marche Funtbre" (B flat minor). This is the Funeral
March generally used in Austria for military funerals.
Its strains are simple, solemn, and most appropriate.
RECORD.
[February I, 1853.
" Romance et Etude (in A, Op. 39). The Romance must

be played strictly legato, whilst in the Etude the melody
is entrusted to the little finger. The whole composition
requires large hands. " Mi Manca la Voce." Quartett
from the opera Moses. In this transcription the aim of
the performer must bs to bring out the distinct voice
parts (soprano, alto, tenor, and bass) with the proper
tone-colour, and to keep up a subdued accompaniment.
" The"me Original et Etude." Op. 45 (A minor). This is
one of Thalberg's best and most celebrated pieces ;
indeed it is, up to the present day, unrivalled as a study
for repeating the notes. Schumann, otherwise not a great
admirer of Thalberg, gave a very favourable and laudatory
account of this work, of which tht melody itself is charm
ing and fascinating, and the technical manipulation not
only very original, but also highly effective. " Valse
Melodique " (G major). Cheerful, at limes whimsical,
but throughout fascinating.
Jensen, Adolph. "Innere Stimmen " ("Voices from
Within "). Op. 2. Five numbers. This early work of
the highly-talented, but too short-lived, composer met
with an unusual success at its first appearance. No. 1,
" Tidings from Coming Spring " (G major). A soft, cheer
ful, and genial expression greets us. No. 2, " In the
Twilight" (B flat minor). Gloomy, earnest are the chords
an almost sinister passion, somewhat suppressed and
withheld, sounds from this music, which is at times
relieved by brighter and softer harmonies. No. 3.
"Humoreske" (E flat). Highly interesting and original
with regard to rhythmical expression. No. 4, " Wood
land" (F major). A splendid hunting-scene fresh,
healthy, vigorous, and beautifully animated. No. 5,
" Silent Love " (F sharp). Although it is somewhat con
tradictory to express a silent love with musical sounds,
it does not take away any of the beauties of this sin
cerely expressed piece.
(7> it continued.)
MORITZ ROSENTHAL AND EUGEN

D'ALBERT.
(FROM AN OCCASIONAL CORRESPONDENT.)
On my arrival in Berlin last week I found that the two

pianists whose names figure above were both giving
recitals, the one on Wednesday, the second on Thursday.
But, being on other pleasure bent, I resolved to attend
their second concerts on the following (this) week. I
am not particularly tempted by a pianoforte recital ;
I have attended many, and, in fact, may say that I
have heard all the famous players who have visited
London during the last ten or twelve years. But I was
specially curious to hear d'Albert, who already as a boy
showed signs of promise, and everyone I met seemed
wonderfully enthusiastic about Rosenthal. On Wednes
day, January 18th, I went to the fine hall of the Singakademie to hear the latter. The programme was a
disappointing one : there were three pieces in which the
player would have an opportunity of displaying his
technique, and the remainder of the programme consisted
of Chopin's Sonata in I! minor, and one or two of his
shorter pieces, and an " Aria " of Schumann's, which
turned out to be the short slow movement from that
composer's F sharp minor sonata. The Chopin Sonata
is not a good test piece, but, being the best to hand, I
listened with all ears. From the beginning it was evident
that the player was perfect master of the keyboard : the
difficult passages were rendered in an exceedingly brilliant
manner. The player has fine wrist action, and a good
touch. The slow movement was carefully played, but the
February I, 1893.]
THE
MONTHLY
tone lacked warmth. The same thing was perceptible in

the Schumann piece. Well, now for the virtuoso music.
First, there was the great Organ Sonata in A minor : it is
the fashion to give these transcriptions, and what can't
be cured must be endured. The pianist played in such a
delicate, refined, and intelligent manner that I felt he
ought to be forgiven.
Brahms's " Paganini " Variations
was the next show piece. Some of these variations are
very interesting, but the greater number are written for
the glorification of great pianists. The performance was
full of fire and brilliancy. The third was Liszt's " Don
Juan " Fantasia ; I have heard Rubinstein and Sophie
Menter play this awful piece, and Herr Rosenthal's
rendering reminded me much of that of the great
Russian pianist.
I have nearly forgotten a matter of
apparently small moment, but one which specially at
tracted my notice : the hall was crowded, and I never
witnessed a more attentive audience I felt that I was
among a truly musical people. But a change came o'er the
spirit of my dream : the pianist was playing his Chopin
selection of short solos, and after one the enthusiasm
rose to fever height ; but the piece, though marked
Chopin, was not really that composer's, but one of the
Chopin-Liszt Chants Polonais : the Liszt tinsel seemed to
please more than Chopin's delicate embroideries.
On the following evening Eugen d'Albeit's programme
was more interesting. There was a Beethoven Sonata,
the first bar of which he was playing just as I entered the
Salle Bechstein. It was the one in e flat (Op. 31, No. 3).
The only fault about the reading was that it seemed a
trifle over-studied in places ; otherwise it was thoroughly
sound, and the technique was flawless. The player had
commenced his recital with a Bach transcription, which,
judging from the applause as I ascended the staircase,
had given great satisfaction. Brahms was represented
by his Variations on a Handel theme, and they were
delivered with marked intelligence and such earnestness
that the sound was at times unpleasantly hard. But now
came the supreme moment of the evening. Beethoven's
Sonata, though interesting, cannot fully display the
powers of a great player, but for that purpose nothing
can be better than Schumann's Fantaisie in C, Op. 17.
As for technique there is enough to satisfy the heart's
desire of the boldest pianist : Eugen d'Albert, like many
an illustrious predecessor, had to make up in vigour for
what his rendering of the coda of the second movement
lacked in clearness. The reading of the rest of the work
was extremely interesting, but the attempt to emphasize
the sentiment of certain passages was a mistake. And
now the pianist, having conquered Bach, Beethoven,
Brahms, and Schumann, and played in excellent style
some short solos of Chopin, finished up with Liszt. The
Petrarca Sonett in D flat is affected, and I would rather
not say what I think of the " Napoli " Tarantelle. But
it was brilliantly played, and the public enjoyed it and
applauded furiously.
LETTER FROM LEIPZIG.
The directors of our theatre, always on the look-out for attract
ive novelties, lost no time in securing Leoncavallo's opera, the
Bajazzi, which, some of your readers may have heard, almost
rivalled CavalUria Kustieana when originally produced in
Vienna. There is a great similarity between the two works.
Both deal with scenes of rustic life, and both play about the
same length, although Mascagni's opera is in one act and the
Bajazzi in two. In both stories there is an unfaithful wife, a
deceived husband, and a heartless seducer. The abandoned
mistress of CavalUria is replaced in the Bajazzi by a second
dupe of a lover. In Leoncavallo's opera the curtain is dropped at
the end of Act I., but it goes up again after a short intermezzo, and
MUSICAL RECORD.
33
the opera has evidently been conceived and designed as a one-act

piece. There is a great resemblance between the two operas in
the introductions (regularly constructed overtures are apparently
discarded by the young Italian school) which usher in the action
of both works. Mascagni's introduction is interrupted by a
serenata sung behind the scenes, Leoncavallo breaks off his
with a prologue, which Tonio has to sing before the curtain.
So far, resemblances between the libretti and the acting
arrangements of the two works. With regard to the music,
it must be admitted that both composers possess in a re
markable degree the power of emphasising strong situations
with highly appropriate music. Passionate and stirring utter
ances abound in both operas. The instrumentation is so rich
that the solo vocalists are obliged to exert an unusual amount of
physical force uninterruptedly ; otherwise they would not be
heard. Frequent reminiscenoes of Verdi and Wagner occur in
both works. Leoncavallo has one advantage over Mascagni in
that he never lets down his melodies to the operetta level. A
very fine performance of the opera was given, chief honours
among the soloists falling to Fraulein Mark, Herr Merkel, snJ
Herr fchelper.
The Gewandhaus concerts next claim our attention. At the
tenth concert Mozart's Symphony in c, and three parts of
Rubinstein's Moses (conducted by the composer), were the chief
items of the programme. There is much to admire in Rubin
stein's colossal work, with its charming oriental colouring and
many other beauties, but on the whole we think it is spoilt by
so-called realistic effects. The crescendo and decrescendo of
thunder, for instance, are very exactly imitated ; but we doubt
whether such procedure does not exceed the limits of true art.
Scattered through the work, moreover, are not a few plagiaristic
blemishes ; the theme of the chorus, ' Manna, manna," being
almost note for note the same as that of " Kreude, schiiner
Gotterfunken," from Beethoven's Ninth Symphony. Moses is a
very difficult work both for chorus and oichestra, but so well
did the members perform their task that the composer could
not refrain from praising their admirable work. The soloists,
who also acquitted themselves well, were Frau Dr. Wilhelmy,
Herren Schelper, Leideritz, Kaufmann, and Trautermann. The
work was very enthusiastically received by the audience, the
composer being again and again recalled to the platform.
At the eleventh concert the " Pastoral " symphony from Bach's
Christmas Oratorio, and Bizet's suite, "Roma," were per
formed. The latter did not fail to create a very favourable
impression. It is full of charming ideas, and has been most
brilliantly scored by Massenet. The orchestra, too, did full
justice to the work, which even in its original dress has found
much favour with amateurs all over the world. Beautiful as
the work is, there seems in it little that is suggestive of its title,
if we except the last movement, labelled ' ' Carnaval." One could
not help contrasting this with Berlioz's " Carnaval Romain,"
which was very recently given here ; and I need scarcely say
the comparison was all in Bizet's favour. The instrumental
soloist at the concert under notice was Herr Concertmeister
Schradieck, of Hamburg. He played in masterly style the
" Scotch Fantasia," by Max Bruch, and the Romanza and
Finale, from Gade's "Concerto." Herr Schradieck formerly
resided in Leipzig, where he was well known, so that it is
needless to say he was accorded a warm welcome. Herr Emil
Goetze, a tenor vocalist of high repute, sang an air from
Lohengrin excellently. He was less successful in his other
contributions.
The twelfth concert opened with Bach's Toccata and Fugue
in F major (organ), played by Herr Homeyer. The organist
spoiled this composition by taking too quick a tempo, whereby
the work was deprived of the grandeur which is its leading
characteristic. Dr. Joachim, the world-famous violinist, ap
peared at this concert, playing Mozart's Concerto in A and a
newly-published Capriccio, by Gade. The orchestral accom
paniments to the latter are from the accomplished pen of Pro
fessor Reinecke. Dr. Joachim's other contributions were Schu
mann's " Gartenmelodie " (with orchestral accompaniment) and
a Bourrce and Double, by Bach. The choral selections
rendered on the same occasion by the Thomaner Choir were
Hauptmann's "Sanctus" and "Benedictus," from his mass in
G minor, and miscellaneous part-songs. Herr Bernhard Richter,
34
THE
MONTHLY
son of Dr. E. T. Richter, the former Thomas Cantor, con

ducted, and the choir acquitted itself very well under his
direction. Beethoven's Symphony in c minor brought the con
cert to a conclusion.
Of other concerts we have only space for passing mention.
One given by the boy pianist, Kaoul Koczalsky, attracted con
siderable attention, as likewise did the recital of Herr Moritz
Rosenthal, whose phenomenal execution and slender intellectual
equipment have both been several times referred to in these
columns.
Herr Romanoff, a baritone singer of ability, who gave a vocal
recital, assisted by Friiulein von Colin, was heard to great
advantage in songs by Lowe, Rubinstein, and Reinecke. The
lady, also a vocalist, obtained her greatest success in Brahms'
" Von ewiger Liebe " and Reinecke's " Barbarazweige."
OUR MUSIC PAGES.
We present our readers this month with Strelezki's
"Second Valse Melancolique," a piece which will, without
doubt, find acceptance amongst many, on account of its
simple and pleasing motives. It is one of those pretty
examples of this writer's style, which bids fair to become
a popular piece.
fcebirtosf of #rtn Rwit an& #rto

GUftfonfc
New Rhythmical Scale and Chord Studiesfor the Train
ing 0/ both Hands, suitable to Players of all Grades,
for the Violoncello. By Louis Heuyesi. (Edition
No. 7,772 ; net, 3s.) London : Augener & Co.
Many able works on technics have been written for the
piano, the voice, and the violin, and now we have some
thing similar for the violoncello, thoroughly compre
hensive and exhaustive in its method, and at the same
time original in its treatment, evidently the result of
much thought, and long experience in the study of this
noble instrument.
To commence with, we have the
major and minor diatonic scales in all keys written out in
whole notes for beginners, followed by no less than
eighty-one rhythmical examples with great variety of
bowing, showing how these scales may be practised.
Under Section II. we find major and minor diatonic
scale passages in single notes, octaves, thirds, and sixths ;
chromatic scales ; arpeggi of single and double notes on
the major and minor triads, augmented triad, triad with
passing notes, and the chords of dominant and diminished
sevenths ; chords ; and occasionally scales in harmonics.
The author begins with the key of c major, then C minor,
passing through all the keys, giving the scale studies,
etc., in the order just mentioned. The novelty of the
work consists in the immense variety of bowings and
rhythmical figures which present themselves to the
scholar as he proceeds through the different keys. The
author, who, we may mention, is Professor at the Cologne
Conservatoire, advises the student to invent other rhyth
mical examples in the manner shown, but the average
student will probably find sufficient here to keep him
busy. The concluding Section III. has scale studies
through three octaves, with four different bowings to
each, and daily scale studies through four octaves. Alto
gether, this is a most valuable contribution to the reper
toire of studies for violoncello, and deserves the highest
commendation.
MUSICAL
RECORD.
[February i, 1893.
and duets in the first position. The first book of this

part, which we have before us, begins with five pages of
major and minor scales, and arpeggi on the tonic triads
written out through two octaves, in quavers, to be
practised with three different bowings.
Then follow
scales in whole notes with second violin accompaniment,
a finger exercise to acquire velocity, and two or three
melodious duets in each key, the latter by J. von Blumenthal, and one by Campagnoli (Polonaise). At one
point a list of suitable studies and pieces is given, so that
the student need not confine himself to the study of this
school alone.
Classical Violin Music of Celebrated Masters of the
Seventeenth and Eighteenth Centuries. Edited and
arranged for violin and pianoforte by Gustav
Jensen. Sonate X. ((.minor) (Edition No. 7,425;
net, is.) and Sonate XIII. (d major) (Edition
No. 7,427 ; net is.) by G. F. Handel. London :
Augener & Co.
The excellent work done in the bowing, fingering, marks
ofexpression, etc., of the violin part, as well as the
effective arrangement of the piano part, is well calculated
to meet with the approval of every teacher. To play
from such an edition as this gives confidence to the
student as he goes along, everything is so clearly in
dicated. Shakes and embellishments are written so as
to leave no doubt as to their mode of execution, and, in
fact, nothing has been forgotten. The sonatas them
selves are classics which should be numbered in the
repertoire of every violinist along with those of Corelli,
Leclair, and Tartini.
1 te Sonatefur Violine und Piano, in I) moll.
Von Max
Reger.
Op. 1.
(Edition No. 7,535 ; net, 2s.)
We have read this Sonata through several times, and
were much impressed with the cleverness of its harmonic
progressions, especially in the first movement, which is a
mass of chords from beginning to end, but we must admit
that after labouring through this movement, we are very
poorly paid by the result. The composer adopts a per
fectly free style of writing, and to us it seems altogether
too vague, in fact when we reached the end we felt some
what bewildered. The second movement, a Scherzo,
written in the usual form, is light and tuneful, and in
point of clearness is the best of the four movements. It
reflects a totally different mood. The Adagio com
mences with a broad, expressive subject, well harmonised,
but after the first two or three pages we are unable to
follow the composer in his treatment of the subject. The
same may be said of the finale, marked Allegro appas
sionato. The pianoforte part is difficult, and contains
all that is of interest in the work, the violin part
being quite ineffective. If this is the first work of a young
composer, although it is very pretentious, we should
be sorry to discourage hiin, for it shows in the main
decided ability, but we venture to recommend him to
try the older and simpler sonata form to commence with.
Morceaux pour Piano. Par Anton Strelezki. No. 31.

Prelude en si bemol mineur. No. 32. Valse Scherzo
en la biimol majeur.
No. 32. Deuxieme Valse
Melancolique en LA mineur.
London : Augener
&Co.
Of the three pieces under notice, the Prelude is the most
Practical School for the Violin. By E. W. Ritter. brilliant and the most useful.
It is marked Vivace
Book VIII. (Edition No. 7,610/*,- net, is.) Lon appassionato, and although only a short piece of four
don : Augener & Co.
pages, offers some good material for exercising the
We have now come to the sixth and last part of this violin fingers. Regarded in this light, it would have been of
school, containing three books of scales, with exercises service to finger a few of the passages. The Valse
February 1, 1893]
THE
MONTHLY MUSICAL RECORD.
ANTON
35
STRELEZKIS
2me VALSE MELANCOLIQUE.
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36
THE MONTHLY
MUSICAL RECORD.
[February i
February 1, 1893]
37
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38
CFebruary i, 1893.
tun.
February I, 1893.]
THE
MONTHLY
Scherzo is a very taking piece, but suggests well-worn

themes. The Valse Me'lancolique (see "Our Music
Pages") is pretty, and much the same in style as former
valse movements by this composer. They are all, as we
have grown to expect from this writer, very effective and
not difficult.
Paguita, Feuillet d 'Album. Par \V. H. SQUIRE.
Lon
don : Augener & Co.
This is an easy piece of a light and pleasing character,
affording some practice in simple running passages and
arpeggi, though exhibiting little that is new in its subjects
or their style of treatment. It will probably be found
useful as a teaching piece in schools.
Une Idde. Morceau pour piano. Ballade pour piano.
Par Landon Ronald. Londop : Augener & Co.
These are two exceedingly well-written salon pieces;
they are of moderate difficulty, and far above the average
in point of merit. The first, which the composer modestly
names " Une Idde," is very graceful and pleasing, some
what in the style of an air de ballet. The second, a
" Ballade," quite in keeping with its title, is a more
ambitious composition, and, although not strikingly
original, is sufficiently so to deserve popularity. They
both display a good knowledge of the resources of the
instrument, and lead us to hope that we may hear more
of the composer.
Symplwnies. By Joseph Haydn. Arranged as Piano
forte Duets by Max Pauer. No. 3, in E flat major.
(Edition No. 8,554*:y net is.) London: Augener
& Co.
It will suffice to call attention to this the latest addition
to Mr. Pauer's excellent transcription of Haydn's Sym
phonies. It is No. 10 of the original Salomon set.
Dorrni, Jesu (The Virgin's Cradle Hymn), for voice, with
violin or violoncello obbligato.
By A. C. MAC
KENZIE. London : Novello, Ewer & Co.
This song, from the pen of the esteemed Principal of the
Royal Academy, is an expressive composition, sacred in
character, with the words in Latin. Its harmonisation is
fine, and shows the hand of a skilled musician. The
voice part lies within the compass of an octave (e to e) ;
and in order to give the proper effect intended by the
composer, it will be found necessary always to have the
violin or violoncello obbligato.
The Scent of the Lilies. Song by GERARD F. Cobis.
Words by ARTHUR RlGBY. London : J. and J.
Hopkinson.
This song is one of those which remind us of many
others, and is just the kind to suit the taste of most
amateurs. It has a simple though rather affected melody,
and its accompaniment is both easy and effective. It is
published in two keys, D flat and b flat, the compass of
the latter being from D to r. The words, by Arthur
Rigby, are of a sentimental nature, and suitable for setting
to music.
Album of Two-Part Songs for Female Voices, with
pianoforte accompaniment. By Alfred Moffat.
Book II. (Edition No. 4,1 12*,- net, is.) London :
Augener & Co.
This is the second instalment of the series, the first of
which we noticed last month. Teachers will do well to
take note of these little songs, which they will find worthy
of their attention.
MUSICAL
RECORD.
39
RECEIVED FOR REVIEW.

FromBreitkopf & HSrtei. : (IV. H. Spcer) " Musik als
Trcsterin," for S. S. A. A. , with Piano accompaniment ; " Sonate
in D," Piano.A. Cary : (R. E. Strickland) " Song of the Miser."
Forsyth Bros. : (S. Kemp) " Serenade." Song ; (A. Page)
"The Nymphs and the Goblins," for a Reader and Chorus of
Trebles ; (A7, von Wilm) "A Musical Picture-Book," Nos. 1 to 12,
Piano. John Heywood: (Dr. IV. Spark) " Immanucl," Ora
torio.J. &J. Hopkinson : (G. F. Cobb) "Amongst the Roses,"
" Drawbacks," "The Scent of the Lilies," Songs. Marriott &
Williams : (Romeo) " Marche Funebre," " My Queen, Bridal
March," Piano. Novello. Ewer & Co. : (/. IV. Aldous)
" Casabianca ; " (67. L. Allan) "The Elements of Music;"
(/. Hornby) " Lord of the Harvest," Anthem ; (H. Blair) " Harvest
Tide," Cantata; (E. German) "Orpheus with his lute," Song;
(A. Cray) " Arethusa," Baritone Solo, Chorus, and Orchestra;
(O. A'ing) "I will magnify Thee," Anthem, "Twelve Original
Voluntaries," and Set, Organ or Harmonium ; (.-/. C. Mackenzie)
" Dormi, Jesu ;" (G. C. Martin) " Choir-Boy Training," " Christ
mas-tide Carols," and Series; ( W. G. .\/c.\'oughl) "Popular
Christmas Carols," 2-part ; (/. Stainer) "Honour the Lord,"
Anthem, " Seven Songs," "Music in its relation to the Intellect
and the Emotions;" (S. T. Spalding) "While Shepherds were
Abiding," Anthem; (E. A. Sydenham) " The Lord is my Light,"
Anthem, "Three Hymns for Christmas;" (C. Thorpe) "Better
for Both," Song; (/'. Tozer) "Harvest Hymn," 4-part, "King
Neptune's Daughter," Cantata for F'emale Voices ; (R. H. Turner)
" Abide with Me ; " (H. W. Wareing) "At the Sign of the Golden
Bell," Song ; (/. E. West) "My mouth shall speak the praise,"
Anthem; (C. I.. Williams) "The Chimes," Piano, "Original
Compositions for the Organ," Nos. 153, 154, 155, 156, 157, 158,
159; Pianoforte Albums, Nos. 50, 51, 52, 53, 54, 55; "Violoncello
and Piano Albums," No. 7, ''Twelve New Carols for Christmastide."W. Reeves: (Rev. T. H. Spinney) "The Advent Story."
Gebruder Rf.inecke, Leipzig; (R. Oehme) " Vier Lieder ; "
(M. J. Erb) " Aubade-Valse," Piano. Rl( HAULT ET ClE : (F.
Bufalctti) "Suite en Sol mineur," Piano; (C. Casetla) "O belle
Nuit," Violoncello and Piano ; (A. Claussmann) "4 Pieces," Piano ;
(M. Clement!) " Gracilis ad Parnassum," edited by J. Phillip;
(Frercs Cottin) "Berlioz's Valse des Sylphes," Mandoline; (L.
Lacombe) "Reverie." Violoncello and Piano; (//. Lionard) "24
Etudes Classiques," Violin ; (E. Ltveaue) "Etude Gymnastique,"
Violin ; (H. Litolff) " Les Guelfes." Piano duet ; (E. Redon)
" Marche Hongroise," 2 Pianos, 4 hands; (H. J'. Toby) " Canzonetta," " Souvenir du Pays," Organ or Harmonium. ScHOTT &
Co. : (/. F. Borschitzhv) "Violoncello School."SHEAR!) & Co. :
(G. F. Cobb) " Barrack- Room Ballads," Nos. 3. 4, & 5.J. & W.
SHEPHERD: (C. J. Frost) "At Even," "Jerusalem, my Happy
Home," "Thy Will be done," Sacred Songs. SlMPKIN, MAR
SHALL & Co.: (Dr. W. Spark) "Musical Reminiscences, Past
and Present. "Stanley Lucas & Co.: (.1/. Bergson) "An
Evangel," Sacred Cantata. Weekes & Co. : (A. T. Akcroyd)
" Danse Neajiolitaine," Piano; (D. Bugol) "To Sleep," 4-part
Song; (A.J. Caldicott) " Sabot Dance," "The Whaler," Song;
((7. F. Cobb) "Such is fame," "Thoughts and After Thoughts,"
Songs ; (Dr. Gauntlet!) " 100 Tunes"; (/. . A'eivctl) " Six Diver
sions," Nos. ito6, 2 Violins and Piano: (Rosetta O'Leary) "She
is far." Song ; (/. L. Roeckel) "When the Soldiers Pass," Song ;
(A. Roeskytde) "The Virginian Ciceper." Song; (E. Sauerbrey)
"Technical Studies in Double Notes" ; (M. Trovers) "My Lady's
Face." Song ; (G. Villa) " Joys of Life," Song ; (S. Weekes)
" Jack's Letter," Song; (/. Wodehouse) "Classical Compositions
for the Organ," Nos. 3, 4. & 5. C. WOOLHOUSE : (A. Barker)
"A Vision of Heaven." Sacred Song; (//. C. Godfrey) "Noc
turne" ; (N. Johnson) " Idylle," Violoncello and Piano ; ( W. Rea)
"To Spring," Chorus; (M. Schrattcnhoh) "Berceuse"; (C.
Thompson) "Christmas," Sacred Song.
<BptvM anli Conrerte*

NEW OPERAS.
At this season of the year Grand Opera is almost a dead letter.
Sir Augustus Harris has, it is true, given a few day performances
at Covent Garden, but anything in the shape of novelty, just
at present, is out of the question. We must look for that amongst
lighter productions. At the Shaftesbury Theatre, we have had
a new comic opera, the libretto of which is by the popular
comedian, Mr. Harry Monkhouse ; the music being by Mr.
Jakobowski. The opera is called La Jiosiere, and is as French
4o
THE
MONTHLY
MUSICAL
in style as in title. There is an attempt to rival the effervescing

manner of Offenbach, but this is only partially successful, although
the farcical incidents and the lively music gain the favour of the
audience. Miss Marie Halton, Miss Violet Cameron, and Mr.
Barrington Foote won the chief vocal honours, and the composer
was to be credited with a happy vein of melody which, if not
often rising above the commonplace in style, displayed freedom
of treatment and musical ability worthy of a better plot and
more flowing lyrics than were found in La Rosicre.
The latest new comic opera is The Magic Opal, produced at
the Lyric Theatre. The libretto is by Mr. Arthur Law, and the
music is composed by Senor Albeniz, hitherto known as a grace
ful pianist and composer for the pianoforte. The story told by
Mr. Law is laid in Greece, and one of the heroes is a romantic
brigand who hopes to win a maiden upon whom he has set his
fancy by means of a .magic opal ring. But the ring, passing into
other hands than those intended, causes much confusion as well
as amusement, all, however, ending happily. Although a simple
story, it was effective, while the music of Senor Albeniz proved
brilliantly successful because it combined artistic style, grace, and
freshness, with a flow of melody admirably suited to the subject.
Several of the songs were repeated, and the dance music was
also chafming. In fact, the Spanish musician met with such
success that he is likely to be heard again in the same department
of music. The concerted passages and the instrumentation also
displayed great ability. Miss Ada Jenoure, as the heroine, sang
and acted charmingly, and a new contralto, Miss Yohe, was very
successful. Miss Susie Vaughan was also of great value in the
opera, which-will be sure to enjoy a long run.
HAYMARKET THEATRE.
A new feature connected with the production of plays at our
principal theatres is too important in its influence on musical art
to be lightly passed over. This is the practice most worthily
inaugurated by Mr. Henry Irving, of having original music com
posed to illustrate the play. Mr. Tree, in producing the classical
drama Hypatia, founded on the late Rev. Charles Kingsley's
historical novel, commissioned Dr. Hubert l'arry to compose
music suitable. He has done so with admirable results, and being
present on the first night of the play, we can testify as to the in
creased effect produced in several of the scenes by the beautiful
score Dr. l'arry has written. The music accompanying the
street scenes is very spirited and picturesque, and a glowing
melodious march in a processional scene ii quite an inspiration.
The passages played during the incidents in which the heroine
chiefly figures are graceful and descriptive and perfectly in har
mony with the sentiment. It was creditable to the Haymarket
orchestra and its excellent conductor, Mr. Carl Armbruster, that
complete justice was done to Dr. Parry's charming ideas, and we
congratulate the manager upon his happy choice of a composer
so well qualified for his task, and stilt more gratifying is it to
find an old practice revivedthat of giving a first-rate composer
a commission to write incidental music to an important play.
Our composers may remember that some of the greatest musicians
have set them the example. If there is no chance for a national
opera, it is at least some consolation lo find our native musicians
making their way in the theatre. Professor Villiers Stanford
has written the music for Mr. living's forthcoming production
of Lord Tennyson's Bcckct, which is a play that presents many
fine opportunities for the musician. It is to be hoped that
other managers will adopt the plan, which would also tend to
improve our theatrical orchestras, a boon that would be warmly
appreciated by musical playgoers.
PHILHARMONIC SOCIETY.
The Philharmonic sounds the note of preparation, let us hope,
for a more peaceful season than the last. Musicians are a sensi
tive race ; but they should sink their personal grievances before
the shrine of St. Cecilia. Among the promises of the season are
Dr. Hubert Parry's music to Hypatia, which we have elsewhere
commented upon. Mr. Frederick Cliffe's E minor symphony
will be heard, and a " Border Ballad," Helen of Ktrkcomul, by
Mr. Arthur Somervell, is to be given ; so that the Philharmonic
will have a stronger list than usual of English compositions. In
RECORD.
[February I, 1893.
foreign novelties, there will be the triple overture of Dvorak, a

suite by Hans Hiiber, and a symphony by Tschaikowsky. There
will be a long list of famous pianists, and an attractive selection of
popular vocalists. The control of the orchestra will be in com
petent hands, as it will lie undertaken by Dr. A. C. Mackenzie,
We may be certain that the Principal of the Royal Academy of
Music will strive to uphold the traditions of the Philharmonic
Society, and we trust that, with a musician so estimable and so
amiable at the helm, all will go smoothly.
SARASATE CONCERTS.
The brilliant Spanish violinist gave a charming concert at St.
James's Hall, on the 9th inst. There was an excellent orchestra,
conducted by Mr. Cusins, and the chief solo of Senor Sarasate
was the fine " Concerto No. 3," in D minor, of Max Bruch. At
first this elaborate work for the violin did not catch the popular
taste as other works by the same composer had done ; but it
was evident that upon this occasion the Concerto made a great
advance in favour. This was, possibly, in some degree, owing
to the brilliant playing of the solo. The Spanish artist was in
splendid form, and gave a nohle interpretation of the work.
The adagio, a lovely composition with a continued flow of
charming melody, is as beautiful as anything Max Bruch has
written, and it was played to perfection. The orchestral accom
paniments, which are full of interest, were rendered with finish
and style, the band being conducted with great care and skill by
Mr. Cusins. The orchestra delighted the audience by a most
masterly interpretation of Grieg's " Peer Gynt. " We have never
but once hcaid this attractive composition go so well, and that
was when the composer conducted it himself ; Mr. Cusins kept
the band judiciously subdued, and the effect was so good that the
audience insisted upon the last two movements being repeated .
The overture to "The Isle of Fingal," was also well played.
Sefior Sarasate also gave the Rondo Capriccioso of St. Saens, in
perfect style. His own composition was not especially striking,
but it was exquisitely played. There was an enormous audience.
ROYAL CHORAL SOCIETY.
The performance of Handel's Messiah on Monday, January 2nd,
was a triumph for the choir. On the 18th, there was a novelty
of more than ordinary importancethis was the Mass in u by
Miss E. M. Smyth. The composition of sacred music on a
grand scale is so seldom attempted by ladies that we are not
surprised at the interest taken in Miss Smyth's Mass. The
lady has attracted much attention, and Her Majesty the Queen
and the Empress Eugenie have warmly encouraged the fair
composer. Miss Esther Palliser, Madame Belle Cole, Mr. Ben
Davies, and Mr. Watkin Mills were the soloists on this occasion.
Miss Smyth had every advantage in the performance of
the Mass ; Sir Joseph Barnby as conductor, and the chorus and
orchestra rendered the music with effect. But the great draw
back was the mechanical character of the music. All the devices
adopted by the great writers of sacred music seem to be familiar
to Miss Smyth, but the Mass as a whole sounds laboured.
There is nothing spontaneous in the music notwithstanding its
ambitious character and the elaborate means employed. Occa
sionally, when the fair composer forgets for a time the machinery
she employs to build up the music, and trusts to simple impres
sions she succeeds far better. For instance, in the " Benedictus, "
sung with charming grace by Miss Palliser, the impression
made was far stronger than when the composer piled up with
infinite labour effects which may have surprised but did not
satisfy the hearer. The " Sanctus," sung by Madame Belle
Cole, was heavy and laboured, and the " Agnus Dei,'' in which
so many composers of sacred music have achieved their greatest
successes, attracted little attention. Much discussion has arisen
respecting the change of position adopted for the "Gloria."
Miss Smyth placed it at the end of the Mass, but not with
satisfactpry results, and the Mass suffered by the change, for this
movement is one of the best in the composition. The choral
portions are, in some instances, massive and sonorous, proving
considerable ability on the part of the composer to write for
masses of voices, but the parts are somewhat forced for
the sake of producing effect, and so also are the instrumental
February I, 1893.]
THE
MONTHLY
accompaniments. The effect of the Mass is that of an attempt to

produce a work under a heavy load of mechanical learning, and,
therefore, the result is experimental rather than complete. A far
better Mass will be likely when Miss Smyth discards a great deal
of this cumbrous machinery and trusts to her natural inspiration.
Her ideas are so overloaded at present with the knowledge she
has acquired, that we can scarcely recognise them. Ladies have
not hitherto reached great heights as composers, and we do not
find in Miss Smyth the " Beethoven of the future." But to have
gained so much musical knowledge and freedom in the treatment
of chorus and orchestra indicates a vast amount of industry and
capacity, and when the composer is contented with simpler forms
of expression, and acquires greater strength in devotional music,
it is possible that Miss Smyth may write sacred music which the
world will appreciate more fully than the Mass in question.
INCORPORATED SOCIETY OF MUSICIANS.
On January 2nd, the members of the Incorporated Society of
Musicians opened their proceedings with a dinner at the Midland
Hotel, St. Pancras. About two hundred ladies and gentlemen
attended the' dinner, which was a promising commencement,
and was the preliminary to a Musical Conference honoured by
the presence of such distinguished musicians as Dr. Mackenzie,
Sir John Stainer, and others. Dr. Mackenzie gave an admirable
address, in which he remarked on the tendencies of modern
music, and was especially humorous in referring to the disposi
tion of all modern composers to imitate Wagner.
Dr.
Mackenzie said they all tried on the " Wagner great-coat,"
regardless whether it fitted them or not, and, in consequence,
some presented a rather eccentric appearance in the garment.
Dr. Mackenzie warned the professors of music that since music
was so much cultivated amongst amateurs, it was necessary' for
professional musicians to take higher ground, and become more
artistic in their studies.
POPULAR CONCERTS.
The Popular Concerts were resumed on Saturday, January 7th,
with a Beethoven programme, but the effects of the holiday season
were visible in the attendance, although the artists were of the
highest mark. Lady Halhi and Sir Charles Halle with Signor
Piatti were the interpreters of the Trio in D, Op. 70, which
proved one of the most enjoyable items; the famous Septet was
another. Mme. Alice Gomez was the vocalist, and sang "A
Memory," by Goring Thomas, and a song of Schubert
admirably. The instrumental solo was the Sonata in A flat
with the funeral march, which Sir Charles Halle played with his
accustomed refinement and technical mastery. On Monday,
9th, Schubert's lovely Octet was one of the chief attractions,
but Lady Hall6, unfortunately, had a string break, which some
what marred the effect. Mr. Frederick Dawson was brilliantly
successful as solo pianist. He played the A flat Polonaise of
Chopin in admirable style, and took put with Signor Piatti in
the k major Sonata of Beethoven. Miss Louise Phillips was
the vocalist, and acquitted herself admirably in songs of Brahms,
Godard, and others. On Saturday afternoon, Mozart's Quartet
in u minor opened the programme. Mdlle. Clotilde Kleeberg
was the pianist, and played Bach's "Chromatic Fantasia," and
took part with Lady Halle' and Signor Piatti in the Saint-Saens'
Pianoforte Trio, Op. 18. This excellent work, which had not
been heard for a great many years, gave great pleasure to the
visitors, especially as it was so admirably rendered. Lady Halle
charmed her hearers with the " Adagio Appassionata " of Max
Bruch, a fine solo and finely played by the distinguished violinist.
Miss Jessie Hudlestone, a clever pupil of the Guildhall School,
sang, but under the disadvantage of a cold. At the concert of
Monday, January 16th, Schuman's Quartet in A minor was one
of the items; also the " Kinderscenen " for the pianoforte was
included. The Sonata in F major by Porpora, for violoncello,
and Goetz's Pianoforte Quintet in c minor, were interesting
works, the performers being Lady Halle, Mdlle. Kleeberg, MM.
Ries, Straus, Reynolds, and Piatti. On Saturday afternoon, the
2 1 st, Schubert's beautiful Octet was repeated, the executants
being Lady Halle, MM. Ries, Straus, Egerton, Paersch, Wotton,
Reynolds, and Piatti ; Mr. Plunket Greene was the vocalist.
MUSICAL
RECORD.
41
On Monday, 23rd, Beethoven's Septett was repeated for the

last time this season.
MISCELLANEOUS MUSICAL ITEMS.
Lovers of comic opera will rejoice to hear that Sir Arthur
Sullivan and Mr. W. S. Gilbert will be shortly associated
once more in the production of a new opera for the Savoy
Theatre. Mr. Gilbert has already chosen the subject of his
plot, and will this spring join Sir Arthur Sullivan at Monte Carlo
to agree as to the working out of their ideas. The production
of Ivanhoe at Berlin will be another interesting event ; for this
representation the composer has made some alterations not
greatly affecting the score, but intended to give greater breadth
to the dramatic effect. Mr. Cowen has, unfortunately, not been
so successful as could have been wished in Italy. The once
famous "Land of Song" hardly sustains its former reputation in
operatic matters. The younger Italian composers, as, for
example, Mascagni, seek their reputation away from their native
land, and the successful vocalists are tempted by the salaries of
Russia, France, and England.
When Mr. Cowen reached
Genoa, where he expected to produce his last opera, he found
matters in a very unsatisfactory state. The vocalists had little
voice and less style ; they appeared to be feeble in their dramatic
conceptions of character, and, in fact, the entire condition of the
Genoa opera was such that Mr. Cowen was unwilling to venture
a work on which he had expended so much time, labour, and
thought, and accordingly he has gone to Milan to ascertain if
there is a better chance in that city. It is wiih regret and even
humiliation that we refer to this state of things. It was hard
that the beautiful theatre, where Mr. Cowen hoped to have
produced his work, is now a music hall, and doubly hard that,
with the prospect of having his work produced in Italy, the
composer should feel that his reputation would be imperilled if
he allowed the opera to appear under such unfavourable condi
tions. Signor Foli has returned from his colonial tour, and goes
out with Madame Albani's party in the provinces. M. Jean de
Reszke has been troubled with the relaxed throat which has
caused him such frequent inconvenience. Madame Patti has
been delighting the visitors to Nice by appearing in La Traviala
and the Barbicre. In the latter opera her singing was pro
nounced as excellent as ever. In Gounod's Rondo et fulittte
she was also greatly admired. Dr. Hubert Parry's Job has been
heard for the first time in London, at a concert of the Highbury
Philharmonic Society. We are glad to find the Wind Instru
ment Chamber Music Society making progress ; the fifth season
is announced, and the second concert was given at St. James's
Hall on the 13th inst.
iHuatcal
#ote*
There is not much to record of the doings at the Grand

Ope'ra last month.
The Cid of M. Massenet, which
originally had no very great success, has been revived
with Mmes. Caron, Bosman, and MM. Saleza and
Plancon. Mme. Richard also has been induced to return
to her old place, and made a very successful rentre"e as
Amneris in Aida. A short engagement has also been
made with the De Reszkes ; the tenor, after some delay,
due to indisposition, appearing as Romeo on the 1 8th ult.
in the 100th performance of Gounod's opera ; the basso
sang a few days earlier, in Les Huguenots. M. Bertrand
finds the compulsory cheap Sunday performances result
in a serious loss, and desires to recoup himself by raising
the prices on the Saturday, but it is doubtful whether the
Minister will permit this.
After many troubles and postponements, Werther
was at length produced at the Ope'ra Comique on the 16th
ult., eleven months after its first performance in Vienna
last February. The delay has mainly been due to diffi
culties with the tenors ; the first, M. Gibert, after several
rehearsals, failed to satisfy the composer, and was replaced
by M. Delmas, who, however, was so unwell that he in
42
THE
MONTHLY
MUSICAL
turn had to be replaced by M. Ibos. The cast was :

Charlotte, Mile. Delna ; Sophie, Mile. Laisne ; Werther,
M. Ibos ; Albert, M. Bouvet. The performance, con
ducted by M. Danbe-, was entirely satisfactory, and on the
first night was received with great favour ; but there seems
reason to doubt whether the style of the music is such as
to captivate the taste of a Parisian audience, and one is
inclined to suspect that Werther will be more appreciated
in Germany. The success of Mile. Calvd as Carmen is
mainly for the actress : vocally, she is less satisfactory,
and mars her performance not only by capricious changes
of tempo, &c, but by even seeming to dictate to the con
ductor before the audience. Another revival of interest
is that of Mozart's Zauberflbte, a work which M. Carvalho
loves to produce. In the cast Miss Sybil Sanderson, as
Queen of the Night, took the chief honours ; Mile.
Simonnet being the Pamina ; M. Clement, a young tenor
of promise, Tamino ; and M. Nivette, Sarastro.
Geneva witnessed the production of Werther at the
end of Decemberthus anticipating the French capital.
The new Theatre I.yrique, under the management of
M. Detroyat, was to be inaugurated on the 25th January
with the new opera of M. Messager, Mute. Chrysantheme.
Among late novelties at the minor Parisian theatres are
Miss Robinson (at the Folies-Dramatiques), music by L.
Varney ; Lysistrata, with incidental music by Dutacq, at
the Grand Theatre ; Bouton d'Or, a fantaisie lyrique by
M. Carre, for which M. Gabriel Pierne has written a
rather important score (Nouveau-Thdatre) ; and SainteGenevO've de Paris, "a mystery" in twelve tableaux, for
which MM. Claudius Blanc and Leopold Dauphin have
composed the music.
At the Concerts du Conservatoire, Beethoven's Mass
in d was performed on January 8th and 15th, with Mile.
E. Blanc, Mme. Boidin Puisais, MM. Vergnet and
Auguez as soloists. The new che/d'orchestre, M. Taffanel,
conducted an excellent performance. M. Colonne remains
faithful to Berlioz, and has produced his Enfance du
Christ at two concerts. On the 15th he introduced "La
Mer" Esquisses symphoniques, by Paul Gilson, which
attracted so much notice last year at Brussels. M.
Lamoureux has taken a trip to S. Petersburg aud Moscow,
where he conducted concerts mainly of French music.
During his absence M. Chevillard acted as his deputy in
Paris, except on the 8th and 15th January, when M. Vin
cent d'Indy conducted his Chant de la Cloche, a remarkable
work, which was first performed in 1888, but which has
not been heard for some time.
The new piano trio of Saint-Saens was performed in
December, at the first seance of MM. Phillipp, Loeb and
party. It is in no less than five movements.
M. BOURGAULT-DUCOUDRAY has in hand a new opera
entitled Bretagne, some extracts from ' which made a
great impression at a concert at Nantes.
M. Saint-Sakns has gone off again to Algeria, to
work at the unfinished Brunehilde of the late Ernest
Guiraud, which he has undertaken to complete. He will
return to Paris in the spring, and will proceed thence to
America, where he is to conduct concerts at the Chicago
World's Fair.
A one-act opera, Yolande, words and music by M.
Alberic Magnard, was produced at the Theatre de la
Monnaie at Brussels on December 27, without making
much impression.
At the Berlin Hofoper, the Bajazzi {I Pagliacci) of
Leoncavallo is extremely successful, and is even out
stripping the Cavalleria : indeed, it seems to be the most
successful novelty of the past year. On January 13,
August Enna's Danish opera Die Hexe was brought out
and received with the utmost favour. The libretto is not
RECORD.
[February I, 1893.
considered to be well arranged from Fitger's play, but

the power and beauty of the music triumph over this
defect. The performers were, Frau Pierson (the Witch,
Thalea), and Frl. Dietrich (Almuth), Herren Rothmuhl,
Sylva, and Bulss, as Edzard, Xaver, and Lubbo. Dr.
Muck conducted an admirable performance.
The production of new operas at Kroll's Theatre is
continued with almost feverish activity. The departure
of Siga. Bellincioni and Sig. Stagno having put an end
to Italian performances, German works have taken their
place, and the three novelties (rather quasi-novelties, for
they have been performed elsewhere) are Der Schwur
(The Vow), by Wilhelm Reich (December 29), Oberst
Lumpus, by Rehbaum (January 9), and Margitta, by
Meyer-Helmundthe song-writer (January 12). None
of the three is of any particular importance, and the
last-named borders on the trivial. From April 18 to the
end of the year, forty-eight operas were produced, in
cluding seven novelties : in popularity the Freischiitz
heads the list with fourteen performances.
The health of Dr. v. Biilow seems to have broken
down, and a period of absolute retirement and rest has
been judged necessary. It is hoped, however, that the
great pianist and conductor will before long be restored
to his normal state. Herr Mottl is conducting the Phil
harmonic concerts at Berlin in his place : and at the
sixth concert (January 9), Mme. Teresa Carreno D'Albert
played Mr. D'Albert's new piano concerto in E (Op. 12),
the composer conducting. Herr Lessmann speaks of the
work as a masterpiece, and the best composition its
author has yet produced. On the 12th at his own con
cert he played another new worka piano sonata in f
sharp minor, and in four movements, the last of which
is said to be a magnificent fugue.
The production of / Rantzau at the Vienna operahouse has been by no means a great success. Dr. Hanslick, a warm admirer of Mascagni, speaks very coldly
of the music, and condemns the libretto outright. " Two
or three movements," he says, " show an undiminished
talent, but along with these there is much that is insig
nificant and tedious ; there are obvious reminiscences of
Verdi and of Mascagni's former works, dramatic com
monplaces and emotions coarsely painted, which exercise
a depressing influence."
To the delight of the Viennese, Johann Strauss has
returned to the field of the operetta. His new work,
Furstin Ninetta, produced at the Theater an der Wien
on January 10, is quite in his old style, and had the old
success ; even the Emperor being present to congratulate
the composer. The libretto by Julius Bauer and Hugo
Wittmann is very amusing, and all the fun was well
brought out by an excellent performance.
Mme. Materna ceases to be a regular member of the
Vienna Hofoper, but will give a few performances each
year as Gast. Frau Klafsky, from Hamburg, has been
invited to take her place in the regular company, and
has sung on trial : but the Viennese, though greatly
admiring her talents, miss the powerful voice of Materna.
Herr Anton Bruckner's new symphony (the
eighth) in C minor was produced in December at the
fourth Philharmonic Concert, and took an hour and a
half in performance, this one item forming the whole
programme. The Viennese, at least those of them who
are Brucknerites, seem to have greatly appreciated this
heavenly (?) length, for the composer had a most
triumphant reception at the close, and was overwhelmed
with applause and laurel-wreaths.
It is known that Herr Oesterlein, the founder of the
Richard- Wagner Museum at Vienna, had received offers
for his collection which would, if accepted, have caused
February I, 1893.]
THE
MONTHLY
it to be lost to Germany for ever. An arrangement has

now been entered into with a committee at Leipsic,
whereby the owner binds himself not to sell it before
April 1, 1895, and fixes the price at which.it is to be
bought at 90,000 marks ( ,4,5001. Steps are to be taken
at once to try and raise the amount and secure the in
valuable collection for some town library or museum.
Bayreuth, Munich, and Leipsic suggest themselves as
the towns where it would be best placed.
On January 1st the Leipzig Signale entered on its 51st
year of publication, having been during the whole of
this period conducted by the same editor, and published
by the same firm. Excepting the Neue Zeitschrift fiir
Musik (founded by Schumann), it is the oldest of existing
German musical periodicals.
Professor Max Pauer (of Cologne) with Leonhard
Wolff (violin), and Jacques Rensburg (violoncello), is
giving a series of popular concerts of chamber music at
Bonn, which are very successful, as indeed they deserve
to be. Herr Pauer is also giving two piano recitals at
Cologne. At the Opera they have produced Bizet's
Djamileh, LAmico Fritz (in German), and Reinthaler's
Kathchen von Heilbronn.
At the Giirzenich Concerts
the great choral work of F. Hegar, Manasse, was finely
performed, and made a great impression.
Bruch's
Feuerkreuz, Saint-Saens' A minor symphony, and
Smetana's symphonic poem, Vltava, have also been in the
programmes.
The young prodigy pianist, Raoul Koczalski, completed
his eighth year on January 3rd, having been born in 1885
though some persons profess to believe him two years
older.
The late Henry LitolfT has left a completed opera on
a grand scaleentitled King Lear.
Professor Albert Becker, conductor of the Domchor of Berlin, was elected Cantor of the Thomaskirche
at Leipsic, in place of the late W. Rust ; but by special
desire of the German Emperor, he has declined the post,
and will remain in Berlin.
Baron Perfall. Intendant of the Hofoper of Munich,
has received permission to leave his post for six months,
and Herr Possart will act as his deputy. It is feared that
this implies the Baron's retirement before long, which
would be deeply regretted, for his management has been
most excellent.
The " Cid'' of Peter Cornelius has just been produced
at Mainz, the composer's birthplace.
Chabrier's Gwendoline is one of the many French
operas which are far better known out of France than in
it. It was received with very great favour at Diisseldorf
on January 6th.
Handel's Messiah was performed at a Conservatoire
concert at Brussels the week before Christmasaccording
to the original score under the direction of M. Gevaert.
So it is said but was it exactly according to the original,
or only a little more so than usual ? It had not been
sung there for nearly twenty years ( ! )
The Gazzetta Musicale di Milano gives a list of eightyone new Italian operas produced last year. The most
important of these are by Mascagni, Leoncavallo,
Giordano, Franchetti, Catalani, and Cilea. Four of the
eighty-one are parodies of the Cavalleria.
The season at La Scala opened with Franchetti's
Cristoforo Colombo, which does not seem to have inspired
any great enthusiasm.
It is evidently too long and
lumbering for these days of passionate one-act pieces.
Nothing of interest need be expected till the production
of Falstaff, which will have a specially chosen cast, very
different from the ordinary company, which is by no means
strong.
MUSICAL RECORD.
43
Considering the present condition of the big Italian

theatres, it is not at all surprising that Mr. Cowen should
have been compelled to withdraw the production of his
new work, Signa, from the Carlo Felice Theatre at Genoa.
The names of the artists given in the prospectus are those
of almost unknown performers, nor is the state of affairs
such as to justify the engagement of a really good com
pany.
It is to be feared that Mr. Cowen will find it
difficult to get a company to his mind anywhere in Italy
in present circumstances.
At Naples also operatic affairs are not prosperous.
Many of the best orchestral players have deserted the
San Carlo for theatres where light operas pay better ; and
the great opera house can give nothing more important
than L'Amico Fritz, Donizetti's Maria di Rohan, and
ballets.
An enterprising impresario has been found to open the
San Carlo at Lisbon, and a very good beginning was
made on December 31st with Wagner's Loliengrin, given
after an interval of ten years. The parts of Lohengrin,
Elsa, and Ortrud were in good hands (Sig. Masini, Mines.
Therese Arkel and Amelia Stahl) and the result was a
triumph.
Die Meistersinger has been welcomed at Turin. A
perfect musical entente cordiale seems to be established
between Italy and Germany, for whilst the works of
Wagner are spreading to all the chief towns of Italy,
the operas of young Italian composers are being pro
duced all over Germany. Surely happy results must
follow.
Mme. Patti has been playing at Nice as Juliet and
Rosina, and at Monte Carlo as Gilda and Valentina.
Mme. Sigrid Amoldson has also appeared at Monte
Carlo as Dinorah and Carmen.
Sig. Leoncavallo is said to be engaged on a sort of
operatic trilogy of the period of the Renaissance. The
three parts are : I. The Conspiracy of the Pazzi ; II.
Savonarola ; III. Caesar Borgia. There is also a talk of
producing an early work of his " Tommaso Chatterton "
at Treviso. This should be of interest to Englishmen.
SlG. Capocci, the distinguished composer and organist
of St. John's Lateran, Rome, will visit London, and
probably Birmingham, -in the early part of April, to give
some organ recitals.
The fiftieth anniversary of the production of Glinka's
Russian and Ludmila was celebrated at St. Petersburg
and in many other Russian towns on December 9th by
performances of the work. In the capital city a deputa
tion of the chief composers of Russia presented a
splendid wreath to Mme. Schestakof, the surviving sister
of the composer.
Tschai'kowsky's new opera, Iolanthe, together with
the ballet, Nussknacker (or Casse-Noisette), was produced
at St. Petersburg on December 20th. The opera appears
to have been less appreciated than the ballet-music,
which was received with enthusiasm. The opera was
produced in a German version at Hamburg on January
3rd, and apparently with more success than in its birth
place. The libretto is founded on the Danish drama of
H. Hertz, King Rene's Daughter.
A French professor has invented an instrument which
ought to make piano and violin duets popular, as by it
every pianist is enabled to be also his own violinist.
The performer plays the piano with one hand and the
violin with the other.
The preliminary prospectus of the Philharmonic
Society promises an interesting season. Among the artists
who will appear are Miles. Kleeberg and Wietrowetz,
Mme. Melba and Miss Macintyre ; Messrs. Otto Hegner,
Slivinski, Sapellnikoff, and, it is hoped, Paderewski,
44
THE
MONTHLY
MUSICAL
RECORD.
[Feb.? i, 1893.
Mr. W. Hess, Herr Jul. Klengel, Mr. N. Salmond,

ETERS' EDITION.NO VELTIES.
and Mr. Santley. The works to be given include Mr.
JANUARY, 1893.
Net.
Cliffe's new Symphony and Dr. Stanford's fourth (the No.
PIANOFORTE SOLOS.
t.d.
Irish), with probably one by Tschaikowsky ; selections 2633 CZERNY.
Op. 748.
:oo 25
Erholungen.
Uebungcn fiir
(Ruthardt)
kleine Hande. (Ruthardt)
2610
!-,;..
25
Uebungcn
fiir
kleine
Hande.
x.
from the music to Henry VIII. and to Hypatia by 261 1
Op. 849. 30 Etudes de Mecanisme (Vorschule zu Op.
Mr. German and Dr. Parry, a suite " Summer Nights " by
299). (Ruthardt)
EDVARD. Op. 55. ate Peer Gynt-Suite
1 8
Hans Huber, a ballad (orchestral) " Helen of Kirk- 265 1 GRIEG,
Op. 55, No. 2. Arabischer Tanz
conncll " by Arthur Somervell, and overtures by Dvorak, 2654
2687 HAL6VY. DieJUdin. (Kogel.) Arr
Rheinberger, Smetana, Dr. Mackenzie, and Sir A. 2672 MAYER, CH. Op. 55. 6 Ettlden. (Ruthardt)
Op. 61. 3 Etiiden. (Ruthardt)
Sullivan. A number of classical works will of course be 1673
2674
Op. 119. Studien zur hbheren Ausbildung. (Ruthardt)
included. Altogether a thoroughly satisfactory scheme, 2675
Op. 121. Jugendblilthen. (Ruthardt)
Op. 168. Neue Schule der Gelaufigkeit. (Ruthardt) ...
which Dr. Mackenzie may be trusted to do his utmost to 2670
2677-rf
Op. 168. Heft I. IV.

each
carry out satisfactorily.
2678
Op. 34?. 25 leichte Uebungsstucke. (Ruthardt)
A little while ago the authorities of the Royal College 2279
Salonstucke.
(Op. 134, Komanze, Valse Mi bemol.
Op. 292, Cham bohemien. Op. 117, Galop militaire. Op.
of Music sent a talented scholar of the institution, Miss
81, Nocturne.
Op. 83, Valse-Etude, Papillon volante.)
Ethel Sharpe, to complete her musical education by a
(Ruthardt)
year's study on the Continent. Le Mhiestrel tries to 25 !o SEELING. Loreley. (Ruthardt)
7
Conzert-Etudcn. (Ruthardt)
throw ridicule on the study of music in this country by 26SI
PIANO DUETS.
representing that the young lady has been sent on a
GRIEG, EDVARD. Op. 55. ate Peer Gynt-Suite
2 a
special mission to collect information calculated to 26^3
Op. 55, No. 2. Arabischer Tanz
1 1
2651
develop and improve the art of teaching the piano.
HANDEL. D moll Conzert. (Ruthardt)
I 8
Thus is history written in some French journals, and
VIOLIN.
unfortunately very many continental papers have copied 2692a,* HOHMANN. Violinschulc I., II. (Hermann) ... each 1 1
this absurd paragraph.
ORCHESTRA.
Deaths.Theodor Hentschel, Kapellmeister at the lihz GRIEG, EDVARD. Op. 55. ate Peer Gynt-Sufte :
Full Score to
Hamburg Stadttheater, composer of several popular
Quintet String Parts, each 1 8
operas (Des Konig's Schwert, etc.) : b. 1830 (some say
Wind Instruments, complete 16
1838), d. Dec. 19. Talazac, the popular tenor of the ^694 HANDEL. r> moll Conzert fiir Strcichinstrumente fur den
Conzcrtvortrag bearbeitet von Kogel. Score
4
Paris Opera Comique, died on Dec. 26, at the age of 39.
Orchestra Parts, each 10
He created the tenor r&!es in a large number of the chief
VOCAL.
works produced of late years, as in Manon, Lakme",Jean 2686 HALfiVY. DieJUdin. Vocal Score. (Kogel).
5 S
[Score 10
de Nivelle, and Le Roi tf Vs. Frau Henriette Kriete- 2696 SCHUBERT. VerjUngung. Chor fur Miinnerslimmen.
Voice Parts, each 5
Wiist, who died on Dec. 13, was the original Irene in
To be had of the Sole Agents :
Wagner's Rienzi, and was the last survivor of the original
AUGENER & CO.,
cast. Two other very famous vocalists have died during 86, Newgate Street, and 1, Foubert's Place, London ; and all Music-Sellers
the past month : Carl Hill, the admirable baritone of the
in Town and Country.
Schwerin Opera House, and one of the very best
Wagner-singers ever known. He was the first Alberich
ORTRAGSSTUDIEN. Eine Sammlung
at Bayreuth in 1876, and sang in London in the Wagner
hervorrage rider und beliebter Tonstucke alter ileUter fir Yioline
concerts at the Albert Hall in 1877. He died Jan. 12, at mit Begleitung des Pianoforte bearbeitet von
the age of 52. The other well-known singer was Mme.
GUSTAV JENSEN.
S.J.
' Otto-Alvsleben, for many years a popular operatic
artist, lately at Dresden, where she died on Jan. 13, aged 1. J. S. BACH. Air und Gavotte aus der D dur Suite fur Orchester 3 a. JOS. HAYDN. Serenade
352. She sang a good deal in London some years ago. 3.
Adagio recitativo ..
..
..
..
..
.. 3
The wife of Herr Rheinberger, who, under the name of 4. JEAN MARIE LECLAIR. Sarabanda und Tambourino .. 3VERAC1NI. Menuet
3Fanny von HofTnas, wrote the words of many of her 5. F. M.
TARTINI. Larghetto (c moll)
ahusband's vocal compositions, died on Dec. 31. On Jan. 18 6.7. G.
J. H. SENAILLE. Aria (g moll)
3TARTINI. Andante canttbile aus Sonate VIII
3Julius Eichberg died at Boston, U.S. Born at Diissel- 8.9. G.
Giga in d dur
..
..
..
.. 3
dorf, June 13, 1824, he early settled in America, and did 10. L. VAN BEETHOVEN. Romanze in c dur. Op.40..
.. 3..
..
..
3
much for music there. He became the most distinguished XI. Romanze in r dur. Op. 50. ..
3violin teacher in the States, was director of the Boston 12. P. RODE. AirVarie". Op. 10
London : AUGENER & CO., 86, Newgate Street, E.C., and
Conservatory of Music, and besides writing much violin
1, Foubert's Place, W.
music, he produced four comic operas, the earliest of
which, The Doctor of Alcantara (Boston, 1862), had
IGUE DANS LE GENRE ANCIEN.
enormous success. Mr. John Boosey, the well-known
PAR
publisher and founder of the popular Ballad Concerts,
died at Ealing on Friday, Jan. 13, at the age of 61.
GEORGES PFEIFFER.
Edward Simms, organist of St. Michael's, Coventry,
Or. 77.
founder of the Coventry Choral Society, died there on -V<7.
t. J.
Jan. 15, within a month of the day when he would have 1. Pour Piano Seul
3
Piano a 4 mains
5
reached the age of 93. He is said to have been the a.3. Pour
Pour Violon et Piano, arrangce par Emile Thomas
4
music teacher of the great novelist, Miss Mary Anne 4. Pour Orchesire (Edition No. 7075)
net a 6
Evans, known to the world as George Eliot. Other deaths
London : AUGENER & CO., 86, Newgate Street, E.C.,
on which we cannot dwell at length are those of Ferd.
and 1, Foubert's Place, W.
Lavainne (d. Jan. 7), honorary director of the Lille Conser
vatoire, and a once well-known composer. August Riechers, AYOUNG LADY or GENTLEMAN desirous of
a famous maker and repairer of violins, who enjoyed the
Studying the PIANOFORTE (either as an Amateur or for the
esteem of Joachim and Sarasate, and other great fiddlers ; Profession) can be received into the home of an experienced PJANuFORTE
PROFESSOR at EASTBOURNE for a short or long period. Great
D'Hack, a popular French chansonnier, Carl Bial, pianist, advantages.
Thorough artistic and technical training. Address, PIANIST.
and Giuseppe Anzoletti, once an esteemed Italian violinist. 68, Newgate Street, London.
February I, 1893.]
THE
NEW PIANOFORTE
ANTON STRELEZKI.

FOUR PIANOFORTE DUETS
PIECES.
( The Pn'mo part within the compass of 5 notes)
Morceaux pour Piano.
Composed by
t.d.
1. Valsette
a. Notturno en LA majcur
Sur la rive. Morceau caracteristique
Senta's Traum. Spinnerlied
In Fairy Land. Morceau de Salon
Memiet a 1'antique en sol majeur
Menuet a l'antique en Ml bemol
8. Valse Souvenir en fa
9. Mazur
10. Notturno en UT diese mincur
xi. Impromptu
12. Serenade
13- Grand Tarantelle en fa
It- Barcarolle en sol majeur
I* Jagdstuck
.6.
Au Matin. Reverie-Nocturne
'T Tarentelle en Rfi mineur
IS. Valse intime
Berceuse en sol bemol
20. Au bord d'une source
at. Vahe Impromptu
12. Scberzo-Minuet
and Rigaudon en LA majeur
= 3Cantique d'amour
Valsette en si bemol majeur
-..5. Istorietta
Barcarolle en LA mineur
18, Valsette en la bemol majeur
Vabe melancolique en si
30. Serenata en la majeur
31. Prelude en si bemol mineur
Valse Scherzo en LA bf'mol majeur
33- Dcuxieme Valse Mtlancolique en LA mineur
34- Romance sans Paroles en Fa majeur
Polka Noble
...
...
36. Valse Mignonne ..."
s-'-
...
...
...
...
...
...
...
...
3
3
4
4
3
3
3
3
3
3
...
...
...
...
...
...
...
...
...
'
3
4
3
3
3
4
3
3
4
3
...
.*
3
3
3
...
...
...
3
3
...
...
3
3
... 3
... 3
... 3
3
' The first cf a lout; series of pi*ccs by A. Strelezk'. " Valsctto
n r> major, is
curiously identical in iliemu with the entrancing valse in Chahrier's delicious opei
c miq'ie. Le Jiai maigre lui. a work weczn hardly ho[>c to hear in KnKland until the
higher forms of litfht opera find more acceptance than they do at present. A pretty
nocturne in c sharp minor, dedicated to M. Kiderewski, a serenaile in I), a graceful
v.ir*e-improcii>tu, two so-cnlie<l "valsettes" in M Hat and A flat itspeitive'y, deserve
special nottc-. All are salon piece I. but rank hicdi in the cbss." The Times, Decemlier Mid. lev2-
London : AUGENER & CO., 86. Newgate Street, E.C. ; and 1, Foubert's
Place. Regent Street, W.
CLASS SINGING SCHOOL.
Compiled by
H. HEALS:
No.
6793
45
Complete
Or in Single Books :
Net.
x. d.
5 -
6793a Book I., with Songs by Reinecke, Kucken, Weber, Concone,

&c. Contents :The Stave, Clefs, &c. The Natural Scale.
The Notes. Time. Exercises on Time :Simple Duple Time ;
Simple Triple Time ; Simple Quadruple Time ; Compound
Duple Time ; Compound Triple Time ; Compound Quadruple
Time ; Syncopation ; Triplets
1 67931$ Book II. Major Scales : Exercises, Solfeggi, and Songs, by
Abt, Gurlitt, Reinecke, &c, in all Major Keys, 1 part
... 1 6
6793* Book III. Minor Scales :Exercises, Solfeggi, and Songs,
by Beethoven, Concone. Mendelssohn, Schubert, &c, in all
Minor Keys, 1 part
x 6
6793a* Book IV. Intervals, Chromatic Scale:Exercises, Solfeggi,
and Songs, by Kucken, Reissiger, &c, in 2 parts. Exercises,
Solfeggi, Rounds, and Songs, by Abt, Hayes, Heale, Rossini,
Weber, ftc, in 3 parts. Rounds and Songs, by Purcell,
Gounod, Heale, &c, in 4 parts
a 11 The object of this work is to supply for the use of Singing Classes in
Schools a text-book, containing all that is necessary to impart a thorough
knowledge of sight-reading and part-singing, and suitable for the most
elementary as for the most advanced classes, thus obviating the necessity of
obtaining Exercise Books and Song Books separately. This has been done
as concisely as possible, although the nature of the work renders it impossi
ble that it should take a very small form. It has therefore been found
advisable to divide it into four books, to be used consecutively, one re
placing the other as the class becomes mere advanced."
"The attention of class teachers is due to H. Heale's 'Class-singing School," which
at;ounds in graduated exercises and pieces for practice."t>*tiy Teltgrafh, December
la. 188&
London : AUGENER & CO., 86, Newgate Street, E.C, and

i, Foubert's Place, W.
MARIE WURM.
Op. 24.
s. d.
Gavotte
*
March
Saltarello
...
Lullaby
Als? arranged /or Violin and Piano.
March
Lullaby
...
.-
No. 1.
2.
3.
4.
3
3
3
3
a
2
6
6
" Four duets by Man; Warm are excellent specimens of that class in which the priino
part is intended lor very young |Msrfurmers : in this case a compass of five notes is never
exceeded, but a remit k.ible decree of varuty ard even chum has teen attained in ihe
construction uf the teacher's part." The Times, December 2jnd. 1893.
London: AUGENER & CO., 86. Newgate Street, E.C.

Place, W.
PREPARATORY
PIANOFORTE
and i. Foubert's
SCHOOL.
C.
Edition No.
6i6 ( Part I. Rudiments, Scales, Exercises, and Pieces, exempli
fying all Major and Minor Keys, and all Time Signatures ;
Technical Exercises and Studies
net
6 1 S 6/'
Part II. Supplementary Pieces
net
I
a
2 - -
"II. Heale's 'Preparatory Pianoforte School" is a valuable instruction-book, con

taining many well-chosen examples, and all the necessary requirements of the elementary
student." The Times, December aand, 1893.
London: AUGENER & CO., 86, Newgate Street, E.C; and

1, Foubert's Place, Regent Street, W.
6199
8313
EMIL KRAUSE. Six Little Sketches for the

Pianoforte, without octaves (6 kleine Skizzen
ohne Octaven-Spannungen). Op. 77
net I
E. PAUER. A Child's Life (Jugend Album) net 2
" Krause's 'Little Sketches' ami ' A Child's Life,' by E. Pauer. are albums of easy
pieces which should lie a good p'eparation fur their great model, the Schumann album.
The Timet, December aûd, 189J.
London: AUGENER & CO, 86, Newgate Street, E.C; and only
West End Address, 1, Kouberfa Place, W.
6562-3
LOESCHHORN.
Studies.
8327
E. PAUER.
Op. 197.
Rhythmical
2 Books
Problems.
each, net
20 Rhythmical Sketches, intended
for the study of various rhythmical expressions

(Esquisses rhythmiques)
8328
The Culture of the Scale.
net
24 Original
Scale Studies in all Major and Minor keys

net
"Aniong the later books of Locschh urn's 'Melodic Stuiies* are two books of
' Rhythmic Problems.' devt-ed with great ingenuity ai.d calculated, in seme cases, to
puzzle even advanced musicians, They are not mere'y enigmas, however, but nearly a'l
of them have character and beauty, and they have th; advantage tf being published,
like the rest of the scries, in both notations of fingering, Mr. Pauer's twenty ' hsquisses
ihvthiuique* ' ar less formidable th,in those Just referred to, but are sufficiently valu
able for educati <nal purposes. 1 he 'Culture of the Scale,' another of the same editor's
albums of studies, is a oilleciiou in which every imaginable variety of scale-passage is
set be-or* the student; the value of those in which unusual accents occur is very
great." The l'\mts, ueceniber 22nd, 1893,
London: AUGENER & CO.. 86, Newgate Street E.C, and

8331
E. PAUER. Suite for the Left Hand (Prelude,

Allemande, Gavotte, Sarabande, Bourree, and
Gigue)
net
"A clever su'tc for the left hand al :ne by Mr. Pauer shows what can be done by a
little ingenuity; it conrains plea-ting examples of the orthodox kuite movement;. '
The Tim s, December ?md, 1893.
i Foubert'* Place (opposite Conduit Street), W., London.
46
THE
MONTHLY
MUSICAL
RECORD.
[February l, 1893.
t. el.
kNTIQUARIAN
MUSIC Antiquarian Music- Piano Solos {continued)
Lot 4126. STIEHL, H. Op. 102. Traumbild
I 8
*
SECOND-HAND VOLUMES.
I
,, 4127
Op. 104. lllme. Valse
- '
6
, 4128.
Op. 124. Hexentanz ...
Some of them only slightly damaged.
4129/1^/.
Op.
133.
1m
Hochgebirge.
Nos.
1
to
6
each
4
Sold by AUGENER & CO., 86, Newgate Street, London, E.C.
413c. STRAUSS, H. Op. 8. Pensez a moi
46
STRAUSS, JOH. Op. 391. Gavotte der Konigin
4<3Soldfor cash only. The prices are marked net. No discount
6
4132. SUPPAN, L. Bacchante. Polka brillante
SUITER, H. Op. 41. Maiglockchen
4
4*33- THIELE,
PIANO SOLOS.
H. Op. 4. Gebet eines Jttnglings
4
4*34Lot 4039. RAVINA. Op. 4. Rondino elegant
6
VEIT.E.
Op.
6.
2
Clavierstucke
4135.
4
4040.
Op. 5. Fantasie de Salon ...
8
6
4136. VOSS, CH. Op. 51, 4. Cracovienne
4041.
Op. 6. 3 Caprices
1
8
Op.
63.
Stradella
4I374042.
Op. 8. Morceau de Conzert
to
6
>
Op.
65.
Esmeralda
4138.
Op. 10. Divertissement
... ... 6
443
10
Op.
73.
Part
du
Diable
41394044.
Op. 63. Bachanale
10
Op.
86.
Lucre/ia
Borgia
...
...
4140.
4046. REINECKE. Op. 2. 4 Clavierstlicke
9
Op.
97.
Sonambula
4141.
Op. 52. Variationen
to
447le Diable...
... ... 6
4142. - Op. 107, 4.1. Robert
4048.
Unsere Lieblinge. Bk. II
1 3
Speier. Drei Liebchen
... ... 6
4143- - Op. 10S. Lucia
4049, RHEINBERGER. Op 67, 2. Ungeduld
6
di
Lammermoor
... ... 10
4144.
4050.
Op. 7, 4. Scherzoso
6
... 10
Op. 115. Lombardi
4M54051.
Op. 67, 5. Morgenhymne
6
Op. 118, 1. Chant bohemien
... 6
4146.
Op. 67, 6. Fugato
6
405a.
2.
Schubert.
Suindchen...
...
...
4479
453- RUBINSTEIN, A. Valse-Capricc
6
4.
Prume.
Melancholic
...
4148.
...
454- SCHACHNER, T. R. Op. 32. " Yankeedoodie " 1
Op.
131,
1.
Emilia.
Polka
brillante
8
...
4M9Nocturne
6
45S2.' Rosalie
,, ,,
... 9
4*504050. SCHM1TT, J. Op. 6. Nocturne... .,.
. 6
...
10
Op.
132
Macbeih
4t5L
. 8
4S7- Op.
Op. 134. Oberon
... 8
4I52-
Op. 29.
80. Sonatine
Rondoletto
4-58.
9
... 10
4I53Op. 133. Don Juan
SCHONBERG, H. Op. 16. Erwartung
. 6
4?59... zo
4i54.
Op.
146.
Don
Pasquale
...
4060. SCHUBERT, FR. Op. 15. Fantasie
10
Op.
150,
4.
Holzel.
Thrane
. 6
4155...
4061. SCHULHOFF. Op. 48. 3rd Valse brillante ...
1
...
10
Op.
165.
Verdi.
Rigoletto
4156.
Transcriptions :
Op.
194,
5.
Holzel.
Alpenklage
...
...
...
6
41574069.
Bk. 11. Mozart, Adagio, Menuet
1 3
4158.
6. Donizetti. Barcarole ...
... 6
4063.
Bk. III. Beethoven, Scherzo, Menuet
1 3
10
Op.
198.
Otello
...
4*594064. SCHUMANN, ROB. Op. 6. Davidsbiindler
1
4160. Up. 206. Meyerbeer. Robert
... ... 10
4065.
Op. 7. Toccata
4161.
Op. 208. Auber. Domino noir
... 10
Op. 8. Allegro
4066.

99
Op.
219.
Les
deux
Cascades..
... 8
4162.
4067.
Op. 10. Eludes de Paganini
1 6
Op.
22o.
Rheiweinlied
...
... 8
4163. Op. 221. Verdi. Traviata
4068a & b.
Op. 16. Kreisleriana. 7 & 8
each 6
xo
...
4i64.
1
4069.
Op. 17. Fantasie
x
Op.
224.
Polka
des
Matelots
8
4>65.
4070.
Up.
Arabeske
8
10
Op.
225.
Les
Odalisques
...
4166.
...
4071.
Op. 20. Humoreske
10
Op.
227.
Songe
dore
...
8
4167.
.M
4072.
Op. 24. Liederk.eis (Jadassohn)
Op. 229, 1. Mozart. Figaro
... ... 10
4168.
4073Op. 60. 6 Fugen iiber den Namen Bach
1
10
Op. 229, 2. Beethoven. Fidelio ... ... ...
41(9.
4074Op. 70. Adagio and Allegro
9
Op. 229, 3. Mozart. Zauberflote ... ... **1 10
417J.
Op. 72. 4 Fugen
9
4758
Op. 23.', 2. Loreley
...
4171.
4076.
Op. 85. lltcs Jugend-Album
1 6
6
Op. 230, 6. Thuringer Volkslied ... ...
4172.
Op. 109. llltes. Jugendalbum
1 6
477.
6
Op. 235, 1. Chanson Russe ... " ... ...
4'7340780 ,byC
Op. 118. Sonatinas, 1, 2, 3
each 6
5
Op.
239.
Nabucodonosar
...
41744079.
8
Op. 126. 7 Stiicke in Fughettcnform.
;*m
6
Op.
241.
"
Com
e
gentil
"
...
41754080.
Op. 133. Gesange der Frtlhe
1
0
Op.
242,
No.
t.
Hail,
Columbia
...
...
4176.
4081.
Op. 134. Allegro de Concert
1
"A
o
Op.
242,
No.
3.
The
Star-spangled
...
4'77.
408a.
Myrthen (KirchncrJ
Op. 242, No. 4. Boatman's Dance

4.78.
4083. SIENOLD, CH. Op. 13. Nocturne
Op. 243. Clarinetten Polka
.& 8
4"794084. S1EWERT, H. Op. 67. Maybell s Peal
iW
6
Op.
245,
3.
Largo.
Rosiini
4160.
4085. SPINDLER, FR. Op. 5. Frisches Grim
Op. 245, 4. Meudelssohn. Jager's Abschied ... 6
4181.
4086. Op. 16. Bagatelle
Op.
253,
1.
Rossini.
Moise
...
6
4187.
4087.
Op. 25. Rlatterrauschen
Op. 254. La Captive d'Amour ...
6
4183.
4088.
Op. 59. Epheurankcn
8
Op.
258.
Danse
Cosaque
4'M4089.
Op. 71. Ellen
10
Op. 259. Fra Diavolo
4185.
4090.
Op. 73, 5. Nachtigall-Volkslied _
10
Op.
2G2.
Menu!.
Joseph
418c.
4091.
Op. 106. Blumen und Schmetterling
10
Op. 263. Bellini. Romeo et Julie_
4-87.
Op. t2j, Gtazien und Amorettcn :
Op. 264. Boieldieu. Jean de Paris
10
4188.
No. 1. Waller
4092.
r
Oi>.
265,
1.
Miserere
de
Trovatore
...
6
418a.
4093.
3. Tyrolienne ...
Op.
265,
2.
Kotschoubey.
O
dites
lui
6
4ICO.
Op. 194. Weber. Euryanthe
4094Op.
265,
4.
Gumbert.
O
bitt
euch
6
4191,
4095.
Op. 196. Rosen u. Vergissmeinnicht
6
Op.
265,
6.
Sommeritachtstraum
Marsch
...
4193.
4096.
Op. 304, No. 4. Mendelssohn. Auf Flugeln
8
Op.
274.
Offenbach.
Orpheus
...
m
4I93.
Op. 205. Halevy. Judin
4097.
-- 6
6
Op.
276,
1.
Tannhauser
Marsch
...
4'94Op. 207, 4. Verdi. Rigoletto

4098.
6
Op.
2;6,
2.
Hollander.
Spinnlied
4195.
4099. Op. 207, 0. Rossini. Tell
up.
278,
1.
"
Wiener
Kinder."
Valse
de
Strai
6
4196.
4100a 816
Op. 208. Verdi. Ernani, 1 & 2
each
Op. 278, 2. " Friedrich Marsch " de Gungl
6
4ty74101.
Op. 212. Verdi. Maskenball
6
Op 27a, 3. " Moulinet Polka" de Strauss
4193.
4102. Op. 912. Wacht am Rhein
Op.
283.
Stanislowa
6
4:09.
4103.
Op. 213. Meyerbeer. Robert
Mendelssohn.
"
Auf
Fltigeln
"
6
4200.
4104. Op. 21B. Verdi. Miserere
42oi*-</
WACHTMANN.
Op.
12.
4
Kondinos,
Nos.
j-4
each
Op. 219, . Neapol. Volkslied
K .
T,Pricre
]
4105.
Op. _14,. HT_
No. _1. Nocturne
4202.
4106.
Op. 222. Flotow. Martha
2. Nocturne Serenade..
4
4203.
4107.
Op. 223, 1. Ich denke Dein
Op. 15. Doux Souvenir
4
4<44108.
Op. 223, 2. Kehrst nimmer zurilck
Op.
16.
Valse
romantique
4
4os.
4109.
Op. 223, 3. Kirchenglocken
Op.
17.
Un
jour
de
bonheur
A.
'i..
6
4206.
4110.
Op. 223, 4. Frilhlingsahnung
Op.
18.
Revoir
inattendu
...
...
...
...
6
4207.
4111.
Op. 226. Rossini. Tell
Op. 20. L'Aveu
Y
6
420S.
4112.
Op. 227, 1. Hans and Liesel
Op.
24.
Pres
de
la
Source
...
...
...
...
6
4209.
4113Op.
Fra Diavolo
Op. 26. Carillon
... ... ... ... ... 6
4210.
Op. 229.
230, 2.Aubcr.
Volkslied
4114.
Op. 30. LAbsence
. ...
'6
4211.
4115.
Op. 230, 4. Im lVIuhlengrund
Op.
32.
Au
Revoir
' "i 6
4212.
41 16.
Op. 230, 12. Arabeske
WEBER.
Uuverture
Abu
Hassan
6
4213.
4117.
Op. 230, 15. Schwan
4214. WILHELM, C. Up. 5. Tremolo
4118.
Op. 231. Rossini. Barbier
Op.
23.
Mazurka
...
4*'5. WILLMERS. Op. 74. Rossignol
4119.
Op. 232. Adam. Postilion
4210.
4120. Op. 235. Wagner. Rienzi
4217. WOLFF, L. Op. 6. Jagdstdck
4121.
Op. 257. SchSne Frllhlingszeit
42ir Z1MMER, FR. Op. 1. Nocturno for the left hand
4122. STAAB, J. Verdi. Trovatore
For remainder of Antiquarian Music, see Monthly Musical Record, NosI
4123. STEINER, G. Op. 19. Galop militaire
244,
245, 346, and 263 ; also Catalogue of Antiquarian Musicj to be had
Op. 53. Am
W. Chnstabend
Op. 41. Spielende Welle ...
4124. STEINHART,
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4125.
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Op. 42
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CONTENTS.
PAGE
Incorporated Society of Musicians
35
Felix Mendelssohn-Bartholdy ..
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6
Harmonic Analysis. Bv Louis B. Prout. (Continued) ..
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26
Studies in Modern Opera : a Course op- Lectures Delivered
in the Philosophical Institution, Edinburgh.
By
Franklin Peterson. (Continued) ..
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30
The Pianoforte Teacher : a Collection of Art cles In
tended for Educational Purtoses. Consisting of
to their Performance. Bv E. Paiier. {Continued)..
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31
Mokitz Rosenthal and Euge.v D Albert, in Berlin ..
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33
Letter from Leipzig
33
Our Music Pages: Anton Strblezki's "2DE Valse Mblancoliijue"
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Reviews of New Music and New Editions
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Operas and Concerts
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Musical Notes
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MARCH 1, 1893.
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domestic sorrow, he resolved to give up composition

altogether. But a few years rolled by, and Nabucco was
produced, the opera with which the composer considers
that his career really commenced. And after Ernani
to name only the chief workscame Rigoletto, Trovatore,
and little more than a month later, La Traviata. Then
eighteen years {not, however, of total inactivity) passed
and Aida was produced at Cairo, then, after sixteen
years, Otello at Milan, and now Falstaff forms the latest,
though possibly not the last opera which he will give to
the world. Many are the rungs of the ladder, and
some of them wide apart, by which Verdi rose to
eminence.
Secondly, as regards its character.
By dint of his genius and dramatic instinct, Verdi
made his power felt, in spite of all the dangerous conventionalities of Italian opera, and in spite of all his con
cessions to popular taste. There may be many things in
Rigoletto, Trovatore, or Traviata which strike one as
commonplace; there may be "eccentric" padding, but
there are touches which reveal the hand of a master.
Now nothing is more remarkable in Verdi's career than
his serious efforts, late in life, after dramatic truth and
unity. It is this which has led many to speak of the
Wagner influence perceptible in Aida and Otello. V.
Pougin, the able biographer of the composer, is " abso
lutely convinced " that Verdi made himself acquainted
with the works and art-theories of Wagner, but is " ready
to be hanged if anyone can find in the last score {Aida)
of the Italian master a single reflection, a single symptom
of that which is termed Wagnerism." The fact of Verdi's
dramatic progress is generally admitted, and the , per
sonal influence of Wagner, though it should certainly
not be denied or ignored, will not fully explain the
master's latest development. Verdi's genius must also
be taken into account ; it helped him to profit by the
example of his great contemporary, but so skilfully, that
those who insist most on his indebtedness to the German
reformer cannot bring very strong illustrations in support
of their arguments. Verdi's advance has been slow but
Curiously enough, w hen in 1847 Mr. Lumley proposed to Verdi to sure ; and now, age notwithstanding, he still strives not
write an opera for Her Majesty's, King Lear was named as a suitable only to maintain, but even to rise above the proud position
subject for an English audience.
which he has won.
267
GIUSEPPE VERDI.
With regard to mankind generally, the Psalmist's rule of
life seems true enough. Every rule, however, has its
exception or exceptions, and of these the illustrious
Italian composer, whose Falstaff was produced at La
Scala last month, certainly forms a striking one, for with
him the threescore and ten years are passed, and the
fourscore all but accomplished, yet he is still hale and
hearty. The only instance which we can recall of an opera
written at a still more advanced age is Le Reve a"amour,
produced when Auber was 84 years of age ; but that work
was in no way remarkable, whereas, if one may judge
from the eulogistic accounts given of Falstaff, Verdi's
latest production is something more than an octogenarian
wonder. Of memorable works written by composers
comparatively late in life may be mentioned the oratorio
ofJcphtha, by Handel, at 67, of Iphigcnte en Tauride, by
Gluck, at 65, and of Parsifal, produced by Wagner when
close on 70.
Otello, Falstaff, and King Lear * (should Verdi live to
carry out his intention of writing an opera founded on
that play) will shed a brilliant lustre over his last years ;
but his whole career has indeed been a remarkable
one.
First, as regards its length.
Verdi's first opera, Oberto di San Bonifacio, was pro.
duced at La Scala in 1839, that is, fifty-four years ago. A
better way, however, of considering the musical length
of this period is to think of what was, and what was not,
when the young maestro achieved his first success.
Rossini, Bellini, Donizetti, were the idols of that day in
Italy, and Auber and Meyerbeer specially in France.
Gounod had only just won the "Grand Prix," and Wagner
had arrived in Paris (the very month, in fact, in which
Verdi's opera was produced) full of hopes and plans, but
sans fortune or fame. Verdi knew what it was to fail.
His comic opera, Un Giorno di Regno, was coldly re
ceived, and in a moment of despondency, aggravated by
THE
50
MONTHLY
MUSICAL
HARMONIC ANALYSIS.
By Louis B. Prout.
(Continuedfrom p. 30.)
TRANSITIONS.
24. " Transition " is a term which has been used by

theorists in two or three different ways ; here it will be
used to denote "passing modulations"the entering of
a key almost immediately to quit it again. Transitions
seldom consist of more than three chords ; if a key be
dwelt in longer than this the passage should be described
as being in a new key, and the chords leading to the new
key as a " modulation." Generally, transitions are pro
gressions of two chords, definite enough to assert their
tonality ; otherwise we have only " chromatic harmony."
25. What successions of two chords can define a key ?
Almost any discord followed by a concord, which latter
may be a tonic (see 12 and 21). The most usual
progressions of this kind are V, to I, and viij to I ; these
will constantly be met with in analysis.
transitional dominants.
26. As every major key contains five diatonic concords
besides I {viz. ii, iii, IV, V, and vi), It is clear that
five of the most natural transitions will bring us on to
tonic chords which contain no note foreign to the original
key ; and it is very easy, and very usual, to return after
such progressions to the original key. Ex. 15 shows this
with each of the five chords in question; the full analysis,
according to 1 1, is placed beneath.
Ex. 15.
mini
g_
C:I d:V'lc:L}C:V' F:V'{c::MC:vii? r G:V'
RECORD.
[March I, 1893.
instruments, changing its pitch) shows an alteration of

key; for G$ and A?, etc., cannot coexist in the same key.
The only exception is that if every note of a chromatic
scale be enharmonically changed, the key really remains
the same, the tonic being merely the " enharmonic " of
the original tonic. But it is by no means usual for com
posers to mark the enharmonic change in writing, and it
is therefore the analyst's business to learn to see where it
is implied. It has been shown in 1 1 that, as progressions
and not chords define key, the chord employed at the
moment of modulating must have a double aspect ; if,
then, the chord contains, for example, an f while the
chromatic scale ( 6, vi) of the key quitted demands G ?,
the note in question is "enharmonically changed '"
approached as ot?, quitted as Fjjf (unless, of course, FJfc
were "false notation" 50for G J> is the new key).
The whole matter is exceedingly simple if the student
has learned to "recognise the tonality "and is familiar
with the correct notation of the chromatic scale. The
most important "ambiguous" chromatic chord is the
well-known " diminished 7th.1' Occurring naturally on
the leading note of a minor key, it can be " borrowed " into
five other keys (tonic major, dominant and subdominant
minor, and their tonic majors), making up the circle of
six in all. But since it is composed entirely of minor
3rds, and a minor 3rd contains the same number of semi
tones as an augmented 2nd, it is evident that any one of
the three spaces between its notes can, by " enharmonic
change," be made into an augmented 2nd, and this
augmented 2nd will be the inversion of a new diminished
7th. Each of these three new diminished 7th chords
can likewise be used in a new circle of six keys, giving a
total of 18 new keys, or the complete 24 in all. (If every
note of the chord is changed enharmonically, the size of
the intervals remains unaltered, the key is simply the
enharmonic of the same key, and there is no modulation ;
vide supra). If this is not quite clear to the student, he
should test it for himself.
METHODS OF FINDING THE ROOT.
{g::^C:V,Ia:V,{::^C:Vle:V,^:^C:IVI V, I
It will be observed that, in a sense, there is only one
chord in each instance foreign to the principal key, and
that is the dominant. There is no doubt that these pro
gressions arise, not from any desire to modulate, but to
give each important concord its appropriate discord (or
attendant concord), bearing to it the relation of dominant
to tonic, so that we really have, as it were, a "dominant
to the supertonic," a " dominant to the mediant," etc., as
well as a dominant to the tonic ; these may appropriately
be termed "transitional dominant chords." Similarly,
according to the latter part of 25, we may have "tran
sitional leading chords."
He.
Ex. 16.
-H
I
-I-
ni-lUgE!
*3-
W^=T:tt=
C : I
d : vii
ZBZ
3^
?{^}'
&-=2=iU
*M::Mc:Vf
"JiC:
ENHARMONIC MODULATION.
27. On the system here followed, which allows only one

name to each chromatic note in the key, every enharmonic
change (change of the name of a note without, on keyed
28. By the term root is here meant simply the lowest

note of an uninverted series of superposed yds; most, if
not all, of the simplest harmonic combinations admit of
being thus arranged, apparent exceptions being due to
the use of auxiliary notes, suspensions, etc., to be con
sidered presently ( 3436). A note with its 3rd and
5th (three notes separated by intervals of 3rd) is called a
triad; similarly we may call a note with its 3rd, 5th, and
7th (four notes separated by intervals of 3rd), a tetrad ; *
and a note with its 3rd, 5th, 7th, and 9th, upenlad*
29. Now, if chords are thus built up of the uneven
numbers (1, 3, 5, 7) from the bass note, even numbers
(2, 4, or 6) will represent inverted intervals (2=inversion
of 7 ; 4=inversion of 5 ; 6=inversion of 3) ; and the
root of the chord will be that note represented by the
smallest even number from the bass note ; thus, if the
intervals in a chord are 5 or , 6 represents the inverted
root, being the only even number ; if the intervals are J
or j, 4 represents the root, being the smallest even
number ; if they are *, 2 is the root for the same reason.
Thus, if a beginner in harmony wishes to practise himself
in finding roots, without reference to the sound or look of
the chord, here is a method which he can follow : Let
him measure the intervals from the bass, and if the
figures prove to be any of the seven conventional com
binations (|, %, J, I, , or 4), the smallest ei>en nwnberwill be the root.
* " Chord of the 7th," and " chord of the 9th," are the more usual nanics.
March i, 1893.]
THE
MONTHLY
30. Another slightly different method, also applicable

only to the simple chords (analysis of others will be
understood as we proceed), is to place all the notes within
the compass of an octave ; if they form an uninverted
chord this cannot any longer escape notice, as they will
be all ranged in 3rds ; if any two are a 2nd apart, the
upper of these will be the root ; if not, but two are a 4th
apart, the upper of these will be the root.
31. If the chord analyzed is a discord, and is diatonic,
its generator (on the " Day theory ") will be the dominant
of the prevailing key (see 6, viii.).
32. More complicated combinations may now be con
sidered, attention being first confined to those which are
diatonic. " Chords of the 9th," or " pentads," have been
spoken of as possible ( 28), but are very rare as actual
chords, except that on V, and even this is not very
common, and is generally uninverted, when of course its
analysis is simple ; its inversions will be recognised if the
test of placing all the notes within an octave be applied,
by the fact that three notes together occur, the middle
one being the dominant. N.B.vii7 is not an inversion
of the 9th, but (on the " Day theory") a derivative of it.
33. But in the inversions of V9 the root is generally, if
not always, used as an " inverted pedal." A pedal is a
retained or repeated tonic or dominant through changing
harmonies, of some of which it forms no integral part
(root, 3rd, 5th, and 7th being " integral parts " of chords).
It is said to be "inverted" whenever it is not in the bass,
its most frequent position. Perhaps three chords against
the retained or repeated note may pretty accurately be
fixed upon as the minimum to constitute a " pedal." If
in the application of the method of placing all the notes
of a chord within the octave there are found to be three
notes together, the middle one being either dominant or
tonic, that will generally prove to be a pedal, and the
chord may readily be analyzed without it. (See further,
38.)
34. Many apparently complicated combinations will be
found perfectly simple to analyze if the habit of " looking
ahead " be cultivated ; a large majority of notes which,
though struck with chords, are not integral parts thereof,
are "auxiliary notes" (17) or " suspensions " (prepared
accented auxiliary notes, when diatonic, are so called),
and such, except in very intricate passages, generally
resolve while the chord remains unchanged, and the
analysis presents no further difficulty.
35. Similarly, "passing notes" are not likely to give
much trouble if only occurring in one or two of the parts;
for they are generally notes of shorter duration than the
chord notes which they accompany. " Passing chords "
will be considered later.
36. If one note of a combination does not belong to
the chord against which it appears, it may also be by
way of "anticipation." An " anticipation," as its name
implies, is one note of a chord sounded against the pre
ceding chord. An " anticipation " may be distinguished
from an "auxiliary note":
I. By its leaping or remaining stationary, while an
auxiliary note nearly always moves a 2nd (exception :
an auxiliary note occasionally leaps a 3rd to a note on the
other side of the harmony note to which it belongs.
MUSICAL
RECORD.
5i
II. Very frequently also by its resolving while the chord

continues, while an anticipation " generally resolve's (if
it may be said to need " resolution ") when the chord
changes.
37. In concluding our consideration of " Methods of
Finding the Root," it may be well to say that when the
chord has been ranged in 3rds and all ornamental notes,
etc., eliminated, its intervals should be carefully measured
from the root, and named on the Richter method described
in our preface. If the 3rd is neither major nor minor
but diminished; or if the 3rd is major and the 5th
diminished, so that the interval between them is a
diminished 3rd ; or if the 5th is perfect and the 7th
diminished, giving again the diminished 3rd ; then the
lowest note is not customarily called the root because the
most usual position of these chords is that in which the
lower of the two notes forming the augmented 6th
(inversion of the diminished 3rd) is in the bass, and the
chord is named, from this interval, the " chord of the
augmented 6th." The three well-known forms of the
chord, the " Italian," " French," and " German " 6ths, may
be analyzed thus :
Ex. 16.
b-SIt. 6
Fr. 6 Ger. 6
It. 6 Fr. 6 Ger. S
(on frvi) (on 5vi) (on Dvi) (on bii) (on t>ii) (on &ii)
These are customarily reckoned as fundamental positions
in so far as concerns the matter of "inversion" ; thus if
the yd be in the bass, we shall have It. 6 b, Fr. 6 b,
and so on.
COMBINATIONS WITH TWO ROOTS.. ]
38. The student of analysis will very frequently meet
with complex discords to which no root seems assignable
without recourse to the most extreme theories of i3ths ;
sometimes even with six or seven different notes of the
scale struck simultaneously. The explanation of most
of these is that auxiliary notes and suspensions may
appear in several parts simultaneously, and in such case
they (especially the former class) are freely sounded
together with the notes upon which they are to resolve.
The analysis will not be difficult if the practice , of
" looking ahead " ( 34) be followed, for the resolution of
some of the notes while the others remain will generally
afford the required clue.
39. Macfarren deals with some of these combinations
as " suspensions of complete chords," but points out that
some of the notes need not be pri+crtdj is the name
" suspension " then applicable ? Ought they not rather
to be called " auxiliary chords " ?
40. In analyzing, if the student feels the auxiliary notes
to be, in their combination, sufficiently important to
deserve special mention, the chords may be assumed to
have two roots, and analyzed accordingly ; for example,
Mozart's favourite cadence (Ex. 19) may be analyzed
I+V7and so on.*
Ex. 10.
* Students of the " Day theory" who do not understand the auxiliary
origin of his so-called ''inhs" (} 41) constantly make the mistake of
analyzing
these "double-root " chords (and also V chords on " tonic pedal "J
This is known not to be an " anticipation " by the absence as " dominant
nth." The fact that the upper notes resolve while the
of the F in the following chord ; but most similar examples Ionic remains (proving
them, and not it, to be me dissonances) clearly shows
are really " anticipations)."
this to be erroneous.
.
52
N.B.The auxiliary chord in these double chords is

nearly always in the upper parts of the harmony, the
foundation chord in the lower. On our method of
analyzing, the foundation chord should be named first,
and (if in an inversion) the inversion stated by a b, c, ordy
the auxiliary chord following the sign -f, and no account
being taken of its inversion, as inversion is dependent on
the bass of the harmony. There is not the remotest
doubt that this is the explanation of the often-quoted
chord in the " Choral Symphony " of Beethoven
U + vii?
41. Large discords on the dominant may be analyzed
thus, or, if it be preferred, Day's names " Dominant nth,"
"Dominant 13th," may be adopted; Ex. 21 shows both
analyses :
ig=iiEfe^fl
w
V + IV V,
v,
N.B.There are some rather important differences

between the large chords upon the dominant and those
upon the tonic (such as Ex. 19) perhaps sufficiently
important to justify our accepting the names " Dominant
9th," " Dominant nth," " Dominant 13th " for the former,
while rejecting Stainer's names of " Tonic 9th, 11th, and
13th " for the latter (though there can be no doubt that
the origin of both alike is in auxiliary notes) :
1st. For those who, like Dr. Day, base their systems on
the " harmonic series," there is the fact that the diatonic
7th of the dominant is minor (approximating to the 7th
"harmonic") while that of the tonic is major (a less
important harmonicthe 15th).
2nd. Practically, also, the treatment of the 7th of the
dominant proves it to be a chord constituent (it does not
resolve until the chord changes) ; and, the idea of dis
sonance being thus established, it is but a step further to
say that additional 3rds superposed are also parts of the
chord. But the treatment of the 7th of the tonic in these
combinations (see Ex. 19) at once suggests that it is an
auxiliary note (a note of the chord of unrest 6, VIII.
against the chord of rest, which " chord of rest" must be
a concord), and, consequently, further 3rds superposed
will also be constituents of this new chord element
(harmony of V). Generally speaking, it may be said
that the nature of the 7th determines the nature of the
chord, and that the 7th is the link between 9th, nth, and
13th (if such be admitted) and their generator.
( To b4 coniinutii.)
[March I, 1893.
The question as to the purity of text does not, probably,

as a rule trouble those who play the sonatas ; and even
amongst pianists who study them for concert or other
purposes there are, perhaps, few who could name even
the principal passages open to question. And yet surely
it is important to know how far the notes we play are the
very ones originally written down by Beethoven. And
not only important, but extremely interesting ; for in
comparing various readings, seeing how the one edition
has a $ or I?, the other a natural, the one this note, the
other that, or discovering, it may be, a difference affect
ing a whole bar or even passage, one has to inquire
thoroughly into the meaning of the music so as to decide
as to the comparative merits of this tone-picture or of
that.
If all the autographs of the sonatas were in existence,
then an edition exactly agreeing with these would, perhaps,
be the true and only edition. But as many of these are not
forthcoming, the earliest editions of the sonatas naturally
stand next in value and authority, and an edition based
on these has been provided by Herr Eusebius Mandyczewski, the well-known librarian of the Gesellschaft der
Musikfreunde, Vienna. To give a list of the different
readings would prove monotonous, and moreover, students
ought to take pride in finding out such for themselves. But
just one or two specimens to whet the musical appetite ;
just one or two comments to show the train of thought to
which even the change of a single note may lead, will
surely prove welcome.
In the sonata in A (Op. 2, No. 2), vol. i., p. 20, first
bar of the last line, the left hand commences on d 1 ; tl e
Leipzi ; edition, however, hasrf^. The effect of the rfjj is
somewhat strange, seeing that the preceding and following
bars have the d sharpened. Beethoven was not infallible,
and may have forgotten to write the sharp, or to add it in
correcting the proof. In the same movement the opening
of the dominant pedal phrase leading to the recapitulation
section stands as follows:
It offers a curious difference from many editions, though

not from the Leipzig one, and certainly gives more fresh
ness to the bar than if written in a manner similar to the
one which comes four bars later.
In Op. 7, 2nd bar of the Allegro, the crotchet chord is
not dotted : this gives more brio to the opening motive.
On page 196, line 2, bar 1 (sonata in B flat, Op. 22, 1st
movement), we find a variation. In some editions the
minor 9th remains during the whole bar, but here resolves
in the second half, thus :
The change at this moment is unexpected, but for that

very reason Beethovenish.
The following reading of a well-known bar in the
" Moonlight " is interesting :
BEETHOVEN'S PIANOFORTE SONATAS.

Among the compositions of the great tone-poet none
have become so familiar as the pianoforte sonatas : the
" Pathctique," the " Moonlight," the " Appassionata,"
" Les Adieux," etc., have become household works, and
even of those which lack a superscription there are only The second half of the broken chord becomes pregnant
one or two which do not quite belong to the cercle intinr. with melody. There are two curious readings in the
March I, 1893.]
THE
MONTHLY
MUSICAL RECORD.
53
Waldstein Sonata (Op. 53) that will interest pianists ;

Our last comment is one of special interest. Bars
first, from the opening Allegro
9-1 1 of the recapitulation section of the first movement
of Les Adieux (Op. 81a), read thus in the bass in Herr
Mandyczewski's edition
-g^^^^
with d instead of/ in the second and succeeding groups ;

and secondly, from the Rondo, bar 28, and afterwards
We believe we are correct in stating that the first edition
of this sonata in this instance is incorrect : it has the
reading still to be found in certain editions. But the auto
graph of the first movement in the library of the Gesellschaft der Musikfreunde shows the above to be the true
with f as seventh semiquaver instead of g.
version. It is interesting in itself: that hurrying forward
The sonata in B flat (Op. 106) offers several points of to the dominant chord is characteristic of the master in
interest. In volume iii., p. 515, last line, bar 4, the middle his riper years. It' is, we may add, the reading of the
voice, as in the Leipzig edition, is written as a crotchet, Leipzig edition.
yet Bulow maintains, and with some show of reason, that
it should be a quaver. On page 518, line 5, bar 4, and
again two bars later, the a of the upper voice has a t>
before it in the Leipzig edition ; and thus the first chord a course of lectures delivered in the philo
over which it stands is a tonic, and the second a dominant
seventh. But in the edition under notice neither a is
flattened : the first may be so intended, but we cannot
v.influence of the music drama.
help thinking that the second ought to have a flat.
(Continuedfrom pagi 31.)
Nothing is perfect in this world, and Herr Mandyczewski's
care notwithstanding, errors have crept in here and there The aim of these lectures has been widely misunder
in his edition (thus in vol. i., page 32, line 2, bar 2, and stood by any who think that the Music Drama is a new
vol. ii., page 272, line 2, last bar, there are evident mis creation in the world of Opera, or that Wagner is an
prints ; and in other places, such as vol. i., page 80, last line, inventor. His advantage is that he is the heir of gener lbar 2, apparent misprints), and, therefore, in knotty points, tions ; he has assimilated the works of his predecesto.-s
like the present one, one naturally feels in doubt. In the and built upon the foundations they laid, and the produc
second of the above-mentioned bars of the B flat sonata, tions of his genius are the last and hitherto the most
the doubt is doubled, for the a of the middle voice, which important contributions to opera.
is flattened in the Leipzig edition, is here without a flat.
Opera is distinct from other musical forms in one
There is a passage in the Fugue of this same sonata important particular. It took centuries before the devices
concerning which Biilow has made an interesting eom- of Counterpoint were gathered together to make the
ment : he considers that an 8VA under the second to fourth magnificent structure of the Fugue ; experiment after ex
semiquavers in the following
periment was made, new principles were tried and rejected
or improved before Mozart and Haydn handed on the
(See vol. iii., p. 544, almost complete Sonata form to their great successor.
line s, bar 3.)
These then were problems which formulated themselves
has been overlooked in the original manuscript, but no slowly and were very gradually, one might say sometimes
sign of this appears in this new edition. On the other fortuitously, resolved. But opera started from the first
hand, Biilow's suggestion that the c's on page 551, line 5, with a distinct ideal, and one so far-seeing that the latest
bar 3, should not be sharps as in the Leipzig edition, but works of Wagner do no more than fulfil the aim which the
naturals, is here shown to be the true Beethoven reading. members of the Florence Academy set forth and ever kept
Again, while speaking of Biilow's edition of the sonatas, before them. Many forms have doubtless been invented,
we may mention the 12th bar of Var. 5 in Op. 109 :
used, and abused ; but they are only accidentals, not
essentials. It is impossible to say how soon Wagner's
works will be relegated to the shelves of libraries and to
the studies of historians. Every future must become the
past, and one day the " Kunstwerk der Zukunft" must be
The pianist-critic maintains that the second quaver should as old a story as that wonderful " Nuove Musiche " of
be c and not b: the latter note, he says, cannot be justified Caccini and his friends of the Florence Academy.
either from a melodic or harmonic point of view. Herr
Two other natural considerations will occur to every
Mandyczewski, however, retains the b. In the last proof one who knows Wagner's strong personality, mighty
corrected by Beethoven himself the b is left, and (showing genius, and high standard of ideal. One is that
that his attention had specially been drawn to the bar) Wagner's followers must be many, and will range from
against the third quaver which had been printed c, he those of highest contemporary rank to those who slavishly
writes "rfstatt c." We have been mentioning differences imitate, and those whose want of originality must result
of notes, but there are many other differences which in the most inartistic mannerism and the most barefaced
claim attention, as, for instance, the tied c's, vol. i., plagiarism. The other consideration is one which should
page 136, line 2, between bars 3 and 4; the dash never be lost sight ofthat Wagner's work falls im
over chord, making phrasing clearer, page 209, line 3, measurably short of his ideal :
bar 2 ; the absence of pedal marks, vol. ii., end of page
" What hand and brain went ever paired ?
259 and beginning of page 260 ; the tied a's at the
What heirt alike conceived and dared?
beginning of Op. 28 ; the absence of the Allegro indica
What act proved all its thought had been ?
tion after the Largo arpeggios in the middle of the D
What will but felt the fleshy screen ? "
minor sonata, Op. 31, No. 2, and of the rail, before the Great and noble as Tristan and Parsifal are, we may be
next Largo passage, etc. etc.
sure Wagner's conception of them was far greater.
rrrr
life
=g33=
54
THE
MONTHLY
Wagner is the representative, as he was the exponent, of

a new phase in the history of Opera ; and as this new
phase is a natural incident in a regular development, as
the modern Music Drama is not by any means merely
the result of Wagner's work, but of the tendency of the age
which produced Wagner, we shall find, as we should expect
to find, the influence of the ideal in many works which
are non-Wagnerian and even professedly anti-Wagnerian.
The " Leitmotiv," or " leading motive," is not an inven
tion of Wagner's, for it was used by Mozart, Weber, and
many others, and was adopted as a principle by Berlioz
before Wagner made its principle so peculiarly his own.
Berlioz calls it Fidee fixee, and uses the device with con
summate skill, for example in his " Fantastic Symphony."
The great drawback to it in his hands is that he con
sidered the motive expressive enough and definite
enough in itself. Doubtless it was so to him even
more than to the majority of composers, for his ear
was abnormally acute, and his imagination, as Dannreuther says, was heated often to the verge of
insanity. Now motives, if they are to make their due
impression, must not only be expressive but definite.
Let us take an illustration.
The subject of Beet
hoven's Fifth Symphony arrests the attention at once :
if the composer had not told us what it was meant to
represent, how many annotated programmes would we
not have had with all kinds of meanings read into these
few notes ! Beethoven, however, explained that they
represented the inexorable Fate which knocks at the
door, and a flood of light is let in on the movement. It
is true such a definite intention may impose restrictions
on a compositionwhich is not always desirable. No
one has any desire to know what the subject of that
wonderful first movement of the Ninth Symphony means
it is another language, and cannot be translated into
"poor bounded words." In a drama, on the other hand,
the definiteness of motives is great gain, as I think the
success of the device in Lohengrin will dispose us to
admit. Wagner then saw the value of Berlioz's idee
fixee, and also recognised the importance of a definite
itarting-point of pathos only to be found in words.
But Berlioz did more for Wagner. It was he who
made the orchestra ready for these effects of which
Wagner is such a master. Berlioz understood instru
ments and instrumentation as no other man ever did,
and all his works are full of novelties and experiments in
colour which, on the whole, may be said to be uniformly
successful.
The most successful among Wagnerian composers of
Music Drama is Karl Goldmark, born in Hungary in 1830.
He is dismissed pretty summarily by Sir George Grove,
who might easily have given him more space in his
Dictionary by omitting a good deal of uninteresting
matter about less important men. His Queen of Sheba
was produced in Vienna in 1875, and his Merlin in 1886.
In Goldmark some of the faults of the Wagner style
are more apparent than they are in the works of his
master. His orchestration shows him to be an apt pupil
in the modern school, and many parts from these operas
might easily be taken for extracts from Wagner's works.
In the Queen of Sheba he has taken advantage of the
temple scene and the grand ballet which Solomon pre
pared for his royal guest to produce gorgeous scenic
effects ; and the storm in the desert, when the desolate
Assad lies down to await death, as it is managed, for
instance, in Dresden or Budapest, is one of the most
marvellous pieces of stage illusion to be seen. The sand
not only is driven in clouds across the stage, but the
phenomenon of whirling columns of sand is accurately
reproduced, while the solitary palm tree is bent nearly to
MUSfCAL
RECORD.
[March I, 1893.
the ground as the blasts sweep over it. The love scene
in the second act shows all the rich and glowing passion
of his country ; and the musical traditions of the.ancient
race whence he sprung are nowhere moreeffectively utilised
than in the grand temple scene. The quiet, pathetic last
scene, which one might almost claim as one of the improve
ments of the Music Drama, makes an effective close.
JOHANN SEBASTIAN BACH, THE . SHAKESPEARE

OF MUSIC*
A newly-arrived traveller in Colorado, coming down from his
room about an hour before breakfast time, told the proprietor of
the hotel that he would take a little walk to the foot of a moun
tain he saw near by, and be back in season for his meal. He
was much amazed on being informed that the little walk he pro
posed to take would require the whole, day for its performance.
The truth was, that the air at this altitude was so thin and pure,
that it made apparent distances most deceptive. All estimates
of these based on experiences at lower levels were quite worthless.
So it is with Bach, the granite foundation and mountainous land
mark in all true musical education. He has his own distance,
magnitude and atmosphere, and pupils who measure their ap
proaches to a just understanding of him by standards applic
able to ordinary composers are in danger of serious error.
Yet how many performers manipulate his notes as if they were
written by a Czerny, and think them monotonous ! In appear
ance they do not differ from other notes ; but in fact, they differ
as much as men who have deep hearts differ from men who have
long purses. Bach never deals in trivialities, never twaddles.
Neither does he aim at producing startling effects. His pleasingness is like that of the beauty of a fine day in nature, springing
from causes too great for egotism or vanity. His object is always
to bless, and not to astonish. His spirit is not ambition, but
consecration.
His time furnished musical instruments only of a very imper
fect pattern. Therefore most passages in his works are best
adapted for the organ, and most easily repeated with the pedals.
His notes are the holy offspring of a perfect marriage of physical
and mental power ; and they speak fittingly to our souls only
when touched by pure and richly endowed natures. The present
time is sadly deficient in appreciation of such an author, and
thereby loses much instruction and enjoyment of the most elevated
kind. The average student is overawed by the popular ideathat the works of Bach are extremely difficult to understand ;
and so he makes his escape by a formal bow to a few Inventions,
Suites, and a fugue or two : and to close all argument, salutes them
with unmeaning praise. But " Give us this day our daily bread,"
is not the whole of the divine prayer nor, indeed, the deepest part
of it. The commonest things may secure the widest attention, but
they are not, on that account, to be considered equal to the
highest and most sacred things. A store, where all the articles
of domestic use are sold, is sure to draw the multitude, who are
more apt to neglect the temple of divine things. Goethe says :
"WerVieles bringt, brinyt jedem Etwas"who brings much,
brings something for everybody. Why, then, we naturally ask,
are the great ideas of Bach so little appreciated ? He, too, has
something for all, evan if his heights are too sublime for the
crowd. Why should amateurs be afraid of him and keep at a
distance ? In merely earthy and social matters the amateur de
mands the best that is to be had. Why, in musical matters,
should he turn away from this most rich and mighty master.
Bach, and give his attention to the senseless rubbish displayed
on public countersstuff whose proper place is the ash-barrel !
I know many skilful players, who could easily rise very high, if
they had but the courage and aspiration to leave these trashy
compositions behind them and gain a real acquaintance with the
nobler order of works in their art, furnished by the genuine
masters. If they would give one-fourth of the time they now waste
on worthlessness, to mastering the supreme examples ofreally good
music, now ignorantly dreaded and avoided, it would be surpris
ing what an improvement they would make. Let the student go
* This article, from the Boston Transcript, is published with the kind
permission of its editor.
Match i, 1893]
THE
MONTHLY
farther and study the marvellous " Well-tempered Clavichord "

(for which no publisher could be found; and the engravingof which
with his own hand during night-hours caused Bach to become
blind), his beautiful English Suites and Partitas, and the stupen
dous first chorus of the Passion Music according to St. Matthew,
in which a double chonis, a full orchestra, an organ and a Chor
ale find room to worship the Creator, as He was never before
worshipped. The basses in this number appear like a huge
pendulum, each motion recording a birth and a death in our
race. Each voice has its own orbit, and they all move without
friction or collision, as so many planets moving in space. Many
of the arias are full of repose and sweetness, giving out a light
that seems to come direct from a higher world. The one with
the violin solo opening No. 47 in B minor" O pardon me, my
God, and on my tears have pity "is, to my thinking, nearer
to God than any other music ever penned by man. In the recit
atives, the musical sentences speak as if they were so many
human beings. Other numbers are of fascinating interest and of
so vast a conception as to make us doubt their origin on earth.
And what shall be said of the final chorus ! Such comfort is in
it that it is effectual even when our mother has gone from us and
our sun has set invertedly in the East, so that it can rise no more.
In order to gain an accurate knowledge of such a work, one must
join the chorus and attend many rehearsals. The mere listening
to a few performances is insufficient, and will not prove of much
use. There are two more of these works, the Passion according
to St. John, and the Passion according to St. Luke rather un
justly neglected in favour of the first named. Having spent one
life in studying the bewildering grandeur of these mighty works
of Bach, the student needs another life to do justice to the fiftytwo cantatasone for each week in the yearhis organ works
and concertos for various instruments, and also those for string
orchestra ! These finished, he will be able, perhaps, to form a
just opinion of the most modern composers and know the differ
ence between food and wind.
Some of these recent composers and many in my dear father
landare now having their day, owing to the craze for novelty.
This is bad for them, because they are thus picked when green ;
worse still for the public, because turmoil and confusion usurp
the place of sound knowledge and pure art. They should be
thrown back into the sea to grow, as the law prescribes when
too small lobsters are taken. Such "robustious, periwig-pated
fellows tear a passion to tatters, to very rags, to split the ears of
the groundlings" ; and a noble orchestra, capable of presenting
the exquisite rainbow and halo effects in the slow movement of
Schubert's unfinished symphony, should not be turned into a
boiler factory, even if the satisfied audience has been obtained at
an auction. They should take this message to heart : "For I
must tell you, friendly in your ear, sell when you can ; you are
not for all markets."
Our traveller has now reached the mountain and understands why
he cannot be back at the hotel in time for breakfast. Having taken
so much trouble, he will probably change his intended trip and
not return to the cheap-jacks of the lowlands, but thank God for
the faculties and the nourishment he finds at the altitude he has
attained. As Bach has supplied mankind with the most whole
some spiritual nutriment in such generous quantity, giving us, as
one may say, a musical atlas, whose maps exhibit all that head
and heart and soul can crave, we should be grateful to him all
over this beautiful and richly-endowed land, and by reverently
studying his productions become better friends with our own
best powers. By thus cultivating a sounder and higher taste,
we shall learn more sincerely to love what needs to be but once
well learned to prove a life-long happinesstrue music.
Let me close this imperfect expression of my heartfelt wish
with the perfect expression given by Shakespeare in the following
immortal lines. For it seems to me, that much the same spirit
speaks through these brother geniuses, Bach and Shakespeare,
the one finding vent in musical sound, the other in musical verse :
" When I consider everything that grows
Holds in perfection but a little moment,
That this huge stage presenteth nought but shows
Whereon the stars in secret influence comment ;
When I perceive that men as plants increase,
Cheered and check'd even by the selfsame sky,
Vaunt in their youthful sap, at height decrease,
MUSICAL
RECORD.
55
And wear their brave stale out.of memory ;

Then the. conceit of this inconstant stay
Sets you' most rich in youth before'my sight;
Where wasteful Time d'ebalelh with Decay.
To change your day of youth to sullied night :
And all in war with Time for love of you,
As he takes from you, I engraft you new."; v.
Ernst Per a bo".

consisting of
Pieces with regard to' Difficulty, and Suggestions
By E. PAUER,
Principal Professor of Pianoforte at the Royal College of Music, &*c.
{Continuedfrom page 32.)
STEP IV.
Jensen, Adolph. " Romantic Studies."
Op. 8, two
books. A cycle of seventeen pianoforte pieces. In order
to understand the composer's intentions, it is necessary
to read the preface to his work. Book I. No. 1, "Vow "
(F major).
Moderately cheerful, pleasantly animated,
and distinguished by its pure harmonies. No. 2, " New
Life " (d major). Excited, nervous, and full of pulsating
life. No. 3, " Unexpected Happiness" (g major). Very
winning and sympathetic. No. 4, "After the Day is
done " (a minor).
The composer gives here copious
instructions how to perform his piece, the character of
which is slightly melancholy without ever becoming
sentimental. No. 5, " Longing" (b flat). The beginning
of this charming Romanza reminds of the last move
ment ("Farewell") of Schumann's delightful "Forest
Scenes." Whilst the first part requires a sustained,
singing style, the second part (in E flat) must be per
formed in a light, airy, elastic manner. No. 6, "Joyful
Message" (o major). In the style of a Styrian Valse ;
good-natured and sufficiently sympathetic. No. 7, " Re
verie " (d flat). A very beautiful piece which, when well
played, must fill the hearer with delight. In its character
it has some affinity with Schumann's celebrated " Even
ing Song."
No. 8, "Lots" (e major). Thoroughly
manly, energetic, even enthusiastic. Book II. Under
the heading, " Beautiful Past," the composer brings five
pieces, of which No. I, "Poor Prisoners" (c minor), is
full of melancholy expression. No. 2, " White Rose "
(E major). In a somewhat broad and grand style. Its
successful performance requires a musician full of fancy,
warmth of feeling, and refinement of taste. No. 3, " On
the Sea-shore " (a flat). Full of passion, and at times
even of excitement. No. 4, "An Echo " (a flat). A very
noble and distinguished piece, full of feeling and tender
expression. No. 5, " Love Tokens " (c major). It is some
what difficult at first to find out the proper expression for
this piece, but it will be possible, by thinking a good deal
about it. There ought to be a considerable contrast
between the second and first part. No. 6, " My peace is
gone" (e minor). It may be that the piece was sug
gested by Marguerite's Song at the spinning-wheel from
Goethe's Faust. Although not nearly so passionate as
Schubert's famous setting, it yet possesses unquestionable
merits. No. 7, " Thinking of Thee " (B major). A very
agreeable, sincere, and beautiful Romanza.
No. 8,
" Love's Spring " (g major). Joyously and even ex
citedly animated. No. 9, '' Epilogue " (C major). A
worthy conclusion of a very worthy work. The student
cannot do better than to follow, with the greatest atten
tion, all the composer's directions, for they are precise,
and " hit the nail on the head."
56
Liszt, F. " Second Hungarian Rhapsody." In this,

as in all the same author's Hungarian Rhapsodies, the
gipsies' music and their characteristic qualities are re
presented on the keyboard. The melodies are mostly
national, but somewhat ennobled by the fine-feeling com
poser. The first (slow) movement, called " Lassan," is
grand, proud, and even bombastic ; the second (fast) one,
"Friska," full of life, which, towards the end, waxes into
an almost phrenetic passion.
Liszt, F. "Popular Pieces." Ten numbers. No. 1,
" Consolation" (d flat), is a kind of religious meditation.
It is a very beautiful and expressive piece, in which the
performer can " sing " on the keyboard. No. 2, " Litany"
by Schubert (E flat). The really wonderful, sincere, and
deeply-felt melody by Schubert, is here arranged in a
polyphonic, rich, and superb manner. The same remark
applies to No. 3, " The Wanderer," Schubert's ever beau
tiful song. No. 4, is Schumann's inspired love-song,
" Devotion " (a flat). Liszt's transcription is quite worthy
of the beautiful original. No. 5 is an arrangement, in an
artistic style, of Mendelssohn's perennial. " On Song's
Bright Pinions" (a flat;. No. 6, " Le Rossignol," by
Alabieff (c sharp minor). This well-known national air
is here most effectively given ; it is one of the best pieces
for private concerts.
No. 7, "Canzone Napolitana"
(d minor), a trite little Neapolitan air, is here so well
presentedgiven in such a charming and fascinating
mannerthat it will, thanks to Liszt, soon gain greater
popularity.
No. 8, "The Post," the ever fresh and
spirited song by Schubert (E flat). No. 9, "La Regata
Veneziana," by Rossini (c major). Full of wit, brilliancy,
gaiety, and piquancy. No. 10, " Grand Galop Chromatique " (E flat). This Galop ranks among the best
pieces ever written by the genial Liszt. It is full of fire,
of great tlan, and of irresistible charm.
Bendel, Franz. " Nocturne" (D flat). A simple, wellconstructed melody, with a modest, yet amply sufficient
accompaniment. It fills only two pages.
Bendel, Franz. " Le Reve" ("The Dream") (a major).
Possesses a good deal of pleasant animation. The sus
tained part (page 5) requires a good and rich tone.
Bendel, Franz. " Idyl " (B major). May be rendered
very effective by a clever manipulation of the pedal and
considerable variety of touch.
Henselt. Adolph. Album, containing eight pieces.
No. 1, "Chanson d'Amour" ("Love Song") (b major).
Very melodious and harmonious ; the treatment of the
whole is exceedingly noble. No. 2, " La Fontaine '' (" The
Fountain") (f major). A specimen of Henselt's speciality :
harmony, polyphony, and breadth of treatment. No. 3,
"La Gondola" (G flat). An excellent study for the lelt
hand. No. 4, " Chanson de Printemps " (" Spring Song ").
A most delicious melody, as bright and pleasing as a
sunny spring morning. No. 5, "Repos d'Amour" (B flat),
from the twelve studie;, Op. 2, is very similar in style to
No. 1. No. 6, " Si oiseau j'etais," etc. (K sharp), is like
wise from the studies, Op. 2. It is the piece which made
Henselt's fame, and b:came everywhere highly popular.
The air itself is very like an Austrian folk-song.
No. 7, " Berceuse " (" Cradle Song ") (G flat). Very har
monious and sweet. No. 8, " Petite Valse." If played
neatly, carefully, with natural and simple expression, this
little gem must please e\erybody.
Henselt, Adolph. Op. 2. Twelve grand characteristic
studies. These splendid studies are the best proof of the
executive powers possessed by the late artist ; indeed,
they testify not cn!y to his cleverness as a composer, but
also to the intelligent treatment of the instrument with
regard to technical execution. Each study has a prac
tical motto (provided by Henselt's wife), suiting in
[March I, 1893.
the best possible manner the musical contents. No. 1

(D minor), a tempestuous, wild, highly imaginative piece,
" Storm, thou wilt not subdue me." The left hand represents the storm, whilst the right hand expresses firm
ness and an unbending will. No. 2 (D flat), has a sooth
ing, amiable expression, although the part in D flat minor
(page 7) bears evidence of a certain agitation. No. 3
(B minor), full of a tender melancholy. No. 4 ("Repos
d'Amour") (B flat) has already been mentioned. No. 5
(C sharp minor), perhaps the most difficult number of the
whole set ; in order to execute the principal technical figure
in the left hand with ease and clearness, weeks of diligent
and loyal practice have to be spent. No. 6, " Si oiseau,"
etc. (F sharp), has already been mentioned. No. 7
(d major), a most enchanting study for octaves. No. 8
(e flat minor); beautiful is the music, and the effect
decidedly grand. No. 9 (F major) ; only persons possessing
large hands can do justice to this highly elegant work.
No. 10 (E minor), a carefully finished and refined study,
requiring great facility, evenness, and clearness of execu
tion. No. 11 (e flat), one of the most beautiful studies for
the left hand ever written. In No. 12 (b flat minor), an
impassioned, fiery expression reigns throughout ; a good
amount of physical strength is needed to bring out the
figures with full effect.
{To be continued.)
After the withdrawal of Leoncavallo's I Fagliacci, of which I
spoke in some detail in a former communication, we had not
long to wait for another operatic novelty, for only a few days
later Bizet's Djamiieh was given. This little work was origin
ally produced in Paris so lar back as the year 1872, when it
quite failed to make its mark. The attempt now being made to
resuscitate this opera is doubtless due to the world-wide populirity of Bizet's Carmen. But I am afraid Djamiieh is not
destined to enjoy anything like the measure of success which
Carmen has justly obtained ; for its libretto is very poor, and the
music is insufficiently attractive to compensate for this defect.
The orchestration is certainly highly picturesque, but the
oriental colouring is rather overdone. Piquant rhythms and
original though sometimes bizarre harmonies abound in the
music, but compared with Carmen the opera struck me as well
nigh devoid ol inspiration. It leaves the hearer quite un
moved. For these reasons I think that Djamiieh will soon
return to the oblivion from which it has been momentarily
rescued. With regard to the performance, I may say that the
opera had been very carefully rehearsed, and was well put upon
the stage. Of the principals, Fraulein Paula Donges, who
sustained the lil\e-rt/e, obtained the chief success, and was
most favourably received.
The supply ol concerts has this month been very largemuch
in excess of the demand. The boy-pianist, Koszalski, gave a
fourth performance similar to those described in my previous
letter. This time he had but a small audience. Herr Moritz
Rosenthal also gave two recitals with programmes chiefly
calculated to show off his phenomenal technique. His playing
is still characterised by that want of intellectuality which is the
defect of so many players, otherwise perfectly equipped.
Another concert which deserves passing mention is that which
was given by Frau Lilli Lehmann, who put forward a vocal
programme entirely made up of works by Bungert. The lady's
voice is well preserved, and she sings in the best taste, without
a trace of staginess ; but it was a mistake to confine her pro
gramme to Liedcr by Bungert, whose compositions, though
popular in character, never rise above mediocrity.
At a concert recently given by the Liszt Society, conducted by
Capellmeister Sahla,Herr Forster played the unsatisfactory Piano
forte Concerto of Hans von Bronsart. Both pianist and conductor
we e formerly pupils at our Conservatoire. Herr Forster also
played solo pieces by Liszt, and proved himself a fair per
former o 1 his instrument.
At the latest of the Academical Concerts the following
March I, 1893.]
57
programme was presented: Symphony in D (Brahms), Pianoforte

OUR MUSIC PAGES.
Concerto (Grieg), and the Second "Peer Gynt " Suite by the
same Norwegian composer. Herr Siloti was the pianist, and With this number of the Monthly Musical Record
gave an excellent rendering of the concerto. The ' ' Peer Gynt " is presented the " Gavotta Graziosa " from Leclair's
Suite (No. 2) was warmly received. Two of the movements sonata ' Le Tombeau," originally composed for violin
are perfect of their kind, but the others (in my opinion) do not with a basso continuo, now arranged for violin and piano,
satisfy the highest artistic requirements. Some allowance must and piano solo by Gustav Jensen. The complete sonata
be made for the fact thatas usual at these concertsa military for violin and piano (noticed under Reviews) may be had
band supplied the place of a regular orchestra.
in the Augener Edition No. 7,428, net is.
And now a word or two about the Gewandhaus concerts,
which continue to maintain their high standard of excellence.
On the 23rd of January, Prince Heinrich XXIV. Reuss
conducted his Symphony in c minor.
Naturally the very
rare spectacle of a Prince conducting an orchestral work of
his own composition attracted a good deal of attention. The
symphony everywhere gives evidence of the trained musician,
and, moreover, has not a trace of amateurishness. The
chief blemishes of the work are its frequent reminiscences Catalogue of the Music in the Fitzwilliam Museum,
of the classical masters, and a want of independence in the
Cambridge. By J. A. FULLER- Maitland, M.A.,
themes. It is in three movements (the Adagio and Scherzo
F.S.A., and A. H. Mann, Mus. Doc, Oxon.
being combined), and a peculiarity of the work is that
C. J. Clay & Sons.
each movement ends piano, a peculiarity which very much
mars the effect of the symphony as a whole. A fine perform This is a work of great importance and also greit
ance of Weber's overture to Euryanthe was also given at interest, even to general readers, and the two able com
this concert. Frau Klafsky was the vocalist, and was heard to pilers, Dr. Mann, the famous Handel enthusiast, and
greater advantage in " Isoldens Liebestod " than in the Eglan Mr. Fuller-Maitland, an acknowledged authority on
tine air from Euryanthe. Herr Hugo Becker, an excellent matters connected both with ancient and modern music,
violoncellist from Frankfort, played Saint-Saens' Concerto, and deserve the highest praise for the zeal and care which
smaller solo-pieces by Boccherini and Popper.
they have shown in carrying out a task requiring not only
At the 14th Gewandhaus concert the opening work was knowledge but also great patience. To give an outline,
Dvorak's " Husistzka " Overture. It was somewhat coldly
received, despite its numerous spirited episodes. Dvorak has a however brief, of the contents of this volume will
reprehensible tendency to obtrude his nationality upon us even be absolutely impossible, and we must, therefore, be
in large symphonic works. In my opinion, this is a great content to draw attention to some of the principal
mistake. At the same concert were heard such familiar works works mentioned, and leave our readers to examine the
as Beethoven's Symphony in D, Saint-Saens Pianoforte Con rest for themselves. To peruse a catalogue does not
certo in g minor. The "Scherzo-Valse," from Moszkowski's sound very inviting, but many of the pages in this book
Boabail, was something more of a novelty, and, I may add, was are quite fascinating. The description of the contents of
favourably received. Herr Heinrich Falcke's playing of the " Queen Elizabeth's Virginal Book " is not absolutely new
concerto did not greatly impress the audience. He was more it is, in fact, a reprint of Mr. W. Barclay Squire's
successful in solos by Chopin, Faure, and himself.
article in Sir George Grove's Dictionary of Music and
At the 15th concert Volkmann's 2nd Symphony in ii flat Musicians but will be, doubtless, welcome to many. This
formed the piece de risistance, the other orchestral items being book is, indeed, one of the greatest of musical treasures.
the Andante and Minuet from Grimm's Canonical Suite
for string orchestra, and Mozart's overture to Jl h'lauto The sketches and manuscripts in the handwriting of
Handel add, naturally, to the fame of the Fitzwilliam
Magico.
The Frankfort Vocal Quartet sang three of Brahms' new Library. Handel wrote many of his works at a very
quartets with pianoforte accompaniment, and four a capella rapid rate, and it has been reasonably assumed that the
quartets by Hauptmann, Lowe, Kahn, and Goetz ; as well as nine more elaborate numbers of his scores had been previously
" Ukrainische Volkslieder" by IvanKnorr. Herr Sistermann, worked out mentally, but here in this Library we even fir.d
the bass of this Vocal Union, possesses a voice of very remarkable many preparatory studies which he actually made on paper,
range and quality. His associates, however, were nothing out sketches of melodies for his operas and oratorios, working s
of the ordinary, so I need not mention their names.
of fugue subjects for various compositions, figured basses,
On the 2nd of February was' heard a performance of etc. One is so used to think of Beethoven as the only
Handel's Solomon, in which chorus and orchestra greatly dis sketcher, that it comes almost as a surprise to find that
tinguished themselves. Of the soloists, Frau Baumann and Handel's great works were evolved in a somewhat similar
Fraulein Minor deserved the highest praise. Fraulein Mathilde manner. Some curious facts are given with regard to two
Haas and Herr Dierich, the other two soloists, were some
what out of voice, and consequently failed to quite do them of Handel's operas. Both Ottone and Imeneo have been
selves justice. To celebrate the anniversary of Mendelssohn's issued by the Handel Gesellschaft in an incomplete
birthday, which fell on the date of the 17th concert, his over state. The missing pages of the autograph score of the
ture, "The Hebrides," which had not been heard at the former are in the Fitzwilliam Library, and also numbcis
Gewandhaus for some years, was performed again, and proved of the latter, undoubtedly portions of the original score.
as charming as ever. Schubert's c major Symphony was also Great is the temptation to linger among these Handel
heard on this occasion. Fraulein Dietrich sang a once popular, treasures, but space imperatively demands that it te
but now almost obsolete, air from Semiramidi and Lieder by resisted. There are two volumes of madrigals and motets
Kriiger, Stange and Dorn. The choice of these latter composers in the handwriting of Dr. Boyce ; and a volume of Latin
did not argue a very high standard of taste on the part of the motets by various composers is remarkable in that
vocalist, but showed that she understood her audience, for sketches by Handel are to be found at the end of the
Fraulein Dietrich was greatly applauded, and in response to the
long-continued demand for an encore she sang a fourth Lied by book. There is a volume of six sonatas by Corelli,
Taubert. Between the vocal items the charming " Chaconne et marked as " possibly autograph," and one with English
Rigaudon," from Monsigny's Heine de Golconde, was beautifully Anthems in Henry Purcell's handwriting. But we must
rendered by the orchestra. Herr Professor Dr. Reinecke, refrain from further extracts. Mr. J. Henry Middleton,
who conducted, was recalled after each of the instrumental director of the Fitzwilliam Museum, ranks it as third in
importance among the chief libraries of Britain.
pieces.
&fbfeto$ of &t\D iMustc anto #rto

Gtiitiate*
THE
MONTHLY
Augjtier's Library of Pianoforte Music for Study and

Amusement. A collection of studies, classical and
drawing-room pieces, selected, revised, and fingered
by E. Pauer. Senior Grade. Book III. (Edition
No. 5,983 ; net, is.) London : Augener & Co.
The contents of this volume aretwo studies for velocity
by Weyse and Kies ; two classical pieces, minuet from
the first cello suite of Bach, and Schumann's air on the
name Abegg, with variations, Op. I ; and two recreations,
Romance Italienne, by Charles Mayer, and "Germany,"
by Moszkowski, Op. 23. They form an excellent set of
studies and pieces, indeed, one of the best that has yet
appeared in this collection, whether judged from a
technical or an artistic point of view. The work of
selecting, revising, and fingering these books has devolved
upon Professor Pauer, which is in itself a sufficient
guarantee that it has been well done.
Perles Musicales. Recueil de Morccaux de Salon pour
Piano. 13. Leclair. Gavotta graziosa. 15. LoeschHORN. Etude Melodique. 16. A. HENSELT. Noc
turne in e?. 17. Moszkowski. Caprice in G. 18.
Mendelssohn. Prelude in e minor. 20. Noskowski. Humoreske. 24. Schumann. Fragment
from " Kreisleriana." London : Augener & Co.
One need but glance at the list of pieces contained in
this collection, to convince himself that they are truly
musical pearls, mostly by favourite modern composers,
and belonging to the grade of moderate difficulty. The
set is not only a varied one as regards composers, but
also as to the character of the pieces, and will therefore
save many teachers much time and trouble in the way of
selecting music for pupils, each number being especially
suitable for their purpose.
Waltz for the Pianoforte. By Max Pauer. Op. 7,
No. 8. London : Augener & Co.
A PRKTTY, graceful wahz, not too long, and of a degree
of difficulty which makes it a very suitable piece for
amateur and scholar alike, and its being nicely fingered is
also an advantage. We are very favourably impressed
with this composition by a rising young artist.
MUSICAL
RECORD.
[March i, 1893.
Gigue is more commonplace ; its passages in sixths are

uninteresting and monotonous, and there is little besides
in it. The Elegy is after the pattern of Grieg. The
Scherzetto is good, and shows that the composer has
knowledge which enables him to write effectively.
Six Polonaises for Pianoforte, 4 hands. By SlGISMOND
Noskowski. Op. 42. (Edition No. 6,949 ; net,
2s. 6d.). London : Augener & Co.
We always look for something original in this composer's
works, and the six Polonaises under notice do not dis
appoint us in this respect. They are not all of one
style, as may be gathered from their titles, which are
"Meditation," " EspeVance," "Elegie," "Consolation,"
" Melancolie," and " Triomphale." The last-named is a
brilliant composition of considerable power, and, like the
rest, contains many striking modulations which are new
to the ear. They demand good playing to be really
effective, as they are rather difficult to execute, and un
less sympathetically rendered, will sound vague to the
listener.
Liindliche Bilder. Rustic Pictures. Eight melodious,
instructive pieces, for two Pianos, eight hands. By
Cornelius Gurlitt. Op. 190. London : Augener
& Co.
These eight short pieces are for four players, and will
afford considerable pleasure to young pianists. The first
three are easy, the remaining five are a little more
difficult. They are all true to their titles, and give us
little pictures in music representing I. The start ; II.
Arrival in the country ; III. O'er hill and dale ; IV.
Evening at the inn in the wood ; V. Country people
tilting at the ring ; VI. The chase ; VII. Under the
village lime-tree ; VIII. Return to the town. They have
the advantage of being fingered.
Menuetd la Peine, pour Piano. Par Fritz Kirchner.

Op. 432. London : Augener & Co.
An easy piece written in this composer's usual light and
tuneful style. It is fingered, and will be found a useful
recreative piece for young players who can easily stretch
an octave, and are just merging into the more difficult.
Symphonies by foseph Haydn. Arranged as Pianoforte

Duets by Max Pauer. No. 4, in d minor. (Edition
No. 8,554rfy net, is.) London : Augener & Co.
We have here an arrangement of the " Clock" Sym
phony, ranking as No. 11 of the Salomon set. It is
noticeable as containing a most beautiful example of the
minuet form which, in our opinion, cannot easily be sur
passed. Herr Max Pauer has done his work in a
thoroughly conscientious manner, which should lay
young musical students under great obligations to him.
Would it be possible, in order to make these tran
scriptions still more useful, to indicate, here and there,
the special " leads " of the string and wind instruments ?
Morceaux pour Piano. Par Anton Strelezki. No.

34. Romance sans paroles en fa majeur. 35. Polka
Noble. 36. Valse Mignonne. London : Augener
& Co.
Of lue above three pieces, the Romance sans paroles is
the least taking ; the uninteresting subject recurs too
often without any contrast, producing a monotonous
effect. The Polka Noble has a sprightly and pleasing
subject, but the same fault of want of a contrasting idea.
The Valse Mignonne is the best piece of the three ; it
contains more material, and is consequently more
satisfactory than the others. All three will doubtless
find admirers, as there is a running demand for novelties
in easy and pleasing salon music.
Overture to " A'ordisa." Opera, by Frederick Corder.

Arranged as Pianoforte Duet by the Composer.
London : Forsyth Brothers.
This romantic opera was written for the Carl Rosa Opera
Company, and produced by them at Liverpool in 1887.
It is better known in the provinces than in London,
where, we believe we are correct in stating, it has
been performed but once. Doubtless, when this opera
company can see its way to a season in London, we shall
have the opportunity of becoming acquainted with a work
which certainly deserves to be better known. The
arrangement here referred to is made by the composer
himself, and it may, therefore, be taken for granted that
we have the best possible interpretation of the original.
Gigue, Ele?y, and Scherzettofor Pianoforte. By Alger Gigue dans le genre ancien, pour Violon el Piano. Par
G. Pfeiffer. Op. 77. London : Augener & Co.
non Ashton. Op. 63. London : Forsyth Brothers.
Three short pieces which give one rather a favourable This lively piece in e major, in imitation of the old
impression, especially the Llegy and Scherzetto! The masters, is tuneful, but not very easy. It will doubtless
March L, 1893]
59
GAVOTTA GRAZIOSA
from a Violin Sonata'l.e Tombeau','
by
for Pianoforte Solo.
Sean Marie Xeclair.

Transcribed by
Gustav Jensen.
Andante poco allegretto.
PIANO.
Perles musicales N9 13
[March 1, 1893.
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For Violin and Piano.

Andante poco allegretto.
Violin
Piano.*
ALTRA
GAVOTTA GRAZIOSA.
(Augener's Edition N? 7428.)
61
62
[March I, 1803.
March I, 1893.]
THE
MONTHLY
be welcomed by violinists in search of pleasing drawingroom pieces. The arrangement is by bmile Thomas, who
has fingered and bowed the violin part.
Morceaux Favoris pour Piano a quatre mains. No. 41,
Barcarolle, par L. ScHYTTE. No. 42, Danse Hongroise (No. 2 in D), par F. Kirchner. No. 43,
Christmas Piece, in F,by MENDELSSOHN. London :
Augener & Co.
These are useful additions to the list of Pianoforte duet
literature, and are just the things for young people, for
there is nothing on either side which they cannot com
pass with a little patience, and they contain matter
sufficiently interesting for their elders to join them. We
can commend the Barcarolle as an example of the com
poser's polished style, and Kirchner's Hungarian Dance
is very good ; it has only to be known in this form to
become popular. We are a little disappointed with the
arrangement of Mendelssohn's Christmas Piece ; it setms
to lose much of its lightness in its new dress, but it will
have served its object if it encourages the young amateur
to learn it in its original form.
Vorlragsstudien. Eine Sammlung hervorragender und
beliebter Tonstiicke alter Meister fitr Violine mil
Begleitung des Pianoforte bearbeitet. VON Gustav
Jensen. No. 12. Air Varid par P. Rode. Op.- 10.
Rode's Air with variations, originally composed for violin
solo with 2nd violin, tenor, and 'cello accompaniment, is
so well known that we need only call attention to this
particular edition. It forms No. 12 of a collection of
celebrated compositions by the old masters for violin,
with the pianoforte part newly arranged, by Gustav
Jensen, and the violin part carefully bowed, fingered,
etc. ; this has been done most conscientiously and with
due reverence for the old masterpieces.
Classische Violin Musik bcruhmter Meister des 1 7ten und
1 %ten Jahrhundtrts, nach den Originalwerken bear
beitet und mil Vortragszeichen versehen. Von
Gustav Jensen. Sonata " Le Tombeau," by Jean
Marie Leclair. (Edition No. 7,4281 net, is.)
This is a remarkably brilliant sonata for violin, and is a
beautiful work as well. It consists of three movements,
all of which display the hand of the violin virtuoso. It
offers excellent material for the study of double-stopping,
arpeggi, trills, etc. The gavotta graziosa (see this
month's Music Pages) is the middle movement of the
sonata.
Practical School for the Violin. By E. W. RlTTER.
Book IX. Scales in two octaves, exercises and
duets in the first position. (Edition No. 7,610//
net, is.) London : Augener & Co.
The second book of the last part of this school for the
violin contains eleven duets lor two violins, by J. von
Blumenthal ; several useful studies by the author, in
cluding one on the " springing bowing," and one for the
"retention of the bow," the latter very cleverly illustrating
its purpose ; and the continuation of the scales and
finger exercises. We can confidently re-state what we
have said before, that this school offers the material for a
thorough grounding in the first position. If one takes
into consideration the interesting and practical character
of its contents, and its convenient division into shilling
books, we feel assured that it must certainly command
the attention and the approval of the teachers of this
instrument.
MUSICAL
RECORD.
63
Violin duets. By I. J. Pleyel. Op. 44. Newly revised,

fingered, and arranged by Fr. Hermann. (Edition
The duets of this writer are intimately known alike to
professional and amateur ; in fact, to the violinist, the
name of Pleyel is a "household word." His duets are
the most popular of anything written for that combina
tion ; they abound in melody, are cleverly written, and
are very easy. The present edition is edited by Fr.
Hermann, who has also fingered, bowed, and lettered the
parts, making it a highly desirable edition for pupils. We
observe that this Opus 44 is also published as trios and
quartets, the instruments being differently combined, as
for example, piano, violin and viola ; piano, two violins
and 'cello, etc.
A Message to Phyllis. Song. Words by Thomas
Heywood. Music by F. J. Simpson (Opus 6).
London ; Augener & Co.
There is something fresh and original about this song,
which must surely recommend it favourably to those who
arc seeking for something outside the well-worn ballad
tract. It is written for a soprano voice, and although
there is not much clearly defined melody in it, still, with
its graceful accompaniment, it can hardly fail to please,
as it is distinctly original, without being peculiar.
Five Songs with English and German words. By Emil
Kreuz. Opus 23. (Edition No. 8,879 ; net> Is)
We are dealing this month with several vocal works,
where freshness of idea and novelty of expression are
leading characteristics, and in none are these charac
teristics more prominent than in these songs. They are
written for a mezzo-soprano voice, and are headed re
spectively " Twilight Memories," " Dolly's Bed-time."
"My White Lily," "Mother Nods," and "Good Night."
The original German words (which are also given) have
been deftly done into English by Mr. C. H. Laubach,
and they are wedded to charming music, which will
certainly do nothing to lessen Herr Kreuz's reputation
here. "Twilight Memories" alone is more than worth
the modest sum for which the entire collection can be
purchased.
To Spring.
Chorus. Words by William Blake.
Music by William Rea, Mus. Doc.
London :
Charles Woolhouse.
The appearance of this setting of William Blake's words
is curiously coincident with an article in the current
number of the Musical Times, drawing attention to this
much-neglected poet's excellent work, and quoting Mr.
Swinburne's laudatory remarks upon his style. Dr. Rea
has given us a well- written chorus for soprano, alto,
tenor, and bass, with a free orchestral accompaniment,
here, however, adapted to the pianoforte. For full vocal
execution, the three upper voices must be doubled, and
then some good effects are obtainable. The composer
has kept each part within reasonable range, and has pro
duced some taking and original music, well in accord
with the old-world flavour of the poetry.
Epithalamion. (Marriage Ode.) Words selected from
Edmund Spencer's "Epithalamion," and set to
music for tenor solo, chorus, and orchestra, by H.
Heale. (Vocal Score. Edition No. 9,093; net,
3s.) London : Augener & Co.
The composer emerges with credit from the task of doing
justice, musically, to a difficult subject, and has produced
a work worthy of reputation. It begins with a short
prelude, the opening bars of which do more than suggeit
64
THE
MONTHLY
the swan Motif in Lohengrin. This leads to a tenor solo,

"Ye learned sisters," wherein much is made of a new
phrase or motif, descriptive of love, and which is heard
again and again. A chorus, "Ye Nymphs of Mulla,"
follows, and this is succeeded by a dainty orchestral
interlude, most quaintly constructed.
Next follow a
tenor solo, " Wake, now, my love," and chorus, " The
merry lark her matins sings," followed again by another
tenor solo, " Now is my love," and two choruses,
" Haik, how the minstrels," and " Lo ! where she
comes." A short solo, " Open the temple gate," is then
succeeded by three stirring choruses, which bring this
interesting work to a close. The solos are all more or
less in the modern style of recitative, and the accom
paniments throughout show how well the composer has
resisted any temptation to over-elaborate the worka
rock upon which so many modern writers injure them
selves. The choruses on the whole are not easy, and
each part is occasionally doubled, but choral societies
who take this work up will find plenty of enjoyable work
which they will not regret having made themselves ac
quainted with.
Operas anfc Concerts*

The Opera House being devoted to fancy dress balls, music has
for a time to lake a secondary place ; but Sir Augustus Harris,
with his customary readiness, has adopted a new system. He
has given opera recitals on the orchestra in the centre of the
theatre, and, considering the disadvantages of performing an
opera without scenery, the result may be pronounced successful.
Indeed, when we witnessed Gounod's Faust performed in this
manner, a large audience received it quite enthusiastically and
encored several of the melodies. Nobody imagines that such an
arrangement could be carried on permanently. Wagner's
theory with regard to the lyric drama, that it should be a
combination of the arts, is unquestionably the correct one. But
if an operatic company give performances of this kind, say in
provincial concerts, many good works, which depend more upon
the music than the libretto, might be popularised, and possibly
the curiosity of the musical public might be stimulated, so that
it might lead to a desire to witness the operas in a more com
plete form. At any rate, none will condemn Sir Augustus
Harris for a plan which enables operas to be given where they
would not otherwise be heard.
LYCEUM THEATRE.
Remarking last month upon the gain to music from the new
plan adopted by managers of commissioning composers to write
special incidental music, it was a pleasure to find that Professor
Villiers Stanford had written music of considerable importance
for the late Lord Tennyson's Beckel, produced by Mr. Henry
Irving in magnificent style on Feb. 6th. Professor Stanford
has taken great pains to make the music appropriate, and has
even introduced a plain song said to have been given in the
cathedral on the actual day of Becket's murder. Whether it
was so or not there is sufficient proof, it is said, that the music
was actually in use at the period named. The complete effect
of the music is not, however, heard in the cathedral, as the
excitement of the terrified monks, who anticipate the murder of
the archbishop, prevents much attention being paid to the
vespers. It is, however, in the scene of the meeting between
the French and English kings that the vocal music is made
prominent, the monks singing as the procession takes place
introducing Becket. There is an overture with many important
passages, but the bustle of the first night, with an enormous
audience finding places, prevented due attention being paid to
Dr. Stanford's introductory movement. Later on its value
will better be appreciated. The entr'actes and the music in
Rosamund's Bower were pronounced charming, and greatly
enhanced the effect of the scenes in which they were introduced.
MUSICAL
RECORD.
[March I, 1893.
The little song of Rosamund's attendant, Margery, was given

by Miss Kate Phillips effectively. The music intended to fore
shadow the fate of .the archbishop was less suggestive than
might have been expected. But we shall be better able to
judge ol the music when it is heard in the concert-room, for the
remarkable success of Ihcket has caused playgoers to devote
their whole attention to the acting, the spectacular effects, and
the splendid lines of the poet. Professor Stanford also wrote,
we understand, more music than could actually be performed on
the opening night. Naturally the composition could not be of a
sensational or melodramatic kind ; the composer has aimed
rather at a dignified and serene style of music, as being more in
accordance with the story than any imitation of Wagner would
have been. Elsewhere, we have to notice, the example is being
followed. Clever Miss Dora Bright wrote incidental music,
admirable of its kind, for a new play, Uncle Silas, produced at
the Shaftesbury Theatre on February the 13th.
SARASATE CONCERTS.
The brilliant Spanish violinist gave the last of his concerts for
the present at St. James's Hall, on Friday, Feb. 10th. The
programme was an interesting one, displaying the powers of the
violinist to the greatest advantage. The sonata of Raff in E, for
pianoforte and violin, was one of the successful items, and
Contributions from M. Saint-Saens were also heard with great
pleasure. Four solos composed by SeBor Sarasate were
included, and were played with remarkable brilliancy. Madame
Berthe Marx played Chopin's Polonaise Fantasia, Op. 61, with
splendid command of the keyboard, and with due appreciation
of the spirit of the composer. Further concerts will be given in
June.
"THE GOLDEN LEGEND."
Sir Arthur Sullivan's Golden Legend, one of the most
popular cantatas ever written, is to be performed at the Crystal
Palace on Midsummer Day in quite a Handelian style. Madame
Albani will sing the soprano music, Miss Marian Mackenzie will
be heard in that for the contralto, Mr. Ben Davies will under
take the tenor music, and Mr. Henschel will represent Lucifer.
The magnificent choir and the Crystal Palace orchestra, con
ducted by Mr. Manns, will take part, and Sir Arthur Sullivan's
charming music will have full justice done to it ; while the
music-loving public will be sure to assemble in great numbers
to hear the Cantata, which will also be performed by the
members of the Guildhall School at St. James's Hall, on March
22nd, Sir Joseph Barnby being evidently desirous that the
reputation of this vast establishment shall not be wholly con
fined to the city. It is making great advances, the only fault
we can find being that Sir Joseph does not check the vaulting
ambition of the students who both in singing and playing are
apt to choose music beyond their powers. Ambition is an
admirable quality, but it should be tempered with judgment.
By the way, we may ask what has become of the male voice
choir at the Guildhall School ?
POPULAR CONCERTS.
On Monday, February 6th, there was a novelty which proved
very interesting. It was Dvorak's string Quartet in E major,
Op. 61, which was played for the first time at these concerts.
The work was composed about the period of the Stabat Mater,
and is very elaborate considered as a chamber composition.
The plan of some composers in giving a particular instrument
prominence, generally the first violin, has not been followed by
the Bohemian composer in this instance, as all the four instru
ments have about equal work to do. In judging of the com
position we should be inclined to think best of the last two
movements as being the most striking and effective. Lady
Halle, as first violin, played as a solo a Romanza composed by
Signor Piatti, who does not often write save for his own instru
ment. He has in this instance produced a piece for the violin
which was heard with pleasure, and was beautifully played by
Lady Halle. It was encored and Signor Piatti was called to
the platform at the conclusion. Mile. Eibenschutz was the
solo pianist, and played Mendelssohn's Capriccio in E minor.
Op. 16, and one of the same composer's "Songs without
words." In response to an encore the lady played a Scherzo of
March i, 1893]
THE
MONTHLY
Ignaz Briill, and joined Lady Halle' and Signor Piatti in

Beethoven's trio in E flat, Op. 70. M. Eugene Oudin was the
vocalist and was very successful in songs of Franz and Grieg.
On Saturday afternoon, nth, Dvorak's pianoforte Quintet in
A major was repeated, with Lady Halll, and Messrs. Borwick,
Straus, Ries, and Piatti as the' executants. When Mr. Borwick's
solo came, the breaking of one of the pianoforte strings caused
some delay, but when repaired the pianist gave a brilliant ren
dering of Beethoven's thirty-two variations, and was twice
recalled. Applause still continuing, Mr. Borwick played the
arrangement by Brahms of Gluck's Gavotte in A major. Miss
Louise Phillips sang charmingly. The concert ot Monday,
February 13th, was rendered specially interesting by the re
appearance of Dr. Joachim. This brilliant violinist still retains
his popularity, and, what is of more consequence to the lover of
music, his splendid command of the violin. It was a delight
for the frequenters of the Popular Concerts once more to hear
his magnificent tone, so free from affectation and trickery, pure,
rich, and sympathetic, and his solid and masterly execution.
This was particularly remarked in the music of Beethoven,
which has never been given with finer effect than by Dr.
Joachim. The Quartet in c major, No. 3 of the Rasumowski
set, was a treat for the audience, as was Haydn's Quartet in
B minor. Op. 64, No. 6. Besides the first violin part in these
works Dr. Joachim played the Adagio from Spohr's Eleventh
Concerto and a Capriccio by Niels Gade. This was not an
important piece, but served as a novelty. It has been asked
why Dr. Joachim does not play something by Molique occa
sionally. He has written charming pieces for the violin which
are now seldom heard. Dr. Joachim excited so much enthu
siasm that in order to content his hearers he was obliged to give
them an example of Bach as an encore. Miss Agnes Zimmermann was heard in Schumann's Etudes Symphoniques, which
she played splendidly. Miss Lisa Lehmann was the vocalist
and sang a song of Bianchi, who was the teacher of Sir Henry
Bishop. It was not very attractive. Miss Lehmann also gave
the old French romance " Charmante Marguerite," and being
encored she sang " Perles d'Or," by M. Thome. The advent ot
Dr. Joachim also has a stimulating effect on the Popular Con
certs, and happily the influence is as beneficial as attractive.
When the great violinist returns we are always sure of good
music, and all his associates exert themselves to the utmost to
be worthy of their artistic companion, whose aims are always
high, and whose taste in music is unimpeachable. He never
sacrifices the dignity of his art.
MUSICAL
RECORD.
65
the vocalists, with Sir Joseph Barnby as conductor. The merits

and, perhaps we may add, the demerits of The Redemption have
often been discussed, but it retains its popularity at the Albert
Hall and attracted a large audience, the efforts of the
principals and the fine singing of the choralists giving unusual
interest to the performance.
SYMPHONY CONCERTS.
It was a happy idea of Mr. Henschel to make the concert of
Thursday, February 16th, representative of Wagner, in memory
of the anniversary of the composer's death. The selection
was made with great taste. Among the items was the magnifi
cent processional music of the gods as they enter Walhalla.
This selection from the Rheingold was most acceptable, as it
is seldom heard. The lovely Quintet from the Meistersinger
was included in the scheme, as was the exquisite Siegfried Idyll
and the Prelude and Isolde's Liebestod from Tristan und Isolde.
Beethoven's " Eroica " Symphony was also given. Altogether
a remarkable concert.
The Saturday Concerts were resumed on Saturday the 18th,
when a splendid orchestral selection was given by the Crystal
Palace orchestra, and Mr. Manns received an enthusiastic
welcome from the audience. Madame Marie Duma was the
vocalist, and the youthful pianist Otto Hegner played solos.
A very fine performance was given of Beethoven's c minor
Symphony. Bennett's overture, The A'aiatis, was also beauti
fully played, and a suite by Nicode, of the Dresden Conservatoire,
which pleased greatly. Otto Hegner in the Concerto of
Beethoven in G major, No. 4. was successful, but less so in
Chopin's Ballade in G minor. Madame Duma pleased in
Elizabeth's song from Tannhduser.
MISCELLANEOUS MUSICAL NEWS.
It will be a satisfaction to the large circle of Mr. Cowen's
admirers to know that if he was disappointed at Genoa he will
find consolation elsewhere. Arrangements have been made for
the speedy production of his opera. The 13th was the anni
versary of the death of Richard Wagner, and was celebrated in
many places. Mr. Henschel at the Symphony Concerts gave a
selection from the composer's works, which we have referred to.
A number of Sacred Concerts are announced for Easter, and on
Ash Wednesday the London Ballad Concerts gave a concert of
sacred music. Some important changes have been made in the
comic opera La Rosiire at the Shaftesbury Theatre, and being
condensed it is now performed in two acts instead of three, and
with good remits. Otto Hegner and his sister, Anna Hegner,
gave a pianoforte and violin recital at Steinway Hall on
Thursday, February 16th. The opera Samson et Dalila, by M.
Saint-Saens, a work of unquestionable beauty and musical skill,
has been kept from the English stage owing to its biblical
subject. It will, however, be heard in the concert-room in the
course of the coming season. We have had no Promenade
Concerts this year ; but real lovers of music will not deeply
grieve if that form of musical entertainment should become less
popular. On February 15th, at the Court Theatre, Liverpool,
the late Goring Thomas's opera, The Golden Web, was produced
with complete success. The music is of the school of Auber,
and the story turns on the " Fleet Marriages " of the past. It
will shortly be performed at the Lyric Theatre.
"THE NEW MOON."

Such is the title of an " operatic fancy," written by Mr. R.
Andre' and composed by Mr. Isidore de Solla. It was performed
in the ball-room of the Savoy Hotel on February 6th, and was
favourably received, although it was clear that a piece intended
eventually for the stage was heard under considerable disadvan
tages. The "fancy" is that under certain conditions of the
moon mortals may have the privilege of being allowed to become
just what they would wish to be at the moment, and, as there
are few who are contented with their present lot, the result is
that when the " spell " begins to work everybody from the court
downwards desires to be something different from what nature
intended them to be. The King wishes for a rustic life, a rustic
bumpkin desires to be king, and on becoming the occupant of
the throne speedily causes a revolution. The Queen is fascinated
by cookery, but spoils all the dishej she prepares, and so on.
The humour of the subject is enlivened with music which has
the merit of fluent melody. There are gay choruses, comic
iHuairal potest.
songs, and graceful love duets, for of course a love story is
blended with the plot. In the end the various personages are
The
performances
of M. Jean de Reszke at the Grand
very glad to resume their own characters. I f we cannot speak
of Sir. de Solla's music as very original, we have little doubt as Ope'ra dwindled to a very small number, and the tenor
to the popularity of The New Moon when seen upon the stage. went off to Monte Carlo on a very strange errandto
create the part of Faust in a stage performance of
Berlioz's work, arranged by a M. Raoul Gunzbourg. This
Gounod's Redemption was the work chosen for performance by was to be produced towards the end of February. The
this Society at the Albert Hall on Wednesday, February 15th. opera, thus deprived of its star tenor, has lived (so to
Miss Esther Palliser, Miss Brema, Miss Margaret Hoare, and speak) on Samson et Dalila, Salammbd, Le Cid, and
Messrs. Iver McKay, Watkin Mills, and Norman Salmond were Lohengrin. The works in preparation are Deidamie, by
66
THE
MONTHLY
M. Henri Mare"chal (hitherto best known in connection

with comic opera), and the ballet, Maladetta, by M.
Gailhard, the music of which is by Paul Vidal. These
works may be expected very shortly, and then will begin
in real earnest the preparations for the French version of
Die Walkiire, the production of which is to be the great
feature of the season of 1893. The parts of Siegmund,
Wotan, Hunding. Sieglinde, Brunnhilde, and Fricka are
allotted to Van Dyck, Delmas (?) Fournets, and Mmes.
Rose Caron, BreVal and Deschamps. As M. Van Dyck
cannot come to Paris till April, M. Sale"za will take the
part of Siegmund during the rehearsals. It is said that
Mme. Wagner has promised to come to superintend the
final rehearsals, and it is hoped to produce the piece by
the middle of April.
At the Ope'ra Comique the success of Massenet's
Werther turns out to be greater than at first seemed
likely, and already the opera has found its way to quite a
large number of the provincial theatres of France and
Belgium. Although coldly received at Brussels, its
reception at Geneva, Amiens, Toulon, Toulouse, and
Antwerp has been enthusiastic, and further success
probably awaits it at Nice and Lyons.
Lille has distinguished itself by being the first town
in France to produce Wagner's Flying Dutchman. The
tnise en scene was rather unsatisfactory, but in other
respects the performance was good, and the work was
well received.
The new Theatre- Lyrique (formerly the Renaissance),
under the management of M. Ldonce Detroyat, was in
augurated on January 30th by the production of Madame
Chrysantheme, com/die lyrique, in four acts ; libretto by
Georges Hartmann and Andre* Alexandre, founded on
the story of the same name by Pierre Loti ; music by
M. Andre Messager, whose score does not appear to be
thought quite up to the level of that which he wrote for
La Basoche. The chief roles were played by M. Delaquerriere and Mile. Jane Guy, who made a tolerably
successful debut. A few days later Offenbach's Conies
a" Hoffmann was produced, with a cast including MM.
Montariol, Mauzin and Caisso, and Mile. Vuillaume.
The Theatre des Bouffes-Parisiens has revived L'Enfant Prodigue, with the admirable music of M. Andre*
Wormser ; and produced Le Cadeau de Noces, an ope>acomique in four acts ; the music, by M. Paul Lacome, is
very well spoken of. At the Gaite\ a piece called Le
Talisman has been furnished with music by M.
Planquelte.
At the concert of February 5th, M. Lamoureux intro
duced Brahms' Third Symphony in F, to a Parisian audi
ence, but it would seem, from the notice in the Me"nestrel,
that the compiler of the programme took on himself to
furnish a sort of psychological explanation of the work,
as he understood it. In spite of this impertinence, it
seems to have made a rather favourable impression. The
critic of the Menestrel calls it " very vigorous, of high
artistic interest, very gloomy, and very affecting."
Schumann's ''Scenes from Faust" were performed in
their entirety for the first time in Paris on February 2nd,
by an amateur choral society, called L'Euterpe, but ap
parently with only a piano-duet accompaniment. This is
but poor justice to Schumann.
The Royal Opera House at Berlin has improved on
Bayreuth. The space for the orchestral players has been
furnished with a Moor which can be raised or depressed,
so that it can be sunk for Wagner's works if desired, and
brought up within view of the audience for operas of
another type. A new drop-curtain has also been pro
vided. Of musical news, the most important item is
that the management has concluded an arrangement
MUSICAL
RECORD.
[March I, 1893.
for the purchase of the performing rights of all the

operas that may be produced within ten years by the
Danish composer, August Enna, whose opera, Die Hex*,
was produced last month. Under this arrangement
Enna's new four-act opera, Cleopatra, will be produced in
Berlin as soon as it is completed. It seems also to be
contemplated to produce an opera, Spartacus, by an
Italian composer, Pietro Platania, some of whose
church music has been sung at the Dom, and admired.
The rehearsals of / Rantzau have begun at the
Berlin Opera, and the production was expected to take
place at the end of February.
At Kroll's Theatre, the Italian company has been
replaced by a French one, who began their season on the
5 th ult. by producing Gounod's Mireille,a. work unknown
in Berlin, which has not exactly won the favour of the
critics. The chief members of the company are those
who lately took part in the production of Philemon et
Baucis, Mile. Marcolini, MM. Engel, Mayan, and
Miranda, with Sig. Carboni as chef d'orchestre.
Concerts in Berlin are as plentiful just now as roses
in June. Among the givers we may mention Eugen
d'Albert, whose recitals excite the utmost interest and
admiration, Mme. Materna, Mile. Kleeberg, Herr Waldemar Meyer, Frl. Frida Scotta, an excellent young Danish
violinist, Siga. Bianca Panteo, a young Italian violinist of
great promise, Mile Jettka Finkenstein, a Lieder-singer of
much merit. Besides these, there are the Philharmonic
Concerts, conducted by Herr Richter (in the absence of
Von Biilow), at one of which young Gerardy played with
the usual effect ; the Symphony Concerts, under Herr
Weingartner, who introduced as a novelty a symphony in
B minor, by Borodin, the Russian composer ; and the
quartet-soirees of Joachim's party, and the Rose quartet
from Vienna.
Herr Richard Strauss, second Capellmeister at
Weimar, has taken a trip to Egypt for the benefit of his
health, not, however, neglecting to work at his opera,
Guntram, at the same time. In his absence, Dr. Lassen
is hard at work with the opera, and has already produced
in the course of this winter Alceste (Gluck), Werther
(Massenet), Die Hexe (Enna), and the Walkiire, with a
new cast, etc. Further, a new opera by Richard Metzdorff, entitled Hagbarth und Signe, has been accepted.
THE Lower Rhenish Musical Festival for this year is
fixed to take place at Diisseldorf, from May 21st to the
23rd. Herr Jahn, of Vienna, to whom the conductorship
was offered, has had to decline it, and the post is not yet
filled up. The annual meeting of the Allgemeiner
Deutscher Musikverein will take place at Munich about
a week later.
Berlioz's Troyens was produced at Munich on
January 29th, under Herr Levi, with great success, Frl.
Ternina and Herr Vogl being the Dido and /Eneas.
The negotiations with Frl. Marianne Brandt with
reference to the new Bayreuth training-school having
been unsuccessful, the superintendence of the dramatic
teaching has now been entrusted to Herr Eisner, an
actor from Mannheim. The number of pupils has been
diminished by the preparatory tests, and there are now
only seven female and five male pupils. The first trialperformance (which was quite private) consisted of some
scenes from Lessing's play, Minna von Barnhelm, with
interludes by the band of the 7th Infantry Regiment, con
ducted by Siegfried Wagner. Surely an odd beginning
for the training of a Wagner singer !
There being no performances at Bayreuth this year,
Munich proposes to seize the opportunity to have a grand
Wagner festival on its own account. All Wagner's works
(except Parsifal) are to be given between August 13 and
March i, 1893.]
THE
MONTHLY
September 30 ; and it is said that invitations to perform

have been sent to Mmes. Sucher, Malten, Meilhac,
Materna, Staudigl, Moran-Olden, and Herzog ; and to
Messrs. Winkelmann, Van Dyck, Grengg, Reichmann,
Gruning, Anthes, Scheidemantel, Wiegand, etc. Bayreuth
itself has never been able to boast such a constellation
of Wagnerite stars as will be seen at Munich if all these
artists appear.
Signor Leoncavallo's star is still in the ascendant.
His I Pagliacci, or Der Bajazzo (to give it its German
title), was produced at Dresden on January 22nd with
immense success (Frau Schuch ; Herren Anthes and
Perron in the chief parts) and the same good fortune has
attended it at Warsaw and Moscow.
Herr Slaviansky's Russian choir, on its way to
begin a tour through the Slavonic countries of south-east
Europe, has given two concerts in Vienna. The choir is
not now conducted by Herr Slaviansky, but by his
daughter Nadine, and other changes have been made
which, it is to be hoped, have not been detrimental to the
effect.
There are favourable reports of Herr Von Biilow, but
it will probably be some time before he can be restored
to public life. Meanwhile his duties at Berlin are being
discharged by Herr Richter, and at Hamburg by Herr
Erdmannsdorffer.
The Allg. Musik-Zeitung publishes the following
interesting and characteristic letter addressed by Wagner
to the lately-deceased Rudolf Freny, the bass-buffo of the
Hamburg theatre, who had consulted him as to the
proper manner of playing the rSk of Beckmesser in Die
Meistersinger :
"You are quite right about Beckmesser : only do not exaggerate
the coxcombry ; that should be quite natural ; and he should not
be too old many men are already old at forty. Throughout, be
thoroughly earnest ; the man never plays the fool save when
he is in a fit of delight. Great stubbornness and much nasty
temper : take some ill-tempered critic for your model. Boundless
passion without the strength to give vent to it, an unnatural tone of
voice, when he falls into a temper : the highest notes of all should
be of course only violent or ridiculous speaking-tones, not song at
all. I beg you to pay great attention to every direction in the
score, and to exact utterance along with the orchestra throughout
your performance."
Nothing could better show how vividly Wagner conceived

his characters. To him Beckmesser was as real and as
individual a person as Bismarck.
Peter Hertel, the composer and conductor of ballet
music at the Berlin Opera, has retired from his office at
the age of seventy-six, after forty years' service.
The long-expected Falstaff oi Signor Verdi was pro
duced at the theatre of La Scala, Milan, on February 9th,
in presence of such an audience as has never been
collected in an Opera House, except perhaps at Bayreuth
in 1876. Nearly every country of the civilised world had
representatives, and among all who were present there is
but one opinionthat the work is a masterpiece, the pro
duction of which by a composer in his eightieth year, enter
ing this field of art for the first time in his life, is little
short of marvellous. The style resembles that of Otello,
adapted to comic opera, but its gaiety of spirit and almost
boisterous fun would make it a rival to // Barbiere. The
performance, conducted in masterly fashion by Signor
Mascheroni, was excellent, particularly as regards the
orchestra ; the soloists, though all very good, in no case
displayed any wonderful ability. M. Maurel as Falstaff
did not seem altogether at his ease, and the Merry Wives,
Mmes. Zilli and Guerrini, suffered from such a persistent
tremolo as greatly marred the effect of their singing.
Signor Pini-Corsi (Mr. Ford), Signor Garbin (Fenton),
MUSICAL
RECORD.
6;
Mile. Stehle (Nanetta, or Anne Page), and Mme. Pasqua

(Mrs. Quickly), appear to have been the most successful
soloists. Among the most striking parts are the finale to
Act II. (the scene of the buck-basket), which is said to
be a most elaborate mixture of brilliant humour and con
summate art, a charming duettino for Anne and Fenton
(Act I.), a quartet (unaccompanied) for the four women,
the music of the Windsor Forest scene, and the fugue
which brings the work to a close. The enthusiasm at
the termination of the performance, and the recalls of
the composer and his excellent librettist, Boito, must be
left to the imagination. The King of Italy sent his con
gratulations, and regrets that he was not able to be
present.
The publisher Sonzogno has accepted Mr. Cowen's
Signa for performance at one of the theatres under his
control, and it will perhaps be given in Florence some
time in April.
A new opera, Manon Lescaut, was produced at the
Teatro Regio, Turin, on February 1st, and received with
very great favour. The composer is Giacomo Puccini,
already known as the author of some operas of much
merit.
Saint-Saens' opera, Samson et Dalila, was brought
out at Milan, at the Teatro Dal Verne, on January 27th,
and was so much liked that several pieces were
encored.
Mme. Patti gave three performances of La Traviata
at Milan in January, and then went to Nice to fulfil a
short engagement. Mme. Sembrich has been delighting
the frequenters of Monte Carlo.
The Sgambati Quintet party, the most excellent per
formers of chamber-music that Italy boasts, have re
ceived permission to assume the title of " The CourtQuintet of H.M. the Queen of Italy"the first time such
an honour has ever been conferred.
The programme of the musical performances to be
given at the Chicago Exposition is varied and compre
hensive. The regular musical features will include
orchestral concerts at least twice a week, organ recitals
and (probably) chamber-music. But there will also be a
host of exceptional performances by the various orchestras
and choirs of numerous towns in the States, too nu
merous for mention here. Suffice it that there will be
ten or eleven such performances in June and also in
July, with programmes including selections from the
oratorios of Handel, Mendelssohn, and Rubinstein, and
works by Brahms, Berlioz, Wagner, etc. Mr. Edward
Lloyd will sing on several occasions in June and July,
and it is further stated that in September "Dr. Mackenzie
and M. Saint-Saens will conduct several programmes of
their own choral and instrumental works, in both Festival
Hall and Music Hall." We are struck by the absence of
any mention of native music in the prospectus. It can
not surely be that native composers are not thought to
have produced anything worthy of performance on such
an occasion. Nor is there any mention of dramatic per
formances of any sort. The chief officials are Theodore
Thomas, musical director ; W. L. Tomlins, choral
director ; and G. H. Wilson, secretary, who form the
Bureau of Music.
The burnt-out Metropolitan Opera House of New
York was to be sold by auction on February 14th ; but
the capital is not left without opera altogether, Mr.
Hammerstein having collected a company which is
giving performances in English at the Manhattan
Theatre. Moszkowski's Boabdil-m.% the first work given,
and was followed by Carmen. Among the artists are
Mmes. Januchowsky, Dorri, and Miss Annie Albu ;
68
THE
MONTHLY
MUSICAL RECORD.
[March I, 1893.
Messrs. Payne Clark, Durward Lely, and Conrad

"THE MONTHLY MUSICAL RECORD."
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per Annum {Free by Post), 3J. 6d.,
M. Paderewski is travelling through the States, SUBSCRIPTION
exciting an even greater sensation than on his former
The Number of the "Monthly Musical Record"
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A young Italian pianist, Eugenia Castellano, is & Company's, the Printers, Belle Sauvagt Yard, Ludgate Hill.
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The Handel and Haydn Society began the season
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IN. BY 3
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090
Cherubini's Mass in d minor, Handel's Samson, Bach's
Matthew-Passion, and a new work, Phoenix hxpirans, by
a native composer, Mr. G. W. Chadwick, will be per
there is room, or if the character of the advertisement admits of us publica
formed.
tion in the MonthlyMusical Record. When Testimonials are mentioned
Mr. Arthur Goring Thomas's posthumous opera, in advertisements, the originals must be produced before such adver
The Golden Web, was produced by the Royal Carl Rosa tisements can be inserted in the Monthly Musical Record.
Opera Company at Liverpool on February 1 5th with every The Advertising Department only is under the control of the Publishers.
All other matters referring to the Monthly Musical Record (especially
mark of success. Originally the libretto was the work of Concerts,
Reviews, &c.) must be addressed to the Editor.
Mr. F. Corder, but in its present form the dialogue part
The Musical Record being a Monthly Paper has spaê to notice only
is due to Mr. B. C. Stephenson (the librettist of Cellier's established Standard Concerts (such as the Monday and Saturday Popular,
Dorothy), and the lyrics only to Mr. Corder. Some of The Philharmonic, &c), and it is requested that tickets for other Concerts
the instrumentation, left unfinished at the composer's may not be sent.
death, has been completed by Mr. S. P. Waddington,
Mendelssohn scholar. The chief parts were played by
Miss Alice Esty, Mme. Amadi, Messrs. Edwin Wareham,
Aynsley Cook, and L. Pringle, with Mr. Claude Jacquinot
S. NOSKOWSKIS
at the conductor's desk.
2STE-W
PIANOFORTE
WORKS
We are pleased to hear that the Royal Academy of
Music is making such progress under the present active
IN AUGENEtTS EDITION.
management that it has been found necessary to make
FOR PIANOFORTE SOLO.
several additions to the teaching staff, and to extend the
arrangements for some of the ensemble classes. Mr. 8272 DEUX DANSES POLONAISES (Cracovienne metancolique x. d.
George Riseley, the distinguished Bristol organist, has
et Mazonrka). Op. 23bis
net 1
been appointed professor of the organ, and a new French
IMAGES. 6 Morceaux caracteristiques. Op. 37 :
class has been established. An additional orchestral 8373a Cah. I. (A l'improviste, Picador, Monologue)
...
net x
net 1
class has also been formed to include the many string 8373d Cah. II. (Cracovienne, Idylle, Zingaresca)
players for whom room cannot be found in the usual 8374 " IMPRESSIONS." 4 Pieces caracteristiques. Op. 39. (En
Automne, Espiegle, Dumka, Cracovienne gracieuse)
net 3
classes ; this will be under Mr. Frye Parker and will
begin practice at the half-term. Arrangements have also 6373 CHANSONS ET DANSES CRACOVIENNES. Op. 31. net >
been made to receive a limited number of wind-instrument 6276 TR01S PIECES. Op. 35. (Conte d'hiver, Duma et Valse
dolente)
net 3
players for a modified course of instruction at a reduced
fee. But the Academy still suffers from one defect, 6377 MOMENTS MELODIQUES. 4 Pieces caracteristiques.
Op. 36. (Les Lannes, Gondoliera, Chanson melancolique.
beyond its own power to remedywant of room for its
Serenade du Prinlemps)
net a
operations. Public or private generosity might well
6278 PETITS RAYONS. 4 Morceaux. Op. 39. (Reverie, Chamcome forward to supply this want.
petre, Polonaise melancolique, Cantilene)
net 1 6
The Crystal Palace Choir have sent a message of
sympathy to Mr. August Manns on his late bereavement, 6379 DIVERSITIES. 3 Pieces caracteristiques. Op. 41 ... net t
by the sad death of his wife during his absence in
FOR PIANOFORTE DUET.
Glasgow.
6947a,*
MELODIES
RUTHENIENNES.
8 Morceaux carac
Deaths.On January 22nd, at Carlsruhe, Vincenz
teristiques d'apres des Chansons et Danses nationales des
Lachner, the youngest of the three brothers who made
provinces Galicie et Ukraine. Op. 33. 3 Books, each net a
the name famous in the musical world.. Born at Rain, in
net 2 6
Bavaria, July 19, 181 1, he became an organist in Vienna 6948 MAZURY. Danses masoviennes. Op. 38
net 2 6
at the age of 19, and in 1836 became Capellmeister at the 6949 SIX POLONAISES. Op. 42
London: AUGENER & CO., 86, Newgate Street, E.C. ;
Mannheim Theatre, a post which he held till 1873, when
and i, Foubert's Place, Regent Street, W.
he retired on a pension. His compositions include
several overtures, piano pieces, and incidental music to
plays {Turandot, etc.) ; but his most popular works are MORCEAUX
FAVORIS POUR
vocal, particularly his settings of seventeen poems by
PIANO A QUARTRE MAINS.
Scheffel. He was also a good conductor, and raised the
s d.
operatic performances at Mannheim to a high standard. N.
L.
SCYHTTE. Barcarolle ..
414
Josepha Lange, a granddaughter of Mozart's sister-in-law,
F.
KIRCHNER.
Danse
Hongroise,
No.
2
in
D
3
Aloysia Lange, died in Vienna on January 21, aged 74. 4-'- MENDELSSOHN. ChKslmas Piece, in r
3
Victor Frederic Verrimst, chief contra-bass player at the 43War March of the Priests (Athalie)
..
4
44Grand Opera and the Concerts du Conservatoire, died 45- M. MOSZKi IWSKI. Minuet. Op. 17, No. 2
5
about the middle of January. He was a famous teacher, 46. X. SCHARWENKA. Polish Dance. No. 3, in it flat
4
and has written many educational works for students of
:w?at
1, Foubert's
Place., w.
his instrument.
THE
March I, 1893.]
MONTHLY
MUSICAL RECORD.
AUGEXER'S EDITIO.V,
MESSRS. AUGENER and Co. point out that

the WORKS of M. MOSZKOWSKI, J. L. Nicode, and Xaver
Scharwenka, published by them, are their exclusive COPYRIGHT for all
theBritish Dominions, and that the importation or dealing in any way with
copies thereof not emanating from Augenerand Co. is unlawful, and will be
proceeded against accordingly.
69
Ko. So44*-r.
L. VAN BEETHOVEN.
SONATEN FUR CLAVIER,
-A-TJO-EIISrEK'S
nach NOTTEBOHM'S
AUFZEICHNUNGEN,
LIBRARY OF PIANOFORTE MUSIC

kritische Revision von
FOR STUDY AND AMUSEMENT.

EUSEBIUS MANDYCZEWSKI.
A Collection of Studies, Classical and Drawing-room
Selected, Revised, and Fingered by
E.
Pieces,
Edition compared and kept strictly after Beethoven's origiml
text, without any additions, fingering, &c, not contained
in the original.
P A U E R.
HJititin
Junior Grade.
He
5,61 Book I
Studies: Steibelt, in A minor; Hummel, in u;
E. Pauer, in G.
Pieces: E. M tiller, Caprice in C; Clementi, Adagio
con espressione.
Recreations : Rameau, Gavotte from ' ' Le Temple de
Gloire " ; Loeschhorn, Romanza in A minor ; Lanner, Original Styrian Dance ; and Three National
Polish Mazurkas.
AW.
1. d.
5963
Book II
Studies: Loeschhorn, in A major; Berger, in G
minor ; E. Pauer, in c major.
Pieces : C. P. E. Bach, Allegro assai in E flat ; J.
Field, Polonaise in E flat ; E. Pauer, Welsh Air
with variations.
Recreations: Mozart, Three Minuets; A. Jensen,
"Joyful Message"; X. Scharwenka, Valse in c
sharp minor.
Book III
Studies: Gurlilt, Op. 13a, Nos. 4 and 10 , Laubach,
Study on Chromatic Scales ; and E. Pauer, Study
on Divided Scales.
Pieces : J. S. Bach, Allegro scherzando ; Haydn,
Presto for Sonata in D ; Beethoven, Bagatelle,
Op. 119, No. 1 ; and Tomaschek, Eglogue, No. 5.
Recreations : Clementi, ' ' Monferina " ; Steibelt,
Valse in F ; Mozart, Gavotte from ' ' Idomeneo " ;
and Kuhlau, 3 Valses.
3963
5981
598a
5483
Senior Grade.
Book I.
...
'...
Studies : M. Szymanowska, in A flat ; X. Schar
wenka, Prelude in c.
Pieces : Mozart, Fugue in c major ; Hummel,
Andante in E flat
Recreations: Mendelssohn, Bolero, " The Wedding
of Camacho " ; Moszkowski, Schcrzino in F.
8o44<?-r
3 Vols, each
Or bound, each
net
net
3 6
6
London : AUGENER & CO., 86, Newgate Street., E.C. ; and

FOLIO EDITIONS.
PERLES MUSICALES.
c
Recueil de Morceaux de Salon pour It Piano.
SECOND SERIES.
JEAN MARIE LECLAIR. Gavotta Graziosa from his Violin
Sonata " Le Tombeau," transcribed by G. Jensen
A. STRELEZKI. Barcarolle en la mineur
A. LOESCHHORN. Etude melodique. Op. 196, No. 1
A. HENSELT. Nocturne in e flat
M. MOSZKOWSKI. Caprice in G
MENDELSSOHN-BARTHOLDY. Prelude in minor. Op. 35
XAVER SCHARWENKA. Impromptu. Op. 17
S. NOSKOWSKI. Humoreske. Op. 41
J. RHEINBERGER. Jagdscene. Impromptu
J. L. NICODE. Canzonette. Op. 13, No. 2
MAX PAUER. Walzer. Op. 7, No. 8
R.SCHUMANN. Fragment from " Kreisleriana "
s.,f.
a 6
3
3
3
3
3
4
4
4
3
3
3

1
yORTRAGSSTUDIEN.
Eine
Sammlung
V
hervorragender und beliebter Tonstiicke alter Meistcr fdr Violins
mit Begleitung des Pianoforte bearbeitet von
GUSTAV JENSEN.
Book II
Studies : Schumann, for Pedal Piano in c and A flat.
Pieces : Klengel, Fugue on an Air by Mozart ; Men
delssohn, Andante from First Concerto, Op. 25.
Recreations: E. Pauer, "La Campanella," and
Kjerulf, " Fruhlingslied."
Book III
Studies : Weyse, in c sharp minor ; F. Ries in A.
Pieces: J. S. Bach. Minuet in G; Schumann, Air on
the name ' ' Abegg "with variations.
Recreations : Mayer, Romance italienne ; Mosz
kowski, " Germany,'' from Op. 23.
,,*
1.
a.
3.
4.
5.
6.
7.
8.
9.
19.
zi.
12.
13.
14.
J. S. BACH. Air und Gavo'.te aus der d dur Suite fur Orchester 3
JOS. HAYDN. Serenade
3
Adagio recital ivo
3
JEAN MARIE LECLAIR. Sarabanda und Tambourino
.. 3
F. M. VERACINI. Menuet
3
G. TARTINI. Larghetto (g moll)
J. B. SENAILLE. Aria (c moll)
3
G. TARTINI. Andante cantabile aus Sonate VIII
3
Giga in d dur
3
L. VAN BEETHOVEN. Romanic in G dur. Op. 40..
.. 3
. Roman** in F dur. Op. 50.
..
3
P. RODE. AirVarie\ Op. 10
3
J. S. BACH. Andante aus dsr a moll Sonate No. 3
..
..3
W. A. MOZART. Larghetto aus dem Cla'inetten Quintet
.. 3
" The ' Library of Pianoforte Music for Study and Amusement/ by Ernst
Pauer, is a collection of ' studies, classical and drawing-room pieces,'
selected, revised, and fingered for teaching^ purposes. The selection is
admirableno piece unworthy of attention is included in the series, the
revision is that of the scholarly musician and the fingering whit we expect
from the experienced teacher. 'Manchester Guardian, Nov. 15, 1S92.
" This collection will be of great use to students, especially to the many
who study music without the assistance of a teacher."Musical Nevus,
Nov. 18, 1892.
" These books are a decided acquisition to our rifertoire for study and
LIBRARY (established 1853) is the largest in ihe world. Subscript
amusement." Musical Krcord, 1892.
"This Series is one of the most valuab'e for purposes of teaching and lion, 2 2s. per annum, 1 8s. per half-year, &c. Music can be selected at
end of term, as subscribers' property, equal to one-half of their subscription
improvement." Daily AVter, Feb. 1, 1893.
t full price. For Prospectuses, apply to CHARLES WoOLHOUSFf
Loudon : AUGENER & CO., 8(1, Newgate S.reet, E.C. ; oni 1. Fou'jert's Music Publisher, 81, Regent Street, London, W, All Music, English .in_.
Foreign, &c, promptly supplied.
Place, W.
"HE UNIVERSAL CIRCULATING MUSIC
70

JUST PUBLISHED.
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A.
'
'
ITS
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Xl PRACTICE. By EBENEZER PROUT, B.A. Lond.,

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oik TJARMONY :
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Edition
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,.
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FLUTE (or VIOLIN), 2 VIOLINS, ALTO, VIOLON

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9204.
Editim GUSTAV
ATECHISM OF PIANOFORTE
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In paper covers, 2s. ...
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48 PRELUDES and FUGUES (Wohltemperirtes Klavier).
No.
7131 Jos. Haydm, in d
7132
in c minor
7133 W. A. Mozart, in c major
7134
,.
in A major
7135 Jos. Haydn, in a flat major
JENSEN.
net
net
net
net
net
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4
4
4
4
4
d.
N.B. Thttt Catechisms will be continued.

London: AUGENER & CO., 86, Newgate St., E.C; & 1, Foubert's Place,W.
London : AUGENER & CO., 86, Newgate Street, E.C, and 1, Foubert's
Place, W.
March i, 1893.]
THE
MONTHLY
ISTIE^T
SONGS.
BARNETT, JOHN FRANCIS. The Vesper Hour. Song 1. d.
with pia oforte accompaniment and harmonium ad libitum
BERGSON, M. Parted Lovers (" Wenn sich zwei Herzen
scheiden "). Song :
No. 1. For Soprano or Tenor in A flat
3. For Contralto or Bass in f
3. For Voiue with Pianoforte and Violin or Violon
cello obbligato
BUCHANAN, 1.1. M. "Good Night and Good Morning/'
Song
My Spirit's long-pent anguish (Aus meinen grossen
Schmerzen). Song
8824 DELIUS, FRITZ. Three Songs, the words by Shelley:
Indian Love-Song, Love's Philosophy, To the LJueen of
my7 Heart.
410 dem Norwegischen). 4(0. E. 8c G. net
8B39A
Lieder (aus
net
8821 DUNKLEY, FERDINAND. Four Songs : Oh, that I were
a Flower; Love's Parting ; In the Silence of the Night;
Highland Heather. 4to
net
FITZGERALD, GERALDINE. " To Sleep." Song. The
words from Lord Tennyson's "The Foresters"
HEARNE, ISABEL. 3 Songs:
1. Love is ours
...
2. Bird Raptures
3. The Secret
...
Three Songs ; the words by Christina Denlng :
1. There was a time
a. My Lady's Heart
3, I Love your Look
... ...
8379 KREUZ, EM1L. 5 Songs for Mezzo-Soprano. Op. 23 1
Twilight Memories (Abends); Dolly's Bedtime (Das
Madchen); My White lily (Wcisse Lilie); Moiher nods
(Die n ckende Mutter); Good-night (Gute Nacht)
net
LEE, MAURICE. Faint Heart ( Pas braves !) Song
8855 LlDGbY, C. A. 4 Lieder by Heine. Op. 6: Violets, Roses,
and Lilies ; The Death-bridal ; The Loves of the Trees ;
The Message of the Stars. E. & G, 410
net
MACCUNN, HAMISH. Strathallan s Lament. Song
" When thou art nigh." Song
...
Voc-1 Atbum. Six Songs(the words by Lady Lindsay) :
No. 1.j. Wishes.
" In the Meadows
A flower message.
" 1*11 give" my... love ...a posy"... ...
4. Dreamland. " Wilt thou come with me to dream
land?"
5. Golden Days. " Sweet, remember golden days" ...
6. Hesper. " O for a tight little boat "
REINECKE, C. The tree that wanted other leaves. A
song to set my little sister to sleep. For female voices,
Solo and two-part Chorus, with Pianoforte accompaniment.
Op. 100
SIMPSON", F. J. A Messaae to Phvllis. Song
4SWEPSTONK, EDITH. I Worship Thee Yet (Ich liebc
Dich noch). Song for a Bass Voice (61)
4
8945
3 Lyrics by William Black, for Voice with Pianoforte
Accompaniment 1, Who will buy Pansies'.' 2; O my Ixtsi
Love. 3, Oh, What's the Sweetest Thing there is ".' 410, net 1 8954 WOOD, CHARLES. Four Songs: 1, An Ancient Love Song
(Anonymous) ; 2, Why so pale and wan, fond lover? {Sir J.
Suckling) ; 3, How can the tree but waste and wither away
(LordVaux); 4, Ah ! Robin! Jolly Robin 1 (Sir Thomas
Wyat). 410
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DANCE MOVEMENTS
FROM THE WORKS OF GREAT MASTERS,
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VIOLIN AND PIANOFORTE (Augener's Edition, No. 7387am).
FLUTE AND PIANOFORTE (Augener's Edition, No. 7793am).
STRING ORCHESTRA : Two Violins, Viola, V'cello, and Bass
(Augener's Edition, No. 7151am).
FLUTE QUINTET: Flute, Violin, Viola, V'cello, and Bass
BY
F. HERMANN.
a J. S. BACH. Sarabande from the Second Violin Sonata.
b G. F. HANDEL. Scherzo from the Concerto in G minor.
c JOSEPH HAYDN. Nachtwachter Menuet.
d PIERRE MONSIGNV. Rigaudon from " La Reine de Golconde."
W.A.MOZART. Minuet from the Divertimento iu D.
/ BEETHOVEN. Allegretto from " Die Geschopfe des
f MOZART. AH' ongarese from the Violin-Concerto in A major.
k CHERUBINI. Ballet-music from " Ali Baba."
i H. MARSCHNERi Tanzmusik from " Des Falkneis Brant."
* J. P. RAMEAU. Chaconne and Musette.
/ CHR. VON GLUCK. Musette from " Armida."
* PIERRE MONSIGNY. Chaconne from "La Reine de Golconde."
Price, net, 1/- each.
Also for Pianoforte Solo (Anthologie Classique, No. 80), 1/6.
AUGENER & CO., 86, Newgate Street, and 1, Foubcrt's Plact, London.
MUSICAL
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71
COURVOISIER. VIOLIN SCHOOL.

at.Net.*.
c.
7600a I. Elementary. First bowing Exercises, &c. ist position
7600/' II. Minor Keys, Ornaments and special Bowing Exercises,
ist position
7600c- III. Study of the Other Positions
" Der Verfasser bietet mit seiner Violinschule ein ungemehi sorgfklticr gearbenelei
Sttidietwvcrk
dar,
sich durch
diesind
griindlfchste
Uchandltin^ derdesGeigentcchnik
auuetchnet
AufInwelches
erncriOpfende
Weite
darmvnndieden
Anianjjistulei'
Violinspieles
beriicksichtigt.
tiiesem
Punkt
wird
zumetst
Lchrern
gefehltman
Kaum
ist
dem Schiiler
das Instrument
in die esHand
gegeben
wordeii,
soanlcommt,
laszt
ihncinige
auch
schon
kleine
Stiicke
spickn,
wahrend
doch
zuniich&t
darauf
ihm
Sichcrhwit
in der Bogenliilirung,
der Anwendung
desdie elcmentarcn
Fingersatzes zuun-1
geben.
Daner
komnitDiees,sowie
daszinAnfdnger
meististaufdas
unertraglichste
Art
kratzen
unreinUrzvutfung
grcifen.
Bogenfiihrung
aber
erste
unaZeitwkhtigste
lirfsrdernisz
zur
cines
guten
Tones,
weshalb
sie
liingere
fiir
sich
alle'm
geiibt
wcrden
musz,
und
zwar
a*if
den
leereo
Saiten.
Hat
man
dann
den
Schiiler hat,
d.ihinsogebracht,
dasz cr auchgewonnen,
die nachstliegenden
in der ersten
Laze
l,relernt
ist ein Fundament
auf dem manGriffe
schnttweise
mit Erfolg
we'ter
hauen
kann.jedenAllcsVi.rbelialt
dies lehrtzu die
Violinschule
CourvoWer'swirdIn exacter
Wtise,
wshalh
sic
ohne
rmpfehlen
ist.
Schwerlich
man
unter
zahlreich
vorhandencn
Werken#dk*ser
Art eine
hesserc Methade
aufHnden, lismitdieden
Kede stehende.
Die beiden
ersten Ttieile
beschaftigen
sfch ausschlieszlich
derin
ersten
Lage.
Die
iilmgen
Positionen
bis
zur
achteti
sind
im
dritten
Theil
ibgelundelt."Sigitaie, October, 1899.
London: AUGENER& CO., 86, Newgate Street, and 1, Fouberts Place,W.
JUST PUBLISHED,
ARCANGELO CORELLI'S
12 soist^t^s.
Op. 5.
with Pianoforte accompaniment worked out from the figured
G. JENSEN.
Edition
A'o.
X. d.
7354" Par' I. (Sonatas i to 6)
net 3 o
7354<* Part II. (Sonatas 7 to 12)
net 3 o
net 7 6
N.B.These 12 Sonatas are also published for Violin with figured Bass,
edited by Joachim and Chrysander. Edition No. 4936c, net, 4s.
London : AUGENER & CO., 86, Newgate Street, E.C. ; and I, Foubert's
Place, W.
SONATINES POUR VIOLON ET PIANO,
Arrangees en ordre progressif, et en partie revues ct doigtees, par
EMILE THOMAS.
La Partie du Vlolon dans la tre position.
I. d,
C. GURLITT. Sonale miniature en fa (f). Op. 180, No. i
3
Sonate miniature en nt (d). Op. 180, No. 2
3
C. REINECKE. Sonate miniature en ut (c)
3
Sonate miniature en la mineur (a minor)
4
Sonate miniature en sol (g)
4
La Partie du Violon dans la ire, 2de, et 3me positions.
F. KUHLAU. Sonatineen ut (c)
4
J. SCHMITT. Sonatine en rk (d)
3
F, KUHLAU. Sonatine en la mineur (A minor)
4
J. SCHMITT. Sonatine en ut (c)
3
C. REINECKE. Sonate miniature en si mineur (b minor)
5
A. DIABELLI. Sonatine en sol (c)
4
F. RIES. Sonatine en la mineur (a minor)
4
I. LACHNER. Sonatine en sol (c)
6
F. RIES. Sonatine en fa (f)
4
I. LACHNER. Sonatine en si btmol (b flat)
6
La Partie du Violon dans lea positions plus hautes.
F. KUHLAU. Sonatine en sol (o)
4
F. RIES. Sonatine en ut (c)
4
F. KUHLAU. Sonatine en fa (f)
4
E. THOMAS. Sonatine en ut (c)
5
F. SCHUBERT. Sonatine en re (d)
6C. GURLITT. Sonatine en fa (f)
7 6
F.SCHUBERT. Sonatine en la mineur (a minor)
6
C. GURLITT. Sonatine en la (a)
5
F.SCHUBERT. Sonatine en sol (c)
6
Lc ndon : AUGENER & CO., 86, Newgate Street, E.C, and
THE
72
O VE LT I ES
published on
March ist, 1893, by
MONTHLY
MUSICAL
7544
(Nova) publiees
le ier Mars, 1893, chez
PIANOFORTE SOLOS (a 2 mains).
ABECEDARIAN IN PIANOFORTE PLAYING

(THE). Elementary Pianoforte School, arranged
in Easy Steps. E. :
9881a
Part I.
17 Melodious Pianoforte Duets.
The
Treble (for the Pupil) within the compass of five
notes. (Crotchets only used, no rests) ...
net
98810
Part II. 10 Melodious Hanoforte Duets. The Rass
(for the Pupil) within the compass of five notes.
Duets 1 to 6, only crotchets, and no rests ;
Duets 7 to 10, semibreves, minims, and crotchets
used
net
988K:
Part III. Introduction to the Rudiments of Music-.
Daily Exercises, Duets within the compass of
five notes of different value, Airs and Melodies.
In the Treble Clef only
net
98811/ Part IV. Daily Exercises. 14 Instructive Pieces,
Airs and Melodies
:.
net
988K
Part V. Daily Exercises, Variations, Airs. Pieces,
&c. , leading up to the degree of difficulty of
dementi's First Sonata in c
net
9910 GURLITT, CORNELIUS. The First Instructor in
Pianoforte Playing. E
net
MAYER, C. La VtSlocittJ. Grande fitude brillante
de Concert. Revue par E. Pauer
8337a MENDELSSOHN.
Songs without words.
Book
VII. Op. 85. C.
net
6315 PAUER, MAX.
Miniatures. 8 short Pianoforte
Pieces. Op. 7 (r, Northern Song; 2, Musical
Box ; 3, Caught at Last ; 4, Reverie ; 5, Taran
tella ; 6, Scherzo ; 7, Pastorale ; 8, Wal'z) C. net
PERLES MUSICALES. Morceaux de Salon :
No. 16. A. Henselt. Nocturne in E flat
17. M. Moszkowski. Caprice in u
18. Mendelssohn- Bartholdy. Prelude in E minor
19. Xaver Scharwenka. Impromptu. Op. 17
20. S. Noskowski. Humoreske. Op. 41
...
REINECKE, CARL. Musical Kindergarten (Musikalischer Kindergarten). Op. so6 :
6341
Vol. I. My First Pieces (within the compass of five
notes). Meine ersten Stuckchen
...
net
6342
Vol. II. Favourite Melodies (within the compass of
five notes). Lieblingsmelodieen
net
STRELEZKI, ANTON. Morceaux : No. 37. Caprice-Etude
38. Mazurek en Si bemol majeur
6466
Papillons
net
[March i, 1893.
NoveltiesViolin and Planofort3 (continued)-
N OUVEAUTES

Edition
Number-
RECORD.
PLEYE'L. I. J. 3 Duos. Op. 44.

Nouvellement
revu, doigte et arrange- par Fr. Hermann ...
net
1. J.
INSTRUMENTAL.
s. d.
1
1
1
1
BEETHOVEN. 6 Quartets for 2 Violins, Viola, and

Violoncello. Op. 18. No. 1, in f; 2, in g , 3, in
l> ; 4, in c minor ; 5, in A ; 6, in n flat :
7201-6 In Parts, revised by Fr. Hermann. 6 Books, each
net
9291-6 Arranged for Piano, Violin, and Violoncello by
Fr. Hermann. 6 Books
each net
739a* HERMANN, FR. Sonatine en Re majeur, for Piano,
Violin, and Violoncello
net
PLEYEL, I. J. G5uvre 44. Nouvellement revu,
doigte et arrange- par Fr. Hermann :
7810
Pour Piano et Flute
net
5334
,, Piano et deux Violons ...
...
...
net
5335
Piano, Flute, et Violon
net
7300
,, Piano, Flute, et Viola
net
5353
deux Violons et Violoneelle
nrt
5365
,, Violon, Viola, et Violoneelle ...
...
net
7180
,, Piano, Violon, Viola, et Violoneelle ...
net
5161
,, Piano, Flute, Viola, et Violoneelle
...
net
5283 REGER, MAX. Trio for Pianoforte, Violin, and
Viola. Op. 2
net
(ficole pratique du Violon) :
7610A
Book X.
Scales in 2 Octaves, exercises and
Duets in the first position. Gamines en 2 Octaves,
exercices et Duos (1 position)
net
1
1
1
2
a
2
1
1
a
a
6
6
6
VOCAL
MU8IC.
1 9093
HEALE, H. Epithalamion (Marriage Ode). Words

selected from the " Epithalamion" of Edmund
Spenser, set to music for Tenor Solo, Chorus, and
Orchestra. Vocal Score
net
2 838o KREUZ, EMIL. 6 Songs (the words by Campbell
and Hood). Op. 26 : Oh. how hard it is to
find ; The Maid's Remonstrance ; Spring is
3
cheery ; A Lake and a Fairy Boat ; It was not in
3
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No. 45. M. Moszkowski. Minuet. Op. 17, No. 2 5
Giuseppe
Verdi
49
46. Scharwenka. Polish Dance, No. 3, in E flat 4 Hakmomc Analysis. By Loi is B. Prolt. (Continued) ..
SO
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51
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rGLUCK'S ARM1DA.
In 1776 Gluck's Alceste was produced at the Grand
Ope"ra, Paris, but the severe music was not to the taste
of the public. Its merits, however, were not wholly
ignored. The composer, after the performance, met
his friend I'abbe Arnaud, and cried out, "Alceste est
tombe'e /" " Tombee du del," was the ready reply of this
enthusiastic follower of the master. The work, however,
gave rise to considerable discussion, and Armide, pro
duced September 23, 1 777, was awaited with considerable
interest. It was attacked by La Harpe, who wrote : "II
n'y avait ni melodie, ni chant dans le nouvel ouvrage, tout
se passait en re'citatifs." He found the role of Armide
"presqued'un bout a 1'autre une criaillerie monotone et
fatigante." These sentences are extracted from La Harpe's
notice of the opera, which appeared in the Journal de
Politique et de Lil/Jrature, October 5th, 1777. One week
later a letter, written by Gluck, and addressed a M.
De La Harpe, appeared in the Journal de Paris. In
it he proposes to adopt certain advice given to him
by La Harpe with regard to the r'lle of Armide, and
adds, " Si quelque mauvais esprit s'avisait de me dire :
Monsieur, prenez done garde qu'Armide furieuse ne
doit pas s'exprimer comme Armide enivrde d'amour ;
Monsieur, lui repondrais-je, je ne veux point ejfrayer
Voreille de M. de la Harpe, je ne veux point contrejaire
la Nature, je veux Vembellirj au lieu de faire crier
Armide, je veux qu'clle vous enchante." In this attack
and retort we catch a glimpse of the paper warfare
fiercely carried on both by friends and foes of the
master, and a warfare in which, as we have just seen,
the composer himself took part. In a parody of Armide
occurred the following lines :
"Acteurs en chef sans mil remord,
Bravez les lois de Polymnie ;
I.e gout sans
doute
a toujour*
tort,
Puisque
le gout
defend
qu'on crie
Voici le mot, songez-y bien
Crier est tout, chanter n'est rien."
Gluck was indeed, as he has been often styled, the
Wagner of the eighteenth century.
The libretto by Quinault was the one to which Lully
set music. His opera, Armide, produced in 1686, was
268
revived, curiously enough, in Paris in 1778, the year

after the production of Gluck's Armide.
The argument is as follows :
In the first act Armida, Queen of Damascus, appears
with her two attendants Phdnice and Sidonie : the
Queen is in a sad mood, and they seek to comfort her.
She has youth, beauty, glory, and power, but she fears
Rinaldo, the renowned Christian knight, and she is
annoyed that he has not been captivated by her beauty ;
that he does not, in fact, reciprocate her love for him.
But sounds of trumpets are heard, and Hidralt arrive?.
He is her uncle, and a great master of magic arts. He
is advanced in years, and, before his eyes close in
death, he wishes to see his niece's empire consolid
ated by a happy marriage. But she fears the hymeneal
bonds, and, at best, would only unite herself with one
who could boast himself the conqueror of Rinaldo.
The chorus then sing of the power and beauty of
Armida. But a change comes over the bright scene :
the warrior, Aronte, in charge of the Christian cap
tives, comes to tell how one mighty in strength rescued
them. " It was Rinaldo,:l cries out Armida. " He him
self," replies Aronte. The first act ends with a wild
chorus, in which soldiers and people express their
impatience to pursue and overtake the enemy. The
second act opens with a scene between the famous
knight Rinaldo and Artdmidore, one of the captive
knights whom he has delivered. From their conversa
tion we learn that Rinaldo, whose hands are stained
with the blood of proud Gernaud, has been banished from
Godefroid's camp as unworthy to take part in the
deliverance of the Holy City. As an exiled knight,
therefore, whenever opportunity presented itself, he has
been helping the weak and oppressed, and hence his
last exploit in the territory of Armida. Artdmidore
warns him of the snares and dangers of the enchanted
gardens, but the valiant knight fears neither the beauty
nor the vengeance of the infuriated Queen. In the next
scene we learn, however, the danger which threatens
him. Armida and Hidralt conspire his death, and
summon to their aid the powers of hell. Rinaldo
enters the enchanted gardens, admires the scenery,
listens to the sounds of nature, until he falls asleep.
Nymphs and shepherdesses dance around him, and
74
THE
MONTHLY
MUSICAL
RECORD.
[April I, 1893.
sing of the delights of love. But now Armida ap Lohengrin, between Ortrude and Frederic, although there
proaches to pierce the hero's heart with a daggerbut is no question of plagiarism involved. Meanwhile Rinaldo,
she shudders, sighs, hesitates and hatred turns to love. unconscious of danger, approaches. The music assumes
The third act is known as the Act of Hatred, for a pastoral character:, in it are depicted the gently
Armida summons Hatred from the lowest depths of meandering stream and the song of birds. But what
hell to extinguish the torch of love ; but when he mean those sustained notes, now of oboe, now of horn,
comes, like the old man in the fable when Death ap or of clarinet? It would seem as if they were sounded
pears, she changes her mind. " Hatred " pours forth to remind the spectator of the powers of darkness lying in
terrible threats, and then, with his dark escort, returns wait. Similar notes were heard in the previous scene ;
to the place from whence lie came.
they form the shadow which sets off to better advantage
In the fourth act Ubale and a Danish knight are the sunshine of the picture. The hero is lulled to sleep,
sent by Godefroid to deliver Rinaldo from the power and then comes a troop of nymphs and shepherdesses
of Armida. They force their way past the terrible with song and dance. Of the opening Allegro botli
monsters which guard the approach to the queen's Mozart and Gretry took due advantage. The music
palace. But, like Parsifal, they have still to pass throughout is deliciously fresh and simple, and the
through enchanted gardens : this they do, successfully orchestration, with its delicate notes for wood, wind, and
resisting demons disguised as damsels. The act closes horns, most piquant and picturesque. This ' scene is
as, all danger passed^ they are about to enter the palace quite a la Watteau. The recitative, with its rushing,
to rescue Rinaldo.
angry scales and plaintive sighs, of Armida when, like
In the fifth and last act we learn how, after much another Jael, she advances to take the sleeping hero's
hesitation and difficulty, and by means of a talisman, the life, though only accompanied by strings, is powerful, and
two knights carry Rinaldo off in the name of duty and the Aria which follows is full of verve and passion, and
one with which a singer gifted with dramatic instinct
of honour.
With regard to the music, while it is impossible to really might produce an overwhelming effect.
judge of its full effect from a perusal of the score, one
The famous third (" Hatred") act well deserves its re
can admire the beauty of the lyrical portions, and see that putation. There is, first, the call to Hatred, with its vigor
the role of Armida and other portions of the opera are of ous and varied accompaniment. In the recitative in which
a thoroughly dramatic character. Except for its simplicity Hatred announces himself, the agitated little figure for
and the formal cut of its songs, it is to all intents and strings should be noticed. It is a representative theme d la
purposes a Wagnerian opera, i.e., the music is only one Wagner. In the first act, at the mention of the powers of
factor in the work. But though unable to say how far it hell, it already appears in embryonic form, and later on
appeals to one's emotions in connection with the story of we find further use of it. Hatred calls upon the spirit of
the love-smitten queen and obstinate knight, it is possible love to come out of Armida and leave place for him.
to point out some of the salient features of the score.
Gluck has no trombones, no drums ; but with strings,
Already the overture, with its contrasting elements, horns, and trumpets, he makes a terrible noise. This is
foreshadows the story of love and vengeance. In the one of the most exciting numbers of the work, and the
first act the music allotted to the two attendants of the bold music is worthy of the situation. And then the
queen, now in flowing I time, now in lively \ time, forms duet between Armida and Hatred, supported by chorus,
an admirable contrast to the firm strains in c time in is of imposing effect. The determined resolution of the
which the queen replies to them. The first real dramatic fiend on the one hand, and the agitated state of the
touch occurs, however, in the recitative with strings (only queen on the other, are thoroughly expressed in their
strings) trcmolando, as Armida describes a dream in which respective parts. The closing page, with its plaintive
she sees herself at the feet of the cruel conqueror, Rinaldo, strain and throbbing notes, is very striking. It may be
fascinated by his appearance, but dismayed at his cold mentioned here that Quinault ended the act with the
ness. Later on, in answer to her uncle, who wishes to departure of Hatred. Gluck, to soften the effect, makes
see her happily married, Armida replies in dignified Armida invoke Love. He added the verse
strains, wonderfully intensified towards the close by three
Quelle affrerae menace !
points d'orgue, the first two over rests, the third over a
Tout mon sang se glace
Amour, puissant amour, viens calmer mon effroi,
melody note. The agitated accompaniment at the open
Et prends pitit1 d'un coiur qui s'abandonne a toi.
ing of the fourth scene, in which we learn the deliverance
of the Christian knights by Rinaldo's help, is very
At the opening of the fourth act we have the music
striking, but the final ensemble for soli and chorus of the descriptive of the fight between the knights and the
principals and excited populace and soldiery is startling monsters guarding the approach to the enchanted
in its vigour. The rushing triplet figure of the strings gardens. The pastoral music which follows naturally
has realistic power, while the alternate phrases for soli and forms an excellent contrast.
chorus, and the united burst at the end must produce
The 5th act commences with sad, expressive music.
wonderful effect. The entree of Rinaldo at the opening The effective duet between Armida and Rinaldo deserves
of the second act is accompanied by appropriate music ; mention, also the delicately scored Chaconne. The final
like that of Armida's it is dignified, but calmer. In the scene in which the queen, abandoned by Rinaldo, gives
second scene between Armida and Hidralt, in which they way to rage and despair, is grand from first note to last.
summon the infernal powers to their aid, every note, In these concluding pages Gluck reveals the full power
every colour shows the hand of a master. Already the of his genius.
syncopations of the opening Maestoso betoken a state of
agitation. But when the two unite their voices and call
HARMONIC ANALYSIS.
upon the spirits of hatred and rage the music is almost
By Louis B. Prout.
daring in its simplicity, but of dark, dire effect, and to
(Continued /ram p. 52.)
r.bis the orchestration, with its mysterious, repeated notes
CLASSIFICATION OF CHROMATIC CHORDS.
tor strings, its long, penetrating notes for oboes and
clarinets, contributes no small share. The general 42. The best method for classifying chromatic chords has
atmosphere of this tone-picture recalls the duet in already been suggested ( 4, 6, etc.)observe from what
April i, 1893.]
THE
MONTHLY
key they are " borrowed," remembering not to go beyond

those keys, major or minor, whose tonics form perfect
concords (1st, 4th, or 5th) with that of the prevailing key ;
and if it be necessary to assign a generator, observe the
suggestion in 6, VIII.it will be the dominant of the
key from which the chord is borrowed.
43. As chromatic chords do not cause modulation, it is
not desirable to analyze them as though they did ; the
Richter system (see "Introduction") may be applied to
them as well as to diatonic chords, and for the sake of
completeness it may be well to show their origin also in
brackets. A few examples will make this clear :
vfTj?gL"1:
q |3-J
-P=trs
1
1
1
1
1
1
C:I bll v,c
(f:VI)
(f:vii)
(G:VT>
Ex. 22 is in the key of C major throughout, but contains
three chromatic chords ; in relation to the prevailing key,
they are a major chord on f//., a diminished seventh
on ///., and a." fundamental seventh " on //. , the bracketed
analysis explains their presence in the key of C ; " Day
theorists " may substitute (ltu) (Ij9) (1I7) for this bracketed
analysis.
Ex. 23.
I
I
II viij
(g:V) ' (f:V)
(s : vii")
Ex. 23 illustrates the same method applied to a minor
key.
44. The basis of this system of analysis may with
advantage be laid before the student in a series of
rules.
I. The letter followed by a colon shows the key ; a
capital denoting major, a small letter minor.
II. The Roman numeral shows the root, and implies a
diatonic note ; thus, in a major key ill means the major
mediant ; in a minor key the minor mediant ; so also
with VI. If the root is chromatic it is expressly marked ;
PII. means that the root is the minor 2nd of the chromatic
scale, whether literally a I? or a bb or tf (compare 15) ;
t? 1 1 1, in a major key and mil. in a minor key that the
root is a lowered or raised mediant respectively, whether
the sign be literally b, if, or etc. ; &IV. that the root
is the augmented 4th of the chromatic scale ; bvi. or
(Jvi. that it is the lowered or raised submediant (com
pare on in. above) : and j?vil. that it is the lowered
leading note.
III. K large Rom'an numeral signifies that the 3rd is
major ; a small numeral that it is minor.
IV. The 5th is understood to be perfect, unless the
sign Q (diminished) or '(augmented) follows the numeral.
V. A small - after the Roman numeral denotes the
addition of a diatonic 7th to the triad ; if the 7th is
chromatically lowered, (?- must be written ; if chromatically
raised (excessively rare), we may write $7 or il-, according
to the principles explained in Rule II. ; see Ex. 24.
Ex. 24.
1
MUSICAL
RECORD.
75
regard a major scale as normal; the lowering of a note

of major scale therefore is always indicated by a b, the
raising by a % : so also with the raising or lowering in a
minor key of those notes which are alike in both major
and minor (//., //'., and rrr.) : but /// or vr. of a minor
key raised become major li.c., normai)-and the indication
must be JJ (compare 15, on the names of the chromatic
notes).
VI. 9ths, itths, and 1 3ths, if regarded as chord-notes, are
added in the same way as /ths {see Ex. 21). But such
chords as IV7, iii., etc., which on the " Day system " are
analyzed as forms of "dominant 13th'' (see 6, VIII.),
should not be analyzed V13 ; even if we grant that V is
their generator, they are quite distinct derivative chords,
and it is no more logical to give them the same name
than to treat an English word as necessarily an equivalent
of its Latin root.
45. There are some chromatic chords which are not
" borrowed chords " in the same simple sense as those
heretofore considered ; though all chromatic notes are
" borrowed " notes, yet sometimes in chords, some notes
are borrowed from one key and some from another, and
so on. With very few exceptions, these chords belong to
the scales of the same tonic, but some of the notes belong
to the major mode, some to the minor. The possibilities
of this class are
1st. Major mediant with minor submediant.
2nd. Minor mediant with major submediant.
46. 1st. Major mediant with minor submediant. In
chords ranged by added 3rds, another and simpler ex
planation of these may be found, except in the chords
borrowed from the subdoininants Ex. 25 shows this.
Ex. 25. (a)
The chords'at (a) suggest the tonality of IV. minor rather

than a combination of tonic major and minor ; similarly
those at (6) are from /. minor, not V. major-minor; but
those at (c) must be regarded as iv. major-minor, since
the key which they suggest (jSj minor) is not within the .
circle for " borrowing." Perhaps the best bracketed
analysis ( 44) for these chords is the following :
Ex. 26.
F-f means, of course. F " major-minor." See, further,

54 on " false triads."
47. 2nd. Minor mediant with major submediant. Here
we have two combinations to deal with, others which
might be analyzed in this way being susceptible of
simpler analysis as borrowed from some other key ;
compare Ex. 25 (a) and (b). The two which admit of
no other analysis are shown in Ex. 27.
Ex. 27. ()
(/<)
C:lVb7
C:i)VII|i,
(C-c)
(F-f)
48. The chords in Ex. 26 present no analytical diffi
culty ; for
which they contain, must be borrowed
e : ivj,
c : vjj,
from
the
minor
key
of //"., and this of course proves their
(C : viiC)
connection with the subdoininant series. Those in
N.B. U this method of dealing with the signs i, b and Ex. 27 are really almost as simple, if the student is
5 appears arbitrary, it need only be noticed that we well acquainted with the contents of each of the keys
THE
76
MONTHLY
MUSjTCAL
RECORD.
[April i, 1893.
from which we might " borrow ; " for at (<i) the Ft| shows
that we have not the dominant series (both r. major and
r. minor contain !'$), and the E? shows that we have
not the subdominant series (both ir. major and //'. minor
contain Etf) ; and at (b) the b? suggests the subdominant
series (as there is no F$), and its combination with \7
/'roves it.
49. The only important exceptions to the statement in
45, that chromatic chords belong entirely to the
series of one tonic, are the " chords of the augmented
6th," already incidentally referred to ( 37). The interval
of augmented 6th is not found in any major or minor
scale, but is obtained by combining the flattest note of
one key [vi. of minor) with the sharpest of the next in
the "circle of 5ths"(r//. thereof); thus only two aug
mented 6ths are practicable in any key (Ex. 28), and they
are always chromatic.
analyst will have no trouble in correcting it. Adverting

to the chord mentioned in 51, we observe that c$ is not
a note in the key of c, but that we have " false notation "
for W ; and as a d!? the analyst must regard the note in
question ; the chord is then at once seen to belong to the
f minor series (f : vii^ " borrowed " as C : iiife?)" tonic
9th " on the " Day system."
.53. Of course the necessity for correcting "false
notation " is confined to chord notes, since no harmonic
analysis is required for " auxiliary notes," their explanation
not being in the fact of their being " borrowed " from a
related key, but solely in their ornamental character.
Hence, as Mr. E. Prout has pointed out in his " Harmony:
its Theory and Practice " ( 249), the limitation to twelve
notes in a key (5, supra) applies only to harmony notes,
and the key of C does contain additional auxiliary notes
(according to 19)c$, D$, G$, a$.
54. False triads. This name may be given to combin
Ex. 38.
ations of three notes which, when written with the
=**=
Z=tBa=Z
convenient "false notation," appear to consist of a note
with its 3rd and 5th, but which, the notation being
c : vi + G : vii
f:r/+C:rii
corrected, prove not to do so in reality. Many examples
These are available in either the major or minor mode, may occasionally be met with, but the only ones of
and the characteristic interval may be variously accom sufficient importance to deserve special mention are
panied, the accompanying notes generally belonging to apparent major common chords on ///., vi., and fit.
the same key as the sharper note of the interval. Three
Ex. 30. 0)
()
forms are commonly recognised :
Ex. 79. ()
(A
()
(*)
()
. =68
As already implied, in dealing with the analysis of these
chords ( 37) the name " Italian sixth " is applicable to the
augmented 6th with 3rd onlyEx. 29 (a) whichever its
position in the scale; "French sixth" to that with \th
and 3rdEx. 29 (&) ; and " German sixth " to that with
perfect yh and 3rdEx. 29 (c). They may be recognised
(apart from their distinctive effect) cither by the method
of ranging in 3rds and analyzing the quality of these 3rds
( 37) or by reference to keys suggested ( 42, etc.). If an
attempt be made to apply this latter method it will, of
course, be noticed that the different notes suggest different
keys, and this gives a clue to the nature of the chord ; eg.,
if we meet, in the key of c major, with the chord D,
a!>, C, fJ, we shall at once notice that D, Ab, c, suggests
" borrowing " from C minor ; D, f|, c, at the same time
suggesting G major or minor ; or in other words that a?
and F$ are too remote one from the other to occur in the
same keya sure sign either of an interval of augmented
6th, or the exceedingly rare augmented 3rd.
FALSE NOTATION FALSE TRIADS.
50. It has already been said ( 5) that the chromatic

scale has a fixed harmonic notation, with which it is most
important that the student should be thoroughly familiar.
But it was also remarked that it is possible, and may
even be often expedient, to write the chromatic notes as
sharps if they resolve upward, flats if they resolve down
ward, even though this be not harmonically accurate.
This is what we understand by " false notation " (see also
27)51. Perhaps it is superfluous to remark that "false
notation " gives a false impression of the origin of a
chromatic chord. For example, we often meet, in the
key of c, with the chord qjt, E, c, b?, which looks as if it
were borrowed from D minor, but we know that r> minor
is not within the circle for " borrowing ;" here then is
strong inference of " false notation."
52. But if the advice in 6, vi., N.B., has "been followed,
"false notation" will readily attract attention, and the
The correct notation here can scarcely be considered con

venient even though (as is generally the case) the
chromatic notes fall a semitone ; because the mind can
so much more readily grasp the idea of major common
chords than of chords consisting of bass notes with
diminished 4/// and perfect 5th.
55. It is probable that, historically, these chords are
examples of " transitional dominants " ( 26) interrupted
in their progression to their own tonics, and that the
sharp notes are really intended for J's (leading notes of
the relative minors) ; but if they are followed by chords
averting any modulation or transition to those keys, our
modern sense of tonality demands that they shall be
regarded as chromatic in c ; and if the tonic C remains
in undisturbed supremacy, the chromatic notes must bear
their correct relation to that tonic, and are consequently
felt as bv/ [//., and ?///.
Ar.B. It is interesting to note that some composers
have sanctioned this explanation by occasionally em
ploying the correct notation for these chords.
56. Regarded in this modern aspect, as chromatic in c,
Ex. 30 (a) belongs to the C major-minor series (Ap to Bfl,
augmented 2nd, belongs to C minor, eB to C major), Ex.
30 {/>) to the F major-minor series, Ex. 30 (c) to G
major-minor.
Perhaps there will be no objection to
analyzing them as if they were truly major common
chords ill., VI., VII., the (Cc), (Ff), and (Gg) below
(compare Exs. 26 and 27) showing their true origin ; or,
if this be objected to, the following might be substituted :
Ex. 1:.
'S4
fct
(C - c)
(F - f)
vfc
(G-g)
Here the absence of the marks or ' after the numeral

shows that the 5th is perfect, the ^4 suggests the substi
tution of that interval for the normal 3rd. Of course
these chords, correctly noted, cannot be ranged in 3rds,
and are not true " triads."
(On the " Day system," substitute (V,3) (I13) and (II,3)
for the bracketed analysis).
57. " False tetrads1' are often met with, formed by the
THE
April i, 1893.]
MONTHLY
MUSICAL
addition of a diatonic 7th to one of these "false triads."

The analysis will be either III,, VI,, VII7, or 111^, vi^,
Vll/, (compare 56).
58. Many theorists also introduce us to "augmented
triads on I, V," etc.; but these are scarcely " false triads,''
for though their so-called " augmented 5th " must be
really a minor 6th, yet they can be ranged in 3rds and
are simple " borrowed " chords ; eg., c, E, G$ (key c)=c,
E, A?=A?, c, E=f: III.' borrowed. But the chord
shown below requires a word of mention.
Ex. 32.
Pj^Ppfl
C:1
\;
Its apparent analysis, V'r, cannot be accurate, for the

note D$ is " false notation " for eJ? ; it is, therefore, a
" false tetrad " borrowed from C minor ; in which key,
however, the Ei? would only be an " auxiliary note " or
" anticipation," while in the major it becomes a chord
element, and may be analyzed \y6 or V*'3.
(Tff be continued.)

{Continutdfrom page 54.)
In 1871, Verdi, then the most successful and popular

composer of Italian operas, showed in Aida how strong
the influence of the Music Drama was on him. Lohengrin
especially seems to have been prominently before his
mind. It was, perhaps, not to be expected that such a
radical change in idea and method should at once com
mand brilliant and unalloyed success ; and Aida served
to many false prophets as a text wherefrom to preach
that Verdi was wrong in his new tendencies, and that he
would do better to hold to the good old successful paths.
It is a notable chapter in music's history which records
the withdrawal of the presumably unsatisfied composer
from the scene of his successesthe strict silence, as
far as [opera was concerned, which he maintained for
seventeen years. Was he discouraged or beaten ? Was
he sulking in his tent, or feeding pigs in the bitterness of
misanthropy, as Rossini did on much less provocation ?
How could he hope at his age to do more work ? Bach
was sixty-five years, Beethoven fifty-seven, Wagner
seventy when their genius burst the frail bonds of flesh.
Verdi was seventy-three years when in 1887 rumours
long current of a new work, a revolution in Italian opera,
gathered strength, till all Europe was on the tiptoe of
expectation. At last, in 1888, Otello was produced at
Milan, and was received with universal acclamation.
Every representative stage in Europe has it on the reper
toire, and it is not too much to say that with this complete
and public surrender of the latest and greatest Italian
opera writer, that Italian opera, as hitherto understood,
is vanquished. BoTto and Ponchielli have shown in their
works, as well as Aida does, that national elements and
national genius need not be, should not be suppressed
or fettered ; and the tale has been taken up by Mascagni,
RECORD.
77
Leoncavallo, and their young compatriots, whose number

seems to promise a new musical supremacy in store for
Italy. In future, composers of all nations must range
themselves under this free banner of the Music Drama ;
not Wagnerism, nor the adoption of any other fad or
fancy or cult will help. Many a composer we have
mentioned in this course has done good service towards
the realisation of the grand ideal, and it is true that the
most consistent as well as hitherto the most successful
is Wagner ; but, as has been already pointed out, Wag
ner's ideal is beyond and above even his own great self,
and to the great cosmopolitan ideal which will embrace
all countries and all schools every nation will con
form.
" Is Verdi also among the prophets ? " is asked incredu
lously. Can the composer of Rigoletto and Trovatore be
considered as standing on the same artistic platform as
he who wrote Parsifal f
Let us consider in what respects Otello conforms in any
marked respect to the ideal of Music Drama. It does so
firstly in its libretto, secondly in its music, and thirdly in
the connection between music and words. And these
were the three points in which, as we found, the older
schools of opera failed.
The libretto is by Boitohimself a composer of
distinction. He has followed Shakespeare very closely,
except at the end, where he seeks, and not unsuccessfully,
to render the last scene still more pathetic. The only
interpolation of importance is Iago's " Credo," which, from
a musical point of view, certainly offers an opportunity.
But it is hardly justified by Verdi's setting, and from a
dramatic point of view it is not effective. The second
feature is the music ; and there is a great gulf between
Trovatore and Otello in this respect. Verdi has not lost
his melodic powers, nor has his tuneful pen forgotten its
cunning, but in the later work melodies are more manly,
more serious, and above all, they no longer constitute the
opera. The necessity for each singer to have an aria in
each act is no longer recognised, nor do duets and trios
enter as by an inexorable law. These and other forms
are made to fit into the harmonious development of the
plot, and the consequence is that this opera is really a
drama set within musicnot interrupted by it. The
absence of complete cadences is a very noticeable charac
teristic. In the preface to Alceste, already more than
once quoted, Gluck wrote : " I have not thought it
desirable to finish the air when the sense is not com
plete,'' and Wagner made the same principle one of his
chief contentions.
Above all, however, is the care with which appropriate
music is set to the words. There is no more that horrible
reiteration of words especially if they contain good,
open vowels ; there are no longer duets and trios of
eminently undramatic character. But in their place we
find a very large use of what Wagner has called melos
the " continuous melody " of which so much fun has
been made. Melos may shortly be explained as the
wedding of words to the principle of melody rather than
to any single melody. In some degree it resembles
recitative, or it should rather be said that it strives
after the ideal of which recitative is only an imperfect
expression.
Is it then possible for a nation to spend the heyday of
its youth in the search for pleasure, then suddenly to
turn a new leaf and resolve that its wild oats are sown ?
Can a man devote his life to a lower ideal and in
awakening at seventy hope at once to realise the loftier
aim ? Nay, verily ! Wild oats produce as plentiful a
harvest as wholesome seed does, and it must be gathered.
While we listen to Otello we hear more chorus writing
THE
MONTHLY
MUSICAL
RECORD.
[April i, 1893.
than usual ; but what a thin chorus ! Verdi now knows

the powers .of the "brass" colour in the orchestra, but
alas, he is not capable of turning it to the best ac
-j=^3B
count. In the last act, for the first time does he try to
obtain that rich effect so familiar in Wagner's scores^ by
disposing the trombones, etc., in good part writing as a
&fS:t
little orchestra by themselves- .
*5p>-i>=>
1
I
The same may be said of his chorus writing.
He
gains many fine effects from his chorus in Aida, but no
continuous experiments and study in his earlier works
have prepared him unerringly to use the effect he now
longs to introduce. He has more than once written the
extreme parts (.both in choral and in instrumental pieces)
in parallel octaves, and the effect is always thin and often
bad : and the only really fine piece of chorus writing in
the opera is in the finale to the third act.
The old Verdi occasionally shows himself in such a
From the first upward rush of the violins, breaking in
foam against a fortissimo discord as the curtain rises on trivial subject as :
a violent storm scene, we recognise a new Verdi. Dis
'? a * =a
pensing with the overture is great gain, for if the first
scene had been introduced by a storm picture at any
length, the striking effect which Verdi has secured would
have been impossible ; and if he had, on the other hand,
tried to tell tne whole story in the overture, as Wagner has
clone in the I< lying Dutchman, there would have been, as in but the general level is very high indeed :that very case (and from the nature of the dramatic climax,
still more markedly), too great a contrast of emotion
in he beginning of the first scene, and so again this
J <)m *
striking and spontaneous effect would have been missed
-it-^m-Spirited writing is assisted by claps of thunder and flashes
''gWning in a really very effective storm-scene. Othello
and the V enetian ships are making for a harbour of Cyprus
and the invocation of the people who see their danger
1 ^
impresses at once by its breadth and earnestness.
rhe vessels enter the harbour safely, and Othello steps
ashore amid the shouts of the people. We are soon
introduced to Iago, whose character is most successfully
and consistently reflected in Verdi's music. In a short
scene he lays his plans with Roderigo to ruin the newlyfound happiness of his chief. A lively march-like figure
accompanies the announcement of public reioicin* in
and the threefold "kiss motive" which concludes the
honour of Othello's marriage
movement is extremely beautiful. The kisses which are

repeated with such pathetic effect in the last scene of
all, are expressed in music which could not have been
expected from the writer of Trovatore.
^m
& s - -
A fine drinking song by Iago is the beginning of Cassio's

temptation. 1 he dastardly scheme is well carried out un
til at last, inflamed with wine and stung by studied insult
Cassio loses his self-control and draws his sword. Othello's
music is very dignified when he appears to part the
combatants and quell the disturbance ; but when Desdemona rushes out in terror to learn the reason of the
alarming noise the Moor's anger at the disturbers of her
peace breaks out. He dismisses Cassio from the service
and gives his rank and position to the oily-tongued Iaeo
I he love duet which follows is delicious
1 - -ar
(To be continued.)
April I, 1893.]
THE
MONTHLY

A Collection of Articles intended for Educational purposes,
consisting op
Advice as to the Selection ok Classical and Modern'

By E. PAUER,
Principal Professor 0/ Pianoforte at the Royal College ofMusic, &*c.
{Continued from /. 56.)
STEP IV.
Fesca, Alexander. "Scene de Bal." Op. 14 (E major).

The pieces of this highly-gifted, but too short-lived com
poser (1820- 1 849), show that he wrote with great facility,
but they evidence at the same time a certain super
ficiality. The ' Scone de Bal " is unquestionably a showy,
brilliant, and effective piece, well adapted for private
concerts. It is full of spirit, and its principal themes are
very charming and insinuating. If the teacher takes the
pruning-knife, the pupil will be delighted, for there are
several unnecessary repetitions which may, with good
effect, be left out.
Fesca, Alexander. " La Sylphide." Fantastic piece
(E major). Very effective and considerably shorter than
the above.
Hiller. Ferdinand. "Three Ghaseles," Op. 54. The
Arabic Ghasele is a little piece of poetry in which the
same rhyme or word occurs at the end of every second
line. To imitate this form or device in music was the in
tention of this experienced and accomplished composer.
No. 1 (c major), with a dreamy expression.
No. 2
(e minor), very graceful and elegant, Xo. 3 (E major),
with a rather undecided expression.
Hiller, Ferdinand. " Valse Expressive "' (a flat). Op.
58. Very graceful and ingratiating, somewhat in Chopin's
style.
Hiller, Ferdinand. " Marcia Giocosa " and " Marcia
Scherzosa." being Nos. 1 and 3 of Op. 55. Two very
excellent pieces, precise and rounded in form, with an
exhilarating character.
Heller, Stephen, " Charles VI. de Halevy." Fantasia,
Op. 37 (E flat). As Schumann has already, many years
ago, spoken in the highest terms about this excellently
written fantasia, nothing more is left than to endorse this
illustrious critic's opinion.
Heller, Stephen. " Tarentelle." Op. 85 (a minor).
Although not nearly as popular as its companion in
A flat, it yet deserves great praise and warm recommend
ation.
Heller, Stephen. " Promenades d'un Solitaire.'' Op. 78.
Six numbers. No. I (F sharp major), brilliant, joyous,
and decided. No. 2 (f major), subdued, dreamy, and
meditative.
No. 3 (d flat minor), slightly humorous,
with interspersed flashes of melancholy feeling. No. 4
(D flat), a charmingly sweet pastorale. No. 5 (G major),
rich in expression, and full of warm and affectionate
feeling. No, 6 (G minor), very whimsical, not easy of
execution.
Heller, Stephen.
"Sleepless Nights."
Op. 82.
Eighteen numbers. No. I (C major), an excellent study for
wide arpeggio chords. No. 2 (a minor), very excited and
wild. No. 3 (G major), charming, sweet, and thoroughly
melodious. No. 4 (e minor), in admirable contrast to
the preceding.
No. 5 (d major), very interesting,
although not at once captivating. No. 6 (d minor), a
very characteristic and ingenious piece, full of fire. No. 7
(a major), a kind of contemplation. No. 8 (F sharp
minor), very strong and full of passion. No 9 (E major),
very sweet and charming, but suffers somewhat from
MUSICAL
RECORD.
79
Heller's mannerism of repeating two bars over and over

again. No. 10 (C sharp minor), rather mysterious and
lugubrious. No. 11 (G flat), the best number of the whole
collection. It has a sacred expression, and reminds of
the responses in a Roman Catholic church. As a piece
it is highly and carefully finished. No. 12 (E flat minor),
very excited and almost nervously animated. No. 13
i'D flat), a very short, musical phrase serves here as
melody, but if not played with extreme care it will become
monotonous. No. 14 (F minor), very noble, and in its
way, even grand. No. 15 if major), pleasing, and having
a simple expression. No. 16 id minor), very brilliant and
effective. No. 17 (B flat;, very graceful and ingratiating.
No. 18 (B flat), in the style of a hunting piece.
Henselt, Ado/ph. Romanza in F (" Das feme Land,''
" The Distant Country "). A somewhat difficult transcrip
tion of a rather sentimental song of a Russian nobleman.
Grau, Durand de. " La Pluie de Corail." Caprice,
Op. 38 (D flat;. A very showy, but unpretentious
piece.
Grau, Durand de. Op. 24. " II Corricolo." Galop
brillant (f major). A very lively, spirited movement.
Heller, Stephen. " La Chasse." Etude, Op. 29 (E flat).
The great celebrity of this justly popular piece saves all
further remark.
Goltschalk, L. M. " Le Banjo.' Caprice Amdricainc
(F sharp). Its characteristic,- but legitimate, monotony
gives to it the charm of oddity and'piquancy.
Goltschalk, L. M. ". Demiere Es'pcJrance." Meditation
religicuse (B minor and major). Rather difficult, and". its
religious character somewhat spoiled by the introduction
of a figure which reminds of birds fluttering' about.
Another title would better suit the expression of the
whole.
Holm, Fanner. " King o' Scots." Fantasia { r> arid
B flat). Anyone taking interest in the most popular
Scotch melodies will be pleased to play this fantasia.
Jensen, Adolph. "Berceuse.'' Op. 12 (c> major).
May be highly recommended for its charm and finish.
Brahms, Joliannes. "Ballads." Op. 10. Four num
bers. These were among the first pieces which drew the
musicians' attention to the then still youthful composer.
The earnestness, manly nobility, and sustained strength
of intellectuality, shown in every ballad, appertains to
Brahms in a degree that distances an enormous number
of other composers, for he puts heart and soul into his
work, and can therefore reckon to obtain not only the
attention of the performer of his work, but also of his
audience. No pianist of any note ought to be without
these splendid ballads.
Brahms, Johannes. ': Variations and Fugue on a
Theme of Handel." Op. 24 (B flat). These twenty-five
variations are quite worthy of being placed next to the
thirty-two variations of Beethoven, and are certainly
superior to the " Variations Se'rieuses " by Mendelssohn.
Art and science are here combined, and if anyone wishes
to study harmonization, he may take variation No. 20
for an example, which is perhaps the finest of all. The
noble, spirited, and splendidly ending Fugue is not less a
masterpiece.
E. Pauer. "Gleanings from the works of celebrated
composers." The object of these transcriptions is to
enable the pianist to become acquainted with the master
pieces written for stringed instruments or with orchestral
accompaniments :
No. 1. Beethoven. Rondo from the Quintet (piano,
oboe, clarinet, horn, and bassoon), Op. 16, in E flat. The
wonderful life, freshness, beauty of melody, and construc
tion cannot but strike everyone at once ; the rondo is a
work written by a genius, who submitted his inspiration
So
to the laws of the rule and the dogmas of science, and

yet was able to produce a work so full of admirable spon
taneity and constant animation that the performer de
rives the greatest treat and pleasure in playing it.
No. 2. Mendelssohn.
Intermezzo from the String
Quartet, Op. 13. This, with full right, admired inter
mezzo is replete with originality, fascination, and interest.
No. 3. Mendelssohn. Scherzo from the String Quar
tet in E minor, Op. 44, No. 2. Although difficult to
execute it with sufficient crispness and brilliancy, a good
and thorough study of this remarkable movement will
amply repay the trouble spent upon it.
No. 5. Mozart. Andante in G from the Symphony in
D (composed 1786). This andante is one of the most
delicious pastorals in existence.
No. 6. Spohr. Barcarolle in G ; this charming, melo
dious, and noble movement is one of the most popular
stock pieces of violinists, and often played in concerts.
No. 7. Spohr. Scherzo in r> ; the same remarks
apply also to this delightful scherzo.
No. 8. Spohr. Andante from the Concerto in D.
This beautiful violin composition is one of the very best
studies for cantabile playing, sustained expression, ex
quisite ornamentation, and purity of style.
Nothing
better can be recommended for a student who is deficient
in these points.
Moritz Moszkoivski. Five Waltzes, Op. 8. Originally
written for four hands, this arrangement for two hands is
especially welcome.
The waltzes are so original and
effective, so melodious and characteristic, that soon after
their appearance they became great favourites. No. I,
in A, has a martial, decided, and imposing expression.
No. 2, in A minor, is rather earnestly meditative and
slightly melancholy ; its character is a thoroughly noble
one. No. 3, in E major, in the form of a canon, is full of
life and cheerfulness. No. 4, in G, is of the same charac
ter. No. 5, in D major, is pompous, grand, and majestic ;
it is a kind of festive music which strikes our ear and im
presses us with a certain respect mingled with unalloyed
pleasure.
Theodor Kullak. " Soldier's Song," in E, transcrip
tion. The melody by Silcher, which the eminent pianist
and composer Kullak transcribed, is dear to every
German's heart, for its sincerity, simplicity, and beauty
strike us at once with fullest sympathy. Kullak's work
has been done with excellent appreciation of the text and
character of the song, and the fact that he introduces,
before the variation, the striking of the bells announcing
midnight, is an extremely happy and highly effective
one.
Theodor Kullak. " Cavalry Song," in c, is a tran
scription of the old German Song, " Da droben aufm
Bergli," known in England as " Lila s a. 1Lady ;" it is cheerful, bright, and of brilliant effect.
Theodor Kullak. " Sailor's Song," in E major, may be
strongly recommended as a study for crossing in an even
manner the left hand over the right. This transcription
is more difficult than the two preceding ones.
F. Liszt. Richard Wagner's Lohengrintranscrip
tionsElsa's Dream, and Lohengrin's Reproof to Elsa,
and Elsa's Bridal Procession to the Cathedral. These
excellent, effective, and really wonderful transcriptions
are so universally admired that any further recommenda
tion is decidedly uncalled for. The same remark applies
to
F. Liszt. Romance, " O du mein holder Abendstern,"
from Wagner's Tannhauser. The effect of this para
phrase is most excellent.
Charles Mayer. " Valse caprice," in D flat, Op. 85.
[April I, 1893.
Very brilliant, engaging, and effective. The left hand

has to be ready and certain in order to achieve the
necessary effect.
U'ilhelm Ktthe. " Russian Airs." The best-known of
these airs is the so-called " Gipsy " Song, which is here
given in the "Moscow" fashion; the two others are
rather insignificant.
Eugene Ketterer. " Grand Caprice Hongrois," Op. 7,
in e flat. This piece is in reality a very good study to
play octaves from the wrist, and has, thanks to its
brilliant effect, become well known.
Albeit Pieczonka.
" Noce Polonaise," Mazurka de
Concert, in a, very brilliant and showy.
Albert Pieczonka, " Dancing Waves," Yalse in D flat, a
very effective and pleasing piece.
Albert Pieczonka. "Second Tarantella," in E; the
movement is well sustained and of great brilliancy.
J. Leybach.
" Second Nocturne," in D flat. This
unpretentious piece is a great favourite with amateurs. A
little curtailing would enhance its effect.
Ernest Perabo.
" Fragment from Rubinstein's 4th
Trio," arranged for piano solo. The harmonies are rich
and euphonious, and offer a good study for playing
chords.
(To le continued.)

The fashion for one-act operas, which may doubtless be traced
to the immense and immediate popularity of Cavallcria Kusticana, still continues. Your readers must have noticed that
most of my recent reports have dealt, inter alia, with works of
this class. And the cry is " still they come." This month it is
Der Asie/, by Carl Schroeder, which claims our attention.
Some years ago Herr Schroeder was " first violoncello" of the
Gewandhaus orchestra ; but he resigned this post, in order to
devote himself to conducting, his first appointment in this new
capacity being at the theatre of Sondershausen. Here he
founded a Conservatoire of Music. From Sondershausen he
subsequently went to Rotterdam, Hamburg, and Berlin ; but he
has now returned to Sondershausen, where he is at present
Hofcafellmeister and director of the Conservatoire. At Leipzig
Herr Schroeder was known as an excellent 'cellist, and a welltrained musician. His compositions were few, all in the smaller
forms, and of slight value. It is, therefore, all the more sur
prising that, at fifty years of age, he should blossom out as an
opera-composer. A short while back a "grand opera" of his,
called Aspasia, was produced at Sondershausen ; but it has not
yet been seen upon any other stage. But to return to Der
Askct, and its first production at Leipzig. Handicapped by a
rather uninteresting libretto, Herr Schroeder has made the most
of the few dramatic situations which the book offers, and in a
fine love-duet and some very pleasing dance music, he fairly
succeeded in captivating the audience. Popularity rather than
originality is the strong point of the opera : indeed the music is
much indebted to 'Jristan mid Isolde and Die Meistersin'er. It
must be admitted, however, that the composer shows himself to
be a thorough master of form. Der Askct was very favourably
received.
The post of Cantor at St. Thomas's, rendered vacant by the
death of Professor Rust, has at length been filled up by the
appointment of Herr Gustav Schreck, professor of harmony and
composition at the Conservatoire. Herr Schreck is still in the
prime of life, and his musical scholarship is of the ripest ; for
these reasons, his election is a matter for sincere congratulation.
The Thomaner Choir, which of late has shown some signs of
falling off, will doubtless soon recover its lost ground, under so
able a conductor as Herr Schreck.
On the 10th March, the Leipzig Conservatoire celebrated its
Jubilee, or the fiftieth anniversary of its foundation. A grand
morning concert was given to celebrate the event, and the
King ot Saxony honoured the occasion by being present. The
April I, 1893.]
THE
MONTHLY
MUSICAL
RECORD.
81
programme contained but two itemsa new festival overture, Mendelssohn's Prelude and Fugue in E minor, prepared for him
composed expressly for the occasion by Professor Reinecke, and at once a favourable reception. A really grand achievement
Beethoven's Ninth Symphony. The executants were all students was Schumann's enormously difficult Toccata. Pauer did not take
of the Conservatoire, no others being allowed to take part. it at the furious speed of Rubinstein, and thus the composition
The overture was conducted by Dr. Reinecke, and the Sym remained until the end clear and full of character. If we called
phony by Herr Hans Sitt. In the choral finale of his overture Schumann's Toccata difficult, what shall we say of Brahms's
Dr. Reinecke has happily introduced from Schiller's Ode, " An First Sonata in c, Op. I ? And what are its technical difficulties
die Kiinstler," the words : "Ver "Mcnschheit Wiirdc ist in cure compared with the mental work to connect the sometimes
Hand gegebcn." Following the custom here in the presence of missing links of the idea and to fathom its mysteries? Pauer
royalty, all applause was hushed, but at the public rehearsal played the Sonata in an admirable manner. The victorious
strength with which he throws himself on the first chords reminds
Reinecke's new overture was enthusiastically received.
The series of chamber concerts at the Gewandhaus is now of Brahms's own style of playing. The whole sonata was per
at an end. On the 25th February the last chamber concert of formed with manly expression, with full enthusiasm, and with the
Messrs. Prill, Roth, Unkenstein, and Wille was given, the pro greatest correctness and accuracy. Everyone will agree that he,
gramme consisting of Jadassohn's Pianoforte Quintet in c minor, who plays this sonata in such a style, has shown himself a
Mozart's String Quartet in A, and the Clarinet Quintet of thorough master. Tender, singing, earnest, but withal in a
Brahms, Herren Capellmeister Reinecke (pianoforte), and Ress natural manner sounded Beethoven's charming Andante in F ;
ner (clarinet) rendering good service at their respective instru there was nothing artificial or affected, but every good point was
ments. At the last. concert of the Hilf Quartet party, a new detected and exhibited. Perfect was also his performance of
String Quartet by Eugen d' Albert was introduced. It shows a Chopin's Nocturne, No. 7, although this subtle and dreaming
marked advance in the composer's artistic development. The style is less sympathetic to the young artist. In the Polonaise
first two movements are very good. Herr d'Albert played the (a tlat) of Chopin, Pauer distinguished himself particularly by
pianoforte part in a Quintet by Brahms, and the programme the complete ease and evenness with which he played the figures
likewise included Schubert's String Quintet. A very interesting in octaves. Of course, for anyone who takes eleven notes
easily, octaves are mere child's play."
and enjoyable concert !
At the eighteenth Gewandhaus performance the orchestral
works were as follows : Prelude to Die Meistersingtr, Prelude
and Fugue from Lachner's First Suite, and the Eroica Symphony.
OUR MUSIC PAGES.
Herr Arno Hilf was the soloist at this concert, and played the
First Concerto of Max Bruch in excellent style.
The piece presented to our readers this month is No. 8
The nineteenth Gewandhaus conceit brought forward an
interesting novelty in the shape of a new symphony by that of the set of eight short pieces by Max Pauer, Op. 7,
talented composer, Theodore Gouvy. This work, which shows which is noticed under Reviews, page 82.
the composer in the best possible light, was warmly applauded
by the audience, and well deserved their favour. Fine per
formances of Schumann's Overture to Manfred and of the
scherzo from Rheinberger's " Wallenstein " symphony were also
given on the same occasion ; and Frau Sophie Menter, the
world-renowned fiianis/c, played Rubinstein s Concerto in G,
Mendelssohn's " Spinning Song," and one of Liszt's Rhapsodies.
"The " Spinning Song ' was given with a certain nonchalance Musical Kindergarten for Piano Solo.
By CARL
which robbed it of its most essential quality. Wrong notes and
Reinecke. Op. 206 :Vol. I. " My First Pieces "
indistinctness were also remarked in the same piece. Despite
(within the compass of five notes). (Edition No.
these grave defects, the performer was mightily applauded.
6,341, net is. 4d.) Vol. II. " Favourite Melodies"
Neither the concerto nor the rhapsody belong to what is highest
(within the compass of five notes).
(Edition No.
and best in music, though both serve as effective media for the
6,342 ; net, is. 4d.) London : Augener & Co.
display of virtuosity. Frau Menter's execution of them was
These two volumes are the first of a set of nine volumes
certainly phenomenal, regarded as an exhibition of technique.
The twentieth Gewandhaus Concert was honoured by the designed for very young beginners, by the composer of
presence of the King of Saxony. Sponlini's too long neglected the opera Manfred and many other works, such as
overture, "Olympia," was the opening piece. Its scoring is concertos, overtures, quartets, etc., which have placed
fresh and brilliant, and the work deserves to be more frequently him in the foremost rank of living composers.
In
heaid. After the overture came a violoncello Concerto by England he is best known as the author of a large number
Piatti, rendered in masterly style by Herr Julius Klengel. Then of works, such as those before us, which were, no doubt,
followed the air, "Parto," from Mozart's "Thus," most in the first place intended for his own children. They
beautifully sung by Frau Ernestine Heink, of Hamburg. This display an inventive genius in their construction, and are
lady belongs to the front rank of our conlralti. Her subsequent
contributions included Lieder by Reinecke, Schumann, and at the same time remarkably simple and tuneful in their
In the first book we have 20 little pieces,
Schubert. Herr Klengel was also heard in a "Sarabande " of character.
his own composition, and Paganini's " Perpetuo mobile," the slightly progressive, with names which interest every
latter perhaps the greatest lour de force ever accomplished by child, and a pastoral sonatina, consisting of four pretty
movements called " The Echo," "The Shepherd's Dance,"
any violoncellist.
" Birdie's Burial," and " Swallows on the Wing." An
excellent likeness of the composer embellishes this
volume.
Book II. contains 23 numbers, mostly airs
MAX PAUF.R IN VIENNA.
selected from standard operas.
No. 23 is a charming
Dr. E. Hanslick writes in the Neue Freie Prcsse of the 14th miniature comic opera without words in eight numbers
March, 1893:
viz., " Overture," " Peasants' Chorus," " Song of the Fair
"A great and well-merited reception had Max Pauer, an Maid of the Mill," "Song of the Village Barber,"
artist hitherto unknown in Vienna. In point of technique he is " Romance of the Huntsman," " Quarrel Duet," "Canon,"
highly accomplished, but added to this, he is a thorough musi and " Finale." Can anyone conceive anything more
cian a musician who keeps the command over mere tech delightful for our little folk, who have not yet reached the
nique. A classical training, honestnot exaggerated feeling, stage of finger exercises and scales ? We may mention
never-failing precision, and most minute working out, are to that there are two editions, one for piano solo, the other
l,e remarked in each of his performances. The first piece, for piano duet.
sRebietot* of #eto fiRuiit anto &eto

editions.

La Vetoa'te.
Grande itude brillantc de Concert pour
Piano. Par C. Mayer. London : Augener & Co.
The celebrated studies by this composer (pupil of J.
Field, and one of the best pianists and teachers of his
time) are of lasting value, not alone on account of their
perfect form and brilliant style, but also for the technical
material to be found in each. The title of the one under
notice sufficiently indicates its object, and the delicacy
of its style marks this concert study for popularity, of
which it deserves an equal share with the well-known
Arpeggio study in fJ major, viz., " La fontaine." The
fingering is continental.
[April I, 1893.
First Instructor in Pianoforte Playing. By Cornelius

Gurlitt. Op. 139. (Edition No. 9,910; net, is.)
The introductory remarks are very good, and contain, in
a small compass, as much information as it is desirable
to impart at the initial stage. The studies are really
progressive ; that is, they gradually lead the little player
forwards, instead of attempting to do so by leaps which
are beyond him, as is too often the case.
Idyllen. Six characteristic pieces for the piano. Com
posed by W. H. Nicholls. Dundee : Methven,
Simpson & Co.
These are unpretentious little pieces, likely to appeal
more directly to the composer's two friends to whom they
are dedicated, than to the general public. The themes
are not new, and in their treatment we have signs that
the composer's grammar is not so sound as it might be.
There is only one out of the set that is deserving of
mention, and that is. the last, headed " Pastoral."
Lieder ohnr U'orte (Songs without Words) for the piano

forte.
By Felix Mendelssohn - Bartholdy.
Boric VII. Op. 85. (Edition No. 8,237a/ net, is.)
Thi', book gives us six of the posthumous Lieder Nos.
37-42, which first appeared in print in February, 1851,
tiius completing this excellent edition, with the exception
of Book VIII., which owing to the exigencies of copyright
law, cannot appear just yet. These six song's have been Symphonies. By Joseph Haydn. Arranged for pianoforte duet by Max Pauer. No. 5 in D major.
phrased and fingered with most reverential care.
(Edition No. 8,554* , net, is.)
London : Augener
& Co.
Miniatures for Pianoforte Solo.
Eight short pieces.
By Max Pauer, Op. 7. (Edition No. 6,315 ; In drawing attention to this symphony, we need not do
more than say that it is fully up to its predecessors in this
net 2s.) London : Augener & Co.
The perusal of these short pieces has afforded us con admirable series in all respects. Amateurs will recognise
siderable pleasure.
They exhibit much skill in their it as No. 2 of the Salomon set, having been written in
construction and harmonisation, and well illustrate the 1791.
character of their familiar titles. We particularly fancy Senates Miniatures pour Piano a 4 mains. Par Carl
Xos. 3, " Caught at Last " ; 4, ': Reverie '' ; 5, " Taran
Reinecke.
Op. 213: I. En La.
II. En Sol
tella " -. and 8, " Waltz " ; but the remaining numbers,
majeur. (Edition Nos. b,ofayi.b ; net, is. each.)
'Northern Song," "Musical Box,'' "Scherzo,'' and
" Pastorale " are also pleasing, although very light. The We have here two more examples of Reinecke's gifted
waltz is an excellent piece, with strongly-marked charac powers of writing for the young, perfectly easy, and yet
teristics of the national dance of Germany. (See our how melodious and how clever in their construction.
Music Pages.)
Each movement is a perfect miniature of the sonata form,

Morccaux pour Piano. Par Anton STRELEZKI. No. and each theme so graceful and pleasing, that they will
37. Caprice- btude. 38, Mazurek en Si b6mol majeur. afford genuine enjoyment to marry even more advanced,
who may take them up for practice in reading a prima
The Mazurek is much in the same style as most of vista.

Strelezki's pieces, that is to say, it is melodious, light, and Triofor Pianoforte, Violin and Viola. By Max Reger.
not difficult. The Caprice-e'tude, on the other hand, is a
Op. 2.
(Edition No. 5,283 ; net, 3s.)
London :
boldly-written velocity study for the right hand, with the
Augener & Co.
melody standing out in octaves, accompanied in the left The work now before us, is in some respects very
hand by short chords on the unaccented divisions of the meritorious, though in others deficient. Its first move
measure. This is a useful study, but requires a strong ment, Allegro appassionato ma non troppo, in B minor,
hand to give due force to the extensions. The latter impresses us from the outset ; we feel we are dealing
piece is dedicated to Mons. Eugtne D'Albert.
with a composition of an ambitious nature, and, therefore,
give it an attentive hearing. The character of this allegro,
Papillons, pour piano. Par Anton STRELEZKI. (Edition however, is vague, and suggests to our minds a Rhapsodie
No. 6,466 ; net is.) London : Augener & Co.
or Fantaisie rather than anything else. There is an un
Tins is a set of eight short pieces, which merits more interrupted flow of harmony, which shows the composer
than ordinary praise. They partake of the character of to be a master of the science ; still, there are no themes
litudes, and may be used with advantage in place of to interest us, so when the movement comes to an end,
them, or they may be played as pieces, and as such will we are disappointed in it. A scherzo in E minor follows
prove both attractive and instructive to players of mod this, which is fairly good, and somewhat easier both to
erate ability.
play and understand, as it is written in the usual form.
Perles Musicalcs. Morceaux de Salon pour Piano scul. The last movement, Adagio con variazioni in B major,
No. 20, S. Noskowski, Humoreske, Op. 41. is a theme with five so-called variations (we can find no
traces of the theme in Variation 2). Variation 5 is a
This lively piece by a very clever composer, is one which remarkable piece of florid writing, which we imagine
cannot fail to please ; it has no difficulties for a moder will puzzle some experienced players to render along
ately good player, and is so written that it comes easily with the other parts.
The trio throughout gives the
to the fingers. It is very sprightly in character and has excess of work to the pianist, the stringed instruments
many points which commend it to teachers ; indeed, we having rather disjointed parts to play, not difficult but
consider this collection of salon music is most judiciously lacking continuity, the effect of which is that they seem
selected for their use.to be made up of scraps of themes ; indeed, that is just
April 1, 1893.]
MAX
PAUER'S
MINIATURES.
8 Short Pianoforte Pieces, Op. 7.

(Aujre/ier's Edition X'.' 6315,)
N9 8. WALTZ.
Copyright 1803, by Augener & C
83
[April 1, 1893.
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THE
MONTHLY
what is really the case. We are sorry not to be able

to speak more favourably of this work, as we gladly
welcome anything new for this combination of instru
ments, but we are bound to say that the composer is
straining his abilities to produce a work which might
claim to be the " music of the future."
Six Quartets. By Beethoven, Op. 18. Arranged for
piano, violin, and violoncello by Fr. Hermann.
(Edition Nos. 9,291-6. Six books each, net is. 6d.)
Also Arranged for Violin and Piano. (Edition Nos.
7,341-6. Six books, each, net is.) London :
Augener & Co.)
The Beethoven String Quartets must necessarily lose
much by their arrangement for any other combination of
instruments, and the same must be said of the symphonies.
When we consider, however, the immense amount of
good that has been derived from the study of these works,
we must see the advantage of their being brought within
the reach of those who cannot command the services of
an orchestra, or even a quartet of strings, and we must
therefore admit that these arrangements are of real value,
and congratulate ourselves on having them so beautifully
done. Prof. Hermann adheres faithfully to the original
score, and his work is done most conscientiously ; the
parts are all fingered and lettered ; the edition is in a
clear and distinct print, and the price brings it within the
reach of all. The six quartets are now published in
two arrangements, one for violin and piano, and the other
for piano, violin, and 'cello.
MUSICAL
RECORD.
87
not in the Winter," (6) " I Love Thee." Nos. 3 and

5 are very good, and No. 6 takes very high rank in
deed among songs of its kind, and we must congratulate
the writer upon such a charming idea so well worked out.
Vortragsstudien. Eine Sammlung hervorragender und
beliebter Tonstiicke alter Meister f/ir Violins mil
Begleitung des Pianoforte bearbeitet von Gustav
Jensen. * No. 13, J. S. Bach. Andante aus der
A moll Sonate. No. 14, W. A. Mozart. Larghetto
aus dem Clarinetten-Ouintet. London : Augener &
Co.
We can add nothing to what we have already said with
regard to this collection of gems of the old masters. The
two latest instalments, by Bach and Mozart, are edited in
his usual careful manner by Gustav Jensen, who has also
arranged the pianoforte accompaniment. Teachers of
the violin should take note of this set, as it furnishes them
with pieces which may be relied upon as particularly
suitable for their requirements.
Morceaux Favoris pour Piano a 4 mains. 45, M. MoszKOwski, Minuet, Op. 17, No. 2. 46, Scharwenka,
Polish Dance, No. 3 in e flat. London : Augener &
Co.
The minuet by Moszkowski is the one in G major for
piano solo, which called forth so much admiration from
all pianists when it first came out. Its appearance now
as a pianoforte duet will make it still more widely known,
as in this form many of its difficulties disappear, while
all its beauties remain. The lively and characteristic
/. /. Pleyel. Duets. Op. 44. Newly revised, fingered themes of the Polish dance by Scharwenka are very
and arranged for violin and piano by Fr. Her effective as written for four hands, and offer but little
mann. (Edition No. 7,544 ; net is. 6d.) London : difficulty of execution, so that these two pieces will be
found highly satisfactory from every point of view.
Augener & Co.
Opus 44 of Pleyel consists of three duets for two violins
which were noticed in our reviews of last month ; the Practical School for the Violin. By E. W. RlTTER.
Book X. Scales in two octaves, exercises and duets
present being one of numerous arrangements by Her
in the first position. (Edition No. 7610^/ net is.)
mann, which will prove decidedly useful. They contain
much that is attractive to young players, and are therefore
particularly suited for educational purposes. The simple, We now come to the tenth and last book of this violin
melodious themes are worked out at length, and the schoolat least, there is at present no announcement
interest is well sustained to the end of each movement. that the author intends to carry his work through the
In this arrangement the piano part is adapted from the other positions. The ten books taken together form a
original 2nd violin part only. To make such a transcrip school for training a violinist in the first position. It
tion effective calls for the practised hand of the musician, contains many excellent studies for acquiring facility in
and even then does not always work out so successfully the various styles of bowing, besides many useful
as in the instance before us. Wc feel every confidence exercises for giving independence and fluency to the
in recommending this old standard work in its new fingers of the left hand. Book X. contains two special
studies, one on the thrown bowing, the other on Alargarb.
tele or hammered bowing, and the last scales are given
Another Glass before we go. Words by William Black. along with many pleasing duets for two violins by J. von
Set to music for five male voices by Hamish Blumenthal. We trust this practical work will obtain
MacCunn. (Edition No. 4,916 ; net 6d.) London: popularity and be valued as it deserves, as nothing could
Augener & Co.
be more satisfactory for starting a pupil with.
Whatever Mr. MacCunn takes in hand is sure to be
done well ; and this glee for A.T.T.B.B. will fulfil all Six (Juarlcls for Two Violins, Viola, and Violoncello.
expectations. It is fresh and interesting, making no
liy Beethoven. Op. 18. Revised by Fr. Hermann.
unusual demand upon the voices, and we feel certain it
(Edition No. 7201 6, six books ; net is. each.) Lon
will become popular with male-voice glee singers.
don : Augener & Co.
The present new edition of the first six quartets of
Six Songs with Pianoforte Accompaniment. By EMIL Beethoven calls for special remark on account of the
Kreuz. Opus 26. (Edition No. 8,880 ; net is.) excellent editorial work done by Prof. Hermann, the
esteemed violin master at the Leipzig Conservatoire, than
Th v. present work, containing settings for a mezzo-soprano whom a more experienced and competent authority
voice of words by Campbell and Hood is a pleasant could scarcely be desired. Not only college students but
example of Herr Kreuz's original and graceful style. amateurs who meet together to play these works will
The titles, in order, are : (1) " O, how hard it is to find," feel additional pleasure and satisfaction in playing from
(2) "The Maid's Remonstrance," (3) "Spring it is clearly printed parts, which give correct phrasing, bowing,
Cheery," (4) "A Lake and a Fairy Boat," (5) "It was fingering, etc., as well as letters at all points where Lit
ss
THE
may be necessary to repeat portions for practice. We

need hardly say more in favour of this edition than that
it bids fair to become the popular performing edition
throughout the country.
Mass in D. By E. M. Smyth. London : Novello,
Ewer & Co.
THIS Mass, which was given by the Royal Choral Society
at the Albert Hall, on January 18 last, is the work of a
young lady who is undoubtedly gifted above her fellows,
in that she shows exceptional talent for composition,
striking originality of expression, and a thorough mastery
of technical detail. Whether Sir Joseph Barnby would
have given the mass a hearing, in preference to other
new works, except for royal influences, is a question
which must arise in the minds of most people, although
it need not interfere with a natural feeling of admiration
for such an ambitious and original composition from a
lady's pen. Speaking generally, Miss Smyth's best work,
is to be found just where her unfortunate tendency to
strain after effect is least noticeable. The Benedictus,
for soprano solo and three-part chorus for female voices,
is a notable example. This is a beautiful number, of
which one can speak in unqualified terms of praise, and
it is a matter of regret that the lady, gifted as she un
questionably is, should not have been content to obtain
by more sober paths the end which one cannot help
feeling is within her reach, but which she often misses by
over-elaboration. If Miss Smyth would discourage this
weakness, and would be content to write more in accord
ance with set form, her genius will show itself through
her work to greater advantage than in the present
instance.
Patter's Birthday Book. London : Forsyth Bros.
" Shakespere," "Tennyson," and other Birthday Books
suggested to Mr. Ernst Pauer the idea of compiling
one of Musicians and Composers. It is interesting
to note the days on which great musicians came into
the world, and departed from it, but the book under
notice serves also a practical purpose : the years both
of birth and death are also given, reminding readers of
the period at which the various composers lived. Those
whose business it is to learn and remember dates have
but little idea of the vague knowledge respecting these
matters possessed by many who are interested in music.
And yet for a proper understanding of musical composi
tions how important it is to know about the period at
which they were written ! Mr. Pauer has also inserted
remarks, reflections, maxims, etc., selected from the
biographies, letters, and essays of celebrated musicians,
philosophers, and poets. In the case of the greatest
masters Bach, Mozart, Beethoven there is an acrostic
or some quotation specially referring to the composer,
but in other cases such direct connection is only rarely
possible. An excellent Index of Paragraphs enables
those who possess the book to see at a glance what a
store of useful thoughts it containsnot only on the com
posers, but on music generally, and on its connection
with the sister arts of poetry, painting, and architecture.
At the end of the little volume there is also a useful
alphabetical list of the composers' names. Nulla dies
sine linea is the motto of the book, and this one may
perhaps read as : No day without date.
[Apiil I, 1893.
comic opera after the feeble examples we have seen recently

produced on the stage under that title. Mere music hall jingling
tunes, and pantomimic buffoonery has done duty of late years as
comic opera ; but it is nothing of the kind, it belongs to burlesque
and extravaganza, and the music seldom possesses any originality.
But The Golden Web, so far at least as the music is concerned,
may rank with some of the brightest inspirations of Auber and
other French writers of opeVa comique. It is fresh, sparkling,
and original, and the scoring is full of ingenuity and grace.
Charming passages blended most skilfully fill up the pauses in
the melodies, which are themselves full of dainty phrases and are
piquant and attractive. The concerted music also reveals the
work of an accomplished musician, and as we listened to it on
Saturday, March nth, when it was heard for the first time in
London, we could not help a deep feeling of regret that England
had lost so good a composer. The opera was first performed at
the Court Theatre, Liverpool, by the Carl Rosa Company, in
February, and we briefly alluded to it last month. But the
work has gone beyond our expectations. It was satisfactory to
hear the audience at the Lyric so warmly applaud music of a
far higher character than is generally heard in works of the
kind. Whether it may not prove too artistic for the "million "
is the anxious question for the management. But let us give
Mr. Horace Sedger the credit he deserves in producing a real
English comic opera, and we trust he will be rewarded for his
enterprising effort. Of the libretto we are sorry we cannot speak
so favourably. The subject is a good one, but the opera should
have been played in two acts instead of three, and then a vast
amount of tiresome dialogue of no value to the work might have
been omitted. Sir Arthur Sullivan and Mr. W. S. Gilbert, wise
in their generation, play their works in two acts, and thus avoid
the pitfall of weariness. The story is of a Fleet marriage
brought about in a curious way. The heroine has a relative,
Dr. Manacle, who is a " Fleet parson," and the hero is a young
gentleman who has been reckless and squandered his fortune.
He also has taken refuge in the Fleet, the period being 1750.
Lord Silvertop, a wealthy old beau, is anxious to get Geoffrey
Norreys out of the way, as he thinks he might then win the lady,
Miss Amabel Bullion. It appears that the hero will receive five
thousand guineas on the day of his marriage, and as he is pressed
by creditors he avails himself of Dr. Manacle's advice to marry
a lady of his choosing. The lady being closely veiled during
the ceremony Geoffrey has no idea that he has married Amabel,
the artful " Fleet parson" having arranged that the damsel shall
be so disguised that there will be no chance of recognition.
Accordinglv Geoffrey takes the little fortune. Husband and
wife part when the ceremony ends, and do not meet for three
months, when Geoffrey and Amabel encounter each other in the
gardens of Ranelagh They renew their vows, the hero all un
conscious that he is wooing his wife, and Amabel, in order to
test her lover's constancy, keeps her secret. In the endwhich
is far too long delayedan explanation comes and all ends
happily. The lover has in the meantime come into his title and
estate consequent upon the death of his father. The work
was cleverly performed. Mr. F. Shale, who has a good tenor
voice, represented the hero, and sang effectively, but his acting
was but moderately good. Mr. Richard Temple was excellent
as the foppish old Lord Silvertop, and Mr. Wallace Brownlow
sang the music of Dr. Manacle, the parson, extremely well, but
his comic acting wanted a little more breadth. The opera, con
ducted by Mr. Bunning, had full justice done to the music, and
Miss Alice Esty, as the heroine, sang and acted charmingly, her
fresh voice being warmly appreciated. Madame Amadi was
also excellent.
"ORPHEUS" AT THE LYCEUM THEATRE.

On Saturday afternoon, March nth, by the kind permission of
Mr. Henry Irving, the pupils of the Royal College of Music
were enabled to give a very successful performance of Orpheus.
Gluck's opera was performed a short time since at the same
theatre, but the representation gained in artistic effect on this
occasion, and the theatre was filled in every part. The Prince
LYRIC THEATRE.
of Wales and a host of celebrities witnessed the performance,
The production of the late Arthur Goring Thomas's opera, '/Vie the most important feature being the fine impersonation of
Golden Web, in London, may be regarded as an event of some Orpheus by Miss Clara Butt, whose magnificent voice will
importance. Musicians were beginning to lose faith in modern probably lead to her becoming a famous vocalist. Already she
Operas anli omtrte>
April I, 1893.]
THE
MONTHLY
has acquired great command of her beautiful voice, which is rich,

sympathetic, and of ample volume. She has the true contralto
quality, while, in addition to deep and powerful low notes, her
compass extends upwards to the range usually possessed by
mezzo-soprano voices. It is even and pure throughout the range,
and when Miss Butt has further developed its resources by study
we may look for an artist of high capacity. As may be expected,
her acting still leaves much to desire, but even in the brief period
that has elapsed since her first appearance she has made an
advance, showing that she possesses intelligence and the faculty
lor culture. Miss Maggie Purvis was a graceful representative
of Eurydice, and sang the music well. Miss Ethel M. Cain was
pleasing as Eros, and Miss Reynolds was charming as the
"Wandering Spirit." Dr. Villiers Stanford conducted, and
the opera went remarkably well, band and chorus being excellent.
The work was beautifully placed upon the stage, and Mr,
Richard Temple proved an efficient stage manager. The classic
tone of Gluck's fine opera was preserved throughout, and the
costumes were graceful and artistic.
THE BACH CHOIR.
On March loth, the Bach Choir returned to its original plan,
and with the result that the St. James's Hall was completely
filled.
When recently works by more modern composers
were given the public became apathetic, and stayed away, but
on this occasion, when the works of Bach filled the entire
programme, the greatest interest was taken in the proceedings.
The first item was the Trauer Ode of Bach, written for the
funeral service of the wife of Frederick Augustus, Elector of
Saxony, and first performed in 1727. It is composed for solo
voices and chorus, the old-fashioned instruments, the oboi
d'amore employed in the instrumental portion having
been expressly manufactured for the Society. The viol da
gamba was in use when Bach composed the music, but in this
instance the passages for that instrument were played on the
violoncello. The ode is in two parts, the funeral oration having
been delivered between the parts. The solos were sung by
Mrs. Hutchinson, Hiss Hilda Wilson, Mr. Houghton, and Mr.
Ilenschel, the latter artist being remarkably effective. Mr.
Benett played the flute obbligato, and Mr. Howell's rich tone
on the violoncello was of great value. Professor Stanford con
ducted the ode with his accustomed ability. The orchestral
Suite in c major was interesting, but would have proved more
attractive if the three trumpets had been a little less shrill and
brassy in tone. In the second part the church Cantata, Herr
wit dti willst, was given with the above vocalists. The Concerto
for three pianofortes and stringed orchestra, in n minor, was to
many the most attractive item of the evening. The solo pianists
were Miss Fanny Davies, Mr. Leonard Borwick, and Mr.
Henry Bird, and they gave the music in a most satisfactory
manner ; the orchestral passages were also judiciously played.
The most striking movement was the finale, a fugue in which
the genius ol Bach was fully developed, the various amplifica
tions of the theme being heard with the greatest pleasure, and
the entire performance was charming. In some instances the
strings have the fugue, the pianofortes executing brilliant
passages.
^__
WESTMINSTER ORCHESTRAL SOCIETY.
Among the Societies devoted to music of a higher class than ama
teurs generally cultivate may be named ' 'The Westminster Orches
tral Society. "and on Wednesday, March 15th, we were present at
an excellent concert, the only fault of which was a somewhat
too ambitious choice in the Symphony. It was Mendelssohn's
" Italian" Symphony, which, as everybody knows, requires to be
taken in some of the movements at an extremely rapid pace. Mr.
Stewart Macpherson, the clever conductor, possibly had not
quite sufficient confidence in the executive powers of his instru
mentalists, and in order to avoid any risk of a scramble took
at least two of the movements, the first and the last, at such a
leisurely pace that much of the effect intended by the composer
was sacrificed. Ambition is a good thing, and need not be dis
couraged in youthful musicians and cultivated amateurs. The
performance of the symphony had points of merit which we by
no means ignore, but it would have been well to have deferred
MUSICAL
RECORD.
89
the performance until the players could be trusted to take the

fiery opening movement and the impetuous finale in the Tempi
expressly indicated by the composer. In other respects we can
cordially praise the Society, and in the accompaniments to Max
Bruch's beautiful Romance for the violin and orchestra there was
a finish and delicacy in the orchestral playing worthy of hearty
praise. Mozart's overture to Zaubcrfliite was also well played.
Mr. Frye Parker was the soloist in Bruch's Romance, and played
with a pure tone and refined execution. The " Queen " vocal
Quartet, consisting of four clever young ladies, sang with
effect, as did Mr. Thomdike, who chose for one of his songs
Schubert's Dein ist tneiti Herz, one of the sweetest love songs
in the world. Mr. Thomdike sang it with excellent expression
and execution. What a pity it is, remembering the magical
beauty of these songs, that the name of Schubert is so seldom
seen in our concert programmes. Out of the hundreds of ex
quisite songs Schubert wrote, surely vocalists might discover
others than the two or three 'which are occasionally introduced.
At the same concert, "A Song of Thanksgiving," by Miss
Allitsen, deserved warm commendation.

The concert of the 4th of March introduced a' new overture by
Mr. G. Marshall Hall, an excellent musician who represents
music at the Melbourne University. The overture is supposed
to be an allegory of life with its "resolution, yearning, pain,
and sorrow ;" in the earlier portion glimpses of hope and consola
tion are traced ; in the latter portion, mysterious notes from
the horn give an idea of some "divine far-off event toward
which the whole Creation moves," to express the idea in the
words of the late Poet Laureate. This will give some idea of the
emotional character of the overture, which serves to express in
music thoughts beyond the reach of words. The band, under
Mr. Manns, played the overture admirably, and if not entirely
understood as ideal works seldom areit was appreciated.
The Symphony in F of Brahms was finely played. M. Slivinski
made his first appearance at the Palace, playing Chopin's Con
certo in E minor and pieces by Schumann, Rubinstein, and Liszt,
the latter being encored. Madame Belle Cole sang an air from
The A'ose of Sharon and Gounod's Easter Eve admirably. On
the nth, a Mass in I), by DvoFak, said to be performed for the
first time in public, was produced. Naturally great interest
was felt in the work of such a master. It was written in 1887
for the consecration of a chapel belonging to a private mansion
in Bohemia. Since then the composer has enlarged the work,
but it is not framed on the same large proportions as his other
works, being for the most part very simple and melodious, and
for that reason it is likely to become popular. Madame Clara
Samuell, Miss Marian Mackenzie, Mr. Edwin Houghton, and
Mr. Andrew Black were the soloists. Schubert's 23rd Psalm
for female chorus, with accompaniment by Mr. Manns ; the over
ture to The Light of the World, and the Andante and Finale
from Mendelssohn's "Reformation" Symphony were included
in the programme. Dr. Joachim gave Mozart's Concerto for
violin in A, and Gade's Capriccio on the 18th. He gave new
life to the violin composition of Mozart, his rendering of the
Cantabile passages being perfect. .Schumann's "Rhenish"
Symphony, and Mr. Hamish McCunn's " Land of the Mountain
and Flood," the Vorsficl to Tristan mix /sol le, and the Pre
lude and Processional music from Moszkowski's opera Boabdi!
were on the programme, and Miss Mary Harris sang well.
POPULAR CONCERTS.
Bach's Double Concerto, played by Dr. Joachim and Lady
Hall6, was one of the prominent features on Saturday afternoon,
March 4th, when the audience was larger than it had been on
any previous occasion this season. The famous violinists met
with an enthusiastic reception, and were compelled to repeat the
slow movement. Miss Fanny Davies was very successful in the
new pianoforte pieces of Brahms. Beethoven's Quartet in F
minor, Op. 95, was beautifully played by Messrs. Joachim, Ries,
Straus, and Piatli. The lovely pianoforte trio in B flat of
Schubert was another delight for the audience. Mrs. Elene
Eaton, an American dramaticsoprano, sang an air from Handel's
Semele and Rubinstein's song, " The Asra," with some effect.
QO
THE
MONTHLY
At the concert on March 6th Dr. Joachim and Miss Fanny

Davies played Beethoven's Sonata for violin and pianoforte in
G major, Op. 96. Cherubini's Quartet in E flat was another
interesting work, in which Dr. Joachim was admirable as the
first violin. Beethoven's trio in c minor also charmed the
audience. In Schumann's " Papillons " Miss Fanny Davies de
lighted all who heard her. In response to an encore she gave
one of the new pieces of Brahms, Op. 1 16. Miss Evangeline
Florence sang Weber's Scena "Softly Sighs" in good style.
At the conceit of Monday, 13th, Mendelssohn's posthumous
Quintet in B flat. Op. S7, was performed by Messrs. Joachim,
Ries, Straus, Gibson and Piatti. The third movement was so
much appreciated that it was redemanded, but this compliment
was not accepted. Haydn's cheerful Quartet in G major, Op. 64,
No. 4, delighted everybody. Mr. Leonard Borwick played some
Chopin pieces with excellent effect. Signor Piatti gave a solo,
and Miss Alice Gomez sang charmingly. The last concert of the
season took place on Saturday, the 1 8th, and attracted a large
audience. Mile. Wietrowetz was the solo violinist, and gained
cordial approval as the first violin in Beethoven's Quartet in B
flat. Op. 18. She also played Spohr's Dramatic Concerto with
admirable effect. A new pianist, Mr. Charles Forster, was
heard for the first time in Schumann's "Carnival." He is a
neat and finished rather than a powerful player, and gives the
impression that he is more at home in the romantic than the
classic school. Mr. Santley was the vocalist and sang with his
customary effect.
MUSICAL
RECORD.
[April I, 1893.
orchestra was satisfactory, and Sir Joseph Bamby conducted with

the utmost care and zeal. It was evidently a labour of love.
WAGNER CONCERT.
The lovers of Wagner had a treat on the 14th, when there was
such a demand for places that all the tickets were sold, an
unusual thing to happen at any concert at the present day. But
Wagner's star is in the ascendant, and Mr. Henschel, with his
excellent orchestra and his own admirable services as conductor,
gave a splendid rendering of a number of Wagnerian selection?,
instrumental and vocal, making the concert thoroughly represent
ative of the composer. The audience frequently became enthu
siastic, and their applause was fully justified. Miss Palliser sang
exquisitely in place of Miss Macintyre. " Why not another
Wagner concert at an early date ? " we heard more than one
visitor say.
Sir Augustus Harris will give at Easter a brief operatic
season at popular prices. It will take place at Drury Lane
Theatre, and,will include some of the most popularworksof the past
season. There will be no lack of variety, as occasionally English
as well as foreign operas will be given. The decided advance in
popularity of Wagner's works was proved by the warm reception
last season of operas which never before secured the entire ap
proval of our opera-goers. Alive to this, Sir Augustus Harris
has already paid a visit to Germany to make arrangements for
the forthcoming season, which, if we escape a change of Govern
ment, promises to be a very brilliant one, as, in addition to
Italian and French works, ' the enterprising lessee will produce
some of the German masterpieces, and will, as before, utilise Drury
Lane Theatre when required. Important engagements are made
for the Covent Garden season, and several new singers of great
continental repute will appear. Mr. Cowen's opera Signa is to
be produced at the Dal Verme Theatre, Milan, towards the end
of April. Mr. G. A. Clinton's wind instrument Chamber Concerts
at the Prince's Hall deserve the warmest encouragement. There
are compositions of great beauty written by the best composers
for combined wind instruments, and they have been too long
neglected. Miss Amy Louise Reeves, a clever pupil of Mr.
Francesco Berger, gave a pianoforte recital at Steinway Hall on
Saturday, March 4th, and delighted a large audience by her ex
cellent playing. The "Strolling Players Orchestral Society''
gave a pleasant Smoking Concert at St. Andrew's Hall, Newman
Street, on the 15th. The Duke of Teck was in the chair. The
performance of The Golden Legend by the students of the
Guildhall School of Music on March 22nd was a great success.
The " Wind Instrument Chamber Concert " of the 24th was
interesting.
The first concert of the season was given on Thursday, March
9th, and it was a long one. Some thought it too long, as the
last item was Auber's overture Marco Spada, which nobody par
ticularly cared for, but there were more important works on the
programme, and these were heard to advantage under the direc
tion of Dr. Mackenzie, whose appearance in the orchestra was
the signal for hearty applause.
He conducted the "Eroica"
Symphony in the ablest possible manner, and secured the ap
proval of all lovers of Beethoven. The overture to Euryatithe
was also a great success. An interesting item in the programme
was Dr. Hubert Parry's incidental music, composed for the tragic
play J/ypalia, now being performed at the Haymarket Theatre.
We mentioned last month the chief characteristics of the music,
which was heard with great pleasure, and perhaps to greater
advantage apart from the stage. M. Slivinski interpreted the
Schumann Concerto rather " fiercely," if one may use such a
term. Schumann certainly admits of tenderer treatment than
that of M. Slivinski. On this occasion Miss Nancy Mcintosh
replaced Miss Macintyre, who was indisposed, and sang cleverly
the air of Massenet, " II est doux et est bon." but there are other
kinds of music that would probably suit her better. The general
impression made by the concert was most favourable as regards the
tone and execution of the orchestra, and there appears to be every
prospect that Dr. Mackenzie will be an admirable conductor.
He is undoubtedly popular, and it is certain that his choice of
music will be dictated by devotion to the best interests of the
Philharmonic Society. At the concert of the 23rd, Mr. Frederick

Cliffe's Symphony in F. minor No. 2, written for the Leeds
A CRISIS seems to be approaching in M. Bertrand's
Festival, was very successful. Mr. Arthur Somervell's " Orches management of the Grand Opera.
His first year has
tral Ballad " was also well received. Miss Wietrowitz played the closed with a deficit of nearly 400,000 francs ( 16,000),
Violin Concerto of Brahms
which he attributes chiefly to the loss on the cheap
Sunday performances. The Minister of Fine Arts is
asked to consent to a slight increase in the prices for the
Saturday performances, which, it is hoped, would make
A CAPITAL performance of Handel's Israel in Egypt was given up for the losses on the Sunday. Meanwhile, rumours
under the direction of Sir Joseph Barnby at the Albert Hall on are abroad that, perhaps, M. Gailhard may return, not as
March 8th. The choruses were magnificently sung, the "Hail director, but in some sort of association with M. Btrtrand.
stone Chorus " being, as usual, repeated in obedience to the uni
versal desire of the audience. The question whether the duet It is to be hoped that M. Bertrand will not have to retire,
" The Lord is a Man of War " should be given by hundreds of for his management so farhas been most creditable ; but
tenors and basses has often been asked, but has never been satis circumstances just now are heavily against him. The
factorily answered. Mr. Edward Lloyd, who was in fine voice, new opera, Deidamte^ by Henri Mardchal, seems likely to
sang "The Enemy Said" in his most admirable style. Miss have to be dropped altogether, Mile. Wyns, a young
Clara Butt was successful in the two contralto airs, her beautiful debutante who has been rehearsing the title-role, having
voice being very effective in the large area. Miss Anna Williams thrown up her engagement and gone over to the Opera
and Miss Margaret Hoare rendered efficient assistance. The Comique ; besides which, all available time has now to
iHustcal #otea*
April I, 1893.]
THE
MONTHLY
be given to the preparation of the French version of Die

Walkure, which it is hoped to produce in April. Feeling
that some knowledge of the Rheingold is necessary for a
proper comprehension of the Walkure, M. Bertrand pro
poses to give some confircnccs in the Opera House, at
which M. Catulle Mendes will explain the story of the
work and its connection with the Walkiire.
These
lectures will be musically illustrated by selections from
the Rheingold, sung by the artistes of the operathe
orchestra to be represented (it is said), by two pianos.
The long-expected ballet, La Ma/adetta, byM. Gailhard,
with music by Paul Vidal, was produced on February 24,
and procured a triumph for the scene-painter, the stagemanager, and the two chief danseuses, Mdlles. Subra and
Mauri ;'M. Vidal's music fell somewhat below expecta
tion.
THE extraordinary idea of performing Berlioz's Faust
as an opera has been carried out at Monte Carlochiefly,
it would seem, to gratify the vanity of M. Jean de Reszke,
who desired to play Faust. The Marguerite was Mme.
d'Alba ; Mephisto, M. Melchissedec ; and the piece,
thanks chiefly to a very splendid mise-en-scene, was re
ceived with great favour. It will, perhaps, be given in
Paris, and it is.said in London.
At the Opera Comique, the production of Delibes'
posthumous opera, Kassya, has been much delayed by
the indisposition of Mme. de Nuovina, and the production
has not yet been announced.
It is intended to revive
Massenet's Fsclarmonde with Miss Sybil Sanderson, MM.
Gibert and Bouvet in their original roles.
The Theatre Lyrique, the new operatic enterprise of
M. Ddtroyat, at the Renaissance Theatre, seems to have
collapsed after the first month.
No official announce
ment has been made, but the theatre has not been open
for a month past, nor is there any prospect of a re-opening.
The scheme appears to have been started with inadequate
resources.
M. Messager deserves much sympathy, his
new opera being thus killed almost at its birth. A little
opera-bouffe, Phryne, by M. Saint-Saens, which was to
have been produced by M. Detroyat, has been taken up
by M. Carvalho, and will be given at the Opera Comique,
where also an opera, Le Flibustier, by a Russian com
poser well-known in France, M. Cesar Cui, is to be pro
duced before the end of the year.
BrocJliande, a fairy opera in four acts and six
tableaux, by M. Lucien Lambert (libretto by M. Andre
Alexandre), was produced at the Theatre des Arts, at
Rouen, on February 24, with great success. The author
is a young composer, some of whose works, and among
them the overture to the present opera, have already had
some success at Parisian concerts ; but this is his first real
stage work.
It deals with the legend of Merlin and
Vivien, and the parts of Enid, Vivien, Gildas, Merlin, etc.,
-were sufficiently well filled by Mmes. Baux, Parentani,
and MM. Cornubert, Ceste, Poitevin, etc.
The prize-winner in the Concours Rossini this year is
M. Henri Hirschmann, a pupil of M. Massenet, and still
a student at the Conservatoire. His prize cantata,
'' Ahasuerus," will shortly be performed at the Conserva
toire along with that of his predecessor, M. Leon Honore,
whose work has not yet received its due honoura public
performance.
The proposed tax of ten francs on every piano is
exciting a great outcry in France, and it is asked, naturally
enoughwhy on pianos only?why not violins and
organs and cornets, and other musical intruments ?
The Orphee of Gluck is about to be put on the stage
of the Theatre de la Monnaie at Brussels, under the
superintendence of M. Gevaert.
Much is expected of
this revival.
MUSICAL
RECORD.
91
Sio. MASCAGNI has made his appearance at the Berlin

Hofoper. where he conducted his Cavalleria and Freuni
Fritz, amid the customary signs of enthusiasm ; but he
left the production of / Rantzan (on February 25) to be
superintended by Herr Weingartner. The work was well
received by the public, but the critics are inclined to treat
it with considerable severity, and it is clear that it is
nowhere regarded as adding to the composer's fame.
At Kroll's Theatre, public attention is attracted by two
famous prime donne, Mme. Nevada, and Mme. Minnie
Hauck, of whom the former seems by far the most
successful. The critics and the public are alike enthusi
astic over both her singing and her acting.
In the
Barbiere, Traviata, and Lucia she has won triumphs
such as are rarely gained in Berlin, the exquisite per
fection of her florid singing exciting equal astonishment
and admiration. Mme. Hauck has taken up the part of
Christina in Giordano's Mala Vita, but without approach
ing the marvellous power of Signora Bellincioni, who
created the part.
An opera by A. Schulz, Dcr zvilde
Jager, may be dismissed with this record of the fact of
its production.
A report, said to be reliable, is in circulation that
Sig. Sonzogno, the Italian publisher and impresario, in
tends to bring an operatic company to Berlin in the
autumn to produce the many operas of which he owns
the copyright, such as those of Mascagni, Giordano, and
Leoncavallo, whose new work, the Medici, is to be one of
those which will be produced.
The most important event in the records of the
concerts of Berlin during the last month was the appear
ance of Dr. v. Biilow to conduct the last Philharmonic
Concert on the 1 3th.
He appeared to have quite re
covered, and conducted three symphonies by Haydn,
Brahms, and Beethoven, with his usual master)'. After a
triple recall at the close, he turned to his audience, and
said : " Thanking you for this kindly recognition which
should properly be given to the orchestra, I trust I may
regard it as an indemnity for some former extravagances."
His generous apology was warmly received.
Herr Theodor Wachtel, the famous tenor, gave a
concert at Kroll's Theatre on March 8 -two days before
his 70th birthday. In favourite songs from the Zauberflote,
the Dame Blanche, and the Postilion, he showed that
his wonderful voice had lost almost nothing in power or
quality.
The Leipsic Conservatoire (the oldest of the present
music schools of Germany) celebrated its Jubilee, or 50th
anniversary of its foundation, on March 10, with much
ceremony and rejoicing. Prof. Reinecke conducted the
performance of an overture composed for the occasion
by himself, and of Beethoven's Choral Symphony. Later
in the day, there was a Students' Carnival, a banquet,
and a ball, festivities which were attended by a large
number of past and present students and their friends.
The Conservatoire is flourishing, and bids fair to be still
flourishing when the time shall come to celebrate its
centenary.
A new string quartet by Eugen D'Albert has been
played at Leipsic, and is said to be a fine work, showing
a great advance on his first especially in clearness and
purity of style.
The opera Kunihild'by Cyril Kistler, which was first
produced at Sondershausen in 1884, but then attracted
little notice, has been revived at Wurzburg, and some
critics profess to find in its author the true successor of
Wagner. It may be so, but perhaps some further tests
would be desirable.
It is definitely announced from Bayreuth that in 1894
there will be performances in the Wagner Theatre of
92
THE
MONTHLY
MUSICAL
Parsifal, Tannhauser, and Lohengrin ; the last-named

drama being given for the first time. Very great interest
will attach to the production.
A hitherto unknown manuscript score of Don
Giovanni has turned up at Gratz, in the possession of
Frau Anna Willhain. A thorough examination of it has
led Dr. Ferdinand Bischoffto the conclusion that though
it is not in Mozart's handwriting, it was very probably
used by the composer to conduct from, and some of
the alterations and pencil-marks on it may be Mozart's
own doing.
Herr Rubinstein is touring throughout Germany,
not as a pianist, but as conductor at concerts where
his own music is performed.
His pupil, Frl. Sophie v.
Jakimowsky, sits at the piano and generally plays the
master's Concerto in G. At Bonn, Rubinstein gave a
concert for the benefit of the Beethoven-haus, and himself
played four of the sonatas of Beethoven with a fifth as an
encore. The crush and the applause were alike terrific.
At the Briinn Theatre they are preparing to give the com
poser's sacred opera Moses, the performance of which
will be spread over two evenings.
A great sale of musical autographs took place at
Berlin last month. Among the letters was one from
Leopold Mozart, announcing the birth of his son, and
giving the name as Joannes Chrisostomus Wolfgang
Gottlieb (Amadous).
Prague is determined not to lose its well-earned re
putation for musical enterprise. The managers of the
Deutsches Theater finished their Wagner cycle by pro
ducing the opera Die Feen, which had previously been
given only at Munich. A month later, a German version
of the Spanish opera, Garin, by Tomas Breton, was
brought out with the composer conducting, and the work
was very well received.
The Allgemeine Musik-Zeitung of March 10, prints
five letters written by King Ludwig to Wagner, which
have just come to light. They are of a kind very unusual,
indeed, to be written by a king to a subjectbeing almost
entirely expressions of the most enthusiastic admiration,
and the most profound affection. But, strange as they
are, it is impossible to read them without sympathy and
respect for their writer.
Eugen D'Ai.bert's first opera, Der Rubin, is to come
before the world at Carlsruhe, it is hoped before the end
of April. And Felix Mottl's new opera, Kaiser und
Dicliter (Emperor and Poet), which is not his first but
his third (we think), will also be produced there.
There are strangely conflicting statements as to what
operas are chosen for the model performances at Gotha in
July.
Some of the German papers say Spohr's Faust
and Cherubini's Lodoiskc ; others say Nicolo's Joconde
and Cherubini's Medea. The opera which gains the prize
in the announced competition will, of course, be a third,
and seventy scores have been already sent in ; a fourth
opera remains to be chosen. Levy of Munich and Felix
Mottl will conduct two of the operas.
The Philharmonic Concerts at Hamburg, which have
been given since 1828, are to be discontinued, the support
of the public having been transferred to the Subscription
Concerts conducted by Hans von Biilow. The manage
ment of the Philharmonic has failed to keep pace with
the growth of musical taste, but surely some better course
than dissolution might have been discovered.
Gluck's little comic opera Der betrogene Kadi has
more vitality than most ot his serious works ; it is con
stantly cropping up in fresh places, Dresden being the
latest, where it was produced on February 12, and very
favourably received. Mmes. Bruning and Bossenberger
and Herr Scheidemantel were in the cast.
RECORD.
[April I, 1893.
Alfredo Catalani is the latest of the modern Italian

composers whose works are finding their way to German
theatres. His opera, La Wally, with a libretto trans
lated back into German by Mme. von Hillern, authoress
of the original story, was produced at Hamburg, on
February 16, for the benefit of Frau Klafsky, who took
the title-part and played it with great success.
The
composer was present and was frequently called on to
appear before the audience.
Two new operas by comparatively unknown authors,
which have had fair success, are Harald und Theano, by
C. A. Lorenz, at Hanover, and Der Asket (The Ascetic),
by Carl Schroder, at Leipsic.
Herr Gustav Schreck, a professor at the Conserva
toire at Leipsir, has been appointed cantor of the
Thomasschule.
The memory of the late Vincenz Lachner has been
honoured at Carlsruhe and Baden-Baden by two concerts,
consisting chiefly of his compositions. Frau HoeckLachner, a pupil of the deceased, had a distinguished
share in both concerts.
Draseke's cantata, Columbus, was performed at
Dresden in February by the Lehrergesangverein, but
apparently made no favourable impression. The honours
of the concert fell to the Dithyrambe of the late Julius
Rietz.
Mme. Malten and Herr Perron were tho
vocalists.
The oratorio Franciscus of the Belgian, Edgar Tinel,
has had two performances at Berlin by the Philharmonic
Choir under Herr Siegfried Ochs, and on both occasions
made a profound impression. The choral singing was
most excellent, and of the soloists, Frau Herzog, Herren
Vogl, Felix Schmidt, Zarnckow and Konig, the lady
particularly distinguished herself ; and if we may judge
by the number of performances in various towns, and
the reception it everywhere meets with, Franciscus seems
entitled to a very high place among modern oratorios.
HERR Vogl, the late Heldentenor of the Munich opera,
has come forward as a composer. At a concert at Leip
sic he sang twenty-two lieder and a ballade of his own
composition. They are said to show much musical talent.
Mme. Calvk and Miss Sibyl Sanderson have been
singing at Nice; the former as Ophelia in Thomas'
Hamlet, the latter in Wcrthcr and Romeo el Juliette.
Mme. Sembrich is once more in her favourite St. Peters
burg, where she never fails to triumph.
The 300th anniversary of the death of Orlando di
Lasso, which took place at Munich on June 14, 1594, is
to be celebrated with some show in that town, and also
at Mons, his birthplace. A Belgian, M. Boghaert-Vachd,
has won the prize for the best popular Life of the com
posera prize offered by the Academy of Fine Arts of
Mons.
Falstaff continues to draw crowded houses at La Scala;
up to March 18 it had been performed seventeen times,
but not many more performances can be given at Milan,
as arrangements have been made for the company to
perform the opera at the Costanzi Theatre at Rome.
Wagner's Flying Dutchman, which has been produced
(for the off-nights?) has been coldly received by the
Milanese.
According to some papers, the whole company of
La Scala, conductor, soloists, chorus and orchestra, will
shortly go on tour with Falstaff, visiting Rome, Genoa,
Venice, and Trieste, and finishing with six performances
at Vienna.
The reception of / Rantzau at Venice was rather
decidedly unfavourable ; and L'Amico Fritz at Trieste
did not excite much enthusiasm. It looks as though the
Mascagni/wrwr was beginning to die out.
April I, 1893.]
THE
MONTHLY
Puccini's new opera, Manon, continues to draw full

houses at the Turin Opera. Messager's La Dasoche is
in preparation, and after that, Irene, by a Portuguese
composer, Alfredo Keil, will have its turn.
Sexor Breton's Garin (translated from the Spanish)
was produced in the German Theatre at Prague on
March 8th,. and favourably received.
A NEW opera, Leitora da Infanta, by the Portuguese,
Agosto Machado, was produced at Lisbon on February 19
with much success.
The Metropolitan Opera House at New York has
been purchased by a syndicate of wealthy capitalists, and
will be again opened as an opera house next yearprob
ably under the management of Messrs. Abbey and Grau,
but the list of artists said to be engaged is, perhaps,
rather premature.
The Nordica Operatic Concert Company has started
on a tour in the States : it includes Mmes. Nordica,
Scalchi, Helen Dudley Campbell, and Messrs. Campanini, Del Puente, and Emil Fischer.
Mr. Plunket Greene made his first appearance in
New York in February, singing airs from Tannhauser and
the Meistersinger, with old Irish and Hungarian airs.
His success with the audience and with the critics was
immediate and decisive.
The patronage of orchestral music in New York may be
judged from the following list of societies giving orches
tral concerts djring the last two monthssome being
weekly concerts : New York Symphony Society, Phil
harmonic Society, Boston Symphony Orchestra, Seidl
Popular Concert, Damrosch Popular Concert.
From
their programmes we take the following works, all un
known to Londoners : Tschaikowsky's Hamlet overture
and string-sextet ; Klughardt, Symphony in C minor ;
Fuchs' Serenade; Lalo, Overture, Le Roi d'Ys, Svendsen
Zorahayda ; Mac Dowel), Hamlet and Opheliaj Hallefl,
Swedish Rhapsody Cum multU aliis.
The indefatigable Reginald de Koven has produced
another comic opera, The Knickerbockers (Boston,
January 5).
Considerable additions have been made to the list
of musical works to be performed at Chicago during the
period of the World's Fair : the Matthew-Passion, the
Messiah, and the Choral Symphony are to be given, and a
lengthy list of works by American composers is added.
This includes some already well-known works by Paine,
Chadwick, Foote, Bird, and Shelley ; two works by
G. F. Bristow, an oratorio The Great Republic, and an
overture "J ibbewainoske," are probably new. Composi
tions by MacDowell, Templeton Strong, and Van der
Stucken are also promised.
A new Scottish Orchestra has been formed, to give
Symphony Concerts in Glasgow and other towns. It is
understood that Herr VVeingartner, now conductor at the
Opera House of Berlin, is to be the conductor.
The annual Reid Concert took place at Edinburgh on
February 14th, with Prof. Niecks as conductor, and an
orchestra of over eighty players. Frl. Fillunger sang,
Mr. C. Reynolds and Herr J. Klengel gave solos on the
oboe d'amore and violoncello. Scotch music was repre
sented by Mr. MacCunn's " Dowie Dens o' Yarrow " and
Dr. Mackenzie's First Rhapsody.
Sir A. Sullivan has conducted two concerts of
English Music at Monaco.
The prospectus of the Richter Concerts announces six
concerts to take place in June and July. The new works
to be given are Grieg's " Scenes from Ola/ Trygvason,"
Smetana's symphonic poem " Vltava," and Richard
Strauss's Don Juan, with overtures by Goldmark and
Zdenko Fibich.
MUSICAL
RECORD.
Our list of deaths is somewhat lengthy this month. It

includes Mr. Sydney Naylor, the well-known accom
panist at the ballad concerts (died March 4th, in his 52nd
year) ; Mr. George Ernest Lake, organist of All Saints,
Kennington Park, and an active worker in irany branches
of musical training ; Mr. Henry Burnett, a tenor of some
eminence fifty years ago ; Miss Bettina Walker, the
authoress of an interesting work, " My Musical Experi
ences " ; Mr. George Wood, late member of the firm of
Cramer, Wood & Co. In 1870 he directed an opera season
at Drury Lane, which, though pecuniarily a failure, was
one of the best ever given in London. He brought out
the Flying Dutchman (in Italian), with lima di Murska
and Santley. This was, the first time an opera by Wag
ner was performed in Englandbut the day of Wagner
had not then come, and it was only given twice. Thomas'
Mignon, Mozart's Oca del Cairo, and Weber's Abu Has
san were also novelties of this season. Among deaths
abroad, we must mention Frau Hermine Spiess-Hardtmuth, the famous /'Vf/rr-singer, who died on February 25th,
her 32nd birthday ; M. Henri Warnots, a Belgian sing
ing-teacher of high distinction (died March 3rd, ;ct. 62).;
M. Gabriel Sinsoilliez, conductor at the Grand Theatre
of Lille, where he had just superintended the first pro
duction of the Flying Dutchman in France.
NEW SONG.
Sung
by
Mrs.
Henschel.
A LAKE AND A FAIRY BOAT.

SONG
BY
EMIL KREUZ.
Op. 26, No. 4.
No. I in H.
No. 2 in A flat.
Each, 4>.
(This Song is within the compass of an Octave.)
London : AUGENER & CO., 86, Newgate Street, and I, Foubert's Place, W.
FOLIO EDITIONS.
PERLES MUSICALES.
Recueil de Morceaux de Salon pour le Piano.
SECOND SERIES.
13. JEAN MARIE LECLAIR. Gavotta Graziosa from his Violin s. J.
2 6
14. A. STRELEZKI. Barcarolle en la nvneur
3
15. A. LOESCHHORN. Etude mclodiquc. Op. 196, No. a
... 3
16. A. HENSELT. Nocturne in e flat
3
17. M. MOSZKOWSKI. Caprice in c
3
18. MENDELSSOHN-BARTHOLDY. Prelude in r. minor. Op. 35 3
19. XAVER SCHARWENKA. Impromptu. Op. 17
4
20. S. NOSKOWSKI. Humoreske. Op. 41
4
ai. J. RHEINBERGER. Jagdscene. Impromptu
4
22. J. L. NICODE. Canzonctte. Op. 13, No. 2
3
23. MAX PAUER. Walzer. Op. 7, No. 8
3
24. R. SCHUMANN. Fragment from " Kreisleriana"
3
MORCEAUX
FAVORIS
POUR PIANO A QUATRE MAINS.

No.
4- L. SCYHTTE. Barcarolle ...
F. KIRCHNER. Danse Hongroise, No. a in D
4-'43- MENDELSSOHN. Christmas Piece, in f
War March of the Priests (Athalie)
4445- M. MOSZKOWSKI. Minuet. Op. 17, No. 2
X.
SCHARWENKA.
Polish Dance. No. 3, in E flat
4*47- S. NOSKOWSKI. Meditation. Op. 42, No 1
J. L. NICODE. Walzer (aus Op. 7)
s. ,/.
4
3
: -
4
5
t
4
3
London : AUGENER & CO., 86, Newgate Street, E.C. ; and 1, Foubert'.
Place W.
94
EBENEZER
PROUT'S
Theoretical Works in Augener's Edition.

Demy 8vo.
AuetHtr's
9. UARMONV:
ITS THEORY
Review of E, Prout'B Text-books (continued}

little eKe than age to recommend them, ho has provided othen supported by reference*.
to fugnj works by the greatest writers. In describes*; a fugue as a r<rtirr>ositioi* in
' ternary form,' Mr. Profit Myi: ' The first section extends as far as the end of the last
entry of the subject or answer in the original keys of tonic and dominant. The
or middle section begins with the cemmentement of the iir-.t episode, whii h nt-diiUtto an) other key than that of toni< or dominant ; and the third oi final set tion begins
with the return of the subject ami answer.' The features of each seen
delineated, anil the construction of the whole fusue is clearly explained and aptly :llu Ti.itcd Am text-bookH, Mr. Prout'a theoretical treatises will doubtlesu tane
the position of standard works. "Thr Dmily TtUgiafh. Mirch 17th. 1*93.
AND w
J- J- PRACTICE. By EBENEZER PROUT, B.A., Lond ,

Professor of Harmony and , Composition at the Royal
...
I^nndon: AUGENF.R & CO.. 86, Newgate Street, E.C. ; and

1, Fouberi's Place, London, W.
5,'-
FILIPPO
'!mKEY TO "HARMONY: ITS THEORY

AND PRACTICE."
Second Edition
a/-
THEORY
In Augener's Edition.
9'83
COUNTERPOINT :
STRICT
EZZI
AND
1/6
o.8k KEy TO THE ADDITIONAL EXER

CISES to e. prout's "harmony"
2/6
AND
FREE. By EBENEZER PROUT, B.A. Loud., Pro

of Music, *ic. Third Edition
ÂDDITIONAL EXERCISES TO
FREE." with Melodies and Unfigured Basses for Har
monising
...'
...
9.84. TROUBLE
COUNTERPOINT
2/6
AND
J' CANON. By EBENEZER PROUT, B.A. Lond.,

Academy of Music, &c. ...
...
CAPOCCI'S
ORIGINAL WORKS FOR ORGAN,
vM ADDITIONAL EXERCISES TOE.

PROUT'S "HARMONY:
ITS
[April I, 1893.
PER
ORIGINALI
ORGANO.
Oblong :
No.
8742a Book I. (1, Andantino ; a, Melodia ; 3, Offertorio ; 4, Solo di
Flauto; $. Meditazione) ...
..
...
...
...
...
874?^ Hook II. (6, Preludio : 7, Marcia ; Larghetto ; 9, Introduzione
e Fuga; 10, Finale)
.
8-74?f Book III. (11, Entrata ; is, Cantabile; 13, Scherzo ; 14, Solo
diOboe; 15, Offertorio)
87420* Book IV. (in, Gran Coro trionfale ; 17, Preghiera ; 18, Alle
gretto ; 19, Preludio e Fuga ; 20, Marcia)
8742* Book V. (21, Offertorio : 22, Andante con moto ; 23, Sonata :
Allegro giusto, Larghetto, Finale)
8742/ Book VI, (24, Melodia; 25, Corale ; 26, Offertorio; 17, lavocazione ; 28, Capricc'ioj
874^f Book VII. (Preludio e Fuga, Adorazione, Allegretto, Canta
bile, e Finale)
8742/* Book VII L (Entrata, Offertorio, Toccata, Melodia, e Gran
CoroJ
8742/ Book IX. (Offertorio, Fuga, Fantasia, Larghetto, e Minuctto)
8745 Terza Sonata. (Allegro, Larghetto, M in net to, e Finale)
...
Or in Sheet Music form (oblong),
Net.
s. d.
1
1
1
1 -1
1
I
1 6
1 6
a
5/"
F ILIPPO
CAPOCCI.
Select Compositions from
the " Pezzi Original! per Organo " .
9,85. pUGUE. By EBENEZER PROUT, B.A.

J-

oiae. FUGAL- ANALYSIS: A Companion
5/-
to

Analysed.
By EBENEZER PROUT, B.A. Lond., Pro
of Music, &c.
5/-
i)t 23atlp ^Telegraph

0/ March ifth, has the following Revinu:
"The series of theoretical works written by Ebenercr Prout will prove of inestimable
service to teacher and schol.it aliki-. PubKsoed in nine volumes, the Series embrace! .->n
exhaustive treatise on ea:h of the following subjects: Harmony, its theory and
practice; counterpoint, strict and free ; double counterpoint; and fugue. Wfcb
earnestness the author points out the desirability of studying harmony and ' sttict
counterpoint ' simultaneously, and advises that 'as soon as the pupil has mastered
ttndl and their inversions, he shall begin elementary counterpoint.' This recommenda
tion is unheeded by many teachcis .if theory, and some there are who altogether reject
the plan, iai the ground of strict counterpoint being of little practical value But the
author, believing it to be an essential branch of study, has. by verbal explanation ot
roles a* well as by illustrative examples, succeeded in making it appear attractive and
important. Two-part counterpoint U treat, d at considerable length, a chapter being
devoted to each cf the ' Five Species.' As far as the ' species ' are concerned, the
same order is observed in three-part and lour-part strict counterpoint. So varied in
COfittnictiOQ are trie exercises an.l example* that one is apt to forget that the only
harmonies used therein are diatonic Triads and their tir.t inversions. In leading
students through path* trodden by our musical ancestors the skilful guide never fails tu
point out objects of interest io be met with on the way. Though so much in luve with
his subject, he places It in its Droptr position, as a preliminary study to actual composition The fact is again and again insisted upon that "strict counterpoint is simpl>
the means to an end.' The object to be attained is the power of free part-wntmg
l.ere called * free counterpoint,' the study of which should not, the author says, be com
itemed before the pupil lias complete .1 his course of harmony. Liberated from the
restraints imposed by ancient rules, modern counterpoint opens the doo- to well-mgh ait
combinations which do not violate the laws of harmony. The final chapter treats on tbe
appneatkm of counterpoint to practical composition. In the book on Double Counter! point and Canon, Mr. Trout places these intricate subjects before the student in the
clearest and most convincing manner. The last, as yet published, of the erica i^ u
vble and m some respects remarkable treatise on Fugue. After carefully examining the
ruks from time to time laid down by men in authority, and jfter patiently testing ihen
(accuracy by the works uf Bach and other great masters, the author is led to declare
'rhat 'there w no br.un h of musical composition in which theory is more widely at variance
.with practice than in ilut of fugue.' In stating his own views, he directs attention to the
'principles which govern the relation between Subject and Answer. Whfle there is but
jrttle diversity of o\ inionas to what fthoadd be the features of the subject, there are, on
!the other baud, many conflicting opinions as io the nature of the answer. The theorist
bracts one mode of procedure, ami die composer acts upon another. ' This ml. .' l>
[he old text-books. ' is absolute * ; yet Bach is found breaking it with good effect. Our
mthoc wisely declines to submit to the authority of any rule however ancient unless it
x found in agreement with the general practice of acknowledged master*. Of course,
there must be rules for tne guidance of students ; and, white rejecting some which have
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
n.
12.
Offertorio in G major
3
Solo di Flauto in b flat major ...
3
Meditazione in 1-, minor
3
Larghetto in g major
-5 3
Finale in v major
3
Scherzo in D major
Offertorio in 11 flat major
Gran Coro Trionfale in E fiat major .
4 Preghiera in a fiat major
Marcia in f major
3
Finale in G major
Offertorio in c major
4
Invocazione in e major
3
Capriccio in b fiat major
4
Cantabile in c major
3
Finale in g major '
Melodia in B fiat major
Minuctto in u fiat major
" Books of organ pieces, by the Italian composer F. Capocci, contain
many charming things of a somewhat lighter character than those with
which English organists are best acquainted. But they are never Oil
or calculated to offend the essential suteliness and gravity of the instrument.
As a pleasant change from the usual run of organ music, we can heartily
commend these 'taking' compositions, which, moreover, are not difficult to
play."-Z><n7y Telegraph.
NEW
VIOLONCELLO STUDIES.
NEW RHYTHMICAL SCALE

AND CHORD STUDIES
FOR THE TRAINING OF BOTH HANDS,
SUITABLE TO
PLAYERS
OF
ALL
GRADES,
FOR THE
VIOLONCELLO,
BY
LOUIS
<
HEGYESI.
Augener's Edition, No. 7,772. Price, net, 3s.

London : AUCENER& CO., 86, Newgate Street, and 1, Foubert's Place,Wr.
April i, 1893.]
nSTE^V
THE
MONTHLY
SOITGS.
BARNETT, JOHN FRANCIS. The Vesper Hour. Song

with pianoforte accompaniment and harmonium adlilitum
BERCSON, M. Parted Lovers (" Wenn sich ewei Ilcmn
schetden }. Song :
No. 1. For Soprano or Tenor in A Hat
2. For Contralto or Bass in K
3. For Voice with Pianoforte and Violin or Violon
cello obbligato
BUCHANAN, M. M. "Good Night and Good Morning."
hong
'
My Spirit's long-jient anguish (Aus meinen grossen
Schnier/enl. Song
8824 DEL.IUS, FRITZ. Three Songs, the words by Shelley:
Indian Love-Song, Love's Philosophy, To the Queen of
my Heart. 410
nct
8629,5
7 Lieder (aus dem Norwegischen). 4(0. E. & G.
net
8821 DUNKLEV, FERDINAND. Four Songs : Oh, that I were
:> Mower; Love's Parting ; In the Silence of the Night;
net
FITZGERALD, GERALDINE. "To Sleep." Song. The
words from Lord Tennyson's " The Foresters
GRIEG, E. 6 Lieder. Op. 4S and Op. 49
each, net
HEARNE, ISABEL. 3 Songs :
1. Love is ours
...
2. Bird Raptures
'
3. The Secret...
Three Songs ; the words by Christina beniiig : '"
1. There was a time
2. My Lady's Heart
'"]
3. I Love your Look
KREUZ, E. Songs. English and German Words :
884g<i-e Op. 1, 2, 3, 4, and 6. (Each Vol. containing 4 Songs.)
5 ols.
cachi ne,
8845
six Songs. (The Words by Robert Burns.) Op. 7 net
1. My Heart is Sair(Mein Herz ist schwer).
2. A Red, Red, Rose (Ein Roslein roth).
3. John Anderson, my Jo (Hans Anderson, mein Hans).
4. The Bonnie wee thing (Liebe Kleinc).
5. O, wilt thou go wi' me ? (O willsi du gehn mit mir?)
6. Saw ye my Phely? (Sah jemand?)
Two Songs, with Violin Obbligato. Op. S : I. To the Evening Star (An den Abendslern) ...
a. Soft! Roving Wind ! (Still, lieber Wind)
Pastoralia. 10 Songs. Op. 10. E. :
8847a Book I. (As Phyllis wended, If thou wert asked. Tell me
Colin, A shepherdess once wandered)
net
847/'
Eojk II. (Robin's lament, Gentle Shepherd, The wooing
day. A summer's morning, Proud Janet, Which is most
<i"-?)
net
Ballad for a Bass Voice. The Turkish Lady. Op. n ...
8846 - 3 Songs. Op. 12. Rose Marie, Love is a dream, Kiss
and be friends. E.
...
...
...
...
.
net
8874 - Three Songs. Op. 14. Sir Knave of Bergen (Schelm
von Bergen), The Mountain Eclio (Bergsltmme) The
Flower of Love (Ich licb, eine Blume). E. & C. ...
net
8875 - Five Songs for Soprano or Tenor.
Op. 15. The
Wounded Hussar, Earl March looked on his dying child.
Echo, A widow-bird sate mourning, How delicious is the
winning. E.
net
8876 Four Songs for a Tenor or Soprano Voice. Op. 17. On
Parting, Beware, When Napoleon was (lying, Whtn Love
came first to Earth. E
net
B879 5 Songs for Mezzo-Soprano.
Op. 23.
Twilight
Memories (Abends); Dolly's Bedtime (Das Miidchen)'
My White Lily (Weisse Lilie) ; Mother nods (Die mckende
Mutter) ; Good-night (Gute Nacht)
net 1
LEE, MAURICE. Faint Heart (Pas braves!) Song
... <
8BSS LIDGEY, C. A. 4 Lieder by Heine. Op. 6: Violets, Roses
The Message of the Stars. E. ci G. 4to
net 1
MACCUNN, HAMISH. Strathallan's Lament. Song
... ,
"When thou art nigh." Song
p *j
Vocal Album. Six Songs (the words by Lady Lindsay):
No. 1. Wishes. " In the Meadows"
... ,
2. A flower message. " I'll give my love a posy "
." 3
... 3
land?"
>f ,
5. Golden Days. " Sweet, remember golden days" '.'.'. 1
6. Hesper. ''O for a tight little boat" ...
...
..." 3
Solo and two-part Chorus, with Pianoforte accompaniment'
Op. 190
'
8896 ROUNDS for Singing and Dancing and Popular Nursery
Rhymes (Rondes avec feux et de Pelils Chansons tradilionclles), with the Original French Words, an English
translation by E. M. Traquair. and pianoforte accom
paniment by Charles Lebouc. E. & F.
net a
SIMPSON, F. J. A Message to Phyllis. Song
...
... 4
MUSICAL RECORD.
95
New Songs (continued)
s j
SWE PSION K, EDITH. 1 Worship Thee Vet (Ich liebe

Dir.h noch). Song for a Bass Voice (61)
4
Foreshadowing. Song with Violoncello obbligato
... 3
Accompaniment 1, Who will buy Pansies'i 2, O my Lost
Love. T, Oh, What's the Sweetest Thing there is '! jto net 1
WOOD, CHARLES. Four Songs : 1, An Ancient Love Song
(Anonymous) ; 2, Why so pale and wan, fond lover? (Sir J.
Suckling) ; t,. How can the tree hut waste and wither away
(Lord Vaux) ; 4, Ah ! Robin! Jolly Robin! (Sir Thomas
Wyat). 4to
,., ,
2945
8954
Ei)t Cunts
Of March yd, 1893, /las thefolltnving Review :
'NEW SONGS.The latest songs of Grieg, published in the Peters edition (Augener
and Co. . eontain much ih.it is worthy of the composer's reputation, though there is lmkth.it will enhance it
The charming 'Ouss.' set to Heme'-, wools, and the sombre
' l>.-r<jiust. '..ed.inke uicln,' to the well known words by Geihel, are the most beautiful of
"p. 4S ; in Op. 49, all of which are set to words by Holger Drachmnnn. the accompani
ments will deter most of the incompetent from even essaying them ; these more elaborate
works arc all graceful and interesting. Three books of songs by F. Delias show the
strong influence of t.rieg ; the composer is bent on puzzling even the best readers as
when he writes a passage in A sharp major without using its enharmonic equivalent
i lie songs are thoughtful and well written. Another stumbling-block to incapable
accompanists is the set of three very clever songs by Isabel Hearne, more especially
- Hull Raptures." set to the well-known lines of Christina Rosselti. All three are wcil
worthy of attention, for all are musicianly and original. In a later jo-oup by the same
composer,> 'My lady's heart 'and 'I love your look ' have considerable charm anil deft
grace.
Edith Swcpstonc's ' Foreshadowings.' a well-constructed song with a violon
cello obbtn;*to. and a set ofthree lyrics to words by Mr. W. Black, show the hand of an
accomplished musician ; and more than one of C. A. Lidgey's album of four songs to
wools by Heine is worthy of vocalists' attention. As over 70 soags by Mr.hmil Kreuz are
.oi-.ong the puohcations of the firm, it is manifestly impossible to notice them here as
fully as they deserve. The two with violin. Op. 8, the ten called Pastoralia,' the finelyconceived Uallad 01 The Turkish Lady,' Op. 11. the vigorous 'Schelm von Bergen '
111 tip. 14. the interesting setiings of Campbell and Shelley in Op. 15, the effective
U hen Napoleon was flying ' in Op. 17. and the suave * Aliends ' in Op. a-,, are all the
work of .111 earnest and cultivaied composer, many of them containing passages of real
originality and beauty. A group of four songs by C. Wood coniain, settings of some
old-world poems; the best of them. Suckling's ' Why so pale and wanr' is sisoilt by the
unnecessary alteration of the final outburst. ' How can the tree but waste r ' has more
spontaneity than some of the others. A set of six songs by Mr. MacCunn contains some
specimens of Ihe composer's better class of work : ' Wishes" is a graceful little song
'Doubting' IS sufficiently expressive, though not particularly well written for the
voice: and 'Hesper has plenty of opportunities for effect. A pretty 'Message 10
Phyllis.' by I-. J. Simpson, and a melonious 'Parted Lovers.' by M. Uergson issued
with and without an abbtiâto part for violin or violoncello, which may lie recommended
are sent by the same firm. A really deliglitfjl book is the volume of ' French Rounds
and Nursery Rhymes.' edited by C. Lebouc, and provided with both French and
English words, and directions for playing the various games with which most of the
songs are connected. '1 he lovely 'Chevalier du Cillct/'Roi Dagobert,' ' Au clair de
la Lune.' Ccntil Co<|uelicot,' and many other favourites will be found, and it is only
fair to say that in nearly all cases the whole of the original words have been given, or at
least as rcany of them as could pesslbly be considered fit for nursery use. Twenty-two
stanzas of ' Malbrook ' will probably be enough for anybody. It is perhaps a pity that
the immortal ' Frere Jacques ' is given at a canon 'two in one.' not, as it should be in
its proper guise of a canon * four in one.'" The Tim's, March 3rd. 18)3.
London : AUGENER & CO., 86, Neweate Street, E.C., and

I, Foubert's Place, W.
MUSICAL
"KINDERGARTEN"
Musikalischer Kindergarten
CARL
ny
Ecole infantine
REINECKE.
Piano Soto.
Op. 206.
Piano
Xo.
6.;4i Vol. 1. My first Pieces (within the compass of five notes) ...
Meine ersten Stttcichen. Met premiers petite Morceaux.
Vol. II. Favourite Melodies (within the compass of live notes)
Licblingsmelodieen. M- todiesfavorites.
6343 Vol. III. My first Songs
Die ersten Kindertieder.
"343" Sol-fa Edition. Voice part only. Net, 4d.
6344
6345
In the Phkss.
Vol. IV, Folk-songs and Dances
StimmcnderViUker. Chants nationaux etpopulaires. Pt. I.
Vol. V.
do.
do.
Pt.II.
(.Wilt be continued.)
PIANOFORTE SOLO.
Price Each Book, net, is. 4d.
|
|
Duet
687*1
6871
o?;;l
C 74
6R7,
PIANOFORTE DUET.
PriceEach Book, net, 25. 6d.
\\J H. SPEER'S SONATA for PIANOFORTE

VV .
AND VIOLIN.
SONATA
FOR
BREITKOPF &
InD.
Op. 4.
Price Five Shillings.
PIANOFORTE
SOLO.
Or. 2.
Price Four Shillings.

HARTEL, 54, Great Marlborough Street, W.
ILL anyone about to discard an OLD PIANO
kindly send it to an East End Club for Working Girls, by whom

the gift would be most gratefully appreciated. Any particulars can be given
by Miss Hutchins, 48, Holland Street, Kensington.
96
NO VE LT I ES NOUVEAUTES
published on
April ist, 1893, by
(Nova) pubises
le ler Avril, 1893, chez
AUGENER & CO., 86, Newgate Street. E.C., and

i, Foubert's Place, London, W.
(All Music engraved ami printed at Augener's Music Printing
Officine, 10, Lexington Street, London.)
Numb
5964
5984
0343
PIANOFORTE 8OLOS (it 2 mains).

s. d
AUGENER'S
LIBRARY OF PIANOFORTE
E. Pauer :
Junior Grade. Book IV. 3 Studies by Czerny ;
3 Pieces by Mozart, Kirnberger, Mayer; 4 Re
creations by Corelli, von Wolkenstein, K. Rommel,
Schulhoff
...
...
...
net 1
Senior Grade. Book IV. 3 Studies by Czerny,
Kalkbrenner, E. Pauer; 2 Pieces byJ.S. Bach,
Beethoven ; Recreations by Schumann, Kjerulf.
Strelezki
net 1
PERLES
ca MUSICALES.
ail.;m^\l.e.:>. Morceaux
iviorceaux dc
ae Salon
riaion :
:
No. 21. J. Rheinberger. Jngdscene. Impromptu 4
2:
22. J. L. Nicode. Crtnzonette. Op. 13, No. 2 3
23. Max Pauer. Waller. Op. 7, No. 8
... 3
=324. R. Schumann. Fragment trom " Kreisleriana'' ...
...
...
...
... 3
REINECKE, CARL. Musical Kindergarten (Musikaliseher Kindergarten). Op. 206;
Vol.111. My first Songs (Die eisten Kinderlieder)
net 1 4
SCHYTTE, L. (F.uvres choisies :
No. 10. Passant les Steppes (Ueber die Steppe hin) 3
STRELEZKI, ANTON. Morceaux:
No. 39. Allegretto in ut majeur
3
40. Feuillet d' Album
...
...
...
... 3
41. 2de Valse Scherzo en l.A beniol majeur ... 3
42. Scherzo en sol majeur
...
...
... 3

8554^
No. 6 in (; major
net 1
MORCEAUX FAVORIS:
No. 47. S. Noskowski. Meditation. Op. 42, No. 14
48. J. L. Nicodd Waller (ails Op. 7)
... 3
REINECKE, CARL. Musical Kindergarten (Musikalischer Kindergarten). Op. 206:
6871
Vol. I. My P'irst Pieces (within the compass of five
notes). Meine crsten StUckchen
net 2
6872
Vol. II. Favourite Melodies (within the compass of
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CONTENTS,
FACE
Cluck's " Armida"

73
Harmonic Analysis. By Louis B. Prout. (Contititud) ..
.. 74
Studies in Modern Opera : a Course of Lectures Delivered
Uy
Franklin Peterson. {Continued}
.. 77
The Pianoforte Teacher : a Collection of Art'cles In
tended for Educational Purposes. Consisting of
Advice as to thk Selection of Classical and Modern
Pieces with Rfcard to Difficulty, and Suggestions as
to their Performance. By E. Pauer. (Continued)..
.. 79
Letter from Leipzig
..
..
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8j
Max Pauek in Vienna
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Si
Our Music Pages: Max Paulr's Waltz. Op. 7, No. 8
..81
81
Operas and Concerts
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.. 96

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MAY
1893.
[Price 2d. ; per Post, 2^d.
F. HALEVY. .
This famous French composer was born at Paris on the
27th of May, 1799, and died at Nice on the 17th of
March, 1862. His father, Elie Halhy, was a literary
man, and even a poet, for he wrote, in Hebrew, the
hymns which were sung in the synagogues on the
occasion of the Peace of Amiens and of the victory of
Wagram. His son, Fromental, showed taste for music
at an early age, and already, in 1809, became a pupil of
the Conservatoire, where he studied counterpoint and
composition under Cherubini. At the age of twenty he
won the Grand Prix de Rome with a cantata entitled
Herminie. His annies de pelerinage came to a close in
1822. He found the path to fame both long and difficult.
Already, before his departure for Italy, he had written an
opera, Les Bohemiennes, but it was not produced. On
his return, he wrote a grand opera, Pygmalion, and an
opera-comique, Les Deux Pavilions, but he could not get
them performed. At last, in 1827, his one-act opera,
ISArtisan, was played at the Theatre Feydeau, but met
with little success. Fiitis speaks of the libretto as un
interesting, and of the music as feeble in the matter of
invention. Hal6vy's first real success appears to have
been the completion of the opera Ludovic, left unfinished
by Herold, who, indeed, only wrote the overture and the
first four numbers. This work was produced in 1834,
and in the following year La Juive, grand opera in five
acts, was produced at the Academie Royale de Musique,
on February 23rd. The same year (December 16th)
UEclair was given at the Opera-Comique. By these
two works, so dissimilar in character and form, Halevy
became famous.
Juive was given in London, apparently for the first
time, at Drury Lane, July 29th, 1846, by a Belgian
company ; and then at Covent Garden in 1850, with
Madame Viardot as the Rachel, Signor Mario as
Eleazar, and Signor Tamberlik as Prince Leopold. It
seems to have been chosen as a set- off to La Tempesta,
which had been given earlier in the season at Drury
Lane. The history of this opera of Halevy's is somewhat
curious. In the year 1831 Mendelssohn went to Diisseldorf to consult Zimmermann with regard to a libretto for
the Munich opera, for, after appearing there (October
269
17 th, 1 831) as pianist and composer, he was commissioned

to write a work for the stage. Arrangements were made
for a libretto on The Tempest, hut the plan was not
matured. Many years after that, viz. in 1846, we find
Mendelssohn in communication with Mr. Lumley, lessee
of Her Majesty's Theatre, as to an opera-book to be
prepared by Scribe on The Tempest, and Mendelssohn,
indeed, entered into communication with Scribe on the
subject. The libretto was prepared, but such liberties
were taken with Shakespere's play that Mendelssohn
would have nothing whatever to do with the book. But
though discarded by one Jewish composer, it was accepted
by another, for Halevy wrote music to it. The opera was
played in London, as stated above, in 1850, and at Paris in
the following year, but since then it seems to have fallen
into oblivion. Halevy introduced into it Arne's "Where
the bee sucks," but one song does not always make a
success.
The following brief extract from " F. Halevy, sa vie et
ses ocuvres," written and published by Leon Halevy, the
year of his brother's death, will be read with interest :
"En 1850, une proposition soudain l'appelle h Londres.
II se charge d'ecrire un opera italien, La Tempesta,
imite de Shakspeare ; il est sdduit surtout par l'idee de
montrer Caliban sous les traits de Lablache. Scribe
trace le scenario de l'ceuvre, bientot achevee. La venue
du compositeur a Londres est ft6e, l'opera est applaudi.
La partition offrait sans doute des beautes reelles,
surtout dans le role de Caliban ; mais, ecrit pour l'opera
anglais, sur un poiime italien, d'apres une tragedie
anglaise, l'ouvrage n'avait pas une couleur franche ; e'etait
une ceuvre brillante, mais composite, et, sans nuire a la
renommee du maitre, elle n'y ajouta rien."
The idea of beauty in connection with Caliban is
delightfully naive !
Halevy wrote many operas besides those already men
tioned. Of one. La Peine de Chypre, produced at Paris
in 1841, Richard Wagner arranged the pianoforte score ;
and, moreover, wrote an article on it for the Dresden
Abendzeitung, and from this a few extracts shall be
given. After some introductory remarks, Wagner says :
" So that you may clearly see how an opera libretto may be
writteneven although one may not possess the gift of
poetry, but only a certain knack of setting to workwhich
98
THE
MONTHLY
in the hands of a highly talented composer will prove

generally interesting, exciting, and, in a certain sense,
satisfactory, I will describe the text of La Reinedc C/iypre,
written by M. St. Georges ; and, in so doing, hope to
show that even the French are not artist-conjurors."
The book is founded on the story of Caterina Comaro,
Queen of Cyprus. In the first act the marriage ceremony
between Caterina and her lover Gerard de Coucy is
interrupted ; her father, the senator Andreas, in whose
palace the marriage is taking place, under threats from
the Council of Ten, declares that it cannot be carried
out. The bridegroom's friends utter words of reproach
1 against Andreas, the bridegroom rages furiously, the
unhappy bride swoons away, and the curtain falls. '' Can
you wish," says Wagner, "for anything more in a first
act?" In the second act Caterina in her room is await
ing her lover ; but one of the Council of Ten suddenly
appears through a^ secret door, and extracts from her a
promise to have nothing more to do with him. Gerard
afterwards appears ; she is cold in her manner, and bids
him " adieu pour jamais." The third act takes place in
the island of Cyprus. Gerard is there, and a plot to
murder him nearly succeeds : Lusignan, the King of
Cyprus himself, though in disguise, comes to his aid.
Caterina is about to arrive in Cyprus as the bride of
Lusignan. Gerard has come hither plotting vengeance.
In the fourth act Gerard attacks Lusignan, as the bridal
procession is returning from the church. In the fifth
and last act Caterina is watching by the sick bed of her
husband (several years are supposed to have elapsed).
Gerard appears, disguised as a Maltese knight, generously
to tell of a plot to murder Lusignan. But it is too late.
The act ends with the defeat of the Venetians, and
the loyal bearing of the Cypriots towards their widowed
queen.This plot is described at some length by Wagner, who
then remarks :
_ .* Can anyone deny that under the circumstances this
is as good a libretto as one could hope for? Here we
have an action which, from act to act, takes hold of the
spectator and excites and entertains him ; it is moving
at the right moment, terriblewhen a fitting opportunity
occurs ; and it offers many a chance to the composer to
display all his talent and skill."
But our critic maintains, nevertheless, that the book is
no work of art. It lacks poetry, noble ideas, inspiration
from within. The subject, he declares, was chosen not
for any central idea which it might contain, but because
it lent itself to such effects as would be welcome at the
Paris Grand Opera. The book could arouse astonish
ment, but not enthusiasm. Wagner points out, however,
how M. St. Georges has taken proper advantage of every
opportunity of appealing to the sympathy of the audience.
Wagner addresses himself to German librettists, and
gives them a recipe for the making of libretti. " You
only need," he says, " to take the first historical material
to hand, deck it out with domestic and society events
marriages, seductions, duels, and so onso as to give a
musician varied opportunity of showing his talent for
dramatic composition, and to offer to the public most
attractive entertainment for from four to five hours."
Wagner asserts that Halevy fully availed himself of
the opportunities granted to him, and adds :" His
music is becoming, full of feeling, and, in many places,
of marked effect. A pleasing feature, which I had not
:,herto recognised in Halevy's talent, is the number of
Tiing vocal passages, for which the words offered
Uerial ; and, above all, in the working of the whole
- praiseworthy striving after simplicity
ever, has successfully aimed at simplicity
MUSICAL
RECORD.
[May i, 1893.
only in the vocal part of his opera, from which he has

banished all those perfidious little tricks and intolerable
primadonne-embellishmcnts which had flown from the
scores of Donizetti and his accomplices into the pen of
many a clever composer of French opera."
After some remarks about the orchestration, Wagner
speaks of the many beauties in the work, and specially
praises the striking quartet in the last act.
He concludes his notice of the opera as follows:
" I may now say briefly that if this opera is not quite
on the same high level as LaJuivc, it is not because there
is any weakening of the composer's creative power, but
simply because the poem lacks a great, entrancing,
or generally moving, leading idea, such as is actually
to be found in La Juivc. The Paris Grand Opera
may, however, congratulate itself on the birth of this
work."
The reference to La Juive at the present moment of
its revival in London gives special interest to this last
extract.
Dr. H. RIEMANN'S ANALYSIS OF BACH'S
"WOHLTEMPERIRTES CLAVIER" (48 PRE
LUDES AND FUGUES).
By Ebenkzer Prout.
It would be very interesting, were it possible, to obtain
an accurate return of the number of pianists who play
Bach's " Wohltemperirtes Clavier," and of the exact
proportion among them of those who really appreciate
and enjoy the music. In all probability the majority, if
they confessed the honest truth, would say that the work
(the fugues especially), was "awfully clever," but that
they found it terribly dry. Of course it is the fashion to
profess a great admiration for Bach ; but how often is
such a profession accompanied by a real love for him ?
Even among those gifted with a really musical nature, it
is probable that in many cases the beauties of Bach's
work are but imperfectly apprehended. I am not saying
this with the least intention of disparaging those who are
unable to appreciate the music of one of the greatest
composers (possibly the very greatest) that the world has
yet seen, but to call attention to what seems to me to be
the reason why Bach is so imperfectly understood by
many who are yet able to fully enjoy the music of
Beethoven and Schumann. The fact is that Bach stands
aloneunapproached and unapproachable. He speaks
to us in a language of his own, and we must study the
grammar and the idiom of that language before we can
grasp the ideas conveyed by it. Bach's natural method,
of expression is the polyphonic style. To him the most
elaborate combinations appear to present not the slightest
difficulty. Spitta, in his great monograph on Bach,
when speaking of the " Art of Fugue," says that in parts
of that work Bach soars to dizzy heights, and where
other living creatures would cease to breathe, he moves
easily and with freedom. Two examples, which' will
probably be new to some of my readers, will illustrate
my meaning, and are worth referring to, though they
have no direct bearing on the subject of my present
article. In the cantata " Halt' im Gedachtniss Jesum
Christ " is a bass solo and chorus, " Friede sei mit euch,"
with very florid orchestral accompaniments. Bach
subsequently used the music for the '' Gloria " of his
Mass in A, retaining the orchestral part, but writing an
absolutely new set of voice parts, full of imitations and
other contrapuntal devices ; and at the end of the
movement he substitutes for the original bass solo a
canon 4 in 2 for the chorus ! The other example is no
less astonishing. The third of the so-called " Branden
May I, 1893.]
THE
MONTHLY
burg Concertos" is written for stringed instruments in

ten parts, three violins, three violas, three violoncellos,
and double bass. This work was composed about the
year 1721. Ten years later Bach introduced the first
movement as the opening symphony of the cantata, " Ich
liebe den Hochsten von ganzem Gemiithe," and he then
added to his ten string parts three oboes and two horns.
Students know that it is not easy to add five parts of
florid counterpoint to a given subject ; it can be imagined
how much the difficulty is increased when instead of one
given part there are ten ! Yet Bach's new wind parts fit
with the rest of the music as easily as if they had been
written at first.
It is hardly necessary to say that no such elaborate
combinations as those I have just been describing are to
be found in the " Forty-Eight " : it is, nevertheless, a
great assistance to the average student to have some
guide in the understanding of music so essentially contra
puntal in construction as that great work. Such a guide
is offered in the book now before us.
Dr. Hugo Riemann, though his name is as yet com
paratively little known in this country, is one of the
foremost among living German theorists. An examina
tion of his works shows him to be emphatically an "allround man." There is hardly a branch of theory which
in his excellent series of Catechisms he has not dealt
with. Probably the most important service he has ren
dered to the cause of musical art has been his systema
tizing of the whole question of phrasing. His insistence
upon the relation of unaccented notes, not to the pre
ceding, but to the following accented note is of the
utmost value, and greatly simplifies the elucidation of
many points in connection with the question of rhythm.
This question is fully treated in his Catechism on " Com
position," which has not yet been translated into English ;
and I am bound to say that, while I differ from him in
many details as to the application of his system, I most
cordially accept his general principles, which (I may say
in passing,) I have to a large extent adopted in the book
I am now preparing on " Musical Form."
This is not the place to discuss Dr. Riemann's system
of harmony, the outlines of which are explained in the
preface to the present work. He has devised a new and
very ingenious set of symbols as a substitute for the
ordinary figured bass, and he claims for his system that
each sign contains the full explanation of the chord. His
claim must be admitted ; but those who are accustomed
to the usual method of noting chords will probably be
puzzled at first to find such a chord as the Neapolitan
sixth in A minor, generally indicated
-1
56
noted in the following wayaa>. A little patience,

however, will enable the student to unravel the apparent
intricacies of the author's method.
In his analysis of formal structure, Dr. Riemann takes
the eight-bar period as the normal formation, and regards
all periods of any other length, not as different forms, but
as extensions and contractions of normal periods by the
insertion or elision of bars. A full recognition of this
important general principle will undoubtedly be found
of great assistance to the student ; but I confess I find
it impossible to agree in all cases with the way in which
Dr. Riemann applies it to the analysis of these preludes
and fugues. I shall have to return to this point later,
and will only say now that in the preface already referred
to, which has been written expressly for the English
edition, and without which the author's meaning would
MUSICAL
RECORD.
99
have been often quite unintelligible to those who do not

know his other theoretical works, his system of indicating
the limits of phrases, periods, etc., is clearly explained.
There are two different methods of analysis the
technical, and the resthetic. The former treats of the
harmonic, rhythmical, and thematic construction of a
piece ; it is this kind of analysis which is to be found in
most theoretical treatises. The latter, on the other hand,
deals rather with the true meaning of the music, its
artistic conception, and under.yirig poetical idea. Of this
kind of analysis, the reviews which Schumann wrote for
the Neue Zeitschrift fiir Musik are among the best
models. Dr. Riemann in the present work combines both
methods. He is no mere Dryasdust, dissecting these
beautiful compositions merely to find the contrapuntal
devices in which they abound. Not that he leaves this
technical part of the work undone ; on the contrary, few,
if any, points of importance escape his notice. But he is
not content without also pointing out, sometimes very
felicitously, the ideas which are presented, to his mind at
least, by the music. The following description of the
opening of the c sharp major Prelude of the first book
might have been written by Schumann :
" It has a quiet, almost languishing character, and seems to
suggest a siesta under the shade of leafy trees, on grass fragrant
with blooming flowers, and all alive with the hum of insects."
And again a little later in the same analysis

" Everything is life and movement ; everywhere there is blossom
and radiance: the very atmosphere . trembles ; and yet the firm,
metrical design of the principal theme (the long feminine endings, )
displays to the end the same rapturous repose."
As another example of Dr. Riemann's style of char

acterization, I quote his description of the E flat minor
Prelude of the first book.
" The prelude with deep, dignified solemnity advances in 2 meas
ure ; the long-drawn lines of the melody display great and noble
feeling ; now clear eyes full of love seem to bs gazing at us, now
deep sighs are heard, sighs of pain at the limited power of human
beings who are able to realize onlv a small portion of unlimited
will."
Very interesting too are many of Dr. Riemann's remarks

on the character of the different keys, which he holds to
have had considerable influence on the style of the
different numbers of the work. For these I must refer
my readers to the volume itself ; and I now proceed to
speak of the technical part of the work, which, after all,
will be of the most importance to the student.
The acuteness of the author's observation is shown by
the analogies which he points out between various num
bers of the work, not only in their style, but in some cases
as regards close similarity of their themes. For example,
he shows that a passage in the G major Prelude of the
first book is absolutely identical in its melody with the
commencement of the c sharp major Prelude of the same
book ; and also that the c minor Prelude of the second
book has a very close resemblance to the F sharp minor
Prelude in the first. While I think I may lay claim to
a fairly intimate knowledge of the " Wohltemperirtes
Clavier," I frankly confess that I had never noticed the
resemblances till they were pointed out by Dr. Riemann.
In his analysis of the fugues our author follows Marx
in treating them as being in ternary, or three-part form.
Of the correctness of this view there can, I think, be no
doubt whatever. In some cases where Bach, according
to a not infrequent practice of his, introduces a middle
entry in the tonic keyas, for example, in the C sharp
major fugue of the first bookDr. Riemann says that by
the return of the principal key in the middle a kind of
rondo-form is established. It is doubtful whether it is
811265
IOO
THE
MONTHLY
MUSICAL RECORD.
worth while to make a distinction in such cases. When

in a fugue a middle entry in the tonic key is followed by
further entries in other keys than tonic or dominant, it
appears to be very much simpler to regard such entry in
the tonic key as a part of the middle section of the fugue.
This, however, is a matter on which different opinions
may fairly be held ; and if anyone prefer to consider
such a fugue as being in a variety of rondo-form, I, for
one, am not disposed to quarrel with him.
Dr. Riemann's explanation of the tonal answer in
subjects that do not modulate is different from that
generally given. In speaking of the answer to the c
minor fugue of the first bookit will be remembered that
the first fugue takes a real answerour author says :
' ' There remains then only to ask why Bach answered g by c, and
not by d f Although by way of proof it is sufficient to point to the
old rule, that the opening step (qy. ' leap ') from tonic to dominant
(eg) at the beginning must be answered by dominant-tonic [gc),
it may be further noticed that the Dux ends in the principal key,
and that therefore the modulation to the key of the dominant is
reservedfor the Comes, and this would not !>e facilitated by starting
with dominant harmony."
I must confess myself quite unable to see this : on the

contrary, it appears to me that by commencing with
dominant harmony the dominant key is more quickly
established. As an illustration of this, take the final
fugue of Bach's cantata, " Gottes Zeit ist die allerbeste
Zeit" ("God's time is the best"). Bach here begins his
subject on the dominant of E flat, and gives it a real
answer, which commences, not on the tonic according to
the old rule, but on the dominant of the dominant key of
B flat. The first note of the answer is accompanied by
the dominant harmony of B flat, and the new key is fixed
at once. It certainly seems simpler and better to explain
the tonal answer in such cases by reference to the old
rule, that the lowest note of an authentic scale was to be
answered by the lowest note of the corresponding plagal
scale, and vice versd.
Extremely ingenious is Dr. Riemann's analysis of the
great Prelude in E flat major (No. 7 of the first book).
He considers this piece as containing within itself a
complete prelude and fugue, the latter being a
double fugue. His arguments are exceedingly clever,
but I cannot say that I find them altogether con
vincing. It must be admitted that there are many
points of resemblance, to fugal form to be found in
this prelude, and also that there is more elaboration
in the part-writing than is to be met with in most of the
other preludes ; but it must first be noticed that Bach
himself would, most probably, have called the piece
" Prelude and Fugue" had he so regarded it, just as he
has done in other cases where the prelude leads into the
fugue without a break, for instance, in the Toccata and
Fugue (not the Dorian), for the organ in D minor. But
a still stronger argument against this view seems to be
that a fugue immediately follows this movement. Had
the Prelude really contained a fugue within itself, a
second one to succeed it would have been superfluous.
In his analysis of the thematic construction both of
the preludes and fugues, Dr. Riemann is particularly
happy. Here our author is on his own special domain :
for the points which, perhaps more than any other, are
the distinguishing feature of his theoretical works are the
attention he bestows on thematic development from the
motive, and the assistance that a correct understanding
of the motive gives in enabling the performer to deter
mine the phrasing. In indicating the harmonic outline,
Dr. Riemann often changes the grouping of Bach's notes,
sometimes very ingeniously, as in the fifth Prelude in the
first book, of which he says that " on close examination
[May I, 1893.
the two voices of the original notation appear to be very

delicate, open work in four voices." Such a presentation
of the text as this,
though it may look strangely unlike the original, certainly

facilitates the comprehension of the underlying musical
idea.
Dr. Riemann's analysis of the form of the preludes and
fugues is based on the general principle, which is un
questionably correct, that the four-and-eight-bar period is
the normal formation, and that periods of other lengths
are made from the normal period by interpolations and
elisions. But, while I most unreservedly accept the prin
ciple, I find myself quite unable, in many instances, to
agree with the method in which Dr. Riemann applies it.
The concluding bars of a period, or phrase, are doubtless
those in which the cadences fall, and these are the fourth
and eighth bars of the normal period. But it is by no
means so clear that every bar in which a cadence is found
must be either a fourth or eighth bar ; for we also meet
with cadences (though less frequently), in other parts of
the period. Dr. Riemann regards bars in which such
are found in a double aspectthat is, as indicating an
overlapping of phrases, a fourth bar being also a sixth, or
second, marked on his system by (4=6) or (4=2). The
result is sometimes very confusing. For example, in the
prelude in g sharp minor (No. 18 of the first book), we
find the second bar marked (4=6), the third bar (8), the
fifth (4=2), the sixth (4=6), the seventh (8=2), the ninth
(4=6), the tenth (8=2), and so on, nearly all the way
through. Besides this, in two places near the end, he
changes the position of Bach's bar-lines. The piece
being in compound time (J), one bar, of course, may
count as two ; but even if this is bome in mind, I find it
impossible in all cases to agree with the author's analysis,
which appears quite needlessly cumbersome. It seems
to me far simpler to regard each bar here as one, not as
two. The full cadence in the fifth bar shows the end of
a period, the prelude therefore begins, as is often the case,
with an incomplete period ; that is to say, the first bar is
(4). From the fifth bar to the thirteenth is a regular
eight-bar period, ending with a cadence in the dominant
(d sharp minor). The next period shows at bar 20 the
interpolation of a bar, and at bar 22 the conversion of an
eighth bar into a fourth (8=4), by the addition of a third
phrase to the period ; in this third phrase one bar (the
25th) is inserted, and the final cadence is prolonged for
two bars. I claim no perfection for this analysis, but I do
say that it is at least as intelligible, and far simpler, than
Dr. Riemann's.
In the analysis of the fugues, I cannot help thinking
that Dr. Riemann's system breaks down altogether,
because in a fugue the unit cf measurement is not the bar,
but the beat. To borrow a simile from poeiry, the unit
of measurement must here be, not the verse but the foot.
In endeavouring to apply his system of the four-bar
rhythm to works constructed on an altogether different
plan, Dr. Riemann is driven to such expedients as the
frequent alteration of the time-signature. For instance,
in speaking of the fugue in is flat minor (No 22 of the first
book), he says :
" In my edition of the work, I have attempted fully to expound
the metrical contents, and this has resulted in a frequent change
M.ay. I, 1893.]
THE
from } and j! to J measure, which latter finally prevails. . . . If we

consider as beyond dispute the fact that the situation of a theme in
a bar (its metrical nature) constitutes a special element of its essence,
it follows that an intelligent interpreter will always seek for and find
the points of stress of the same in the same place ; this is especially
true in the lugue under notice, of the first minim of the theme,
which, without doubt, bears the stronger accent, and indeed, in
Bach's notation, with exception of two strettos, it always appears at
the beginning of the (_' measure strictly maintained throughout.
Hut also lor certain close-formations which signify special points of
rest of the tone-movement, we demand absolute metrical relationship
(point of stress of an accented measure [4, 8]). The occasional
results from such conflicting demands must br thoioughly grasped
if one wishes to have firm points of support in interpreting the
piece. "
I have, in justice to Dr. Riemann, quoted his explana

tion in full ; but it seems to me that the fallacy underlying
the argument is in the assumption that the fugal form can
be reduced to the normal four- or eight-bar rhythm at all
It seems to me that the impossibility of such a procedure
is proved by the fact that even Dr. Riemann, with all his
ability, cannot do it without utterly destroying the unity
and symmetry of this fugue by taking part of it as in
common, and part as in triple time I
A somewhat similar example is furnished by the E
major fugue of the second book. Here Dr. Riemann not
only has to assume almost continual elisions and over
lapping of bars, but at the twelfth bar he changes his
time-signature to :,', and from the twentieth bar he puts
three minims into a bar, displacing Bach's bar-lines in a
most confusing manner. While entertaining the utmost
respect for Dr. Riemann's learning, and admitting my
great obligations to him for much light I have gained
from the study of his theoretical works, I cannot but
think that in this respect he is on the wrong tack, and
that he is attempting to apply his rhythmical theories
where, from the very nature of the case, they are, and
must be, inapplicable. Instead of trying to reduce all
fugues to the normal rhythm, I would take as a guide the
length of the fugue subject itself in the majority of
cases, four, six, or eight beats. From this starting-point
the formation becomes in most cases as clear as it is
often unclear on any other system. Where the subject
contains eight beats (as, for instance, in the f minor fugue
of the second book), we find a much nearer approach to
the normal rhythm, and in such cases Dr. Riemann's
method works with little difficulty ; but with subjects of
six beats, such as the first fugue of the first book, it seems
to me impossible to apply it with success.
I have ventured frankly to express my entire disagree
ment with Dr. Riemann in this one point, but I am most
anxious that it should not be thought that my opinion of
his book is therefore unfavourable. On the contrary, I
consider it a most valuable aid to the comprehension of
Bach's work, and I heartily share the author's enthusiasm
as it shows itself in every page of the volume. The more
the " Forty-Eight " are known, the more they will be en
joyed and loved, and the student who wishes for an
intelligent guide through the intricacies of the music will
find such a guide in Dr. Riemann.
The translation of the volume is on the whole very good.
The task was far from easy, not only because Dr.
Riemann's style is not by any means simple, but because
many of the technical terms which he uses have no re
cognised English equivalents, as they are closely connected
with his theory of rhythm. For example, such an expres
sion as " einen Stiitzpunkt huchster Ordnung " (p. 90 of
the original German) is translated " a point of support of
the highest order" (p. 83). It is difficult to suggest any
better translation, but without further acquaintance with
Dr. Riemann's system it would not be easy for the student
101
to know that by these words he means the concluding bar

of a period. Another expression. " Scblussbestatigung,"
which is rendered by " close-confirmation," would have,
I think, been clearer had it been translated "confirmation
of cadence," while ' outbidding-close " (p. 153), is a very
infelicitous translation of ' Schlussiiberbietung," which
means " prolongation of cadence." But actual slips are
very few ; I have only noted two, which should be cor
rected in the next edition. On page 3, "drittletzten
Takt" (literally "third-last bar"; is translated "last
measure but three," instead of " last measure but two,"
br " third bar from the end," and at page 93 " Schuppenbewegung" is translated " wavy movement." 1 think Dr.
Riemann has here coined a compound word from
" Schupp "a shove, or a push and refers to the pro
gressions by step upwards of the counterpoint in the
quotation to which the passage refers. I think it a pity,
also, that the translator has retained Dr. Riemann's
names "Dux" and "Comes" instead of the terms much
more commonly employed in this country, "Subject" and
" Answer." This, however, is merely a matter of indi
vidual opinion, and those who know Dr. Riemann's
original will be the most ready to make allowance for any
shortcomings of the translation.
HARMONIC ANALYSIS.
By Louis B. Prout.
(Concludedfrom p. 77.)
PASSING CHORDS, ETC.
59. Some suggestions have already been given ( 34

36) as to the means of distinguishing unessential notes
(suspensions, auxiliary and passing notes, etc.) from
essential notes (chord elements), but there is much more
to be said on the same subject.
60. No note is in reality an " essential note " of a chord
which resolves while that root remains unchanged ;
though, on account of their harmonic importance, the
9th, 1 nh, and 13th of the dominant are generally regarded
as "essential notes" ( 41). But, on the other hand,
some notes which might be chord notes are often em
ployed in such context as shows them to be used as
passing notes.
61. As the 7th in a chord of the 7th is only one degree
away from the 8ve, this interval (the 7th) can be used
after the common chord with its root doubled to fill in a
space between this note and the next harmony note.
Ex. 33*EX'33' *
J. J J
1
7ths thus used may always appropriately be termed

" passing 7ths." but the analysis of Ex. 33 would simply
be C : I., IV., \'b, 1. If, however, the time were very slow,
or the 7th were in a separate bar, or were embellished
with "auxiliary notes," etc., it would be separately
analyzed as in Ex. 34.
Ex. M. (a)
Lento. \
With regard to the case illustrated at Ex. 34 (a), no

precise rule can be given as to the tempo which shall
102
THE
MONTHLY
suggest the feeling of-a distinct chord of the 7th ; it must

be left to the judgment of the analyst.
62. If two or three parts proceed simultaneously in
passing notes, but enough of the chord remains to show
clearly that it has not changed, we have merely double or
triple passing notes, and no account need be taken of
them in analysis. But it not infrequently happens that
all the parts (or sufficient to remove the impression of the
chord) proceed simultaneously in passing notes ; with
the necessary result that, in a sense, the chord changes ;
a chord thus produced may appropriately be described
(after Richter) as a " passing chord."
63. It may not unreasonably be asked, why, if the
chord changes, treat the notes as in any sense passing
notes at all ? To answer this question fully would require
a. volume instead of a few pages, as questions of counter
point, musical construction, tempo, musical festhetics,
etc., are bound up with it. But a few general hints may
be thrown out.
64. In the first place, parts proceeding by step of a
2nd, according to the law of passing notes, may produce
combinations which otherwise would not be used, or
would have quite different resolution. Ex. 35 shows a
familiar instance of simultaneous passing notes, and will
prove instructive in several respects :
MUSITAL
RECORD.
[May i, 1893.
Notice the average duration of chords in the musical

sentence ; chords of shorter duration than this average
will, if all the parts move by step (or none move by leap
except harmony notes), almost certainly make themselves
felt as " passing chords," even though there may be no
unusual progression to prove this. For example, in a
waltz the average duration is generally one bar for one
chord, and if the chord appear here and there to change
at the 3rd beat, the 3rd- beat-chord will probably be a
passing chord ; so also in all kinds of " strict counter
point" work, and florid work on a sustained "canto
fermo" ; each note of the canto fermo will probably bear
one chord, and even if there is an appearance of a change
later in the bar (though of course when the canto fermo
is stationary all the parts are not moving) it will generally
be a passing chord.
68. In very rapid time, almost all unaccented chords
are likely to be passing chords, because the mind has not
time to realize distinct changes of root.
69. Chords of rare occurrence, and ineffective if ap
proached by leap, may generally be regarded as merely
" passing chords." The use of vie in Ex. 35 illustrates
this ; even if the notes of the second half bar had been
dwelt upon (e.g., if we had the progression in minims
instead of quavers) we should still have felt it to be a
" passing chord," because it is so unnatural a resolution
for V-d, and would be so ineffective but for. the step
progression of the parts.
CONCLUSION.
Chord 1 is A : I., and defines the harmony of at least the

first half bar ; chord 2 might be vii", but not one of the
notes requiring resolution follows the laws for that chord.
Chord 3, apart from the context which proves it a "passing
chord," would be utterly unintelligible. {N.B.The "Day
theory," that all the notes of the diatonic scale are parts
of the "dominant 13th," will of course afford a possible
explanation of all the chords ; but, just because it appears
to explain everything, it really explains nothing.) Chord
4 is also unintelligible, except as a passing chord. The
remaining chords may be V7d, vie, vii0*, and la, and if
each were dwelt upon, or the movement of the parts were
not entirely by step, we might analyze them separately in
this way.
65. This brings us to a very important point. "Passing
chords " are of two kinds, those which must from their
nature be passing chords {e.g., Ex. 35, chords 3 and 4),
and those which might be independent chords, but which
are used as passing chords {e.g., Ex. 35, chord 6). It is
perhaps worthy of mention that this two-fold division of
passing chords corresponds exactly to the distinction
between genuine " passing notes " and " passing 7ths "
( 61). The first class can easily be disposed of, for
however long the duration of the chord there can be no
question of its being still a "passing chord." No analysis
will be required beyond the letters P. C. under the bass
note.
66. In judging whether a chord of the second class is
used as a passing chord, so many considerations have to
be taken into account that it is, as has already been said,
impossible to do more than generalize. Passing chords
of this kind may, however, be separately analyzed ; though
the letters P. C. should be added. Thus we should
analyze Ex. 35 as follows :A : I., vii? (P. C), (P. C),
(P. C), V,d (P. C), v\c (P. C), \\n (P. C.), I., V.
67. Perhaps the method of recognizing " passing
chords" which is mos.t generally serviceable is this :
70. Very much more might be written on this subject ;

indeed it is to be feared that many important classes of
progressions and combinations have been left altogether
without explanation. But enough has perhaps been said
to indicate the lines upon which investigations in harmonic
analysis should proceed, and to assist the student in
further researches.
71. A brief summary of the foregoing suggestions on
the method to be followed in analyzing may be found
serviceable.
I. Ascertain the key. Tonic concords, especially after
discords or chromatic harmonies, or when in their second
inversion, will be particularly useful in this.
II. Correct or verify the notation of harmony notes
which are chromatic in the prevailing key.
III. Find the root of eich chord, and measure the
intervals (as regards quality as well as name) from that
root. If the chord is chromatic, notice from what key it
is " borrowed," or whether it is one of the forms of the
" augmented 6th " chord.
IV. Study the relation of all ornamental notes to the
harmony notes, and ascertain whether they are "suspen
sions," " passing notes," "auxiliary notes," or "'anticipa
tions." As has already been said, these notes need not be
separately marked in analyzing ; but if it is desired to
make everything as complete as possible, the abbre
viations "s.," "p. n." (or "p."), "a. n." (or "a"), and
"ant.," may be placed against them.
72. Analysis cannot be taught ; it must be constantly
practised. No adequate knowledge of harmony can be
obtained without much practice in analysis of the works
of the best composers. Let the student examine even
the most apparently trivial details in the music analyzed
positions of chords, resolution of dissonant notes,
employment of auxiliary notes (whether diatonic or
chromatic, etc.), and in fact anything and everything
affecting the structureand let him try to find reasons
for everything. Though the details may appear trivial,
the underlying principles will not be found to be
so, and it is these great principles which the student
should seek out. The painstaking and observant analyst
May I, 1893.]
THE MONTHLY
has .1 wide field before him, and will certainly be rewarded

with an insight into harmony which even our best text
books cannot hope to give, and probably with some im
portant and interesting discoveries.
73. One word of warning in conclusion. Details of
position, resolution, etc., cannot safely be studied from
pianoforte or orchestral music, as much liberty is taken
in matters of detail, that the " laying out " for the instru
ment or instruments may be effective; but progressions,
combinations, etc., also points of detail in the melody, can
quite safely be studied from such works, while vocal
writing or the string quartet may be studied for minor
details.

CONSISTING OF

By E. PAUER,
Principal Professor of Pianoforte at the Royal College of Music, &*c.
(Continuedfrom page 3o.)
STEP III.
D. Krug. Sacred Strains, Transcriptions. The late
D. Krug was not only a sound musician, but one who
was anxious to provide for young people nothing but
healthy food. His harmonies are pure and correct, the
accompaniments never vulgar or commonplace, and the
selection of the pieces he transcribes in every instance a
good one. No. 1, a movement in C from Handel's Israel
in Egypt. Not difficult, and a good example for playing
firm chords. No. 2, two melodies from Haydn's immor
tal Creation. The ever-fresh beauty and naturalness of
Haydn's strains is also here represented, and it is almost
a matter of certainty that the pupil will perform this pure
and melodious music with great delight. No. 3, Mozart's
"Twelfth Mass" has a little history of its own ; for, first of
all, it is not by Mozart, but by Michael Haydn. The
latter was very ill, and unable to compose six duets for
two violins, which had been ordered by the Archbishop of
Salzburg. Mozart, with his innateamiability, volunteeredto
do this for his beloved and respected friend and colleague.
The duets, signed with the name of Michael Haydn, were
ready at the proper time, and Haydn escaped the ex
pressions of ill-will for which the Archbishop was noted.
But in order to show his gratitude to Mozart, who in his
turn was not able to write a Mass which had been ordered
by the ecclesiastical authorities of Salzburg, Michael
Haydn composed the commonly called " Twelfth Mass,"
and signed it with the name of W. A. Mozart. No. 4,
Gounod, " Messe Solennelle." This work is so celebrated
and esteemed that it must be pleasant to young people to
become acquainted with its beauties.
It is the right
music to play in home circles, where worldly music is not
admitted.
No. 5, Handel, Messiah. The immortal
beauties of Handel's master- work need no recommenda
tion ; but it may be mentioned that Krug has selected
four of the most striking and universally beloved melo
dies. No. 6, Mendelssohn, St. Paul. Although most
people think that the celebrated composer's work Elijah
is a more important and more highly finished oratorio,
St. Paul will always retain a strong hold upon the affec
tions of musicians, for its harmonious and melodious
beauties are so spontaneous that they may be well called
inspirations. The order of the excerpts which are offered
in this book is a most excellent one. The chorale,
MUSICAL RECORD.
103
" Wachet auf, ruft uns die Stimme," -is followed by the
chorus in which Stephen is accursed ; the soft and
delicious strains of the soprano air, "Jerusalem," and the
majestic chorus in D, "Mache dich auf," complete the
thoroughly happy selection. No. 7, Mendelssohn, " Hymn
of Praise." It may suffice to mention that the exquisite
melody, " I waited for the Lord," is included in this book,
which begins and finishes with the grand and solemn
strain with which Mendelssohn starts his glorious work.
Once more it may be asserted that the teacher cannot
give a worthier selection of fine music into the hands of
the pupil.
Frkdiric Kalkbrenner. "La Femme du Marin." In
one of the earlier editions the composer mentions that
the accompaniment in the left: hand describes the move
ment of the sea waves, whilst the melody entrusted to the
right hand represents the anxieties of the sailor's wife
awaiting the return of her beloved husband. In any
case, the piece once obtained an immense popularity, and
is even at present a very useful study and agreeably
sounding movement.
Gustav Lange.
" Edelweiss," Idyll in e flat.
The
rhythm is not unlike that in which the so-called
"Styriennes" or " Tyroliennes " are written. The con
struction is simple and natural, and the whole is written
in a practical manner.
G. Lange. " Blumenlied," Melody in F. A very melo
dious and well-sounding movement.
jimile Morel. Gavotte in o. A certain likeness to
Gluck's celebrated gavotte from Helena and Paris cannot
be denied. It is written in a fluent and pleasing manner.
Fre'deric Mann. " Sweet Souvenir," Melody in C.
The part in c is relieved by a more singing and sustained
melody in F, forming a contrast to the dotted passages of
the beginning.
Maurice Lee.
" Gavotte du Due de Richelieu," in D.
Written in a popular style, well rhythmicized and pleasing.
Maurice Lee.
" Sylvana, Menuet d'Exaudet," in B
flat.
This menuet was in its time as popular as that of
Boccherini, and it certainly possesses a striking rhythm
and somewhat stately character.
Maurice Lee. " Le Courier," Grand Galop de Con
cert in F, Op. 51. Full of life, agreeable to play, and
decidedly effective.
Maurice Lee. " L'ElectriciteV' Etude de Salon in F,
Op. 7. A very brilliant and lively movement, to which
the middle part (B flat) gives an agreeable relief.
A. C. Mackenzie.
"Rustic Scenes," Op. 9, No. 3.
" Curfew," in F, and No. 4, " Harvest Home," in n. Of
an experienced composer, such as the respected Principal
of the Royal Academy is, nothing but solid, interesting,
and therefore effective work can be expected.
The
" Curfew " is of a more earnest expression, whilst the
" Harvest Home " is lull of pleasant and cheerful life.
/. Leybach. First Nocturne in a flat, Op. 3. A very
acceptable drawing-room piece, which obtained a great
popularity.
Eugene Ketterer. " VArgentine," Fantaisie Mazurka,
Op. 21. The French pianist describes in his well-known
piece the movements of a silver-scaled fish, and for this
reason the performance ought to be as rapid and light as
that of the model.
Wilhelm Kuhe. " Bacchanale," in G. An unpreten
tious light piece, of cheerful character.
Wilhelm Kuhe. " Marche de la Victoire," in E flat,
Op. 92. A good march movement of considerable effect.
Albert Pieczonka. " Wanda," Mazurka brillante in E
flat. Although the rhythmical expression is not exactly
one for which the Polish dance is known and admired,
the piece is natural and in a certain degree melodious,
io4
and therefore it may be recommended as a relaxation

after more serious work.
Albert Pieczonka. "Elfentanz," Caprice in E flat._ A
brilliant valse movement, which offers at the same time
a good study for rhythmical expression.
Albert Pieczonka. Valse brillante for small hands.
Natural, bright, and of a certain effect.
E. Pauer. '' Gleanings from the works of celebrated
composers." No. 4, Andante from the Concerto in a,
composed 1786, by W. A. Mozart. The exquisite sweet
ness and delightful flow of most beautiful melody, supple
mented by the noblest harmonies, has been an object of
admiration bestowed on this unique piece ; the affection
ate warmth and tender melancholy which suffuse this
remarkable inspiration will for all time be recognised and
cherished. The orchestral accompaniments are embodied
in this transcription, and thus the effect is a greater one
than by playing it from an ordinary edition.
(To It continued.)

The twenty.-fiist Gewandhaus concert was particularly interest
ing for two reasons. Students of musical form were afforded an
opportunity of hearing three symphonies, which, perhaps, more
than any others, serve to illustrate the origin and early growth
of the symphonic form. These were a symphony for strings,
oboes, flutes, bassoons, and horns, by Philip Emanuel Bach ;
Joseph Haydn's Symphony in r> (No. 14 of the B. and H. edition),
and Mozart's Symphony in G minor. They were given in
chronological order as enumerated above. The Bach Sym
phony is in three movements, which follow uninterruptedly ;
the first movement brilliant, the second elegiac in character,
while the finale is a short and lively presto. It must be pro
nounced a highly effective work, fully equal to its better-known
congener in D. All three symphonies were exquisitely played,
and greatly delighted the audience. But there was another, and,
to some folks, greater attraction at this concert, in the person of
Sefior Sarasate, the celebrated violinist, who played Lalo's
" Symphonie espagnolle," and Raff's "Liebesfee." The
maestro never played more beautifully than he did on this oc
casion ; but we could not help regretting that he had not
selected works of more intellectual calibre than those above
mentioned. That Lalo's work is fantastically clever and
piquant there can be no doubt, but no one will claim for it a
position in the highest grade of art ; and a strong objection to
Raff's " Liebesfee " is its large indebtedness to Mendelssohn.
So charmed was the audience with Sarasate's wonderful playing
that the violinist was not allowed to leave the platform until
he had complied with the persistent demand for an encore by
playing some of his own compositions.
The twenty-second and last Gewandhaus concert of the
season was devoted entirely to works by Beethoven, namely,
the Ninth Symphony and the Mass in c. The latter, without
pretending to the depth or grandeur of the " Missa Solennis,"
is nevertheless a glorious masterpiece : concise in form, melodious
in character, easy to understand, and, above all, written with
far more consideration for the human voice than the Mass in 1 >,
the earlier work cannot fail to increase in popularity. It made
a deep impression on this occasion, the performance being, on
the whole, excellent. The chorus sang uncommonly well ; and
the soloists, Frau Baumann, Frau Pauline Metzler, Herren
Pinks and Schelper also deserve warm praise. Especially
beautiful is the magnificent Bcntdictus. A lucky star seemed
to shine upon the performance of the 9th Symphony, the
colossal difficulties of which are well known to most musicians.
Here in Leipzig during the past winter we have had no less than
four performances of this crowning masterpiece of Beethoven !
At the close of the concert, Herr Professor Dr. Reinecke was
several times recalleda mark of esteem the veteran conductor
thoroughly well deserved.
On Good Friday the usual performance of Bach's " St.
Matthew Passion " was given at St. Thomas's, where, with a
large chorus and orchestra directed by Dr. Reinecke, this work
[May i, 1893.
is heard to the greatest possible advantage. Of the soloists,

Herren Dierich and Schelper chiefly distinguished themselves.
The lower notes of Frkulein Martini (the soprano) were weak,
and the voice of Frkulein Jordan had not sufficient body to fill so
large a building. From these remarks it will be seen that the
soloists were not quite up to our customary level ; but with this
exception the whole performance went admirably. Herr
Conccrtmeister Rnntgen distinguished himself in the violin pl<Migato to " Erbarme dich," and Herr llinke was no less
successful with the oboe part to " Ich will bei meinem Jesu
wachen."
At the last of the popular Chamber concerts given by Herr
von Bose, Dvofuk's Pianoforte Quintet, Schumann's Trio
in F, and a Sonata by Paderewski formed the chief attractions.
In the Trio, the concert-giver was assisted by Miss Edith
Robinson and Herr Julius Klengel. There has been a plentiful
supply of "artists' concerts," including pianoforte recitals by
Frkulein Kirchhoffer of Frankfurt, Herren Lutter of Hanover,
and Dr. Otto Neitzel of Cologne. They all proved to be com
petent pianists, but nothing more.
At the old Gewandhaus, Herr Robert Gound from Vienna
gave a concert of his own compositions ; among them a Piano
forte Trio, Eight Songs, and three pieces for Pianoforte Solo.
Some of them were pretty, but on the whole, we thought the
composer's descent upon Leipzig a little premature.
The Grieg Verein, which appears to have been established for
the purpose of exploiting, under the protecting wings of Edvard
Grieg, new compositions by young Scandinavian composers,
recently gave a tuatinte at which were performed a 'cello sonata
by Grieg and works by Selmer, Sinding, Glass, and Gade.
OUR MUSIC PACES.

The song, "A Lake and a Fairy Boat," No. 4 of six
songs, Op. 26, by E. Kreuz, is sung by Mrs. Henschel,
and is remarkably graceful and flowing in its style, which
is at once apparent to the hearer. The voice part is
written within the compass of one octave, from E flat to
E flat, and will be found to suit most voices.
fcebtetog of #eto iHuatc anto #rto

Augener's Library of Pianoforte Music for Study and
drawing-room pieces, selected, revised, and fingered
by E. Pauer. Book IV., Junior Grade. (Edition
No. 5,964 ; net, is.) Book IV., Senior Grade. (Edition
The two latest additions to "Augener's Library of Piano
forte Music " give us a varied selection of studies and
pieces from the works of well-known composers. The
most interesting numbers are probably those that are
least known, and are to be found in the junior grade
volume : for instance, Kirnberger's Allegro in E minor,
a quaint composition of last century ; Oswald, Graf von
Wolkenstein (minstrel, born in 1367), Love Song, tran
scribed by E. Pauer; and E. Rommel, Romanza in E flat.
In the volume of the senior grade we find a pleasing
study of double notes for the left hand alone, from
Pauer's twelve characteristic studies ; a charming Cradle
Song in F sharp major, by Kjerulf ; and the second
Valse Mvlancolique by Strelezki ; with several standard
compositions by Bach, Beethoven, Schumann, and others.
CEuvres Choisies pour Piano. Par L. Schytte. No.
io, Passant les Steppes. London : Augener & Co.
Like so many of this prolific composer's pianoforte works,
it is showy without being difficult of execution ; and when
May I, 1893.]
THE
MONTHLY
played up to time and with the necessary staccato touch

throughout, it will be found to be an effective little draw
ing-room piece. It can be taken up with advantage by
teachers who have been putting pupils through staccato
exercises.
Morceaux pour Piano Setil. Par ANTON Strelezki.

No. 39, Allegretto en Ut Majeur. 40, Feuillet
d'Album.
41, 2nde Valse Scherzo en la Bemol
Majeur. 42, Scherzo en Sol Majeur. London :
Augener & Co.
The above four pieces are very similar to the many
compositions by Strelezki already reviewed in these
columns. Of the four we prefer the " Feuillet d'Album "
and the "Scherzo en Sol Majeur" ; the "Allegretto en Ut
Majeur" is more trivial and does not call for much remark.
These pieces are exceedingly tuneful and agreeable, and
while we confess that they are but bagatelles, still they
are sure to take their place amongst the recreative music
so necessary for certain players.
MUSICAL
RECORD.
105
Symphonies by Joseph Haydn. Arranged for pianoforte

duet by Max Pauer. No. 6 in g major (Edition
No. 8,554// net, is.) London : Augener & Co.
Yet another of this ever-welcome series, edited with the
same painstaking care as its predecessors. This particu
lar one (No. 3 of the Salomon set) may be recommended
to the young amateur as giving, in a compact and simple
way, a very good example of symphonic form.
Morceaux Favoris pour Piano a quatre Mains. No.

47, Meditation. Par S. Noskowski. No. 48, Walzer.
Par J. L. Nicode. London : Augener & Co.
We can cordially recommend these two duets to our
readers as containing some good music at once interesting
to play and pleasant to listen to. No. 47 is the more
pretentious composition, which will make the greater
demands upon the performers, although neither duet is
difficult. No. 48 is a little gem, worthy of Chopin, to
which we may aptly use the adjective " fascinating." A
Musical Kindergarten (Musikalischer Kindergarten]. more than ordinary attention must be given to phrasing
For pianoforte duet. By Carl Reinecke. Op. 206. on the part of those who play either of these duets.
Vol. I. My First Pieces, within the compass of five
notes. (Edition No. 6871 ; net, 2s. 6d.) Vol. II. Premiere Collection de Pieces d'Orgue. Par Aloys
Favourite Melodies, within the compass of five notes.
Claussmann. Deuxieme Livraison. 1, Scherzo.
(Edition No. 6,872 ; net, 2s. 6d.) London : Augener
2, Elevation. 3, Cantilene. Paris : Richault etCie.
& Co.
This second instalment of organ pieces by the talented
The two volumes before us are the same as those reviewed organist of the cathedral of Clermont-Ferrand is quite up
last month, except that these are for piano duet. All the to one's expectations, formed after perusing the first book,
melodies contained in the two books are of the simplest which we had pleasure in referring to a short time ago.
kind, and the primo part is written within the compass of M. Claussmann is remarkably lucid in the expression of
five notes, so as to be suitable for use in the kindergarten. his ideas, and this is particularly noticeable in the Scherzo,
Each little piece in Vol. I. has a title as, for instance, in B minor (dedicated, by the way, to Professor Bridge).
"Idyl"; "Evening Song"; "A Sad Moment"; It is certainly a notable addition to modern organ
"Ballad"; "Easy Dance"; "When the Little Fingers literature, and contains some very effective writing which
Sing"; "Scotch Air"; "Waltz"; "March," etc. Vol. is sure to please. The Elamtion, in v> flat major, is
II. is a collection of operatic pieces, concluding with a conceived in a devotional spirit, and shows that we are
"Comic Opera without Words." It is almost superfluous dealing with a cultured musician. The Carnitine, in E
to say that these books are full of excellent teaching minor, has several melodies which are interwoven most
matter for the very youngthe name of Reinecke is in ingeniously, and yet so naturally as to be distinguishable,
itself a sufficient guarantee for this.
each from the other, by the most superficial listener. M.
Claussmann not only loves his art, but his instrument has
Musical Kindergarten (Musikalischer Kindergarten). become part of himself.
Op. 206. By Carl Reinecke. Vol. III. My First
Songs (Die Ersten Kinderlieder). For piano solo.
(Edition No. 6,343 ; net, is. 4d.) For piano duet. 2'' Sonata in D dur far Violine und Piano. Von MAX
REGER. Op. 3. (Edition No. 7,536 ; net, 2s.)
(Edition No. 6,873 i net> 2S- 6d.) London : Augener
&Co.
The third volume of the " Musical Kindergarten " contains In this new work we find the want of clearly defined
fifteen children's songs, with such titles as " Morning," subjects and their orthodox treatment a great drawback.
" Ship in a Tub," " The Organ-Grinder," " In the Apple We have already remarked, in our notices of Op. 1 and
Tree," " Playing at Ball," " Baby's Evening Prayer," etc. Op. 2, that this composer's style of writing is vague and
These are all delightful little compositions, and as easy wearisome, and the pianoforte part so difficult that we doubt
as possible. The simple pianoforte accompaniment, if there are many players who will consider it worth the
either solo or duet, is pretty, and gives the melody along labour of performance. The composer is evidently an
with the voice. The words are in English and German, enthusiastic admirer of the great representatives of the
and a separate part for the voice, with English words modern school of composition, and vainly endeavours to
only, is given, which has also been arranged in tonic sol-fa produce a work likely to rank with theirs. We have
notation by W. G. McNaught. Words and music are alike courageously tried it a second and a third time, only to
of the happiest description, and we cannot recommend experience on each occasion physical and mental relief on
them too highly for use in the kindergarten or in any reaching the last bar. In a foot-note our attention is
school for training very young children. We add the called to a new mark of expression, denoting a slight
lingering on the note over which it is placed, and here
words of No. 3, " The Organ-Grinder : "
and there dotted bars occur drawn through the measures,
" See the poor old organ-grinder,
,
which, so far as we can see, do not denote anything. The
With his organ at the door,
Wearily the handle turning.
parts are full of dynamic signs, from ppp to ///, and in
Hungrily he looks, and poor,
more than one place a passage is marked to begin ff with
leather dear, give me a penny
marks of crescendo to a second^"; but with all this there
Only one, to make him cheery ;
is no part of the work which in any way touches our
For, although his tunes are pretty,
emotions.
Oh ! he looks so sad and dreary."
io6
THE
MONTHLY
Scenes of Childhood (Kinderscenen). Easy pieces by R.

Schumann. Op. 15. Arranged by F. Hermann
for violoncello and piano. (Edition No. 7,747 ; net,
is.) For flute and piano. (Edition No. 7,826 ; net,
is.) London : Augener & Co,
These are two arrangements by Professor Hermann,
. which will probably make these pieces, already so well
known to the pianist, equally known to the flautist and
'cellist, by whom they will be found most enjoyable duets.
Especially effective are Nos. 3, " Catch Me if you Can " ;
4, "The Entreating Child"; 7, " Revery" (Traumerei).
The latter is everywhere the favourite piece of the set,
and its touching melody is particularly expressive when
played on a stringed instrument.
Albumfor the Young {Jugend-Album). By R. Schumann.
Op. 68. Arranged by F. Hermann for violoncello
and piano. (Edition No. 7,748 ; net, 3s.) For flute
and piano. (Edition No. 7,827; net, 3s.) London:
Augener & Co.
This album of forty-three pieces is so well known that it
is hardly necessary that we should describe it. Excepting,
perhaps, Mendelssohn's " Lieder ohne Worte," we should
think no other work has been so much imitatedthis
surely is the " sincerest flattery." It is surprising how
well these compositions lend themselves for arrangement ;
the slow pieces are, however, more expressive on the 'cello
than the flute, and Professor Hermann's handling of them
is indeed admirable. Amateurs will do well to add this
album of gems to their stock of music, as they will
undoubtedly yield them infinite enjoyment. It is obvious
that many difficulties which present themselves in the
original for piano solo are absent in this arrangement.
Air Varie pour le Violon avec accompagnement d'un
second Violon, Viola, el Basse. Par P. Rode. Op.
10. Revu et arrange pour violon et piano, par
Gustav Jensen. (Edition No. 8,691 ; net, is.)
We have here the celebrated "Air Varie" by Rode for violin
solo, with accompaniment for second violin, viola and
bass, or for piano. All the parts, revised and arranged by
G. Jensen, are included in this edition, so that we have
the advantage of being able to render this charming solo
either as a quartet or duet. The accompaniment is very
simple, the piece being, as everyone knows, essentially a
solo for the violin.
Suite Fantaisiste pour Violon et Orchestre. Par JULES
Bordier. Op. 40. Reduction pour violon et piano
par l'auteur. Paris : Richault et Cie.
IN order to form a just opinion of this compositiona
suite of two pieces, viz. : No. 1, Air d'E-glisey No. 2,
Menuet-Polonaiseone would wish to hear it played
with orchestral accompaniment ; the piano part clearly
shows that the effect would be much heightened thereby.
The first movement, Largo in G minor, is a sustained
air, starting with violin alone, the bass entering in the
fourth measure, and here one already feels how much the
sustained notes of orchestral instruments would assist in
giving due effect to the accompanying chords of minims
and semibreves, while several passages in quavers suggest
the tones of the flute and other wood wind-instruments.
The religious character of this movement gives scope for
much expressive playing, and works up to a good climax
before returning^ to the air. The second movement is
a brilliant, showy Menuet-Polonaise in D minor, which,
although written occasionally in the highest positions, is
not so very difficult as it sounds. A long cadenza of a
page affords the soloist an opportunity of displaying
MUSICAL
RECORD.
[May 1, 1893.
technical skill. The composer understands thoroughly

how to write well for the violin ; and, to judge from the
solo part, which is perfectly bowed, fingered, and marked,
one inclines to think that he is himself an artiste on the
instrument ; while the piano part (compressed from the
score by the author) gives us the impression that he also
understands scoring for orchestra. This suite deserves
to become popular as a brilliant and effective violin solo
suited for public performance. It is with pleasure we
recommend it to the notice of violinists.
A Lake and a Fairy Boat. Song. Words by Thomas
Hood. Music by Emil Kreuz. London : Augener
& Co.
THIS is one of the set of six songs for mezzo-soprano
which we noticed last month, and the fact that it has been
introduced to public notice by Mrs. Henschel is in itself
a guarantee as to its merits. It is now published in the
key of I) major, in addition to the original key of A flat,
which will no doubt help to increase its popularity.
In the Primrose Time of the Year. Part-song. By
Hamish MacCunn. (Edition No. 14,051 ; net, 4d.)
A TAKING setting of William Black's words, for S. A. T.T.
B. It may be divided into two parts, each part opening
with a phrase in G minor for basses, description of winter,
and succeeded by a five-part chorus in G major, giving a
graceful welcome to " the primrose time of the year."
There is a distinct flavour of Scotland about both music
and words, and, like all Mr. MacCunn's work, it is original
in treatment. There are several striking progressions
which appear rather abruptly, but they are not unsingable,
and rather add piquancy to the whole.
Mass in D. By Antonin Dvorak. Op. 86. London :
Novello, Ewer & Co.
THIS work, which has just been heard for the first time
at the Crystal Palace, was written in the first instance for
a Bohemian village festival, 1887. It was scored for
organ, violoncellos, and double basses, four solo voices (or
a semi-chorus), and full chorus. Since then Dvorak has
elaborated his original scheme so as to include nearly a
full orchestra, in addition to the prominent organ part.
Although not conceived upon so massive a scale as the
composer's Stabat Mater and Requiem, it is not too much
to say that in most respects it ranks quite as high as its
predecessors. There is an easy flow of beautiful melody,
and a most artistic treatment of every subject, showing
the master hand throughout. We predict a great
popularity for this work in England. The edition before
us contains a pianoforte arrangement by Mr. Berthold
Tours, whose name alone is sufficient guarantee for the
best possible transcription of the complete score.
Operas anU Concert**
OPERA AT DRURY LANE.
Anticipating the regular season, Sir Augustus Harris gave a
series of operas at popular prices at Drury Lane Theatre.
His scheme was certainly a varied one, and as a special attraction
for holiday-makers there was Balfe's Bohtmian Girl at Easter
with Cavalleria Rmticana to follow. Mr. Eadie, an American
tenor, appeared as the hero of Balfe's opera, and displayed the
qualities of a fairly good voice, his performance being, how
ever, not completely successful owing to his inferior acting.
Madame Albu, a competent vocalist, succeeded well as Arline.
The somewhat faded charms of the English opera still sufficed
to attract a large audience, and Mascagni's opera was also well
received. Carmen, on Easter Tuesday, drew a large audience,
May I- I89:s.]
THE MONTHLY MUSICAL RECORD

A LAKE
107
AND A FAIRY BOAT.

by
EMIL KREUZ.
Op. 26, X? 4.
Allegretto
VOICE.
PIANO.
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boat
1,1^ r
sail
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in the
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should be snow.white silk,
i i
.5
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ffi
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of
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pearls,
g^
[.May 1, 1893.
with thy
ra.ven
curls,
y r
milk.
Should
May 1, 1893]
109
110
[May 1, 1893.
May I, 1893.]
THE
MONTHLY
Mile. Guercia, the clever mezzo - soprano, appearing with

considerable success as the heroine, a character she played with
the requisite energy. Mile. Guercia sang the music in excel
lent style ; Signor Morello was satisfactory in the tenor part ;
and M. Dufriche was efficient as Escamillo. A new Michaela
was seen in Mile. Dagmar, who has a most agreeable voice and
a pure style ; she had a flattering reception, and appears likely
to be an acquisition. Carmen was followed by Faust, an- opera
not likely to be overlooked when consulting popular tastes. In
this work, Miss Esther Palliser was the heroine, and acquitted
herself very well indeed. Her singing was extremely good,
and if in the acting one might sometimes desire greater force,
her Marguerite was upon the whole a far better performance
than that of many artists of greater fame. M. Castelmary was
the Mephistopheles, and played the part of the fiend effectively.
But we prefer the old way of dressing the character. A
costume of black with slashes is less telling than the old flamecoloured dress in which the Tempter used to be seen. M.
Dufriche was fairly good as Valentine, and Signor Giannini,
although far from being a romantic lover, sang the music well.
Another popular holiday opera was Marilana, deriving its chief
attraction from a capital performance of the hero by Mr. Ben
Davies, whose fine tenor voice gave unusual charm to the pretty
airs of Wallace. Miss Lucile Hill, from the Savoy, was the
heroine, and Miss Saunders the boy Lazarillo. But more
important work was done at Drury Lane on April 1 1 th, when
Halevy's opera Lajuive was revived after the lapse of so many
years"that few of the opera goers of the present day who had
not seen the work in Paris knew anything about it. Lajuive
was given at Drury Lane by a Brussels company in 1846, and in
Italian at Covent Garden in 1850, the performance at the Royal
Italian Opera being memorable, as Signor Mario and Madame
Viardot-Garcia were seen in the cast. It was much admired
at the time, and it is somewhat strange that the opera has so
long been shelved in London. Even the story is forgotten.
It
relates to the love of an Austrian prince for Rachel the Jewess.
The period is 1414, and there had been an edict by the Emperor
that a Christian wedding a Jewess, or a Jew a Christian, would be
doomed to death . The young prince had wooed the beautiful
Jewess under the name of Samuel, pretending that he was of
her race, but the maiden discovers his rank and that he is
already married. He endeavours to make her renounce the
Jewish faith without avail, and she is sentenced to death by fire.
Meanwhile, the Cardinal who condemns her and the Jew
Eleazar, suspects that the latter knows of the fate of his own
daughter, who had been lost in childhood. The Jew reveals
nothing until the moment of Rachel's awful fate, when his bitter
hatred is shown in the confession that Rachel was the Cardinal's
daughter. The music of Halevy being both dramatic and
melodious, and the opera being presented with much effect and
spectacular display, pleased the audience greatly, and Signor
Giannini as the Jew Eleazar acted and sang with remarkable
power.
Mdlle. Gherlsen, a new soprano, was moderately
successful as the heroine, but it is fair to say that she was
suffering from a cold and could not do herself justice. M.
Castelmary as the Cardinal was good, and the chorus and
orchestra gave the music with effect under the control of M.
Carl Armbruster. On Friday, April 14th, Lohengrin was
revived with considerable success, Miss Esther Palliser appearing
as Elsa, a character in which she displayed many merits, but
some defects. Upon the whole, however, it may be regarded
as a satisfactory performance, and in some of the vocal music
Miss Palliser's pure voice and agreeable style enabled her to win
hearty applause. Signor Morello was not very strong as the
hero ; he lacked the physical force required for such sustained
music ; but his intelligence was recognised, and, in the lack of
tenors fully competent to deal with so difficult a character,
Signor Morello was entitled to commendation. Signor Pignalosa
was an efficient Telramond, and Mile. Guercia was received
with great favour as Ortruda ; she sang the trying music of the
second, act with much dramatic energy and vocal power. Mr.
Carl Armbruster conducted with effect, and, considering that
Lohengrin was produced for a popular audience, it may be called
a great success, if only for the fact that the humbler lovers of
opera at the present day are beginning to appreciate a work in
which the dramatic spirit is paramount. Der Freischiitz an3
MUSICAL
RECORD.
in
other works will be heard in the course of the Drury Lane

season.
LYRIC THEATRE.
The changes made in the late Goring Thomas's opera, Tlie
Golden Web, were most beneficial, as they brought the pretty
music into greater prominence, and the opera has gone with
greater spirit since the cast was strengthened by the appearance
of Mr. Durward Lely as the hero. Mr. Lely sang the music
extremely well, and the introduction of some lively dances by
the D'Aubans gave animation to the work. Unfortunately,
however, The Golden Web has failed to attract.
PRINCE OF WALES'S THEATRE.

The same process adopted with The Goliien Web has also been
tried with good results in the case of The Magic Opal of Sefiot
Albeniz, which has been transferred to the above theatre with
Miss Mary Halton as the heroine and Mr. Norman Salmond as
the Brigand, Mr. Monkhouse keeping his original part, that of
the comic Burgomaster. A great advantage to the work, which
is now called The Magic Xing, was the appearance of Miss
Susie Vaughan. Setior Albeniz conducted the opera on the
night of its revival, April nth, and proved as able a conductor
as he is talented in composition. A great deal of the music in
7'he Magic Xing belongs to the best school of opera-comique
music, and a new duet and other pieces introduced are not only
equal to the music of the original score, but in some cases are
even better. Justice was done to the graceful melodies of the
Spanish composer, and the opera was so well mounted that it
pleased a large audience thoroughly.

At the concert of April 8th, the Orchestral Suite, No. 2, from
Grieg's Peer Gynt was given. It was announced as the first
performance in this country, but, as a matter of fact, Sir Charles
Hall. has given the music. There are four numbers in the
Suite. The first, " Carrying off the Bride," is intended to
illustrate the scene in which Peer Gynt dashes into the village
in the midst of a wedding festival and takes the bride away to
the mountains. The second movement is a fanciful Arabian,
dance in honour of Peer Gynt. This is a remarkable movement,
so fresh, characteristic and original that it made a remarkable
impression upon the audience. The third movement is descrip
tive of a fierce storm, and the fourth is already familiar as a song
" Solveigs Lied." Mr. Manns and his orchestra gave a splendid
rendering of the Suite, which was received with enthusiasm. Miss
Fanny Davies played Chopin's Pianoforte Concerto, No. 2, in F
minor, and overcame the difficulties of the solo part with perfect
ease, while in point of style and expression nothing but praise could
be given. Miss Davies also played the Rhapsodie of Brahms in
B minor, Schumann's Romance in F sharp, and the Dance of
Gnomes by Liszt. Raffs Symphony Im Waldc, the third of his
works in this department, was played in admirable style, the
auditors appearing delighted with a work so full of musical effect
and imaginative power. If falling short of the inspiration of
Beethoven, there are few modern composers who rise to such a
height as Raff has done in this work, one of the most interesting
of the eleven symphonies composed by him. The overture to
Der Freischiitz was included in the programme, and Mr.
Braxton Smith was the vocalist. At the concert of the 15th,
the Faust of Berlioz was given.
Miss Macintyre sang the
music of Marguerite with much grace and vocal skill, and Mr.
Ben Davies was admirable in that of the hero. Mr. Henschel
as Mephistopheles was, as usual, first-rate. The Hungarian
March and the Dance ot Sylphs pleased so much that the
audience wished to have them repeated, but Mr. Manns would
not consent, and he was right. Encores are generally to be
condemned, never more than when they interrupt the perform
ance of a great work.
The chorus at the Crystal Palace has
improved. On the 22nd Mile. Wietrowetz was the attraction,
and gave a fine performance of Spohr's Violin Concerto in D,
No. 9. The fine playing of the Crystal Palace Orchestra this
season has been the'theme of general admiration.
112
MR. G. A. CLINTON'S CONCERT.

The concert given at Prince's Hall on Tuesday, the nth, was
noteworthy for the performance of the Octet in F by Heinrich
Hofmann, which was heard for the first time in this country.
It was a work of considerable importance, containing many
effective passages and an attractive flow of melody. It was
much applauded, and was in some respects a compromise
between the schools of chamber music popular in the past and
the new order of music which some of the younger composers of
Germany are striving to introduce, in which emotional effects
rather than clearness and definite form are the prevailing
features. Altogether the. Octet of Hofmann was pleasing and
successful. The artistes were Messrs. A. Gibson, G. Collins,
Krause, Howell, Fransella, Clinton, Borsdorf and Wotton. Mr.
Clinton took the clarinet part in the beautiful quintet of
Brahms in B minor, and played with brilliant success both as
regarded tone and execution. Beethoven's pianoforte quintet
in E flat, Op. 16, was another interesting item. Miss Fanny
Davies was the solo pianist, and Miss Helen Trust the vocalist.
M. EMILE SAURET'S RECITAL.
The distinguished violinist who followed M. Sainton as pro
fessor at the Royal Academy of Music gave a violin recital at
St. James's Hall on the 15th. The Belgian artist displayed
great ability, and chose for his principal solo his countryman
Vieuxtemps' Concerto in A minor, a work full of technical
difficulties. But these so accomplished a player as M. Sauret
easily overcame, and one of the features of his playing is the
ease with which such passages are rendered. Some pieces of
his own composition of a graceful kind were heard with much
pleasure. He also took part in the pianoforte trio in B flat
major, Op. 97 of Beethoven, Miss Muriel Elliott being the
pianist and Mr. Ernest Gillet the violoncellist. The young lady
rendered pieces of Chopin and Liszt with graceful execution.
A new contralto, Miss Dews, sang songs of Hatton and Gounod
and proved herself the possessor of a charming voice.
[May I, 1893.
with much favour by the audience, and will meet with

acceptance if a little extravagance in his style is toned down.
MADAME FRICKENHAUS' RECITAL.
At St. James's Hall, on the 19th, Madame Frickenhaus gave a
pianoforte recital varied by vocal selections, and was honoured
by a large audience. Her scheme was an attractive one,
including some novelties. One of these was a sonata in A
major for pianoforte and violin, by Cesar Franck. It was the
first time of performance, and the audience appeared to take
considerable interest in the work, which is not without novel
and attractive ideas. It is in four movements, the third being
fanciful and capricious. The finale has much animation, and
there is freshness in the music although its merits are un
equal. It derived great advantage from the charming playing
of Madame Frickenhaus, who was ably assisted by M. Rene
Ortmans. The lady played Beethoven's sonata in F sharp, Op.
78, and joined Mrs. Norman Salmond, wife of the popular
baritone, in a Polonaise by M. Saint-Saens for two pianofortes,
which was given for the first time and proved a very interesting
example of the gifted French composer. Madame Frickenhaus
gave a number of pianoforte pieces of an attractive kind, and
also took part in a trio of Mozart, whose chamber music is now
rarely heard. Mr. Norman Salmond gave Handel's "The God
of Battle," and some old French songs with his customary
ability, and Mr. Leo Stern played pieces for the violoncello with
his well-known brilliancy of style and execution. It need
hardly be said that Madame Frickenhaus met with a cordial
reception. The large audience was also a very enthusiastic one.

A performance of Mendelssohn's oratorio, St. Paul, was
given by the Royal Choral Society on Wednesday, the 19th, at
the Albert Hall, there being a large attendance. The artistes
were Madame Clara Samuell, Madame Belle Cole, Mr. Ben
Davies, Mr. John Woodley, Mr. F. Stuart Hyatt, and Mr.
Watkin Mills. The band and chorus of one thousand performers
gave an excellent rendering of the music and Sir Joseph
STEINWAY HALL.
There have been several concerts of late at this hall, in which Barnby conducted with his accustomed ability. Mr. W. Hodge
some points of interest were to be noted. One was the concert was the organist. The principal passages in the oratorio were
of Miss Schidrowitz and Miss Zagury on the 14th. A charming enthusiastically applauded.
feature was the duet singing of the young ladies, which may be
set down as one of the chief successes of the concert. A duet
of Rossini and another from Auber's opera The Crown Dr. Mackenzie, Principal of the Royal Academy of Music,
Diamonds evoked the enthusiastic applause of the audience. gives three lectures on Verdi's Fahtaff, which has had an
The ladies also sang solos with effect, and Mr. Eugene Oudin extraordinary reception in Rome, at the Royal Institution.
sang Gounod's " Medje " and Massenet's " Pensee d'Automne," The first of Dr. Mackenzie's lectures is fixed for Saturday, May
with his customary grace of style ; also a song of his own, 27th. The new opera by Mr. Ernest Ford was announced for
" When I gaze upon the Lily," which was much admired. Mr. performance at the Savoy Theatre on the 29th. Mr. Cowen
Ben Davies was greeted with great warmth in Hope Temple's returns to London, and we learn that his opera is to be produced
pretty song, " Sleep, my Beloved," and Mr. Lawrence Kellie in the autumn. The news that Dr. Hans Richter is likely to
had a flattering reception. On the 18th, a soprano who was take up his abode in this country is not confirmed, as his
new to us, Mdlle. Marie Elba, gave a concert at this hall, which engagement at the Vienna Opera continues for four years longer.
had considerable merit. Mdlle. Elba has a high soprano voice, Sir Augustus Harris gives seven operatic concerts at St. James's
not of great volume, but possessing the charm of pure quality Hall, the first on May 18th. At the new exhibition at Earl's
and great brilliancy in the upper notes. She was received with Court there will be plenty of orchestral music, as no less than
much favour by the audience, and promises to be an acquisition six bands are engaged. There are signs that the immense
in the concert-room, as her style is delicate and refined, and her popularity of the music halls is receiving a check. The lavish
execution is finished. At the same hall on the 19th, M. August sums spent in decorating some of these establishments have not
Buhl gave a pianoforte recital. He is a player of the modern brought the results anticipated, and proprietors are beginning
school and has great command of the finger-board. He does to consider whether a higher kind of musical entertainment may
not, however, disdain the music of the great masters, and com not be desirable. A meeting at the gorgeous "Palace of
menced his recital with the sonata of Beethoven, Op. 31, No. 2. Varieties" on the 18th pointed in this direction.
He also played several of the Lieder ohne Worte of Mendels
sohn, Liszt's transcription of the " Erl King" of Schubert, and
several pieces of Chopin. M. Buhl is also a composer for the
pianoforte, and was heard in several pieces, most tending to
what is called "The Romantic School." One of these pieces

The expected change in the management of the Grand
was a fantasia on the popular " Loreley," another a "Danse
des Sylphes," and a piece called by the singular title, "A Opera has come to pass. M. Campo-Casso retires and
Summer Night on the English Coast." Generally, the music of M. Gailhard becomes co-director with M. Bertrand, who
the English Coast resorts is of the "Nigger minstrel" kind, may also not improbably retire before long, in which case
varied by the hurdy-gurdy, but M. Buhl has found something the old rigime of Ritt-Gailhard will be restoredwith all
poetical and descriptive in his wanderings on our coast, and has its imperfections ? The whole affair appears to be the
expressed his ideas in an imaginative form. He was received result of intrigue, and it is remarked that no sooner was
May I, 1893.]
THE MONTHLY
MUSICAL
M. Gailhard restored than the new minister hastened to

grant the requests which had been refused to M. Bertrand.
M. Colonne, the conductor, is said also to be contemplat
ing resignation, changes being made in the orchestra of
which he disapproves. Meanwhile the time fixed for the
production of the Walkiire in French has passed, and
the work is not yet announced. M. Van Dyck arrived in
Pans at the end of March, but illness intervened, and he
was not able to appear on the stage till April 17th, when
he appeared as Lohengrin for the first time in Paris,
with Mmes Caron, Dufrane, and MM. Renaud and
Plancon. If all goes well, the Walkiire may be expected
towards the middle of May.
The chief event at the OpeVa-Comique has been the
production of Delibes' posthumous opera Kassya, on
March 24th. The libretto, by Meilhac and Gille, has
been hashed up from some of the tales of- GaUcian
peasant life by Sacher-Masoch, and is effective enough
in its way. Mme. de Nuovina (from Brussels) made
her Parisian dibut as the heroine, with considerable
success, and Mile. Simonnet was certainly not inferior
to her in the part of Sonia. MM. Gibert, Soulacroix,
Lorrain, Artus, and Challet took the male parts. The
work was naturally well received, and seems to be main
taining its success ; but there is a touch of hesitation in
the praise bestowed by most of the critics, as though
something was felt to be lacking. The twenty-eighth
performance of Massenet's Werther took place oh
April 4th. which happened to be the eighteenth birth
day of the young singer, Mile. Delna, who plays the part
of Charlotte ; she was enthusiastically feted on the occa
sion, both before and behind the scenes. About the same
date Miss Sibyl Sanderson played Manonfor the hundredth
time, having never missed one performance of the work
since she took up the part. Mile. Calve1 has also re
turned to the theatre, where she was welcomed with
enthusiasm. As to M. Carvalho's future plans, his next
production is to be a little opera-bouffe, Phrym', by M.
Saint-Saens, accompanied by a revival of Monsigny's
once very popular but now almost forgotten Dt'serteur.
The names of the characters in Phryni, the book of which
is by M. Augd de Lassus, have quite an Aristophanic
soundDicephilus, Gygnalopex, Ayoragine, Nicias, etc.
Miss Sanderson is to be Phryne\
The closing of M. Detroyat's new Renaissance Theatre
has been quickly followed by that of the Grand Theatre,
under M. Porel ; this latter being due, not to the want of
patronage, but to the intervention of the authorities, who
required alterations in the building to which the manager
refused to consent.
. At the Chatelet Concert, on March 19th, M. Colonne
produced the Beatitudes of the late Cesar Franck.
Although portions have been frequently performed, this
is believed to have been the first performance of the
entire work at one concert. Though too serious for
general popularity, it is a work of singular power and
beauty, and made such an impression that it has been
repeated three times.
We should record the production of three new pieces
at some of the minor Parisian theatresMadame Suzette,
an operetta in three acts (Bouffes-Parisiens), by Edm.
Audran ; Jean Raisin, also in three acts, at the FoliesDramatiques, by Marius Carman ; and Le Docteur Blanc,
described as a mimodrame fantastique, by Catulle
Mendes, music by Gabriel Pierne" (Menus-Plaisirs, April
5th).
A piece of a novel and curious character is Les
Drames Sacres, by Armand Silvestre and Eugene Morand,
produced at the Vaudeville on March 17th. They are
short dramatic scenes, each leading up to a reproduction
RECORD.
113
of some famous old Italian fresco. For this piece M.

Gounod has composed musica prelude, an Ave Maria,
and chorus, choruses in the Garden of Olives, and a
symphonic movement expressive of the Resurrection.
The proposed tax on pianos has been rejected by the
French Senate.
M. Vincent d'Indy is engaged on an important work
entitled Fervaalj the scene is laid in the Cevennes, and
the subject, which is treated from a dramatic and philo
sophical point of view, is the conflict between the old
paganism of the natives and the fanaticism of the Saracen
invaders. .
This is how the Association Artistique of Angers in
vited its subscribers to its last concert : " Vous etes
prie" d'assister aux obseques de l'Association Artistique
d'Angers, assassinee a l'Age de 16 ans par les membres
du Conseil Municipal d'Angers, sous la pre'sidence du
docteur Guignard, maire. Priez pour eux ! La ceVdmonie
aura lieu le 26 Mars, salle du Cirque, a I heure et demie."
The satire is scathing indeed ; but need the blow be
fatal ? Why cannot the citizens of Angers rally to the
support of the Association ?
WAGNER'S Tristan und Isolde, in the French version
of the late V. Wilder, was produced on March 23rd, at
the theatre of Monte Carlo. The cast included M.
Renaud as Tristan, Mme. Langlois as Isolde, Mme.
Laffon, Iirangane, and M. Illy, Kurwenal.
GLUCK's Orphte has been revived at Brussels, where
it had not been given since 1808, under the superin
tendence of M. Gevaert, director of the Conservatoire
The parts of Orphee. Eurydice, and Eros were taken
by Miles. Armand, Lejeune, and Darcelle. The mist en
seine, in the scene of the Elysian Fields, is described as
the realisation of a dream ; the playing was admirable
for precision and delicacy, and, finally, the impression
produced was profound.
The annual Niederrheinische Musik-fest will take
place at Diisseldorf, at Whitsuntide (the fourth week of
May), under the conductorship of Herr Julius Buths.
The works announced for production are first day,
Bruckner's Te Deum. and Handel's Israel; second day,
Beethoven's C minor Symphony and Berlioz's Faust ; third
day, Brahms' Symphony in E minor, Beethoven's Violin
Concerto (Herr Hugo Heermann), the final scene of Sieg
fried, with the awakening of Brunnhilde and the duet,
and Schumann's little-known overture with chorus on the
Rheinweinlied. The chief soloists are to be Mmes.
Sucher, Leisinger, and Charlotte Huhn ; Herren Birrenkoven and Staudigl, with Professor Meschaert, from
Amsterdam, and Herr H. Heermann.
The annual report of the Intendant of the Royal
Opera, Berlin, for 1892 shows that eight novelties were
produced : Freund Fritz, Boabdil, Bitter Postman,
Djamileh, Went die Krone, Genesius, Der Bajazzo, and
Bastien-u.-Bastiennea. novelty by Mozart in 1892 ! As
regards the number of performances, Mascagni heads
the list far above all rivals, with Cavalleria, 75 times, and
Freund Fritz, 20 times. Wagner follows with 56 per
formances, Mozart with 30, and Bizet with 29 {Djamileh
18, Carmen I 1). Beethoven and Gluck are at the bottom of
the list with one performance each of Fidelio and Orfeo.
The German musical journals complain bitterly of the
favour shown to Mascagni.
.At Kroll's Theatre Mme. Nevada concluded her
engagement by a brilliant performance of the part of
Norina in Don Pasquale, and has been succeeded as
" star " by Frl. Prevosti, already a great favourite in Berlin.
At the end of April, Signora Bellincioni was to reappear,
in the first place as Santuzza in the Cavalleria, which she
will play both at the Royal Opera and at Kroll's. If
1 14
THE
MONTHLY
the report be true, she will before long appear as the

heroine of an opera composed by herself.
It is stated that Verdi's Falstaff will be produced at
the Berlin Opera, in German, on New Year's Day next
year, and that it will also be given at Hamburg on the
same day. It will, however, be played at Vienna in the
autumn of this year in the original Italian, by the com
pany from La Scala.
The KOniglicher Domchor of Berlin celebrated its
Jubilee on March 23rd, by two concerts, including some
of the most famous pieces of their repertoire, and a
Motet composed for the occasion by Herr Albert Becker,
the present conductor.
There is some little discrepancy between the lists of
the forthcoming Wagner performances at Munich as
given by various German papers, but the following list
from the Mus. Wochenblatt seems as nearly complete
and accurate as can be given : Die Feen, August 13, 27,
September 10; Hollander, August 15, September 12;
Die Meistersinger, August 17, September 21 ; Der Ring,
August 20, 21, 23, 25 ; also September 3, 4, 6, 8, 24, 25,
27, and 29 ; Tristan, August 29 and September 17 ;
Tannhauser, September 1, 14, 19. On August 31 and
September 13, there will be concerts with programmes
selected from Beethoven and Wagner. Many will wonder
why Lohengrin is omitted.
Pending an alteration of the Austrian law of copy
right, the period of protection for all works whose
copyright would expire at the end of this year has been
prolonged for two years more. This covers the case of
Parsifal, which is thus reserved to Bayreuth till the end
of 1895, and will, in all probability, under the new law,
be reserved for some time longer.
The Beethoven-haus Verein will give a series of
concerts of chamber music at Bonn from May 10-14.
Dr. Joachim, the president of the society, with his quartet
party, the Ros quartet from Vienna, Herr Carl Reinecke,
Eugen D'Albert and his wife, Mme. Carreno, and other
distinguished artists, will take part in the performances.
On this occasion the museum of Beethoven relics which
has been established in the house will be opened for
public inspection.
Mme. Albani has sung in Vienna for the first time,
exciting the enthusiastic approval of-<he critics and the
public at both the concerts at which she sang. She then
proceeded to Pesth, Prague, and Graz, at which last place
she appeared on the stage in Faust and Lohengrin.
Herr Rubinstein and his works are just now to be
heard of everywhere. He is composing a new oratorio,
Christus ; his Paradise Lost has just been performed at
Vienna, and his ballet " The Vine," at Bremen ; this
ballet and the opera Unler Rdubern are on the point of
production at Berlin, and his Kinder der Haide at
Dresden.
Operatic doings at Vienna include a revival of Goldmark's Merlin, in which the author has made some
changes ; and at the Theater an der Wien, the production
of Smetana's Die verkaufte Braut on April 2, with the
greatest success. This lively and brilliant work bids fair
to make its way all over Europe. In the concert-room, a
new Mass in F minor by Bruckner was produced by the
Wagner-Verein, and Max Pauer from Cologne gave two
piano recitals, at the first of which he played Brahms'
Sonata in C, op. 1, his manner of playing which (says Dr.
Hanslick) vividly reminded us of Brahms himself. The
whole Sonata was performed " with masculine spirit, full
of enthusiasm, yet with the most perfect accuracy."
Ignaz Brull is engaged on a new opera to be pro
duced at the Hoftheater of Munich. It is entitled
Schach dem Kbnige (" Check to your King "), andAis
MUSICAL
RECORD.
[May 1, .893.
founded on a well-known play by Schauffert. It will be

long enough to occupy one evening.
The posthumous opera of Peter Cornelius. Gunldef,
which, after being completed and instrumented by Lassen,
was produced last year at Weimar, has now been per
formed at Mannheim.
A SUCCESSOR to the late Otto Dessoffas Capellmeister
at the Opera House of Frankfort has been appointed
it is Dr. Ludwig Rottenberg from the Stadttheater of
Briinn, who will take possession of the post on August 1.
German papers announce the publication of two
Intermezzi for Orchestra by Brahms ; as no opus num
ber is given for them, it is to be presumed that they are
not new, but orchestral arrangements of some of the
Intermezzi for piano lately published, in which form they
should be very welcome.
IT is announced that a new edition (the 4th) of
Riemann's most useful Musik-lexikon will be issued in
the course of the year.
Messrs. Breitkopf and H artel have issued a post
humous work by Gade, Der Strom (" The Stream "), for
soli, chorus, piano obbl. and orchestra. It is numbered
op. 64.
It has been talked of for some time that Herr Richter
found his duties at Vienna too arduous, and that he was
likely to resign some, if not all, of his posts ; it seems
that he has now decided to resign them all, and eventually
to leave the capital. The conclusion of the last Phil
harmonic concert was marked by a most impressive
demonstration of sympathy and regret, in acknowledg
ment of which the great conductor uttered a few words
of explanation and gratitude. He goes first to Chicago,
where he is engaged to conduct several concerts ; accord
ing to some authorities, he will then settle in Boston,
where they say he will conduct the Philharmonic Concerts
but this is rather doubtful. According to later informa
tion, the resignation has been withdrawn ; Herr Richter
will continue at Vienna till the expiration of his engage
ments, four years hence, and it is even doubtful whether
he will visit Chicago after all.
Mr. Cowen's Sleeping Beauty has been performed in
Copenhagen at a concert of the Musikverein, but seems
not to have impressed the audience very favourably.
They were more kindly disposed to a young composer,
Holger Hamann, who produced his first work, a piano
concerto, in which he played the solo part with consider
able skill. He is not yet twenty.
The announcement in some journals that a young
Austrian named Frotzler had won the prize for an opera
offered by the German-American Union of Philadelphia
turns out to be somewhat premature. No decision has
yet been given.
The concert-season at St. Petersburg terminated with
a concert distinguished by the assistance of Eugen
d'Albert and the famous violinist Herr Auer. both of
whom were received and applauded with the utmost
enthusiasm. The ninth Symphony Concert saw the
production of a new and decidedly clever symphony by
an amateur, Alexander Tanceff, which had an original
feature in a Scherzo in % time. There is, however, a
chorus in this tempo, in Glinka's Life for the Czar, so that
it is only in its application to the Scherzo that the idea
can be called new.
It is forty years to-day since Herr Georg Eduard
Goltermann became Capellmeister at the Stadttheater,
Frankfurt-am-Main. So long an artistic activity can
have but few parallels at the German Theatres. Golter
mann, who was born on the 19th August, 1824, at
Hanover, studied violoncello under the younger Prell,
and under Menter at Munich, and composition under
May i, 1893.]
THE
MONTHLY
Franz Lachner. From 1850-52 he made concert tours' as

a cello virtuoso. In 1851 a symphony of. .his was per
formed at Leipzig, 1852 he became conductor at Wiirzburg, and on the 1st of May, 1853, he became associated
with the Frankfurt Stadttheater, as Capellmeister.
AFTER twenty-two performances of Falstaff at Milan,
during which no abatement of interest seems to have
been perceptible, the opera was transferred to the theatre
Carlo Felice at Genoa on April 6th. and, after nine days,
again to the Costanzi Theatre at Rome, where its pro
duction was attended by the king and queen and a host
of notabilities of all sorts. Verdi was present both at
Genoa and Rome, and of course his presence excited
boundless enthusiasm. We must wait till the work is
produced outside Italy, and without the stimulus of the
composer's presence, for a calm judgment of the opera.
Even in the midst of the Falstafffurore, Mme. Melba
has been able to win brilliant triumphs at La Scala and
at other Italian theatres ; and Italian journalism rains
on her all the superlatives of eulogy at its command.
Not every competition brings forth a Mascagni. The
two prize operas of Sig. Sonzogno's last competition,
Festa a Marina, by Gellio Coronaro, and Don Pats, by
Ernesto Boezi, have both been produced at Venice, and
both failed more or less completely.
Sig. Leoncavallo has (or is said to have) another
work on his hands besides his trilogy of The Medici,
an opera entitled Bohemia, not the Bohemia of geo
graphy, but the country discovered or described by Henri
Murger.
The Societ.\ del Quartetto of Milan, which, in spite of
its name, is an orchestral society, and perhaps the best
in Italy, has just given two concerts under the baton of
Herr Weingartner from Berlin, with brilliant success.
The Bureau of Music in connection with the Chicago
Exhibition continues to put forth fresh announcements of
musical performances. On May 24, 25, 26, the Elijah
will be sung by 600 members of the Apollo Club of
Chicago, the Creation by a festival chorus of 1,200, and
there will be a performance by the Children's Exposition
Chorus, numbering 1,400 voices. Mme. Nordica and
Mr. Plunket Greene will take part on these occasions.
A large number of the best American organists have also
accepted invitations to give recitals.
Herr Nickisch, conductor of the Boston Symphony
Concerts, has accepted an engagement as Capellmeister
at the Opera House of Pesth, and will shortly leave
Boston. He will be much missed.
The Peabody Conservatory of Music at Baltimore,
one of the best musical institutions of the States, which
has been presided over since 1871 by Mr. Asger Hamerik,
a musician of Danish birth, has celebrated its 25th
anniversary by a series of six concerts, at which many
new and excellent works were performed.
An interesting series of musical biographies is in
preparation ; it is to be called " Masters of Contemporary
Music," and will be edited and partly written by Mr. C.
Willeby.
THERE is a report that Dr. C. V. Stanford is writing
an opera on the subject of Harold, to a libretto by Sir
Ed. Malet.
Deaths.Mr. Thomas Wingham, organist and choir
master at the Brompton Oratory, died on March 24. He
was born Jan. 5, 1846, and educated for music at the
Royal Academy, where he became a professor. His
singularly gentle, amiable, and refined character is
reflected in his music, which has been chiefly heard at the
Crystal Palace. His principal works include 4 symphonies,
6 overtures (one of these with a motto from Gray is a very
charming workprobably his best-known), a grand mass
MUSICAL RECORD.
115
performed in Antwerp Cathedral, an orchestral serenade,

and smaller compositions. Siga, Metaura Torricelli, a
young Italian violinist of brilliant talents, who ranked
with Teresa Tua as the chief female violinists of Italy,
died at Padua, on April 1 1, at the early age of 26. Alfred
Dregert (d. March 13) was a popular composer of vocal
works of the lighter sort, and August Horn (d. March
23) a well-known composer and arranger (mostly for the
piano). Other musicians lately deceased are Rudolf
Radecke, conductor of the Berlin Miinnergesangverein,
Disma Fumagalli, an esteemed teacher of the piano at the
Milan Conservatorio,and Zanardini, a writer and translator
of operatic libretti.
SUBSCRIPTION per Annum (Free by Post), zs. 6d.,

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& Company's, the Printers, Belle Sauvagt Yard, Ludgale Hill.
is as follows :
Per Pagb
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tisement-; can be inserted in the Monthly Musical Record.
Concerts, Reviews, &c) must be addressed to the Editor.
established Standard Concerts (such as the Monday, and Saturday Popular,
The Philharmonic, Ac), and it is requested that tickets for other Concerts
may not be sent.
FOLIO EDITIONS.
PERLES MUSICALES.
v
Rccucil de Morceaux de Salon pour le Piano.

SECOND SERIES.
13. JEAN MARIE LECLAIR. Gavotu Graziosa from his Violin

Sonata " Le Tombeau," transcribed by (,. Jensen
14. A. STRELEZKI. Barcarolle en la mineur
15. A. LOESCHHORN. Etude melodique. Op. 196, No. 2
. ..
16. A. HENSELT. Nocturne in E flat
17. M. MOSZKOWSKI. Caprice in o
18. MENDELSSOHN-BARTHOLDY. Prelude in Bminor. Op. 35
20. S.'nOSKOWSKI. Humoreske. Op. 41
21. J. RHEINBERGER. Jagdscene. Impromptu
22. J. L. NICODE. Canronette. Op. 13, No. 2
24. R. SCHUMANN. Fragment from " Kreislcriana "
s.d.
2 6
3
3
3
3
3
4
4
4
3
3
3
London : AUGENER
1, Foubert's
& CO., 86,
Place,
Newgate
W.
Street, E.C, and
MORCEAUX
FAVORiS"

41.'
42.
43.
44.
45.
46.
47.
48.
L. SCYHTTE. Barcarolle
F. KIRCHNER. Danse Hongroise, No. 2 in D
MENDELSSOHN. Christmas Piece, in p
M. MOSZKOWSKI. Minuet. Op. 17, No. 2
X. SCHARWENKA. Polish Dance. No. 3, in E flat
S. NOSKOWSKI. Meditation. Op. 42, No 1
J. L. NICODE. Waller (aus Op. 7)
...
4
3
3
4
5
4
4
3
:wgat Street, E.C. ; and 1, Foubert's

London : AUGENER & CO., 86, Newgate
Place ,w.
1 16
THE
MONTHLY .MUSICAL
ISriE^V"
SOUNTG-S.
BARNETT, JOHN FRANCIS. The Vesper Hour Son? s. d.
with piauoforte accompaniment and harmonium ad libitum 4
BERGSON, M. Parted Lovers (" Wenn sich zwei Herzen
scheiden ">. Song ;
No. 1. For Soprano or Tenor in a flat
3
a. For Contralto or Bass in v ...
... 3
cello nbblignto ...
4 BUCHANAN, M. M. "Good Night and Good Morning."
Song ... ...
3
Schmerzen). Song
..
3
8824 DELIUS, FRITZ. Three Songs, the words by Shelley :
my Heart. 4to ... ... ... ... ... ... net 1
88996
7 Lieder (ausdem NonvegUchen). 4to. E. & G. net 1
a Flower; Love's Parting ; In the Silence of the Night ;
... net 1
FITZGERALD, GERALDINE. "To Sleep." Song. The
words from Lord Tennyson's " The Foresters "
3
GRIEG, E. 6 Lieder. Op. 48 and Op. 49 ... each, net 1 8
HEARNE, ISABEL. 3 Songs:
1. Love is ours
3
2. Bird Raptures
3
3. The Secret
Three Songs ; the words by Christina Dening :
:. There was a time
2. Sly Lady's Heart
3. I Love your Look
t.
K.REUZ, E. Songs. English and German Words :
8849a-* Op. i, 2, 3, 4, and 6. (Each Vol. containing 4 Songs.)
5 Vols.
each, net
8345 Six Songs. ( The Words by Robert Burns.) Op. 7. net
t. My Heart is Sair(Mein Her/ ist schwer).
2. A Red, Red, Rose (Ein ROslein roth).
lohn Bonnie
Anderson,
Jo (Liebe
(Hans Kleine).
Anderson, mein Hans).
4.3. rJ*he
wee my
thing
s. O, wilt thou go wi1 I (O willst du gehn mit BUT?)
6. Saw ye my Phely ? (Sah jemand ?)
Two Songs, with Violin Obbhgato. Up. 8 I
1. To the Evening Star (An den Abendstern) ... ... 3
. Soft ! Roving Wind ! (Still, lieber Wind)
4
Pastoralia. 10 Songs. Op. to. E :
8847*1 Book I. (As Phyllis wended, If thou wert asked, Tell me
Colin, A shepherdess once wandered) ... ... ... net z
847^ Book II. (Robin's lament, Gentle Shepherd, The wooing
day.
fair?) A summer's morning, Proud Janet, Which is most
net 1
Ballad for a Bass Voice. The Turkish Lady. Op. n ... 4 8846
3 Songs. Op. 12. Rose Marie, Love is a dream, Kiss
and be friends. E.
net 1 *
8874
Three Songs. Op. 14. Sir Knave of Bergen (Schelm
von Bergen), The Mountain Echo (Bergstimme), The
Flower of Love (Ich lieb, eine Blume). E. & G. ... net 1
8875
Five Songs for Soprano or Tenor. Op. 15. The
Wounded Hussar, Earl March looked on his dying child,
winning. E.
net 1
8876
Four Songs for a Tenor or Soprano Voice. Op. 17. On
Parting, Beware, When Napoleon was flying, When Love
net 1
8879
5 Songs for Mezzo-Soprano. Op. 23. Twilight
Memories (Abends); Dolly's Bedtime (Das Madchen);
My White Lily(Weisse Lilie); Mother nods (Die nickende
Mutter); Good-night (Gute Nacht)
net #i
LEE, MAURICE. Faint Heart ( Pas braves !) Song
... 4
8855 LIDGEY, C. A. 4 Lieder by Heine. Op. 6 : Violets, Roses,
The Message of the Stars. E. & G. 410
net 1
MACCUNN, HAMISH. Strathallan s Lament. Song ... 3
" When thou art nigh." Song
... .1
3
VOOal Album. Six Songs (the words by Lady Lindsay) ;
No. ! Wishes. " In the Meadows "
3
2. A flower message. " I'll give my love a posy" ... 3
3.. Doubting. " Nay, do not ask me once again " ... 3
4. Dreamland. "Wilt thou come with me to dream
land?"
3
5. Golden Days. " Sweet, remember golden days*' ... 1
6. Hesper. "O for a tight little boat"
3
Op. 190 ..
...
...
4
Rhymes (Rondes rfvec Jeux et de Petits Chansons tradilionelles), with the Original French Words, an English
translation by E. M. Traquair. and pianoforte accom- .
paniment by Charles Lebouc. . & E.
net 3
SIMPSON, F. J. A Message to Phyllis. Song
4
RECORD.
[Msg 1, 1893.
New SongS (continued)

SWEPSTONE, EDITH. I Worship Thee Yet (Ich Hebe
...
Foreshadowing. Song with Violoncello obbligato ...
8945.
Accompaniment 1, Who will buy Pansies? 2, O my Losi
Love. 3, Oh, What's the Sweetest Thing there is ? 410, net
8954 WOOD, CHARLES. Four Songs: 1, An Ancient Love Song
Suckline) ; 3, How can the tree but waste and wither away
(LordVaux); 4, Ah ! Robin! Jolly Robin! {Sir Thomas
Wyat). 410
net
t. a.
4
3
1
Of March yd, 1893, has thefollowing Review :

'
NEW
SONGS.The
latestis worthy
songs ofofthe
Grieg,composer's
publishedreputation,
in the Peters
edition
(Augener
oikI
Co.),
contain much
that
though
there
is little
that
will
enhance
it
The
charming
'Cross.'
set
to
Heme's
words,
and
the
sombre
*Op.
Dercinst,
Gedanke
mein,'
to
the
well
known
words
by
Geibel.
are
the
most
beautiful
of
. in deter
Op. 49,most
all ofof the
which
arc set tofrom
wordseven
by essaying
Holger Drachmann,
the
ments48 will
incompetent
themby: these
moreaccompani
elaborate
works
are
all
graceful
and
interesting.
Three
books
of
songs
F.
Delius
show
the
strong
Grieg : the
is bent
on puzzlb
gitseven
the best readers
as
when
heinfluence
writes
aofthoughtful
passage
inandAcomposer
sharp
majoi
without
usingstumbling-block
enharmonic
equivalent.
The
songs
are
well
written.
Another
to
incapable
accompanists
is Ihesetsetto ofthethree
very clever
by I&ahel
Heame,Allmore
Bird Raptures,"
well-known
lines songs
of Christina
Rossetti.
threeespecially
are wed
worthy
of
attention,
for
all
are
musicianly
and
original.
In
a
later
croup
by the
same
composer,
*
My
lady's
heart'
and
'
I
love
your
look'
have
considerable
charm
and
deft
grace.
Edith
Sweptone't
'
Foreshadowings,'
a
well-constructed
song
with
a
violon
cello abblifate, and a set ofthree lyrics to worth by Mr. W. Black, show the band of an
accomplished
musician;
and
more
than
one
of
C.
A.
I.idgey's
album
of
four
songs
to
words bytheHeine
is worthyof ofthevocalists'
attention.
As over
70 sodfftby
Mr.Fmil
Kreuz
are
among
puoilcations
firm,
it
(s
manifestly
impossible
to
notice
them
here
a*
fully
as theyballad
deserve.
TheTurkish
two withLady.'
violin,Op.
Op.rr,8, tne
called ''Schelm
Pastoralia,"
theBergen'
finelyof * The
the ten
vigorous
von
Inconceived
Op.
14.
the
interesting
settings
of
Caiupliell
and
Shelley
in
Op.
15,
the
effective
'Whenof anNapoleon
' in Op.composer,
17. and many
the suave
' Abends
' in Op.passages
rj, are ofall real
the
work
earnest was
and flying
cultivated
of them
containing
originality poems
and beauty.
A group
of four
song* by
C. soWood
conrain*
setting*
ofbysonic
old-world
:
the
b^st
of
them.
Suckling's
'
Why
pale
and
wan
V
is
spoilt
the
unnecessarythan
alteration
ofof the
the others.
final outburst.
' How
canbytheMr.treeMacCunn
but waste?'
ha* more
tpontaneity
some
A setofof work
six
songs
contains
Mine;
specimens
of
the
composer's
better
class
:
*
Wishes'
is
a
graceful
little
'Doubting'
is sufficiently
expressive,
though not forparticularly
well
written
forsongthe
voice:
and
'Hesper'
has
plenty
of
opportunities
effect.
A
pretty
"Message
t<>
Phyllis.'
F. J. anSimpson,
melooious
Lover*,'
isued,
with
andbywithout
ehbliâtoandpana for
violin or 'Parted
violoncello,
which bymayM.beBergson.
recommende*!.
are sent
by theRhymes.'
same firm.edited
A really
the volumewithof both
'French
Rounds
nil
Nursery
by (.'.deliglitfil
Lebouc,book
andisprovided
French
ami
Knglish
wonts,
ami
directions
for
playing
the
various
games
with
which
most
of the
ongs
are
connected.
The
lovely
*
Chevalier
du
Guet,'
'
Roi
Dagobert
'
*
Au
clair
dr
la Lune,'
'Centil
Coquelicot,'
other
will hehave
found,
it U oronly
fair
toassay
thatofinthem
nearly
allcould
casesand
themany
whole
of thefavourites
original
words
beenandTwenty-two
given,
at
least
many
as
possibly
he
considered
fit
for
nursery
use.
stanzas
of
'
Malbrook
'
will
probably
be
enough
for
anybody.
It
is
perhaps
a
pity
that
theproper
immortal
Jacques' four
' is given
'two inMarch
one,' ^rd,
not, as it should he, in
its
guise' Frere
of a canon
in one.a- "a canon
The Timts,
London : AUGENER & CO.. 86, Neweate Street, E.C., and
MUSICAL " KINDERGARTEN"
cole enfantine
Musikaliscker Kindergarten
CARL
REINECKE.
Piano Solo.
Or. 206.
nana Duet
No.
No.
6341 Vol. I. My first Pieces (within the compass of five notes) ... 6871
Mein* ersten StUckcken. Met premiers petits Moreeau.r'.
6342 Vol. II. Favourite Melodies (within the compass of fire notes) 6872
Lieblingsmelodieen. Melodiesfavorites.
6343 Vol. III. My first Songs ...
6873
Die ersten Kinderlieder.
6343a Sol-fa Edition. Voice part only. Net, 4d,
6344 Vol. IV. Folk-songs and Dances
6S74
Stimmen derVoliter. Chants nationauxefpoputaires. Pt. I.
6345 Vol. V.
do.
do.
Pt. II. 6875
In the Press.
6346 Vol. VI. Telling Fairy Tales
6876
Marehen-Erzhhten. La diseuse de conies.
6347 Vol. VII. Musical Illustrations
6S77
Was alles die Tone erxahlen. Ce que tes sens raconteni.
{Will be continued.)
PIANOFORTE SOLO.
PIANOFORTE DUET.
PriceEach Book, net, is. 4d.
PriceEach Book, net, 2s. 6d.
; AUGENER & CO., 86, Newgate Street, and 1, Foubert's Place, London.
May I, 1893.]
CLASSISCHE VIOLIN MUSIK BERUHMTER

MEISTER des 171*0 and iBtcn Jahrhunderts.
Nach den Originalwerken fllr Violine und Bass (oiler den vorhandenen
Orchencrpartiturcn) bearbeitet und mil Vortragszeichen versehen
von GUSTAV JENSEN.
d.
net,
Sonate I. (A dur) ...
net,
,, II. (11 moll)...
G. 1). Somis. Adagio and Allegro
J. B. SenailW. Aria
net, 1 net, 1 7404 G. Pugnani. Sonate (e dur)
.. net, 1 74S J. B. Senaille. Sonate (g dur)
7406 Arcangelo Corelli. 3 Sonaten (A dur, E moll, E dur) net, 1 6
Giuseppe
Tartini.
2
Sonaten
(g
dur
and
G
moll)...
net, 1 6
7407
,,
,,
Sonate (c moll)
net, 1 7408
,,
,,
net, 1 7409
7410 Henry PurcelL The Golden Sonata (for two Violins and
Piano)
net, 1 ... net, 1 74" Francesco Geminiani. Sonate VIII. (p moll)
,,
Ausgewahlte Sonatensatze net, 1 7412
net, 1 7413 L. Borghi. Sonate II. (A dur)
,,
Sonate IV. (G moll)
net, 1 74H
Antonio
Veracini.
Sonate
(2
Violins,
Piano,
and
Violon
74'S
cello ad lib. )
net, 1 ,,
,,
Sonate. (a moll)
net, 1 7416
net, 1 6
7417 G. Torelli. Concerto (for two Violins and Piano)
net, 1 6
7418 W. A. Mozart. Andante, Menuetto, and Rondo
net, 1 7419 Arcangelo Corelli. Follia con Variazioni (D moll)
net, 1 7420 W. A. Mozart Adagio (e dur) ; Rondo (c dur)
net, 1 7421 F. H. Barthelemon. Sonate (E moll)
Sonate (a dur)
net, 1 7422 G. F. HandeL
Vivaldi.
Sonate
(A
dur)
net, 1 74*3
net, 1 7424 Veracini. Concert-sonate (e moll)
net, 1 74S Jean Marie Leclair. Sonate IV
net, 1 .
7426 G.F.Handel. Sonate X. (g moll)
7427
,,
net, 1
... net, 1
7428 Jean Marie Leclair. Le Tombeau. (Sonate)
London : AUGENER & CO., 86, Newgate Street, and 1, Foubert's Place.W.
7401
7402
743
Francesco Geminiani.
SYMPHONIES
ARRANGED FOR

JENSEN.
No.
7131 Jos. Haydn, in d
713a
in c minor
..
..
7134
,.
in a major
7135 Jos. Haydn, in B flat major ..
..
London : AUGENER & CO., 86, Newgate Street, E.C., and 1,
Place, W.
VORTRAGSSTUDIEN.
Eine
1. d.
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net 4
net 4
net 4
net 4
Foubert's
Sammlung
hervorraeender und beliebter Tonstucke alter Meister fur Violine

mit Bcgleitung des Pianoforte bearbeitet von
GUSTAV JENSEN.
1.
.
3.
4.
5.
6.
7.
8.
9.
zo.
11.
1?.
1314.
COURVOISIER.
VIOLIN SCHOOL.
Ntt,
t. d.
Elementary. First bowing Exercises, &c. ist position 5

7600*
1st position ...
5
760c-: in. Stifdy of the Other Positions
5
760CMI
" Der VerfasMjr bidet mit seiner Vinliiischulc eio ungeiiieiu sorgfaltig gearbeitete*
Stndienwerk dar, welches sich durch die griiudlicliitc Beliandlun^ der Oetgentechnik
uizokiinct
Auf cr>chi>pfcadc Weiie sind darin die Anfaogsstuten des Violinspieles
berucksiclitigl. In aieseiu Punkt wird znmi;il von den Leluera geTc-hlt. Kami) ist
dcin Schiiler das Instrument in die Hand gcgei>en worden, so l;iut man ihn auch
action kleine Stiicke spiclcn, wahrend es doch zunachst darauf ankommt, ihni einige
Su Ik rli*it in der Bogcnfiihrung, sowie in der Anwendung des clementaren FingcrsaUes zu geben. Daner kommt es. dasz Anfangcr meist auf die unertraglicliste Art
kratzen und unrein greifen. Die Bogenfiihrung aber ist das erste una wichtigste
Hrfjidernis zur Hrzeutjung eines guten Tones, weshalb sie langcre Zelt ftir sich
lien geiibt werden musz, und zwar a -if den leeren Satten. Hat man datm den
Schiiler dahin gebmcht, dasz cr audi die nachitliege nden GrifTc in der eritcn Latre
gelerat hi, so ist tn Fundament gewonnen. auf dem man schrittweise mit Erfolg
we'ter bauen kann. Ailes dies lehrt die Vlolinschule CourvoUier's in exactor Wtise,
weshalb sie ohne Jeden Vorbehalt zu empfehlen ist. Schwerlich wird man unter den
zahlretch vorhandenen Werken dicser Art eine bessere Methsde auffinden, als die in
Rede stehend*. Die be id en ersten Trteile beschaftigen sich ausschlieszlich mit der
ersmn I .ag e. Die iihngeu Positionen bis zur achten sind 1m dritten Theil abgehandelt." Signalt, October, 1898.
I
Loudon : AUGENER & CO., 86, Newgate Street, E.G. ; and i. Foubert's
Place, W,
JUST PUBLISHED.
ARCANGELO CORELLI'S
12
SOUST-A-T^S.
Op. 5.
Fiiiticn
A'o.
G. JENSEN.
J.
s.
735411 Part I. (Sonatas 1 to 6)

net 1 O
7354* Part II. (Sonatas 7 to 12)
net 1 0
7354* Of bound, complete, with Portrait
net 7 f)
N.B.These la Sonatas are also published for Violin with figured Bass,
edited by Joachim and Chrysander. Edition No. 4936V, net, 4s.
I
London : AUGENER & CO., 86, Newgate Street, E.C. ; and 1, Foubert's
Place, W.
SONATINES
POUR VIOLON ET PIANO,
Arrangees en ordre progressif, et en panic revues et doigtees, par

EMILE THOMAS.
BY
tmm GUSTAV
c.
117
J. S. BACH. Air und Gavotte aus der d dur Suite far Orchester
JOS. HAYDN. Serenade
Adagio recitative
..
..
JEAN MARIE LECLAIR. Sarabands und Tambourino

..
F. M. VERACINI. Menuet
G. TARTINI. Larghetto (o moll)
J. B. SENAILLE. Aria (o moll)
G. TARTINI. Andante canubile aus Sonate VIII
Giga in d dur
L. VAN BEETHOVEN. Romanic in G dur. Op. 40..
..
Romanze in f dur. Op. 50.
,.
..
-
P. RODE. Air Varied Op. 10
J. S. BACH. Andante aus der a moll Sonate No. 3
..
W. A. MOZART. Larghetto aus dem Clarinetten Quintet

..
London: AUGENER & CO., 86, Newgate Street E.C., and
z, Foubert's Place, W.
,rf.
3
3
3
3
3
z_
3
3
3
3
3
3
3
3
La Partie du Violon dans la ire position.

C. GURLITT. Sonate miniature en pa (f). Op. 180, No. 1
Sonate miniature en Rl (d). Op. 180, No. a
C. REINECKE. Sonate miniature en ut (c)
Sonate miniature en la tnineur (a minor)
F.
J.
F.
J.
C.
A.
F.
I.
F.
I.
s. ,/.
3
3
... 3
La Partie du Violon dans la ire, ade, et 3111c positions.

KUHLAU. Sonatine en ut (c)
SCHM1TT. Sonatine en RE (d)
...
"'
KUHLAU. Sonatine en la mineur (a minor)
SCHMITT. Sonatine en ut (c)
,[.
REINECKE. Sonate miniature en si mineur (b minor)
DIABELLI. Sonatine en sol (c)
RIES. Sonatine en la mineur (a minor)
LACHNER. Sonatine en sol (c)
Z
RIES. Sonatine en fa (f)
LACHNER. Sonatine en si bemol (b flat)
La Partie du Violon dans les positions plus hautes.

F. KUHLAU. Sonatine en sol (g1
F. RIES. Sonatine en UT(c)
F.SCHUBERT. Sonatine en RE (d)
C. GURLITT. Sonatine en fa (f)
F.SCHUBERT. Sonatine en la mineur (a minor)
F.SCHUBERT. Sonatine en sol (g) ...
4
4
3
4
3
5
4
6
4
6 -
s
6
7
6

u8
.A. XT O- E IT E IS " S
[May I, 1893.
New Pianoforte Studies and Schools, with


E.
**%?
5961
Pieces,
P A U E R.
Junior Grade.

AND EXPRESSION
,a''$:
Book 1
1 o
Studies: Steibelt, in A minor; Hummel, in D;
E. Pauer, in G.
Pieces: E. Mtlller, Caprice in c; Clementi, Adagio

con espressione.
Gloire " ; Loeschhorn, Romania in A minor ; Lanner, Original Styrian Dance ; and Three National
Polish Mazurkas.
5962 Book II
1 o
Studies: Loeschhorn, in A major; Berger, in G
Pieces: C. P. E. Bach, Allegro assai in E flat; J.
with variations.
sharp minor.
5963 Book III
i o
Studies: Gurlitt, Op. 132, Nos. 4 and 10 , I-aubach,
on Divided Scales.
Pieces: J. S. Bach, Allegro scherzando ; Haydn,
Presto for Sonata in n ; Beethoven, Bagatelle,
Recreations: Clementi, "Monferina"; Steibelt,
Valse in F ; Mozart, Gavotte from " Idomeneo " ;
5064 Book IV
1 o
Studies : Czerny, in c major, c minor, and u major.
Pieces : Mozart, Fantasia in n minor ; Kirnberger,
Allegro in E minor ; Mayer, Variations on Count
Gallenberg's Waltz.
Recreations : Corelli, Pastorale in G ; Von Wolkenstein, Love Song ; E. Rommel, First Love,
Romania; Schulhoff, Impromptu in A flat.
Senior Grade.
5981 Book I
' o
Studies : M. Szymanowska, in A flat ; X. Schar
wenka, Prelude in c.
Andante in E flat.
Recreations : Mendelssohn, Bolero, " The Wedding
of Camacho " ; Moszkowski, Scherzino in F.
5982 Book II
1 o
Kjerulf, " Fruhlingslicd. "
5983 Book III
1 o
Pieces: J. S. Bach, Minuet in c ; Schumann, Air on
the name " Abegg" with variations.
5984 Book IV
1 o
Studies : Czerny, in c minor ; Kalkbrenner, in F sharp
minor ; Pauer, "Calmness " (for the left hand).
Pieces : J. S. Bach, Prelude and Fugue in A minor ;
Beethoven. Variations in r>, Op. 76.
Recreations: Schumann, Hunting Song; Kjerulf,
Cradle Song ; Strelezki, Valse melancolique.
" The ' Library of Pianoforte Music for Study and Amusement,' by Ernst
Pauer, is a collection of ' studies, classical and drawing-room pieces,"
selected, revised, and fingered for teaching purposes. The selection is
revision is that of the scholarly musician, and the fingering Whit we expect
from the experienced teacheV."Manchester Guardtan, Nov. 15, 1891.
who study music without the assistance of a teacher."Musical News,
Nov. 18, 1892.
...
. ,
.
" These books are a decided acquisition to our refertoire for study and
amusement."Musical Record, 1892,
11 This Series is one of the most valuable for purposes of teaching and
improvement." Daily Nevus, Feb. 1, 1893.
AUGENER & CO., 86, Newgate Street, and 1, Fouberts Place, London.
("L'ECOLE DE LA TECHNIQUE ET DE L'EXPRESSION ").

E. PAUER.
PIANOFORTE
SOLOS.
(With Continental Fingering.)

FdSNo.
^'w-
8329a The Book of Scales (Livrcs des Gammes)

3
8325 The Rook of Finger Exercises (Exercices pour le dt-veloppcmeDt simultane des deux mains)
5
STUDIES.
24 Easy and Melodious Studies (74 Etudes faciles et melodiques)
23 Easy and Progressive Studies (20 Etudes faciles et pro*
gressives)
...
...
...
...
...
...
20 Rhythmical Sketches, intended for the study of various
rhythmical expressions (Esquisses rhyihmiques)
..
...
The Culture of the Scale. 24 Original Scale Studies in all
Mozart Studies. 12 Special and Preparatory Studies, intended
Mozart's Sonatas
832S
8319
8327
8328
8330
MELODIOUS
s
2
1
PIECES.
8314
Musical Sketches (Esquisses musicales). 20 Characteristic Easy

Pieces
Suite facile : Prelude, Allemande, Bourree, Sarabande, Garotte
et Oigue
8315 Three Sonatinas ...
...
8jtoa-y National Sonatinas: a, Germany; 6, Austria; c, Suabia ;
d, Italy; e, Wales;/, Ireland
each
8311 Sonatina in a major (Sonatine en la maieur)
...
Swedish Air
t
8313 A Child's Life (Jugend- Album;
8316
1
a
x z
1
*
FOR THE LEFT HAND.

8331
8331

2
Suite for the Left Hand : Prelude, Allemande, Gavotte, Sara
x
8591

et melodiques)
1
Styrian Dances (Danses styriennes pour Piano a 4 mains)
... 1
PIANOFORTE
8592
DUETS.
AUGENER & CO., 86, Newgate Street, London, E.C. ; and

1, Foubert'ii Place, W.
New Studies by A. Loeschhorn.

HORN. C. 4">.
f.
?55' I 42 Easy Studies.

5>>'
'
'*
Op. 192.
(Preparatory to Op. 193).

Books 1, a, 3
each
nrt.
1
1
?554 j 21 Melodic Studies.
Op. 193.
Books 4 and 5
each
555& 1 17 Melodic Studies.
Op. 194-
Books 6 and 7
ea
g55" J 14 Melodic Studies.
Op. 195.
Books 8 and 9
each
jj55 j- 12 Melodic Studies.
Op. 196.
Books 10 and 11
each
6562 I Rhythmische Probleme (Rhythmical Problems). Studien fur

6563 )'
Pianoforte. Op. 197. 2 Books
each 1
(These Studies are also published in a Folio Edition with English
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London : AUGENER & CO., 86, Newgate St.,E. C., & 1, Fou belt's Place, W.
FRAULEIN KATHE LENBACH(HighSoprano),

Pupil of E. Gura, and recommended by Friiulein Friedlander, has
arrived in town for Concert Engagements, and is also prepared to give
Lessons. 2, Inkerman Terrace, South Kensington.
THE
May i, 1893.]
EBENEZER
MONTHLY
MUSICAL
PROUT'S
Theoretical Works in Augener's Edition'.

Demy 8vo.
Edition.
Biuntt.
9I'S: IJARMONY:
119
Review of E. Prout'fl Text-books (continued}

little else than age to recommend them, lie has provided oth-rs supported by references
to fugal works by the greatest writers. In describing a fugue as .1 composition in
' ternary form,' Mr. Prout says : ' The first section extends as far as the cna of the last
entry of the subject or answer in the original keys of tonic and dominant. The second
or middle section begins with the commencement of the first episode, which modulates
to any other key than that of tonic or dominant ; and the third or final section begins
with the return of the subject and answer.' The features of each section are admirably
delineated, and the construction of the whole fuiiue is clearly explained and aptly illus
trated, am text-books, Mr. Prout'i theoretical treatises will doubtless take
the position of standard works." The Daily Telegtafk, Mirch 17th. 1893.
ITS THEORY AND *
A 1 PRACTICE. By EBENEZER PROUT, B.A., Lond ,

Academy of Music, &c. Fifth Kaition
RECORD.
London: AUGENER & CO., 86, Newgate Street, E.C. ; and

5/-
'* KEY TO " HARMONY : ITS THEORY

AND PRACTICE." Second Edition
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PROUT'S "HARMONY:
ITS
THEORY
H.
RIEMANN'S
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2/6
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MENTS (Guide to Instrumentation).
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Limf (- ''">
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..
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.,
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CONTENTS.
rc
F. Halevy
97
Dr. H. Ribmann's Analysis ok Bach's " Wohltempehirtes
Clavier " (48 Preludes and Fugues) By Ebenrzrk Proct 9S
Harmonic Analysis. By Louis B. Prout. {Concludici) .. ..101
The Pianoforte Teacher : a Collection op Art cles In
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4
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Letter from Leipzig
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JUNE
YOUTHFUL MUSICAL PRODIGIES.

The recent appearance of the wonderful boy Koczalski,
who, at the age of eight, plays with the technique, taste,
and feeling of one of mature years, brings into prom
inence the oft-discussed question, " What is to be done
with youthful prodigies ? " Children of a tender age,
some think, ought to be playing in the nursery or study,
ing at school, but not making appearances on the concert
platform. We are reminded by such persons of the
many prodigies who ran well for a season, but.of whom
nothing more was afterwards heard ; or of those who died
while still young; or, again, of those who, like Mozart,
through early forcing, perhaps suffered comparatively
early death. Clever conjurers, it is said, have the art of
fixing the attention of their audience in one direction, so
that no notice is taken of certain little manoeuvres which
they are carrying out in another, and which are necessary
to the successful accomplishment of their trick. And in
a somewhat similar manner these well - intentioned
objectors seem to us so to fix their own attention on un
fortunate musical prodigies as not to notice that there
are other cases which materially weaken, if they do not
destroy, their arguments. Two wonderful children ap
peared at London in the year 1824 ; the one, George
Aspul, who faded away and died before he reached the
years of manhood ; yet the other, Franz Liszt, not only lived
to a ripe old age, but became king of pianists. No
doubt, by diligent research, a long list of names could be
drawn up of children on whom the excitement and strain
of public performances seemed to have an injurious effect ;
but the seeds of decay were, probably in every case,
already implanted by nature ; and, no doubt, the foolish
vanity of parents caused them not to notice symptoms
which should have warned them of the danger of forcing
talent ; or, in some cases, the hopes of gain may have ren
dered them callous to the warnings of nature and of reason.
But given a child of exceptional talent, or, one may say,
genius, and of good constitution, and it really seems as if
a certain amount of excitement and public life were as
necessary to the development of that child as ordinary
excitements to ordinary children. A double experiment
cannot be tried on the same young prodigy to see which
of the two methods is the more successful j but, in support
270
1893.
of early appearances, it may be noted that the most

eminent artists of this century, some dead, some living,
nearly all commenced their public career at a very early
age. Of violinists, we may name Lady Halle', who played
in public at the age of 7, and appeared at a London Phil
harmonic concert at the age of 10 ; Dr. Joachim, who
also made his (ttbut when 7, and played at the Gewandhaus, Leipzig, at the age of 12 ; and last, but not least,
Sefior Sarasate, who played before the Spanish Court
when in his 9th year. Of pianists, who more celebrated
than Liszt and Rubinstein ? And yet they were both
wonder-children.
The amount of excitement that will not prove injurious,
but rather the reverse, must, of course, be a difficult
matter to determine ; but the list of names just given, and
to which others could be added, shows that the problem
is not altogether insoluble. All the artists mentioned
not only progressed as years passed by, but all reached
the topmost rung of the ladder of fame.
CONNECTION BETWEEN THE PRELUDES

AND THE FUGUES OF THE WOHLTEMPERIRTES CLAVIER.'
IF the etymological meaning of the word " Prelude " be
taken into consideration, it indicates something played
before something else. That something may be a few
chords or runs (for the purpose of establishing the key),
or a movement organically conceived and, may be,
elaborately developed. Of the former kind are the
arpeggio chords and runs frequently played by pianists
on the concert-platform before commencing their solo
piece ; of the latter, the Preludes of the Wohltemperirtes
Clavier. The term has also been applied to independent
compositions : we have, for instance, the " Twelve Small
Preludes " of Bach, and the Chopin " Preludes," standing
,by themselves. For the moment, however, we are only
concerned with the Preludes of the Wohltemperirtes
Clavier, and would try and show the character and degree
of the relationship existing, in many cases, between these
preludes and their respective fugues.
But before entering into detail, let us see what Schu
mann and Spitta, two earnest students of the master, have
THE
122
MONTHLY
said on the subject. Schumann declared " that many of

the preludes had no original connection with the fugues" ;
and Spitta says that " the fugues of the VVohltemperirtes
Clavier are not all of them thought out and connected
with their preludes." From these remarks it is then
quite evident that, in some cases, both these authorities
acknowledge a connection: and it could scarcely be
otherwise, for here and there are connecting links which
at once strike the eye. Of the long and elaborate prelude
in E flat major (Bk. 1) and the following short and light
fugue, Spitta says " that they cannot possibly have been
designed for each other." And yet even here, where the
union seems an ill-assorted one, there is a relationship,
although, perhaps, merely of an external kind. Dr. H.
Riemann, in his "Analysis of the Forty-eight Preludes
and Fugues," bids us compare the central motive of the
fugue theme:
with
of the prelude, and asks whether this likeness was " the
result of chance, or of intention, or of unconscious as
similation of creative genius ? "
Again Spitta argues that eleven, at any rate, of the
preludes ot the first book had an independent existence,
since they are to be found though in a less elaborate
and extensive form in Friedemann Bach's Little Clavier
Book, commenced in 1720, the date affixed to the first
part of the Wohltemperirtcs Clavier being 1722. But
might it not be said in reply that Bach, already in 1720,
may have written or sketched some of the preludes and
fugues, and merely have simplified the former for his
little son.
There are links between some of the preludes and
fugues of stronger character than the one quoted above.
These suggested further search, and the result of that
search is now given. There are many resemblances of
motives, harmonies, and modulations, which it is difficult
to believe were the " result of chance." One may, of
course, become fanciful, and group notes so as to extort
from them a meaning which they do not really possess.
The writer of these lines has naturally attempted to avoid
that error ; and, if it be admitted that in most cases he has
established a genuine connection, a few, perhaps, less
satisfactory ones ought not to invalidate the general line of
his argument. In some cases visible links may be shown,
but it should be remembered that the real relationship is,
after all, of an aesthetic kind. The visible strengthen the
invisible links ; without the latter, the former would be an
empty show. It is necessary to insist on this, because
the plainest truths are the soonest forgotten. In studying,
for instance, the wonderful complexities of the Wohltemperirtes Clavier fugues, the rare counterpoints, the
clever devices, the elaborate strettos, the student, whose
intellect is all aglow by reason of the exercise which it
has undergone, is, at times, apt to forget that the scholar
ship is but a means towards an end. And so, while
engaged on outward signs, let us acknowledge their in
terest, but not overrate their importance.
And now, to come to illustration, let us take motiveresemblance. The opening motive of the fugue-theme is
frequently foreshadowed in the concluding bar or bars of
the prelude.
The
MUSICAL
RECORD.
[June I, 1893.
*-*1
3t-gk== of fugue (1.9) is an instance in point.
1. 20 furnishes another striking illustration :
1 i : i h
g====E^== and HfsI?i=

The B flat fugue (II. 21) offers a curious illustration of
this foreshadowing. It will suffice to compare a portion
^= with
of the last bar of the prelude
the opening of the fugue ^V * *~ J J j=|
> . The
leap of the seventh (c B flat) in the former, perhaps hides

to some extent the similarity. There is also, ai times, a
likeness between the opening of a prelude and that of its
fugue. In the A minor prelude and fugue mentioned
above, the bass of the first bar of the former already has
the slow shake figure. And in I. 23, we have :
-m-:prelude ]
gf;faguefgjg^
The prelude gives exactly the same notes (and even the
rest) in diminution. Other instances of a similar kind
could be mentioned.
But Bach sometimes does more and, one may perhaps
say, better, for he gives the spirit rather than the letter.
In the opening bars of the very first prelude of Book I,
the course of the fugue-theme can be traced more or less
distinctly ; from bar 4-7 the resemblance becomes closer.
This may be shown by placing side by side those bars
(with arpeggios written as chords), and the middle portion
of the fugue-theme :
In the C sharp minor prelude (I. 4) the bass begins

thus :
the two notes marked {a) are taken from the highest voice,
and have been written lower tosave space. Is not thetheme
of the fugue
prefigured here?
Another good example will be found in 1. 18 : but I. 3

does more than imitate in its prelude certain notes of the
fugue. Here the master dismembers the fugue-theme,
developing each group, so that by the time the fugue
arrives the subject strikes us as quite familiar. There is
such a total absence of formalism that it almost seems
as if it were the outcome of " unconscious assimilation."
The theme may be separated into groups :
In certain bars of the prelude a is prominent. In the

opening bar we have 6 with rhythmical alteration. From
of prelude, and bar 63 to 76 we meet with b, sometimes in strict, some
times in free imitation, thus :
THE
June I, 1893.]
MONTHLY
The first note of bar 63 is the concluding note of the pre

vious period. The bass notes of this and the following bars
in print are grouped in threes, and thus it is somewhat
difficult to trace the process of evolution, c appears in
augmentation in bars 31-33
lAifitJ
3Eg
and other similar bars. For d, cf. the opening bars in

the bass.
The prelude and fugue in E flat minor (I. 8) present
various links of great interest. Already in the opening
bar of the prelude we have a hint of the fugue subject
(in its answer form) :
MUSICAL
RECORD.
123
adieu to his lost happiness, his fame, his honour, in music

of tragic intensity. Iago still further inflames him by tell
ing him how Cassio, even in his sleep, shows his love for
Desdemona, sighing, speaking tender words, and even
audibly kissing the vision of his dream a most childish
story, and, as a theatrical device, most unworthy of Shakes
peare's great tragedy. It serves, however, to goad the
Italian Otello to madness. The great "Jealousy" duet
which constitutes the last scene in this act, is one of the
climaxes of the work, and when Tamagno, with his
powerful voice, made the walls of the Lyceum ring with
his cry for vengeance, one forgot the dramatic means in
the dramatic end. One of the cleverest ideas in the
opera is the suggestion of a "Jealousy" figure in Otello's
music, immediately after his adieu to his honour,
^ 1 > ^. t^ i-j
and
3!-"=: 's not distantly ^

related to "1
of the fugue theme.

Bars 20 and 21 of the prelude should also be compared
with bars 70 and 7 1 of the fugue.
Before leaving the subject of figure resemblance we will
just mention one or two striking cases, in addition to
those given, from the second part of the Wohltemperirtes
Clavier. See the embryonic shake in No. 13, heralding
the opening of the fugue subject. Also the opening both
of prelude and fugue, No. 18 ; here the counterpoint to
the answer should be compared with bar 2 of the pre
lude.
and its gradual development, until, after an impassioned

cry for blood, he begins his long oath of vengeance.
There it appears a broad subject, on which the whole of
the last scene is built.
In the second scene we find another charming duet
for Otello and Desdemona. It is a little more reminis
cent of Italian opera than the first, but contains more
than one phrase of great beauty.
A Uegro moderate
{To be continued.)
STUDIES IN . MODERN OPERA.

SHORTLY after the opening of the second act (of Otello),

we have the famous " Credo," of Iago. He believes in a
cruel Deity who has created him after his own image.
He believes in nothing good and in everything evil until
death comes, and thenthere is an end alike of good and
evil.
1r
i-
'
~ &
Otello now joins him, and Iago proceeds to sow the

seeds of cruel jealousy in the passionate heart of the
Moor. The setting of the words " Beware the greeney'd Monster," sounds effective in spite of the character
istic succession of chromatic chords and the nnhappy
device of parallel octaves in the extreme parts. The
music to the (interpolated) garden fete scene is very
smooth, sweet, and Italian. In a melodious duet Desdemona pleads for Cassio's pardon, only adding fuel to
Otello's flame of jealousy. When she has left him he bids
Otello finally casts his wife from him and is left sitting
alone, brooding over his shame and his anguish. The
call of trumpets and the shouts of the people announce
the arrival of heralds from Venice. Verdi has taken ad
vantage of the possibilities of the scene to plan a gorgeous
display of theatrical effects, and has striven, not altogether
successfully it must be said, to write broad, sustained,
and at the same time dramatic concerted music. Before
all the assembly Otello accuses his wife of infidelity, and
curses her as she is carried out in unconsciousness. The
act closes in great tumult.
The short fourth act makes a very beautiful ending to
a hitherto well'sustained opera. The scene is Desdemona's bed-chamber, and as the curtain rises the melan
choly tones of the Cor Anglais are heard in the chief
strain of the " Willow Song." The broken-hearted
Desdemona asks her maid Emilia to bring her wedding
garment, that she may spend what a presentiment tells
her is her last night on earth clothed in its white folds.
While Emilia is dressing her she sings the song an old
124
THE
MONTHLY
nime used to sing the " Willow Song." She takes a

tearful farewell of Emilia, and kneeling before her little
shrine she sings the lovely " Ave Maria." The last
"Amen " comes from her lips just as she sinks into the
forgetfulness of sleep. Otello now enters, extinguishes
the light, and bends over his wronged and innocent wife.
The orchestra, in the " kiss " motive, tells of the recollec
tion of his old love in the height of its happiness. At the
third kiss Desdemona wakens in fear, and a short duet
leads up to the murder.
To make way for the last scene the librettist causes
Iago to be dragged from the room, a prisoner from whose
wrath Emilia has escaped by her speedy exit ; and we
are left again alone with the central tragedy.
Otello stabs himself and drags his dying limbs to the
bedside. Again we hear the threefold "kiss'' motive, as
he breathes out his remorse and his love with his life, on
the cold lips of the murdered Desdemona.
It is not necessary here to follow the development
shown in the pleasant pages of the new opera Falstaff. An
opportunity for the consideration of that work may occur
at another time. For our purpose the two words " Verdi's
Otello " offer a text pregnant enough with suggestive
thoughts and reflection. What a change has come over
the Italian opera stage since in 1816 Rossini's Otello
attracted so much attention. This work is an excellent
example of the irresponsible music maker's art, and of
the subservience at that period of all artistic truth to
public tastethat vicious influenceand to singers who,
however excellent and necessary as assistants, are (next
to the public) the worst possible masters. The Introduc
tion would suit the Barber of Seville nearly, if not quite,
as well as does the overture to Elisabetta, Regina a"Inghillerra, which now occupies the honoured place. Desde
mona, who, during the first two acts, has shown no
particular character, or even side of character, answers
her father's curse with the regulation roulade. She aims
at more expression in the " Willow Song," but its pathos
also suffers from the want of simplicity in the vocal part.
An interesting suggestion afforded by the opera and its
history is the attitude of the public towards opera in
general at that timean attitude which is so aptly illus
trated by the incident mentioned in an earlier article.
It was there related that on the occasion of its production
the theatre was startled by a horrified cry from the pit
" Good Heavens ! The Tenor is murdering the Prima
Donna ! " And still more interesting is it to read that
" the pity of it " was too much for the nerves of these
happy theatre-goers. The tragedy was unanimously
condemned ; and in a second arrangement (for Rome)
the complaisant composer makes Desdemona protest her
innocence with such convincing earnestness that Otello,
infirm of purpose, throws away his dagger and joins her
in a warm embrace and in a duet, transferred from
Armida, one of Rossini's early operas.*
And if it is instructive to compare the Otello of 18 16
with the Otello of 1888, it is no less so to compare the
Verdi of Ernani with him who wrote Otello. It is the
same man certainly : his genius is always great in the
same direction, and its weaknesses are always to be
found where one knows to look for them. But we only
need to see Otello once, or even to read however short
a description of it, in order to appreciate how changed
he is.
Disputes have raged round the contention whether
Verdi really came under the influence of Wagner ; and
Hanslick relates that when Otello (the play) was first performed in
Hamburg, this method of bringing the gruesome story to a plcasanler con
clusion was enforced by an Order of Senate, because the original caused so
many ladie > to faint.
MUSICAL
RECORD.
[June I, 1893-
Hanslick declares, with characteristic vehemence, that

absolutely no trace of a bar from the composer of Tristan
and Parsifal can be found in Otello. But these are idle
words.
An orchestral writerstill more an operatic
writermight as well hope to escape the influence of
Beethoven or Mozart as of Wagner to-day. The Italians
after Rossini, however strenuously they disclaimed the
real source of their progress in instrumentation, were in
fluenced by Germany because they were influenced by
Rossini. There is no stronger " Anti-Wagnerian " among
composers than Brahms ; and yet he would be a daring
man who would assert that the richness of Brahms'
orchestration owes nothing to that great development of
which Wagner is the outstanding representative. But it
is not necessary to introduce Wagner's name at all.
Verdi, always dramatic, has, first in Aida and more com
pletely in Otello, repudiated the claims of Italian opera,
has purified his melody, has enriched his harmony, has
neglected the traditions of prima donna, etc., has set up
his standard of dramatic truth and musical fitnessand,
in short, has left the position he had so hardly won as the
greatest Italian opera writer, in order to make a stronger
claim on the grateful thanks of his country by taking his
rightful place as the leader of Italian music dramatists.
{To be continued.)

A Collection of Articles intended for Educational purpose;,
CONSISTING OP

as to theih Performance.
By E. P A U E R,
Principal Profesxor of Pianoforte at the Royal College of Music, *T.
{Continued from p. 104.)
STEP III.
A. Rendano. "RSvedu Paysan " (The Peasant's Dream),

in K. A simple, natural melody of a pastoral character.
A. Rendano. " Message de la Paysanne "(The Peasant's
Message), in F. This little piece belongs to the " Pro
gramme" music, as it describes I, the letter ; 2, the joy
at receiving the letter ; and 3, the dream of happiness at
the beloved peasant's return.
f. L. Roeckel. " Heather Dreams," Idyll in A flat An
unpretentious trifle in the style of Goria's well-known
" Caprice Nocturne."
/. L. Roeckel. " First Farewell," Cantilene in B flat.
Written in the form of a nocturne, it presents an oppor
tunity to play with elegance.
/. L. Roeckel. "Canto d'amore," Romanza in F.
Simple, yet pleasing. The smaller notes, forming the
accompaniment, have to be played in a subdued manner.
/. L. Roeckel. " Air du Dauphin," Ancienne Danse de
la Cour, in F. A graceful and popular gavotte.
/. L. Roeckel.
"Kerfnesse de St. Cloud," Air de
Danse in a minor. A lively and spirited movement.
Sydney Smith. " Freischutz " Grande Fantasie, Op. 16.
In this piece four of the most admired melodies of
Weber's ever-welcome opera are arranged in a fashion
able manner.
Sydney Smith. " Tarantelle," Op. 8, in E minor. A
moderately easy and effective movement, which has
obtained great popularity.
Sydney Smith. " The Hardy Norseman," brilliant
Fantasia in a. This well-known air is here presented in
a showy and effective manner. It is of very moderate
length.
June I, 1893.]
THE
MONTHLY
E. Silas. Valse in c. Very well written, effective, and

thoroughly pleasing.
August Siemers.
" Scene Bohe'mienne," Morceau
elegant, in G. Written in the style of a polka, it will be
welcome for its lively and precise rhythm.
R. Sckachner. " Ombres and Rayons." No. 4, " La
Persuasion," in E. A short, effective, but not original
piece.
E. Rommel. Grande Valse in a flat, Op. 12. An
effective piece, written in a natural and practical manner.
F. Spindler. " Snowdrops " (in c) may be well recom
mended for its easy, pleasing, and melodious qualities.
L. A. Stern. 'Juanita," Tarantelle brillante in D
minor. An effective and lively piece.
L. A. Stern.
"The Musical Box," Plaisanterie
musicale in A flat. An effective bagatelle, which cannot
fail to be favourably received in the home circle.
L. A. Stern. "A Tiny Footfall," Morceau elegant in
G. A kind of dance tune, simple and pleasing.
A. Talexy. " Musidora," Polka Mazurka in B flat.'
This piece has obtained a very great popularity, and
used to be played frequently, not only in this country, but
also on the Continent. Its charm lies in the pleasant
rhythmical expression.
F. Mann. " Serenade du Gondolier," Barcarolle in A
flat. Very melodious and, in its way, effective. The
beginning must be played with a full and rich tone.
Th. Oesten. Alpine Song, Tyrolienne. This Tyrolienne consists of five distinct rustic melodies: No. 1 in B
flat, No. 2 in A flat, No. 3 in E flat. No. 4 in B flat, and
No. s in E flat. The whole is practically written, effective
and agreeable to play, and may, therefore, be warmly
recommended.
E. W, Ri'tter. "Sbdermann's Brollop," Swedish
Wedding March in F. The great popularity of this
quaint and original March is a sufficient guarantee for
its intrinsic merit.
(J. S. Bach. Prelude in E minor.
-< Woldemar Bargiel. Sarabande in E minor.
( G. F. Handel. Gigue in E minor.
These three excellent pieces in one little book, belonging
to the collection " Pianoforte Library," are highly to be
recommended : Bach for technical exercise, Bargiel for
cantabile, and Hiindel for fresh and invigorating
rhythmical life.
P. D. Paradies. Toccata in A. This now well-known
movement belongs to one of Paradies' Sonatas, which
were published in Pauer's "Alte Claviermusik," and
"Alte Meister." It is a most excellent study, full of life
and agreeable animation.
J. N. Perger. Impromptu in A flat. It is really a
kind of "Schottische," a slow Valse, with a slight affinity to
the Polish Mazurka. It is a good example for learning
to play from memory.
G. Pfeiffer. " Absence," Melody in A, Op. 1 16, No. I.
Certain parts of this effective piece belong to Step 4, but
the greater part may be conquered by students occupying
themselves with pieces of Step 3.
G. Pfeiffer. "Le Retour," Melody in E, Op. 116, No.
2. A capital study for playing legato and smoothly.
X. Scharwenka. Two Sonatines, Op. 52. No. I in E
minor. The first movement, E minor, common time, is
earnest, and possesses a martial character ; the second,
a Minuet in G, is exceedingly graceful ; whilst the finale,
a Rondo in E minor, is lively, well rhythmicized, and full
of charm. The Sonata, No. 2 in B flat, consists of an
Allegro in common time, with a masculine, almost proud,
expression. The whole movement is continuous, nowhere
a break, that results from want of practice in composing.
The second movement is an Adagio in \ time, E flat ; the
MUSICAL
RECORD.
125
melody is noble and well-sustained, the harmonies rich,

and the entire treatment is a masterly one. The finale,
an Allegro non troppo in B flat, J time, is graceful, bright,
and highly pleasing. Both Sonatinas are a welcome
addition to the literature of the piano, and may be warmly
recommended.
H. F. Sharpe. Rigadoon, Op. 27, in B flat, is a lively,
popular movement which, however, possesses more the
character of a Gavotte than that of a ,; Rigaudon," which
is actually a Frenchified Bourrde or Hornpipe.
H. StieAl. " Felice Notte," Serenade in E flat. The
melody is of a simple character, which is slightly varied
on a repetition.
J. A. Tbpfer. Cradle song in f. An exceedingly
harmless expression suffuses the whole two pages, which
may be rendered a little more interesting by delicate
playing.
G. Trehde. Transcriptions of songs" The Last
Rose of Summer," by Moore. The numerous friends of
the popular Irish melody will find the melody clothed in
a somewhat pompous dress.
H. A. Wollenhaupt. "Adelina," Polka in c. The
unpretentious, gay, and popular melody will find many
friends. For Wollenhaupt's more brilliant Polkas, see
Step 4.
H. A. Wollenhaupt. Song without words in B flat.
Very pleasing and, in its way, effective. The performer
must try to give a good deal of variety of tone, in order
to avoid the danger of monotony.
E. Woycke. "The Merry Sunshine," Op. 41, No. I.
Caprice in C. Written in the style of a study in triplets
which is varied by a cantilena in F. If played correctly
and clearly the effect will be pleasing.
step 4.
J. Rheinberger. Three short concert pieces, Op. 5.
No. r, " The Chase " in E flat. Although reminding of
Stephen Heller's celebrated " La Chasse,'' Rheinberger's
piece will have many admirers, and that particularly for
its freshness, cheerfulness, and effectiveness ; the part in
a flat will gain by being taken a little slower. No. 2,
" Toccatina," in F. A melodious, extremely well-written
and pleasing movement, which, however, wants and
deserves a very careful treatment. No. 3, Fugue in G
minor for two parts. This Fugue is the work of a master,
who here succeeds in giving by extremely clever handling
the effect of three parts ; as a study it cannot be too
highly recommended.
J. Rheinberger. Four Concert Studies, Op. 9. No. 1,
Melody in e flat minor. The performer can here show
his capacity to play strictly legato and can also exhibit
his cleverness in using the pedal in the correct manner,
so as to avoid any break in the phrases. No. 2, " WanderSong" in e. The somewhat capricious rhythm must not
appear to be performed with an effort, but must be
natural and easy. No. 3, " Dreaming" (e minor).
Both hands ought at first to be practised singly, for the
part given to the right hand demands the greatest neat
ness, accuracy, and correctness, whilst the left-hand part
requires a strict, quiet, and absolutely even treatment.
The whole piece is to be given in a kind of " chiarooscuro " manner ; besides an expression like that of
meditating, will fit the style of the charming little work to
perfection. No. 4, " From olden times " in C, is a kind of
minuet, good-natured, harmless, what in German is called
" gemuthlich." The Trio will bear greater life and force.
J. Rheinberger. " From Italy," 3 pieces, Op. 29. No.
1, " Dolce far niente." The sweet doing-nothing is here
most happily described, for the seeming apathy which is
evident throughout the whole movement portrays in the
126
THE
MONTHLY
correctest manner the laziness which is called the dolce

far niente. No. 2, " Rimembranza " in B flat, demands
an elegant, ingratiating, and sweet expression, whilst the
part in minor rouses up a stronger passion ; but after this
part in minor, the first part ought to be rendered with
even greater charm than at first. No. 3, " Serenata" in
G minor. The player must avoid becoming sentimental
and not exaggerate the melancholy dreaminess of the
delicious movement.
W. Vincent Wallace, " Melodie Irlandaise " in F sharp
minor. A pompous, showy, and effective transcription
of a very nice Irish song.
R. Wagner. First Album-leaf (in c). A piano piece
by the celebrated composer must arouse curiosity, and
this curiosity will not be disappointed, for the melody
is full of charm and interest.
C. Voss. Ernst's Elegy in c minor. This celebrated
violin-piece is here transcribed with great effect.
W. J. Tomasckek. Dithyrambus in F. The character
of this piece is fiery, wild, and enthusiastic, and is a very
good study for octave-playing.
X. Schanvcnka. Album, Op. 43. No. 1, Menuetto in
e : a charming, graceful, and melodious movement,
happy in its invention, and well executed as to composi
tion. No. 3, " Humoreske " in c. Full of a cheerful,
bright, and genial expression. No. 5, " Funeral March "
in F minor. A most excellently composed march, full of
an elevated and noble expression.
X. Scharwenka. 1st Valse Caprice in A flat, Op. 13.
Exceedingly brilliant and good for concert performance.
It requires fire, a firm touch, and dazzling brilliancy of
execution.
X. Scharwenka. "Barcarolle" in E minor, Op. 14.
The left hand has first to be studied with great attention,
for it is difficult and of greatest importance for the whole.
The melody entrusted to the right hand must be strictly
legato and well-phrased. The whole piece is eminently
well written and of great effect.
X. Scharwenka. " Pbantasiestiick," Op. 50, No. 6 in
B major. The intricacies of this interesting movement can
only beovercome by persevering and highly attentive study.
H. A. Wollenhaupt. "Souvenir et Salut," Op. 7.
This charmingpieceremindsin someparts of the celebrated
" Pocme d'amour" by Henselt. It maybe well recom
mended as an excellent lesson for playing by memory.
H. A. Wollenhaupt. " Marche de Concert," Op. 19.
A capital, fresh, and spirited march movement, which is
very effective and of great brilliancy ; at the same time it
is an excellent " octave-study."
H. A. Wollenhaupt. "Polkas de Salon." No. I,
" Belinda " in is flat, Op. 8 ; very brilliant. No. 3, " La
Rose" in B; very elegant. No. 4, "La Violette," in E
flat, very popular. No. 5, " La Gazelle " in E flat ;
very graceful and effective. No. 6, " Adelina," see Step
3. No. 7, " Marie " in F. A pretty polka, and, at the
same time, an excellent study in thirds.
E. Zumpe. "Sons du Cceur," in E flat. A simple
melody with a variation in repeated notes, somewhat in
the style of Rosellen's well-known " Reverie."
B. Tours. Beethoven's " Polonaise " in F from the
" Serenade," Op. 8. Beethoven's bright, melodious, and
popular polonaise is here given as a very effective piano
piece.
F. Spindler. " Wellenspiel" (Jeu des Ondes). Although
this pretty and effective piece was written long ago, it has
not lost its popularity ; its melody is singing and agree
able, the accompaniment (when played with delicacy)
very fitting, and the introduction of chromatic runs,
imitating the rush of the waves, makes it sufficiently
romantic and interesting.
MUSICAL
RECORD.
fjune i, 1893.
F. Spindler. " Hero's March " in c, Op. 24. A very

stately, bright, and full-sounding movement of consider
able effect.
E. Kremser. " L'Irresistible," Poka frani;aise in B
flat. A very showy and tuneful dance movement.
W. Taubert. Canzonetta for the left hand in I) flat.
This clever and charming piece belongs to Taubert's
excellent 12 Studies, Op. 40, which are by no means
sufficiently known in this country. The melody is very
good, and the whole is highly ingenious.
Th. Leschetizhy. " Les deux Alouettes " (The Two
Swallows) in A flat. A brilliant and effective trifle in
Goria's style.
Th. Leschetizky. Valse chromatique in A flat This
piquant valse is likewise a splendid study for octaveplaying. It deserves to be warmly recommended.
M. Moszkowski. " From Foreign Parts." Op. 23 ; six
Duets transcribed for two hands by E. Pauer. Seldom
has a work attained great popularity quicker than this
collection. The characteristic expression of each coun
try is given with precision and correctness. No. 1,
Russia, in A minor ; slightly melancholy and possessing
that certain charming monotonous expression which
appertains to the melodies of the North. No. 2,
Germany, in F. This delicious, sincere, and singing
melody has at once captivated the public ; it is sung,
played by orchestral and military bandsindeed, it is
highly popular. No. 3, Spain, in A minor. Very
interesting ; the accompaniment has to be played with
great lightness, the air again has to be sharply accented.
No. 4, Poland. The chivalry and nobility, a chief
characteristic of Polish music, are here well represented.
For No. 5, Italy, and 6, Hungary, see Step 5. Every
essential part is given in the solo arrangement and its
effect is only in a slight degree curtailed.
H. Seeling. " Lurline." With this charming piece the
too short-lived composer immediately won the favour of
the public. "Lurline" is a delightful study; its melody
has a sweet and ingratiating expression, whilst the lefthand movement describes the movement of the waves.
Th. Oesten. Le Prophite, Fantaisie. Although
some parts of this piece could be played in Step 3, the
greater part belongs to Step 4. The melodies are so
popular that any further recommendation is unnecessary.
G. Pfeiffer. "Aspiration" (F major), Op. 116, No. 3.
An agreeable melody, which offers to the performer a
good opportunity to exhibit a singing touch.
G. Pfeiffer. "Agitation" (e flat) Op. 116, No. 4. A
lively and fiery movement of considerable brilliancy.
E. Pauer. " Osmin," Air de Mozart, with variations.
The beautiful air is supplemented with variations, which
are again founded on figures of other works by Mozart,
and thus it may be hoped that the desire to offer
something harmonious may be recognised.
E. Pauer. Divertissement on two valses by F.
Schubert, from his Op. 67. The lively, bright, and cheer
ful valses are here worked into a rondo ; the whole work
is full of animation and should be able to raise low spirits.
(Tff le continued.)
_
" Die Tbufei.sgi.ockk," a new oper.i by Robert Fuchs of
Vienna, is the only operatic novelty produced here since my last
communication. The composer is well known as a writer of
chamber and orchestral music, some of it very charming ; but
with this opera he cannot be said to have achieved more than a
succts a' estimc. So far, only two performances of the work have
been given. The libretto is founded upon a once popular
comedy entitled Die Memoirtn ties Satans. It is sadly wanting
June I, 1893.]
THE
MONTHLY
. In dramatic interest, thus giving the composer but a very poor

chance.
Small wonder then that Ilerr Fuchs is at times
almost lifeless and uninteresting in his music. The opera was
well performed, for which fact due credit must be awarded to
Capellmeister Porst. Of the principals, Fraulein Mark, Herren
Merkel, and WittcUopf chiefly distinguished themselves. So far
as Leipzig is concerned, we have probably heard the last of Die
Tai/clsglockf. Let us hope that Herr Fuchs may be more suc
cessful with his next operatic venture.
A very interesting concert was given at the Gewandhaus a
short while back in aid of the scholarship funds of the Leipzig
Orchestra. The programme included a symphony by Count
von Hochberg, intendant of the Berlin Royal Court Theatre.
The second and third movements of this work are especially ad
mirable, its first movement and finale comparatively poor.
Despite these inequalities the symphony was well received by the
audience. Berlioz was drawn upon for the remaining orchestral
item of the scheme, the work selected being his overture "Benvcnuto Cellini." Poverty of invention and imperfect grasp of
form, two of the faults most frequently alleged against Berlioz,
are certainly more observable in this than in other of his com
positions. The overture was conducted by Capellmeister Paur,
Herr Professor Dr. Reinecke being responsible for the direction
of Count Hochberg's symphony. At the same concert was
heard the second Pianoforte Concerto ofdAlbert, played by the
composer. It contains many charming ideas, and is evidently
written with serious purpose. Its defects are : slightly unsatis
factory form and orchestration, and somewhat ungrateful solopart. The other contributions of d'Albert were an arrangement
(by hiinsell) of Bach's Organ Prelude and Fugue in D, for
pianoforte solo, Rondo in A minor by Mozart, and '* Napoli e
Venezia," by Liszt. I need scarcely say that for all these the
virtuoso was enthusiastically applauded. Friiulein Leisinger was
the vocalist on this occasion, and met with the heartiest possible
reception. Her beautiful voice was heard to great advantage in
Lieder by Schubert, Reinecke, and Schumann.
Another concert which deserves notice is that of the Liszt
Verein, at which Frau Sophie Menter was the great attraction.
She played the solo-part in a Fantasia for pianoforte and
orchestra, byTschaikowsky, some " Ungarische Zigeunerweisen "
of her own composition, and, together with Herr Sapellnikoff,
Liszt's "Concerto Pathetique" for two pianos. For an encore Frau
.Menter played Schubert's "Erlking," as transcribed by Liszt.
There cannot be two opinions as to the consummate virtuosity of
Frau Menter, though one may be allowed to express regret that she
shows so strong a leaning to the so-called "advanced school."
Tschaikowsky's Fantasia was spoiled by the insufficiency of the
military band accompaniment. Other items of the programme
were Tschaikowsky's Variations for Orchestra, and Svendsen's
" Pariser Carneval." These works suffered from the same cause
as the fantasia above-mentioned. Lieder by Liszt, Franz, Ifeuberger, and Kahn further diversified the programme.
Herr Gustav Schreck, the new Leipzig Cantor, entered upon
his duties on the 1st of April. Out of a feeling of reverence for
his predecessor in the post, the late Dr. Rust, Herr Schreck has
caused several of the learned but intensely dry compositions of
that worthy to be revived. At the induction of Herr Schreck a
new work of his own, for chorus and orchestra, was performed.
Miss Taylor, a violoncellist from England, and pupil of Herr
Julius Klengel at the Conservatoire, gave a recital upon her
instrument the other day. Her playing of Reinecke's Concerto
was thoroughly artistic, and a brilliant future is probably in store
for her. Another remarkable performer whose rising talent de
serves notice here is Fraulein Olga Sacchia, of Trieste, who
played Schumann's Fantasiestiicke, Op. 12, at the concert in
honour of the King of Saxony's birthday. It was a performance
characterised bjr excellent technique and sound musical feeling.
OUR MUSIC PAGES.

The song, " How bright is the earth and how fair,"
No. 9 of Reinecke's Vocal Duets, Op. 217, has been
chosen as the supplement to this month's number of the
Monthly Musical Record. This duet will be found
MUSICAL
RECORD.
127
a very pretty one, and as the two volumes, containing six

duets in each, are under notice in our Reviews of this
month, we are glad to draw our readers' attention to
them.
fcrimto* of #eto iflustt anil #eto

(Station*.
Musical Kindergarten. Vols. IV. and V. " Folk-Songs
and Dances." By Carl Reinecke. Op. 206. For
piano solo (Edition Nos. 6,344 and 6,345 ; each net
is. 4d.). For piano duet (Edition Nos. 6,874 and
6,875 ; each net 2s. 6d.). London : Augener & Co.
These two books contain a collection of the best-known
national songs and dances, 80 in number, belonging to
22 different nations. They are very simply arranged
for piano solo and piano duet, and are intended to
instruct the younger pupils, as the title of the " Musical
Kindergarten " indicates. For this purpose their excel
lence is apparent, and nothing could better realise our
idea of what is suitable to educate the taste of beginners.
We hope this series of books will attain the object of the
author, which is evidently that of awakening in the very
young an early love for music, and thereby throwing a
refining influence into their lives. We cannot do better
than quote the lines of Robert Schumann which are
printed over No. I : "Listen most attentivelyto all popular
songs ; they are a mine of the most charming melodies,
and afford an insight into the character of different
nations."
Variations in Efiat majorfor Piano Solo. By F. Men
delssohn
Bartholdv.
Op. 82 (Anthologie
Classique, No. 88). London : Augener & Co.
A TRULY pathetic tone pervades this lovely air, with its
five variations, and it is astonishing that it has not
enjoyed the same popularity as some of Mendelssohn's
pieces, many of which have become quite hackneyed,
indeed, so much so that we often hear the surprising
statement that " Mendelssohn's compositions are no
longer the fashion." However it may be, we are inclined
to think it will be long before these variations become
antiquated, and this new edition will bring them once
more before musicians in a way which may specially
claim the attention of teachers and students, being as it
is, copiously fingered and very clearly printed.
Morceaux pour Piano seul. Par ANTON Strelezki.
No. 43, Serenade Espagnole ; 44, Menuet a l'antique
en Mi bemol ; 44, Pres du Ruisseau, Etude. London :
Augener & Co.
The first of these three pieces resembles in its style the
light Spanish ballad one is accustomed to hear sung in
many drawing-rooms. The Menuet a l'antique is very
simple ; its quaint subject and light construction make no
demands on the player. Pres du Ruisseau is a Salon
dtude principally on the trill. All of the three pieces are
quite easy to play, and are pleasing to the ear, though
they display no originality.
Technical Exercises for the Piano. By Alfred LauBach.
Second Edition, revised and enlarged.
(Edition No. 8,213 ; net 2s. 6d.) London : Augener
& Co.
It is refreshing to note that the call for new editions of
this and kindred works must mean that the necessity for
this study is now being driven home to the minds of
many teachers who have ignored it in the past, with
what disastrous results to music, and loss of good native
128
players, will never be known. In the present edition Mr.

Laubach has wisely extended the finger exercises, to
which he has now given great variety, and here we may
say that we are in complete accord with his advice, that
these exercises should be transposed as much as possible.
We are also glad to see advocated the free use of the
thumb on the black keys, for much technical precision
can be acquired by practising scales and arpeggi with the
c major fingering, as well as in the recognised manner.
The book now contains all the major and minor scales in
double thirds, and the greater part of them in double
sixths, the whole being marked with the Continental
fingering. There are some useful exercises in mixed
rhythm at the close of the work, which are most thorough
going and comprehensive.
[June I, 1893.
part now before us. We may add that the composer's

directions in French for the use of the stops are supple
mented by an English translation.
Andante alia Pastorale, for organ. By J. E. R. SENIOR.

Glasgow : Paterson, Sons & Co.
A melodious composition, strictly in keeping with its
title, having a flowing theme in G major, g time, which
reappears, with effective contrapuntal work, in the key of
B flat major, and again, at the close, with fresh treatment,
in the original key.
10 Petits Morceaux, pour Violon et Piano. Par Carl
Reinecke. Op. 122a. London : Augener & Co.
These ten little pieces for violin and piano are all
miniatures, and are so simple and easy that they might
have been included in the Musical Kindergarten Series.
Symphonies. By Joseph Haydn. Arranged for piano The best numbers of the set are : No. 5, Variations on
forte duet by Max Pauer. No. 7 in C major. the scale of c major ; 6, Danse Champetre ; 9, Sonate
(Edition No. 8,554^; net is.) London: Augener Miniature ; and 10, Arlequin. The first two, Pre"Iude and
& Co.
Chansonette, are tiny pieces for tiny players.
This month we have to chronicle the appearance in this
edition of the first of the original Salomon set. Herr Ave Maria. By F. Schubert. Arranged for violin
Pauer is by no means first in the field with arrangements
and piano by Emile Thomas. London : Augener
of Haydn's symphonies, and a knowledge of this fact
& Co.
doubtless puts him on his mettle. The results are This is a carefully edited arrangement of Schubert's song
eminently satisfactory,' as, doubtless, many of our readers " Ave Maria." Our own impression is that it would have
are judging for themselves each month.
sounded better in a lower key, G for instance, but this is
to some degree a matter of taste. The amateur will find
Jagd-Ouverture. Von Cornelius Gurlitt. Op. 191. it a good arrangement of one of the finest of Schubert"s
For piano duet (Edition No. 8,548 ; net is.) ; for celebrated "Lieder."
two pianos, 8 hands (Edition, No. 6,652 ; net 2s.). Album Classique, pour Violoncelle et Piano. Vol. I.
Arrangd par Oskar Bruckner. (Edition No.
THOSE who are acquainted with the Ouverture des
7,662a ; net is. 4d.) London : Augener & Co.
Marionettes, Op. 105, and the Commedietta Ouverture, The contents of this volume are : Air by Bach (" My
Op. 137, will have an idea of what to expect in the new Heart ever faithful"); Two Gavottes by Bach; Two
work now before us. It is in one movement (Allegro non Nocturnes by Field ; and a Serenade by Gre'try. These
troppo, in D major, J rhythm), and though there is little of pieces have been effectively transcribed by Oskar
the character of hunting music in its themes, it is bright Bruckner for 'cello and piano, and the 'cello part bowed
and lively, with a spirited ring about it which is surprising and fingered. This album of pieces, all well known and
in such an easy composition. It is published in two admired, will, we hope, be followed by others.
arrangementsviz., for piano 4 hands, and 2 pianos 8
hands.
Drei Chore fur Soprano, Alto, Tenor und Bass, mit
Cecilia. A collection of Organ Pieces in diverse styles.
Pianoforte Begleitung. Von Max Reger. (Edition
Edited by W. T. Best. Book XLVI. (Edition No.
THESE three choruses, with German and English words,
5,846 ; net is.) London : Augener & Co.
This book contains (1) a Fantasia on the Choral are entitled, respectively, " Consolation," " To the Night,"
" Dundee," by the Editor, which, as one would naturally and "A Twilight Piece," and are remarkable for their
expect, is thoroughly well worked up, and to a notable ambitious setting. The accompaniment in many places
climax. Mr. Best quotes the Choral as " a melody from is likely to be more of a hindrance than a help to the
the Scotch Psalter, 161 5," but it is of greater age than this voices, and there are some impossibilities in the vocal
would seem to imply, for it existed in Este's Psalter in writing. One is tempted to ask, after perusing these, " Cut'
1592. The Andante (2) in C major, by Mr. Best, is short, bonot"
elegant, and very much to the point ; it has only to be 12 Lieder fiir 2 Soprane mit Begleitung des Pianoforte
known to become popular. No. 3 is a four-voiced fugue
(vocal duets for female voices). Von Carl Reinecke.
in F major, by Samuel Wesley (with a highly-taking,
Op. 217. Two books. (Edition Nos. 4,119a, by
albeit somewhat chromatic, subject), worthy in all respects
each net, is.) London : Augener & Co.
of the writer. Mr. Best has laid organists under an The perusal of these two books of vocal duets has given
acknowledgment to him for including this useful fugue in us much pleasure. In each book there are six songs,
this series.
viz. : 1, " Evening " ; 2, "When the Christ-child comes " ;
Premiere Collection de Pieces d'Orgue. Par Aloys 3, "Spring Sunshine", 4, "Farewell to Home"; 5, "A
Claussmann. Troisieme Livraison. I, OfTertoire ; Carol of Spring " ; 6, " Butterfly and Bee " ; 7, " Morning
2, Elevation ; 3, Communion. Paris : Richault Prayer " ; 8, " The Concert of Spring " ; 9, " How bright
is the Earth and how Fair" ; 10, "The Spring Night's
et Cie.
Mons. Claussmann would doubtless himself disclaim Glamour"; 11. "O take my hand and lead me"; 12,
any title to greatness on behalf of his present work, but it " Rosebud, ah ! when wilt thou bloom ? " with English
is a welcome addition to modern organ literature, giving and German words. The English versions of the poetry
palpable evidence throughout of cultured thoughtfulness by C. Laubach are remarkably good, as they not only
and self-restraint. The whole work being conceived in retain the poetical beauties but combine with that a faith
this spirit, there is no need for detailed criticism of the ful translation. Reinecke has united the most charming
June I, 1893.]
THE
MONTHLY
MUSICAL RECORD.
musical ideas with these words, always reflecting their

character in the happiest manner possible, making each
of the vocal parts most interesting and melodious. They
are of moderate difficulty, and whether used for educa
tional purposes in singing classes, or as duets, will not
only be found of great utility, but will please all by the
peculiar refinement of their style, both as regards words
and music.
RECEIVED FOR REVIEW.
From: Breitkopf & H Artel: (A. Hinton), "Sonata," Piano
and Violin.J. and W. Chester, Brighton: "A Text Book of
the Elements of Music,"E. Donajowski : (IV. R. Driffill),
"Three Sonatinas," Nos. I, 2, 3, Piano. Eaton & Bulfield,
Lancaster: (J. C. C. Routh), "Short Uninstrumented Symphony
in F," Piano. Forsyth Bros. : ( W. Carroll), "Two Sonatinas,
Nos. 1, 2," Piano ; (F. Corder), Overture, Entr'acte, and Ballet
Music from " Nordisa," Piano duet; (F. Hitler), "Youthful
Reminiscences." edited by Charles Hallg, Piano; (A. Page), " 101
Original Rounds" ; (B. M. Ramsey), "Carnival March," "Gymna
sium March," "Tarantella in r> minor," Piano; {A. Strelezii),
"Douze Morceaux," Op. 209, Nos. 1 6, Piano. Hammond &
Co. : (IV. C. Sell/), "Nocturne," Vjolin and Piano, "The Sea
hath its Pearls," Song.Hart & Co. : ( W. J. LMkitt), " Hear
my Prayer," Short Anthem. London Music Publishing Co.:
(/'. H. Fisher), "March of the Unionists." Song; (/. Naylor),
" Manna," Sacred Cantata. Methven, Simpson & Co., Dundee:
(L. Riviere), "Crossing the Bar." "The Knight's Return," Songs.
" Musical News" Office : (G. F. Bruce), " Andante," Violin
and Organ.Novello, Ewer & Co. : (S. Agnesi). "Come Not,
when I am Dead," Song ; (A. Berridge), " Men of England," Fourpart Song; (E. A. Chamberlayne), "Sonata in F minor," Piano ;
(. J. H. Churcher), " Benedictus in f," "Te Deum Laudamus,"
in f; (//. Crossley), "Three Duets" for Soprano and Tenor;
(F. David), "Five Pieces." Violin and Piano; (, Faning),
"Buttercups and Daisies," Pastoral Cantata for Children's
Voices ; (H. Ham), " Lord Ullin's Daughter," Choral Ballad ;
(Handel), ' Come let us Sing," Fifth Chandos Anthem ; (G.
Henschel), "The Discreet Lover," Song; (H. Hofmann),
" Kirmess," Books 1, 2, Piano duets ; (H. J. King), " The Morn
ing and Evening Service," in B flat ; (P. T. Lucas), Six Settings of
the Kyrie Eleison " ; (G. C. Martin), " Organ Arrangements,"
Nos. 10, 11, 12; (W. Metcalfe), Twelve Original Voluntaries for
Organ or Harmonium ; Original Compositions for the Organ, Nos.
160 to 165 ; (H. W. Parker), "The Morning and Evening Service"
in e; (A. Phillips), "Thirteen Voluntaries" for Organ or
Harmonium ; (C. V. Stanford), " East to West," Ode, Chorus and
Orchestra; (P. Tschaikowski), " Twenty-fourSongs '' ; (/. Vargc),
"Harmony Unravelled ';(H. Vieuxtemps) , ' ' Four Pieces, " Violin and
Piano ; (A, C. White), "The Double-bass" (appendix). Paterson,
Sons & Co., Glasgow : (A. Berridge), " Ye Little Birds." Four-part
Song. F. Pitman : (F.Manly), "A Short Treatise on Time. " H.
Pollack, Barrow-in-Furness: (J. F. Lexhime), " Adagio," Violin
and Piano. Richault et Cie., Paris: (F. Battanchon), "Deux
Pieces Caracteristiques," Violin or Violoncello and Piano ; (A.
Claussmann), "Pastorale," en Re major, Organ; (/ Focheux),
"Deux Morceaux Caracteristiques,'' Violin and Piano; (GabrielMarie), " Vieille Historie," Piano ; ' ' Serenade Badine," arranged by
les Freres Cottin, Mandoline and Piano; (C, Nicosias), " CapriceSokol," Violin and Piano ; (E. Wenner), "Melancolie," Violin and
Piano; "Chanson d'Avril," Violin or Viola and Piano. "Sunday
School Times" Office: "School Hymns, with Tunes," edited
by E. H. M. Gunn.Weekes & Co. : (C. C. Bethune), " Love
Came on the Morrow," Song ; (A de Bohun), " King and Slave,"
Song; (C. Bawdier), "Delight Thou in the Lord," Anthem;
(/.. Carew), "Our Hearts are Together," "Then will I think of
Thee," Songs; (/. B. Stenning), " Hypatia Minuet," Piano.
C. Woolhouse : (C. Weber), " Practical Pianoforte School for
Beginners." T. J. Wray, Hull: (/. Brewer), "Christmas
Melodies," Song.
operas an& Conwrte*

The great event at Covent Garden has been the production of
the new opera, Pagliacci, by Signor Leoncavallo, on Friday,
May 19th. We have rarely witnessed a scene of greater enthu
siasm than that which accompanied the performance of the opera,
which has been already played on the Continent with great
129
success. Signor Leoncavallo, like Wagner, is his own librettist,

and we may congratulate him, for he has within the compass of
two acts constructed a most powerful, moving, and intensely
dramatic story, and his music, if it has not, perhaps, the spon
taneous gift of melody which is supposed Heaven knows why !
to be the sole gift of Italian composers, is everywhere strong,
dramatic, and admirably representative of the situations and
characters. There are not many personages in Pagliacci. The
most prominent is Canio, a strolling player, whose troupe is
about to perform at a village fete in Calabria ; Tonio, a hunch
back, and member of the company, has greatly admired Nedda,
the wife of Canio, who has, however, another wealthy admirer
whom she secretly favours. Tonio, in attempting to pay her
attentions, is rejected with scorn, and when he threatens
vengeance, Nedda strikes him with her riding-whip. Tonio
bides his time. He is aware that the wife has secretly met
some adorer unknown to her husband, and he awakens the
jealousy of Canio, bringing him to the spot where Nedda has
met her secret lover, Silvio, a wealthy farmer. But the husband
is too late to discover the identity of Silvio, and in a singularly
fine and dramatic passage he laments that he must dress up and
amuse the gaping crowd, though his heart is breaking. Signor
de Lucia, who played the part of the husband, recalled the best
days of Italian opera in this scene, which he sang and acted
with passion and power worthy of a good artist. Absurd as it
was to have such a pathetic scene repeated, and spoiling as it did
the dramatic action, the enthusiasm of the vast audience gave
Signor de Luciano choice, and he went through the scene again.
In the second act we see the rustic theatre and the peasants
awaiting the performance. . A curious and exciting dramatic
effect is produced by the play being a burlesque upon the very
incidents which have so deeply moved the principal characters.
Canio, who has to take the part of the deceived husband, forgets
his part, and instead of acting becomes frantically jealous. The
spectators applaud with rapture what they imagine to be the
acting of the mimic play. But it is a life-tragedy that is being
acted. Canio demands of his wife the name of her lover, and
irritated by his rage the faithless beauty defies him. Canio
snatches a knife from the table and stabs her to the heart, while
Silvio, the lover, who had been watching the performance, rushes
forward, only to be fatally wounded by the fierce husband, who,
turning to the awe-struck spectators, calmly says : " The comedy
is ended." The plot is worked out with extraordinary force,
and the music is in harmony with the subject. It is not exactly
what we are accustomed to from Italian composers, as Signor
Leoncavallo sacrifices pretty melodies for the sake of dramatic
effect. There are, however, a few flowing and graceful
passages. One is a ballata sung by Madame Melba as the
heroine, and encored. A fine solo in the Prologue for the bari
tone is also rich and melodious, and the duet for Nedda and
her lover Silvio has considerable passion and fire blended with
choice passages of melody. Some of the choruses are effective.
One is a " Ding Dong " chorus, in which a kind of echo of the
church bells is heard ; and the lively, bustling music descriptive
of the coming of the strolling company is written with much
spirit. Everywhere the composer displays full command of the
orchestra and chorus, writing with freedom as well as force.
We have spoken of Signor de Lucia, whose splendid perform
ance as the jealous husband merited the highest praise. Not
often on the Italian stage is anything so truly artistic and so
free from affectation and insincerity witnessed as the performance
of Signor de Lucia. Signor Ancona was also splendidly
effective as the spiteful Tonio. M. Bonnard was moderately
good as Peppe, the Harlequin, and Mr. Richard Green as the
lover Silvio, although he had not quite sufficient physical power,
acquitted himself well, singing with effect in the love-duet.
Madame Mclba was a brilliant representative of Nedda, the only
female character. Altogether, Pagliacci is somewhat melo
dramatic, but it is likely to become popular, owing to the con
densed and effective treatment of both the story and the music,
Signor Mancinelli conducted, and, with the composer, the
principal artists, and Sir Augustus Harris, was called to the
front, the conclusion of the opera being the signal for an extra
ordinary display of enthusiasm. Signor Alvarez and M. Ghasne
have appeared with success at Covent Garden, and Madame
Calve has returned, taking part in Mascagni's Cavalleria
i30
THE
MONTHLY
MUSICAL RECORD.
Rusticana. She made quite a sensation by her splendid singing

and acting as Santuzza, and was to have appeared as Carmen,
but owing to indisposition her place was taken by Mile. Sigrid
Arnoldson, who was quite out of her element in that character.
But Gounod's Philemon el Baucis being played in French on
the same night as Pagliacci, Mile. Arnoldson was charming
as the heroine, and M. Plancon, a magnificent baritone, repre
sented Jupiter admirably, M. Bonnard being very good as
Philemon.
THE NEW SAVOY OPERA.
There is always a certain amount of excitement about the
production of a new opera at the Savoy Theatre since the
wonderful successes achieved there by Messrs. Gilbert and
Sullivan. But the new work does not exactly follow in their
footsteps. There is nothing of the "topsy-turvy" style in
the new work produced on Saturday, May 13th, with complete
success. The libretto is by Messrs. J. M. Barrie and A. Conan
Doyle, and the title hjanc Annie, or, The Good Conduct Prize.
The authors have not constructed their story with great skill,
but for all that, the subject is whimsical and amusing, and will
most likely be popular. The scene is in a seminary at a
University town, and the two girls who are the most prominent
characters are Jane Annie the "good girl," and Bab the
" naughty girl." The former is by no means so good as she
pretends to be, but has determined to assume all the airs and
graces of a "good girl" ih order to win the "good conduct
prize." Meanwhile, Bab has indulged in flirtations with a
young officer of the Lancers and also with a young student.
The former is called simply Jackj the latter Tom. Between
these heroes Bab can hardly make up her mind, but her
military admirer comes at night just as the schoolgirls are
going to bed in order to elope with Bab. This is discovered by
Jane Annie, who has secretly resolved to win the officer herself.
She alarms the household and Bab is brought to confusion
owing to the arrival of the Proctor of the U niversity and his
"Bulldogs," named Greg and Sim, who have followed the
eloper demanding his " name and college." In the second act
the "good girl" throws off the mask, makes a desperate effort
by hypnotising the military adventurer, and as Bab makes
peace with the University student Tom, the girls fly with their re
spective admirers. There is a good deal of fun in the opera, and the
music of Mr. Ernest Ford is pretty, tuneful, and appropriate to
the light and fanciful subject. Some of the melodies and
concerted pieces, and also the choruses, are written in a manner
promising future fame for the composer, who on the night of
production conducted the orchestra with decided ability. Mr.
Ernest Ford will be remembered as the winner of the Sir John
(Joss scholarship in 1875, He writes somewhat in the style of
Sir Arthur Sullivan, but in many cases he also reveals consider
able individuality and command of the voices and orchestra.
The performance was excellent. Mr. Rutland Barrington was a
most amusing figure as the stolid Proctor, and one or two of
his songs were very successful. Miss Decima Moore was very
attractive as the flighty Bab, who cannot make up her mind
which lover to elope with ; Miss Moore, who has a bright and
pleasing soprano voice, which has been well trained by Madame
Rose Hersee, sang charmingly. Miss Dorothy Vane as the
good girl was also clever. Mr. Kenningham was the tenor,
and a new baritone, Mr. Scott Fishe, made a hit. Miss Rosina
Brandram sang well as the schoolmistress, but the greatest
success of the evening was made by a boy actor and vocalist,
Master Harry Rignold, really a wonderlully clever youth. We
anticipate that the new Savoy opera will have a good run.
OPERATIC CONCERT.
/ The first of Sir Augustus Harris's operatic concerts was given
at St. James's Hall, on Thursday afternoon, May 18th, with
success. Madame Calvo unexpectedly appeared after an apology
had been made for her, and sang in beautiful style an air from
Lcs Pi'c/ieurt de Perles of Bizet, also the "Invocation" of
D'Hardelot. Miss Esther Palliser was very successful in her
singing of " Elsa's Dream " from Lohengrin* M. Plancon gave
a noble rendering of the fine air of the Cardinal in La Juivc.
Madame Armand, a vocalist little known in this country, sang
[June I, 1893.
with great effect an air from the Samson et Dalila of M. SaintSaens.

Mile. Giulia Ravogli sang, but her sister, Mile.
Sofia Ravogli, was unable to appear. Mr. David Bispham was
much applauded in an air from La Basoche ; Mr. Charles Manners,'
bignor Giannini, and others sang. M. Tivadar Nachez played
violin solos, and Master Jean Gerardy played a solo for the
violoncello. The special attraction of these concerts appears to
be that visitors who do not care for the late hours of the operahouses can hear selections from operatic works by famous
operatic singers. Thus they serve their purpose and attract
many visitors.
PHILHARMONIC CONCERTS.
The concert of Thursday, May 5th, opened with Dr. Villiers
Stanford's Irish Symphony. This excellent work was first given
at one of the Richter Concerts in 1887, and it is rather surprising
that an orchestral work of so much merit has been allowed to
be idle. Taken as a whole, we are inclined to set down the
Irish Symphony as the best work for the orchestra Dr. Stanford
has written. It is solid and well constructed, the instrumentation
has great ingenuity, the themes are contrasted in an artistic
manner, and when it was heard again at the Philharmonic the
impression made upon the audience was most satisfactory. It
must be said that the work was well played under Dr. Mac
kenzie's direction. Not often does an English composer have
such a hearty reception as Dr. Stanford met with on this occasion.
He was twice recalled to the orchestra at the close of the
symphony, and the applause may be termed "tempestuous."
Mdlle. Clotilde Kleeberg played the Concerto of Hiller in
F sharp minor, a pleasant rather than profound work, but
always welcomeall the more so just now when pianists are
repeating popular works until they are hackneyed. In response
to an encore Mdlle. Kleeberg gave the same composer's
" Zur Guitarre."
Mr. Willy Hess played the Beethoven
Concerto for the violin in good style, displaying great command
of bow and finger and capital intonation. Mr. Santley sang
with great spirit songs of Purcell and Mozart, and Dr. Mac
kenzie's charming prelude and ballet music from his opera
Colomba gained the cordial appreciation of the audience, and
was rendered with commendable grace and refinement by the
orchestra. It may be added that the audiences are increasing at
the Philharmonic, and something like the old prestige of
the society appears to be reviving. This is as it should be.
A society which in its early days was associated with the great
name of Beethoven should strive to keep its laurels unfaded.
Three new works were given on the 18th, the most interesting
being a setting of the Scotch ballad, Annie of Lochroyan, by
Mr. Erskine Allon.
GUILDHALL SCHOOL OF MUSIC.
The operatic class at the Guildhall School of Music is making
excellent progress, and on Wednesday afternoon, May 3rd, a.
performance of Faust was given at the Lyceum Theatre, by kind
permission of Mr. Henry Irving, and attracted a large audience.
Taken as a whole it could hardly have been expected that the
students would have done so well. Mr. Bates Maddison sang
the music of Faust with much taste and with excellent quality of
tone. Mr. Edward Epstein was the representative of Mephistopheles, and if his figure was hardly commanding enough for
the part, he displayed so much intelligence in his acting and
sang the music with such good effect, that he was deserving of
the most cordial praise. Mr. J. Stuart Hyatt, who has a charm
ing baritone voice, was heard to advantage in the music of
Valentine, and Mr. Wyatt Keith was to be commended as
Wagner. Miss Jessie Browning made an acceptable Siebel, and
was recalled after her singing of the air in the garden scene.
Madame Leonora Ellerton acquitted herself well as Martha.
The character of Marguerite was undertaken by Miss Jessie
Hudleston, who has a bright soprano voice and considerable
fluency of execution. She sang the music of the heroine with
considerable effect, being most warmly applauded in the Jewel
song. The choruses went surprisingly well, thanks in part to
the freshness of the voices and also to the great care the chorusmaster, Mr. Neill O'Donovan, had taken in training the students.
Sir Joseph Bamby conducted, taking all possible care that the
June 1, 189.1.

C. REINECKES i2 VOCAL
Cingener's Edition N'.< 4119a. 6.)
Op. 217. NV9.
i3i
DUETS.
HOW BRIGHT IS THE EARTH.

Allegro.
SOPRANO I.
How bright is the Earth and how
Wit ist
dock die Er . d so
SOPRANO II.
How bright is the Earth and how
Wit ist
dock dit Er . d so
mm
PIANO.
Copyright 1893, by Augener li C
mm
f
l32
love,
tin,
In
in
a
den
song
blau
as swept
as lovel
en Him - mi l hin - ein .
love,
tin. -
In
in
a
dtn
song.
blau
as sweet
as lovel
tn Him -met hin - ein.
1 y
jene 1, 1893.
j}?'
How bright
Wie
ist
is the Earth and how fair,

doch die Er- de so schn,
how fairl
so schn!
'Tis
das
How bright
We
ist
is the Earth and how fair, how fairl

doch die Er . de so schn, so schn!
'Tis
das
glass
S/w
glass
Sfie
i33
June 1, 1893.
All the mountains, the

gel die Gr. ten, die
mounT"tains and mcajdows they pass

Gr
.
ten und Stiid.tt und
And the clouds,

H. gel und
the
die
All the mountains, the

gi I die Gar. ten, die
mounT~tains and mea_dows they pass

Gr
.
ten und Std-te -und
And the clouds,

Hit, gel un.i-
the
die
clouds
Wol .
in
ken,
the
die
heavh
drii .
so
ber
blue,.
tieh'n,
And the
und die
clouds
Wol
in
ken
the
die
heavn so
drii . ber
clouds
Wol .
in
ken,
the
die
heavn
drii -
so
ber
blue.
th'n.
And
und
clouds
Wol
in
ken
the
die
heavn so
drii . ber
the
die
i34
June u 1893.
June I, 1893.]
THE
MONTHLY
MUSICAL
RECORD.
135
the absence of an accompaniment taxed the singers somewhat

severely in the important matter of intonation. A " Dialogue "
by Thomas Morley, " Phyllis, I fain would die now," pleased by
its quaintness, and two examples of a setting of Elizabethan
Pastorals, by Dr. Stanford, gave so much pleasure that the
whole of them should be heard speedily. Dr. Stanford has
caught the spirit of the musical period charmingly. Mr. Leonard
Borwick played a suite of Bach with capital execution, and also
the Ballade of Brahms in i> major, and the second set of varia
tions by the same composer on a theme of Paganini. The
Mass of Palestrina was worthy of hearing as an example of the
MADAME BERTHE MARX'S RECITAL.
school of sacred music in a past age, but naturally it lost
The pianoforte recital given by Madame Berthe Marx was far something by being heard on the concert platform.
above the average of such performances, and St. James's Hall
was well filled on the occasion, May 13th. Madame Marx
played the Concerto of Saint-Saens for pianoforte and orchestra
in c minor, Op. 44. It is an interesting composition, the finale It is difficult sometimes to keep pace with the pianoforte
being, perhaps, the most attractive movement. The pianist also recitals. M. Lundberg, the Swedish pianist, for example, was
played with great ability Schumann's pianoforte Concerto and playing at Steinway Hall while Madame Essipoff was charming
that of Mendelssohn in G minor, the only drawback being that her admirers at St. James's Hall. We are happy to say that
the latter has been played so frequently of late. The audience both found ample appreciation. The gifts of Madame Essipoff
greeted Madame Marx with great cordiality in each of the works need not be told anew, for she has won popularity irl this
she played. Her reputation was first gained in association country, and appears to retain fully the admiration she first
with Senor Sarasate, the violinist, whose solos she accompanied excited. Her execution has in no respect fallen off, as was
with exquisite taste. But she has proved herself competent to proved by the solid and masterly manner in which she played
interpret the greatest works. An excellent orchestra, conducted the variations and Fugue by Brahms on a theme of Handel at
by Sir William Cusins, played the overture to /.auberflbte and her first recital. Of M. Lundberg we may speak as a kind of
the Turkish march from Beethoven's Ruins of Athens, and did "Swedish Chopin."
He need not be -offended with the
efficient service in the accompaniments to the three concertos. designation. Miss Lily Heale gave a concert on May 2nd at
By the way, would it not have been better to have given greater Steinway Hall, and proved herself a contralto vocalist of con
variety in the choice of music ? Three concertos closely follow siderable talent. On May 3rd Miss Pauline Lowenstark gave a
concert at St. James's Hall, and the society known as "The
ing each other were rather fatiguing.
Musical Guild ' gave a concert of chamber music at the
Kensington Town Hall. On May 4th M. Isidor Cohn gave a
pianoforte recital at St. James's Hall, and showed that he had
M. TIVADAR NACHEZ' RECITAL.
made an advance as an executant. On the same day Miss
On the 6th of May, at St. James's Hall, M. Tivadar Nachez, Madeline Payne, a pupil of Mr. Baptiste Calkin, gave a recital
the excellent violinist, gave a recital, which was largely attended. of pianoforte music. She is a clever child, but are we not
He played Mendelssohn's violin Concerto ; everybody does, but having something like a rush of clever musical children? and
not so well as M. Nachez. His tone has improved in quality, would it not be better for their talents to be more matured
and his execution in refinement and expression, and we can before appearing in public ? A good word must be said for
understand the cordial appreciation which the Queen bestows on Fraulein Margarethe Eussert, who, on May 5th, gave a recital at
his playing. In a great variety of pieces he displayed complete Princes Hall. Even in the midst of what may be called a
command of the violin. Mr. Lawrence Kcllie sang with effect deluge of pianists Friiulein Eussert is worthy of remembrance
save in Beethoven's " Adelaide." This immortal love-song is for the puriiy of her style, her grace and good expression.
not suited to hi3 style.
Another child pianist, Master Raoul Koczalski, was heard at
Princes Hall on Wednesday, May 10th. Rather jaded with
MR. MOBERLEY'S STRINGÔRCHESTRA.
listening to so many juvenile pianists, we strolled into Princes
Something encouraging may be said of the Rev. E. H. Hall somewhat apathetically, but must confess to have found
Moberley's string orchestra of nearly one hundred ladies, which much satisfaction in this young player, who is said to be only
we heard on Friday evening. May 1 2th, wondering at the courage eight years of age. He looks ten or eleven, but even if that
of the reverend gentleman in standing up to conduct a hundred is really his age he is a wonderful boy, and if his talents are not
ladies all brilliantly arrayed in white. To be the solitary Adam prematurely forced the usual danger in such a child he may
amidst so many charming Eves might well appal a conductor of become a great player. A score of small concerts, and an equal
number of pianoforte recitals, have taken place, which have had
weak nerves, but Mr. Moberley carried his feminine forces suc
no special interest beyond the circle of immediate friends of the
cessfully through, and was greatly to be commended for intro
ducing a number of orchestral pieces for strings which were new vocalists and performers. Sir William Cusins, after being her
to the audience. A portion of one of Handel's Concertos, and Majesty's musical conductor for a quarter of a century, has
a Serenade in C, Op- 62, by Volkmann, were interesting, as was retired. The music at the opening of the Imperial Institute
Dvorak's Serenade in E major, Op. 22. This early work of the included a very stately and brilliant march composed by Sir
Bohemian composer contains nothing abstruse. The melodies are Arthur Sullivan. In the excitement of such an occasion we
clear and sweet and the treatment for the orchestra if not elaborate could not pay critical attention to the music, but have an im
is attractive. The Prelude to the " Deluge " of M. Saint-Safins pression that the march is superior to the average of such
was effectively played. Miss Mary Cardew gave a violin solo, productions. We hope soon to hear it at some orchestral
and Mrs. Hutchinson sang songs of Brahms and other composers concert where we shall be better able to appreciate its merits.
The ode of Mr. Swinburne for the Chicago "World's Fair,"
in her usual sympathetic style. We can compliment the charm
set to music by Dr. Stanford, was heard at the Albert Hall with
ing ladies on the good tone they produced.
much satisfaction. It is a scholarly rather than an inspired
production. The Laistner Choir was heard at the Princes Hall
on the 16th, Schumann's "Pilgrimage of the Rose" being one of
BACH CHOIR.
the works performed. Good news tor violinists ! At a concert
At the unusual hour of five in the afternoon of May 16th we given on the 17th to Mr. Stewart Macpherson, conductor of the
were invited to hear a selection of unaccompanied vocal music Westminster Orchestral Society, Dr. A. C. Mackenzie's new
by the members of the Bach Choir, conducted by Dr. Villiers solo for violin and orchestra, called "A Highland Ballad," was
Stanford. One of the items was a Mass in five parts by played by Mr. Hans Wessely, and proved a most charming
Palestrina, which was fairly well sung by the choir, although I composition for the instrument.
opera should be well presented. A great many musical celebri
ties were present on the occasion, and we heard many of these
competent judges express warm approval of the performance,
and some little astonishment also that an elaborate opera like
this could have been performed by students, and leave so little
for an adverse critic to find fault with. We shall certainly not
be found in the ranks of those who have anything to say in
disparagement of so meritorious a performance.
136
THE
MONTHLY
MUSICAL
iHusttal &ott*>
#
The long-expected production of Wagner's Walkiire,
in the French version of the late Victor Wilder, took
place at the Grand OpeYa, on Friday, May 12 ; and after
thirty-two years the insulting rejection of Tannhduser in
1 861 was avenged and atoned for by the enthusiastic
reception of its successor. As the Ring is almost un
known in France, it was thought advisable to preface the
Walkiire by two auditions-conferences, at which M.
Catulle Mendes (who claims to be almost the oldest
Wagnerite in Paris) told the story of the Rheingold, and
of so much else as was necessary to make the story of the
Valkyrie intelligible to a French audience. These
lectures were accompanied by the performance of some
musical extracts from the Rheingold, sung by some of
the artists of the opera, and with instrumental selections
played on two pianos by MM. Raoul Pugnoand Debussy.
The .cast of the Walkiire was as follows : Sieglinde,
Mme. Rose Caron ; Briinnhilde, Mile. Breval ; Fricka,
Mme. Deschamps ; Siegmund, M. Van Dyck ; Hunding,
M. Gresse ; and Wotan, M. Delmas. All the performers
received the strongest marks of approval, but the palm
of highest excellence is universally conceded to M.
Delmas. The orchestra, under M. Colonne, though
tolerably efficient, seems not to have quite reached the
standard essential for Wagner's later works, and it has
been hinted that there have been disagreements between
the eminent conductor and some of his artists. These
reports have been contradicted by M. Colonne himself,
but this has not sufficed to put a stop to the rumours
that the conductor will retire before long, and will be
succeeded by M. Taffanel, conductor of the Concerts du
Conservatoire. With regard to the reception of the work,
few of the critics have condescended to remark on it, and
indeed, most of them confine themselves to telling the
story and praising the performers ; but from a few of the
notices we gather that the second act was found, on the
whole, tedious, while the first and third were received
with enthusiasm. M. Ernest Reyer writes in the Debals
with perhaps somewhat affected humility, "And as to us
whom the genius of the victorious Titan crushes and
annihilates, all that remains for us to do, after having
cast a last sad look on the past, is to salute the future,
and to die gracefully."
Now that the Walkiire has been disposed of, the
rehearsals of M. Marechal's Deidamie have been
resumed, and the production will perhaps have taken
place before the end of May. An opera, Djelma, by M.
Chas. Lefebvre, is then to be taken in hand, and after
that, for the autumn season, there is a talk of Chabrier's
Gwendoline, Massenet's Thais, and the Montagne Noire
of Mme. Augusta Holmes.
. At the Opera Comique, Bizet's Pecheurs de Perles has
been revived, but not even the genius of Mile Calve has
been able to make it a success. The Kassya of Delibes
also has ceased to attract, and it has (for the present)
disappeared from the bills. The list of novelties talked
of is very lengthy, but changes every few days. Some of
the iterr.s are : Saint-Saens, Phryne" this was pro
duced on May 24th ; Bruneau, LAttaque du Moulin;
Dubois, Circe; Cdsar Cui, Le Flibustier; Antoine Banes,
Madame Rose ; and revivals of Monsigny's Deserteur,
Adam's Toreador, and Weber's Oberon.
M. Ch. Lamoureux and fifteen of the most eminent
composers of France have founded a new musical
association under the title of " Concerts de l'ecole
moderne." The society hopes to give yearly, first per
formances of thirty new works, either by the fifteen
RECORD.
[June I, 1893.
members or by other writers, French or foreign, who

have promised them works. Here is, indeed, a chance
for young French composers, who should henceforth
have no cause for complaint about getting their works
performed.
There is some chance that the Association Artistique
of Angers may survive the withdrawal of the municipal
subvention, assistance being expected from other authori
ties. Meanwhile the director of the theatre has engaged
the entire orchestra, so as to keep the members together,
for a time.
The jury for the musical competition instituted by the
city of Paris have decided that none of the works sent
in deserve the prize, but they have made a grant of 3,000
francs to M. George Marty, author of the score entitled,
" Le Due de Ferrare."
The season at the Brussels Theatre de la Monnaie,
which ended on May 4th> has not been brilliant. Neither
of the native novelties succeeded, and their failure was
only partially atoned for by the comparative success of
Werther and the revival of Glucks Orphie.
Mile.
Chre'tien, one of the stars of the theatre, is engaged for
the Paris Ope'ra, but it is hoped to win back Mme. de
Nuovina for next season.
M. Paul Gilson, the young composer, who made
such a sensation with his symphonic poem, "La Mer," has
produced a new work, entitled " Le Demon," at Mons, with
great success.
The Royal Opera at Berlin witnessed the production
on April 24th, of the one-act opera, Unter Rdubern
(Among thieves), and the grand ballet " Die Rebe" (The
Vine), both by Anton Rubinstein. The opera failed, as
it has everywhere failed, and never got beyond the first
performance. The ballet was considerably more success
ful, and has been several times repeated, but the merit
of the work is a good deal disputed, and it hardly seems
destined to a long life. The best part of the musicthe
characteristic dances illustrating the wines of various
countries is well known by performances in the concertroom. The mise en scene was most tasteful and magnifi
cent, Frl. Dell'Era and Frl. Urbanska danced to
perfection in the two chief roles, The Vine and the
Goddess of Joy, and the new ballet- conductor, Herr
Steinmann, acquitted himself to the general satisfaction.
The composer, who was present, was frequently called on
to appear.
Arrangements have been made for four performances
of Verdi's FalstaffAt the Berlin Opera House on June 2,
5, 7, and 9, by the entire Italian company from La Scala,
under Sig. Mascheroni, with the original scenery and
costumes, etc. It is not expressly stated whether M.
Maurel has or has not got over his scruples as to appear
ing in Berlin, and the result is awaited with some
curiosity. Some of the Berlin papers suggest that a
revival of Nicolai's Lustige Weiber would be opportune,
and on this point it is interesting to read the opinion of
Dr. Hanslick, who has just seen Verdi's work at Rome.
" In my judgment" (he says) "the best numbers of the
Lustige Weiber are, musically, distinctly superior to the
corresponding scenes in Falstaff." Nevertheless, he very
greatly admires Verdi's work, and believes that it will be
generally liked and appreciated in Germany. The
premiere of Falstaff, however, in Germany took place at
Vienna, where it was performed on May 21st, by the
original Italian company. The reception, though very
favourable, was not as enthusiastic as was expected.
That remarkable actress and singer, Siga. Bellincioni,
began her second series of performances at Kroll's
Theatre on April 14 ; she has appeared in Tasca's A
Santa Lucia, Giordano's Mala Vita, and the Cavalleria,
Tune I, 1893.]
THE- MONTHLY
exciting the same admiration and enthusiasm as on her

previous visit. Her husband, Sig. Stagno, seconds her
with great dramatic skill, but his style of singing finds
little approval. A young debutante, Frl. Agnes Herr
mann, showed much promise in a performance of Weber's
Silvana.
Herr Peter Ludwig Hertel, ballet composer and
conductor at the Berlin Opera for the last forty years,
retired from his post on April 13th, after conducting a
performance of his ballet "The Seasons." He was the
recipient of warm sympathy and hearty congratulations
from the audience, as well as of handsome presents from
the personnel of the corps de ballet. Some of the music
of Hertel's ballets (" Flick und Flock," etc.) has been
welcomed in this country.
Herr Baumann, director of the Stadttheaterof Briinn,
is collecting a company to give a short series of per
formances of three of Smetana's Bohemian operas at the
Theater Unter den Linden, at Berlin. The season will
begin on July 1st, and at its close the company will start
for America to open at Chicago. If the success is such
as to warrant the step, it is intended afterwards to repeat
the performances in the chief cities of Europe.
On May 7, Johannes Brahms completed his sixtieth
year. All sorts of compliments and honours were being pre
pared for the occasion, but the composer gave his friends
the slip and started for a tour in Sicily, in company with
three Swiss friends, Viktor Widmann, the poet and
dramatist, F. Hegar and Robert Freund, the musicians.
The great composer is enjoying the best of health and
spirits, and it may be hoped that in due time we shall
hear of some fruits of his trip.
For the benefit of visitors to the Wagner performances
at Munich, we quote from the Signale thefollowing casts:
August 27, Die Feen, with the artists of the Munich opera ;
Aug. 29, Tristan, with Sucher, Vogl, Gura, Brucks.
Sept. 1, Tannhauser (newly mounted), with Ternina,
Sucher, Griming, Reichmann, Wiegand. On Sept. 3,
4, 6, 8, Der Ring, Briinnhilde, Sucher ; Sieglinde, Weckerlin ; Siegfried, Alvary ; Loge and Siegmund, Vogl ;
Hagen,Wiegand; Wotan, Brucks; Alberich, Fuchs; Mime,
Lieban. Among other artists who will appear later, but
in roles not yet fixed, are Frl. Malten, Bettaque, Abendroth, Blank, Borchers, and Lilli Dressier ; Herren
Grengg, Gura, Scheidemantel, Nebe, and Mikorey. It is
stated that many applications for seats have already been
received from foreign countries.
Stuttgart, like Gotha, proposes to give some model
operatic performances. On June 4, Les Huguenots;
June 6, Euryanthe; June 8, Tann/tdiiser; June 11, Don
Juan j June 13, Fide/io; June 15, Die IValkure ; June
18, Die Gdtterdamnterung, are to be given with Fr. Klafsky, Meilhac.and Herren Gruning, Scheidemantel, Grengg,
Lang and Schott.
The twenty-ninth meeting of the members of the Allg.
Deutscher Musik-Verein was fixed to take place at
Munich from May 2630. The performances were to
include four operas : The Barber and The Cid, by Cor
nelius ; Sunday Morning, by a hitherto unknown Nor
wegian composer, Gerhard Schjelderupa work performed
for the first time on May 9, and which met with a rather
mixed receptionand Berlioz's Trojans at Carthage.
In addition there were two concerts of orchestral and
two of chamber music. The Choral Union of Herr
Porges took the choral portions, and the conductors were
Levi, Porges, Auer, and others.
At the benefit concert of the Hofkapelle at Weimar,
on April 1 7, a novelty of much interest was produceda
suite by the late Joachim Raff, entitled Thiiringen. It is
a work of considerable importance in 5 movements,
MUSICAL
RECORD.
137
respectively headed, " Salus intrantibus," ElizabethHymn,Varialions on the Thuringian Volkslied, " Ach ! wie
war's moglich dann," Dances of Gnomes and Sylphs,
and a finale, "To the Shooting-Match." From the catalogue
of Raffs works, we learn that the suite was written in
1877, and that not only did Raff himself think very well
of it, but that Liszt and Erdmannsdorffer ranked it among
his best works. But after one trial performance at Sondershausen, under the last-named conductor, Raff
refused to allow it to be played, desiring to keep it back
till some great Thuringian festival should furnish a suit
able opportunity for its production. But no such occasion
ever offered and the work remained locked up.
At Basle, on Easter Sunday, a new grand Mass for
soli, chorus, and orchestra, by Otto Hegner, was per
formed and very well received.
Among the latest acquisitions of Herr Oesterlein for
his Wagner museum, are the piano on which Wagner
played while studying under Weinlig, a letter to King
Ludwig on the completion of Parsifal, a long letter on
the scheme for founding a training-school at Bayreuth,
and one presented by Herr Brahms, relating to the
first performance of Tannhauser at Vienna.
Of the making of new operas there is no end. We
have to register the production of four such in Germany
during April, and probably the end of May would see at
least two more, those of Felix Mottl and Eugen d'Albert.
The four are : Zwei Componisten by A. H. Hagen,
Dresden, Hoftheater, April- 9th; Ingo, by G. Rauchenecker, Elberfeld, April nth; Die Teufelsglocke, by
Robert Fuchs, Leipzig, April 15th ; and Hochzcitsmorgen
by Carl v. Kaskel, Dresden, April 30th.
This last
appears to have been the most successful, but none of
them are probably works of importance. The critic of
the Signale describes Fuchs' work as his first opera, but
this is an error ; his first was the three-act opera Die
Konigsbraut, produced at Vienna in March, 1889.
The example set at Monte Carlo of producing Berlioz's
Faust as an opera has been followed at Strasburg, where
it was produced in French under Capellmeister Bruch.
Mme. Ende-Andriessen, the popular dramatic
soprano of the Stadttheater of Cologne, has put an end to
her engagement and transferred her services to the Opera
House of Frankfurt, where she made her appearance in
the Cavalleria. There is some difficulty at Cologne in
finding anyone to replace her.
A memorial to J. C. F. Schneider, the composer of
The Deluge and a great many other oratorios, now, jt
is to be feared, on the high road to oblivion, has been un
veiled at Dessau, where he worked for over thirty years,
and where he died in 1853.
A STRING Quintet in E minor by Cherubini (hitherto
unperformed) has been played by the Walter Quartet at
Munich. It was not thought to rank among the com
poser's best works, though well-written and interesting.
It was written in 1837.
The well-known piano manufacturing firm of Julius
Bluthner celebrates this year the fortieth anniversary of its
foundation.
Important changes are to take place next October in
the two musical training-schools of Berlin hitherto known
as the Klindworth'sche Musikschule and the ScharwenkaKonservatorium. Prof. Hermann Genss will replace Herr
Klindworth as manager, and the two institutions will be
united under the joint direction of Herren P. Scharwenka,
H. Goldschmidt, and Genss, Professor Klindworth re
taining an active share in the teaching.
The opening of the Beethovenhaus as a museum of
Beethoven relics was celebrated by a five-day festival of
performances of the composer's chamber music. Dr.
138
THE
MONTHLY
MUSICAL
Joachim and his quartet party, Herr D'Albert and Mme.

Carreno, Mr. Joseph Ludwig, Miss Fanny Davies, and a
number of other distinguished artists, took part in the
performances.
The venerable J. P. E. Hartmann, the doyen of European
composers, not only celebrated his eighty-eighth birth
day last month (May 14), but also his fifty years' tenure
of the posts of organist of the Frue Kirke at Copenhagen,
and conductor of the Students' Vocal Union.
Enna's opera, The Witch, has been prohibited in
Russia and Finland, by the censor.
A NEW opera, entitled Erode, music by Julius Bechgaard, has lately been produced at Copenhagenwith
what success is not stated.
Venice and Trieste are the last two towns to be added
to the list of places where Falsta/fhas been heard, and
has triumphed.
Berlioz's Faust has been produced at Milan at the
Teatro Dal Verme, with a success phenomenal even for
Italy. The singers were Signorina Bordalba, and Signori
Signoretti and Beltrami, Mugnone being the conductor.
Five performances have been given, without any signs of
diminished interest.
The Societa Orchestrale del.Teatro alia Scala, one of
the very best orchestral societies of Italy, has given two
concerts of classical music, under the conduct of Signor
Martucci.
The Oratorio Society of New York has given a concertperformance of Saint-Saens' opera, Samson and Dalila.
The Metropolitan Opera House of New York is to be
rebuilt, and will, it is expected, be ready for re-opening
on November 1st, under the management of Mr. H. C.
Abbey.
Paderewski is said to have made over ,30,000 during
his late tour in the States.
Visitors to the World's Fair at Chicago may rely on
getting plenty of music at all times. Besides daily
orchestral concerts, a Bulletin of Concerts to August 1st,
issued by the Bureau of Music, shows extra concerts of
interest or importance for almost every day. It is im
possible to quote details from a list so lengthy, but it may
be said that orchestral, choral, and chamber music are all
amply represented. A Russian choir of thirty singers,
conducted by Mme. Lineflf, will give eight concerts in
June, and in August the band of the Garde Republicaine
will appear.
Mr. HENSCHELhas accepted the post of conductor of
the new Scottish Orchestra at Glasgow, as the duties will
not interfere with his conduct of his own Symphony
Concerts in London.
Sir W. G. Cusins has resigned the post of Master
of the Queen's Music, and conductor of the State concerts.
His successor is not yet appointed, but Sir A. Sullivan
has undertaken to conduct the next concert, and will, it
is said, give more prominence to English music and
English performers than has hitherto been the casean
innovation greatly to be approved.
That most excellent and esteemed musician, Dr. E. J.
Hopkins, celebrated his jubilee as organist of the Temple
Church on Sunday, May 7th, when, by desire of the
Benchers, the whole service consisted of his compositions,
among which was a new evening service composed for
the occasion. On the following Tuesday he was pre
sented with a silver tea and coffee service and a purse
of a hundred guineas, by the members of the Inner and
Middle Temple.
Mr. W. T. Best, the organist of St. George's Hall, Liver
pool, has received leave of absence for three months, in
the hope that his health, which has of late not been good,
may be restored.
REGORD.
[June 1, 1893.
Mr. J. S. Curwen has been invited to join the

council of two of the congresses at the Chicago World's
Fair, and to contribute a paper in each section.
Deaths.On April 28, Gustave Nadaud, the once
famous French chansonnier, Nadaud, one of the most
talented successors of lieranger, wrote both the words
and music of his little lyrics, of which he produced an
enormous number, and many of which had in their time,
before the days of Offenbach and of Paulus and Tdresa,
an enormous popular success. He was 73 years old.
Julius von Beliczay, born at Comorn, in Hungary, August
10, 1835, died at Pesth, April 30, was a Hungarian com
poser ,of great distinction. Educated for an engineer,
and rising to be a director of the Hungarian State Rail
ways, he cultivated music in all his leisure hours, and
became a professor at the Pesth Conservatorium. His
chief works belong to the departments of sacred, orches
tral, and chamber music, and among the best are a mass,
a symphony, two string quartets, a serenade for strings,
and a suite de bal. He was a great friend of Liszt, who
esteemed some of his works very highly, and did much
to make them known. The mass is frequently performed
in Hungary and Austria. Xavier Boisselot (d. April 10,
at the age of 81) gave promise in early life of being a
talented musician, but becoming head of a famous pianomanufacturing firm, he abandoned the field of composi
tion, after producing two operas. Andreas Schubert (d.
April 20, (el. cir. 70) was the last of the half-brothers of
the immortal Franz. Mr. Carl Jung, the late leader of
the violins in the Crystal Palace Orchestra, died, presum
ably by suicide, in the month of April, his body being
found in one of the lakes in the grounds. He was a very
accomplished violinist. Giovanni Bimboni, the most
distinguished clarinettist of Italy, died March 29, aged
80. Josef Giehrl, an excellent pianist, and Professor at
Munich, died April 24, in his 36th yeara musician of
conspicuous ability. F. A. Schulz, writer of songs and
choruses, some of which gained great popularity, died at
Wolfenbiittel, aged 83. On May 6, the wife of Dr. Wm.
Rea, of Newcastle, a lady of great musical ability.
NEW VOCAL DUETS FOR FEMALE VOICES.
12
LIEDER
Fur 2 Soprane
mit pianoforte begi.eitung
(VOCAL DUETS FOR SOPRANO VOICES),

BY
CARL
REINECKE.
Op. 217.
Augener*s Edition, No. 4119a. Bodk I. Price is.net.
1 Evening (Abendlied).
2. When the Christ-child comes (Wenn's Christkind kommt).
3. Soring Sunshine (Der Lenz ist da).
%
4. Farewell to Home (Abschied von der Heimath).
5. A Carol of Spring (Hell ist ein Lied erklungen).
6. Butterfly and Bee (Schmetterling und Biene).
Augenbr's Edition, No. 4119A Book II. Priceis.net.
. 7. Morning Prayer (Morgengebet).
8. The Concert of Spring (FrilhUngs-Concert).
9. How bright is the Earth and how fair ! (Wie ist doch die Erde
so schon).
10. The Spring-night's Glamour (Zauber der FrUhlingsnacht).
it. O take my hand and lead me (Geistliches Lied).
12. Rosebud, ah, when wilt thou Bloom ? (Rose, wann bluhst du auf?).
London: AUGENER & CO., 86, Newgate Street E.C. ; and
i, Foubert's Place, Regent Street, W.
THE
June I, 1893.]
EBENEZER
MONTHLY
MUSICAL
PROUT'S:

Demy 8vo.
i-tititn.
Rmfni.
.& T-JARMONV:
RECORD.
139
Review of E. Prout' s Text-books {continued)

little elso than age to recommend them, he has provided othars supported by references
to fugal works by the greatest writers. In desenbiog a fugue as a composition in
ternary forro,' Mr. Prout says : 'The first section extends as far as the ena of the last
or middle section begins with the crmmencement of the first episode, which modulates
to any other key ih 111 that of tonic or dominant ; and the third or final section begins
with the return of the sjbjcit and answer.' The features of each section .ire admiral ly
delineated, and the construction of the whole fuvue is cleirly etplaii.ed ami apt'y illus
trated. Ab text-booka, Mr. Prout'* theoretical treatises will doubtless ta*e
the position of standard works. 'The Daily Teltgiapk, Much 17th, 1893,
ITS THEORY AND A>/

London:
il PRACTICE. By EBENEZER PROUT, B.A., Lond ,

Professor of Harmony a>d Compjsitioa at the Royal
Academy of Music, itc. Fifth Kdition
AUGENKR & CO., 86, Newgate Street, E.C. ;

and
5/-
9'^KEY TO "HARMONY: ITS THEORY

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/CATECHISM OF PIANOFORTE
9'84. TROUBLE
COUNTERPOINT
AND
-L/ CANON. By EBENEZER PROUT, B.A. Lond.,

V^
5/"

O.K. FUGAL- ANALYSIS: A Companion
5/-
to
" Fugue." Beine a Colleclion of Fugues put into Score and

of Music, &c
a/6
Now Ready.
orss. "pUGUE. By EBENEZER PROUT, B.A.

J-
PLAYING. In paper covers, net, 2s.
48 PRELUDES and FUGUES (Wohltemperirtes Khmer).

9*05 Part I. (Preludes and Fugues, Nos. j to 24). In paper coven,
net, as.
9206 Part II. (In the press).
a/6
N.H. That Caltckitmi will it continued.

5/London: AUGENER& CO., 86, Newgate St.,E.C.;& i, Foubert's Place,W.
In Preparation.
9s7. MUSICAL FORM.
By Ebenezer Prout,
B.A. Bound, net 5s. Subscription price, if sent in befoie

publication, 3s. (post free for 3s. 4$d.).
SECOND
EDITION
OF
Che Bat'lp STdtgraph
A.
RUBINSTEIN'S
0/ March 17M, has the following Revieiv:

" The scries of theoretical works wriren by Khcnezor Prout will prove of inestimable
service tf teacher and scholar alike. Published in nine volumes, the series embraces an
eahaiistivt: treats on ea:h of the following subjects: Harmony, its theory ami
practice- counterpoint, strict ami free; double counterpoint; and nitfiie. With
'anient nt-is the Author points out the desirability of ntudyinii harmony and 'strict
cr uim-rpoiiit' simultaneously, and advises that 'as soon as the pupil has mastered
tri'tils .ind llivir inversions, lie shall beyin elementary cnuiilerpnint.* This recommenda
tion it 'unheeded by many teachers of theory, and some there arc who altogether reject
the r.lin "ii the ground of strict counterpoint Ixiuy of little practical value. But the
author Inhering it to lie an c -sent ial branch of study, has. by verbal explanation ol
rules as well as by illustrative examples, succeeded in making it appear attractive and
important
Two -part counterpoint is treated at considerable knylfi, a chapter being
devoted l> each < f the 'Five Species.' As far as the 'species are concerned, the
same order is ob-erved in three-part and four. part strict counterpoint. So varied in
construction are tie exercises and examples that one is nut to forget that the only
harmonies use*l therein are diatonic Triads and their fir.t inversions. In trading
students through paths trodden by our musical ancestors the skilful guide nrviT fails to
i*>inT out ol'jccts of interest lobe met with on the way. Though so much in love with
his subject, he places it in its Droper position, as a preliminary study to actual comiKfsition
The fact is again and again insisted upon that 'strict counterpoint is simply
the mean* to an end.' The object to be attained is the power office part-writing,
r ere called * free counterpoint,' the study of which should not. the author says, be com
menced before the pupil has completed his course of harmony. liberated from the
restraints imposed by ancient rules, modern counterpoint opens the doo' to well-n'gh all
combinations which do nut violate the laws of harmony. The final chapter treats on the
application of counterpoint to practical composition. In the book on Double Counter
point an<l Canon. Mr. Prout places these intricate subjects l>efore the student in the
clearest and most convincing manner. The last, as yet published, of the series is an
able and in some respecis remarkable treatise on Fugue. After carefully examining the
rule-* from time to time laid down by men in authority, and jfter patiently testing their
accuracy by ihe works of Bach and other great masters, the author is led to declare
that 'there: is no branch uf musical comnositioii in which theory is more widely at variance
with practice than in that of fugue.* In stating his own views, he directs attention to the
Brinciptes which govern the relation between Subject and Answer. While there is but
tile diversity ofupinion as to what should be the features uf the subject, there are, on
the other hand, many conflicting opinions as to the nature of the answer. The theorist
directs one mode of procedure, and the composer acts upon another. ' This rule," says
the old text-books. ' is absolute ' ; yet Bach is found breaking it with good effect. Our
author wisely declines to submit to the authority of any rule however ancient unless it
t-e found in agreement with the general practice of acknowledged masters. Of course,
there must be rules for the guidance of students ; and, while rejecting some which have
MUSIC AND
Edition
ITS MASTERS.
A Conversation.
Nc.
s.

9193* Bound in limp cloth
net
net
d.
2 o
2 6

AND CHORD STUDIES
SUITABLE TO PLAYERS OF ALL GRADES,

FOR THK
VIOLONCELLO,
BY
LOUIS HEGYESI.
Augener's Edition, No. 7,772.
Price, net, 3s.
London : AUGENER & CO., 86, Newgate Street, and 1, Foubert's Place,W.
140
LIBRARYJ0FCPlAN0raRTE MUSIC
fjune I, 1893.
Neiv Pianoforte Studies and Schools, with


A Collection of Studies, Classical and Drawing-room Pieces,
E.
*$?"
PAUER.
Junior Grade.
,"1.
Book 1
1 o
Studies : Steibelt, in A minor ; Hummel, in D ;
E. Pauer, in G.
Pieces: E. MUller, Caprice in c; Clementi, Adagio
con espressione.
Gloire" ; Loeschhorn, Romania in A minor ; Lanner, Original Styrian Dance ; and Three National
Polish Mazurkas.
5962 Book II
1 o
Studies : Loeschhorn, in A major ; Berger, in G
Pieces: C. P. E. Bach, Allegro assai in E flat; J.
with variations.
Recreations : Mozart, Three Minuets ; A. Jensen,
"Joyful Message"; X. Schanvenka, Valse in c
sharp minor,
5963 Book III
1 o
Studies: Gurlitt, Op. 132, Nos. 4 and 10 , Laubach,
on Divided Scales.
Recreations : Clementi, ' ' Monferina " ; Steibelt,
Valse in F ; Mozart, Gavotte from " Idomeneo" ;
5964 Book IV
1 o
Studies : Czerny, in c major, c minor, and i> major.
Pieces : Mozart, Fantasia in D minor ; Kirnberger,
Gallenberg's Waltz.
Recreations : Corelli, Pastorale in G ; Von Wolkensiein, I>ove Song ; E. Rommel, First Love,
Romanza; Schulhoff, Impromptu in A flat.
Senior Grade,
5981 Book 1
1 o
Studies : M. Szymanowska, in A flat ; X. Scharwenka, Prelude in c.
Andante in E flat.
5982 Book II
1 o
Kjerulf, " Friihlingslied."
5983 Book III
1 o
Pieces : J. S. Bach, Minuet in G ; Schumann, Air on
kowski, " Germany,'' from Op, 23.
5984 Book IV
1 o
Studies : Czerny, in c minor ; Kalkbrenner, in F sharp
minor ; Pauer, " Calmness " (for the left hand).
Beethoven. Variations in D, Op. 76.
Recreations : Schumann, Hunting Song ; Kjerulf,
Cradle Song ; Strelezki, Valse melancolique.
Pauer, is a collection of ' studies, classical and drawing-room pieces,'
selected, revised, and fingered for teaching a purposes. The selection is
admirable no piece unworthy of attention is included in the series, the
revision is that of the scholarly musician, and the fingering wliu we expect
from the experienced teacher."Manchester Guardian, Nov. 15, 1892.
who study music without the assistance of a teacher."Musical News,

AND EXPRESSION
("L'liCOLE DE LA TECHNIQUE ET DE L'EXPRESSION ").
5961
Exercises, Studies, Easy, Melodious and 'Progressive

E. PAUER.
PIANOFORTE
SOLOS.
RdK"*.
TECHNICAL EXERCISES
Price, net
1. d.
8329a The Book of Scales {Livres des Gammts)

3
8325 The Book of Finder Exercises (Exercices pour le developpeinent simultane des deux mains)
5
STUDIES.
832$ 34 Easy and Me'odious Studies (34 Etudes faciles et melodiques)
S319 23 Easy and Progressive Studies (20 Etudes faciles et pro
gressives)
..*.
..
...
8328 The Culture of the Scale. 24 Original Scale studies in all
Mozart's Sonatas ...
...
2
2
1 6
3 -a
MELODIOUS PIECES.
8314 Musical Sketches (Esquisses musicales). 20 Characteristic EasyPieces
a
et Gigue
.'.
83 oa-J National Sonatinas: , Germany; , Austria; c, Suabia ;
dt Italy; c, Wales;./; Ireland
each :
8311 Sonatina in a major (Sonatine en la majeur)
Swedish Air
B313 A Child's Life (Jugend-Albumj
FOR THE LEPT HAND.
8331 ia Characteristic Studies for the Left Hand
2
8331 Suite for the Left Hand : Prelude, Allemande, Gavotte, Sara
x
PIANOFORTE
8591
8592
DUETS.

et meiodique?) ...
1
... 1
AUGENER & CO., 86, Newgate Street, London, E.C ; and

New Studies by A. Loeschhorn.

HORN. C. 4to.
AA\ I 42 Easy Studies. Op. 192. (Preparatory to Op. 103).
g|>* J
Books x, 2,3
nrt.
each x
t\\\ ai MeI(xl'c Studies. Op. 193. Books 4 and 5
each
A* v 17 Melodic Studies. Op. 194. Books 6 and 7
eacL 1
("I i '* Meld'c Studies. Op. 195.
each x
Books 8 and 9
6c6i t " Melodic Studies. Op. 196. Books xoand n

each 1
6562 Rhythmische Probleme (Rhythmical Problem.). Studien fur
6563 )
each 1
(These Studies are also published in a Folio Edition with EoglUh
Fingering. Books t to 3. each 5s. ; Books 4 to 13, each 6s )
London : AUGENER & CO., 86, Newgate St.,E.C., & 1, Foubert's Place, W.
Nov. 18, 1802.
" These books are a decided acquisition to our riperloire for study and FRAULEIN KATHELENBACH(HighSoprano),
amusement." Musical Record, 189a.
Pupil of E. Gura, and recommended by Fraulein Fried lander, has
" This Series is one of the most valuable for purposes of teaching and
arrived in town for Concert Engagements, and is also prepared to girc
improvement." Daily News, Feb. 1, 1893.
AUGENER & CO., 86, Newgate Street, and I, Foubert's Place, London. Lessons. 2, Inkerman Terrace, South Kensington.
THE
June I, 1893.]
MONTHLY
MUSICAL
MUSICAL il KINDERGARTEN"
RECORD.
141
FOUR PIANOFORTE DUETS

( The Primo part within the compass of 5 notes)
Composed by
Mceli en/antUe
MusikaUscher Kindergarten
von
MARIE WURM.
CARL REINECKE.
s. d.
Op. n.
Piano Solo.
Op. 206.
Piano Duet
No.
&*
Meine ertten SfUckchen. Met premiers petits Morceaux.
6342
Vol. II. Favourite Melodies (within the compass of five notes) 687a

6343a
Sol-fa Edition.
6873
Voice part only.
Vol. IV. Folk-songs and Dances

Stimmtn derVulker. Chants nationaux et populaires. Pt. I.
6874
6345
Vol. V.
6875
6346
Vol. VI.
6347
Vol. VII. Musical Illustrations

Was alles die Tone ersakien.
6348
6349
do.
Pt. II.
Telling Fairy Tales

Marchen-ErzaJtlen. La disease de contes.
Vol. IX.
Pt. II
do.
6878
do.
PIANOFORTE SOLO.
Price Each Book, net, is. 4&
Compiled by
No.
6793
Complete
Or in Single Books :
6793a Book I., with Songs by Reinecke, Kucken, Weber, Concone,
&c. Contents :The Stave, Clefs, &c. The Natural Scale.
The Notes. Time. Exercises on Time :Simple Duple Time ;
Simple Triple Time ; Simple Quadruple Time ; Compound
Duple Time ; Compound Triple Time ; Compound Quadruple
Time ; Syncopation ; Triplets
6793^ Book II. Major Scales : Exercises, Solfeggi, and Songs, by
Abt, Gurlitt, Reinecke, &c, in all Major Keys 1 part
...
6793c Book III.
Minor Scales:Exercises, Solfeggi, and Songs,
by Beethoven, Concone, Mendelssohn, Schubert, &c, in ail
Minor Keys, 1 part
6793*/ Book IV. Intervals, Chromatic Scale:Exercises, Solfeggi,
and Songs, by Kticken, Reissiger, &c, in a parts. Exercises,
Solfeggi, Rounds, and Songs, by Abt, Hayes, Heale, Rossini,
Weber, &c, in 3 parts. Rounds and Songs, by Purcell,
Gounod, Heale, &c, in 4 parts
6
6
PIANOFORTE
SCHOOL.
C.
Edition No.
6186a Part I Rudiments, Scales, Exercises, and Pieces, exempli*
lying all Major and Minor Keys, and all Time Signatures ;
net a
..
...
net 2
6186J
" H. Heale's * Prepara'ory Pianoforte School ' is a valuable Instruction-book, con
student." The Timet, December aaud, 189a.
AUGENER & CO., 86, Newgate Street, and r, Foubert's Place, London.
H. HE ALE:
2
1
6879
PIANOFORTE DUET.
Piice Each Book, net, 2s. 6d.
CLASS SINGING SCHOOL.
London: AUGENER & CO., 86, Newgate Street, E.C. ; and 1, Foubert's
Place, W.
(REPARATORY
Ce que les sons racontent.
Pt. I.
3
3
3
3
6876
6877
In the Press.
Vol. VIII. Masquerade
Kinder- Maskeuball. Bal masque.
fiavotte
March ...
Saltarello
Lullaby
Ahi arranged for Violin and Piano.
March
Lullaby
" Four duets lw Marij Wunn are excellent specimen? of that class in which the primo
part is intended for very young performers : in lllis case a compass of five notes LS never
exceeded, but a remaikable decree of variety and even chirm has reen attained in the
construction of the teacher's [>ir!. " /Vir Timet. December ajnd. 1092.
Net, 4d.
6344
do.
No.
Net.
s. d.
5 -
London : AUGENER & CO., 86, Newgate Street, E.C.

and
6199
EMIL KRAUSE. Six Little Sketches for the

net I
8313 E. PAUER. A Child's Life (Jugend Album) net 2
" Krause's ' Little Sketches' and ' A Child's Life.' by E. Pauer, are albums of oasy
pieces which should be a ifood preparation for their great model, the Schumann album."
~-The Timet. December -.tad, 189a.
London : AUGENER & CO , 86, Newgate Street, E.C. ; and only

West End Address, 1, Foubert's Place, W.
6562-3
8327
11 The object of this work is to supply for the use of Singing Classes in
Schools a text-book, containing all that is necessary to impart a thorough
knowledge of sight-reading and part-singing, and suitable for the most
elementary as for the most advanced classes, thus obviating the necessity of
obtaining Exercise Books and Song Books separately. This has been done
as concisely as possible, although the nature of the work renders it impossi
ble that it should take a very small form. It has therefore been found
advisable to divide it into four books, to be used consecutively, one re
placing the other as the class becomes more advanced."
8328
LOESCHHORN.
Rhythmical Problems.
Studies. Op. 197. 2 Books
each, net I
E. PAUER. 20 Rhythmical Sketches, intended
for the study of various rhythmical expressions
(Esquisses rhythmiques)
net I 6
The Culture of the Scale. 24 Original
Scale Studies in all Major and Minor keys
net 3
'* The attention of class teachers is due to H. Heale's ' Ctass-sJnginjj School.' which
abounds in graduated exercises and pieces for practice."Daiiy Telegraph, December
is, 1888.
London: AUGENER & CO.. 86, Newgate Street, E.C., and
"Among the later books of Loeschhorn's 'Melodic Studies' are two books of
' Rhythmic Problems,' devi-ed with great ingenuity aud calculated, in some cases, tJ
puzzle even advanced musiciina. They are not mere'y enigmas, however, but nearly a'l
of them have character and beauty, and they have the advantage cf being published,
like the rest of the series, in both notations of fingering. Mr. Pauer's twenty ' fcsquisses
rhythmiques' are less formidable than those just referred to, but are sufficiently valu
able fur educational purposes 1 he ' Culture of the Scale,' another of the same editor's
albums of studies, is a colleciiou in which every imaginable variety of scale-passage is
set U'tare the student ; the value of those tn which unusual accents occur is very
grc.it." The Times, December ayed, 1893.
SUNG BY MRS. HENSCHEL.
London: AUGENER & CO., 86, Newgate Street, E.C, and

LAKE AND A FAIRY BOAT.

8331
SONG BY
EMIL
KREUZ.
E. PAUER. Suite for the Left Hand (Prelude,

Allemande, Gavotte, Sarabande, Bourree, and
Gigue)
net
Op. 26, No. 4.
No. 1 in B.
No. 2 in a flat.
Each, 4s.

London

1, Foubert's Plac:, W.
" A clever suite for the left hand alone by Mr. Pauer shows what can be done by a
littlo ingenuity; it contains pleasing examples of the orthodox suite movement..
The Titnes, December 22nd, 1892.
1 Foubert's Place (opposite Conduit Street), W., London.
142
THE
MONTHLY

MEISTER des i7ten und i8ten Jahrhunderts.
Nach den Originalwerken filr Violine und Bass (oder den vorhandenen
OrchesterpartiturenJ bearbeitet und mit Vortragszeichen versehen
von GUSTAV JENSEN.
,.d.
7401 Francesco Geminiani. Sonate I. (A dur)
net, i 7402
,,
,,
,, II. (H moll)
net, i 7403 G. B. Somis. Adagio and Allegro
J. B. Senaille. Aria
net, i 7404 G. Pugnani. Sonate (e dur)
net, i 7405 J. B. SenailhS. Sonate (g dur)
net, i 7406 Arcangelo Corelli. 3 Sonaten (A dur, E moll, E dur) net, 1 6
7407 Giuseppe Tartini. 2 Sonaten (o dur and G moll)... net, 1 6
7408
,,
,,
Sonate (c moll)
net, 1 7409
,,
,,
Sonate jc dur) ; Giga (g dur)
net, 1 7410 Henry Purcell. The Golden Sonata (for two Violins and
Piano)
net, 1 7411 Francesco Geminiani. Sonate VIII. (p moll) ... net, 1
7413
,,
Ausgewahlte Sonatensatze net, 1 7413 L. Borghi. Sonate II. (A dur)
net, 1 7414
,,
Sonate IV. (G moll)
net, 1 7415 Antonio Veracini. Sonate (2 Violins, Piano, and Violon
cello ad lib. )
net, 1 7416
,,
,,
Sonate. (a moll)
net, 1 7417 G. Torelli. Concerto (for two Violins and Piano) net, 1 6
7418 W. A. Mozart Andante, Menuetto, and Rondo net, 1 6
7419 Arcangelo Corelli. Follia con Variazioni (d moll) net, 1 _
7420 W. A. Mozart. Adagio (e dur) ; Rondo (c dur) net, 1 .
7421 F. H. Barthelemon. Sonate (E moll)
net, 1 .
7422 G. F. Handel. Sonate (a dur)
net, 1 .
7423 Vivaldi. Sonate (A dur)
net, 1 .
7424 Veracini. Concert-sonate (e moll) ...
...
... net, 1
7425 Jean Marie Leclair. Sonate IV
net, 1
7426 G. F. Handel. Sonate X. (g moll)
net, 1 .
7427
,,
net, 1
7428 Jean Marie Leclair. Le Tombeau. (Sonate) ... net, 1
London : AUGENER & CO., 86, Newgate Street, and 1, Foubert's Place.W.
SYMPHONIES ,
ARRANGED FOR
SY
EdiUm GUSTAV JENSEN.
No.
t. d.
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713a
in c minor
net 4
net 4
7134
,.
in A major
net 4
7135 Jos. Haydn, in b flat major
..
...net 4
London : AUGENER & CO., 86, Newgate Street, E.C., and 1, Foubert's
Place, W.
VORTRAGSSTUDIEN. Eine Sammlung
hervorragender und beliebter Tonstiicke alter Meister fur Violine
GUSTAV JENSEN.
,A
1. J. S. BACH. Air und Gavotte aus der D dur Suite fur Orchester 3
a. JOS. HAYDN. Serenade
3
3.
Adagio recitativo . .
..
3
4. JEAN MARIE LECLAIR. Sarabanda und Tambourino .. 3
5. F. M. VERACINI. Menuet
3
6. G. TARTINI. Larghetto (G moll)
2
7. J. B. SENAILLE. Aria (G moll)
3
8. G. TARTINI. Andante cantabile aus Sonate VIII
3
9.
Giga in d dur
..
3
10. L. VAN BEETHOVEN. Romanze in G dur. Op. 40.. .. 3
11.
Romanze in K dur. Op. 50. ..
3
12. P. RODE. AirVaric\ Op. 10
3
13. J. S. BACH. Andante aus der a moll Sonate No. 3 .. ..3
14. W. A. MOZART. Largbetto aus dem Clarinctten Quintet .. 3
AUGENER & CO., 86, Newgate Street E.C., and
MUSICAL
RECORD.
[June i, 1893.
COURVOISIER. VIOLIN SCHOOL,

AW.
C, I. Elementary. First bowing Exercises, &c. ist position 5s. a.
7600a
7600* II. Minor Keys, Ornaments and special Bowing Exercises,
ist position ... ... ... ... ... ... ... 5
7600c III. Study of the Other Positions
5
" Der Verfasser
bictet mit
seiner
V.olinschule
ein ungemein
sorgfiiltig
gcarbeiretfs
Studicnwcrk
dar,
welches
sicli
(.lurch
die
ghindlichste
behandlung
der
(ieigentechmk
auszeichnet
AufInerscluipfende
Wci>e
sind
darinvondieden
Anfangsstufen
des Violinspietes
beriicksichtigt.
oiescin Punkt
wirdHand
zumejtt
I.ehrern
gefehlt.
dein
Schiiler
das
Instrument
in
die
gegeben
worden,
so
laszc
man Kaom
ibaeinjfe
aucnist
schon
kit-mein Stiicke
sptelen. wiihrend
darauf
Sichcrheit
der Bogenfiihrung,
sowiees inditch
der zunachst
Anwenduug
des ankommr,
elcmentarenihmFingers*tzes zuund
geben.
Dauer
kommtDiees,Bogenfiihrung
dasz Anfangeraber
meististaufdasdieerste
unertraglichste
Art
krarzen
unrein
grcifen.
undwichtige
Erfjrdernis
zur
lrzeiiLung
eineszwarguten
Tones,
weshalb
sie langere
Zcltdann
fUr sich
dHe'ii
geiibt
werden
musz.
und
a
if
den
leereu
Saiten.
Hat
man
den
Schulcr Int.
dahinsogebmcht,
dasz er auchgewonnen,
die nachstliegenden
in der erten
Latpe
gelernt
1st einAllesFundament
auf dein
manGriffe
schrittweise
mit Weise.
Erfolg
we;lcr
riauen
kann.
dies
lehrt
die
Violinscliule
Courvofcier's
in
exacter
wethalb sievorhandenen
ohne jeden Werken
V'orbchaltdiescr
zu empfctilen
ist. Schwerlich.
wird
man unter
zahlrcich
Art cine
bessere
Methede
aumnden.
aismitdieden
Rede
stchende.
Die
beiden
ersten
Tneile
beschaftigen
s'ch
ausschlieszlich
derin
ersten
1-age.
Die
iibngen
Positionen
bis
zur
acbten
sind
ini
dritten
Theii
abgehandcit."Signale, October, 189a.
Loudon : AUGENER & CO., 86, Newgate Street, E.C. ; and 1. Foubert's
Place, W.
JUST PUBLISHED.
ARCANGELO CORELLI'S
12 sonsr^T^s.
Op. S.
For Violin with figured Bass (a Violino Solo e Violone o Clmbalo) ;
G. JENSEN.
Edition
No.
7354a Part I. (Sonatas I to 6)
... net 3 o
7354* Part II. (Sonatas 7 to 12)
... net 3 o
7354* Of bound, complete, with Portrait
... net 7 6
N.B.These 1a Sonatas arc also published for Violin with figured Bass,
edited by Joachim and Chrysandcr. Edition No. 4036V, net, 4s.
Place, W.
SONATINES POUR VIOLON ET PIANO.
Arrangees en ordre progressif, et en partie revues et doigtecs, par
EMILE THOMAS.
La Partie du Violun dans la tre position.
1. d.
C. GURLITT. Sonate miniature en fa (r). Op. 180, No. 1
... 3
Sonate miniature en re (d). Op. 180, No. 2
3
C. RE1NECKE. Sonale miniature en UT (c)
3
Sonate miniature en LA mineur (A minor)
4
4 -*La Partie du Violon dans la ire, ade, et 3tnc positions.
F. KUHLAU. Sonatine en UT (c)
4J. SCHMITT. Sonatine en RK (u)
3
F. KUHLAU. Sonatine en la mineur (A minor)
4
J. SCHMITT. Sonatine en UT (c)
3
C. REINECKE. Sonate miniature en si mineur (b minor)
5
A. UIABELLI. Sonatine en sol (g)
4
F. RIES. Sonatine en LA mineur (A minor)
4
I. LACHNER. Sonatine en sol (g)
6
4
I. LACHNER. Sonatine en si bemol (b flat)
6
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CONTENTS.
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Youthful Musical Prodigies

Connection between the Preludes and the Fugues of the
Wohltemi'erirtes Clavier
121
121

Franklin Peterson. (Continutd)
123
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Subscription, Free by Post\ 2s. 6d. per Annum, payable in advance, by Cask or Postal Order, to AUGBNM and Co.,
JULY
THE AMALGAMATED MUSICIANS' UNION.

By Ebenezer l'ROUT.
One of the most serious social questions that have to" be

faced at the present day is that of the overcrowded state
of the professions. From all quarters comes the same
complaint. In medicine, law, literature, fine art, even in
the church, the supply far exceeds the demand. The
natural, one may say the inevitable, result of this is to
reduce the rate of remuneration. In every profession
there are, of course, prizes which fall to the fortunate few ;
but for one doctor or lawyer who makes his ten thousand
a year, how many are there who scarcely earn enough to
pay their way, even with the exercise of the strictest
economy ?
There is a special reason why this state of things
presses with peculiar hardship upon the members of the
musical profession. In medicine and in law no un
qualified practitioner can exercise the profession without
subjecting himself to legal penalties ; and it is quite right
that ihis should be so, because the consequences of
unskilful practice may affect, in the one case a roan's
life, and in the other his property, in a very serious
manner. But with music the case is different. There is
nothing to prevent any man who chooses to do so from
calling himself a " Professor of Music," even though he
may possess no real qualifications for such a title. The
injury that he does by attempting to teach that with
which he is himself but imperfectly acquainteda blind
leader of the blind grave though it may be from an
artistic point of view, and often acting prejudicially on
the musical development of the rising generation, is not
sufficiently tangible in its effects to allow the law to take
cognisance of it. In this matter much may, and probably
will be done, by the Incorporated Society of Musicians,
in enrolling all duly qualified professors in its ranks, and
thus enabling the public to distinguish between real and
"bogus" musicians; but it is doubtful whether it will
ever be found possible to enact a law rendering an un
qualified professor of music liable to criminal prosecution.
Another special difficulty with which musicians have to
contend is the competition of the amateur ; and this is the
more serious because it is sometimes almost impossible to
draw a hard and fast line of distinction between him and
27 I
i,
1893.
[Price 2d. ; per Post, 2 Jd.
the professional. We see this in all branches of the art.

The young lady who has had six or twelve months'
teaching at one of our large music schools often puts a
plate on her door with " Miss
, Teacher of the Piano
forte," and gives lessons at terms which undersell (if I
may use the word) the resident professors in her neigh
bourhood. She can probably afford to do so, for she is
perhaps not entirely dependent on music-teaching for her
support, and adopts it to eke out a slender income. She
may be an excellent teacher, or the very reverse ; with
that point I am not at present concerned ; what I am
pointing out is the way in which amateur competition
injures the profession.
It is not, however, by the teacher that this competition
is most keenly felt ; performers, especially orchestral
players, are the greatest sufferers, and it is of these that
I have now to speak. The study of orchestral instru
ments, and more particularly of stringed instruments, by
amateurs has increased to such an extent of late years,
that for every one good amateur violinist thirty years ago,
it is probable that one could now find a hundred. I
know many amateurs among my own personal acquaint
ance who play quite as well as the rank and file of
professionals. No doubt many of the best of these ulti
mately drift into the profession themselves ; I have
known several such instances among those I have re
ferred to. But if they do not do so, how is it possible to
prevent their taking professional engagements? Let us
suppose a by no means uncommon case. A man is
engaged, let us say, either in business, or in a large office
or bank. He finds that, owing to the keen competition
in every department, his income, which shows no signs
of rising, is insufficient for his support. He is, we will
imagine, an excellent violinist ; is he to be blamed if he
turn his talents to account by accepting engagements
which add somewhat to his scanty funds ? I confess
that I cannot see it, though 1 fully admit that it bears
hardly on the profession, to whom it makes the struggle
for existence still keener.
But there is another side from which this difficult
question has to be looked atthit of the concert-givers
themselves. It is a well-known fact that very few
orchestral concerts pay their expenses, and that a heavy
loss, perhaps of from one to two hundred pounds, is by
146
THE
MONTHLY
no means an infrequent result of such a venture. The

reason for this is, I think, largely to be found in the
indifference of the public to high-class music. It is no
use to blink the fact we arc not, in the highest and
truest sense, a musical nationat all events, not in
London. What is it that draws the public? A great
singer, like Patti ; a great pianist, like Rubinstein or
Paderewski ; a great conductor, like Richter.
If a
concert is announced, people ask not " What is going to
be performed?" but "Who is going to sing?" The con
sequence is that, in the majority of cases, the concertgiver must engage some expensive " star," or be prepared
to face a heavy deficit. The excellent concerts given a
few years ago by Sir Charles Halle at St. James's Hall,
when his admirable orchestra played fiist-class pro
grammes to half-empty benches, prove this conclusively.
The late London Musical Society had to be given up for
want of public support.
The Borough of Hackney
Choral Association, which I had the privilege and
pleasure of conducting for fourteen years, and of which
all the concerts were given with a full orchestra, is
disbanded for the same reason. Owing to the everincreasing terms of professional singers, the expenses of
concerts are continually rising. One cannot blarne
vocalists for asking the best terms that they can get. They
attract an audience, while the orchestra per se does not
do so ; and the concert-giver, who has to cater for the
public, if he has to pay more for his singers, cannot
afford to pay so much for his orchestra, and is forced, if
he would make both ends meet, either to reduce the
strength of his band, to lower his terms, or to have
recourse to amateur aidunless, which often happens,
he does without an orchestra altogether.
I have described, as fairly as I can, the present position
of affairs as regards orchestral players. It must be con
fessed that the outlook is not encouraging. Owing partly
to the rapidly increasing number of professionals, partly
to the indifference of the public to orchestral music, there
can be little doubt that salaries are getting lower : and I
must admit that I am not in a position to suggest a
remedy. A scheme has, however, been submitted to
me of an exceedingly drastic nature ; and it is to this
that I desire, in the present article, to call the attention
of musicians. Circumstances have brought me at various
times into close contact with orchestral players, many of
whom I am proud to number among my highly esteemed
personal friends. I may therefore claim to speak with
some knowledge of their position, and most assuredly
with a warm sympathy with their difficulties and troubles.
I recently received from a society calling itself the
"Amalgamated Musicians' Union" a circular setting
forth its objects. The circular was accompanied by a
letter from the secretary asking me to become a patron of
the Union. I need scarcely say that, before giving any
answer, I read the circular very carefully. On its first
page it contains a number of questions addressed to
those musicians who are not at present members. The
aim of the Union will be best understood if I quote a
few of these questions it is needless to give the whole.
" Do you think a Union is necessary?"
" Will it benefit musicians in any way ?"
' Are you in a position to say you can do without the Union ?"
" If you think you are, will you be able to say so in two or three
years' time ? "
"What will you do if, in time to come, Unionists refuse to play
at an engagement with you ? "
At -the end of the questions is the following para

graph :
" As you know, salaries are getting lower and lower every year.
At a summer resort three years ago, one instrumentalist received
MUSICAL
RECORD.
[July I, 1893.
/3 5s. per week. This season he does more work, yet only receives'
/,2 10s. per week, and if we don't do something to prevent it, they
will go lower yet. How are we to prevent it ? By organisation.
If you have children you intend making musicians, it is your duty,
knowing tin: stale of the profession, to join a Union that is trying
to improve the condition of musicians."
The second and third pages of the circular contain

explanations of rules, etc., of the proposed Union, into
which it is not needful fjr me to enter.
Before proceeding to speak of the general aims of the
society, it will, perhaps, be well to say a few words about
the paragraph that 1 have last quoted. I have no idea
what is the " summer resort " therein referred to, but I have
no doubt of the accuracy of the statement as to the re
duction in the performers' salary. But I have a very
strong suspicion that, if the circumstances of the cast
were investigated, it would be found that the true cause
of the reduction was, that it was impossible for the concertgiver to pay the same terms as he did three years ago.
We have been of late suffering from severe commercial
depression ; to use the common phrase, " things have
been very bad." At such times, the very first things that
people begin to retrench in are their amusements. They
can no longer afford to spend so much in going to
concerts, or other places of entertainment, as they can
when business is prosperous. The consequence is that
the receipts of the concert-giver fall off -sometimes very
seriously. He, in his turn, must retrench wherever he
can. Under such circumstances, of what possible use is
it to attempt by combination to force up prices? The
only result would be that the manager would say to the
members of the Union, " Well, gentlemen, if I cannot get
players for such terms as I can afford to give, I must dis
continue my concerts.'1 The paragraph I have quoted
seems to me to proceed on the assumption that the
reduction of salaries is clue to the greed of concert-givers,
and to ignore the fact that it is, as I believe, chiefly, it
not entirely, the result of the general depression of trade.
Are orchestral players to be the only people to whom
bad times are to make no difference ?
I now come to the consideration of the questions that I
have given above ; and I would particularly call attention
to the last one that I have quoted ' What will you do
if, in time to come, Unionists refuse to play at an engage
ment with you ? " Let me say at once that I unhesit
atingly admit the perfect right of every man to put
whatever price he may choose upon his own labour. I also
admit the right of musicians to combine among them
selves, and to agree that they will accept no engagements
at less than certain specified terms. But I say in the
strongest possible words, that no man, or body of men,
has any right, either moral or legal, to dictate to any
other man what terms he shall or shall not accept.
Such a procedure is a gross violation of the rights of
individual liberty. The question I have quoted above
shows that the object of the Union is to enforce that
system of organised tyranny which is the curse of
modern trades-unionism in this country, but which,
happily, has not yet succeeded in effecting its object,
and, thank Heaven ! does not appear likely to do so.
What is the teaching of recent events ? One of the
chief objects of the great strike at the docks in London
some little time since, and of the strike at Hull, just
ended, was to exclude free labour, and to compel all
workmen to join trades' unions. What has been the
result? After inflicting untold misery on their innocent
wives and children, the men have been hopelessly beaten ;
and many of those who went out on strike have not been,
and will not be, taken back, as their places have been
filled up. Do those who are organising this Union
July I, 1893.]
THE
MONTHLY
seriously suppose that fnusicians are more likely to suc

ceed in a strike than dock-labourers or miners ? A
strike at the docks, or in the coal mines of Durham or
Northumberland, is a very serious thing for the industry
of the country, and the strikers, therefore, have what I
may term a certain amount of leverage towards obtain
ing their demands. But the prosperity of the country
would not be in the slightest degree affected if every
musician in England went out on strike to-morrow.
1 hope I am doing no injustice to the authors of this
circular in the meaning I am attaching to their question ;
but 1 do not see what other possible interpretation can
be put upon it. Let me put before them, and before my
professional brethren in general, a common-sense view of
the probable result of an attempt to force up salaries by
such a combination as they are seeking to effect. It is
not to be imagined for a moment that such concert-givers
as the Directors of the Philharmonic Society, Herr
Richter, Mr. Henschel, or Sir Charles Halle, or such
theatrical managers as Sir Augustus Harris' or Mr.
Henry Irving, would submit to be dictated to by any
trades' union whatever. I am assuming, for the sake of
argument, that the Union has drawn into its ranks all, or
nearly all, our good players. But is there the slightest
prospect of this ? The market is already overstocked ;
I know for a fact that at the beginning of the present
season the applications for engagements in one of our
leading orchestras were forty or fifty more than could
possibly be entertained. It appears unreasonable to
believe that under such circumstances all would join the
Union. The great probability is that many would hold
aloof, in the expectation that if the Unionists struck they
would get their places. But supposing that nearly all
had enrolled themselves. The representatives of the
Union go to the conductor, or manager, as the case may
be, and say to him, " You have some men in your
orchestra who are not members of our Union. Unless you
either dismiss them or make them join the Union we
decline to accept your engagement." The immediate
result would most likely be the bringing over of a large
number of non-Unionists from Germany, where there are
plenty of good players who would be only too happy to
come here, because, in spite of bad times, salaries are
higher than in their own country. We should, in
fact, see again what was recently seen at Hullthe
importation of free labour to take the places of the
Unionists. Do the promoters of this scheme believe that
such a course of action would improve their position ? I
give them credit for too much common-sense, and can
only infer that they have not considered the question
from this point of view.
Hut there are two other possible lines which the
managers might take, either of which would be just as
disastrous to the proposed Union. It is by no means un
likely that, to meet such a contingency as I am now
considering, the concert-givers would themselves combine,
and form an Employers' Association, as was done at
Hull. In this case, they would probably answer a strike
by a general lock-out, and refuse to engage any members
of the Union at all. Would this benefit the Unionists ?
There would be little difficulty in filling their places,
either with foreigners, or with competent amateurs, who
would gladly avail themselves of that chance of entering
the profession ; and having lost their engagements, there
would b: small probability of the strikers being able to
recover their positions.
The other alternative to which 1 referred just now is
one that is extremely likely in many cases to result. It
is one on which 1 have already said a few words in
speaking of the paragraph I quoted from the circular.
MUSICAL
RECORD.
M7
The attempt to obtain a rise of salaries when the receipts

were diminishing rather than increasing would, 1 believe,
in a large number of instances lead to the abandonment
of orchestral concerts. It would be impossible to make
them payit is difficult enough as it is and it is absurd
to suppose that managers could or would continue to
carry them on at a loss. Would the gentleman who three
years ago received 3 5s. a week, and who now receives
2 ios., be any better off if he had no engagement at
all ? Surely " half a loaf is better than no bread ! "
1 have endeavoured in this article to set forth as
temperately as I can, and solely in the interests of my
professional brethren for personally the matter does not
affect me, directly or indirectly the very grave objec
tions to which the proposed Union appears to me to be
open. Of the good intentions of its promoters I have no
doubt whatever ; but I consider them utterly mistaken
in their ideas, and I believe that their scheme would be
found to be as ineffectual in attaining the objects desired
as it would be suicidal to the members themselves. I, of
course, felt obliged to decline the invitation to give my
name as a patron of the Union ; and I think it only right
to set forth fully in this article my reasons for so doing.
I invite my readers, especially the members of our
orchestras, to consider well the arguments that I have
here adduced, before giving in their adhesion to a scheme
which, I am firmly convinced, would aggravate, rather
than alleviate, the evils from which they arc now suffering.
CONNECTION BETWEEN THE PRELUDES
AND THE FUGUES OF THE WOHLTEMPERIRTES CLAVIER.
Last month we attempted to show that the prelude of

1. 3 was virtually based upon the succeeding fugue. Mere
note resemblanceas when prelude opens with the notes
of the fugue subject, or foreshadows it in its closing bars
may strike the eye, or catch the ear of the listener ; but,
after all, it is only skin deep. Let us then see whether
any deeper connection, similar in spirit to that of 1. 3, can
be established between any other of the preludes and
their respective fugues.
Take, for instance, 1. 12. Here, in the fugue, the con
trast between the measured crotchet movement of the
subject, and the short, hesitating semiquaver runs of the
countersubjectand semiquaver figuration generally
forms a striking feature. Now, both these elements are
to be found in the prelude. The crotchet movement
commences already in the first bar. There is no literal
imitation of the fugue subject, although in bars 19 and 20
ll
1
1
, J . 1
**!
Srinf=
there is one of a free kind,

reading of bar 2 1
And if Forkel's remarkable
=3^s(in all other versions the d in the semiquaver group has

a natural before it) be authentic, there seems to be a still
bolder foreshadowing. And then in the semiquaver
passages, notice how frequently the countersubject run
i introduced (mostly in inversion). It appears, first, in
bar 2
=ri=-^.^'
THE
148
MONTHLY
And then notice it again (bars 17 and 18),
MUSICAL
RECORD.
[July I, 1893.
And we meet with it in bar 56 of the fugue,
&*Ete=&
*E*E3^ -mm^r-S=*^>where it stands out with greater prominence.
Now turn to 1. 22. It seems almost a sin to analyse
the wonderful prelude, and the still more wonderful fugue.
And yet the most searching analysis can do it no real
harm, for by its means we can never penetrate into the
holy of holiesinto the spiritual depths of the music.
The whole of the prelude is one long preparation for
the fugue. Do not the sighs in bars 1 and 2
point directly to the theme ? But the real motive from

which the prelude is evolved is
a prefiguralion, and modification of
And then, later on, as in the counterpoint to the subject

of the fugue, we have it in descending form. Again, bars
5 and 6, or 7 and 8 of the fugue
.*>-
'>'^
-grJ-ff=p_i=
constitute the basis of the sequential passage in the pre

lude commencing at the end of bar 7, thus :
And once more, the whole of the passage (bars '20-22)

rising from the tonic f, to the minor 9th g?, is only a
magnificent expansion of
This train of thought could be pursued yet further, but,

perhaps, enough has been said to stimulate the curiosity
of those who may have long felt the intimate connection
between prelude and fugue, and yet not have traced it in
its outward and visible signs.
Let us return for a moment to the prelude and fugue
in E flat minor (1.8) already noticed last month. The
opening bar of the prelude was compared with the sub
ject, and a likeness shown. But the manner in which
that opening motive is insisted on throughout the prelude
should be carefully noticed. And the same may be said
of the little semiquaver figure. There are other simi
larities, which, if taken alone, would perhaps not count
for much ; but if they be all added to what one may,
perhaps, call the fundamental similarities, then they
serve to intensify an impression already strong. For
example, in bar 28 of the prelude, the interval of the
diminished 3rd stands out with singular prominence
Ipi
Jfei
and again in bar 72. True, it is only an interval, but it

is one of comparatively rare occurrence. Then the long
dwelling on the dominant minor 9th chord (in diminished
seventh form) near the close of the prelude is a specially
noticeable feature. In the first bar (32) the bass has the
5th of the chord ; in the next, the 3rd ; and then the 9th,
and then the 3rd. Now, at the close of the fugue there
is a passage of similar kind. In the prelude there were
4 bars of this dominant chord, and here (bars 83-85)
there are 3. Moreover, the 5th forms the bass of the first
bar, but then there is a descent through the 3rd to the root
note. It is natural that the chord should be presented
here in a more definite manner.
Lastly, we find that in some numbers the scheme of
modulation is almost the same in both prelude and
fugue ; by this means the bond of union between the
one and the other is materially strengthened. Nothing,
indeed, seems more appropriate than to prelude through
the keys of the piece about to follow. But let us give
one or two illustrations. In 1.3, the prelude opens with
a phrase in c major, in which the subject of the fugue
is foreshadowed (bars 1 8). It is then given in t; 2 major
(bars 9-16), then in I) % minor (bars 17-24), and, for the
fourth time, in A $ minor (bars 25-321. Now in the fugue
the keys of C % and G 2 major are employed in the exposi
tion. Then there is a modulation to i> J minor (bars 13
and 14), and the subject commencing i a that key closes
in A S minor (bars 15 and 16). Returning to the prelude,
we find that from bar 33 to bar 43, a two-bar phrase
passes through the keys of
1.5 min., i>5? min., AX min., GjJ mnj., and nt min.
and then a return is made to C % major. Now the fugue
returns at bar 26 to that key, after passing through
KB min., dS min.. and <; mnj.
in all three of which the subject is heard. Here we have
a close, if not perfect resemblance. To continue : The
prelude modulates after bar 43 to F J major, the key of
the subdominant, and in the fugue there is a similar
modulation (bars 34 and 35). Then both prelude and
fugue return to the principal key. and from there to the
end both touch for a moment the keys of
<;Z maj. and nj mm.
Besides these, the key of c J minor is heard in the pre
lude, but that of k 5 major (though only for a moment) in
the fugue.
Take again 1 . 16. The opening phrase of the prelude is in
(; minor ; it afterwards appears (bar 7) in B? major, and for
the third time (bar 1 1 ) in c minor. Then a return is made
to the principal key in which the prelude closes. In the
fugue, after the exposition, the first modulation (not count
ing the necessary modulation to the dominant for the
answer) is to is? major (bar 12). Here again, passing by
the forced use of the dominant key, we find the next in
dependent modulation in C minor (bar 20). As in the
fugue a return is now made to the principal key, in which
the fugue remains until the close.
We would at once anticipate an objection which may
be raised against this method of comparison. It may be
said that by emphasising certain resemblances, we try to
make the differences of little or no importance. But if
the resemblances occur in prominent places, and the
differences in places of comparatively second importance,
then it would seem that our method is justifiable. If it
July I, 1893-]
THE
MONTHLY
will stand that test, then not only will minor differences
be natural, but even welcome ; for they will show that
Bach did not work out his pieces rigidly according to
some fixed plan. He may have had a plan and the
purport of the above remarks on modulation is to show
that such may occasionally be tracedbut that plan he
would be sure to modify according to the dictates of
genius.
a course ok lectures delivered in the philo
(Continued /rom p. 124.)
VI. THE MEISTERSINGERS OF NURNBERCi.
While scientific music was laying a broad and solid

foundation under the fostering care of the Church, secular
music with its livelier rhythm and its more definite melody
found a home among the chivalrous and gallant Trouveres or Troubadours. Many of their songs have come
down to us wearing a charm which is still fresh. And
the Troubadours were not confined to Southern France,
the country of their birth, for knightly singers were known
all over civilised Europe. In Germany they were called
"Minnesingers"those who sang of love ; and no names
stand higher on the roll of Europe's mediaeval minstrelsy
than those of Walther von der Vogelweide, Wolfram von
Eschenbach,and Heinrich von Meissen called " Frauenlob," because he sang so well of women and the praise of
women. The former took part in the semi-mythical
Tournament of Song held by Hermann, Landgrave of
Thuringia, at his castle on the Wartburg, about 1207 ; and
it was the use of this incident in 'J'annhauser that sug
gested to Wagner the idea of his delightful comedy.
But, however the stories of the age of chivalry attract
the love of splendour and romance inherent in our nature,
the age was not the golden age. and a selfish luxury which
revelled in palaces was bound to be overthrown when it
was enjoyed at the expense of the widespread misery,
cruelty, rapine, and bloodshed, about which the writers on
chivalry are usually very silent. Morgarten and Bannockburn showed the superiority of the humble but solid
infantry of democracy over these gaily-caparisoned aristo
crats ; the finest armour was useless when gunpowder and
shot searched its weak places. Knights and nobles soon
found their hands too full to allow them to dally long with
the harp, and the Troubadours passed away with the early
part of the fourteenth century.
In many towns of Germany those citizens who had
leisure and inclination formed musical "clubs," as we
would call them"guilds," as the fashion was then.
The " Meistersinger" guilds had, like the guilds of labour,
their own constitution and insignia ; they had mastersingers to take their places on festive occasions with
master-tailors and master-builders. Heinrich of Meissen,
the last of the Minnesingers, laid the foundation of
the system when he established a guild in Mainz,
under a very strict and somewhat pedantic code of
rules. The Meistersingers had not, indeed, the grace
or the polish of the courtly Minnesingers, and their rules
became by interpretation and addition an absurd fetich.
They were, however, really earnest, and they taught
systematically all they knew. Schools were established
:it Colmar, Frankfurt, Prague, and Strassburg before the
end of the fourteenth century. During the fifteenth and
sixteenth centuries they spread all over Germany. They
began to decline in the seventeenth century, and the last
schiol (at Ulml closed its doors as lately as 1839 ; while
MUSICAL
RECORD.
149
it is said that the last real Meistersinger died in 1876

nearly ten years after the first performance of Wagner's
comedy.
Of all the guilds, the most famous was that of Niirnberg, and the most famous master-singer was Niirnberg's
cobbler-poet, Hans Sachs. Sachs was born (1494) in the
city with which his name is indelibly associated ; and he
seems to have occupied a place in the affections of his
fellow-townsmen no less high than that he has won in
the history of his native city. He wrote in all 6,300
pieces of poetrysongs, comedies, tragedies, fables,
stories, etc., many of which were published during his
lifetime ; indeed, he succeeded in rising to the coveted
honour of a second edition of his published works. Luther
has spoken well of him and of his services to the cause of
the Reformation ; Goethe tried to rekindle his country
men's interest in his works ; and Carlyle sums up his
attractive personality as follows : " Hans is not without
genius and a shrewd irony : and, above all, the most gay,
childlike, yet devout and solid character. A man neither
to be despised nor patronised : but to be left standing on
his own basis as a singular product, and a still legible
symbol and clear mirror of the time and country where
he lived."
The Niirnberg of to-day is a ver' table survival of a
mediaeval town, and instead of the beautiful old gables
wearing an old-world look to the nineteenth-century
visitor, it is he who feels himself an anachronism
in the streets where Albrecht Diirer walked. It is in
the quaint market-place that one comprehends the utterly
and contemptibly prosaic character of modern dress,
and the superior artistic taste of our somewhat dirty
forefathers. We mav pay a visit to the Bierhaus
" Glocklein," where Hans Sachs and his companion's
were wont to meet; we may sit in Sachs' chair, wich old
flagons, pictures, and ornaments round us, and be served
with just such a portion of beer and sausages as rejoiced
their souls, and after one mouthful we shall be compelled
to admire their grand old digestions as much as anything
we have learned about them.
One bright Sabbath morning in 1 540 or so, a young
man strolled into the old church of St. Catherine. He
was a stranger in Niirnberga knight of sunny France,
who having no ties to keep him at home was taking ad
vantage of youth, leisure, and the romance which glorifies
these gifts with more than a passing halo, to spend his
WandcrjaJire in as pleasant a way as possible. A poetmusician himself, he had been attracted to Niirnberg by the
fame of its musical guildjust as Schubert might have
been attracted to Edinburgh, for example, and finding it
necessary to take a musical degree he might have been
drawn into the clutches of the examiners with as much hope,
or rather as little chance, of success as Walter von Stolzing
had in the hands of the Meistersingers. All unconscious
of the fate which was closing round him, the young
knight's eyes roved idly among the beauties of the pillars
and roof,and the rich gifis of the devout and penitent which
hung there. As the congregation rose to unite their voices
in the last hymn, Walter's quick eye for beauty was
arrested by a pretty figure which he remembered having
noticed the previous day tripping along and giving the
quaint old street as much life and interest in his eyes as
it seemed to draw the influences of the environment
round her face like a veil, at once heightening and hiding
her sweetness and modesty. Her back was towards him
now, but her graceful neck and pretty ears betrayed her
blushing face, and told him she was not unconscious of
his presence. Between the lines of the chorale their
eyes could not resist the magnetic attraction, and the old
story of love at first sight, so often told and so seldom
15
THE
MONTHLY
seen, began its second chapter. By a curious coincid

ence, which occasionally happens even in the nineteenth
century, Eva is one of the last to leave the church and
Walther finds himself very close to her. " Pray forgive
me, Fraulein, if 1 am too bold, but I have one word to
say which must be said." Eva discovers that she has
left her hymn-book in her seat, and sends Magdalena,
her duenna, for it. Walther's fears and hopes hang on one
question, and in order to ask what he feels is a matter of
life and death to him, he has even ventured to break the
rules of etiquette. " Tell me only one thing yes or no
are you already betrothed ?" Don't let us be too hard
on a more outspoken sixteenth century which knew not
engagement rings. Before the girl's confused lips can
answer Magdalena. returns and forthwith engages the
handsome knight in conversation. Eva, who has not
yet spoken to Walther, says, " Good Lena, he desires to
know how can I say it I hardly understand, it is all as
a dream he asks if I am already betrothed." The horri
fied duenna cries that they must run away or people will
see them. Evagentlypoints out that all the pcopleare gone,
but Magdalena insists on leaving the church, when Walther
steps in front and declares she will not go till he has the
answer. Magdalena then explains that the answer is not
so easy, for without doubt Eva is a promised bride. Eva
interrupts eagerly, "But no one knows yet who will be the
bridegroom." " On the morrow," continues Magdalena,
" the winner of the Meistersinger Prize Contest may
claim her." " The Meistersinger ! " cries Walther in mysti
fication. " Oh, are you not one ? " sadly asks Eva. And
when Magdalena explains that the Meistersinger who is
awarded the prize will offer himself as a suitor, and
Walther says, "The bride then chooses ""You or no
one," exclaims Eva in a moment of excited self-forgetfulness. The whole scene is very delicately managed
and exceedingly charmingthe music tells us already in
the chorale that these two are head-over-ears in love with
each other and yet Dr. Hanslick has shown in his descrip
tion of it how unfair a critic can bea man with an
European reputation for supposed impartiality and know
ledge. No one has comforted anti-Wagnerians more
by the unwavering opposition of a strong and recognised
individuality and a powerful pen to the march of the
Wagnerian army, but savage, wilful misrepresentation
such as he stoops to is not criticism.
Eva and Magdalena must go, and Magdalena leaves
her friend David, the apprentice of the genial Hans
Sachs in shoemaking and singing, to instruct Walther in
the rules, conformity to which alone will procure him ad
mission to the Guild of Meistersingers. In the few bars
of a trio we hear the first intimation of that beautiful
love song which is the crown of the whole work. The
ridiculous old rules of the Meistersinger take several pages
to recount, and from the first it is understood that this
young knight who would like tobecomeafull-blown Meister
all at once has not much chance. The whole band of ap
prentices join hands and dance round Walther and David,
singing a mocking chorus. The Meistersingers now enter,
and when they are all assembled, Pogner, the goldsmith, in
a fine song repeats his intention of encouraging art by
offering Eva, his daughter, with the reversion of his
wealth, to the successful Competitor in the St. John's Day
contest to be held on the morrow. Hans Sachs is the
only one sensible enough to suggest that the rules of the
guild and a woman's inclinations do not always jump
together, but he is hooted down. The Meisters then
proceed to the next business to hear this young knight
who craves admission to their ranks. Beckmesser, the
crabbed and elderly town clerk, sees in the handsome youth
a dangerous rival for the hand of Eva, and he opposes the
MUSICAL
RECORD.
[July I, J893.
proposition with all his might. He is overruled, but as

he is " marker." he knows how easily he will be able to
keep his rival from the field. So with a jeering caution
he enters the curtained box, and as Walther proceeds
with the trial song he is no little disconcerted by the
scraping sound of chalk on the slnte as the invisible
marker registers his transgressions of rule. Walther's
song is very beautiful, and no less lovely is that in which
he relates that he has learned all he knows of song from
the lays of the old Minnesinger, Walther von der Vogelweide. ''A goodly master,'' says Sachs ; ''But dead many
years," is the prosaic Beckmesser's rejoinder. The trial
song does not please. Beckmesser interrupts the singer
at the end of the second verse, his slate covered over on
both sides with crosses, and appeals to each of his col
leagues in turn. Now ensues an extraordinary musical
scene. Walther, who has risen in ecstasy from the trial
chair, continues his song in anger, while each of the
twelve Meistersingers contributes his voice to the angry
conclave among themselves, and the apprentices join in
with their mocking chorus, making altogether an ensemble
in sixteen real parts. All the Meisters, save Sachs, raise
their hands in the vote " Yersungen und verthan," and
Walther leaves the church in contemptuous rage. Sachs
is left alone very thoughtful ; as the humour of the scene
strikes him he laughs quietly, and the curtain closes.
{To be continued.)
BEETHOYEN AND CRAMER.

The recent publication of Beethoven's comments on some
of the Cramer Ktudes* shows that the master was right
when he told Dr. Breuning that if he had found time to
carry out his intention of writing a Pianoforte School, it
would have been on lines quite different from those of
ordinary Methods. In pianoforte playing Beethoven took
special interest, and it is pretty safe to say that had he
not been a great composer, he would, at least, have been
a great pianist. Schindler, in his biography of the
master, states that Beethoven regarded the Cramer Ltudes
as " the chief basis of all genuine playing," and now
we find that he practised what he preached, and placed
them before his nephew Carl, adding certain com
ments as to the way in which they should be rendered.
From a private source, another proof is forthcoming of
the high value set by the master upon Cramer's Etudes.
Professor Ernst Pauer informs us "that his grandmother,
Madame Streicher, nee Stein, who was an intimate friend
of Beethoven's, heard him often say that my mother could
not do better than to play these studies, and that he
would give her advice about them."
The interest attaching to the discovery of these
Beethoven comments is great ; any scrap of writing, any
musical sketch of the master's is treasured up, and these
Cramer comments cannot therefore but prove welcome.
Mr. Shedlock discovered them in Schindler's hand
writing at the Berlin Royal Library. He considers that
the original comments in Beethoven's handwriting,
"probably passed into the possession of Beethoven's
nephew and heir." All things are possible, and some day,
perhaps, the original document will be found. Were not
some of Schubert's misterpieces discovered by Schumann,
and again by Sir Arthur Sullivan and Sir George Grove,
lying in oblivion on dusty shelves ? Was not Wagner's
early symphony lost for half a century, and then found ?
Thus may it fare with the Beethoven comments on
Cramer.
"The Beethoven-Cramer Studies," edited by J. S. Shedlock (.Vigour
Co).
July I, 1893.]
THE
MONTHLY
But if, on the one hand, they excite interest, their

importance must also be recognised. For Beethoven
regarded the notes of Cramer's music as an incomplete
revelation of the composer's intentions. It may seem at
first sight as if it were dangerous to make this opinion
generally known. But, surely, the fear that weak minds
may take advantage of such a cloak to cover a multitude
of text-tampering sins ought not to weigh against the
hope that strong minds will enjoy to the full the ad
vantages of such a message of liberty from the master.
It may not, perhaps, be fit for babes, but it is one which
should be welcomed by all who feel that only those who
are led by the spirit can truly enter into the kingdom
of art.
A captious critic might say that Beethoven
would probably have taken warning by this incomplete
revelation and sought to have fully revealed his own
thoughts and feelings in his music; and hence, that it
would be wrong to apply Beethoven's method of treating
Cramer's studies to the master's own music. But in one
of the comments Beethoven practically states that the
spirit cannot be fully expressed by the letter. To read
aright the pianoforte sonatas of Beethoven (aptly described
by Schindler as "the real Parnassus of all musical
poetry") the interpreter must '"regard the notes merely as
an index to the composer's thoughts and feelings."
This is the important lesson taught by the " BeethovenCramer Studies."

CONSISTING OF

By E. PAUER,
Principal Professor 0/ Pianoforte at tke Royal College 0/ Music, &c.
(Continuedfrom page 126.)
STEP 5.
5. Thalberg. Second Grand Fantasia on Meyerbeer's

Huguenots, Op. 43. Originally, this Fantasia was
written for piano and violin, the violin part being by
H. Vieu.xtemps.
It is not known whether the arrange
ment is by Thalberg or by Czerny, in any case, it is a very
brilliant and effective piece, which, although never as
popular as Thalberg's first " Huguenot Fantasia," Op. 20.
has been played many times in concerts. It is a very]good
teaching piece.
P. T.'cha'ikowsky.
li Valse Caprice" in D. That the
capricious element is here in the majority, the student
will soon find out. There are a good many passages to
practise until a satisfactory result may be achieved, but
there is also a good deal of very interesting matter in the
piece, which will amply repay the trouble taken.
X. Scharwenka. " Minuet " (in p. flat), Op. 18. This
is one of the best and most effective minuets of the
modern time ; it is grand and pompous like festive music ;
indeed, it has a triumphant expression. At the same
time, it is a splendid octave study.
J. Brahms. " Ballade No. 3 " (Intermezzo). Brahms'
Ballades belong to his earliest works, being numbered
Op. to. Full of originality, weird expressions, strange
harmonies, and of a restless character, No. 3 at once rivets
the attention by its intellectuality.
H. Perlioz.
" Danse des S)Iphes," transcribed by
Liszt. A highly interesting, but difficult piece ; the
action of the fingers has to be subtle, light and almost
ethereal, and a proper manipulation of both pedals is
most particularly required.
MUSICAL
RECORD.
i Si
/. L. Nlcode. " Alia Tarantella,'' Concert Study in F

sharp minor, Op. 21, No. I.
A most excellent and
effective study of octave-playingvery difficult, but
highly useful. The interspersed andante sestenuto is of
very great beauty.
M. Mosxkowski. " From Foreign Parts," Op. 23, No. 5,
Italy, in a major, a Tarantella of great originality,
brilliancy and animation, which requires a full command
over technical difficulties.
No. 6, Hungary, in D,
possesses that certain kind of wild and savage Gipsv
expression, for which the Hungarian music is well and
deservedly known. The movement is that of a Czardas.
F.Liszt.
"Transcriptions": Grand March from
Wagner's Tannhnuser.
The exquisite beauty and
marvellous brilliancy of this transcription needs no
praise ; for it has made the round of the world, and is
really a triumphant example of ingenuity, cleverness, and
complete command over the technical resources of pianoplaying. The same praise must be accorded to the
famous Spinning Song, from Wagner's Flying Dutch
man. The delightful grace, irresistible beauty of the
song, which is surrounded and supplemented by a
delicious accompaniment, is of the greatest effect, and
will not fail to meet with an enthusiastic reception when
the performer is able to do justice to all and each of the
beautiful points. The greatest praise is also due to the
transcription of the Epithalamium and Bridal Song
of Wagner's Lohengrin.
It is by far one of the most
difficult pieces of this sort, requires great physical power
and endurance, at the same time a delicate and gentle
touch for the elegant and graceful " Bridal Song." The
whole effect is one of great power; the piano is here
transformed into an orchestra.
STEP 2.
Centa delta Morea. Minuetto (in E flat). Tuneful,

agreeable, and recalling to mind Boccheiini's well-known
dance measure.
loss, Charles. " Une Petite FIeur"(in F). A melo
dious trifle in the time of a polka ; since years, it is a very
popular piece.
Stern, L. A. " Millefleurs." Valse de Salon (E flat).
Very unpretentious, but for this reason acceptable.
Roth, Ch. " The Fairy Voyage." Transcription of
Gounod's "Oil voulez vous aller?" (c; major).
The
charming, simple, and insinuating melody is given with
but little elaboration, and, therefore, accessible to players
of modest capacities.
Mann, FredMc. " Le Rubis." Valse brillante (e flat).
Very lively and of a fresh expression.
Liebich, Jmrnanuel. " Trois Petites Fleurs." No. I.
''May Flower " (C major). A kind of valse in the old
German style. The piece may easily be committed to
memory.
Steibclt, Daniel. Sonatina in C. A very useful Sona
tina, in the style of Clementi's well-known sonatinas. It
has three movements : an allegro, andante in F, and
rondo allegretto in C.
Pieczonka, A.
Polacca (in C).
Although slightly
calling to recollection a brilliant Aria from Bellini's
opera La Sonnambula, it is agreeable to play, and
possesses in most parts the true characteris:ic expression
of the Polish dance.
Reinecke, Carl. " Barcarole " (in a), Op. 46, No. 5.
The descriptive music to Hoffmann's fairy tale, "Nut
crackers and the Mouse King," has often been admired,
and the " Barcarole" will find many friends for its
pleasant and exceedingly melodious expression.
Reinecke, Carl. Miniature Sonatas. The composer's
special gift, to write agreeable, musician-like, and practical
152
easy pieces for the young has often been mentioned, and
is again shown in these highly useful little sonatas.
No. 1, in c. Allegretto, with a slightly martial
expression.
Andantino (A minor).
Very graceful.
Scherzino (f). Very light and elegant. Alia Polacca
(C). Spirited and fresh.
No. 2, in <;.
Allegro moderate).
Very singing.
Minuetto (in c). With a very comfortable and goodnatured expression. Rondino ((;). Elegant and cheerful.
No. 3, in F. Allegro. Popular and lively. Andantino
in c. With a pastoral character. Bitrla in F. A kind
of hurdy-gurdy.
No. 4, in A minor. Allegro Moderate Very good,
interesting, and highly useful. Mazurka (in r).
A
capital short piece, full of character. Andantino in c.
Very melodious. Vivace in a minor. Very lively.
No. 5, in D. Allegro Moderato.
Melodious and
expressive. Andante meslo e lento (d minor). Very
pretty. Rondo Giojoso. A charming movement.
Xo. 6, in E flat. Allegro pih tosto Vivace. Very
lively and humorous. Tenia con 3 Variazioni (in a flat).
An excellent study for rhythm. Tempo di Minuetto.
Fresh, cheerful, and effective.
(To be continued.)

DURING the month of May, two extra concerts worthy of notice
must be chronicled, viz., those given in honour of the Thirtieth
Teachers' Congress, which was attended by some 5,000 teachers
from all parts of Germany. The first concert was given at the
( ;ewandhaus, and went far to show that Leipzig is still pre-eminent
as a musical centre. Reinecke's Festival Overture in A, Op. 21S,
the same work which was specially composed for the jubilee
of the Conservatoire here, came first on the programme. Other
features of this concert were the playing by Dr. Reinecke of
Mozart's Concerto in 1) minor, and the singing by Fraulein
Paula Mark of Mendelssohn's " Infelice." As is very well
known, Professor Dr. Reinecke is one of the finest players of
Mozart's concertos, and loses no opportunity of performing
them in public. For example, during the present season he has
played no less than five of them viz., the concertos in r>,
B flat, A, c minor, and I) minor. His brochure upon the
" Execution of Mozart's Pianoforte Concertos " deserves to be
widely read, as Professor Reinecke is thoroughly conversant
with the best traditions of Mozart playing, which, through the
persistent neglect of present-day players, are in danger of being
lost. This by the way. After the Mozart concerto, the Lehrer
Gesang Verein sang " Der alte Soldat," by Peter Cornelius, a
dull and thankless composition, selected by male voice choirs on
account of the many difficulties it contains. Schumann's splen
did litornello, "Die Rose stand im Thau,"' and Hegar's
" Schlafwandel" were also included in the programme, the last
item of which was Beethoven's c minor symphony.
A second festival concert was given in the Albert Hall, the
special feature being the singing of the Lehrer Gesang Verein,
purely orchestral music being for the nonce excluded. A fine
festival hymn for chorus and orchestra, by Hans Sitt, fittingly
opened the proceedings, and vocal soli by Frau Baumann,
including an air by Mozart, and lieder by Franz, Schumann and
Hitler, lent agreeable variety to the scheme. Heir Arno Hilf
played one of Paganini's concertos and the " Othello Fantasia "
of Ernst ; choruses </ Cafpclla by Schubert and Kremser. and
Wagner's "Last Supper of the Apostles" were the remaining
contributions of the male voice choir. Altogether a very
enjoyable cor cert.
[July I, 1893.
the fame of Beethoven by regular festival performances

of his works. These objects cannot be too highly com
mended, but from an incident which recently came under
my notice, I opine that the Society's zeal occasionally
outruns its discretion. 1 allude to the purchase of a
portrait, said to be that of Beethoven at sixteen years of
age, which has since been recognised and identified as
the portrait of the poet Schenkendorf. The Society will
have to be carefully on its guard against bogus relics.
But to return to the festival. The limited accommodation
of the rooms obliged the committee to be very sparing
in the number of invitations issued. On the day before
the festival, there was a preliminary inspection of the
building. The Minister of Public Worship, Herr Dr.
Bosse, opened the proceedings with a discourse in every
way appropriate to the occasion. Then followed two
movements from Beethoven's string quartets, played by
Messrs. Joachim, Kruse, Wirtb, and Hausmann, upon in
struments which formerly belonged to Beethoven. A
prologue by Ernst von Wildenbruch, and a short speech
by Dr. Joachim, helped to enliven these preliminary pro
ceedings. The festival proper consisted of five concerts
of chamber music by Beethoven. At the first concert
the Rose quartet from Vienna gave a capital performance
of the Op. 18, No. 1 in F. These Viennese players were
comparatively unknown in Bonn, but their splendid en
semble and fine rhythmical phrasing soon won the re
cognition of the audience, and after each of their several
contributions the applause was loud and long. The
second item on the programme was the rarely heard
Sonata in D, for violoncello and piano, played by Herr
Professor Dr. Reinecke and Herr Julius Klengcl. Herr
Messchaert, of Amsterdam, sang the beautiful Liederkreis, " An die feme Geliebte." He was accompanied on
the pianoforte by Dr. Reinecke, and the result was a per
formance such as one seldom hears. The great Quartet in
E flat, Op. 1 27, played by Dr. Joachim's party, concluded the
concert. It will be readily understood that on occasions
such as these concerts, the artists taking part are thor
oughly upon their mettle, and as none but first-class per
formers are allowed to take part in the celebration, it
goes without saying that all the works played were ex
ceptionally well rendered. I shall, therefore, content
myself with only mentioning those which more particu
larly called forth the enthusiasm of the audience con
sisting of the elite of musical connoisseurs. Such works
were the Sonata in c, Op. 53, played by Herr d'Albert ;
the Trio, for pianoforte, clarinet, and violoncello, played
by Miss Fanny Davies, Messrs. Miihlfeldt and Klengel ;
the string Quartet in C major, Op. 59, played by the Rosequartet ; Quartet in c sharp, played by the Joachim
quartet ; the Bflat Trio, Op. 97, played by Drs. Reinecke,
Joachim, and Herr Rensburg ; and the Septet, played byMessrs. Joachim, Wirth, Klengel, Eckl, Miihlfeldt,
Hoyer, and Wollgandt, with which the festival concluded.
The complete programme contained seventeen examples
of chamber music ; one cycle of songs, and five single
lieder, the later exquisitely sung by Fraulein Leisinger.
A goodly festival, indeed, and one to be long remem
bered by those who, whether as performers or auditors,
were privileged to take part in it. On the conclusion of
the festival, there was a grand supper at the ancient and
famous hostelry, " Zum goldnen Stern " ; and after the
supper the guests spent some pleasant hours on the Rhine.
THE BEETHOVEN FESTIVAL AT BONN.

The small house in which the greatest of instrumental
OUR'.MUSIC PAGES.
composers was born has now become the property of
the '" Beethovenhaus Verein," a band of musical enthusi We present our readers this month with one (No. 3) of
ast?, whose intention it is to make the place a storehouse Noskowski's three pieces, " Feuille de trefle," Op. 44.
of Beethoveniana :' absolutely unique, and to celebrate We may call attention to one or two beautiful harmonic
July I, 1893.]
THE
MONTHLY
progressions which appear towards the end of this piece,

and which are a characteristic feature of this composer's
style of writing, and we think we may leave this little
piece to carry its own recommendation.
fttfu'eto* of #eto ittusfic airtr &eto

etutions.
MUSICAL
RECORD.
153
is given in English and German, followed by a little piece

illustrating the text. In two or three cases the story is
related while the music proceeds, as in Cinderella, No. 12.
One can hardly suppress a smile at the composer's sense
of humour, when he indicates in No. 10 the seven-league
strides of Peter Schlemihl, in his seven-league boots, by
giving us a piece composed almost entirely on the intervals
of the seventh, and we must at the same time confess that
the novel idea is quite successful, and it requires no effort
of the imagination to hear the long strides of Peter. In
Vol. VII. the musical illustrations are quite as clever,
though they have not the attraction of the tales written
at the top of each piece. The composer illustrates " On
the Ice by a series of scales and glissando passages ;
" Hide and Seek," by a very clever canon. " Organ
Tones," a piece of three pages, introduces the chorale
" Nun danket alle Gott." " The Forest Bird's Carol " is
an exquisite little illustration, and we can almost fancy
we hear the thunder rolling and see the lightning flashes
in No. 9. In using these volumes for children we are in
clined to recommend the duet as being more within their
powers than the solo arrangement, which might be a little
beyond the Kindergarten pupils. We presume the duet
arrangement is the original.
Augener s Library of Pianoforte Music for Study and

drawing-room pieces ; selected, revised, and fingered
by E. Pauer. Book V., Junior Grade. (Edition
No. 5,965 ; net, is.)
Book V., Senior Grade.
(Edition No. 5,985 ; net, is.) London : Augener &
Co.
THE contents of the new numbers of the Library of
Pianoforte Music have been judiciously chosen so as to
give the greatest variety within the compass of one
volume. In the Junior Grade Book there are studies
by Czerny and the evergreen Gurlitt, six charming little
Preludes by Professor Pauer, a Toccata by Paradies
(written a century ago), the Andante from the Ries
Sonata (it may be doubted whether sufficient attention
is paid to this composer in England), and Mendelssohn's
Scherzo in B minor not to mention four pleasant
recreation pieces (including the Scherzo in vO major) by
Schubert. The Senior Grade Book opens with a taking
study in E? by Weyse, another (for the weak fingers of
the right hand) by Kalkbrenner, in G$ minor ; and a third
(staccato) by Loeschhorn. This volume also contains
Schumann's beautiful Romance in D minor, in addition to
excerpts from Bach and Weber. The whole is beauti
fully printed, and has been carefully fingered and revised
by the editor.
Fcuille de Trifle. Trois places pour piano. Par S. NosK.OWSKI. Op. 44. (Edition No. 6,280 ; net, is.)
The first of these three pieces is a "Prelude Milancolique" in c4 minor. The melody, which is written
for the right hand, is plaintive and impassioned, with an
accompaniment in the left hand of Arpeggi, in triplets.
The second, a Scherzo in G minor, introduces some
original harmonic progressions, which are very striking,
and rather good in their effect. The last piece is the
"Pe/isee Fugitive," in E? major (see Our Music Pages), in
which the composer shows how interesting a simple sub
ject may become in the hands of one who can treat it
skilfully. We always find something fresh and interest
ing in Noskowski's compositions, and these three pieces
in no way fall short of our expectations from his earlier
works. We hope they will find the favour they deserve.
Morceaux pour piano. Par Anton Strelezki. No. 46,

Venezia, Barcarolle ; 47, Grande polonaise en mi
majeur ; 48, Etude a la Valse. London : Augener
&Co.
The three pieces under notice are all characteristic, good
specimens of Strelezki's clever writing, and calculated to
add to his increasing popularity as a composer of salon
music. The Etude a la Valse, in F sharp major, intro
duces a succession of trills in the left hand which makes
this piece rather piquant. The Polonaise in E major is
most brilliant, and the Barcarolle, with its many embel
lishments, is sure to find admirers. All three are of
moderate difficulty and of moderate length.
Musical Kindergarten (Vols. VI. and VII.). Telling

Fairy Tales, and Musical Illustrations. By Carl
Reinecke. Op. 206. For piano solo. (Edition
Nos. 6,346, 6,347 ; each, net, is. 4d.) For piano
duet. (Edition Nos. 6,876, 6,877 ; each, net, 2s. 6d.)
It is not alone to children that these two volumes will
prove interesting ; the novel and fascinating manner of
" Telling Fairy Tales " adopted by Reinecke, and the
wonderful little tone pictures descriptive of these tales,
will assuredly attract the " older children " as well. They
are highly instructive to those who aspire to express their
thoughts in notes. The set of twelve consists of a Pro
logue and eleven fairy tales "The Lilliputians," "The
Sleeping Beauty," " Aladdin," "The Bremen Town Band,"
' Cinderella," etc.
A condensed version of the story
Longing for Home. (Heimweh.) Melody for piano. By

F. Kirchner. Op. 452. London : Augener & Co.
The above is an easy melody in Kirchner's usual happy
style, already well known to young players. This is one
likely to be very pleasing to them, as it is pretty, and lits
conveniently for the fingers, being in the keys of D? and
G? major. We think teachers will find it an acquisition
for use in schools.
Symphonies by foseph Haydn. Arranged for pianoforte
duet by Max Pauer.
No. 8, in h?. (Edition
No. 8,554/// net is.) London : Augener & Co.
We draw our readers' attention to another of this excellent
series. The present symphony, which many will recognise
as No. 4 of the old Salomon set, is one of the most
pleasing of Haydn's symphonies, with its graceful minuet
and melodious finale.
Valse de Concert. For Piano. By Marie Wurm.

Op. 27. London : Augener & Co.
This new valse de concert, by a lady composer whose
name, both as executant and composer, is already familiar
to the public, is a brilliant pianoforte piece in D? major.
Its themes remind us somewhat in their style of the cele
brated Strauss valses. The piece will be particularly
effective for concert purposes, as it exhibits much
brilliant chord-writing, and that of a character which
stamps it as the work of an excellent pianist. Except in
one or two instances where the passages are decidedly
difficult, players of moderate capabilities might take it in
hand, and find their study rewarded by the addition of a
good piece to their repertoire.
154
THE
MONTHLY
MUSICAL
Minuet for Violin and Pianoforte. By M. MOSZKOWSKI.

Op. 17, No. 2. Arranged by Emii.e Thomas.
The new arrangement for violin and piano by E. Thomas
of this charming minuet is worthy of attention, particu
larly on account of the excellent and careful manner of
its arrangement, and also because of its adaptability for
these instruments. Like the other pieces of this set of
pieces de salon it is amply bowed and fingered. The
trio in e!> takes the violinist into the seventh and
eighth positions, but apart from this the piece cannot
be reckoned a difficult one. It is certainly very effective,
and will be admired by all who can appreciate a really
good composition.
Notturno for Violoncello with pianoforte accompaniment.
ByOsKAR Bruckner. Op. 37. London : Augener
& Co.
Admirers of the 'cello, that most beautiful of solo instru
ments, will welcome this new Notturno of Bruckner's as a
piece well worthy of study, and an excellent addition to
the music written for this instrument. It contains many
charming modulations, and not the least admirable is the
effective piano accompaniment. This composition shows
well the resources of the 'cello without being of more than
ordinary difficulty.
May's Love. Words by Elizabeth Barrett Brown.
INC. Music by C. VlLLIERS Stanford. London :
Augener & Co.
This is a charming song, whose quaint words find their
natural echo in the music. The graceful accompaniment
simplicity itselfis by no means the least interesting
part of the whole, which is undoubtedly worthy of its
talented composer.
Tlie Discreet Lover (L'Amant Discret).
Song by G.
Henschel. London : Novello, Ewer & Co.
The name alone of the highly gifted musician who is the
composer of this song is sufficient of itself to awaken the
interest of all musicians. The words, belonging to the
eighteenth century, and given in English and French, are
ably set to music in the rhythm of a gavotte, which in its
graceful style accords well with the sentiment. The song
is composed for and sung by Mr. Ben Davies. Its
compass is from E to A.
Eighteen Original Roundelays for Female Voices. By
Alfred Moffat. In Staff and Tonic-Sol-fa Nota
tion. (Edition No. 4,291 ; net, 4d.)
London :
Augener & Co.
A VERY useful little publication, wherein we find several old
friends of our nurseiy days with new musical faces. Mr.
Moffat has exercised his ingenuity to some purpose. He
has hit upon some nice little melodies, and the faint
reminiscences of older settings which they call up here
and there will, in our opinion, probably help to increase
their popularity.
Manna. A sacred Cantata. The words selected from
Holy Scripture by Rev. J. Powell Metcalfe,
M.A. The music by John Naylor, Mus. Doc.
The London Music Publishing Co., Ltd.
THIS cantata is divided into two parts, the first being
descriptive of the feeding of the Israelites in the Wilder
ness, and the second part dealing with the Living Bread
of the Christian Dispensation, of which the manna was
the prototype. The music throughout is of a high order,
dignified in tone, and exhibiting, as one would expect
from the eminent organist of York Minster, scholarly
workmanship, thoroughly in keeping with the best tradi
tions of Anglican church-music. The Old Testament
narrative is in recitative form, chiefly for soprano. Three
solo voices (soprano, tenor, and bass) are required, but no
RECORD.
fjuly I, 1893.
great demands are made upon their resources, and there

is an unaccompanied trio for bass voices. The chorus
work will be found most interesting. This composition
pleases us much, and we do not hesitate to recommend it
to organists as being particularly appropriate for church
use, and to conductors of choral societies.
#pera$ atrti omtrte.

ROYAL OPERA, COVENT GARDEN'.
On June 1st, Halevy's La f/live was performed for the first time
since more than forty years. Madame Vasquez, a dramatic
soprano from liuda-I'esth, represented the heroine with con
siderable effect.
Her voice was a little worn, but she had
ample physical power and no little ability as an actress. Signor
Giannini, as when the opera was recently performed at Drury
Lane, appeared as Eleazar. and sang the fine air of the fourtn
act with great success. M. Planeon made a splendid Cardinal.
Lohengrin was repeated on Friday, June 2nd. Miss Lucille Hill
from the Savoy made her first appearance at Covent Garden, as
the I'age in Komio et Juhclte, with satisfactory results. The
production of Itizet's Djamileh proved somewhat disappointing,
not because the music wanted charm, but the libretto is trivial,
and the performers were not quite suited to their respective
characters. A few words will give an idea of the absurd story.
Haroun, the hero, is an Eastern voluptuary, who changes the
favourite of the harem every month. But Djamileh, unlike her
predecessors, determines to remain in power. She has con
ceived an affection for Haroun, and disguises herself so as to
pass for the lady who is to succeed her. We are left to suppose
that she exercises her fascinations successfully, and there
is an end of the opera. The libretto is founded on a poem
"Namouna," by Alfred de Musset. The music Bizet has set
to this poor subject is beautiful in melody, and has a dainty
charm in the orchestration. But as a matter of fact it is not
suitable for Covent Garden. M. Bonnard as Haroun displayed
ability, but Mile. Gherlsen was not seen to advantage in the
character of the heroine. The reception of the opera was
languid. Nobody cared for it, although Sir Augustus Harris
had taken great pains in placing it upon the stage. The return
of M. Edouard de Rcszke, the splendid baritone, to Covent
Garden was an event which the audience warmly appreciated.
He sang and acted as Mephistopheles in such a manner as to
make the shortcomings of a new tenor, Signor Salvatcrra, all
the more conspicuous. This vocalist, probably accustomed to
sing in small theatres, was quite out ot his element at Covent
Garden. He was the most unsatisfactory Faust we have ever
seen. One or two screaming high notes it is true won applause
from the gallery, but there was a lack of style and artistic effect,
both in acting and singing. The first night of the Wagner
Series was Wednesday, June 7th, when Tannhiutser was given,
Madame Albani being the representative of Elizabeth. She
sang with all her artistic power and beauty of tone, her voice
being rich, full, and resonant after the seventeen years which
have elapsed since she first performed the part.
In all the
music she sang her best, anil her reception was enthusiastic.
Her admirers gladly welcomed her back to the stage where so
many of her triumphs were won. Signor Ancona sang admirably
as Wolfram. Signor Vignas was excellent as the hero, and
Mile. Gherlsen sang the music of Venus with intelligence.
Signor Boito, one of the composers honoured at Cambridge, was
to have had his Mefisloftlc performed on Friday, 10th, but
owing to the indisposition of Madame Calve a change was
made. Madame Melba made no objection to sing, and Paglracci
was therefore given. There is quite an excitement about the visit
of Signor Mascagni, who is being invited and feted everywhere.
He conducted his opera VAmuo Fritz on Monday, and has
been quite the hero of the musical season. Sir Augustus Harris
gives an alfresco fete in his honour, when the members of ihe
Comedie Francaise will be invited. The composer of Cava! eria
Rvsticana has already paid visits to a number of aristocratic
houses, and appears to be a universal favourite. M. Jean de Reszke
has returned frcm Paris, and on Tuesday appeared as Romeo.
July t, 1893.]
S. NOSKOWSKI'S
"FEUILLE
Op. 44, N9 3.
PENSEE
Andantino cantabile
PIANO.
FUGITIVE.
DE TREFLE"
155
156
ritun.
[July 1, 1893.
a tempo
July 1, 1893.]
Grandioso e poco pi lento.
157
158
[July 1, 1893.
July I, 1893.]
THE
MONTHLY
At ihe third of the Wagner Series, on Wednesday, June 21st

The Flying Dutchman was the opera chosen, with Madame
Albani as Senta, and M. Lissalle as the hero.
A very full attendance at St. James's Mall on June 1st was
seen, the lions of the concert being MM. Saint-Satins and
Tschaikowsky.
These composers have visited England to re
ceive the degree of Mus. Doc. from the University of Cambridge.
M. Saint-SaSns has made a great advance in popularity in this
country since he played his four concertos for the pianoforte on
the same afternoon in June, 1887. On this occasion he played
the second of these works, the Concerto in G minor, with the
greatest success, being recalled no less than four times. In the
course of the concert, M. Saint-Saiins conducted his symphonic
poem " Le Rouet d'Omphale," which was also received with
great applause. The Russian composer is not so well known to
English amateurs as the Frenchman, but met with a cordial
welcome, his works being far more appreciated than they were
on the occasion of his last visit. His symphony in F minor has
won the admiration of all English musicians, and it was played
on this occasion with fine effect. The exquisite melody of the
andante delighted all who heard it. Other items were conducted
by Dr. Mackenzie, and Miss Macintyre was the vocalist. The
last concert of the present season was given at St. James's Hall,
on Thursday, June 15th, and although the weather was so
oppressive that one sat as in a Turkish bath all the evening, yet
the enthusiasm of the visitors, who filled every corner of the
hall, seemed to be uninfluenced by the temperature. The
attractions of the concert were mainly centred in Dr. Max
Bruch fresh from Cambridge honours, and M. Paderewski. The
famous pianist caused more excitement than the composer, who,
however, met with due recognition.
His beautiful violin
concerto, which takes rank with those o( Beethoven and
Mendelssohn, was played by M. Gorski with satisfactory results,
although we have heard the violinist to greater advantage on
some previous occasions. The three orchestral pieces from Dr.
Max liruch's secular oratorio Achilleus were not fully representa
tive of his powers.
As usual, the musicianly style may be
commended, but the music is not so characteristic as one would
have expected for such an occasion. One of the pieces illus
trating the contest in the arena resembles the mode of Handel,
and is scored for strings only. The second movement is sup
posed to describe chariot races. There was some disappointment,
as the audience would have liked to hear some more important
work a symphony, for example. M. Paderewski played his
own pianoforte concerto, which fully displayed his extraordinary
powers.
Never has the pianist been received with greater
enthusiasm, and never has he been in better form. Alter the
concerto the applause was so hearty and the recalls so frequent
that M. Paderewski was compelled to return and play some
more of his own pieces. Madame Melba was to have sung at
the concert, but her place was taken hy Miss Esther Palliser,
who sang " Divinites du Styx,'' but it wanted more dramatic
power, and was not very well suited to the concert-room. Sir
Arthur Sullivan's new " Imperial Institute March " was included
in the programme.
MADAME PATTI'S CONCERT.
On Tune 3rd, Madame Patti gave a brilliantly successful concert
at the Albert Hall, the attendance being very large. The
popular diva did not offer her admirers much novelty, but
preferred to sing music in which she has been heard many a
time.
For example, "Ah, fors e lui," from La Traviata,
" Batti, batti" from Don Giov.umi. These were sung to per
fection, and recalled pleasant memories of the days when
Madame Patti charmed operatic audiences as Zerlina. Just for
.1 change the popular vocalist gave an " Ave Maria " composed
by Signor, Mascheroni.
It was evidently suggested by the
" Ave Maria" founded by Gounod on Bach's Prelude, but the
melody was pleasing, and the singing of Madame Patti gave it
every possible charm. The accompaniments for violin, harp,
and organ were played by Miles. Marianne Eissler and Clara
Kissler, Mr. l.emare being the organist.
Madame Patti also
sang Signor Tosti's " Serenata." Mr. Ben Davies, Miss Alice
MUSICAL
RECORD.
*59
Gomez, and Mr. Santley took part in the conceit, also the
clever Meister Glee dingers. Madame De Pachmann played a
brilliant pianoforte solo. Admiration was universally expressed
at the preservation of Madame l'atti's beautiful voice. Madame
Patti's next concert, the last appearance this season, will be at
the Albert Hall, Saturday, July 1st. In purely vocal charm
she still remains the greatest singer of her age.
OPERATIC CONCERTS.
The concerts given by Sir Augustus Harris at St. James's Hall
have introduced many of the most celebrated of his artists.
The one given on June Sth was notable, if only for the appearanceof Fiau Moran-Olden, a dramatic soprano of high capacity.
She sang Weber's " Ocean, thou mighty monster " with rich
volume of tone. Herr Max Alvary was also very successful in an
air from Mehul's Joseph. Madame Armand sang a Romance by
Ambroise Thomas brilliantly. This artist has also appeared at
the Opera in La Favorila. Her merits were appreciated, but
the opera is behind the times. Mr. Richard Green, Mile.
Arnoldson, the sisters Ravogli, Miss Palliser, Miss Brema, Herr
Wiegand and others appeared, and M. Nachez played violin
solos, little Miss Frieda Simonson being the pianist.
The
concert of Thursday, June 15th, was noticeable if enly for Ihe
singing by Frau Moran-Olden of Beethoven's "Ah, Perfido ! "
which was nobly rendered. Madame Armand sang with fine
rich tone an air from Gounod's Heine de Saba,
Madame
Vasquez sang an air from the third act of Aida.
Herr Max
Alvary again appeared, and was heard in an air from Weber's
Euryanlhe, which he sang in a most effective manner, and being
encored gave Sigmund's love song from Die IVaikiire. Signor
Giannini repeated the scena "Oh, Rachel !" from La Jtiive,
with his accustomed success, and joined Mile. Dagmar and M.
Bonnard in the trio from the same opera. Another excellent
concert was given on the 22nd.
PRINCE OF WALES' THEATRE.
The new operaor rather, musical comedy produced at this
theatre on June 15th, is adapted by Mr. Brookfield from a comic
opera with music by Millocker, performed for nearly a year at
the Casino, New York. But unless more incident and drollery
can be introduced we fear its career in London will be brief.
Mr. Brookfield has condensed the three acts of the original into
two, and instead of an operatic libretto, treats the subject as a
comedy. The main incident is whimsical enough. A millionaire,
Mr. Yandergold, is captivated by an opera singer who he believes
would listen to him much moie readily if he were poor. Opera
singers of the modern school are not indifferent on the subject
of money, but Mr. Yandergold makes up his mind to get rid of
his wealth for a time. A Whitechapel costermonger, who has
picked up a few phrases of French, pretends to be a Parisian
cook, but is soon discovered to be an impostor. He is about to
shoot himself when the millionaire stays his hand and offers to
transfer his fortune to the sham cook if he will give it up again
when Mr. Yandergold hums a melody which is being sung when
the proposal is made. " Poor Jonathan" agrees, marries Molly
the parlour-maid, and the flighty couple make considerable fun
by their extravagances in spending Mr. Vandergold's money.
But the millionaire meets the singer again and she accepts him
now he is supposed to have lost his fortune. He, however,
hums the melody agreed upon, and when Mr. Yandergold has
won the lady he makes a handsome settlement on the Cockney.
Signor Albeniz, who conducted the piece, has written some very
clever music, too good for the flimsy subject.
Miss Annie
Schubert sang well as the heroine, and Mr. Sidney Tower as
Mr. Vandergold made good use of his pleasing tenor voice.
Mr. Harry Monkhouse provided the chief drollery as the sham
cook, and Miss Jessie Bond as Molly was amusing and sang
with excellent effect. The music is charmingly scored, but the
story is feeble.
SARASATE CONCERTS.
The first of the present series of concerts by the Spanish
violinist took place on June 3rd, at St. James's Hall, and
attracted an immense audience. He gave three solos, the first
being Beethoven's Concerto.
As fat as technical skill wa
i6o
concerned his rendering of Beethoven was perfect, but the music

perhaps requires greater breadth than do most of the solos
Senor Sarasate plays. Here, possibly, the splendid Spanish
player falls just a little short of Dr. Joachim. But comparisons
are hardly fair, and if Beethoven was not played with the
absolute perfection Senor Sarasate usually displays, Dr. Mac
kenzie's " Pibroch " completely enchanted the audience, and the
violinist was four times recalled. The " Fantaisie Norwegienne,''
by Lalo, we do not much care for. There is nothing Norwegian in
the character of the music, but the difficulties with which it
abounds were overcome with the greatest facility. Sir William
Cusins conducted an efficient orchestra, playing the Meistcrsingcr
overture extremely well, and also Mozart's G minor Symphony.
The second concert took place on the 10th, when Madame Berthe
Marx assisted. The sonata of Saint-Saens for pianoforte and
violin, Op. 75, was charmingly played ; also the Concertstiick,
in which Senor Sarasate was extremely brilliant in style and
execution. He was encored and played his '"Jota Navarre."
The Second Suite by Goldmark, which is still in manuscript, has
not the interest of the first by the same master, but the perform
ance was very fine. Madame Berthe Marx was excellent in
Chopin's Fantasia in V minor, and the study by Saint-Saens
in the form of a waltz ; the latter piece was encored. On
Saturday, June 17th, the third concert was given. There was a
crowded audience, and the heat was so great that Senor
Sarasate evidently felt some difficulty, having to pause frequently
to wipe his violin as well as his face. But he gave a brilliant
interpretation of Raff's Suite, and the Scotch Fantasia of Dr.
Max Bruch. A new Cracovienne, not previously heard, was
performed, and at the close, with admiration that was absolutely
cruel on such a melting day, the audience teased the violinist
into playing two more solos, one of them being bis graceful
tianscription of Chopin's second Nocturne.
RICHTER CONCERTS.
On June 5th the first of the Richter concerts was given at St.
James's Hall, the contrasts in the music being made by Beethoven,
Wagner, and Liszt.
The c minor Symphony of Beethoven
was of course welcome, especially as played by the Richter
Orchestra, and conducted by him. The overture to the Meistersinger is always popular, and it has seldom been more brilliantly
performed. The Number I, Rhapsody of Liszt, is a splendid
effort for the orchestra. The " Good Friday " music from
Parsifal was also well received. A symphonic poem called
"Vltava," composed by the Bohemian composer Smetana,
pleased greatly, owing to the charm of its descriptive passages,
which are supposed to illustrate the windings of the river Moldau.
The second concert, on June I2th, introduced a novelty, but of
no great value. It was an overture by Fibich, of Prague, a
musician of greater facility than inspiration. It was called
One A nil a Carhtcin. There is fancy and cleverness in the
work, although its pretensions are not great. The overture to
The Flying Dutchman was played with immense vigour perhaps
a little too much zeal was displayed in the brass department.
Schumann's Symphony in B flat delighted everybody by the
beauty of its ideas, and the excellence of the playing, while the
conducting of Dr. Richter was simply perfect. Two vocal items
from the Cotterdammerung and Die Waikiire displayed the ability
of Mr. Andrew Black. He sang the music with fine expression.
On Monday, June 19th, the third concert of the present season
was given, with an interesting programme, ihe audience being
as usual, very large. The orchestral playing was very fine, and
the enthusiasm ot the visitors was as marked as ever.
M. TIVADAU NACHEZ' CONCERT.
THE popular violinist gave a concert on June 5th, when his
violin solos were prominent features. He played pieces by old
French masters and compositions of his'own, a ' Poemejoyeuse,"
and " Poeme Plaintive " being among them. One of the most
successful efforts was Tartini's Trifle du Diable. M. Eugene
Oudin sang with his customary refinement of style and delicacy
of expression, in songs of Lully, Martini, Franck, and Gounod.
M. Nachez had a most flattering reception in all his solos, and
in some instances he was encored.
Quly I, 1893.

Master Raoul Koczalski seems to widen the circle of his
admirers. On June the 2nd, he migrated to St. James's Hall,
and had a very large audience. The discussion as to the
performances by juvenile players has been carried into scientific
journals, but the opinions given are not conclusive. In some
cases juvenile prodigies exhaust themselves early. In other
instances they become famous musicians, and their physical
powers do not suffer. Handel, Mendelssohn, I.ady Halle,
Joachim, and scores of others, were remarkable as children.
Madame Patey, who had intended to retire from public life
without any special leave-taking, has been induced to alter her
decision, and a farewell concert on a large scale will be organised.
English amateurs would hardly consent to such a fine singer
disappearing without some public recognition of her splendid
abilities.The lectures on Verdi's Falsing at the Royal
Institution, by Dr. Mackenzie, were very successful, the lecture
being enhanced in interest by the musical illustrations from the
opera, which we hope may soon be heard in England. Herr
Emil Steinbach, who has for eighteen years conducted the Opera
at Mayence, will direct the performance of Tristan und Isolde
at Covent Garden.Miss Frida Scotta gave a violin recital, on
June 9th, with great success.The performance of a number of
works by Brahms, at Prince's Hall, on June 13th, proved the
capacity of the well-trained performer Mr. Ernest Fowles,
who was assisted by Mr. Whitehouse, Mr. Ludwig, and Mr.
Collins, in the chamber music ; Miss Liza Lehmann being the
vocalist. It was an interesting concert, and highly creditable to
Mr. Fowles. The "musical afternoons" of Mr. Edgar
Haddock, at Steinway Hall, should attract larger audiences.
Mr. Haddock's violin playing on the occasion of our visit was
admirable. He produced a good tone, and his style was pure
and free from affectation ; works from the classic masters lorm
the chief attractions of Mr. Haddock's afternoons.Two musical
pieces recently produced, one entitled His Highness, the other,
Atalantis, had so little merit in music or story, and were more
over, so imperfectly performed, that it would be waste of time to
discuss them. In the case of Atalantis we regretted the faults
the more because Mr. Royce, formerly so popular in burlesque
at the Gaiety Theatre, reappeared on the stage, after a long
absence in the colonies. He was much to be pitied in having so
trivial a part in a trivial piece. Mr. Royce worked hard to give
some vitality to the character, and his friends gave him a must
cordial reception.
iHuatral
#otea
-
The success of La Valkyrie at the Grand Opera sur
passes all expectation. One night, the sum of 23,271
francs was takenthe largest amount ever taken in the
houseand the first six performances realised 124,000
francs. To guard against all chance of a change of opera,
the principal roles have been studied by three or four
artists each. The run will probably finish at the end of
June, as M. Van Dyck's engagement terminates, and
Mme. Caron will take a much-needed holiday ; but the
piece will still be played with other artists, among them
probably Mile. Chrenen from Brussels, who is studying
the part of Briinnhilde. This brilliant success will post
pone for some time longer the production of M. Marchal's Ddidamie, and the other works talked of, such as
Chabrier's Gwendoline, Gluck's Armide, and Massenet's
newly-completed Thais. Shortly, too, there will be
several changes in the company ; M. Vergnet, the tenor,
leaves, and the engagement of M. Due will probably not
be renewed. On the other hand, Miss Sibyl Sanderson
from the Opera-Comique, and M. Gibert are spoken of
as engaged lor next season.
The new opera of M. Saint-SaensPhrynewhich was
produced at the Opera-Comique on May 24th, is enjoy
ing a brilliant success which bids fair to be prolonged,
but it is a piece of a class which would seem more suited
July I, 1893.]
THE
MONTHLY
to the Palais Royal, and it is impossible not to regret

that the talented composer's first great stage success
should be with a work of such a character. Neither
dramatically nor musically is it a piece of which its com
poser can be proud. Adam's Le Tort'ador has been
revived to play with it, and is well received. Rumour has
it that the Opera-Comique will shortly lose quite a host
of its most popular artists. Miss Sibyl Sanderson goes
to the Opera, Mme. Sigrid Arnoldson is going on a six
months' tour to America. Mme. de Nuovina appears to
contemplate returning to Brussels, and worst of all,
perhaps, there is much doubt whether Mile. Simonnet
will remain faithful ; but. as she is chosen for the parts of
the heroines in the forthcoming new works of M. Alfred
Bruneau and Cesar Cui, it is probable that she will stay
for a consideration. Three tenors MM. Gibert, Lubert,
and Delmasare also leaving, together with MM. Lafarge,
Lorrain, and Nivette. In the face of such wholesale
desertion, M. Carvalho seems in an awkward strait, but
he is a man of much resource, and may be trusted to
make a good fight. With the help of the Societe des
Grandes Auditions Musicales, he has just revived the
Deux Avares of Gr6try, and the D/serteur of Monsigny
works dating from 1770 and 1769; but such oldfashioned pieces, however interesting as curiosities, can
not be intended for a "run." Mme. Tarquini d'Or has
reappeared with great success as Carmen.
THE only lyric novelty of the last month to be recorded
is L'Hdte, one of the class of plays without words, with
music by M. Edm. Missa, produced at the BouffesParisiens on June 9th.
Skveral new operas are just finished, or in course of
making. Mile. Augusta Holmes is writing the book as
well as music of a five-act work, Le Fits cTOlivier ; Paul
Yeronge de la Nux is busy with a three-act, CEdipe Roi;
M. Chas Silver {Prix de Rome in 1891) is finishing the
music of an opera-feerie, La Belle au Bois Dormant; and
Edmond Audran has a new opera- com ique, I~a Princesse
Blonde, which is to be produced next winter at the
Theatre du Chatelet.
A NEW oratorioL'Apotre Saint Jean by M. Charles
Poisot, was produced at the Church of Saint Eustache on
May 1 8th. The composer is already known by a previous
oratorio Le Christ.
The statement in our last month's issue that Berlioz's
Damnation de Faust had been produced at Strasburg as
an opera should be corrected ; it was not played on the
stage, only sung in concert-form.
Verdi's Falstaff was produced at Berlin, in the Royal
Opera House, with the entire company from Milan
(except M. Maurel) on June 1st. The success, is said
to have been encouraging, but not enthusiastic. How
ever, the best critics are far more friendly to the work
than the audience seems to have been, and do not hesitate
to describe it as a masterpiece of the first order, for
which a day will surely come when the blood-boltered
pieces of the young Italian school are forgotten. The
part of Falstaff was taken by a young singer named
IJlanchart, who took immense pains to do justice to his
part. Of the other singers, only Signor Pini-Corsi
(Mr. Ford) was warmly approvedand in a less degree
the representatives of Mrs. Quickly and Nanette (Anne
Page). The orchestra under Signor Mascheroni was
thoroughly admirable. Four performances were given.
At Kroll's Theatre the chief events have been the final
performances of Signora Bellincioni, who performed the
singular feat of playing the part of Figaro in Rossini's
Barbiere (Act I.), and of Desdemona in his Otello (Act
III.) a most remarkable display of versatile talent.
Rubinstein's Kinder der Haide was produced on June
MUSICAL
RECORD.
161
2nd, the composer, instead of conducting the perform

ance, watching it from a private box. The work contains
many beauties, but is too unequal to keep a permanent
position on the stage. The same may be said of Bizet's
Pearl-fishers, which was produced a few days later. Mme.
Sembrich appeared as Gasl in this piece, but the part of
Leila is unsuited to her talent.
Signor Mascagni has handed over the score of his
Ratcliff\o the management of the Berlin Hofoper and it
will be produced in the course of next season.
The result of the competition instituted by the Duke
of Saxe-Coburg-Gotha is that the prize (5,000 marks) will
be divided equally between two composers whose works
are thus declared of equal merit : Paul Umlauft of
Leipzig, author of Evanlhia, and Josef Forster of Vienna,
author of Die Rose von Pontevedra. Both works will be
performed at Gotha during the series of model perform
ances to take place at the end of.July. No less than 1 24
one-act operas were sent in for the competition.
The twenty-ninth meeting of the Allgemeiner Deutscher
Musikverein at Munich from May 26th to 30th was one
of exceptional interest. The hero of the hour was Eugen
d'Albert, whose last three works a concerto, quartet,
and sonatawere all performed, and who triumphed
equally as pianist and as composer. Among the other
works executed, Brahms' Clarinet Quintet, Tschai'kowsky's
"Francesca di Rimini," a string quartet by Smetana,
Liszt's 13th Psalm and symphonic poem, " Die Ideale,"
and some symphonic waltzes entitled, " Olafs Wedding
Dances " by Alex. Ritter, were the most remarkable. For
Cornelius' Barber, Tannhiiuser was substituted ; a new
opera, Sonntagsmoi-gen, by a Norwegian, Gerhard
Schjelderup, won no favour, save from a small cliqup.
One of the most interesting vocal pieces was Lohengrin's
narrative as originally writtenthat is, with a second
verse which Wagner afterwards rejected as too long for
the situation, but which is, musically, of remarkable
beauty and effect. This was splendidly sung by Herr
Vogl.
The 150th anniversary of the foundation of the
Gewandhaus Concerts at Leipzig is to be celebrated in
October by two orchestral concerts and one of chamber
music. The real Gewandhaus Concerts, however, only
date back to 1781 ; the previous ones, under the title of
" Das grosse Concert,'' having been given in private
houses. On November 16 it will be just fifty years since
Professor Dr. Carl Reinecke, now the conductor of the
concerts, made his debut at the Gewandhaus as a pianist,
when he played Mendelssohn's Serenade in B minor,
Op. 43. On the same evening Joachim made his first
appearance.
A Berlioz Festival is to be given at Carlsruhe in
November under Felix Mottl. It will cover one week,
and all the four operas of the composer, together with the
symphony, " Romeo and Juliet," will be performed.
Herr Mottl'S own new one-act opera, Prince and
Singer, was produced with great success on May 23,
Frau Mottl, and Herren Plank and Gerhiiuser taking the
chief parts. It is described as a thoroughly Wagnerite
work. Eugen d'Albert's opera, Der Rubin, is postponed
till next season.
A new opera, Cornelius Schtitt, by Smareglia, had a
great success at Prague on May 2 1 , which was confirmed
on its production shortly afterwards at Dresden.
The very numerous pupils of the late Joachim Raff
propose to erect a memorial to the composer at Frankfort
but surely the general public will be allowed to con
tribute ? The authorities have promised to grant a site.
RUBINSTEIN has informed an interviewer that he is
writing an opera, the subject of which is the career of the
162
THE
MONTHLY
MUSICAL
Saviour on earth. It has, he says, no religious character.

Strange, if true.
A.mono the novelties selected for performance next
season by the Philharmonic Choir of Berlin, under Herr
Siegfried Ochs, are two works for soli, chorus, and or
chestra, by Hugo Wolf, "Der Feuerreiter " and "Elfengesang," another of the same class, " Heldenklage,"
by Wilhelm Berger, and Rubinstein's sacred opera,
Moses. Tine'.'j oratorio Franciscus, and Richard Strauss'
Wanderers Sturmlicd will be repeatedBeethoven's Missa Solennis in D has been performed
at Bayreuth by the Singverein under Herr Julius Kniese.
A season of Italian opera has been begun at Vienna
in the Theater an der Wien. The works to be given
include the Pagliacci, Flora Mirabilis (Samarat, Fes/a a
Marina (Coronaro), Mala Vita (Giordano), // piccolo
Haydn (Cipollini), and the three operas of Mascagni.
The conductor is Rudolfo Ferrari ; the company does
not appear to include any artists of reputation outside
Italy. The two works by Cipollini and Coronaro have
had a fair reception.
The well known Swiss composer, Hans Huber, has
written his first opera, and it will be produced at the
Stadttheater of Basle next season. It is called Weltfriihling (The World's Spring), and the libretto is by
Rudolf Wackernagel. The Pagliacci (Bajazzo) of Leon
cavallo, and Der Asket, by Carl Schroder, are also to be
given.
The Mannergesangvercin of Vienna celebrates its
jubilee this year by a three-day festival, from October 6th
to 8th ; and it is said that several most distinguished
composers have promised to write pieces for the occasion.
Cyrill Kistler's opera, Kunihild, has been accepted
for production at the Munich Hofoper. It is also in
tended to give several performances of it at Wiirzburg in
August, if sufficient funds can be raised for the purpose.
The operatic season in Italy, as regards the chief
theatres, is over ; apart from Fatstaff, it has not produced
any very remarkable works. Mascagni's / Ranlzau and
Puccini's Manon Lescaut may perhaps be named as the
best. The fame of the latter is as yet confined to Italy,
but it seems likely to make a name elsewhere. Two
other operas produced at the end of May, one at Bologna,
the other at Reggio d'Emilia, Mai)a by Paolo Frontini,
and Triste A/nore by Enrico Curti, are well spoken of in
the Italian papers. Puccini's opera has had brilliant
success at Trento.
The success of Berlioz's Faust at Milan has been phe
nomenal : ten performances were given to crowded
audiences. It is intended to follow up this success by
performances at Naples and probably in other places.
A new and handsome theatre, with seats for 2,503
persons, has just been opened in St. Petersburg for the
performance of French opera. The first work performed
was Gounod's Romeo et Juliette, which was received with
enthusiasm.
The opera Frode, by Julius Bechgaard, which was
produced at Copenhagen on May 1 ith, had great success.
The subject of the opera seems to have a certain kinship
with that of Moore's Irish melody " Rich and rare ; " the
Danes of Frode's time being apparently as honest and
virtuous as the Irish of Moore's ballad.
At the last concert of the Copenhagen Musikverein, a
new Symphony (his fourth) in D minor, by the younger E.
Hartmann, was produced. The composer's father, now
in his 89th year, was present, (jade's not much-known
choral work " Kalanus " completed the programme.
The Jubilee of the Cambridge University Musical
Society has been an event of unusual importance. No
fewer than : ix of the most famous living musicians were
RECORD.
[July I, 1893.
invited to receive the honorary degree of Mus. Doc.:

these were Verdi, lioi'to, Grieg, Bruch, Saint-Saens and
Tsch'aikowsky, but Verdi declined on the ground that his
age incapacitated him for the journey, and Grieg was loo
unwell to be able to come. The degrees were conferred
in the Senate House on the 13th ult., but the grand
musical event was the concert on the previous day,
when Bruch conducted a scene " The Banquet of the
Phecacians," from his cantata '"Odysseus;" Bji'to the
prologue to his Mejistofele ; Tschaikowsky his symphonic
fantasia " Francesca di Rimini," and M. Saint-Saens
played the solo part in his fantasia ''Africa." The other
items in the programme, Grieg's first Peer Gynt Suite and
Prof. Stanford's Chicago Ode, " East to West,"' were
conducted by Dr. Stanford himself. All the works were
admirably executed best of all perhaps being Boito's
work, in which Mr. Henschcl sang the solo wi:h splendid
effect. All the composers were warmly applauded,
M. Saint-Saens' superb execution winning for him a most
enthusiastic demonstration. After the concert a dinner
was given to the heroes of the day in the hall of
King's College, and after that there was a conversazione
at the Fitzwilliam Museum, at which a handsome piece
of plate was presented to Dr. Stanford, who has resigned
the conductorship of the Society. It will not be easy for
his successor to do as much as he has done for the
Society, which, under him, has become of almost national
importance.
Sir Walter Parratt is to be the successor of Sir
William Cusins in the post of Master of the Queen's
music ; but it is said that the task of conducting the
State concerts will be allotted to musicians chosen for
each occasion.
Mr. Santley has gone on a short trip to South Africa.
Mine. Antoinette Stirling has been visiting India, and is
now giving concerts, with great success, in Australia.
Mr. Edward Lloyd is in Canada, on his way to Chicago.
The Bristol Musical Festival Committee have issued a
prospectus of arrangements for the meeting in October,
from Wednesday, the 25th, to Siturday, the 28th. There
seems to be no novelty ; but the list of works includes
Samson, Faust (Berlioz), Lobgesang, Stabat Mater
(Rossini), S. S. Wesley's anthem " The Wilderness,"
Schumann's Paradise and the Peri, and Messiah. The
singers include Mmes. Albani, Nordica, Palliser, Landi,
Wilson, and Clara Butt ; and Messrs. Lloyd, B. Davies,
A. Black, Worlock, and Santley.
A medallion portrait of jenny Lind is to be put up
in Westminster Abbey, near the monument of Handel.
The report of the Middlesborough Musical LTnion
confesses that the accounts show, for the first time, an
adverse balance, but the committee are far from being
discouraged, and only trust that greater efforts will be
made next season. Berlioz's Faust and a selection from
Cavalleria, and Dr. Parry's fine setting of Shirley's Ode
were the chief works performed.
The John Thomas Welsh Scholarship, which entitles
the holder to three years' free instruction at the Royal
Academy of Music, will be competed for by instru
mentalists in July.
Signor Carlo Albanesi has been
appointed Prolessor of the Piano in place of the late
Mr. T. Wingham, at this institution.
Deaths. A once famous baritone of the Theatre
Lyrique died "on June 13. ; this was M. Ismael, whose
real name was Jean Vital Ismael Jammes.
Born at
Agen in the South of France, April 28, 1827, he was in
every respect almost entirely self-educated, but his fine
voice and dramatic aptitude helped him on ; and in 1863
he was engaged by M. Carvalho to create the part of
Zurga in Bizet's Pccheurs de Perles. From that time he
July I, 1893.]
THE
MONTHLY
was a public favourite for many years, and created many

important parts, in particular that of Ourrias in Gounod:s
Afireil/e, in which he was incomparable. About 1879 he
began to suffer from an affection of the throat.
He
retired from the stage, was appointed teacher of the
operatic class at the Conservatoire, but soon gave up
this also, and retired to his villa near Marseilles, where
he died. On May 14. Mme. Cii cilie Avenarius, the
youngest, and, it is slid, favourite half-sister of Richard
Wagner, died at Dresden.
Her father was Ludwig
Geyer, the second husband of Mme. Wagner, and she
was born February 26, 18 15. She married a publisher,
resided many years in Paris, and leaves three sons
I.udwig Rainer, the founder of the once popular Tyrolese
Singers party, which in 1840-60 travelled all over Europe
and sang before all the sovereigns of Europe, died
on the estate which his successes had enabled him to buy,
on May 15, in his 72nd year. Hans Michel Schletterer,
Kapellmeister of the cathedral at Augsburg, and com
poser of vocal and historical works, died on June 4, aged
69 Other deaths are those of Fred. Alphonse Aug.
'I hurner, a French pianist, composer, and writer (died
May 20, at. 59) ; Josef Schiitkv, a well-known baritone of
the Stuttgart Opera ; and Charles Mustel. son and
successor of Victor Mustel as head of the Mustelorgan manufacturing firm, in his 53rd year. On June
15, Franz Erkel, the founder of Hungarian national
opera, and the most popular living composer of his
country. Born at Gyula, in Hungary, November 7,
1 8 10, he produced his first opera, Maria Baihory, at
Pesth in 1840, and this was followed by some eight others,
all dealing with national subjects.
Three of them
Hitnyady Laszlo (1844), Bdnk Biin (1861), and King
Stephen (1885)are the most popular works of the reper
toire, and have made their author the idol of his country
men. Both in virtue of the subjects and the style of his
operas, Erkel is emphatically a Hungarian composer.
He also wrote many songs and part-songs, some of which
are universally known throughout Hungary. In 1838 he
was appointed Capellmeister of the National Theatre at
Pesth, a post he retained for a long period. Only a year
or two ago, at the age of eighty, he played the solo part in
one of Mozart's piano concertos at a public concert. His
death was probably hastened, if not actually caused,
by the death of his son Alexius, also a composer of operas,
which took place five days before his ownon June 10.
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SONG
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Valse noble
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Pauer, is a collection of 'studies, classical and drawing-room pieces,'
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S92
5983
5984
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Book III.
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EBENEZER
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'
9I;OARMONY:
167
Review of E. Front's Text-books (continued)

little else than age to recommend them, he has provided oth*rs supported by references
to fuga) works by the greatest writers. In describing a fugue as a composition in
* ternary form,' Mr. Prout says : ' The first section ex'ends as far as the end of the last
or middle section begins with the crmmencement of the first episode, which modulates
to any other key thm that of tonic or dotmn ntt ; and the third or final section begins
with the return of the subject and answer.' The features of each section are admiratly
delineated, and the construction of the whole fuvue is clearly eiplaii ed and apt'y illus
trated. Ai text-books, nor. Prout's theoretical treatises will doubtless take
the position of standard works." The Daily TrUgtaph, Mirth 17th, 1853.
ITS THEORY ANDA"
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Professor of Harmony and Compjsitiod at the Royal
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" The series of theoretical works writ'en by Elrenezer Prout will prove of Inestimable
Service to teacher and scholar alike. Published in nine volumes, the series embraces an
ohaustive treatise on ca;h of the following subjects: Harmony, its theory and
practice ; counterpoint, strict and free : double counterpoint : and fugue. With
earnestness the author points out thi desirability of studying harmony and ' strict
c unterpoint' simultaneously, and advises that 'as soon a-, tlte pupil no* mastered
triads and their inversions, he shall Ik'ûi elementary counterpoint.' This rccoiiiititrndation i* unheeded by many teache.s of theory, and some there nre who altogether reject
the plan, )! the ground of strict counterpoint being of little practical value I'm the
author, believing it to be an e-sential branch of itudy. has, by verbal explanation 01
rules, as welt as by il ustrativc examples, succeeded in making it appear attractive and
important. Two pa 't counterpoint is treated at considerable lenytli, a chapter being
devoted to each t f the 'Five Species.' As far as the 'species are concerned, the
saine order is oberved in three-part and lour-part strict counterpoint. So varied in
1 'instruction are t >e exerclsei and examples that one is a ft to forget that the only
harmonies used therein are diatonic Triads and their tu.t inversions. In lading
students through path* trodden by our musical ancestor* the sklful guide nrver fails to
point out objects ol' interest 'u be met with on the way. Though so much in love with
his subject, he places it in its uroper position, as a premium.iry study to actual comI-osiiion, The fact is again and again insisted upon that "strict counterpoint is simply
the means to an end.' The object to be attained ii the power of free part-writing,
here called ' free count erpoint,' the study of which should not, the author says, be com>t*em cd before the pupil has completed his course of harmony. Liberated from the
restraints imposed by ancient rules, modern counterpoint opens the doo- to well-tigh all
combination?, which do not violate the laws of harmony. The final chapter treats on the
application cf counterpoint to practical composition. In the book on Double Counterjiomt and Canon. Mr. Prout places these intricate subjects before the student in the
clearest and most convincing manner. The last, as yet published, of the series ii an
nble aod in some respects remarkable feattse on Pugue. After carefully examining the
rules from time to tune laid down by men in authority, and jfter patiently testing iheir
th.it * there is no branch of musical composition in which theory is more widely at variance
with practice than in that of fugue.' In stating his own views, he direct* attention to the
Erinciples which govern the relation between Subject and Answer. While there is but
tile diversity ofo inion as to what should be the features of the subject, there are, on
the old text-books, *is absolute ' ; yet Bach is found bre.king it with good effect. Our
author widely declines to sirhmit to the authority of any rule however ancient unless it
tx* found in agreement with the general practice of acknowledged masters. Of tours?,
there must be rules for tne guidance of students ; and, while rejecting some which have

Edition
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4191
(AH Music engraved and printed at Augener's Music Printing

"IK.
KIRCHNER, F. Irriichter-Tanz (Danse des Feux

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Morceau de Salon
" Rosamonde."
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INSTRUMENTAL.
Arioso.
LEE, MAURICE. Reve celeste.

pour Violoncelle ct Piano ...
Op. 26, No. 1.

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CONTENTS.
DEL VALLE DE PAZ, E.

For String Orchestra
ORGAN.
7046
BOOK ON MUSIC.
9:00a RIEMANN, DR. H. Dictionary of Music. New
Edition, with many additions. Translation by
J. S. Shedlock, RA. Part I. (A to Beck)
net

(Oblong folio) :
Vol. IX
net
Prelude and Fugue, A minor.
Fantasia, c major.
Fugue, G major.
Prelude, c; major.
Prelude, A minor.
Fugue, G major.
Fantasia, G major.
Pastorale, F major.
Fantasia and Fugue, A minor.
Prelude, c major.
F'antasia with imitation, H miu
Trio, D minor.
Rcve cileste.
MACCUNN, HAMISH. AU on a fair May morning.

Song
Heart be Stout, and Fiye be True. A Cavalier's
Song
Cheques and Post Office Orders payable to the order of Aueener

6 A Co., and to be crossed "London and Midland Bank, Limitel."
GURLITT, CORNELIUS. 6 Tonstlicke Mir das

Pianoforte zu 6 Handen. Op. 192 :
No. 1. Valse noble
3
2. Gavotta
3
3. Capriccietta
3
4. Ballata
3
5. Serenata
3
6. Impromptu
3
SCHUBERT, F, Romance from

Arranged by Emile 1 homas
KJERULF, HALFDAN. Select songs, with the

original words and English versions by C.
Laubach :
Her voice (Min Elskte, jeg er bunden)
3
Longing (Lcengsel)
3

PIANOFORTE TRIOS (8 hands).
LEE, MAURICE.
(<i) Chorus of Elves, " Light as foot of fay can fall." For
2 Sopranos and alto.
(6) Mermaid's Soniiand Chorus of Water- nvmphs, Fairies
and Mermaid*. ForSopnino (or Semi-Chorus) and
Three-part Chorus.
(c) " Spirits of Air and Farth and Sea." ForA'toscIo
(or Semi-Chorus) and 3-part Chorus.
net
Op. 42
Op. 9 ...
MUSIC.
HEALE, H. Twelve Operatic Choruses, arranged

for female voices, with pianoforte accompaniment :
Fairy Music from Weber's " Oberon "
...
net 1
KREUZ, EM1L. The Serenade (Das Standchen).

Song. Op. 24, No. 1
3

85541
No. 9, in c minor
9809
Novelties (continued)-
(Nova) publiees
le ler Juillet, 1893, chez
published on
July 1st, 1893. by
[July I, 1893.
PACK
The Amalgamated Musicians' Union. By Ebenezer Pkout . . 145

Connection between the Prbludes and the Fugues cf the
Wohltemi'Erirtes Clavier
,
147
By
Franklin Peterson. {Continued)
149
Beethoven and Ckamkr
..
..
..
..
..
..
150
The Pianoforte Teacher: a Collection of Articles In*
tended foe Educational Purposes
Consisting op
Pieces with Regard to Diffxui.ty, and Suggestions as
.. 151
Letter from Leipzig
..15a
The Beethoven Festival at Bonn
..
..
..
..
152
3
Oue Music Pages: Noskowski's "Pensee fugitive," Op. 44,
10053 SILAS. E. Trio for Pianoforte, Violin and Violon
No. 3
cello, No. 3 in c. Op. 46
net 4 Reviews of New Music and New Editions
..
Operas and Concerts
......
7780 SQUIRE, W. H.
12 easy Exercises (exercises
Musical Notes
__
__
faciles), in progressive keys, for the Violoncello.
July Novelties or Augener & Co.
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153
154
16
icS
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Subscription, Free by Post\ 1$. 6d. per Annum, payable in tulvance, by Cash or Postal Order, to Augenrr and Co.,
86, Newgate Street* London, E.C.
AUGUST 1, 1893.
HAYDN'S SYMPHONIES.
" Symphonies, including overtures to operas and plays,
125." This sentence stands at the head of the list of Haydn's
compositions in Sir G. Grove's " Dictionary of Music and
Musicians," and the large number has excited both
curiosity and astonishment. But the curiosity has been,
for the most part, an idle one ; musicians have been con
tent to exclaim, like Dominie Sampson, " Prodigious ! "
and, with few exceptions, the symphonies have been left
in oblivion. The circumstances under which Haydn
wrote many of these works are well known. He was the
humble servant of a prince, and had to do his bidding.
" Every day," says Bombet in his Letters on Haydn, re
ferring to the composer's pieces for the Baryton, " Prince
Nicholas expected to find a fresh one on his desk." The
symphonies, of course, were not produced at quite such a
rapid rate, but there is little doubt that the prince had
only to propose, and that Haydn forthwith began to com
pose. Practice makes perfect ; and in course of time
Haydn learnt to write with great facility, and even if he
had little to say, could always say it well. Of writing the
composer is reported to have said : " The whole art con
sists in taking up a subject, and pursuing it." Much then
was written without impulse from within ; and one instinct
ively feels that much of it does not rank higher than what
is known as good " Capellmeister " music. It is therefore
unreasonable to expect musicians to take interest in all
Haydn's symphonies as they do for instance in all those
of Beethoven ; even were they of equal merit time would
fail even earnest students to examine them all ; for
musical literature is ever on the increase, and selection
becomes inevitable. It does, however, seem a pity that
Haydn's symphonies have not been collected, so far as is
possible, in complete form and in a uniform edition, so
that it might easily be seen whether all that was of real
sterling merit had been brought before the notice of the
public. It is not many seasons ago that the performance of
a Haydn symphony at one of Mr. Henschel's concerts, and,
if we mistake not, of another at one of Sir C. Halle's con
certs, drew attention to works which had been unjustly
neglected . It would not be a process of dividing the tares
from the wheat, but of selecting the best wheat. So much
for the rehabilitation of the master in the concert-room.
272
But still further use can be made of Haydn's symphonies.

As pianoforte duets they are welcomed by teachers as
pleasant and profitable pieces, imparting a clear knowledge
of form, and affording excellent illustrations of the art of
thematic development. Nothing better, in fact, could be
put before young people. If teachers begin at the wrong
end, excite pupils with the complexities of modern music,
and dazzle them with its trickiness and outward show, it
is impossible afterwards for those pupils to take proper
interest in, and show proper respect for the great masters
of the past. And such mode of training results in loss to
the pupils ; but if the old serve as preparation for the new,
what is good in both old and new will be appreciated at
its proper value ; and the one will enhance the other.
In thus defending the cause of Haydn against a for
ward and perverse generation one runs the risk of being
laughed at. Happy those who will venture to incur such
a risk : it will be better for them, and better for art. We
speak of the progress of the latter; but serious musicians,
even those who are in sympathy with modern tendencies,
sometimes pause and wonder whither the rapid changes
in the world of art will lead. The fugue form is spoken
of as dead, the sonata form as exhausted ; while, by some,
pure instrumental music is regarded almost as an interest
ing relic of the past. The future may decide that all
these views are correct ; meanwhile, let us test carefully
every new doctrine, and enjoy to the full the treasures
bequeathed to us by the old masters. The evolution of
musical language and the improvement of musical instru
ments may have given certain advantages to us moderns;
but in clearly expressed thought and skilful workman
ship it would indeed be difficult to show that we are
better than our forefathers.
vi.the meistersingers of nurnberg.
Shortly after the opening of the second act, we find
Sachs seated in the growing darkness of the evening at
his cobbler's stall, with Beckmesser's new shoes, ordered
170
for the morrow, in his hands, and the phrases of Walther's

romantic song running in his head. He is sorely puzzled,
and concludes that he will stick to his last and let poetry
alone in the meantime. But still the song haunts him
it was according to no rule, yet there were no faults in it.
It sounded so old and yet so new, like the songs of birds
in the sweet month of May. On his soliloquy breaks
Eva, eager to hear how her knight had fared, and to
gather her good old friend's opinion of her new lover, or
at least to hear and speak of him. Sachs soon discovers
her state of mind and heart, and takes great delight in
teasing her, while he turns over in his mind how best he
can help the young girl who has been his darling since
her childhood.
There is a short, passionate greeting between Walther
and Eva in front of her father's house, which stands im
mediately opposite that of Sachs. Walther tells her of his
non-success and the impossibility of success, and begs
her to fly with him. Their plan is interrupted, however,
by the horn of the night-watchman, who stops at the
street corner to sing his old-fashioned warning :
" Hark to what I say, good people,
The clock strikes ten from every steeple ;
Put out your fire and eke your light,
That no one may take harm this night.
Praise the Lord of Heaven! "
A most amusing effect is obtained by making him end

his exordium on F, after which, on his curiously-shaped
horn, he blows, loudly and long, an K$. Walther waits im
patiently for the watchman to pass and leave the way
clear ; but Hans Sachs has opened his window, and a
broad stream of light cast across the street prevents the
escape of the lovers from their hiding-place. And now
begins a charming and well-arranged comedy. Beckmesser appears with his lute, intending to serenade the
goldsmith's pretty daughter, whom he hopes to win on the
morrow. But Eva had changed caps with Lena in order to
escape detection, and it is the maid's head which appears
at Eva's window. Sachs means to pay Beckmesser out
for his behaviour at Walther's trial, and at the same time
he keeps his eye on the concealment of the lovers, who
fancy themselves unseen. He sets down his cobbler's
apparatus in front of his stall to finish Beckmesser's shoes
in the cool night air, and as he works he sings lustily a
cobbler's song. Beckmesser tries to get him to restrain
his enthusiasm for work and music, but in vain. Threats
and bribes have no effect, until at last Sachs says he may
sing the serenade if he likes and he will be " marker,"
registering the mistakes by blows on the last instead of
scratches on the slate. There is no help for it, and
Beckmesser ruefully plays a few introductory chords. The
song is really funnythe words are execrably misfitted to
the notes, and the tune is most comical. The blows on
the last come faster and faster ; Beckmesser gets more
and more excited, when the plot becomes further com
plicated by the sudden appearance of David, who, seeing
a stranger serenade before the window where his sweet
heart is showing her face, takes prompt measures to bring
him to his senses. At the noise window after window is
opened, heads are thrust out to see what is wrong,
apprentices and other young people gather in the narrow
lane, and the fighting becomes general, while screaming
and laughing from the windows add to the curious chorus
Meister, townsmen of all ages, neighbours, apprentices,
all taking part. As the confusion is at its height the horn
of the watchman is again heard, and, after the good old
burgher fashion, all fly from the decrepit old guardian of
the city's peace to the nearest refuge. Sachs, watching
his opportunity, takes Eva and Walther under his wing,
accompanying her to her father's door and taking the
[August 1, 1893.
young knight to his own house. The curtain falls as the

old watchman with his bad rheumatism slowly hobbles
across the stage, after singing his warning in f and
blowing his horn in F sharp.
The short Introduction to the third act is a piece of
wondrous beauty. It paints an idealised Hans Sachs ; no
longer the jovial craftsman with the smell of rosin strong
on his working-clothes, who met his friends in that little
" Wurst Glocklein " and ate sausages and Sauerkraut
washed down with beer, but the same genial, lovable
character seen in an ideal poetic atmosphere,no longer
a cobbler, but a tender-hearted, loving poet. This trans
formation scene is managed very skilfully and delicately
by Wagner. We first hear a phrase from the accom
paniment of the roystering, not to say profane, song with
which Sachs tormented the amorous Beckmesser, but
how andachtsvoll it sounds ! It dies away and the brass
instruments play two lines of Sachs' own chorale, " Wach
auf." Then another strain from the song, but how
different in character ! Higher and higher it rises into the
atmosphere of the ideal until the chorale brings it down
again to the real and the human, and the poetical concep
tion is merged in the comedy when the chattering " ap
prentice motive " interrupts its beautiful cadence. As
the curtain opens we see Sachs in holiday attire, sitting
in his own room, lost in thought, and with a large volume
on his knee. David appears before him and proceeds to
sing his morning lesson. With mischievous thoughts,
still enjoying the recollection of the previous night's fun,
he begins the words of the St. John's Day hymn to the
strains of Beckmesser's serenade, much to Sachs' annoy
ance. Walther now enters, and after greeting his kind
host he tells him of a lovely dream which visited his
slumbers. Sachs produces ink and paper and begs him
to relate it in song, for " a poet's work is to translate
his dreams into words""poetry is nothing but the
adequate embodiment of visions."
The conversation which follows would be very inter
esting as part of a dialogue on the Schopenhauer system
of " The World as Will and Idea," but is somewhat out of
place in a music comedy. Fortunately it is not long, and
to the lovely strain of the Preislied, Walther sings his
vision. Sachs is enchanted with the song, gives the poetsinger some sound advice about its form, and then leads him
out to prepare himself for the contest in the afternoon.
Beckmesser makes his appearance in Sachs' room, and
the orchestra makes fun of the poor town clerk, with his
body clothed in gala dress, but aching in every bone from
David's attentions overnight. Suddenly he notices the
paper on which Sachs has been writing, and naturally
concludes that he has here found at once a competition
poem and the cause of Sachs' unsympathetic behaviour.
To his astonishment, however, Sachs, when he returns,
denies all intention of entering the lists for Eva's hand,
and delights him by presenting him with the poem to use
if he pleases. This is indeed good news, for his unlucky
serenade is useless, and he cannot hope to have a new
prize song ready in time for the contest. The next
scene shows Wagner at his best as an ideal comedy
writer. Eva visits Sachs under the pretext of having her
new shoes adjusted ; but it is a sore heart which is beating
under her magnificent dress. Sachs greets her warmly
and compliments her on her appearance. She replies
" That is the credit of my dress-maker ; but who can tell
where the shoe is pinching?" "The naughty shoe."
answers Sachs ; "but that is your own fault for not having
tried it on last night." " Ah," sighs Eva, " I made a
mistake ; I trusted too much to a Meister." " What a
pity ! Well, let me see it, child ; I shall put it all right
immediately." Eva puts her pretty little foot on the
August I, 1893.]
THE
MONTHLY
stool, saying, " When I want to stand still it insists on

going on, but as soon as I try to go it compels me to
stay." " And what is the matter with it ? " " Can't you
see it's too big ? " " My child, that is pure nonsense ; the
shoe is narrow.''
" Yes, that is what I meant ; it is
squeezing my toes." " Whereon the left side ? " " No,
on the right/' "Here?" " No, more at the heel." "Is
that better ? " " Ach, Meister, you know better than I do
where the shoe is pinching." Just then looking up, she
sees Walther and gives a delighted cry, while Sachs still
kneeling, and wisely seeing nothing, says "Aha, here it
is ; I see what the matter is, and will put it all right in a
moment." While he is easing it, he talks to her and tells
her he is going to leave poetry alone ; how he heard this
morning a fine song which still, however, wants a third
verse. The orchestra supplies the old inspiration which
Walther finds in Eva's eyes, and he bursts into the passion
ate last verse of his Preislied. The shoe is ready with the
last line of the song, and Sachs says, " Try it now, dear ;
stand in it and see if it still pinches." She bursts into
tears on her good friend's breast, but he skilfully transfers
her head to a younger resting-place.
And yet people are still asking whether Wagner is
really a poet !
Eva, in shy happiness, says, " If I had my choice, my
dear friend Sachs, I should like to give you the prize to
day." To a quotation from Tristan in the orchestra,
Sachs thanks her drily, and says he knows a sad story
of Tristan and Isolde and the unfortunate King Mark.
The scene ends with the charming quintet by these
three with David and Magdalena. Behind the curtain
we hear the festal trumpets, and when it rises we see the
meadow outside the walls of Niirnberg, which lies warm
and beautiful in the bright sunshine. Guild after guild of
tradesmen enter, singing appropriate songs, and the fun
becomes fast and furious. The sound of the Meistersingers'
march is heard, and their barge with their " King David "
banner is drawn to the bank. As soon as the people
recognise their favourite Sachs, they all join in his own
chorale " Wach auf." When all the Meistersingers have
taken their seats the trial begins. The humour of the
unfortunate Beckmesser's version of the Preislied is
quite untranslatable, but F. Corder's clever version will
serve to show some of its absurdity
Walther's Song.
Beckmesser's Version.
" Morning was gleaming with
" Yawning and steaming with
roseate light.
roseate light,
The air was filled
My hair was filled
With scent distilled
With scent distilled
Where, beauty beaming,
My boots were beaming
Past all dreaming,
With no meaning.
A garden did invite
A guard 1 did invite
My raptured sight," etc.
To strap me tight,'' etc.
In spite of the jeers of the judges and the crowd, Sachs
declares that the song is a good one, and challenges
anyone in the crowd to sing it aright. Of course Walther
steps forward, delights the masters and the people, and is
duly crowned with the wreath and rewarded by Eva's
hand, which is now allowed to follow her lost heart.
Sachs calls on them all to honour German art and
Germany's sons, and the curtain closes on the happy
scene.
(To it continued.)
DR. HUGO
RIEMANN'S "DICTIONARY OF
MUSIC."*
Dr. Hugo Riemann's concise musical dictionary has
long been a household book in Germany ; it has now
* Dr. Huô Riemann.
Augencr & Co., London.
" Dictionary of Music." Part I. (A to Beck).
MUSICAL
RECORD.
171
reached its fourth edition, and Part I. has just appeared

in English. The compiler, in many a treatise on the
history and theory of music, has displayed his learning
and research, and may, therefore, be looked upon as a
man eminently qualified for such a task. It may be
pointed out that Dr. Riemann's work is not intended to
supersede all other dictionaries of music. On the con
trary, many details to be found in dictionaries of larger
compass are here necessarily omitted, for conciseness
rather than comprehensiveness was the special object
aimed at. It must however be acknowledged, that, con
sidering the space at disposal, much valuable information
has been collected together. The book contains not only
biographies of musicians and writers of music, but also
descriptions and history of all musical instruments, an
exposition of the musical theory with which Dr. Riemann's
name is especially associated, and definitions of musical
terms, etc. The compiler is a man of liberal views ; his
respect for, and admiration of the old masters does not
prevent him from recognising the merit and importance
of modern masters. Of Johann Sebastian Bach he
writes :
" There can therefore be no question of Bach's music becoming
antiquated ; the most that can be said is that certain accessories
such as cadences, ornaments, and the like, in which Bach showed
himself a true child of his timeremind us of the past. On the
other hand, his melody is so thoroughly healthy and inexhaustible,
his rhythm so manifold and pulsating with life, his harmony so
choice, so bold, and yet so clear and intelligible, that his works are
not only the object of wonder, but are most zealously studied and
imitated by the musicians of the present day, as indeed they will be
by musicians in the far future."
From the first part now issued, it is clear that English
music and musicians have not been neglected. Amor.,";
modern composers Messrs. Algernon Ashton, John
Francis Barnett, and Sir Joseph Barnby have reason
able space allotted to them. In this matter of space
Balfe has been treated somewhat generously, seeing that
he is justly spoken of as having devoted himself to the
composition of operas, " but certainly without presenting
this art species in any new light." Again, if we may
judge from the article " Balakireff," Russian musicians
will not be ignored.
There is a short, but excellent article on "Absolute
Music." No question is more eagerly discussed in these
days than that of so-called absolute, as opposed to pro
gramme music, and the few concise remarks will be
welcome. We are reminded that, according to some, "all
music which does not express some definite poetical thought
is mere trifling with sounds," while other musicians
" utterly deny to music the power of representing any
thing." And, further, that " when music becomes sym
bolic, i.e., attempts by means of certain formula' or artifi
cial imitation of sounds intentionally to awaken certain
definite associations of ideas, it goes beyond its own
domain, and enters that of poetry or of the representative
arts." The article "Amateur" shows Dr. Riemann in
one of his severe moods ; on many a page of his diction
ary it will be seen that, on occasion, he does not hesitate
to speak out his mind plainly. Some people lay the
flattering unction to their souls thatat any rate in art
mattersthe world is gradually growing wiser and better,
but we are here told that " the taste of dilettanti was not
always so thoroughly bad, nor so favourable to shallow,
affected, ephemeral music as it is to-day ; " and again,
that the term " amateur," formerly one of good meaning,
now stands for " one who has learnt nothing properly."
The criticism passed on Francesco Arcais, for many
years musical critic of the Italian paper Opinione, shows
that Dr. Riemann moves with the times. Of this Arcais
he says : " He had an excellent pen, but his tastes were
172
THE
MONTHLY
somewhat antiquated, and he held in horror, not only

Wagner, but any departure from Italian opera in the
good old sense of the term."
The article on "Albert,'' Prince Consort of Queen
Victoria, contains two curious statements. The Prince
is known to have written songs, romances, canzonets,
and sacred works, but here, among the list of his com
positions, we find the following :" An operetta Les Pctits
du Premier (Paris, 1S64), an opera Jean le Fol (Bagnicrcs
de Bigone, 1865). By the way, under " Albert " we meet
with the name of the now distinguished pianist-composer,
son of Charles d'A., who was elected Newcastle Scholar
at the National Training School, where he studied under
Messrs. E. Pauer, E. Prout, Dr. Stainer, and Sir A.
Sullivan. His Christian name is properly written Eugene ;
since his residence in Germany, however, he has dropped
the final e.
The article " Altered Chords " may be regarded as a
first introduction to Dr. Kiemann's system of harmony
based on Tartini, Moritz Hauptmann, and other modern
theorists. To those unacquainted with that system, the
reference to the note g as the fundamental note of the
C minor chord, may seem somewhat peculiar. The
reader is referred to the article " Minor Chord," and,
indeed, until that, and some others, such as " Clang,"
have appeared, isolated references to that system, such
as the one here, can scarcely be intelligible.
The appearance of the English translation of Dr.
Riemann's dictionary in parts will give us, from time to
time, an opportunity of speaking of its contents. But in
German form it is, as slated, already familiar, and we
feel sure that it will be welcomed by all who desire a
handy book of reference. For those in search of some
thing more elaborate, there are Sir G. Grove's excellent
"Dictionary of Music and Musicians," and Mendel's
" Musikalisches Lexicon." In these two works will be
found many valuable articlessuch, for instance, as those
on " Beethoven " and " Schubert," by Sir George Grove
himselfof which there is here no attempt at imitation.
Dr. Riemann's special aim, as already stated, was com
pression without omitting anything of essential import
ance, so that even for the lives of the greatest musicians
little more than a skeleton biography is given.

A Collection of Articles intended for Educational Purposes,
CONSISTING OF

By E. PAUER,
Principal Professor of Pianoforte at the Royal College ofMusic, &c.
{Continued from p. 15a.)
STEP 3.
Smith, Sydney.
Lucia di Lammermoor, Op. 7.
Although the so-called fantasias on operatic themes
have gone out of fashion, an effective arrangement of
bright and beautiful melodies will always be acceptable.
In this case it is the celebrated Sextet from Donizetti's
opera which is brilliantly and effectively transcribed. The
piece itself (D flat) is of moderate difficulty.
Smith, Sydney. " The Lily of the Valley." Mazurka
(E flat), Op. 14. This showy Mazurka, somewhat remind
ing of Schulhoff's popular " Souvenir de Varsovie " is a
good piece for performance in the home circle.
Smith, Sydney. "The March of the Men of Harlech "
(d flat), Op. 15. The well-deserved popularity of the
celebrated Welsh air is a sufficient guarantee for the
welcome which will be accorded to this arrangement.
MUSICAL
RECORD.
[August I, 1893.
Smith, Boy/on. " Auld Lang Syne." Air d'Ecosse (A

flat), Op. 43. A very brilliant and effective arrangement.
Lee, Maurice. "The Brook's Lullaby," study (e major).
The effect of the double triplets is pleasing, but the player
must take care to subdue the figure in semiquavers, and
to bring out in a singing manner both melody and bass.
Lee, Maurice. " Eclio du Ciel." Study (n minor). Al
though not original, and not exactly easy, it is sure to find
favour with players who possess an elastic movement of
the wrist.
Lee, Maurice. " La Napolitaine." Study (a minor).
This piece is a kind of Tarantelle, written in two-four
time ; the rhythmical expression must be firm and sharp.
An agreeable cantabile (page 4) will bring a certain
pleasing and necessary contrast.
Lee, Maurice. "Auf Fliigeln des Gesanges," by
Mendelssohn (a flat). The celebrated song, so full of
beautiful melody and sincere feeling, is here presented in
an " arpeggio " dress, which demands lightness and
fluency of fingers for an effective performance.
Lee, Maurice. " Souvenir de la Styrie" (F). A pleas
ant, pastoral melody, with an effective variation at the
conclusion.
Lee, Maurice. " Valse d'Amour " (g minor). A grace
ful movement, which requires a good, rich tone.
Lee, Maurice. " Fantaisie sur un ancien air francais," (G).
The air is agreeable, and the variations are not difficult.
Roeckcl, J. L. " Ronde des Sylphes " ( F). A string of
useful studies (chromatic runs, shakes, arpeggios). This
otherwise unpretentious piece will be found useful.
Roeckel,J.L. "Gwendoline," Idyl (e flat). A kind
of Romanza in the style of Goria and Rouvier.
Rocckel, J. L. " La Donna del Lago " (<;). Two of
the best-known airs of Rossini's but little-known opera
are here effectively transcribed.
Roeckel,J. L. "Bella Napoli," Saltarella (n flat). Full
of life and freshness ; it is effective and agreeable to play.
Ritter, Fr. Gounod's " Premier Jour de Mai " (a
major). With respect to technical difficulty, this piece
could be already taken in step 2 ; but in order to give the
refined and elegant expression, more experienced per
formers are necessary.
Resch, J. " Heimliche Liebe," Gavotte (g). A very
unpretentious little trifle.
Reinecke, Carl. Walzer (E flat), Op. 1 13. More or less
all drawing-room valses have a little Chopinesque char
acter, but this affinity does not concern so much the music
itself as the peculiar, elegant character which Chopin
invented. And this is also the case with this valse, which,
in its chromatic progressions, reminds of the genial Polish
composer's valse, Op. 64, in c sharp minor. The valse
itself is another proof how insignificant matter can be
turned to good account by an experienced hand.
Reinecke, Carl. Music to Hoffmann's fairy tale, "Nut
crackers and Mouse King," Op. 46. No. 1. "Christmas Eve''
(F). In order to understand the exceedingly happy and
correct musical portraiture of the incidents, it is absolutely
necessary to read the introductory lines. With every
right, the piece may be called a real gem. No. 2. " God
father Drosselmeyers Automaton " (B flat). A most
amusing and exhilarating piece. No. 3. " Godfather
Drosselmeyers Clock Song " (c). The tick-tack of the
clock, entrusted to the left hand, must be given clearly
and sharply, and no variation or uncertainty of time can
be allowed. No. 4. Shepherd's Ballet in the Puppet
Kingdom (a minor and c). Great neatness, clearness and
accuracy are indispensable for a right and characteristic
performance.
Pieczonka, A. " Salon Walzer iiber den Namen Bach."
In order to understand the composei's intention it must
August I, 1893.]
THE
MONTHLY
be explained that the letters, b a, c, h are in English

P. flat, A, c, and b. Not only Bach himself, but his sons
Friedemann and Emanuel, and later, Robert Schumann,
wrote Fugues on the four notes indicated by the letters ;
but in the present instance they are applied in a valse,
which is written with commendable cleverness, and
produces a brilliant effect.
Pieczonka, A. " Hommage 11 la Pologne " (a minor).
This mazurka possesses the true Polish character, and
will, therefore, be welcome to all who like to become
acquainted with the characteristic features of the different
national music.
Pieczonka, A. " Grande Polonaise He'roique " (E flat).
Very brilliant and effective, without offering any particular
difficulty.
Packer, J. A. " Une Larme " (a tear). Romance sans
paroles, Op. 46 (e flat). An expressive, but not senti
mental song, offering a good opportunity to practise the
memory.
Naumann, T. W. Marche Cortege from Irene {Queen
of Saba), opera by Gounod (c). The solemn, stately and
pompous character of this festival march have rendered
it a rival of Meyerbeer's well-known Coronation March of
the Prophet, and the present arrangement does ample
justice to the original composition.
Mann, Fridiric. " La Bella Espanola " (G). Although
the characteristic expression is not Spanish, the piece
itself is agreeable, tuneful and bright.
Selby, B. Luard. " Phantasiestiick " (a). Written in the
form of a " Ballad " ; the second part requires fluent
fingers.
Siemers, Aug. " Moming Song," Op. 66 (b flat). A
very unpretentious, simple piece, which offers opportunity
to study the cantabile and again the brilliant style.
Scharwenka, Xaver. "Tarantella," Op. 51, No. 1 ; and
" Polonaise," Op. 5 1, N o. 2. The Tarantella (G min.) is not
only a piece written in % time, but really the Neapolitan
dance, for it possesses the life, bustle, and energy which
a real Tarantella ought to possess. In the Polonaise
everyone will like and appreciate the stately, dignified,
and earnest expression. The harmonisation of the little
piece is particularly happy.
Scharwenka, Xaver. " Nocturne," Op. 38, No. 2
(is flat). A very sweet and pleasing melody made this piece
highly popular, and this popularity it really merits, for
it is a charming trifle.
Scharwenka, Xaver. " All'Ongarese," Op. 38 (n flat).
This piece deserves to be highly recommended for its
extremely elegant, graceful, and pleasant expression ; it
is a movement which more particularly suits ladies, for
there is no physical force or endurance required, and the
elegant figures themselves will fall nicer from the fingers
of a lady than from those of a gentleman.
Scharwenka, Xaver. " Gondolicra," Op. 20 (D min).
The left-hand part has first to be practised, for if the
double notes are not executed with clearness and ease,
half of the effect is lost. The right hand part ought to
be sharply rhythmicised.
Schachner, R. " Le Soupir" (from "Ombres et
Rayons"), E flat. A very unpretentious but well-sounding
little piece, somewhat reminding of Ravina's well-known
Nocturne " Sylvia."
Rommel, E. " Siciliano " (g min). A charming,
melodious, and ingratiating little piece.
Ketterer, E. "Gaetana." Mazurka (E flat). The
piece has obtained so large a popularity that any further
remarks are not needed.
Kuhe, Wilhelm. "Rose in thy Beauty" (b flat).
Spohr's Aria from the Opera Zemire and Azor has made
the round of the world, and the present transcription,
MUSICAL
RECORD.
173
somewhat in the form of an Arpeggio Study, will be wel

come, were it only for its usefulness as a study.
Kuhe, Wilhelm. " Dialogue d'amour." Duettino sans
paroles (B flat). The melody reminds somewhat of the
celebrated Russian gipsy air, as transcribed by Liszt and
Leopold de Meyer. The treatment is very simple and
therefore not difficult.
Kuhe, Wilhelm. "Io ti voglio" (B flat). The air
belongs to Gordigiani's collection of Tuscan Melodies,
and is very popular ; in the present instance some varia
tions bring a pleasant contrast into the otherwise some
what monotonous melody.
Lange, Gustav. " Feen Marchen" (Fairy tale), D flat.
The piece has to be played with a light but crisp touch,
and in the second part (page 5) the melody ought to be
well sustained by the right hand. On the whole, it is a
recommendable and effective piece.
Lou; Joseph. "Album Leaf" (F sharp). A short, ex
pressive and euphonious melody of two pages' length.
Loeffler, R. "Die Lauterbacherin " (Idyl), A flat.
The air itself comes from the Bavarian Palatinate, and
has become widely known by its naturalness, simplicity,
and unaffected charm. It has by no means suffered by
being transcribed, and is thus an acceptable trifle for the
drawing-room.
Leybach, J. I Puritani. Fantasia, Op. 48 (A fiat). A
showy piece which introduces the most popular airs of
Bellini's opera. Certain repetitions, of which the com
poser is very fond, may easily and advantageously be left
out. The same remarks apply to the composer's Fantasia
on Bellini's Sonnambula, Op. 27 (c minor).
Loeschhorn, A. " Wanderlied " (Farewell), B flat, by R.
Schumann. The transcriber recognised the value and
beauty of the excellent and popular song, and has be
stowed much care on his work, therefore it stands out
conspicuously among the hundreds of general arrange
ments.
Pauer, Ernst. " Bagatelle," in G minor. As a bagatelle
is a trifle, and as the piece itself does not pretend to be
more, the public cannot expect anything else than a
short effusion of the lightest character.
Miiller, A. E. " Four grand caprices," in C minor, G
flat, c and g sharp minor. Miiller, a contemporary of
Mozart and Beethoven, wrote 15 caprices, which were in
their time far aheadwith regard to technical execution
of Mozart and Haydn's pianoforte works. The caprices
are really sonata movements of solid construction, agree
able harmonisation, and acceptable melodies. No. I in
c minor, and No. 2 in v, flat, belong really to step 4 ; but
the students who occupy themselves with pieces of Step 3,
will not fail to derive great benefit by reading out slowly
and with the severest attention these two sterling works.
No. 3 in C major wants a rapid, light, fluent, and crisp
treatment ; it is written in a practical style, and sounds
brilliant and effective. No. 4 requires tone and accurate
rhythmical expression. The four caprices are a splendid
preparation for dementi's and Beethoven's sonatas.
Resch, /. "Spring's Delight." Romance (e flat).
Written in a fashionable style, the piece is well adapted
to be played before a very lively movement.
Mora, Antonio.
"Aime moi." Valse (c). More
suited for real dancing purposes than for the performance
as a drawing-room piece.
Maas, Th. " The Haunting Strain " (D flat). Originally
a song by the same composer, arranged in an easy, some
what commonplace manner.
Krai, J. N. "Hoch Habsburg." March (r). An
exceedingly spirited, tuneful and animating march move
ment, exhibiting the Austrian nationality of the composer.
Wollenhaupt, H. A. " Schottische." No. I, 2, and 3.
174
THE
MONTHLY
The ' Schottisch " is really a slow Polka with a slight

reminiscence of the now obsolete " Ecossaise." No. 1,
" L'Amazone " (b flat), requires a good-natured, almost
soft, expression. No. 2, " Plaisir du Soir' (E flat) is very
engaging and melodious. No. 3, " Pense"es d'amour" (E
flat) is exceedingly popular.
Stiehl, Henry. "Grande Valse Brillante" (E flat).
This dance movement has a somewhat capricious, ob
stinate expression, which, when executed with precision,
will produce the desired effect.
Voss, Charles. " Die Thriine," Romance de Holzel (c
major). This song, at one time very popular, is tran
scribed with tolerable effect ; the last part (pages 4 and 5)
has to be played with delicacy, otherwise it obtains the
effect of continual hammering.
Tone/, Li'onie. " Perles et Diamants." Mazurka bril
lante (E flat). The piece is already well known and
considerably popular ; it is in the style of Goria's " Olga "
Mazurka.
Neldy, A. B. " Voix du Ciel " (f). The effect of the
piece reminds involuntarily of A. Dreyschock's " Bluette.''
It seems that the composer intended to give a kind of
dramatic scene ; sacred chords interrupt very worldly
phrases, and the idea that the composition was suggested
by poetry is in a certain degree excusable.
Stem, L. A. "Silver Bells" (a flat). A kind of
elegant polka, short and simple.
Bargiel, Woldemar. " Fantasiestiick" (in C). A
kind of hunting-piece bright, jovial, and effective.
Another Fantasiestiick (in G) is charming ; very carefully
written, replete with fascinating and graceful figures, it
will at once command attention and procure sympathy.
The same composer presents a Fantasiestiick (also in g)
in % time, which is full of grace and elegance.
Schurig, Bruno. "Marche Romanesque" (a flat).
Before being able to execute this piece with effect, it must
be committed to memory, for the continual changing from
up to down forbids to look at the music.
Wagner, Richard. " March of Peace " from Rienzi
(f). The fame of this march is so great that it is un
necessary to allude to its intrinsic merits.
IVollenhaupl, H. A. " Study of Velocity " (l> minor).
An excellent study for runs, founded on very firm and
good harmonies.
Trehde, G. Transcription of A. Wagner's song " Stay
with me" (E flat). The arrangement, in its way consider
ably effective, will not give much trouble to the performer.
{To be continued.')
OUR MUSIC PAGES.

We give this month, for the benefit of our organist friends
who do not subscribe to the " Cecilia" series, Mr. W. T.
Best's arrangement of the National Anthem, as performed
on the organ at St. George's Hall, Liverpool, on special
occasions. It will be observed that the air is repeated
three times : first of all on the swell, secondly in the key
of the dominant with a few passing modulations, and
finally in the original key, fortissimo, on the great organ.
Our readers will notice here the good effect produced by
doubling the melody, and playing the upper octave staccato.
Our second selection is one of Herr Krause's six little
sketches for children (in Messrs. Augener & Co.'s Edition,
No. 6199) with the heading "Joyful Play in the Garden,"
and which our readers will see is thoroughly descriptive
of its title. Happily, it is now widely realised that pic
ture teaching " for children is quite as helpful in music as
in other subjectsa fact which is testified to by the large
and increasing circulation of these and kindred com
positions.
MUSICAL
RECORD.
[August I, 1893.
MUSIC IN LEIPZIG.
The name of Erik Meycr-Helmund is favourably known
throughout the world as that of a composer who has written
a large number of agreeable songs. Latterly, Meyer-Helmund has evinced a disposition to essay some of the larger
forms : and not so long ago a ballet suite of his, entitled " Der
Berggeist," was played here with considerable success. And
now he has composed an opera, Der Liebeskimpf, which has
just been produced in Leipzig. Meyer- Helmund's father.
Ernst Meyer, is, or was I am not sure whether he is still
livinga German musician, domiciled in St. Petersburg. Erik's
earliest studies were chiefly in the vocal art, and he was destined
for a singer ; but the great success obtained by his littler inducer!
him to take up the rill of a song composer, to which he ha^
since almost exclusively devoted his talents. Meyer-Helmuml
has usually been very fortunate in his choice of lyrics, the words
of his songs being in most cases quite as charming as the music.
But to return to his latest venture, the opera Der Licbeskampf.
It is in two acts, and appears to have been exactly modelled
upon the lines of Cavalltria Kusticana. Probably for this very
reason Meyer-Hehnund's work was not much relished by Leipzig
opera-goers. One performance of it proved enough for them.
The opera contains some pretty ideas, and as a first attempt is
not discreditable ; but it bears the stamp of amateurishness,
and the composer will have to make more serious studies in
composition before he can hope to succeed in works of this
class.
Among the impending changes at our theatre I may mention
that Herr Capellmeister Paur is about to leave Leipzig for
Boston, U.S.A., where he will take the place of Herr Xikisch,
who has been appointed conductor at Buda-Pesth. The Boston
musicians tried hard to obtain the services of Ilerr Mottl or of
Herr Mahler, but failed to capture either ; so they fell back
upon Herr Paur, and may be considered lucky to have secured
so estimable a conductor. During the four years he has been in
Leipzig Herr Paur has established himself as a general favourite.
He plays well both the piano and the violin, and he is
thoroughly conversant with all the Wagner operas. It is a pity
he is so nervous when conducting. The forces under his baton
are often infected with the same disturbing influence as their
conductor. Another change, which will probably be more
widely felt than the one before-mentioned, is the departure of
Friiulein Paula Mark for Vienna, to take up her new engage
ment as prima ifon/ia at the Imperial Opera House. Prior to
her departure, Fraulein Mark repeated some of her best imper
sonationsCarmen, Mignon, and Marie in Keinecke's opera
Der Gouveriicur von Tours.
" New brooms " proverbially " sweep clean " ; and it is there
fore no wonder to find Herr Gustav Schreck, the new Cantor of
St. Thomas's, displaying considerable energy and activity at his
post. He has revived many compositions of the olden time,
and has introduced several new motets of his own. He has also
given some fine performances of selections from Bach's giant
Mass in 1;. minor.
We have had no lack of concerts. The Arion Vocal Union
gave one at which Reincckc's frequently-played " Festival Over
ture" with choral finale, "Andie Kunstler " wasagain heard. It
was capitally played by the band of the 107th Regiment, and
the vocal portion was admirably sung. After the overture the
Arion sang four male-voice choruses by Richard Miiller, founder
and for forty years conductor of the Society. His successor.
Dr. Paul Klengel, at this concert made his debut as the Society's
conductor. Miiller's writing is fresh, vigorous, and effective,
and full justice was done to it by the youthful singers. Other
items of the programme were Isenmann's very forced " Am
Trnunsee," Rheinbereer's touching and beautiful ball.ua, " Das
Thai des Espigno," ZSllner's charming " Wanderlied," and three
choruses by Silcher. The numerical strength of the choir was
altogether insufficient to cope with the military band accom
paniments.
The conductor of the last-named, Herr Doll,
showed himself an accomplished violinist in his playing of the
1st concerto of Max Bruch ; but the accompaniments to this, as
to the choral works, left much to be desired. We were greatly
interested in the arrangement for military band of Brahms'
Intermezzo, Op. 117, No. I; but Liszt's " Mephisto Valse,"
August I, 1893.]
THE
MONTHLY
and Glinka's brutally scored "Jota Aragonese," which also

figured in the scheme, seemed quite out of keeping with their
surroundings.
On the Sth of July, the Lehrergesang-Verein, conducted by
Herr Capellmeister Sitt, gave its annual summer concert. This
Society is the best male choir in Leipzig, having the largest
muster-roll, and also the best-cultivated voices. Their pro
gramme contained the same pike tic r/sistancc as that of the
Arion, alluded to above, viz., Rheinberger's "Das Thai des
Espigno." Among the choruses acappelta heard on this occasion
were " Koinm, Mutter Nacht," by Gustav Schreck, Hegar's
" Weihe des Liedes," " Festgesang," by Theodor Salzmann,
Max Bruch's well-known "Am Rhein," and the charming
" Krischgesungen " of Silcher.
Grieg's " Landerkennung "
was the final piece on the list. Herr Doll also appeared at this
concert as solo violinist, l>eing much applauded (or his render
ing of the Adagio from Spohr's D minor Concerto. Liszt's
Polonaise in E, Wagner's " Iluldigungsmarsch," and "Sieg
fried's Rheinfahrt " were contributed by the orchestra, which
also played in the gardens the Marche Heroique of SaintSaens, Oberon overture by Weber, " Slavischer Tanz," by
Dvofuk, and an entr'-acte from Reinecke's Gouverncur von
Tours.
MUSICAL
RECORD.
175
2 Klavierstiickefur Pianoforte. Von Anton Strelezki.

(Edition No. 6,467 ; net, is.) London : Augener &
Co.
The first of these two pieces in E[? major {con fuoco),
owing to its continuous movement in semiquavers, rather
resembles an dtude on broken sixths, fourths and broken
chords, and were it only on this account the piece is
most worthy of notice. The second in BJ? major (andantino), is somewhat like a song without words, and offers
scope for the player to display his power of expression,
by rendering the melody and an accompaniment in the
same hand. Both call for recommendation from us.
Morceaux pour Pianoforte. Par Anton STRELEZKI.
No. 49. Deuxidme Aubade en LA majeur. No. 50.
Valsette en fa mineur. London : Augener & Co.
These two pieces are extremely melodious, and are so
effectively written that they will afford pleasure to all.
It is true that they are only bagatelles, but there is a
great demand for this style of composition, something at
the same time short and pleasing.
Irrlickter-Tanz (Danse des Feux follets) Scherzo pour

Piano. Par Fritz Kirchner. Op. 458. London;
Augener & Co.
Another light and easy piece from the pen of this pro
lific composer, this time a Scherzo, certainly one of the
Musical Kindergarten. (Vol. VIII., Part I.) Masquer most taking of the pieces with which we are acquainted.
ade. By Carl Reinecke. Op. 206. For Piano The title sufficiently suggests its playful character, and
solo. (Edition No. 6,348 ; net, is. 4d.) For piano we are pleased to be able to recommend it as a recreative
duet. (Edition No. 6,878 ; net, 2s. 6d.) London : piece very suitable for holiday time.
Augener & Co.
THE sparkling music to this Masquerade is divided into Symphonies. By Joseph Haydn, arranged for pianoforteduet by Max Pauer. No. 9, in c minor. (Edition
numbers, seven forming Part I. now before us. No. 1 is
No. 8,554/ ; net, is.) London: Augener & Co.
descriptive of the medley of sounds made by the voices
of the company arriving for the masked ball, through There is a departure in this symphony from the com
which may be heard the tuning of the instruments in the poser's usual course of commencing with a short, slow
orchestra. The conception of this is as bright as it is movement : here he dashes off Allegro with a striking
clever. This movement leads into a majestic polonaise unison passage. This movement is followed by Andante
(" The King's son opens the ball with Cinderella "), fol Caniabile, and the Finale is preceded by a short Trio.
lowed by a Liindler by two of the characters, Hans and The symphony is full of beauties, which are skilfully re
Grete. Then we have a quaint Intermezzo in the form produced in the pianoforte arrangement by Mr. Max
of a Spanish song, supposed to be sung by a gipsy boy. Pauer.
No. 5 is a polka danced by Brownies and Gnomes ; Morceaux favoris pour Pianoforte a 4 mains. No. 49.
No. 6, Quadrille a la Cour (" called by Prince Sisi ") ;
X. Scharwenk\. Polonaise. Op. 42. London:
and No. 7 is another Intermezzo, introducing a favourite
Augener & Co.
Volkslied. This music reflects the happy and light- A brilliant composition, well adapted for piano duet,
hearted side of life, and its strains will gladden the ears such as we are accustomed to expect from this great
of young and old, who will surely listen with delight to pianist and popular composer. It is in his usual original
Hans and Grete's Liindler, and the polka danced by style, always interesting, and displaying in its solid con
struction the hand of a master.
Brownies and Gnomes.
fcebfeto* of #rtn j&vait atrtr &t\o

$ttftfon&
Forty-Two Lieder Ohne Worte (Songs without words)

for the Pianoforte. By Felix Mendei.ssohn-BarTHOl.nv. (Edition No. 6,228, in papercover.net, 3s ;
or bound, with portrait, net, 6s.) London : Augener
& Co.
Mendelssohn's biographers make pointed reference to
the composer's uniformly sunny disposition, which seems
not to have left him until within a comparatively short
time before his death ; and what better illustration of this
fact can we have than his own beautiful songs without
words ? Messrs. Augener & Co. have just issued, in one
volume, the seven books of Lieder, which the exigencies
of copyright law permit of being published in England
at the present time. By way of index, there is a useful
reference table, giving the opening bars of each song.
The whole is carefully fingered, and, needless to say,
beautifully printed ; an edition, in fact, which we are
sure many of our readers will be glad to possess.
Sechs Tonstiicke fur das Pianoforte su 6 Handen. Componirt von Cornelius Gurlitt. Op. 192. No.
1, Valse Noble. No. 2, Gavotte. No. 3, Capricietta.
No. 4, Ballata. No. 5, Serenata. No. 6, Impromptu.
A perusal of these graceful and melodious little pieces
has afforded us great pleasure. The passage of time
seems to have no effect upon Herr Gurlitt's powers, and
we can but envy the wonderful freshness of mind which
enables a hard-worked musician to produce such a de
lightful work in the seventy-fourth year of his busy life.
It is difficult to estimate how much the rising generation
of musicianspresent, and to comewill be indebted to
Herr Gurlitt for the sunshine he has thrown over many
thorny paths which they must tread in their progress
onwards, and we wish, for the sake of teachers and
pupils alike, that his works were more generally known
in England. Messrs. Augener & Co. are going the right
176
THE
MONTHLY
way to work in bringing forward such excellently printed

and cheap editions of his compositions as these before
us. We do not propose to refer to them in detail, beyond
saying that each morceau is a capital illustration of its
title, and, being carefully phrased, will be found most
useful for teaching purposes, affording pleasure to per
formers and listeners alike. No real technical difficulty
exists anywhere, and there is in each number a part
(usually in the middle) which can be compassed by quite
elementary players.
Waher-Capricen for Pianoforte Duet (4 hands). By

Max Reger. Op. 9. (Edition No. 8,6oi ; net,
2s. 6d.) London : Augener & Co.
The latest work from M. Reger's pen is a set of twelve
Valse Caprices. They are written in a florid style, in a
variety of tempi and keys, are somewhat vague and rest
less in character, at the same time exhibiting to a great
degree his inventive power. This composer's style is
undoubtedly difficult to understand, and several of the
caprices, though short, are not easy for an average
player. If. however, they are once thoroughly mastered,
they may find favour with many.
Romance from Rosamonde. By F. SCHUBERT. Arranged
for violin with pianoforte accompaniment by Emile
Thomas. London : Augener & Co.
This arrangement for violin of the Romance of Schubert
is similar to the Serenade and Ave Maria already pub
lished in this collection of pieces de salon. It makes a
pleasing solo, and as the arranger has kept exclusively to
the song, adding only a little double stopping towards
the end, it will not be found in any way difficult.
Twelve Easy Exercises (Exercicesfaciles) for the violon
cello. By VV. H. SQUIRE. (Edition No. 7,780;
net, is). London : Augener & Co.
Every teacher of the violoncello will find these twelve
easy exercises in progressive keys (major and minor up
to three flats and three sharps) most useful material for
the purpose of instruction. The exercises are not con
fined to the first position, they occasionally touch on
notes up to the harmonic A. They do not illustrate
many kinds of bowing, but perhaps this is well when the
pupil is not yet advanced. Each study occupies one
page of print, and is, therefore, of sufficient length to be
interesting. We hope Mr. Squire will continue to add
useful works of this description to the repertoire of music
for his instrument.
Voice Training Primer. By Mrs. Emil Behnke and Dr.

C. W. Pearce. London : Chappell & Co.
This book of seventy-six pages is in the form of question
and answer, and is divided into two distinct parts.
Part I contains twenty-one pages by Mrs. Emil Behnke ; it
treats of elementary vocal physiology, voice production,
register, position, pronunciation and enunciation, finishing
with a list of "faults to be avoided." Part II., by Dr.
C. W. Pearce, is a catechism of musical theory, which, as
stated in the preface, " will furnish vocal candidates with
all the theoretical answers they will be called upon to
give to questions asked them by the examiners." It will
be evident to anyone reading this book that it is the
result of wide experience in teaching the above-named
subjects. The authoress and author have united their
best efforts in the production of a really useful primer
for the vocal student, and of all students he is usually
the one who shows the least acquaintance with these
most necessary branches of study. The title-page of this
vork is faced by a plate showing the various parts of the
ody employed in the production of voice. Part II. is
11 of tables and figures making everything clear. A
MUSICAL
RECORD.
[August I, 1893.
useful index completes the work, which We 'doubt not

will soon become a popular companion to the well-known
vocal exercises by the late Mr. Behnke and Dr. Pearce.
Twelve Operatic Choruses. Book I. Fairy music from
Weber's Oberon, arranged for female voices with
pianoforte accompaniment, by H. Heale. (Edition
The work of arranging these three choruses from Weber's
Oberon, for three female voices, is not an arduous one,
,but it has been done in so careful a mannerthat it cannot
fail to win the appreciation of the many teachers of
singing classes in schools and elsewhere, who are glad to
have this opportunity afforded them of giving their pupils
a change from part-songs and the like. No. 2 (the popu
lar "Mermaid's Song and Chorus of Water Nymphs")
is a long piece of seventeen pages for solo or semi-chorus,
duet or two-part semi-chorus, and three-part chorus,
especially suitable for performance. The other numbers
are a " Chorus of Elves " (No. 1), and " Spirits of air and
earth and sea" (No. 3), the latter for solo (or semichorus), and chorus. The pianoforte part is not always
easy, but is extremely brilliant.
The Serenade {Das Stdndcheri). Song. Words by Uhland.
Music by Emil Kreuz. London: Augener & Co.
The success of this song (for mezzo-soprano) will depend
greatly upon the singer, who must first of all endeavour
to become en rapport with the composer, in order to
bring out its undoubted beauties. Given this innigkeit,
the vocalist will be able to show that Herr Kreuz has pro
duced a song worthy of his high reputation.
All on a Fair May Morning. Words by William
Black. Music by Hamish MacCuxn. Heart
be stout, and eye be true. A Cavalier's song. Words
by George MacDonald. Music by Hamish
MacCunn. London : Augener & Co.
Of these two songs the first named should win the
greater popularity. It is tastefully written for a soprano
voice, and has a particularly graceful flowing accompani
ment. For the Cavalier's song Dr. MacDonald has
furnished some unusually good words, which have duly
inspired the composer. The result, from a musical point
of view, is excellent, but we fear that the song makes too
many demands upon the singer to become as well known
as it deserves to be. However, trained singers, and the
many amateurs whose voices have been carefully culti
vated, will find congenial work here.
Select Songs (with the original words and English versions
by C. Laubach) by Halfdan Kjerulf. " Her
Voice," " Longing." London : Augener & Co.
Probably most of us are already acquainted with these
two lovely songs, the second one especially, though it is
generally known as " Last Night." They now appear
with the original words, and new English versions by
C. Laubach which are essentially poetical, and, at the
same time, suitable for singing. These songs rank among
the very best ; and those who do not already number
them in their collection will do well to add them at once.
Reve Celeste. Morceau de Salon pour violoncelle et
piano, ou violon et piano. Par Maurice Lee.
This very melodious piece in the form of a Nocturne, is
equally effective for violin or 'cello, and for both it is an
acceptable addition to their r'pertoire. It is light and
by no means difficult, and the pianoforte accompaniment
both simple and interesting.
August I, 1893.]
THE
MONTHLY
MUSICAL
Operas antf Concert**

Signor Mascaoni's latest opera, / Rantzau, will not add
greatly to his reputation, although there are many charming
ideas in the opera. In the first place, the composer was hardly
wise to take such a subject for his libretto. / Rantzau is
founded on Les Deux Freres of M. Erckmann-Chatrian, and
although it makes an excellent novel, owing to the clever de
scriptions of life in a village of the Vosges, the librettist has
weakened the subject as an operatic libretto by expanding it to
four acts. There is so little that is dramatic in the opera that
it required music of the highest quality to keep alive the interest
of the plot, which relates to a family feud carried on mainly
by two brothers, Gianni and Giacomo. The former is a
landed proprietor, the latter the mayor of the village, and they
live so near each other that not only is there perpetual friction
between them, but the neighbours are induced to take part in
their squabbles. It is like the Montagues and the Capulets in
Romeo and Juliet. But of course there is a little sentiment
mixed up with the incidents, or the composer would have no
chance at all. Gianni has a daughter, Giacomo a son ; and the
young people love each other dearly, but are kept apart by the
fierce bickerings of their parentsand, what is worse, Luisa,
the heroine, has a ready-made husband provided by her father
in the person of one Lebel, a wealthy farmer, cordially detested by
the maiden. There is one peace-maker, Fiorenzo, a schoolmaster,
and one of the most effective scenes in the opera is in the second
act, where the schoolmaster, who is also a musician, gets together
some amateurs of the village to practise a mass he has composed.
But in the middle of the "Kyrie Eleison" the antagonistic
party make such a disturbance that the schoolmaster's music
comes to grief. After a time the lover, Giorgio, determines to
boldly avow his affection for Luisa, and if Lebel, the wealthy
suitor, will not give her up, intends to challenge him to a duel.
Meanwhile the maiden, worried by her father, and afraid she
will be compelled to marry the detested Lebel, becomes seriously
ill. Then the kind schoolmaster tries what he can do once
more to reconcile the stormy brothers, and Giacomo is persuaded
to go to his brother Gianni and reason with him. There is
charming pathos in this scene. But the lover, out of patience,
fights the duel with Lebel, and is not seriously hurt. Eventually,
owing to the affection of their child ren, the brothers are reconciled
and all ends happily. But it is something like a "storm in a tea
cup," and the attempt to blend ambitious music with such a
homely story as this proved only partially successful, spite of the
excellence of the score in parts. The opera was produced under
some disadvantages. Friday, July 7th, when it was first heard,
was one of the hottest nights of the season. Everybody seemed
weary and oppressed, and less attention was paid than the music
really deserved ; but Signor Mascagni, who conducted, was not
daunted, and succeeded in getting a satisfactory performance of
the work and occasionally the reward of hearty applause. The
opera opens with a very animated chorus, and the Romanza for
the heroine is graceful and expressive. The long and elaborate
finale of the first act seems to be more laboured and ambitious
than the subject demands, but it displays the ability of
Mascagni in a most favourable light. The scene of the inter
rupted " Kyrie Eleison " is clever and musicianly, and here
Mascagni gives us the idea that he has some perception of
humour in music. Some passages have a decided flavour of
the Opera Comique. A very effective scene, which must have
cost the composer no little trouble, is that in which the gossip
ing women at the well discuss the situation, and make their
comments upon the love affairs of Giorgio and Luisa. The
love-duet was also much admired. Madame Melba was charm
ing as the heroine, and Signor de Lucia played the lover with
his accustomed fervour. Signor Ancona and Signor Castelmary appeared as the quarrelsome brothers, and Mr. David
.Bispham made an excellent schoolmaster. The opera was
beautifully placed upon the stage, the village scenes being
charming. Band and chorus deserved praise, and the com
poser was warmly applauded ; but we return to our first im
pression that / Kantian will not increase the composer's fame.
It is certain that greater interest is taken in the works of
RECORD.
177
Wagner than heretofore. Even Tristan und Isolde, which 's

one of the most difficult for the average opera-goer, owing to
its intensely dramatic character, is gaining upon the public.
The single performance of Rigoletto attracted a good audience,
and the opera was well performed. The State performance on
Tuesday, July 4th, was a brilliant affair. Being present on the
occasion, we can affirm that in no other instance within our
recollection has so splendid a scene been witnessed as that
which was given to welcome the marriage of the Duke of York
and the Princess May. The opera chosen was Gounod's Romeo
et jtulictte, chiefly on account of its charming love-scenes. In
the original the last act would have been somewhat ominous,
but that was judiciously omitted. The magnificent theatre was
literally transformed into a temple of flowers. The " Bower of
Roses," described by the poet, was made a reality, thanks to
the liberality and good taste of Sir Augustus Harrit. Others
have told of the royal groups and the splendours of the State
reception. As for the music, there is nothing new to be said of
the opera of Gounod, save that it was admirably performed by
Madame Melba, the brothers De Reszke, and other eminent
vocalists.
Die Walkure was given with great success on
Wednesday, July 5th. Frau Moran-Olden was a grand repre
sentative of Britnhilde, and Frau Reuss-Belce was brilliantly
successful as Sieglinde, Ilerr Max Alvary being admirable as
Siegmund.
The wonderful music with which Wagner has
glorified the rather repulsive story was admired more than ever.
The composer has seldom risen to such a height as in some
portions of Die Waliiire. The "Valkyrie" scene, with its
wild, imaginative effects, was splendid.
On Saturday, July 15, Sir Augustus Harris had his hands
full. He had the honour of superintending a State performance
of two operas by Mascagni at Windsor Castle, and on the same
evening there was a representation of Faust at Covent Garden
and another of Die Walkiire at Drury Lane.. Nearly fifty
principal vocalists, about one hundred and thirty choristers, and
nearly two hundred and fifty orchestral performers took part, to
say nothing of ballet-dancers, scene-shifters, &c. Die Meislcrsingcr
was given in Italian on Wednesday. July 12th. Madame
Albani, M. Jean de Reszke, and M. Lassalle were in the cast.
and the opera was generally well performed. There has been
great activity throughout the month. On Wednesday, July
19th, a performance of Siegfried was given, and on Thursday
M. Isidore de Lara's opera, Amy Robsartthe libretto founded
upon Sir Walter Scott's "Kenilworth" was produced. We
regret we do not find much to admire in M. de Lara's work.
It is evident that the composer has not yet mastered the diffi
culties of grand opera. There is a want of dramatic force in
the score, but in the lighter passages, and the love music, M. de
Lara is more at home. He received much encouragement, and
Madame Calve, Madame Armand, M. Alvarez, M. Lassalle and
others did all that was possible for a work which we are com
pelled to pronounce immature. Dr. Villiers Stanford's Veiled
Prophet was announced for the 26th. This is a work which
has been heard in Germany, where it was much admired, but
it is new to English opera-goers.
RICHTER CONCERTS.
Spite of a terribly hot night on Monday, July 3rd, we found St.
James's Hall well filled. There were many good things, and
among them the overture to King Lear, written when Berlioz
was in the high fever of his admiration for Shakespeare and the
charming English actress, Miss Smithson. Of course, every
composer would have his own ideas as to the music such a play
as King Lear would suggest, but the French composer has
written a work that deserves to be heard, and it should be
played when the tragedy is performed ; it would serve as an
effective musical introduction. Another overture of an almost
eccentric kind was that of Schubert, the Teufels Lustschloss.
It was written in his boyhood, and the opera of which it is the
introduction was sold for " a mere song,'' and was used by care
less servants to light the fires. The overture is somewhat
feeble, but, like everything of Schubert, has individuality.
Mr. Ben Davies sang an air from The Barber of Bagdad, which
was given some time ago by the students of the Royal College
of Music. Mr. Davies also joined Miss Macintyre in the duet
1 78
THE
MONTHLY
from Die IValkiire, which they sang with brilliant effect. Liszt's
Rhapsodie No. I, and the " Walkiirenritt " were other items in
the concert. The Choral Symphony of Beethoven was given at
the Richter Concert of Monday, July 10th, and worthily brought
the season to a close. Some selections from Wagner were
given, and Miss Amy Sherwin sang Elizabeth's greeting from
Tannkiiuser. Mr. Andrew Black was heard in Pogner's Address
from the Meistersinger, but neither of these vocalists had quite
sufficient volume of tone for the music. The closing scenes of
the Rhcingold were hardly done justice to. It is dangerous
work to attempt such music unless the vocalists are possessed of
ample strength and skill. At the close of the concert Dr.
Richter was applauded with the greatest warmth. The audience
called the distinguished conductor to the platform again and
again. It was rather like the parting of dear friends than the
ordinary compliment paid to a popular musician. Dr. Richter
hurried away to Vienna, but will pay us a flying visit in October
to conduct a Wagner and Beethoven concert. He is always
welcome, come when he will, and has never been more so than
this year.
OPERATIC CONCERTS.
The operatic concerts given by Sir Augustus Harris at St.
James's Hall do not seem to be appreciated to the extent one
might have expected. In concerts there have been signs this
season that we may have too much even of good things, and we
have had so much to attract the musical public from the concertroom. On July 6th the Hungarian composer, F. Korbay, was
present and accompanied Miss Brema in the Hungarian song,
" My Brown Boy's Hiding Away," a quaint and characteristic
national melody. Another song of the same class, " My Love
is Come," was encored. Frau Moran-Olden sang in admirable
style Schumann's " Friihlingsnacht," and Miss Meisslinger was
very successful in " Nobil Signor." Mile. Guercia and Mile.
Dagmar sang airs from Carmen. M. Plancon, the admirable
French baritone, sang the scena of The Flying Dutchman with
noble style and expression. He is a very fine artist and has a
grand voice. Herr Max Alvary was very successful in Lohen
grin's "Farewell." The Covent Garden orchestra, conducted
by Signor Mancinelli, played the Meistersinger overture, and
Signor Randegger conducted the overture to Th Merry Wives
of Windsor. Chevalier Emil Bach and M. Tivadar Nachez
gave pianoforte and violin solos. The last of these concerts for
the present season was one of the most successful, chiefly, no
doubt, owing to the Wagner selections given. These included
several items from Lohengrin, and the "Walkiirenritt" for the
orchestra. There were also extracts from Ricnzi, Parsifal, and
The Flying Dutchman. Miss Brema, Miss Meisslinger, Herr
Wiegand, Mr. David Bispham, Madame Vasquez, and other
excellent vocalists appeared, and the attendance was larger than
at any previous concert. The choice of music was doubtless the
cause of this improvement.
PALACE THEATRE.
An amusing parody of Signor Leoncavallo's Opera Pagliacci
has been produced at the Palace Theatre. The authors of the
libretto are Sir Augustus Harris and Mr. Brookfield, and in
imitation of the title of the original they call it A Pal 0' Archie's.
The resemblance is close enough for burlesque. It would hardly
come within our range of subjects but for the fact that Mr. J. M.
Glover has written some tuneful music to replace that of Signor
Leoncavallo, and this being cleverly sung by Miss Barlow, Miss
Nesville, Mr. Edward Lewis and Mr. Morris, pleases the
audience greatly. The chief situations in Pagliacci me amusingly
caricatured, and the travesty is enjoyed by those who have seen
the original. The principal scenes are, of course, greatly con
densed, but the authors and the composer are entitled to the
credit of having produced a clever travesty of the opera, the
sensational situations becoming very funny under the novel
treatment adopted. Mr. Glover has also done his work with
skill, his music being flowing and tuneful.
M. WILHELM GANZ'S CONCERT.
M. Ganz gave his concert this year at the Grafton Gallery, on
Tuesday, July nth. There was a large attendance, and the
MUSICAL
RECORD.
[August I, 1893.
concert was a successful one, although there was one disappoint

ment in the absence of Madame Albani, who was detained at
Covent Garden, owing to the rehearsal of Die Meistersinger.
Miss Fanny Moody sang instead, and with great success. She
joined Mr. Charles Manners and Mr. Hirwen Jones in the trio
" I Naviganti," and sang two or three songs. Miss Clara Butt,
the clever contralto of the Royal College of Music, sang an air
from Samson et Dalila, with good effect. Miss Minnie Tracey
was cordially applauded in Bizet's " Adieu a l'Hotesse Arabe.
Mr. Ben Davies sang " Salve Dimora," from Faust, with his
accustomed ability, and M. Eugene Oudin sang in his most
finished manner. M. Ganz played Beethoven's "Moonlight"
Sonata with great taste, and took part in a quartet of Mozart,
in which he was associated with M. Johannes Wolff, M.
1 tollman and Mr. Kreuz. The Grafton Gallery appears to be
popular, and already several concerts have been given there.
SIR ARTHUR SULLIVAN'S TEMPEST.
On Saturday night, at Lowther Lodge, Kensington Gore, a very
pleasing performance was given by Mr. Ben Greet's Company of
"Woodland Players" of Shakespeare's Tempest, a feature of
the representation, which took place in the grounds, being the
excellent performance of Sir Arthur Sullivan's graceful music ;
and the solos, choruses, and instrumental portions were given
with capital effect. Mendelssohn at one time had an idea
of making an opera of the play, but it was eventually set by the
French composer, Halevy.
Madame Inverni, a vocalist with an excellent contralto voice,
gave a concert at St. James's Hall, on Monday, July 3rd, with
considerable success. M. Isidore de Lara, Miss Macintyre, and
other popular vocalists, appeared. On Wednesday, July 5th,
M. de Vere Barrow gave a pianoforte recital at Prince's Hall, and
was heard in the usual course of music generally performed on
such occasions. The pianists are apt to get into "musical
grooves," and might well take pains to give their audiences a
little novelty. Mr. Barrow must be commended as a finished
and competent pianist. Great we cannot say, but good we can.
Madame Patti has gone to her Castle, Craig-y-Nos, in Wales,
and greatly to her annoyance, the invitation for the Royal Garden
Party, at Marlborough House, did not reach her in time.
Considering how poor most of the comic operas recently pro
duced have been, it was a good idea to revive La Fille de
Madame Angot, of Lecocq. There is some character, at least, in
the sparkling music of the French composer, and there is ample
humour in the story. A competent cast was provided for the
work, which was given at the Criterion Theatre, on Saturday,
July 22nd, the success being most decided. The musical
colleges are full of activity. Concerts have been given by
the students of the Royal College of Music, the Royal
Academy, and Trinity College. The latter, which took place
at Prince's Hall, on Saturday, July 15th, indicated that the
Institution is making a steady advance under the direction of
Mr. F. Corder. The orchestral playing has greatly improved,
and the pianoforte students displayed great talent.Several
concerts have taken place at Messrs. Collard's Rooms. They
were generally meritorious, but did not possess any striking
individual features. In fact concerts latterly have been rather
tame, probably not receiving sufficient support to awaken
enthusiasm on the part of those who give them. Many concerts
have been given in aid of H.M.S. Victoria fund. One of
the best was that given by Mr. Lawrence Kellie, who himself
sang, and was assisted by Mr. Ben Davies, Miss Agnes
Janson, Miss Macintyre, M. Hollman, M. Johannes Wolff, and
other artists, the attendance being very large.Once more we
are to have promenade concerts at Covent Garden. They will
commence on August 12th, and happily promise to be of a
higher character than usual. Of course, some concession has
always to be made to those who can only appreciate the most
commonplace kind of music ; but Mr. F. H. Cowen, who will
be the conductor, may be trusted to make the most of his
opportunities, and to give as much good music as the promenaders
can digest. We hope to be able to give a good account of these
concerts, which we trust, under Mr. Cowen's control, will be
August !, 18'.3.]
EMIL
'79
KRAUSE'S "6 LITTLE SKETCHES,"

Op. 77, N9 2.
JOYFUL PLAY
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from 'CECILIA' Book XL.

(Augener's Edition N 5840.)
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181
182
THE MONTHLY
MUSICAL RECORD.
[August 1, 1893.
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August I, 1893.]
THE
raised in character. With such universal cultivation of music

as we have now, there is little excuse for the introduction of bad
music at the Promenade Concerts. The arrangements will, we
understand, be more elaborate than usual, and we are glad to
see in the list of instrumentalists some of our best orchestral
players, so that we may expect artistic performances of
symphonies, overtures, and classical music, while vocal and
choral selections will not be neglected. Signs of the autumn
season are already to be noticed. At the Lyric Theatre re
hearsals have commenced of the burlesque opera, Columbus,
by Messrs. G. R. Sims and Cecil Raleigh.
Many and great changes have taken place during

the past month at the Grand Opera, but though
singers and conductors go and come, La Valkyrie
continues its brilliantly triumphal career without inter
ruption. The cabal which has long been working
to oust M. Colonne from the conductoPs seat has suc
ceeded, and, at the beginning of July, M. Taffanel, the
conductor of the Concerts du Conservatoire, took his
place, with M. Madier de Montjau and M. Paul Viardot
as his assistants. At the end of June M. Van Dyck's en
gagement terminated, and the role of Siegmund was taken
by M. Saldza. At the same time Madame Caron retired
for her annual holiday, and was replaced by Mile.
Bosman.
Mile. Chre'tien, who was to have taken
Briinnhild in place of Mile. Bdrval, has been pre
vented by indisposition, and Mile. Renee Richard, after
taking the part of Fricka for a few evenings, has now
left the Opdra, and Fricka is played by Mile. Domenech.
Salammbd, Samson et Dalila, and Lohengrin alternate
with the Valkyrie, and as these are very attractive and
popular works, the Opera should be doing well. As to
future productions, it is not settled whether Marechal's
Deidamie or Chabrier's Gwendoline will be the first
novelty of the next season. Both works have been
actively rehearsed. After these two, it is intended to
produce Massenet's new opera Thais, the title-part of
which has been given to Mile. Sybil Sanderson. There
is also some talk of reviving Gluck's Armide, and M.
Saint-Saens is said to have been entrusted with the task
of adapting the work to the requirements of the present
day.
The Opera Comique closed its doors on June 30, to
reopen in September. Here also changes are the order
of the day. Mile. Simonnet has, it seems, decided to
quit the theatre where she won her reputation, and of
which she has been for some years one of the chief
stars. A debutante of whom much seems to be expected
is Mile. Wyns, a laureate-pupil from the Conservatoire,
who is now studying the music of Thomas's Caid with
the composer. Another debutante will be Mile. Perrin, a
pupil of M. Bax, said to be an excellent singer. M.
Lubert, the tenor, has changed his mind, and will con
tinue with M. Carvalho. The chorus has undergone a
thorough overhauling, and only those members who are
entirely efficient have been retained. Bruneau's Attaque
du Moulin will probably be the first novelty of the next
season, and after that the Flibustier of M. Cesar Cui.
The only Parisian novelty to be recorded this month is
Cliquette, a sort of vaudeville in three acts, by M.
Busnach, with bright and catching music by Louis
Varney, produced at the Folies-Dramatiques on July 11,
with success.
Two First Grands Prix de Rome have been allotted
this year : the first, by the unanimous choice of the judges,
to M. Bloch, pupil of the late Ernest Guiraud and of
181
Massenet ; the second to M. Busser, also a pupil of

Guiraud.
M. Merlon, the reporter of the Budget of the Fine
Arts, thinks that in order to satisfy the legitimate aspira
tions of young composers who cannot get their works
performed, it would be desirable to create a sort of ex
perimental theatre (theatre-ecole, he calls it), where their
works might be mounted at small cost, the parts being
entrusted to the most promising pupils of the Con
servatoire. The managers of the existing theatres see no
necessity for a new one. They are all quite willing to
lend or let their theatres for a trial of M. Merlon's
scheme, but who is to bear the loss if there should be one ?
M. Merlon does not discuss this point.
The municipality of Marseilles has been compelled by
the force of public opinion to promise to restore the sub
vention to the theatre of the town ; but they attach such
onerous conditions that no manager can be found to
accept their terms.
The managers of the Theatre de la Monnaie of
Brussels are busy with arrangements for their next season.
They propose to produce Wagner's Tristan und Isolde in
French (M. Cossira being specially engaged for the part
of the hero) ; Gounod's Sapho, with Madame Armand
as the heroine ; and perhaps a lyric dramaLe Drac
by the brothers Hillemacher, a work described as being
written in a style very advanced and very interesting.
The company will include Madame de Nuovina and Mile.
Tanesy, and two promising dSutantesMiles, de Noce
and de Ham.
At the Royal Opera of Berlin Frl. Charlotte Huhn,
the excellent alto singer from Cologne, has appeared in
the characters of Ortrud and Orpheus. Her perform
ances were greatly appreciated, both from the dramatic
and the musical point of view, and it was hoped that a
permanent engagement would be concluded, but this has
not happened. A new four-act opera, Der Zigeuner, by
an unknown composer, Richard Stiebitz, was produced
on June 21, but appears to be a work of no particular
merit as music. Some spectacular and patriotic scenes
procured for it a certain amount of success.
The close of the ordinary season has no effect on the
activity of the manager of Kroll's Theatre, where Mmes.
Sembrich and Klafsky have been starring, both separately
and jointly. The former assumed a new role in the
Juliette of Gounod's opera, a part for which the lady's
appearance hardly qualifies her, but which she sang
admirably. Frau Klafsky was heard as the Countess in
Mozart's Le Nozze (with Mme. Sembrich as Susanna), as
Donna Anna, Eglantine, and Valentine, but unfortunately
not in any of the Wagnerite parts in which she is so
distinguished. Herr Botel, the phenomenal tenor, has
also appeared in some of his familiar parts.
At the Theater Unter den Linden, Smetana's comic
opera, Die verkaufte Braut, was produced for the first
time in Berlin on July 1st. Its reception was quite
enthusiastic, although the performance seems to have left
a good deal to be desired, many of the parts being
entrusted to quite inferior artists, which, however, did
not prevent a number of pieces from being encored.
Herr Lessmann says of it, that " the freshness of inven
tion, clever workmanship, and exquisite humour, make it
a real masterpiece, the joyous spirit of which causes us to
overlook its antiquated forms." It is said that the work
is to be produced at the Royal Opera next winter.
The Illusirirle Zeitung for July 15th publishes an
engraving of what is described as a newly-discovered
portrait of Mozart. It is a pastel, three-quarter-life size,
and is said to have in a corner the letters W. M., and the
date 1786, but no such letters or figures can be seen in
1 84
THE
MONTHLY
MUSICAL
RECORD.
[August I, 1893.
the engraving. From the account given, it appears that Kaskel's successful new opera, Hochzeitsmorgen, and was
a young man who came to the studio of Tilgner, the enthusiastically received.
sculptor engaged on the Mozart monument at Vienna,
The Heligolanders have just celebrated the centenary
declared that a friend of his possessed an unknown of the inauguration of their theatre.
portrait of Mozart which bore a striking resemblance to
There is a report that Brahms has procured the
the sculptor's work. Tilgner thereupon rushed off and approaching publication of two unpublished songs, by
secured the picture. Thus far, however, no name of any Schubert, of which he possesses the manuscripts. The
artist is suggested, and no account is given of how the melodies are said " to be identical with those of the aria
late owner became possessed of it. For the present, of the sonata in F sharp minor, and of the andantino of that
therefore, the genuineness and authenticity of the picture in G minor." But it so happens that there are no sonatas
must be considered unproved, but probably further par in these two keys. There are movements in these keys
ticulars will be forthcoming.
among the sonatas, and perhaps these are the pieces meant.
Of the two successful operas in the Coburg-Gotha
The number of musical works published in Germany
competition, the Evanthia of Paul Umlauft has already in 1892 was 9,753, of which 2,885 were for piano, 2,577
been accepted for production at the Hofoper of Dresden ; for other instruments, 3,966 vocal works, and 325 were
and the Rose von Pontevedra of Forster by the manage volumes on musical subjects. In France, for the same
ment of the Royal Opera of Berlin.
year, the total number was 5,573.
Herr Felix Draseke has soon followed up his
Herr Xaver Scharwenka's new three-act opera,
Herrat by another new opera, Bcrtrand de Born, of Mataswintha, has just been published in vocal score.
which he has written the libretto as well as the music.
The subject is taken from Felix Dahn's Ein Kampf 11m
The Hoftheater of Munich will before long produce Rom. It is surprising that no manager has yet thought
Ignaz Briill's new opera, Schach dem Kbnig (" Check to of producing the first opera of a musician so distinguished.
your King").
The second supplement to Hugo Riemann's OpemhandThe friends of Cyrill Kistler have succeeded in buch has just been published, and two parts of the fourth
arranging for seven performances of his opera, Kunihild, edition of the valuable Musik-lexikon, by the same author.
to take place at Wiirzburg on July 30th, and August 4th,
The Gazzetta Musicale di Milano is publishing an
6th, 9th, nth, 13th, 15th. The composer will personally Italian translation (by P. Mazzoni) of Dr. Mackenzie's
superintend the production, but the musical direction will Lectures on Verdi's Falstaff. Our excellent contemporary'
be in the hands of Capellmeister Turck, of Prague. A has apparently been the victim of some wag, who has
body of distinguished artists have been collected to furnished it with the following list of names, said to be
interpret the work, and the result ought to decide whether those of the best-known English musicians : Algernon
Herr Kistler deserves the high rank among operatic Ashton, Agnes Bartlett, H. F. Birch Reynardson, T. J.
composers which his friends claim for him.
Bordonel, Jacob Bradford, F. Corder, James C. Culwick,
Arrangements have been made for the continuance Edward Elgar, Percy Godfrey, Otto Goldschmidt, W. H.
of the Hamburg Philharmonic Concerts, which were Henley, Georg Henschel, Jul. Hollander, Francis Korbay,
abandoned some months ago for want of support. Prof, J. Leavitt, Harvey Lohr, Alfred Moffat, Graham P.
v. Bernuth will continue to be the conductor, a fact which Moore, Mary Hara, C. Hubert H. Parry, Henry Bicford
is in some quarters regarded as of ill omen for the Pasmore, Ernst Pauer, E. Prout, J. Speaight, W. H.
success of the scheme.
Speer, Berthold Tours, and Herbert L. Wareing.
It is reported that twenty-five non-resident artists are
The Pope has given his consent to the proposal that
now staying at Bayreuth, in order to study their respective the members of theSixtine Chapel should visit the Chicago
roles for the festival performances next year, under Herr Exhibition and give some concerts there. This is the
Kniese, who has the general supervision of the musical first time that these singers have ever been permitted to
arrangements. It is believed that some of the pupils of perform outside the Holy City.
the new school will be entrusted with solo parts.
The pupils of the Conservatorio of Milan, to celebrate
Fraulein Bettaque, late prima donna of the Ham the 75th birthday of their esteemed director, the famous
burg Theatre, will shortly join the company of the Munich violinist and composer, Antonio Bazzini, organised a grand
Operathe young lady s performances as Carmen and concert on June 13th, the programme of which included
Sieglinde having given the greatest satisfaction.
only works of the director. The concert was a great
The Beethovenhaus festival at Bonn realised a net success, and Bazzini was welcomed with due enthusiasm.
profit of 20,000 marks (,1,000).
The Manon Lescaut of Sig. Puccini has been trans
Cologne has its Giirzenich concerts in summer, as ported to South America and produced, on June 8th, at
well as winter, and they appear to be carried on with Buenos Ayres, where it was received with the same favour
equal enterprise and success. Two new works produced as has been shown to it in all the Italian towns.
there are a violin concerto, by Gustav Hollander, and a On July 9th, Verdi's Falstaff was brought out with
concertstiick for piano, by Ernst Heuser, both of which enormous success ; the cast including Mesdames Tetrazmerit attention. The Arcadian Suite of Phil. Scharwenka zini, Brambilla, Guidice, Rappini, and Sig. Cremonini,
was also warmly appreciated.
Moro, Cromberg ; and Scotti, as the fat knight.
The impresario of the Stadttheater of Leipzig has got
The prize offered by the Istituto Musicale of Florence,
his contract prolonged till 1902, whereat many of the for the best trio for piano, violin, and violoncello, has been
Leipzigers who do not greatly admire Herr Stagemann's awarded to Sig. Giuseppe Frugatta, who last year won
management are disposed to grumble.
the second of the prizes offered by another society for the
The town theatres of Leipzig and Hamburg produced two best piano sonatas.
ten and twelve new operatic works respectively during
The first number of a new Wagnerite paperthe
the last season. After such a show of activity it is Cronaca Wagnerianahas been published at Bologna.
discouraging to read that very few of the novelties are It is to be as little polemical as possible.
likely to remain in the repertoire.
A plaque of white marble has been affixed to the
Therese Malten, the famous prima donna of the house at Pampeluna, in which Senor Sarasate was born ;
Dresden Opera, has just celebrated her completion of it has the inscription in gold letters : " In this house was
twenty years' service. She appeared on June 21st, in von born, 10 March, 1844, Pablo Sarasate y Navascues."
August i, 1893.3
THE
MONTHLY
With considerable difficulty and after many refusals, a

successor has at length been found to Herr Nikisch, as
conductor of the Boston Symphony Concerts. Among
others, Herr Mahler, of Hamburg, was applied to, but
was compelled to decline. Herr Emil I'aur, conductor of
the Stadttheater of Leipzig, has accepted the post. Herr
Nickisch returns to Europe to become Kapellmeister at
the opera house of Pesth.
Mme. Fanny Bloom field-Zeislkr, a pianist of
great repute in America, intends to commence a concerttour in Germany early next season.
IT is hoped that the new Metropolitan Opera House,
at New York, will be ready for opening in November
next, and Messrs. Abbey and Grau have engaged a very
strong company for the performance of French and
Italian operas. The artists named include Mmes.
Calve, Melba, Nordica, Arnoldson, Scalchi, and Guercia;
Messrs. Jean and Ldouard de Reszkd, De Lucia, Vignas,
Montariol, Lassalle, Plancon, and others. It is not clear
who the conductors are to be, but Sig. Mancinelli is
spoken of for one. The hope of any German operas has
apparently quite died out.
The concerts at the Chicago Exhibition are not proving
such a success as the managers hoped for. It is said
that at many of the chamber concerts, the performers
are almost as numerous as the audience. The choral
performances are better patronised, and at many of these
the singing of Mr. Edward Lloyd has been quite the
most striking feature.
The Three Choirs Festival will be held at Worcester
in September. Besides familiar works, Parry's Job, Bach's
Mass in P. minor, and Brahms' Requiem are to be given,
and Dr. Parry will contribute a new instrumental work.
The programme of the Norfolk and Norwich Festival,
in October, is much richer in new works. It promises a
new symphony by Mr. Edward German, a new cantata,
" Una," by Mr. Gaul ; Mr. Cowen's " Water Lily " ; a can
tata for female voices by Mr. Barnett, a Polish fantasia by
M. Paderewski, and a piece written for Sefior Sarasate by
M. Saint-Satins. Mr. Randegger will be the general
conductor.
Mr. Hamilton Clarke takes the place of Mr.
Goossens, who has given up the post of conductor of
the Royal Carl Rosa Opera Company.
H.R.H. The Duke of Edinburgh has accepted the
Presidency of the Royal Academy of Music.
Mr. Daniel Mayer, the representative of the firm of
Erard in this country, has given two exhibitions, tenable
for three years each, to the Royal College of Music.
These valuable prizes will be competed for on Tuesday,
September 26.
Deaths.Mr. Henry Fowler Broadwood, the senior
partner of the world-famous firm bearing his name, died
on July 8th, at the age of 82. He had been a member of
the firm since 1836, and to him many of the most valu
able patents for inventions owe their origin. Mr.
McKinlay, the husband of Mme. Ant. Sterling, died last
month in Australia. Otto Bach, who died July 3rd, aged
60, was for many years director of the Mozarteum at
Salzburg, and latterly Capellmeister at a church in
Vienna. He composed much music of all sorts, little of
which, if any, seems likely to survive him. K. A. G.
Riccius, chorus-master at the Dresden Opera, and a
composer of popular songs and some incidental music
to plays, died at Dresden on July 10thAntonio Ghislanzoni, who died about the 18th ult., was a novelist,
dramatist, poet, and writer on music. His libretti to
A'ida, to Ponchielli's / Lituani, and Cagnoni's Papa
MUSICAL
RECORD.
1S5
Martin, and many others, entitle him to rank as one of the

best Italian librettists of his day. He was born Novem
ber 25th, 1824.Other deceased musicians deserving
mention are Felix Battanchon, a once famous French
'cellist ; Moritz Nabich, in his day one of the greatest
trombone- players ; and Mme. Landonzy, a popular
French singer in light operas.
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BY
EBENEZER PROUT, B.A., l,ond.
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[August I, 1893.
Review of E. Prout's Text-books (coHtiHwdylittle else than age to recommend them, he has provided others supported by references
to fugal works by the greatest writers. In describing a fugue as a compositioK in
* ternary form,' Mr. Prout says : ' The first section ex'ends as far as the ena of the Iasr
entry of the subject or answer in the original keys of tonic and d' minant. The secô^l
or middle section begins with the cc mmencement of the first episode, which moduUte-i
to any other key thin that of tonic or dominant ; and the third or final section begin-,
with the return of the subject and answer.' The features of each section are admiratK
delineated, and the construction of the whole fugue is clearly explait-cd and aptly illus
trated. As text-books. Mr. Prout's theoretical treatises will doubtless take
the position of standard works." The Daily Teltgto?ht Mirch 17th, 1893.
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SECOND
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Of March 17th, has the follwiitg Review:
MUSIC AND
ITS MASTERS.
" The scries of tht-*on.'tic;tl wttrks written by Kljcnczer Prout will prove of inestimable
Service to teacher and scholar alike. Published in nine volumes, the series embraces an
exhaustive treatisie on ea;h of the following subjects: Harmony, its theory and
A Conversation.
practice; counterpoint, strict ami free: double counterpoint; and fugue. With FMtion
No.
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the plan, on the ground of strict counterpoint being of little practical value. But the
author, believing it to bean essential branch of study, has, liy verbal explanation or AUGENER & CO., 86, Newgate Street, and x, Foubert's Place. London.
rules, as well as by illustrative examples, succeeded in making it appear attractive and
important. Two-part counterpoint is treated at considerable length, a chapter being
devoted to each of the 'Five Sjiecies.' As far as the. 'species' are concerned, the
same order is observed in three-part and four-part strict counterpoint. So varied in
construction are tne exercises and examples that one is apt to forget that the only
harmonic* used therein are diatonic Triads and their first inversions. In leading
students through paths trxldcn by our musical ancestors the skilful guide never fails to
point out objects of interest to be met with on the way. Though so much in love with
nis subject, he places it in its proper position, as a preliminary study to actual com
position. The fact is again and again insisted upon that 'strict counterpoint is simply
the means to an end.' The object to be attained is the power of free part-writing,
here called ' free counterpoint,' the study of which should not, the author says, be com
restraints imposed by ancient rules, modern counterpoint opens the door to well-nigh all
combinations which do not violate the laws of harmony. The final chapter treats on the
point and Canon. Mr. Prout places these intricate subjects before the student in the
SUITABLE
TO PLAYERS OF ALL GRADES,
clearest and most convincing manner. The Inst, as yet published, of the series is an
able and in some respects remarkable treatise on Fugue. After carefully examining the
FOR TKK
rules from time to time laid down by men in authority, and after patiently testing their
that ' there is no branch of musical composition in which theory is more widely at variance
with practice than in that of fugue." In stating his own views, he directs attention to the
BY
f>rinciples which govern the relation between Subject and Answer. While there is but
ittle diversity ofopinion as to what should be the features of the subject, there are, on
directs one mode of procedure, and the composer acts upon another. ' This rule,' lays
the old text-books, ' is absolute ' ; yet Bach is found breaking it with good effect. Our
there must be rules for the guidance of students ; and, while rejecting some which have London : AUGENER& CO., 86, Newgate Street, and 1, Foubert's PUce.W.

AND CHORD STUDIES
VIOLONCELLO,
LOUIS
HEGYESI.
August I, 1893.]
THE
MONTHLY
MUSICAL
ANALYSIS OF
RECORD.
187
COMPOSITIONEiN
JOH. SEB. BACH'S

FORTY - EIGHT
PRELUDES
AND
FUGUES (Wohltemperirtes Khmer), by Dr

H.
R1EMANN. Translated from the German by J. S.
N*.
SHEDLOCK, B.A.
Net,
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Extractsfrom Review by Ebenezek Pkout, which appeared i 'The
Monthly Musical Rkcord," May ist, 1893.
" Dr. Hugo Riemann, though his name Is as yet comparatively little known in this
country, is one of the forem st among living uennan theorists. An examination of his
works shows him to be emphatically an all rounti man." There is hardly a branch of
theory whicti In his excellent series 01 Catechisms he has not dealt with. Probably the
most importa. t se.vice he has rendered to the cause of music*! art has been his
systematic ng of the whole quest io 1 of phrasing. His insistence upon the relation of
unaccented notes, not to the preceding, but to the following accented note, is of the
utmost value, and greatly simp Hies the elucidation of many points in connection with
the question of rhytnm."
** In nis analysis of formal structure. Dr. Riemann takes the eight-bar period as the
normal formation, and regards all periods cf any other length, not as different forms but
as extensions and contractions of normal periods by the insertion ami elision of ban. A
full recognition of this general principle will undouDtedly be found of great assistance to
the student."
" There are two different methods of analysisthe technical and the aesthetic. The
former treats of the harmonic, rhythmical, ana thematic construction of a piece ; it rs this
kind of analysis which is to be found in most theoretical treatises. The latter, on the
other hand, rather deals with the true meaning of the music, its artistic conception, and
underlying poetical idea. ... Dr. Riemann in the present work combines both
methods. He is no mere Dryasdust, dissecting these beautiful compositions merely to
rind the contrapuntal devices in which they abound. Not that he leaves this technical
part of the work undone ; on the contrary, few. if any, points of importance escape his
notice. But he is not content without also pointing out, sometimes vc-rv felicitously, the
ideas which arc presented, to his mind at least, by the music. The following description
of the opening of the t_ sharp major Prelude of the first book might have Deen written
by Schumann :
'"It has a quiet, almost languishing character, and seems to suggest a siesta under
the shade of leafy trees, on grass fragrant with blooming flowers, and all alive with the
hum
of insects.'
' And
again a little later in the same analysis
" * Everywhere is life and movement ; everywhere there is blossom and radiance : the
very atmosphere trembles ; and yet the firm, metrical design of the principal theme (the
long feminine endings) displays to the end the same rapturous repose.'
" As another example of Dr. Kieinann's style of characterization, I quote his descrip
tion of the E flat minor Prelude of the first book.
'"The prelude with deep, dignified solemnity advances in if measure; the long-drawn
lines of the melody display great and noble legling: now clear eyes full of love seem to
be gazing at us, now deep sighs are heard, signs of pain at the limited power of human
beings who are able to realise only a small portion of unlimited will.' "
"In his analysis of the thematic construction both of the preludes and fugues, Dr.
Riemann fs particularly happy. Here our author is on his own social domain ; for the
points which, perhaps more man any other, are the distinguishing feature of his theoreti
cs works are the attention he bestows on thematic development from the motive, and
the assistance that a orrect understanding of the motive gives in enabling the performer
to determine the phrasing."
*' I consider it a most valuable aid to the comprehension of Bach's work, and I heartily
share the author's enthusiasm as it shows itself in every page of the volume. The more
the ' Forty-Eight ' are known, the more they will be enjoyed and l.jved, and the student
who wishes for an intelligent guide through the intricacies of the music will find such a
guide in Dr. Riemann. "
FOLIO EDITION OF
JOH. SEB. BACH'S

WOHLTEMPER1RTES
KLAVIER
(48 Preludes and Fugues) fur Piano, Mit Phrasirung

und
Fingersatzbezeichnung
herausgegeben
von
No.
Dr. HUGO RIEMANN.
Net.
io63<i-<f Part I. Books 1 to 4 (each book containing 6 Preludes and
Fugues)
each 1/io6&ja-d Part II. Books 5 to 8 (each book containing 6 Preludes and
Fugues)
each x/-
JOH. SEB. BACH'S

TNVENTIONEN FUR PIANO.
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10689
genauer Uezeichung der Phrasirung und neuem Fingersatz von Dr. HUGO RIEMANN. (Folio Edition.)
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1st Book. 15 Two-part Inventions
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M. CLEMENTI'S
Phrasirungs-Ausgabe by Dr. HUGO RIEMANN.
1st Book (Op. 36)
and Book (Op. 37 and 38)
and j, Foubcrt's Place, W.
Op. 1, in D moll
..
..
..
..
I
t
:
5283
7536
Trio fiir Piano, Violine, und Viola. Op. 2 . .

ate Sonate fiir Violine und Piano. Op. 2, in d dur
8890
7735
Sechs I.ieder fur eine mittlere Stimrne. Op. 4

Sonate fiir Violence!! und Piano. Op. 5, in F moll
..
.
(/ the Frets.)
3 Chore fur Sopran, Alt, Tenor, und Bass, mit Pianoforte
begleitung. Op. 6
..
.,
..
..
.. 1
Wal/er Capricen. Op. 9, fiir Piano zu vier Handen ..
..2
4591
8601
Extracts from Review in Ailgemeine irfusik Zcitunc, July 7th, 1893 :

" . . . . Max Rcsrer vcrfiigt iiber elne ungewolmtich starkc musikalische Erfindungskraft. die alles Gewohnlichezuriickweist die Motive, die pithetiselien in alien Niiancen,
wis die heitcreu, * schcrzosen,' fliegen ihm fori* lich zu, quellen ihm u titer oen Handen
cmiwir, so dass er iich mitunter ihrer gar nicht etwehrcn kann. . . . Alier dann ketm
wieder die Ruhe zuruck und damit auch eine keckc, frohliche Meiterkeit. die sich iiu
listigen Scherzo is. Op. i-j) ausspricht. t'iese Irieine. klare Form beherrscht der
Koniponist mit wuiidcrvollem Gescnick und die drei Scherzi der Opera 1-3 sind wan re
Kabinetstiickc-. die jeden Musiker entziicken we r den. In demals dritter Satz folgenden
Adagio (im Trio : Adagio mit Variationen zugleich aLs Schlussatz* zeigt sich des Autors
reiche mclodische Begabung. Seine Melodic ist vornehm, lief empfumlen, frei
gegliedert und stromt in ruhigem, vollcm lirgusse dahin Die Form der Adagios is:
knapp und iibersichtlich, so dass hier Stiiiiinungsbilder von fast ungetnibter Schonhrit
gebolen werden .... Rcger hat sich ganz und gar den Bralims'schen Klavierstil
angeeignct. abcr er iibertiumpft seiti Vorbild l>ei weitem durch eine noch relchcre
Polyphonic . . . Jed en falls darf man der vvciteren Entwickelung dieses jungeii
Kiinstlers mit gro&sein Interesse entgegensehen. Die Proben, die er mit den erstcn 5
verbffentlichten Werken von seineni Kimncn abgegeben hat, bcrechtigen dazu. . . .
Wtr werden von seinen weiteren Lcistungengeni und freudig u useren Lcsern berichteti
und wiinschen nur, dass die guten Hotfnungen, die dieses neu sich erhebende. gross;
Talent verspricht, sich erful'en mbgen."
London: AUGENER & CO., 86, Newgate Street., E.C. ; and
x, Foubert's Place, W.
IMPORTANT
NEW PUBLICATION.
Augener's Edition, No. 9,200a.
Trice, net, is.
DICTIONARY OF MUSIC
BY
DR. HUGO RIEMANN.

New Edition, with many additions by the Author,
Translated by J. S. Shedlock, B.A.
Part I. {A. to Beck), price is. net.
Rikmann's Dictionary is a concisely worded musical encyclopedia,
which avoids all that is superfluous. It will comprise not only the biographies
of noteworthy musicians and writers on music ot the past and present, with
criticisms of their works, but also a complete description and history of all
musical instruments, an easily intelligible exposition of musical theory,
definitions of musical art- ex press ions, etc. It will appear in fourteen parts,
at One Shilling each, which will bind in one handy volume. That which
distinguishes Riemann's Dictionary from other dictionaries is unity and
consistency of statement, which is only attainable if one and the same
author writes an entire work, but not if a number of contributors
compete, who arc of different opinions and variously gifted. Riemann has
long since, by his striking and many-sided literary activity, given proof of
his entire ability to cope with the task of compiling a work of this encyclo
paedic nature. His dictionary contains, in convenient alphabetical order,
so tb speak,. the sum and substance of the results of his researches in the
most varied ranges of musical science, e.g. the history of notation, the
theories of rhythm (phrasing), harmony and form (analysis) ( musical
arsthetics, etc., it is therefore adapted to serve as an introduction to his
musical pedagogic reforms. The problem of presenting established facts in
a concise and clear manner has here been brilliantly solved.
New York: G. SCHIRMER.
AUGENER'S EDITION, No. 8193.
TWELVE SONATINAS FOR PIANO.

10710a
107:0^
Edition
No.
7535 tste Sonate fiir Violine und Piano.
Net.
1/4
1/4
ALBUM POUR PIANO.

Par HALFDAN KJERULF.
Contains : Fruhlingstied, Salon-Idyl, Vuggevise (Berceuse), Humoreske
Berceuse, Intermezzo, Impromptu, Skizze in r and in B flat, Scherzo.
Price is., net.
London : AUGENER & CO., Newgate Street and Foubert's Place.
THE
1 88
MONTHLY MUSICAL
RECORD.
[August i, 1893.
IGNAZ LACHNER'S
F. MENDELSSOHN'S
USTEVT" WORKS
42 Lieder ohne Worte.
IN AUGENER'S EDITION.
(Sangs without worJs.)
Containing the 7 Books, complete in I Vol., 4to. s. d.

6228 In paper covers
net 3
6228* Bound in cloth, gilt (with Portrait)
...
net 6
QUABTET
F.)K 2 VIOLINS, VIOLA, and
Op. 104.
Edition No. 7.217, quarto, in paper covers
VIOLONCELLO.
...
...
...
net
2/6
Or singly, Bosk VII., Op. 85.
PIANOFORTE TRIOS
8237.J In paper cover
net
For PIANOFORTE, VIOLIN, and VIOLA.
Edition No. 5,277, Trio, Op. 103, in t: flat
net
4
5.27S. Trio, Op. 103, in c major
net
4, London: AUGENER & CO.. 86, Newgate Street, E.C; and
1, Foubert's Place, Londun, \V.

NEW PIANOFORTE PIECES.
A NTON STRELEZKI.
1.
3.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
at.
az.
33.
24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
43.
44.
45.
46.
47.
48.
49.
50.
51.
52.
Valsette
Notturno en la majeur
Sur la rive, Morceau caracterUttque
Scuta's Traum. Spinnerlied
Menuet a l'antique en sol majeur
Menuet a l'antique en Ml temol
Valse Souvenir en fa
Mazur
Notturno en it diese mineur
Impromptu
Serenade
Grand Tarantelle en pa
barcarolle en sol majeur
Jagdstilck
Tarentelle en re mineur
Valse i nt ime
Berceuse en sol bnnol
Au bord d'une source
Valse- Impromptu
Scherzo-Minuet
2nd Rigaudon en la majeur
Cantique d'amour
Istorietta
Barcarolle en la mineur
...
Valsette en t.A bemol majeur
Vabe melancolique en st
Sercnata en la majeur
...
...
Prelude en si bemol mineur
Valse-Scherzo en la Wmol majeur
Deuxieme Valse M61ancoliqoe en la mineur
Romance sans Paroles en Fa majeur
Polka Noble
Valse Mignonne
Caprice-Etude
Masurek en si bemol majeur
Allegretto en ut majeur
...
Feuillct d' Album
*.
2de Valse-Seherzo en la bemol majeur
Scherzo en sol majeur ...
...
Serenade Espagnole
Menuet ii l'antique en Ml bemol
Pies du Ruisseau. Etude
Venezia. Barcarolle
(Iranile Polonaise en Mi majeur
Etude a la Valse
sieme Aubade, en la majeur
Valsette en fa mineur
Menuet a l'antique en he majeur
Barcarolle en la be"mol majeur
E. SILAS.
TRIOS
...
...
...
...
...
4
4
3
3
3
3
3
3
1
3
4
3
3
3
4
3
3
4
3
3
3
3
3
3
... 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
... 3
3
3
3
3
3
3
3
3
3
4
' Tlie first cf a long series of jtieccs by A. Strclczkl. " Valsette " in D major, is
curiously identical in theme with the entrancing valse in C ha brier's delicious opera
comiq-ie. Lt Rot ma/gre lui, a work we can hardly hope to hear in England until the
higher forms of light opera find inure acceptance than they do at present. A pretty
nocturne in C sharp minor, dedicated to M. Padcrewski. a serenade in D. a graceful
valfe- impromptu, two so-called "valsettes" in H flat and A flat respectively, deserve
,|HM.ial notice. All are salon pieces, but rank high in the class." The Times.
London: AUGENER & CO., 86, Newgate Street, E.C ;

and i, Foubert's Place, Regent Street, W.
For PIANOFORTE, VIOLIN, and VIOLONCELLO.

Edition No. 10,051, No. I, In c minor
net
V*
,,
10,052, No. 2, in a
net
4',,
10,053, No. 3, in c
net
4,'London : AUGENER & CO., 86, Negate Street, E.C. ; and
1, Foubert's Piace, London, W.
JUST PUBLISHED.
ARCANGELO COREL-LI'S
12 sonsr^.T^.s.
Op. 5.
Edition
No.
7354a
7354*
7354*
G. JENSEN.
Part I. (Sonatas 1 to 6)
Part II. (Sonatas 7 to 12)
net
net
net
N. B. These ra Sonatas are also published for Violin with figured Bass,
Place, W.
12 LIEDEE
Fur 2 Soprane
mit pianoforte beoleitung
CARL REINECKE.
Op. 217.
Augenkb's Edition, No. 4119a. Book I. Price is. net.
1. Evening (Abendlied).
a. When the Christ -child comes (Wenn's Christkind kommt).
3. Spring Sunshine (Der Leni ist da).
5. A Carol of Spring (Hell 1st ein Lied erklungen).
Augener's Edition No. 41 19^. Book II. Priceis.net.
8. The Concert of Spring (Frilhlings-Concert).
so scnon).
it. O take my hand and lead me (Geistliches Lied).
T2. Rosebud, ah, when wilt thou Bloom ? (Rose, wann bluhst du auf ;).
August i, 1893.]
THE
MONTHLY
Musikalitcher Kindergarten
cole enfanth.e
MUSICAL
RECORD.
NEW
VOCAL
MUSIC
HAMISH
MACCUNN.
SONGS.
s.
CARL
REINECKE.
To Eva. No. i, in a flat
4
Piano Solo.
Or. 206.
Piano Duet
,, 2, in f
4
No.
No,
,,
3,
in
e
flat
4
Slrathallaii's Lament ...
Meint ersten Sttickthen. Ales premiers fetits Morceaux.
" When thou art nigh " ^
3
3
634a Vol. II. Favourite Melodies (within the compass of fi\e notes) 687a
" Heart be s'.out and eye be true " ...
3
Vocal Album. Six Songs (tbe words by Lady Landsly) :

Lieblingstnelodieen. Melodiesfavorites*
No. 1. Wishes. "In the Meadows"
3

6873
7. A flower message. " I'll give my love a posy " ... 3
3. Doubting. " Nay, do not ask me once again " ... 3
Die ersten Kinderlieder,
6343a Sot-fa Edition. Voice part only. Net, *d,
land?"
5. Golden Days. " Sweet, remember golden days ' ... 31I
6874
6. Hespcr. " O for a light little boat ' ..
Stimmen derVviker. Chants nationaux etPoftulaires. Pt. I.
6345 Vol. V.
do.
do.
Pt. II. 6875 4916 " Another
glass before we go.'* For Male Choir (A. T. T. B.
6876
and B.) ... ... ... ... ... ... ... net 6
14051
"
In
the
Primrose
Time o' the Year." The words by William
Marxhen-Erzdhlen. La disease dc confes.
Black, set for S. A. T. I". and 1J., with Pianoforte Accoinp.
6877
net
Was alles die Tone erzuhien. Ce que les sons racontent.
6348 Vol. VIII. Masquerade
... 6878
Kinder-hfaskenbaU. Bal masquL Pt. I.
AUGENER'S EDITION oy
6349 Vol. IX.
do.
do.
Pt. II.
... 6879
PIANOFORTE SOLO.
PIANOFORTE DUET.
SYMPHOISTIES
PriceEach Book, net, as. 6d.
BY
AUGENER & CO., 86, Newgate Street, and 1, Foubert's Place, London.
JOSEPH
HAYDN.
Arranged fur the Pianoforte by MAX PAURR.
Pianoforte Pianoforte
Duct.
Solo.
Edition No. Edition No.
IO PETITS MORCEAUX
No. 1, in E flat (mit dem Paukenwirbel)
8554a
6183,1
8554*
2, in D major ...
6i83<S
8554^
3, in E tlat major
855,,/
4, in D major*...
6183*
5, in D major ...
8554*
8354/
6, in G major ...
6183a1
C. REINECKE.
8554*
7, in c maior
6183*
8554A
8, in B flat major
Oi*. 122a.
8554'
9, in c minor ...
S554*
10, in l> major
1. Prelude (Vorspiel)
11,
in
g
major
2. Chansonette (Liedchen)
...
12, in i) flat majort
6,83/
i. A la Guitare (Zur Guitarre)
4. Le Savoyard
Price, each, is. tut.
5. Variations sur la gamme en ut majeur
* Also publishedfor Finte {or Violin), 2 Violins, Alto, Violoncello and
6. Dansc champetre
Contrabass [No. 7131), net, ss.
7. Un duo sur la riviere (Weehselgesang uber's Wasser her)
t Also published for Flute (or Violin), 2 Violins, Alto, Violoncello and
8. Gavotte
Contrabass (No. 7135J, net, 51.
9. Senate miniature
a 6
Arranged by GUSTAV JENSEN.
London : AUGENER & CO., 86, Newgate Street, E.C. ; and i, Foubert's
Place, Regent Street, W.
NEW PIANO TRIOS (6 Hands).

e
TOITSTUOKE
Fur das Pianoforte zu 6 Handen
VON
CORNELIUS GURLITT.
Op. 192.
No.
' <
1. Valse noble
... 3
2. Gavotte
... ...
... 3
3. Capriccietta
... 3
4. Ballata
... 3
5. Sereriala
3
6. Impromptu...
- 3
AUGENER & CO., 86 Newgate Street, and 1, Foubert's Place, London,
PIECES IDE S^LOIsT,

pour VIOLON et PIANO.
Revues et arrangers par EMILB THOMAS.
I.0 J,-
Moszkowski. Valse Brillante
S. Noskowski. Durnka ...
3 -1
Jos. Haydn. Variations sur " Gott ohalte Frost* den Kaiser 4 -'
C. M. de Weber. Invitation it la Valse
5
M. MosziiowsKT. Russia (RusslandK Op. 23, No. 1
,,
Germany (Deutschland). op. 23, No. a .. 43
Hungary (Ungam). Op. 23, No. 6.
4
Anton Strelezki. Sirtnade. Op. 191, No 4
)
G. Pfkiffer. Gigue dans le genre anciett. Op. 77 ...
4
F. Schubert. SJrinade ...
:t
,,
Ave Maria
3
M. Mosxkowski. Mcnuet. Op. 17, No. 2.
5
F. Schubert. Romance de " Rosamond*"
3
Am Meer ...
3
London. AUGENER & CO., 86, Newgate Street, E.C, and
190
Cecilia.
CECILIA. A Collection of Organ Pieces in No.
diverse Styles.
No.
8701
870a
8703
8704
8705
8706
8707
8708
8709
8710
87ri
8712
87:3
8714
8715
8716
8717
8718
8719
8720
8721
8722
8723
8724
8725
1
8726
8727
8728
6729
8730
8731
8732
8733
B734
8735
8736
Edited by W. T. BEST.
Book I. Fantasia-Sonata in a flat major. Op. 65. By

Josef Rheinberger
Book II. Raff, Introduction and Fugue; Boely, Andante
in G minor ; Hesse, Prelude and Fugue
Book I II.
Sonata in c minor.
Op. 27.
By Josef
Rheinberger
...
Book IV. N. W. Gade, Three Organ Pieces. Op. 22
Eook V. W. T. Best, Fantasia and Fugue in e minor
Book VI. G. Merkel, Op. 35, Adagio in e major; E.
Perelli, Marcia retigiosa ; and Polibio Fumagalli, Alle
gretto villereccio*, Op. 254
Book VII. Boely, Toccata Interlude ; Topfer, Fugue in
B flat Fugue in D
Book VIII. Hesse, Toccata; Chauvet, Marche religieuse
Book IX. W. T. Best, Scherzo
Book X. F. Benoist, Andante (Priere) in e flat major;
J. L. Krebs, Double Fugue in p minor; W. T. Best,
Adagio in f sharp major; J. Rheinberger, Trio in
e flat major
Book XI.
Samuel Wesley, Fugue in g major; Th.
Dubois, Andante in b flat major ; Lefebure-Wely,
Andante (Prifere) in d flat major
'.
Book XII. Albrechtsberger, Fugue in e flat major; J.
G. Topfer, Fugue in b minor ; A. P. F. Boely, Scherzo
in b major, Advent Hymn in f major, Christmas Carol
in c major
Book XIII.
Adolf Hesse, Prelude and Fugue in u
minor ; F. Benoist, Marche religieuse ; Lefebure Wely,
Andantino
Book XIV.
E. T. Chipp, Four Organ Pieces : 1. "O
Sanctissima," with Variations and Finale ; 2. Andante
con moto ; 3. Intermezzo ; 4. Fugue in a minor ...
Book XV. W. T. Best, Twelve short Preludes on Old
English Psalm Tunes
...
...
Book XVI. Meditation, Toccata, and Paques fleuries, by
Alphonse Maitly
Book XVII. Fantasia, by A. Hesse ; Andantino (Priere),
by Ambroise Thomas ; Offertoire, by A. Chauvet
Book XVIII. Fugue, Eberlin ; Funeral-Prelude, Chauvet;
Oflcrtoire, Ambroise Thomas ; two Fugues, Topfer
Book XIX. Fugue in c major, by Samuel Wesley ; and
Pastorale by W. T. Best
Book XX.
Fantasia in a major, by C. S. Heap ; and
Andante in D flat major, by Franz Lachner
Book XXI.
Pre*lude funebre, Marche solennelle, and
Cantilene, by Alphonse Mailly
Book XXII. Fantasia in c minor, Op. 25, by Hermann
Berens ; Andante cantabile, by E. Paladilhe
Book XXIII. Offertoire, by Ambroise Thomas; Adagio,
by Collin j Fugue in r minor, by Rheinberger ; and
Alia Marcia, by V. A. Petrali
Book XXIV.
Andante (Elevation), by A. D. Me*hul ;
Pre*lude, c major, by A. P. F. Boely; Adagio, G major,
by C. G. Hupner ; Fantasia, c minor, by A. Hesse
Book XXV.
Offertoire in 11 flat, by A. Chauvet ;
Fantasia in Aflat, by Moritz Brosig
Book XXVI.
Fantasia Concertante, by V. A. Petrali ;
Offertorio, by V. A. Petrali
Book XXVII.
Andante (Posthumous Work), by H.
Smart ; Fugue in c minor, by J. L. Krebs
Book XXVIII. Andante with Variations, by W. T. Best;
Prelude and Fugue, by C. G. Hopner
Book XXIX. Sonata in d minor. (Dedicated to Fraulcin
Hesse.) KyW.T. Best
Book XXX.
Inno trionfale (Triumphal Hymn), by
Enrico Bossi ; Concert Fantasia, f minor, by A. Freyer ;
Andante cantabile, by W. Rea
Book XXXI. Prelude and Fugue, a major, by Samuel
Wesley ; Marche religieuse and Andante (Communion),
by K. Benoist ; Fugue in e, by Albrechtsberger
Book XXXII. Dirge, by A. Thomas; two Fugues, by
Boely; Prelude, by Niedermeyer; Andantes, by Lefeburc-Wely
Book XXXIII. Sonata in n. by Polibio Fumagalli
Book XXXIV.
Fugue, by J. L. Krebs; Prelude on the
Chorale " Sei Lob und Ehr' dem hochaten Gut," by J. G.
Topfer ; Andante, by C. V. Alkan ; Andante cantabile
(Communion) and Marche triomphale, by Reuaud de
Vilbac
Book XXXV. Eligie, by Lefcbure-Wily ; Fantasia and
Fugue, u minor, by Joh. Schneider
Book XXXVI. Capriccio alia Sonata, by Fumagalli ; and
Variations on an Original Theme, a flat major, by A. Hesse
5837
5838
5839
5840
5841
5842
5843
5S44
5845
5846
5847
5848
6751
6752
6753
[August 1, 1893.
Collection of Organ Pieces Continued).
Book XXXVII. Fugue (Art of Fugue), by Bach; Varia

tions on an Original Theme, a major, by Ad. Hesse ;
Christmas Pastorale, by W. T. Best
Book XXXVIII. Fugue, c major, by J. L. Krebs; An
dante religioso, by Francesco Sangalli ; Prelude and Fugue,
c minor, by Samuel Wesley
Book XXXIX. Concert Fantasia on Old English Airs,
by W. T. Best ; Fugue, in c major, by Samuel Wesley ...
Book XL. Marcia di Processione, by Enrico Bossi ; An
dante, in f major, by Samuel Wesley ; National Anthem,
arr. by W. T. Best
Book XLI. Fugue, by J. L. Krebs ; and Concert Overture
by W. T. Best
Book XLII. Prelude and Fugue, G major, E. Aguilar
Elevazione and Offertorio, Domemco Zipoli ; Civic March,
W. T. Best
Book XLII I. Organ Symphony, by Elfrida Andree
Book XLIV. Sonata, in k minor, by Polibio Fumagalli ...
Book XLV. Sonata in a minor, by Remigto Renzi
Book XLVI. Fantasia on a Chorale, W. T. Best ; Andante
in c major, W. T. Best ; Fugue in f major, Samuel
Wesley
Book XLVI I.
Fantasia con fuga (g minor). Concert
Fugue (No. 2, ; major). Prelude on the Choral "Was
(Jolt thut, das 1st wohlgethan," and Fugue (F minor), by J.
L. Krebs
Book XLVIII. Eighth Organ Concerto, by G. F. Handel
36 Books, in 3 Vols., indexes of major and minor keys,
&C., bound in cloth, gilt sides and edges.
Vol. I. (Books 1 to 12)
12/Vol. II. (Books 13 to 24)
12/Vol. III. (Books 25 to 36)
12/Cases for Binding, Title, and Index, per voL 2s.
AUGENERS EDITION
OF
T , S. BACH'S ORGAN WORKS.

J
Edited by
W. T. BEST.
No. 9801,
Vol. I. 6 Preludes and Fugues

net
(No. 1 in c, 2 in g minor, 3 in n, 4 in it minor, 5 in r
minor, 6 in (...)
No. 9802.
Vol. 11 6 Preludes and Fugues

(No. 7
c, 8 in a minor, 9 in d minor, 10 in g,
c minor, 12 in k flat " St. Anne.")
No. 9803.
net
Vol. III. 6 Preludes and Fugues
(No. 13 in c, 14 in c minor, 15 in a, 16 in b minor, 17 in
c minor, 18 in e minor.)
No. Q804
Vol. IV
net
(Fantasia and Fugue in g minor. Toccata and Fugue in
d minor. Toccata and Fugue in e major. Toccata
and Fugue in c major.)
No. 9805.
Vol. V
net
(Toccata and Fugue in f major. Toccata and Fugue in
jj minor. Passacaglia in c minor.)
No. 9606.
Vol. VI.
net
(Fugue in g minor. Fugue in c minor. Fugue in h minor.
Fugue in c minor. Alia breve in i major. Canzona
in d minor. Fantasia in c minor. Fantasia in G major.)
No. 9807.
Vol. VII
net
(Eigbt short Preludes and Fugues. No. 1 in c major, 2 in
d minor, 3 in e minor, 4 in f major. 5 in g major, 6 in
g minor, 7 in a minor, 8 in B flat major.)
No. 9808.
Vol. VIII.
(Six Sonatas for 2 Claviers and Pedal. No. 1 in hHji
major; 2 in c minor, 3 in d minor, 4 in e minor, 5 in c
major, 6 in u major.)
5-
No. 9809.
Vol. IX
net
(Prelude and Fugue, A minor. Fugue, g major. Prelude,
a minor. Fantasia, g major. Fantasia and Fugue, a
minor. Fantasia with imitation, 1* minor. Fantasia,
c major. Prelude, 1. major. Fugue, g major. Pas
torale, f major. Prelude, c major. Trio, d minor.)
4 -
No. 9810.
Vol. X.
...
Four Concertos : No. 1, in c major ; 2, in a minor ; 3, in
c major ; 4, in c major.
4-
net
London; AUGENER & CO., 86, Newgate Street, E.C, and i, Fonben*
Place (opposite Conduit Street), W.
THE
August I, 1893.]
MONTHLY
MUSICAL
_A_ XT G* ^C IT ^] !K. ' S

E.
BdSiT
5961
5962
5963
5964
5965
Pieces,
P A U E R.
Junior Grade.
Book 1
E. Paucr, in G.
Pieces: E. Muller, Caprice in c; Clementi, Adagio
con espressione.
Gloire " ; Loeschhom, Romania in A minor ;
Lanner, Original Styrian Dance ; 3 National
Polish Mazurkas.
Book II
Studies : Loeschhom, in A major ; Berger, in o
Pieces : C. P. E. Bach, Allegro assai in E flat ;
J. Field, Polonaise in E flat; E. Pauer, Welsh
Recreations: Mozart. Three Minuets; A. Jensen,
"Joyful Message' ; X. Scharwenka, Valse in c
sharp minor.
Book III
Studies: Gurlitt, Op. 132, Nos. 4 and 10 , Laubach,
on Divided Scales.
Presto from Sonata in D ; Beethoven, Bagatelle,
Valse in K ; Mozart, Gavotte from " Idomeneo" ;
Book IV
Studies : Czerny, in c major, c minor, and D major.
Pieces : Mozart, Fantasia in D minor ; Kirnberger,
Gallenberg's Waltz.
Book V
Studies : Czerny, in c. D flat, A major; C. Gurlitt,
in F, c ; Pauer, 6 Short Preludes.
Pieces : Paradies, Toccata in A major ; F. Rics,
B minor.
Recreations : Mnttheson, Glgue in E minor; Schu
bert, Scherzo in B flat ; J. Low, Albumlueif ;
Bohemian Polka in B flat.
,A>i.
1
5982
5983
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Book 1
Studies : M. Szymanowska, Study in A flat ;
X. Scharwenka, Prelude in c.
Andante in E flat.
Recreations: Mendelssohn, Bolero, "The Wedding
Book II
Kjerulf, " Fruhlingslied."
Book III
Pieces : J. S. Bach, Minuet in o ; Schumann, Air on
Book IV
Studies : Czerny, in c minor ; Kalkbrenner, In x sharp
Beethoven. Variations in D, Op. 76.
Cradle Song ; Strelezki, Valse me'lancollque.
191
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Pieces : Hummel, Scherzo in F major ; Schumann,
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Recreations : J. S. Bach, Bourree and 2 Gavottes
from Suite in D ; Weber, Waltz in D major ;
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CONTENTS.
Haydn's Symphonies
Franklin Peterson. (Continued)
1
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SEPTEMBER
EBENEZER PROUT'S MUSICAL FORM.

By Dr. Charles W. Pearce.
The first three volumes of Mr. Prout's series of text
books each contained either an exposition of two separate
subjects, as Double Counterpoint and Canon, or a dis
sertation on two distinctly different phases of the same
subject, as Harmony: its Theory and Practice, and
Counterpoint : Strict and Free. Coming, however, to
the higher branches of musical composition, Fugue was
found to be too large a subject to bear compressing into
one' volume, and so it was spread over two ; the first
dealing with the matter from a synthetical point of view,
the second presenting it in its analytical aspect. The
consideration of Musical Form having likewise been found
to be of too extensive a character to admit of its being ade
quately treated in one text-book only, the volume before us
is but the first of two which will be devoted to this farreaching subject. Consequently, it deals almost entirely
with fundamental principles of constructive design, leav
ing the practical application of these principles to be
fully set forth in its immediate successor in the series,
which will duly make its appearance under the title of
Applied Forms.
Anyone who has attentively read the five former
treatises of Mr. Prout will feel astonished that such amass
of well-digested knowledge could be put into book-form,
and be printed, published, read, and widely circulated to
the extent of several editions of nearly every individual
volumeall in the comparatively short space of four
years.
It would be interesting to know what is the
ininimum interval of time the author himself thinks should
necessarily elapse between the publication of one treatise
and the appearance of another, seeing that he feels called
upon in his Preface to apologise for a certain amount of de
lay in the advent of Musical Form. But, on the other hand,
lest any slow-minded critic might consider that the volumes
of this series appear in too rapid succession to be con
sistent with thoroughness and completeness in plan and
execution, Mr. Prout draws attention to the fact that
this, his latest treatise, has cost him infinitely more labour
in its preparation than any one of its predecessors
Au^cnn's Edition, No. g.i^j.
2/3
i,
1893.
which is saying a great deal. The reason assigned is

that scarcely any assistance could be obtained from cur
rent English musical literaturethere being no standard
work on Form in our language which might be said to
occupy a parallel position to that of "Higgs on Fugue,"
for example ; hence, our author's materials had to be
gleaned partly from large German treatises on composi
tion no "light reading," as he informs us and still
more from the patient, " careful, and often minute analysis
of the works of the great masters." This last quotation
from the Preface is the key to the plan of the entire
volume, just as it has been of every volume from the
first. Although in the present instance he confesses his
deep indebtedness to the researches of Dr. Hugo Riemann, his acquiescence in the principles set forth in the
monumental work on Rhythm, by Rudolf Westphal, and
in a smaller degree, his obligations to Marx, Bussler
and Cornell, it is really from his own close analytical
observation of the methods of construction pursued
by the great tone-builders in their best works that
Mr. Prout has gathered his most valuable and choicest
materials for the treatise before us. And he is determined
that his readers shall "read, mark, learn, and inwardly
digest " the construction of classical masterpieces as well
as himself; so determined, indeed, that in the last chapter
alone there are no fewer than nine complete movements
given in their entirety with analytical annotations, etc.,
in order (as it is naively insinuated in the Preface) that
even those of his readers who possess copies of the
music may be spared the trouble of going to their book
cases to make necessary references.
One may, indeed, pause here to remark upon the
difference in the position of Mr. Prout's readers to that
of the musical students of half a century, or even twenty
years ago. The luxurious ease and saving of time and
trouble which is now the lot of those who study music
from such books as those of the Augener Edition is in
striking contrast to the laborious modus operandi which
used to be the order of the day, when frequent visits to
the British Museum or other public libraries were indis
pensable for the purpose of consulting rare and expensive
treatises which could seldom, if ever, find their way to
the scantily filled book-shelves at home. It remains to
be seen, however, how much better or more lasting is the
194
THE
MONTHLY
MUSICAL
knowledge acquired under present conditions to that

which used to be picked up with great personal incon
venience and difficulty. At any rate, the rising generation
ought to become good musicians, if the smoothing away
of hindrances and obstacles be any real help to the
acquisition of knowledge.
There is no doubt that a good English text-book on
Musical Form was much needed. Although not the first
author to make the attempt to supply such a want, Mr.
Prout has a considerable advantage over any of his pre
decessors, in being able to enter the field with a welldefined system of analysis, the success of which largely
depends upon Dr. Riemann's view of the nature of the
?notive. In one sentence this may be described as the
connection of unaccented notes not with the preceding, but
with the following accented note. This may appear at
first sight an unimportant matter, but there can be no
doubt whatever that the adoption of this view of the
distinguished German theorist makes clear many things
in the works of the great masters, which otherwise ap
pear incorrect, or at least difficult of explanation. Hitherto,
indeed, popular (and to some extent academical) notions
about musical form have been more or less chaotic and
conflicting. Scarcely two writers or teachers ever make
use of the same term to express the same thing, and the
result is very often absolute confusion^ a Babel of learned
(and unlearned) jargon, from which a student can only
gather at the best but very mixed ideas on the subject ;
learning at length to depend almost entirely upon his own
inherent sense of rhythm and proportion whenever he
wants to compose or to listen critically to music. For
example, Professor A draws from the treasures of a vast
and bewildering vocabulary of terms (borrowed from all
kinds of sources when they are not of his own invention),
and by this means dazzles his auditors by a brilliant
display of learning (?) during his oration on Form in the
Academical Lecture-room ; Dr. B may endeavour to
explain some of these mysteries to the same students
afterwards in the class-room ; but what is to be said
when Mr. C's published lectures on analysis contain
statements which do not quite agree with what Mr. D
has to say in his concise little manual or primer on Form,
or when the analytical foot-notes in Mr. E's Student's
Edition of Pianoforte Music are a flat contradiction of
similar foot-notes in Mr. F's edition of the same work ?
And how does all this wonderful diversity of information
operate upon a student's mind when the searching viva
voce interrogations of Dr. G or Mr. H have to be faced and
replied to in the examination-room ? Or, again, and
what is much more to the point, what is the practical
outcome of all this self-conflicting wisdom, when even
the smallest minuet is attempted to be composed, or a
better and keener perception of the symmetrical con
struction of a sonata is required for a really intellectual
performance, or even an intelligent and enjoyable hearing
of the same? In his new book, Mr. Prout makes a
vigorous and well-directed effort to reduce the abovedescribed chaos to something like order and clearness ;
and although everybody may not at first agree with all
he has to say, no one will deny that every chapter, nay,
every sentence, has been thoroughly well weighed before
it was published, even though the task of collecting, com
paring, sifting and selecting the materials made use of
has in very truth been herculean in its dimensions. Our
author claims that his plan is at least " intelligible and
consistent, and is the result of much thought, and of a
careful examination of a large number of movements by
the great composers." What more can entitle him to a
fair and impartial hearing ?
The plan of the book is simplicity itself. First we
RECORD.
[September i, 1893.
have plain definitions of essential terms, next the con

sideration of musical rhythm with its sentences, and their
natural division into phrases; then we get the subdivision
of a phrase into sections, and the still further reduction
of a section into motives, and even sub-motives. Having
continued so far with the analytical process of teaching
rhythm, our author next devotes three exhaustive chapters
to the discussion of modulation in all its varied forms.
These chapters are a treatise in themselves, and consti
tute perhaps the best and clearest exposition of the sub
ject which has ever appeared in the English language.
Then the synthetical method of teaching musical construction is adopted, and we are shown first how to make
regular sentences by the putting together of motives into
sections, sections into phrases, and so on : next we are
shown how to deal with irregular and complex rhythms,
both analytically and synthetically ; and, lastly, in the
two final chapters, we are introduced to musical form as
a wholefirst in its simple binary, and secondly in its
simple ternary design. We shall now endeavour to
go more fully into the contents of each of the ten
chapters of this remarkable book ; but enough has been
said even in this general outline of its contents to satis
factorily prove that this is no hastily compiled schoolbook, written to add yet one more strident voice to the
already deafening confusion of tongues which exists,
each trying to say something different on the subject of
formal design in music, but a well-thought-out text-book,
worthy in every respect to be considered as a Standard
Education Manual of the highest degree of excellence.
It shows how musical letters, so to speak, are made into
musical words ; how musical words are made into musical
sentences ; and how sentences are contrasted by modu
lation, and other devices, and are made up into complete
movements which resemble not a succession of in
coherent, disconnected and rhapsodical utterances, but a
well-considered, intelligent, and soul-moving discourse.
Although the author owes a great deal to Dr. Riemann,
it must not be supposed for one moment that the new
book is a mere English exposition of the German
theorist's views ; Mr. Prout has brought the individuality
of his own mind to bear upon the subject, and this, sup
ported by his inexhaustible knowledge of the scores of
the great masters, has resulted in the production of a
book which will do much to make the study of musical
form clearer and less self-contradicting than it has
hitherto been presented to students, and by this means
will enable them to become better composers, better
performers, better listeners.
The introductory chapter which contains definitions of
necessary terms, etc., is conceived in the author's happiest
style. He shows that the primary constituents of Musical
Form are Melody, Tonality, Rhythm, Proportion, and,
in a somewhat less degree, Modulation, and Develop
ment. These are all explained in turn : Rhythm being
defined as " the more or less regular recurrence of
cadences." Very rightly Mr. Prout warns his readers
that no book can teach the invention of melody, which is
distinctly a gift from heaven, only to be made the best
use of by properly-directed education.
Rhythm is dealt with in Chapter II., the analogy
between the construction of music and of poetry being, as
usual, the first and familiar illustration made use of ; but
it is again impressed upon the student that in music
"rhythm is entirely a question of the position of the
cadences/' A sentence is defined as "a passage end
ing with a full cadence, and which can be subdivided
by some form of middle cadence into at least two
parts." It would perhaps have been as well to have
added that sometimes this subdivision is difficult to
September i, 1893.]
THE
MONTHLY
realise ; but one or two examples given at the end of the

chapter (notably those in 45 and 47) sufficiently prove
this to be the case. At any rate, what the author wishes
to convey is this important fact, that "no isolated phrase,
even though ending with a full cadence, can make a
sentence, because the want of a response creates a feeling
of incompleteness . . . one phrase by itself being as
incomplete as half a pair of scissors ! " In 28 we are
introduced to what is known as a feminine ending, i.e.,
the ending of a phrase (or sentence) upon an unaccented
note. Some very interesting examples are given of the
various forms of middle cadences ; these will well repay
attentive study, as they must have cost Mr. Prout much
patient search in their selection. Young composers will
be astonished to find what endless variety can be obtained,
even in the choice of an ending for a first phrase. In 36
exception is taken to the English use of the term com
pound time, Mr. Prout preferring the German method of
defining it as " a larger bar composed of two or more
smaller bars " ; this is in connection with the fact of the
bar-lines being put in the wrong places throughout the
whole of many movements by the great masters, as, e.g.,
in Schubert's Impromptu in B flat, Op. 142, No. 3, where
the cadences come on the third beat of the bar instead of
on the first. This leads up to the discussion of a point of
great importance frequently overlooked both by teachers
and students, viz., that every sentence, or part of a sen
tence, is made by an alternation ofaccented and unaccented
bars. It is not too much to say that unless this point is
thoroughly well grasped by Mr. Prout's readers, very
much of the remainder of his book will be lost upon them.
How do we find which are the accented bars ? By
counting back from the cadence (which comes upon an
accented bar) and then reckoning every alternate bar as
an accented one, until we reach the beginning of the
phrase. Pianoforte students will do well to study care
fully this part of the new book, because, without a know
ledge of where to look for the accented bars it is perfectly
impossible to play intelligibly such movements as the
Scherzi in Beethoven's Sonatas in C, Op. 2, No. 3 ; in E flat,
Op. 27, No. 1 ; and in D (Pastoral), Op. 28. Students of
strict counterpoint might also add interest to their dry
and monotonous exercises if they were to remember that
the last note of their unyielding inflexible semibreve
Canto Fermo is really an accented bar, and that every
alternate" note (counting backwards from this final one)
is also accented. Such a consideration would doubtless
do much to facilitate the introduction of melodic figures
of sequence or imitation, and would make all the dif
ference between the evolution of artistic counterpoint
and the scribbling of merely mechanical successions of
notes. This second chapter ends with examples and
explanations of three-phrase and four-phrase sentences.
In Chapter III. we have the phrases of a sentence
" reduced to their lowest terms " by exhibiting their sub
division into sections, and these again into motives. But
first, the two four-bar phrases of an eight-bar sentence
have, for convenience' sake, distinguishing terms applied
to them, viz. "fore-phrase" and "after-phrase"the
English equivalents of Vordersatz and Nachsatz. The
important relation of accent and non-accent, as applying
equally to the smaller and larger divisions of music, is
dwelt upon at some length ; it being shown that a sen
tence contains accented and unaccented phrases, phrases
contain accented and unaccented bars, bars contain
accented and unaccented beats. Mr. Piout might have
even gone a step further to the ad infinitum limit, and
have shown that every aerial wave due to the vibration
of a sonorous body consists of two pulses, one of condens
ation (accent), the other of rarefaction (non-accent). It
MUSICAL
RECORD.
195
's soon pointed out, however, that it is not every phrase

which will divide into two sections ; nor is it advisable
that this should be the case, if the continuity of the music
is to be taken account of.
The explanation of the nature and function of the
motive, which Mr. Prout borrows from Dr. Riemann, is
here given with remarkable clearness and power, its
nature being thus defined : "A Motive is composed of a
strongly-accented note, preceded by one or more unac
cented or less-accented notes, and followed by unaccented
notes only when the harmony requires it, or the context
shows that the following motive does not begin im
mediately after the accent." The very idea of the motive
will be new to nearly every English student ; and it is
scarcely too much to say that a complete mastery of this
third chapter will immensely assist anyone who desires to
compose, to perform, or to listen to music. As an illus
tration of this, Mr. Prout quotes Dr. Riemann, who
proves that what look like consecutive fifths in the wellknown passage in Bach's great Organ Toccata and Fugue
in D minor are not consecutive fifths at all, but that the
subdivision of the harmonic progression into its consti
tuent motives clearly shows the following :
^^sai^ppiifi
instead of :
A caution is, however, given to the performing student

that " no break is to be made even in thought, much less
in playing, between one mo'tive and the next ; " but as
motives are the equivalents of musical words, it is
necessary, in order to make sense of the passage, to know
where they begin and end. Before proceeding to the
next chapter, Mj. Prout sums up the general principles
laid down in this and the preceding chapter with admir
able conciseness and clearness ; and these two pages (34
and 35) will accordingly be found most valuable for
frequent reference during the perusal of the volume.
The three chapters on Modulation which come next in
the book, may be considered as somewhat in the char
acter of an appendix to the author's Harmony, inasmuch
as they are mainly based upon the particular line of
teaching laid down in the first volume of this series.
They are, however, full of interest in themselves, and will
be found useful reading by even those who may not be
disposed to accept in their entirety Mr. Prout's theoret
ical views of harmony. In connection with the definition
of the term Modulation, we find a certain amount of
importance attached to the fact that a transition (i.e. a
momentary change of key of the briefest possible duration)
is a veritable modulation to all intents and purposes.
The acceptance of this fact will often save a great deal of
confusion in the analysis of music, and there seems to be
no good reason why a temporary disestablishment of the
original tonicif only for two chordsshould not be
regarded as a modulation, quite as much as if the substi
tution of a new tonic were extended over a duration of
many bars. We are shown that there are two degrees of
key-relationship ; the first and nearer degree being deter
mined by the number of diatonic triads common to any
two keys, the second and more distant degree being
established when certain triads which are diatonic in
only one of two keys can be used chromatically in the
other. This chapter, which deals only with key-rela
tionship, will bear close reading, as there are numerous
points of novelty contained in it which require study before
they are thoroughly impressed upon the mind ; but an
196
THE
MONTHLY
earnest student will be amply repaid for his pains. The

table of related major and minor keys, which shows the
relation of two tonics to one another according to their
intervals, will be found useful alike as a summary of the
chapter and as a reference page.
In Chapter V. we are shown in how many different
ways modulations can be effected by the use of triads
only, viz., by means of a consonant chord common to the
key quitted and to that entered. Readers of the harmony
treatises of Day, Macfarren, and of the author himself,
will be familiar with the mode of prooedure adopted
throughout the whole of this chapter ; it is, therefore,
needless to describe here the system of teaching in detail.
It will suffice to say that all the illustrative examples from
the great masters which abound on nearly every page are
exceedingly well chosen, and would in themselves without
any explanation constitute an excellent lesson on how to
modulate by means of triads only. The Schubert ex
amples are especially happy in their selection, and so, too,
is the final illustration taken from Dvorak's Stabat Mater,
in which a chord, approached as though it were going to
be used as the Dominant Triad of v minor, is quitted as
the Tonic of c major instead, producing by this means
an effect as ecclesiastical as it is striking. The whole
chapter is cleverly thought out ; and its careful perusal
may be strongly recommended to all students who depend
largely upon the use of diminished sevenths for their
modulating media.
Chapter VI. deals with modulation by means of discords
a much wider field than that covered by the preceding
chapter, and, therefore, treated somewhat less exhaustively.
The discords here made use of for modulating purposes
are fundamental chords of the seventh, diatonic sevenths,
diminished sevenths, augmented sixths, augmented triads,
and thirteenths of all kinds. Next, we are shown how
to modulate by retaining one of the notes of a chord
alone, and then taking it as a different interval of the
next chord in quite a different key ; how to change the
key at any time by employing the use of unison scale
passages (diatonic and chromatic) ; how to arrive at a
remote tonality by touching incidentally upon other keys
in passing, and also how to modulate by less-frequented
paths which do not admit of classification under any one
of the foregoing methods. This is a comprehensive pro
gramme, and its carrying-out occupies no less than twenty
closely-printed pages of the book ; but it is one of the
best, and certainly one of the most completely explained
catalogues of modern modulation processes we ever re
member to have seen.
Some of the key-changes effected by the use of dia
tonic or " prepared " sevenths, as they used to be called,
are so fresh in their character, that they will repay study.
As might be expected, of the six illustrative examples
given, half are from Bach, and half from Mendelssohn ;
and the modulations so effected are to the relative minor,
the mediant minor, and the supertonic minor of a major
key ; and to the relative major, and the submediant major
of a minor key. The four examples of enharmonic
modulation by means of the diminished 7th (from
Mozart, Handel, Spohr, and Beethoven) are unusually
fine specimens of their class, and so, too, are the four
illustrations of what can be done by changing the nota
tion of the augmented 6th, of which three are from
Schubert one of the greatest masters of modulation.
Needless to say his great Symphony in c furnishes the
most telling of the quoted extracts in 144 to 150.
A very interesting point brought out in this chapter is
the fact that a modulation will always occur at the
beginning of a motive, not in the middle of one ; this
furnishes another instance of the importance which is
MUSICAL
RFXORD.
[September I, 1893.
attached throughout this volume to the power of being

able to reduce a musical composition to its lowest terms
the motives. -The example from Mozart's Quintet in
v. minor on page 73 may be recommended to all examin
ation students who are in search of a particularly difficult
bit of score-reading. The two last illustrations are from
Wagner's Tristan und Isolde. Altogether Chapters IV.,
V., and VI. may again be said to constitute in themselves
quite a treatise on modulation ; and with a series of
exercises (both basses and melodies) written to familiarise
a student with the many methods of key-changing there
in enunciated, they might well be issued in a separate
volume so as to form a complete text-book on the
subject.
The construction of sentences with regular rhythm
forms the subject matter of Chapter VII. Dealing with
the simplest form of the motive (two alphabetical notes
in ascending or descending order), somewhat after the
manner of Dr. A. B. Marx in the First Division of Vol. 1.
of his School of Musical Composition, Mr. Prout not only
shows what can be done with it in class-room black
board fashion by alterations of pitch, time, duration, in
version, augmentation, diminution, etc., but he ingeniously
exhibits two really beautiful melodies entirely growing
out of this simple germ, one being the well-known per
recte et retro double chant in c by Dr. Crotch ; the other,
a familiar excerpt from Beethoven's P. F. Sonata, Op. 23.
We really believe that Mr. Prout would never be at a
loss at any time were he suddenly called upon to illus-
trate any kind of musical process by a quotation from the
great masters. He then proceeds to show how simple
eight-bar musical sentences may be constructed, laying
great stress upon the maintenance of the regular alterna
tion of accented and non-accented bars ; giving hints for
the choice of a suitable cadence to end the "fore-phrase,''
and remarking upon the frequent desirability of making
one of the two phrases divisible into sections, and keep
ing the other indivisible. Dr. Riemann's plan of indicat
ing the subdivision of musical sentences by means of
capital letters, etc., is adopted ; the formula have cer
tainly an algebraical look about them, but they have
the advantage of being easy to understand, and to
remember.
For instance, a sentence constructed thus :
Aiter-Phrask.
Kore-Phrask.
1st Section
Bars 1
2,
2nd Section
3 4.
(modified imitation
of 1st Section).
{Indivisible)
5678
(formed from an en
tirely new motive).
would be formularised by Dr. Riemann in this simple

manner :
A~ + A* + n.
the asterisk signifying that A, the first section of the
fore-phrase, is repeated in a varied form for the second
section, and is signifying that the after-phrase is not only
indivisible, but is quite unconnected with the motives of
the fore-phrase. Mr. Prout, with his usual industry, has
made a diligent search amongst the works of the masters
for specimens of variously constructed eight-bar sen
tences. Here are four of his results expressed according
to the Riemannyb/7/zfe :
().A + B + A + B
B + A + C
(c being a new section quite different to any of the other

three)
A + A + A + B;
A+B + C + D
September i, 1893.]
THE
MONTHLY
(here each of the four sections contains different material),

and so on. The construction of each sentence is fully
explained in the book, and any exceptional features of
modulation, etc., are carefully pointed out and com
mented upon. Mr. Prout more than sustains his reputa
tion as a specimen-finder by the quotation of Schumann's
Der Abendstern (Op. 79, No. I), as an example of a
complete composition containing only one sentence of
eight bars. Few text-book authors would have thought
of including this little song as an illustration. The next
thing done is to show the student how to write eight-bar
sentences in various forms for himself, and this long but
highly-interesting chapter of twenty-three pages concludes
with a description of the manner in which twelve and
sixteen-bar sentences are constructed. One of the closing
remarks addressed to the student deserves quotation
here : " How much value his [the student's] exercises may
possess will depend upon the amount of imagination with
which he has been endued ; but even if his own com
positions should be worthless, the knowledge he has
acquired will be of much value to him in enabling him
to analyse and to appreciate the works of the great
masters."
Chapter VIII. (on irregular and complex rhythms) is
undoubtedly the most novel and interesting part of the
book. It begins by stating as a kind of axiomwhich is
everywhere else established and confirmedthat irregu
lar rhythms are not new forms in themselves, but are in
ever? case variations of the normal eight-bar rhythm,
either by extension or by contraction. This, as will be
readily seen, reduces complexity of rhythm, which has
always been a kind of pons asinorum in the study of
Musical Form, almost to the level of a commonplace
certainly it makes one of the old rough places exceedingly
plain. Mr. Prout in this chapter avails himself of another
system of analytical marking originated by Dr. Riemann,
which may be thus briefly described. Every bar in
which the last chord of the final cadence of a sentence
occurs is marked 8 ; any following bars which are merely
repetitions of the cadence and not the beginning of
another sentence are marked 8a, Sb, 8c, and so forth.
In places whereby reason of an interpolation or exten
sion of a passagethe fourth bar of the after-phrase (8)
does not complete the sentence (which ends two or four
bars later on) we get the signs 8 = 6 or 8 = 4, meaning
that a bar so marked has a double function, being the
8th if counted from the beginning of the sentence; but
the 6th or 4th, if counted backwards from the end o( the
sentence, the concluding b^r of which is always marked
8. This system of analytically marking the bars will
require a little time and patience to thoroughly grasp at
first, but when mastered will be found to enormously
assist the unravelling of rhythmical intricacies. Haydn's
quartets are largely drawn upon for the purpose of
illustrating irregular, or rather varied rhythms ; but with
the clear explanations given in this book, analytical diffi
culties speedily vanish. Mr. Prout wisely warns the
student against supposing that a composer when writing
a sentence of irregular rhythm is consciously making
variations from the normal four or eight-bar sentence,
when in reality he thinks no more about the process than
he does about the roots of the chords he is using. "But,"
says 6ur author, "just as the theorist can satisfactorily
explain any harmony the effect of which is good, even
though the composer might quite possibly be unable to
account for it himself, so the irregularities of rhythmical
structure can be justified on intelligible grounds, if we
only have some rational system on which to work."
Numerous cases in which a phrase or sentence is
lengthened by the insertion of a single bar are then dealt
MUSICAL
RECORD.
197
with. A bar so interpolated imy be either accented or

unaccented. If the latter (marked 3a or 7a), it is gener
ally made use of in approaching a cadence, which it
delays with somewhat of a ratlentando efTe;t. But an
accented bar is more generally used for the mere purpose
of extending a phrase, and it is almost invariably the
after-phrase which is so extended, because by this means
greater weight, dignity, and importance are given to the
responsive portion of the sentence. Still greater interest
is attached to those cases in which the normal rhythm is
altered by contraction (generally by the elision of an unac
cented bar). A single Anglican chant presents, perhaps.
the most familiar example of such an elision at the begin
ning of the frre-phrau-, although there is no reason why
SEÊSEe
iH^HHI
(')
()
M
,
r-
(-)
other bars than the first should not be elided. The

rhythm of a sentence is not really disturbed as long as
each phrase preserves an even number of accented bars.
An accented bar cannot then be elided in the same
manner as an unaccented, although " the nearest approach
to this is the overlapping of two phrases or sentences,
produced by the conversion of the final (accented) bar
of one phrase into the first (unaccented) bar of the follow
ing" (8=1).
The peculiarities of three-bar, five-bar, and seven-bar
rhythm are very clearly explained in this chapter. A
sentence in three-bar rhythm contains six bars only, i.e.,
two bars have been elidedftom eight, viz., 1 and 5, leaving
in both phrases an equal and even number of accented
bars. A sentence in five-bar rhythm contains ten bars,
i.e., two bars .have been added to eight, viz., 3a and 7a
(both unaccented) or 2a and 6a (both accented). A sevenbar phrase, or sentence, is usually a contraction from
eight bars; but it may be an extension of four bars as exem
plified by the after-phrase of the first sentence in the slowmovement of Beethoven's P. F. Sonata in a, Op. 2, No.
2, beginning at bar 5.
An ingenious way of explaining the analytical difficulties
often to be met with at the beginning of a movement is to
assume (as on page 123) that the piece begins with an
incomplete sentence. For instance, the very first bar of
Beethoven's Overture to Egmont is, in 266, described as
bar 8 of a sentence of which the first seven bars are
missing, and similarly the opening bar of Weber's P. F.
Sonata in c, Op. 24, is in 26S described as bar 5
of a sentence of which the first four bars are missing, anil
so on. Such explanations may be said to " make-believe
a great deal," but they are perfectly reasonable and con
sistent with the entire analytical system laid down in the
new book. The whole of liach's 36th fugue from the
WohltemperirtesClavier\% subjected to rhythmical analysis
in 270-277, with some remarkably clear results ; but it
is observed that a great many fugues cannot be so
analysed without doing violence to their structure ; Mr.
Prout inclines in this respect to the opinion that in such
cases regularity of rhythm is superseded by regularity of
accent. Cross-accents are exceedingly well illustrated and
explained, several of the examples being taken from the
less-familiar works of Handel. The occasional insertion
or elision of one beat in a bar is next dealt with, and
collectors of specimens in \, 3, and \ times will doubtless
be able to add to their stores from Mr. Prout's pages.
The example of jj from Handel's Orlando is decidedly
curious ; the composer intended it to depict the hero's
madness! This may possibly explain why Mr. Prout
advises his readers " seldom, if ever, to experiment with
198
THE
MONTHLY
quintuple or septuple time, or even with the insertion

or elision of a beat in a bar." We have lingered over
this chapter, partly because it is so very long (48 pages),
but mostly because its contents are so novel, dealing with
points scarcely ever touched upon in any previous English
text-book on Form, or if mentioned at all, only hurriedly
and inadequately.
The author, knowing this, writes
throughout with extreme caution, nowhere dogmatising,
everywhere leaving the field open for others to come in
with better explanations of the many great difficulties he
has tried to grapple with if they can. But he at least
claims that his method of explaining irregularly con
structed sentences as modifications of normal rhythm
is intelligent, consistent, and capable of general
application. This, at any rate, he has proved to be
the case.
The two concluding chapters explain how complete
movements may be constructed by combining sentences
according to the principles of Simple Binary and Simple
Ternary design. By Simple Binary form is meant that
which naturally divides itself into two parts; by Simple
Ternary form, that which divides itself into three parts.
Very wisely the author prevents any mental confusion
which might arise with respect to these terms, by avoiding
the use of such expressions as " first subject," " second
subject," etc. As the teaching is mainly conveyed by
means of annotated examples from the great masters, a
list of the pieces given will afford the best idea of the
course taken by Mr. Prout. Chapter IX. on Binary
Form, contains no less than nineteen movements, which
occur in the following order : Hymn Tune, Dundee;
Choral, Licbstcr Jesu; Papillons No. I, Schumann;
" Bunte Blatter," Op. 99, No. 1, Schumann ; Gavotte from
Sonata, Op. 2, No. 1, Corelli ; No. 2 of Twelve Minuets,
Mozart; " Trauer Walzer," Op. 9, No. ,2, Schubert;
Tema from Symphony in c, No. 60, Haydn; Contredanse
(Prometheus), Beethoven; " Liebeslied,"' Op. 54, No. 3,
IVcbcr; Song, " Im Fruhlingsanfang," Mozart; Minuet
(Quartet, Op. 64, No. 4), Haydn; Gavotte (Franzcisische
Ouverturc), J. S. Bach; Minuet (Berenice), Handel;
Bourree (Suite Francaise, No. 6), Bach; Air, " Convey
me to some peaceful shore," Handel; 29th Prelude
in G (VVohltemperirtes Clavier), Bach; Adagio from
Sonata in F, Mozart; Paraphrase of Mozart's Minuet in
F, E. Proutthis last being a charming example written
merely to show the student how to construct pieces of his
own by modelling them in the same form as the given
examples, but using of course different materials. The
author does not recommend that further exercises of
an entirely original character should exceed four sentences
in length. It goes without saying that the analytical
and explanatory comments upon the nineteen move
ments in this chapter are written in Mr. Prout's best
style.
It is laid down in 352 as an invariable rule, that
the first part of a movement in genuine ternary form will
always be in itself a complete binary form, that is, it will
contain at least two sentences, of which the second should
end in the tonic key ; the only other essential features of
ternary form being that the second part should be in
a different key, and be otherwise contrasted with the first,
and that the third part should contain the principal idea
of the first part. Having sketched the form in outline,
Mr. Prout then proceeds to illustrate its treatment by the
great masters ; the following being the nine movements
chosen for the purpose .Andante from Sonatina, Op. 79,
Beethoven; Andante from Sonata in c, No. 10, Mozart;
Adagio from Quartet, Op. 64, No. 5, Haydn; Adagio
from "Sonata Pathe'tique," Beethoven; Adagio from
Sonata in C, Op. 24, Weber; Nocturne in G minor, Op.
MUSICAL
RECORD.
[September 1, .893
31, No. 1, Chopin; Impromptu in E flat, Op. 90, No. 2,

Schubert; Phantasiestiicke, Op. 12, No. 2, Schumann;
Song, " Qual nave smarrita" (Radamisto), Handel. In
connection with the familiar slow movement from the
"Sonata Pathe'tique," Mr. Prout observes that "if we try
to play this movement, attending strictly to the phrasing
printed, we get the most absurd effects, the analysis
of the sentences into phrases, sections and motives proving
the correct phrasing to be quite different .... This
volume is not intended to teach pianoforte-playing, but, as
the present piece furnishes a striking example of the loose
and inaccurate way in which printed music is generally
phrased, it gave an opportunity to warn students not to
be misled, in making analyses for themselves, by finding
the natural subdivision of the sentences contradicted by
the position of the slurs." This is a very important
question, not only for pianoforte teachers and students,
but also for editors and composers of pianoforte music :
indeed, it affects the art in all its branches to such an
extent as to make this new book indispensable for every
musician worthy the name. The word link is wisely sub
stituted by Mr. Prout for a literal translation of Dr.
Riemann's term, " Generalauftakt," by which he means
a passage not forming a part of a sentence itself, but
which connects the preceding with the following sentence.
Several links of an important character are pointed out
in Schubert's Impromptu, mentioned above. Many points
in these last two chapters will doubtless challenge criticism
on account of their being somewhat at variance' with
statements made by other authorities on " Form " ; for
instance, some analysts would regard both the adagio of
Beethoven's Sonata " Pathetique," and Schumann's
" Phantasiestiick, No. 2," as being written in rondo
form ; Mr. Prout's arguments to the contrary will there
fore be read certainly with interest. ; and it may be hoped
that so simple and consistent a principle of nomenclature
as that adopted by him will ultimately become accepted
universally. We shall look forward with considerable
expectation of great things to the appearance of the next
volume of this series, Applied Forms; feeling confident
that the two books together will constitute a reliable,
consistent, and intelligible treatise on Design in Music,
and be superior to anything on the subject which has
hitherto appeared in our language. It will be a bad
prospect for the music of the future if students disregard
the principles which guided the master-minds of the
mighty past ; but the outlook will surely be an encourag
ing one if the immutable laws which govern art,
not for an age, but for all timeclearly and truthfully
stated as they are in this new bookmay attract young
composers by their very breadh and simplicity, and so
lead them on not by dark and devious paths to unknown
and uncertain goals, but along the royal highway to
success and distinction, illuminated as it is by the
brightest constellations in the musical firmament.
MERE NAMES.
In a paper on Self-Education, read last year at Chicago,
Mr. W. S. Matthews, the writer, complained that many
persons knew the names of the great composers, and but
little else. Earnest students have, indeed, no idea of the
ignorance of the public in matters musical ; many who
have received a fair general education know not the
barest outlines of the history of music. It is easy for
anyone to test the truth of this assertion. He has only
to select say a dozen young persons (boys or girls)
who play the pianoforte, but who have not passed
any musical examination, and without previous warning
September i, .893.]
THE
MONTHLY
to ask them to name the epochs at which certain

composers lived, or the principal works which they
wrote. If he find Chopin assigned to the eighteenth
century, or Mozart placed before Bach, or the Messiah
credited to Mendelssohn, or some equally outrageous
declaration, he will become convinced of the truth of
our statement.
But a little reflectioneven without applying the test
will help one to understand to some extent why such
ignorance should prevail. In studying history one cannot
fail to learn something about poets. In English history,
for instance, one comes across the names of Chaucer,
Spenser, Milton, etc., for they were publicly connected
with the period in which they flourished ; and one can
scarcely read the reign of Queen Elizabeth without meet
ing the name of Shakspere. But the history of music
and musicians is, as it were, isolated, and one may
study the histories of various nations, and scarcely
know of the existence of some of the greatest musicians.
The story of George III and the Hallelujah Chorus,
or of Bach playing before Frederic the Great at
Potsdam, may possibly be related in some of the
general histories, but they stand almost alone. Yes,
musicians were, for the most part, isolated : Bach work
ing in his quiet home ; Mozart wandering about the
world in search of an appointment ; Beethoven, in
uncomfortable lodgings, filling sheets of music-paper
with mysterious notes such is not the stuff of which
ordinary history is made.
Then, again, pieces of music are given to pupils in a
1 general, haphazard sort of way. A teacher may select
a piece for some technical purpose, or because it avoids
octaves or large stretches, or because it is written in an
easy key ; oryes, let the worst be said because it is the
first to hand. Not to speak of actually bad music which
is often taught, there is, as a rule, no steady plan by
which pupils are led from Bach, through the classic
masters of the eighteenth century, up to the modern
romantic school. One ought not to insist that strict
chronological order should be invariably observed,
but there should be some orderly system, from which
departure could occasionally be made at the dis
cretion of the teacher. If a little child learns a little
album piece by Schumann, and then perhaps a Bach
invention, or an easy piece by Beethoven, and then
one by Haydn, that child will probably by virtue of
associationjoin together those whom time has widely
severed.
But, once more, the programmes of most concerts
present such a jumble of names and styles that the vague
knowledge of pupils and of the general public only becomes
still more vague. Here, again, it would be unreasonable
to expect concert-givers so to order their programmes as
to illustrate a certain period, or certain schools of music.
Yet, often, with a little thought, a programme might be
materially improved, without becoming painfully precise.
There ought to be more concerts of an educational
character. At times the works of one particular com
poser (Bach or Beethoven) might form the contents of
the programme ; or the composers of some particular
school (Haydn and Mozart, or Schumann and Brahms,
or Chopin and Grieg) ; or even a summary of music from
Bach, say, to Beethoven.
Mr. Matthews suggests that collections of pieces, each
devoted to one composer, and representing their best
thoughts, should be issued in various grades. Much
has already been done in this direction by Mr. Ernst
Pauer and others ; but that means of spreading an
intelligent knowledge of music and musicians is not, as
yet, exhausted.
MUSICAL
RECORD.
199

A Collection of Articles intendedfor Educational Purposes,
CONSISTING OF

as to their performance.
By E. PAUER,
Principal Professor 0/ Pianoforte at the Royal College 0/ Music, &c.
STEP 4.
Liszt, F. "Am Meer"(By the Sea), by F. Schubert

(c). Liszt's paraphrases of German songs form one of
the musical glories of this century, and the player may
be glad to possess the necessary cleverness to do justice
to them.
Liszt, F. " Air Bohe'mien " (a). This celebrated air
(in the so-called " Moscow " fashion) is here elaborated
with fanciful and highly elegant figures and ornaments.
Mayer, Charles. "Six Studies," Op. 31. No. i.inA flat
(really F minor) ; full of animation and excitement ; the
left-hand part deserves a special practice. No. 2 in D
flat ; the chords ought to be hammered out, sometimes
with silver, at times with steel, and even in ff with iron
hammers, which hammers are represented by the fingers.
No. 3 in C ; somewhat commanding and majestic. No.
4 in a ; very graceful and ingratiating. No. 5 in F sharp
minor ; elegant and in its way humorous. No. 6 in C; a
kind of perpeluitm mobile; for practising it is advisable
to distribute it into three parts : part 1 to first bar of page
29 ; part 2 to sixth bar of page 31, and from here to the
end.
,
Taubert, Wilhelm.
La Campanella" (y sharp minor
and major). The beautiful melody, the noble harmonisation, distinguished accompaniment, and not less the
almost irresistible charm of the " little bell " figure at the
end, procured universal goodwill and admiration for this
highly popular piece. Many pianists, among whom were
Madame Schumann (to whom it was dedicated when she
was still Clara Wieck) and Miss Anna Robena Laidlaw,
created a very great furore with the elegant "Campanella,"
and it may therefore be highly recommended to every
pianist who appreciates a noble, and at the same time
highly effective piece.
Taubert, Wilhelm. " La Nayade " (f). This charming
characteristic piece affords ample opportunity for earnest
and assiduous study ; for the arpeggio figures are here
represented quite in a novel form. The student has first
of all to understand the meaning of the piece ; he has to
fancy the sport of the water-nymphs, exhibited in the
most varied forms, to listen afterwards to the sweet song
(page 5), and finally to find delight in the graceful evolu
tions, making the water splash, appearing and disappear
ing with the waves. There are here plenty of oppor
tunities to learn, to profit, and to study elegance and
graceful movements of arms and hands.
Czerny, Carl. " Toccata " (c), Op. 92. This celebrated
educational piece is one of the most useful in existence.
Since about seventy years pianists of all countries have
benefited by it, and even Schumann, not generally a friend
of the "industrious Czerny," could not resist taking it as
a kind of model for his own celebrated " Toccata." That
he succeeded in writing a far superior piece, no one will or
can deny, but it is still no slight praise for Czerny to have
initiated Schumann to write a work in the same lorm and
even in the same key.
Mayer, Charles. " Toccata " (e). This piece offers a
capital study for repeating notes on the same key. The
student has to try to gain the greatest possible correctness,
neatness, clearness combined with many variations with
THE
MONTHLY
MUSICAL
regard to tone gradation, and only then will success

crown his trouble. To our present taste the "Toccata"
seems too long, but our forefathers had more time or
allowed themselves more time : thus we find it (excepting
Cramer) with studies of Clementi, Hummel ; but the old
gentlemen thought, very likely, that in order to learn a
thing thoroughly it is necessary to bow to the necessity
of repetitions. All in all, Mayer's " Toccata " is an exceed
ingly well.composed, brilliant, and useful piece which
needs no further recommendation.
Pautr, E. " Gleanings from the works of celebrated
composers." No. 9. Adagio from Mendelssohn's second
Concerto, Op. 40 (B flat). Almost all the orchestral
instruments of the original composition are represented
in this transcription, and for this reason the performer
can give a better idea of the beauty of Mendelssohn's
work than by merely playing the piano part of the
original.
No. 12. Tartini's Sonata (g minor), "11
trillo del Diavolo." The transcription of this beautiful
and highly original Italian work will be found very prac
tical. It retains every note of the original and thus gives
the piece in its entirety, and affords persons who are
unable to go to concerts an opportunity to become
acquainted with one of the " stock" pieces of the present
concert repertory. No. 21. Joseph Haydn, "The Clock"
(c, major). This movement is the Andante from a
Symphony in I) ; and its original, interesting, and
fascinating beauty soon made it a general favourite.
Throughout natural, fresh, and cheerful, it cannot be
otherwise than welcome in the home-circle, for it will soon
bring a ray of light even into sombre regions.
Thalberg, Sigismund. " Home, Sweet Home." Op. 72
(D flat). The popularity of this ingenious, brilliant, and
highly effective transcription is even at present so great
that any recommendation is quite superfluous. It is at
the same time an excellent study for the shake and
arpeggio.
Thalberg, S. " The Last Rose of Summer," Air
Irlandais (k), Op. 73. The extraordinary success of the
transcription of " Home, Sweet Home," suggested a
similar treatment for the not less-known Irish air, and it
shows the full command of the famous pianist Thalberg,
that he could present the Irish air in quite a different dress
from the English melody. Here there are chromatic
scalesto be played in a subdued, almost murmuring
manner, and at the end a kind of trembling effect, pro
duced by chords distributed between both hands, chords
which have to be played with the greatest quickness,
and which produce a very great effect.
(7> It continued.)
TlIF. summer concert of the " Pauliner," Leipzig University
Musical Society, took place on the 9th July in the large hall
of the Crystal Palace. Years ago, when the Pauliner Society
was conducted by Dr. Langer, its male-voice choir was justly
considered to be the finest in Leipzig ; but since the institution
ol the Lehrer Gesang Vercin, the Pauliner has fallen from its
high estate, being quite eclipsed by the newer organisation
just referred to. These remarks are not intended to convey any
reproach to the conductor of the university society, Herr
Professor Dr. Kretzschmar ; but it stands to reason that a choir
of quite young men, with immature voices, cannot rival a body
of nialure singers like the Lehrer Gesang Verein, the members
of which remain constant in their allegiance to the society for
years and years, while the membership of the university society
changes almost every term. Moreover, the students have a wellknown partiality for social gatherings at which enormous quan
tities of beer are consumed ; while the teachers, as a rule, have
outgrown this youthful weakness. These are considerations
RECORD.
[September i, 1893.
which cannot be overlooked, though I am not disposed in this

place to discuss the question whether beer is or is not good for the
voice. The " Pauliner" gentlemen were certainly ill-advised in
bringing forward at their concert Rheinberger's " Thai des
Espingo," which the Lehrer Gesang Verein had sung so gloriously
at their concert a few days before. Of the other choruses per
formed, "Salamis," by Bruch, " Maienzeit," by Julius Rietz,
and Schumann's " Ritornell " were the most successful. We
cannot commend the choice of works by Koschat and Berner,
neither of whom has written music worthy of a high-class
programme. Ilegar's " Schlafwandel " is loo hackneyed, and
Weber's " Turnier-Bankett " is utterly below that master's usual
standard. Both would have been better omitted. In a field
where there is so much that is absolutely beautiful to choose
from, a had selection is unpardonable. The instrumental works
were performed, Cherubini's " Anacreon" overture, " Romanze
and Finale " for violoncello solo by F.Thieriot, " Presto" from
a serenade by Robert Kahn, and finally two of the well-known
Hungarian dances by Brahms. Herr Hattenbach played the
violoncello pieces by Thieriot, of which the " Romanze " pleased
me most. With regard to the Hungarian dances with which
the name of Brahms is now always associated, while the names
of their original composers are never mentioned, I consider that
Brahms receives more than his fair share of credit : the orches
tral arrangements of these dances more especially showing very
few traces of original work on the part of Brahms. No one
would deny that Brahms deserves great credit for bringing these
compositions to the notice of the whole musical world ; and his
pianoforte versions of them have almost the merit of original com
positions, so beautifully are they elaborated. But it would be
much fairer if the joint authorship of these works were indicated
both by the publishers of Brahms and by the fvamers of pro
grammes. Alfody, Keler-Bela, and the rest who were the
original composers of these charming works, ought not to be
entirely ignored.
The operatic performance of the Conservatoire students given
at the end of the term just concluded was unusually interesting.
Departing from the practice of former years, which was to give
one single opera complete, the programme on this occasion was
made up of selections from different operas. The fine, young,
fresh, and well-trained voices one hears at these performances
frequently give more pleasure than those of the used-up, affected
singers one is sometimes obliged to listen to at the theatre.
The lack of stage experience, and the occasional utter helpless
ness induced thereby in the youthful performers, provoke much
amusement among the spectators. The singing was on the
whole very good. First we had the second act of Flotow's
Martha, with Fraulein Katharine Steckhan in the title-part,
Fraulein Margarethe Rieprich singing Nancy with good effect.
The Plunket of Herr Stephani was a surprisingly good perform
ance for a student, and the Lionel of Herr Otto Burner was
also praiseworthy. Selections from the first act of the Nachltai>er in Granada followed ; and in this we heard Fraulein Flora
Ilcrzberg, the most promising of all our students in the operatic
class. Her "Gabriele" was truly charming. Herr Paul Michael
was overweighted with the part of the hunter. In the second
finale of The Magic Flute the beautiful voice of Fraulein Flora
Staude was heard to advantage. Herr Bernard Schultheiss
sang the music of Papageno quite successfully. Fraulein Martha
Geitner proved well cast as Papagena. She bids fair to become
a charming soubrette, though her voice is as yet quite small.
Especially successful were Frl. Klemm, Siegert, and Jahn in the
trio for three boys. The remaining selection was the first act
of Fidelio, minus the finale. Fraulein Rosa Friedel essayed the
trying role of Leonora. Though obviously lyond her means
both vocal and dramatic, the part was rendered with great care,
and there is little doubt that Fraulein Friedel will obtain a
good position in due time. In other parts, Herren Borner and
Schultheiss, Fraulein Herzberg and Herr Meyenreis gave good
evidence of natural talent, which had been well directed.
The Gewandhaus orchestra has sustained a heavy loss by the
death of Herr Hinke, our first oboeist, and quite a virtuoso
upon his instrument. Herr Hinke was in other respects a very
estimable man, enjoying the friendship of an unusually wide
circle. As evidence of the respect in which he was held by his
brother musicians, I may mention that Dr. Reinecke dedicated
September i, 1S93.]
THE
MONTHLY
MUSICAL
RECORD.
201
his new octet for wind instruments to Herr Hinke. His name Rondo Scherzando con molo perpctuo for piano solo. By
will not easily be forgotten, and his place will be difficult to
F. KlRCHNER. Op. 459. London : Augener & Co.
refill with an equally competent artist.
A light, vivacious piece in C major, containing good
material for the practice of staccato. It is quite easy and
very pleasing ; there is little need to add more, as F.
Kirchner's simple and fluent style is already widely known
OUR MUSIC PAGES.
amongst those in search of something effective and pretty
We present our readers this month with a fragment of
Marie Wurm's " Valse de Concert." The piece in its to play.
entirety is a graceful and brilliant one, and though a part Musical Kindergarten {Musikalischer Kindergarten}.
By Carl Reinecke. Op. 206. Vol. IX. Masquerade
is necessarily omitted, what is published in our Music
(Kinder-Maskenball).
Part II. For piano solo.
Pages forms a complete piece in itself, and is sufficient to
(Edition No. 6,349; net, is. 4d. ) For piano duet.
enable one to form an opinion of the whole composition.
(Edition No. 6,879 \ net, 2s. 6d.). London : Augener
& Co.
We have now come to the last volume of this useful and
interesting series ; it forms a continuation of the
Masquerade Part I. of which was reviewed last month
and consists of ten numbers, mostly dances. They are
notable for sprightly tunefulness, and for their musicianly
Morceaux pour Piano. Par Anton Strelezki. No. treatment. The contents are 8, " Clog-dance of the
51. Menuet a l'antique en Re majeur. No. 52. Ramsau Peasants " ; 9, " Vintage Dance " ; 10, " Inter
Barcarolle en La bdmol majeur. London : Augener mezzo" (with words) ; II," Maidens of Vienna, Waltz " ;
12, '; Mazurka by a Polish Couple"; 13, "Intermezzo";
&Co.
This month brings us a Barcarolle in a flat major, and 14, "Quadrille Francais " ; 15, "Menuet"; 16, "End
another Menuet a l'antique in D major. The former is of the~Ball" (galop)'; 17, "Return Home of the Little
the more important of the two, and is indeed a good Folks" (midnight march). The " Musical Kindergarten,"
piece of its kind, presenting little to debar players of taken altogether, strikes us as being the best thing of the
moderate abilities from giving it a satisfactory rendering. kind we have as yet seen. We refer more particularly to
The menuet is a small piece, characteristic of the olden the version for piano, four hands, the piano solo arrange
times ; it is pleasing and well written. Both pieces will ment being rather difficult in places for very young begin
surely find favour amongst teachers of the pianoforte in ners. It is with pleasure we call attention to the set of nine
volumes, and we consider ourselves indebted to Herr Carl
schools.
Reinecke for the highly instructive, and at the same time
Feuilles Volantes (Fliegende Bliitter). Petits Morceaux most charming way in which he encourages the love of
pour Piano. Par Cornelius Gurlitt. Op. 112. music by our young folk. These volumes contain the
(Edition No. 6,150; 'net, 2s.) London: Augener simplest pieces, songs, and dances of all nations, musical
& Co.
illustrations of fairy tales (with words), etc., and the
THE flying leaves of Gurlitt are already well known to children's masquerade. We refer our readers to past
those who are interested in his compositions, and, to those reviews of the earlier volumes.
who are not acquainted with this opus, we would point
out that they are twelve in number, very easy and short. Variations. Op. 82. By F. Mendelssohn. Bartholdy.
That they are tuneful goes without saying. They were
Arranged for pianoforte duet. (Edition No. 8,578 ;
formerly only published in a folio edition with English
fingering, but are now issued also in one volume with
The
present arrangement of the variations in K fiat for
Continental fingering in the cheap edition. The names
of some of these little pieces may serve to remind our pianoforte solo brings them within the range of many
readers of them : " Under the May-pole"; "Pantaloon" ; players who would otherwise find the difficulties insur
"Rustic Revels"; "A Little Study"; "In the High mountable which present themselves in Variations II.,
IV., and V. In addition, this edition has been revised,
lands"; "Ghost Story," etc.
phrased, and fingered, so that nothing has been left
Twelve Variations on the Russian Dance from the ballet undone which might assist the performer. It is published
Das Waldmddchen. By Louis van Beethoven. in the oblong shape, and the printing is clear and correct ;
surely nothing more could be desired.
fcebfetosi of #eto Muzit an* #eto

tfftftfon&
This, if not quite the most popular of the great master's

works in this particular groove, deserves far greater
attention than it apparently receives, and we recom
mend our readers to get it, and study it for themselves.
The air is in \ time, as are all the variations except the
last, where the rhythm is altered, with curious effect, into
%. There is no great technical difficulty, and it will be
found useful for teaching purposes in more ways than
one.
Chant des Naiades. Morceau pour Piano. Par GEORGE
Mart. London : Augener & Co.
This effective piece reminds us in its style of the piano
forte pieces by Rubinstein and Liszt, but it is much
easier. The song is slightly commonplace in its character,
but we are more than recompensed by the musicianly
way in which the composer sets it for the pianoforte.
Overture to" The Wedding of Camacho." By Mendels

sohn. Arranged as Pianoforte duet by E. Pauer.
(Edition No. 8,575/; net, is.). London: Augener
& Co.
Overture to " Athalie." By Mendelssohn. Arranged
as pianoforte duet by E. Pauer. (Edition No.
8,575^; net, is.) London : Augener & Co.
A perusal of these duets has given us no little pleasure,
and, after a careful comparison with the full scores, we
greatly admire the thorough way in which Professor
Pauer has done his work. The Athalie overture is well
known, but the Camacho's Wedding overture deserves to
be better known, as giving some of Mendelssohn's earlier
thoughts, which, beautiful and polished as they, are, the
composer was wont, in later years, to depreciate. The
two works arc respectively Opus 10 and 74.
202
THE
MONTHLY
Symphonies. By JOSEPH Hadyn. Arranged as Piano

forte duet by Max Pauek. No. io in D major.
(Edition No. 8,554^ ; net, is.) London: Augener
& Co.
We have pleasure in calling attention to the tenth of this
series of Haydn's Symphonies arranged for pianoforte
duet by M. Max Pauer. Both in the matter of careful
transcription and beautiful, clear type, this series, now
nearing completion, is certainly in advance of any of its
competitors, past or present.
MUSICAL
RECORD.
[September i, 1893.
undoubtedly good. School teachers of singing, who have

a fairly advanced class, will be glad of these choruses.
Six Songs for Mezzo-soprano or Baritone. By Emil
Kreuz. Op. 24. With German and English words.
(Edition No. 8,881 ; net, is.) London : Augener
& Co.
The titles of these songs are respectively: I, "The
Serenade" ; 2, " Parted" ; 3, "The Girl and the Butter
fly" ; 4, " Thou dreamest of me so seldom " ; 5, " O say,
my heart, what love is"; 6, O, sweetest Mother." To
translate German poetry into English is at any time an
ungrateful task, doubly so when the original rhythm has
to be retained, and, if the lyrics are not always agreeable,
it is small blame to the translator, Mr. C. H. Laubach,
who has got over the difficulties, under all the circum
stances, very satisfactorily. The first of these songs we
reviewed last month, and of the others we may say that
numbers 3, 4, and 5 have taken our fancy, as being the
best specimens of the composer's graceful style.
Cecilia. A collection of organ pieces in diverse styles.

Edited by VV. T. Best. Book XLVI I. (Edition No.
5,847 ; net, is.) London : Augener & Go.
This book may be fitly styled a Krebs album, all the
music being from that composer's pen. There is a Fan
tasia con fuga in G minor, the fugue having a clearly
defined, albeit somewhat chromatic subject. Next, a
florid concert Fugue in G major, followed by an interesting
prelude on the choral, Was Gott thut das ist wohlgethan,
which exhibits the writer as an accomplished contra
puntist, and finally a short and effective Fugue in F minor. Select Songs. By Halfdan Kjerulf. With the
We notice that this series is nearing its jubilee number,
original words and English versions by C. Laubach :
and the high standard which Mr. Best adopted at its
Synnove's Song (Synnove's Sang) ; Ingrid's Song
commencement is fully upheld.
(Ingrid's Vise); ''Why do you still return, sweet
maiden ? " (Si vous n'avez rien Si me dire) ; " Repose in
Do not vex thy Violet. Song. The words by George
the pinewood " (Hvile i skoven). London : Augener
Macdonald. Music by Hamish MacCunn.
& Co.
We have here a second instalment of four lovely songs
A Flower Auction. Song. Words by William Black. by Kjerulf, with the original words and English versions.
Music by Hamish MacCunn. London, Augener To most musical ears the melody of Ingrid's song is
& Co.
already familiar. All four are to our thinking equally
There is never even a suggestion of commonplace about beautiful, and most certainly claim the attention of all
Mr. MacCunn's work, and these two songs are quite singers and lovers of true sentiment in music. The words
fresh and interesting. The first is written in cj minor of the two first named songs are taken from Bjiirnson's
for a tenor voice, and has a quaint theme of its own. The " Synnove Solbakken" ; the third, by Victor Hugo, is in
tonality is rather restless, and the song will require French and English ; the fourth, " Repose in the Wood,"
careful singing. The compass is from E to GJ. In " A is by J. S. Welhaven.
Flower Auction," Mr. MacCunn has written something Am Meer. By F. Schubert. Arranged by mile
(probably without effort) which will materially add to his
Thomas for violin and pianoforte. London : Augener
reputation as a song-writer, and, the compass being
& Co.
moderate (fJ to E), we anticipate a great measure of This arrangement for violin and pianoforte of Schubert's
popularity for this charming little song.
most popular song is similar to those which have already
appeared. It is chiefly to be recommended because of
Two in One. Song, with pianoforte accompaniment and the scope it gives for the practice of the cantabile style, a
harmonium {ad lib.). The words by George Mac style which calls for considerable power of expression ;
donald, and the music by Ebenezer Prout. otherwise this piece demands no technical skill.
A SONG, presumably for tenor, which is full of flowing Violin Prosody; or, How to play a violin solo; with
melody of the Italian school, enriched by a vigorous
hints on choosing a violin. By C. H. Mitchell.
accompaniment, chiefly in arpeggio form, an accompani
Sunderland : R. Attey.
ment, by the way, which helps, and does not hinder, the IN the first part of this little book of 59 pp., the author
vocalist. The additional harmonium part greatly en deals with the emotional in music, and endeavours by the
hances the effect, and we can cordially recommend this representation of mental pictures to assist the performer
song to our readers. Compass, G?.
in his interpretation of the works of the great masters, so
that the rendering may be both poetical and artistic. In
Operatic Choruses. Arranged for female voices, with support of his views he gives several apt quotations from
pianoforte accompaniment. By H. Heale. Book the critical writings of Louis Kohler, Sir George Grove,
II. Gipsy music. (Edition, No. 4,192; net, is.) Prof. Niecks, and others, which are calculated to bring
the student into closer affinity with these works. The
There is a growing demand for music of this sort, from last part is an essay " On the choice of a violin. Old
which we are glad to infer that part-singing is beginning instruments versus new ones. Description of a Lupot."
to take its proper place in ladies' schools. We hope that Space will not admit of our arguing some of the points
boys' schools will follow suit. In the present work, the advanced on this well-worn subject ; one, however, we
choruses are four in number, three from Weber's Preciosa, cannot pass without mention. We cannot agree that the
and one from Balfe's Bohemian Girl. We have not performer is the most reliable judge of a violin, because
quoted the titles, as the words are, we believe, in many our experience is that, as a rule, his knowledge of this
cases original, but the music is all more or less well subject is most limited. The author says, " It must not
known and popular. It has been carefully adapted for be supposed that a violin can be tested in a few minutes.
ist and 2nd soprano and contralto, and the result is . . . A general idea may. be quickly obtained by the
September i, 1893.]
MARIE
WURMS"VALSE
DE
2o3
CONCERT
(FRAGMENT.)
INTRODUCTION.
PIANO
T7
*
i
Copyright 1893, by Augener & C(.>
2o4
[September i, 1893.
<.-Pu.mb,r 1,1893.]
2o5
[September 1, 1893.
September ,, ,893.]
THE
MONTHLY
MUSICAL
RECORD.
expert player," etc. (see page 51). With these statements

we agree, though, with regard to the former, we have
reason to say from personal experience, that a capable
judge can tell a master-made instrument at a glance ;
the number of such judges is however small. We are
also of opinion that instruments of this class have always
a good tone, even if they vary much in quality and
quantity of tone. The anecdote of Ole Bull on page 52
is rather startling. We cannot fancy a musician with a
soul for music beginning a piece, and suddenly (in conse
quence of the A string breaking) transposing the remain
der of the piece, and finishing on the three remaining
strings. A violinist occasionally finishes when the E
string breaks and he is near the end of his piece, but if
the A string goes, any violin with four strings in tune
would be preferable to the transposition, however clever
such might be. The transposition of a piece in the
middle is inexcusable, and a musician would do better to
walk off the platform than continue his solo. It is very
easy to differ on the subject of violins, and we trust our
remarks will not detract from the merit of this essay,
which is the work of an ardent lover of true music, and
one who considers the violin as the instrument par
excellence adapted to render the thoughts and feelings
conveyed in the works of the great masters.
207
The old songs, handed down from one generation to

another, are gradually disappearing ; now that music print
ing is cheap, people trust more to their eyes than to their
memories. The editors of this important volume show
what difficulties they had to contend against in collecting
these County Songs. The interest attaching to such
music is great. In many cases the quaint melodies exert
a strange fascination ; but in tracing the past history of
song in this country all are of value. The editors are
quite right in saying that " to give the tunes without
accompaniment is doubtless the most scientific method of
preserving the songs," but, on the other hand, in that
form they are practically useless to educated singers. The
melodies, however, remain untouched, and the addition of
the accompaniments, therefore, is handy ; while, if desired,
the songs can be sung without accompaniment. As to
these accompaniments, they are written both with skill
and taste (some by Miss Broadwood, some by Mr. Fuller
Maitland). In most cases, they are honestly written in a
modern spirit, both as regards harmony and general
style of writing. If one were disposed to be hypercritical,
we might perhaps complain that there was, at times,
a little too much modern refinement, but there is nothing
worse to grumble at. Throughout the volume there are
useful, and, in some instances, very copious notes.' All
the material collected has not been used, and the editors
The Mackenzie Perfect System of Notation. Net, is. hopeand so do wethat sufficient encouragement will
be bestowed on the present volume to warrant the issue
London and Newcastle : Andrew Reid, Sons & Co.
This new and perfect system of notation is ingenious, but of a second collection.
we are inclined to doubt that a perfect system can be
evolved from the process adopted by the author. He
says " the great defect of the present staff notation is that
it does not show the tones and semitones, all notes being
placed at an equal distance," and so proceeds to arrange
THE PROMENADE CONCERTS.
the five lines in groups of two and three lines alternately,
making the lines agree with the black keys of the piano, Music at this time of year usually migrates to the provinces, and
and the spaces with the white ones. " By this arrange we have a complete cessation of all musical novelty in London.
ment the present signs for sharps, flats, and naturals are But lovers of the art who still remained in town were catered for
entirely dispensed with," a slightly different shape in in a satisfactory manner by the series ot Promenade Concerts
commenced at the Royal Opera, Covent Garden, on
dicating a chromatically altered note. The performer which
Saturday, the 12th of August, under the direction of Mr. Farley
does not require to remember the present key signatures, Sinkins. Although the weather has been almost too hot for
but he must remember in which octave he is playing, as music, or any other indoor recreation, a large audience assembled
the old clef signature is done away with, and a new sign on the first night, and gave the enterprising promoter of the
is employed to indicate the particular octave on the piano concerts cordial support. The quality of the music was good,
forte. The author gives us two specimens of music in the its performance equally so, and the presence of Mr. F. II.
" patent system "viz., ten measures of Sullivan's " Oh, Cowen, as the head of the orchestra, with Mr. Gilbert BetjeHush Thee, my Baby," and the first twelve measures of mann as assistant conductor and principal violin, gave proof
the Eroica symphony, in score. We cannot imagine that the high character of the programme would be kept up
how a Liszt rhapsody, for instance, would look, under the under such excellent control. Great changes have taken place
same treatment. We have not found that our good old in Promenade Concerts since, in 1833, the "Concerts k la
system offers any serious difficulties to the learnerwith Musard " were given in Paris, and later on at the present Lyceum
any talent or desire to learndefective though it may be, Theatre the first attempt at Promenade Concerts was made.
Afterwards there were Promenade Concerts at the Crown and
and we are very dubious as regards the success of a Anchor Tavern in the Strand, and there was such a rage for
system based upon the position of the keys of the piano them at one time that three rival Promenade Concerts were
forte. What will happen supposing in time we adopt a going on at the same time, at the Lyceum Theatre, the Prin
new pianoforte keyboard (the Janko Clavier, for instance) cess's, and Drury Lane, and Punch had a comic cartoon, repre
in place of the present one, which is, according to some, senting Londoners as " music-mad." At the Colosseum, in the
very defective, and why should the pianoforte keyboard Regent's Park, which has long .since vanished, there were similar
be chosen without regard to the arrangement of the keys concerts, blended with what would now be called a " Variety
Performance." It was Jullien who gave the first start to the
or strings of other instruments ?
popularity of the Promenade Concerts as they are now given.
English County Songs. Words and Music collected and He commenced in a somewhat charlatan spirit with a strange
edited by Lucy E. Broadwood and J. A. Fuller entertainment called " The Last Days of Pompeii, " blendingmusic,
scenery, fireworks, and dramatic action, the smoke of gunpowder
Maitland, M.A., F.S.A. The Leadenhall Press.
being a prominent feature. But Jullien honestly loved good
Going, going, gone ! That is the cry of all who have music, and when he got the ear of the public he gave music of
attempted to collect the unwritten songs of the people. the best kind, and introduced some of the greatest vocalists and
Every year the difficulty is increasing. Diligent search, for instrumentalists. He may also be credited with introducing Mr.
instance, is made in the various counties. At last someone Sims Reeves in opera. This was in Lucia at Drury Lane in
remembers that " Old So-and-So " used to sing a certain 1847. Coming to the performance of the opening night of
songbut, unfortunately, " he died a year or two back." the present season, we may commend the careful and effective
(Stytrasf anil Coiuert**
208
THE
MONTHLY
MUSICAL
playing of the " Leonora " overture of Beethoven, the spirited

rendering of Wagner's Tannhtiuscr overture, and the attractive
ballet music of Coppelia, by Delibes, a very interesting example
of modern French music, in which art and grace are agreeably
blended. There was an extremely long programme, occupying
nearly four hours in performance, and to touch upon all the
items would perhaps be more fatiguing than profitable. Mr.
Ben Davies, the popular tenor, sang charmingly in " The
Sailor s Grave," by Sir Arthur Sullivan. Madame Giulia Valda
was warmly applauded, but " Ernani Involami " is a terribly
hackneyed air. M. Vsaye, the violinist, was cordially appre
ciated in a Concerto of M. Saint-Saens, and the mention of this
composer reminds us that his opera, Samson et Dalila, which
cannot be performed on the English stage, owing to the subject
of the libretto, will be given in Cantata form at these concerts,
and should be a great success, for there is no question as to the
merit of the music. Madame Helle Cole sang admirably. Mr.
Charles Fry recited in a humorous manner a sketch called "The
Village Choir." M. Dufriche, the excellent baritone of the
Covent Garden Opera, sang an air of Massenet. The Meister
Glee Singers were very successful also. Among the operatic
selections, which are always popular at these concerts, a grand
fantasia from the Mignon of Ambroise Thomas was cordially
applauded, and its performance did credit to the band. Mr.
Bantock Pierpoint sang well, and there were other songs and
solos by the vocalists named. Some little concession to popular
taste has always to be made, and this time it tool; the form of a
Vocal Waltz, called " May Day," sung by Mr. Stedman's choir
of boys. The waltz is supposed to illustrate a May Day holiday,
and the crowning of the " Queen of the May " in a forest glade.
The youthful choristers exerted themselves with complete success.
The waltz, which is tuneful, is composed by Mr. Clement Locknave, an organist at Cricklewood, who has composed one or two
light operas, not without merit. It was nearly midnight when
the March from Gounod's Rtine de Saba concluded the concert.
MASCAGNI'S LATEST OPERA.
It may be of interest to musical readers to give some idea of
the subject which Signor Mascagni has chosen for his latest
opera, which, just commencing its career on the Continent, is
announced for production next year at the Royal Opera, Covent
Garden. Just seventy years ago the brilliant poet, Heinrich
Heine, at that time quite a youth, published three tragedies.
They were laughed at when they appeared in print, and laughed
at when seen upon the stage, and laughed at most of all by the
poet himself in the maturity .>f his powers.
Still, as often
happens when a writer becomes famous, his earlier works are
sought after, and, curiously enough, one of these tragedies,
William Ratcliffe, was unearthed by an Italian manager, and
performed with success in some Italian cities. The peculiarity
of Italian audiences is that frequently what appears most
extravagant and unreal to German or English spectators is
received by them with enthusiasm. Thus it has happened that
the astounding tragedy of Heine, ridiculed by everybody, and
most of all by its author, has found a place on the Italian stage,
and, most extraordinary of all, has been chosen by the most
popular of living representatives of "The land of song," as the
libretto of his latest opera. A brief examination of the plot will
serve to show what a sanguinary production William Ratcliffe
is. Not only are all the characters killed oil', and the stage
strewn with corpses, but, as if the tragic aspirations of the author
could not be satisfied with mortal victims, the very ghosts of the
slain are introduced to carry on the dramatic action. To sum
up the astounding plot briefly, we may tell how the hero,
William Ratcliffe, first conceives the idea of avenging his
father, who, having been engaged to a charming maiden,
her stern father insists upon her wedding another, who
murdeis the disappointed lover.
In time the wife has a
daughter, and Ratcliffe, a son. When they grow up to
manhood and womanhood they fall in love, and are parted
just as their parents had been. Then the dire vengeance of
William Ratcliffe is revived. Not only does he kill the first
suitor of his adored one, but the second. He would have killed
the third, but the spectres of the suitors already slain assist the
gentleman, and he gives William Ratcliffe a b'owj which
RECORD.
[September I, 1853.
ultimately proves mortal, but not until the hero has had a final
interview with the weeping lady who was to have been his
bride. He kills her rather than see her the wife of another, and
her father, who had killed his father, is also slaughtered, as a
supreme act of vengeance, which brings the opera to a close. It
has often been noticed how fond modern Italian composers are
of these melodramatic and sanguinary subjects.
Verdi, for
example, in Rigoletto and Trovatore, and Leoncavallo, in
Pa^liacci, may be quoted, but Signor Mascagni has chosen the
most blood-curdling libretto that was ever set to music. What
an English audience will say to such a story it would not be fair
to anticipate, because we may find that the musical treatment in
some degree tones down a subject which transforms the opera
house into a " Chamber of Horrors." It is more like aCorsican
"Vendetta" than an operatic libretto. William Ratcliffe will
be performed shortly at Berlin.
CRITERION THEATRE.
A second visit to this theatre confirmed the generally good im
pression made by the performance of Lecocq's famous opera, hi
file de Madame Augot, although the representation has not
quite reached the excellence of the performance when the opera
was produced twenty years ago. Miss Decima Moore is very
sprightly as Clairette, and sinjfs the music charmingly. Great
praise may also be given to Miss Augarde, as Mdlle Lange.
Mr. Courlice Pounds, the pleasant tenor from the Savoy Theatre,
earns grc,it applause for his clever acting and singing as Ange
Pitou. the reactionary poet, and Mr. Valentine as Larivaudicre.
and Mr. Blakely as the police spy, Louchard, are amusing. The
chorus is good, and although the stage of the Criterion is small
for the dramatic effects of the opera, they are realised with ex
cellent effect. The hot weather, and the departure of so many
for the autumn holidays, will account for the dearth of music, but
yet it is strange to find only one operatic performance in such a
city at any time of the year.
Thai Mr. Sims Reeves will once more appear in public will be
welcome intelligence for those who admire perfection of style
and the highest artistic rendering of popular music. Mr. Sims
Reeves is said to have derived so much benefit from the rest he
has taken during the last year or two that his voice has recovered
much of its former volume. In any case thousands will be glad
to give him a cordial welcome. The performance of The Golden
Legend nX. the Crystal Palace, in aid of H.M.S. Victoria fund,
realised ^167 7s. Sir Augustus Harris received cordial
thanks for the assistance he has given to the Royal College of
Music. The Carl Rosa Opera Company has made G luck's
Orfeo in an English version one of its attractions. M. Eugene
Oudin, generally supposed to be a French artist, slates that he
is a native of New Vork. As the name, however, suggests, his
ancestors came from France. A new comic opera called
Petcrkin is in rehearsal at the Royalty Theatre, and will be
produced early in September, under the management of Signor
Moro. What with the difficulties of the silver question, the
partial failure of the Chicago Exhibition, and the utter apathy
of the visitors to the " World's Fair " on musical questions, many
artists and vocalists who intended to take part in the concerts
have given up their engagements, and various other musical
projects intended have had to be abandoned. Music in fact docs
not get fair play amidst the clatter, confusion, and excitement of
a " World's Fair," and the results are likely to be most disap
pointing. Even the operatic arrangements of Messrs. Abbey
and Grau have had to be modified. Madame Patti, who was
for some time kept indoors at her beautiful Welsh castle, owing
to a swelling in the knee, has quite recovered, and has given
some delightful performances in the bijou theatre of the castle.
She starts for her American tour on October 2S1I1. A new twact opera, Gabrielle, written expressly for Madame Patti, will be
produced in New Vork. It is written by a young Italian
musician, Signor Pizzi. The success of the Welsh Eisteddfod,
if not as great financially as musically, has stimulated a number
of lovers of music in Wales, in the hope that Parliament will
give its aid to the establishment of a permanent institution in the
Principality for the study of music. But we hardly think this is
September i, 1893.]
THE
MONTHLY
likely. State aid is grudgingly given in this country. Even a

public band for the entertainment of those who cannot pay for
music is considered by some of our legislators an unheard-of
luxury. Wales will, like other portions of the kingdom, have,
we think, to pay for her music. We hear of another musical
prodigythis time from Dundee Miss Xelly Justice, seven years
of age, who is stated to have extraordinary musical talent. But,
after all, matured musical ability is the most satisfactory. Miss
Sylvia Gerrish, a young American soprano of considerable
ability, has appeared at the Trafalgar Square Theatre, as the
heroine of A/am'zelle Nitouche. Miss Gerrish was received
with less encouragement than she deserved at first, owing to an
extravagant system of puffing.
She was heralded as the
"loveliest woman in the United States." Miss Gerrish has
succeeded in spite of these follies, which says much for her
natural gifts.
Although the Grand Opera knows no reldcht, its

artists need their holidays, and now is the time when the
chief singers take them. The casts are therefore con
stantly varying, and it seems not unlikely that La
Valkyrie will have to be put aside for a fortnight for
want of a Wotan. On July 31st, Mile. Chretien, from
the Theatre de la Monnaie, made a *ery successful debut
as Alice in Robert, as a result of which she was at once
chosen to create the part of Deidamie in M. Henri Marechal's opera, the production of which may be expected in
the course of the month. Besides Mile. Chretien, the
cast will include M. Yaguetas Achille, Renaud as Ulysse,
and Dubulle as Le Roi Lycomede. The work is said to
contain some very important choral numbers. Future
arrangements for the corning season include a revival of
Reyer's Sigurd, the production of Chabrier's Gwendoline
(to follow Deidamie) and Massenet's new work, Thais,
which is expected to be ready in January. Besides these,
it is hoped to bring out (later in the season) another work
of Wagner's not yet decided on, and either the Alcestc or
Artnide of Gluck, or the Fidelia of Beethoven. So much
for the present season ; but the managers look forward
also to future ones, when they hope to put on their stage
the Montague Noire of Mile. Augusta Holmes ; Mine.
Roland, by Paul Vidal; Djelma, by M. Charles Lefebvre ;
the posthumous opera of Ernest Guiraud, llrunehaut;
and an opera by M. Paladilhe, the name of which is not
given. Lovers of the ballet are not to be left unprovided
for ; revivals of Messager's Deux Pigeons and Widor's
Korrigane being promised shortly.
On July 10th, Meyerbeer's Les Huguenots was per
formed at the Opera for the 898th time. The original
Valentine at the first performance, 29th February, 1836,
Mile. Falcon, is still alive, in her 82nd year. She has
had a serious attack lately, but seems to be recovering.
At last a scheme has been adopted for the reconstruc
tion of the Opera Comique on the site of the old house in
the Place Boieldieu, which was the scene of the dreadful
catastrophe of May, 1887. A competition was instituted,
with a reward of 10,000 francs to the architect whose
design should be selected by the judges. Eighty-four plans
were sent in, and the successful competitor is declared to
be M. Bernier, who will be forthwith commissioned to
proceed with the execution of the work, according to his
design. The actual theatre will be circular in form and
about the same size as the old house ; it will hold about
1,500 persons. It is hoped that the theatre will be ready
for opening in the spring of 1895.
At the existing Opera Comique, M. Carvalho's com
pany is busy preparing to produce the Flibustier of M.
Cesar Cui, a Russian engineer and musical composer,
MUSICAL
RECORD.
209
well known in Pario by his songs and some orchestral

pieces. The cast will include Mmes. Tarquini d'Or,
Landouzy ; MM. Clement, Fugere, Taskin. After this
will come M. Bruneau's setting of Zola's L'A Hague du
Moulin, a work which, in view of the sensation created
by Le Rive, may be expected to excite great interest.
Other pieces, the production of which is said to be in
contemplation, are La Femme de Claude (founded on
Dumas' play), by Alb. Cahen ; Fvangeline, by Xav.
Leroux, a young composer who, though Prix de Rome in
1885, has not yet made his way to the Parisian stage ;
and a three-act piece by Armand Silvestre and Gabriel
Pierne.
Miss Sibvt. Sanderson stays at the Opera Comique
till the end of September. Later on it is hoped that
Mme. Nevada will reappear in a few parts.
M. Victorin Joncieres is finishing a grand opera,
Lancelot, which he hopes to have produced at the Grand
Opera.
An opera, Jehan de Sainlre', music by M. Frederic
d'Erlanger, was produced with fair success at Aix-les-Bains
on August 1st.
At Nyon, on the Lake of Geneva, a bust of Nredermeyer, the Swiss composer, was unveiled on July 8th.
M. Emile Ratez, director of the Conservatoire of
Lille, has been appointed conductor of the Popular Con
certs of that town, in place of M. Paul Viardot, now third
conductor at the Paris Ope"ra.
THE Theatre des Bouffes-Parisiens will re-open on
September 15th, and will shortly produce a new operetta
in three acts, by Fabrice Carrf* ; music by M. Emile
Pessard.
M. Eugene Vsaye, the great Belgian violinist, has
been conducting a series of concerts at the Wauxhall of
Brussels, and it is said with no less ability than he
displays as an executant. Some of the concerts were
devoted to works of the younger French and Belgian
composers.
The Theatre de la Monnaie will reopen on Septem
ber 15th ; it is intended to give Gounod's Sapho shortly,
and the illustrious composer has promised to be present,
if his health permits. Wagner's Tristan, also, is to be
produced this season : it was promised last year but was
not forthcoming.
The town of Mons is preparing to celebrate next year
the tercentenary of the death of its illustrious citizen,
Roland de Lattre, or, as the name is also written, Orlando
de Lassus. The date of the fetes, which, as regards
music, will consist of performances of several of Lassus'
works, and of a singing contest, is not yet quite fixed,
but will be about the end of June or early in July. A
programme of particulars of the competitions will be
issued shortly.
The much-talkcd-of model performances at Gotha
during the last days of July were, by general consent,
excellent as performances, and gave the greatest satis
faction to crowded and enthusiastic audiences ; but the
choice of Cherubini's Medea and Boieldieu's Petit Cha
peron Rouge was not found to justify itself, and it is gener
ally regretted that some more modern and more interest
ing works were not selected. In the former work, which
was conducted by Herr Mottl, the parts of Medea, Dirce,
Jason, and Creon were filled by Frl. Doxat, Frau Mottl,
Herren Anthes and Reichmann. In Boieldieu's work,
presided over by Herr Levi, the cast included Frl. Renard
and Borchers, Herren Walter, Mahling, and Schlosser.
The chief feature of the festival was, however, the per
formance, on July 30, of the two operas which divided
the prize of 5,000 marks given by Duke Ernest : the
Evanthia of Paul Umlauft, and the Rose von Pontevedra
2IO
THE
MONTHLY
of Joseph Forster. The opera of Umlauft, who is his

own librettist, is founded on an incident in the Greek
War of Liberation, a period which has, perhaps, only
once before been utilised for operatic purposes (Rossini's
Siege de Corinthe) and is rather interesting. The music
is written on strictly Wagnerite lines, and is .highly
creditable to its author, but it cannot be said to reveal
any striking or original genius. Forster's work is, both
as regards story and music, obviously inspired by Mascagni. It shows promise, but is on the whole, less im
pressive than Umlauft's work. The chief parts in
Evanthia, which was conducted by Herr Schuch of the
Dresden Opera, were played by Frl. Malten, Herr
Anthes, and Scheidemantel. The cast of Die Rose in
cluded artists of the Berlin Opera : Frau Herzog, Frau
Gotze, Herren Bulss and Philipp, with Herr Sucher as
conductor.
Paul UMLAUFT, the author of Evanthia, was born
at Meissen in 1853, received his musical education at
Leipzig, gained the Mozart scholarship, and has hitherto
been chiefly known by an Ossianic cantata, entitled
" Agandecca."
A new opera, The Blacksmith of Gretna Green, text
by Felix Dahn, music by J oh. Dobber, was produced
at Kroll's Theatre, Berlin, on July 29th ; but according
to the Allg. Musik-Zeitung, it is only "a Kapellmeister
Oper," and an " unsuccessful attempt." The audiences of
Kroll's find more enjoyment in the wonderful high notes
of their favourite Herr Botel, and in the Gastspiele of
Mme. Moran-Olden and Mme. Emma Nevada.
The grand Wagner-cyklus at Munich began on
August nth with a fine performance (under Levi) of
Tannhiiuser, in which Scheidemantel particularly dis
tinguished himself as Wolfram. These performances,
which promise to be little, if at all, inferior to those of
Bayreuth, continue until September 29th. The Ring
was to be given three times : August 20th to 23rd ; Sept.
3rd to 8th ; and 24th to 29th. Those who wish to see
Die Feen can do so on Sept. 10th.
Another Wagner-cycle is to be given at Dresden
between Aug. 29th and Sept. 23rd, with only the artists
of the regular company of the Hofoper, which, however,
includes very many of the best Wagnerite singers of
Germany.
Apropos of a performance on August 5th by the pupils
of the Bayreuth training-school, Siegfried Wagner, who
made his first appearance in public as a conductor on the
occasion, has addressed a letter to M. Marcel Hutin of
the Paris Figaro, which will be read with much interest.
"Wahnpried, Bayreuth,
" August 6th, 1893.
" Sir, In reply to the kind letter you have had the goodness to
address to me, 1 have the honour to inform you that my first studies
were given to architecture, but the taste for music revealed itself in
me so strongly that I set to work to study counterpoint and har
mony with one of our most distinguished musicians, M. Humperdinck, a pupil of my father. For the last year I have been living
at home with my mother, and M. Kniese, our incomparable teacher
of singing, has been kind enough to occupy himself with my musical
studies. I have had the opportunity of working with our townorchestra, and I have conducted : of Haydn, a Symphony in D
major; of Mozart, the overture of // Seraglio; of Beethoven, the
First Symphony; of my grandfather, two symphonic poems ; of my
father, the overture to Rienzi, the march from Tannhiiuser, the
Siegfried Idyll, etc. I add the programme of our performance last
night, by which I have inaugurated my career as an orchestral
conductor. As this attempt, according to my superiors, was suc
cessful, and as both the singers and members of the orchestra took
pleasure in working with me, I hope in time to be able to conduct
all the works of my father
"SIEGFRIED WAGNER."
The programme of the performance on the 5th included
MUSICAL
RECORD.
[September I, 1893.
the Rienzi overture, and Act I., with the first half of
Act II., of the Freischiitz.
The performances of the Bohemian Opera Company
under Director Baumann at Berlin have come to a pre
mature and most regrettable conclusion. Baumann was
also giving a season of operetta at another Berlin theatre,
and the utter failure of this seems to have brought about
the failure of the more important scheme. At one time
it seemed as though the artists would get only a small
portion of the salaries due to them, but, thanks to the
liberality of the directors of the theatre, who allowed the
use of it gratuitously for several extra performances, this
scandal was avoided. Baumann has since resigned his
post as manager of the theatre at Briinn, and Herr
Amann, from Graz, has accepted the post.
The Allgemeine Musik-Zeitung publishes a series of
thirteen letters from Wagner to Anton Apt, late director of
the Cacilien-verein at Prague, one of Wagner's earliest ad
mirers. The letters relate chiefly to proposed perform
ances of the composer's works, and have no particular
interest.
Herr Josef Hellmesberger (senior) is about to
retire from the post of director of the Conservatorium at
Vienna, and from active service as First Capellmeister of
the Court Chapel ; but as the latter appointment is for
life, he will retain the title, Herr Richter, now second
Capellmeister, succeeding to the duties of the post.
Who will succeed him at the Conservatorium is being
eagerly discussed at Vienna. There is no truth in the
report that Jahn, director of the Opera, was about to
resign.
The first of the series of performances of Kistlefs
Kunihild at Wiirzburg took place on July 30th, and was
very successful.
The new opera Saint-Foix, by Hans Sommer, the
author of Lorelei, will be produced next season at
Munich.
SlG. Sonzogno's season of Italian opera at Vienna
ended more successfully than seemed likely at its com
mencement, for though most of the novelties proved to be
of very inferior quality, the Pagliacci and Giordano's
Mala Vita, together with Mascagni's two operas, main
tained their popularity, and saved the season.
Felix Mottl's new one-act opera, Fiirstnnd Sanger,
has failed to make a favourable impression at Carlsruhe.
and was only given three times. Frau Mottl and Herr
Gerhauser, a very promising tenor, have been added to
the company of the Hofoper, which, however, will next
year lose two of its most distinguished members, Frau
Reuss-Belce and Herr Lang.
Herr Beck, the once famous baritone of the Vienna
Opera, who retired on a pension in 1885, has, unfortun
ately, become mentally afflicted, and has had to be
placed in an asylum.
Another prodigy ! Richard Kremer, a violinist of
six years old, has cropped up at Schandau. His talent
is unmistakable, and promises much for the future.
Perhaps (?).
A YOUNG composer of Vienna, Josef Reiter, is winning
an enormous popularity by his Ballades, in which he is
thought by some to surpass Lowe. Unfortunately, he is
either ignorant of, or he ignores, some of the most
elementary laws of composition.
The famous danseuse of La Scala, Signorina Virginia
Zucchi, has married a Russian nobleman, Prince Basertchikoff, and retired into private life.
A one-act opera, Enoch Arden, by Victor Hausmann,
has been accepted for performance at the Berlin Opera.
How is it that all our English composers have overlooked
I this poem, so well adapted to musical treatment P
September i, 1893.]
THE
MONTHLY
Herr Panzner, conductor of the Stadttheater of Elberfeld, succeeds Herr Paur at the Leipzig Theatre, Herr
Paur having accepted the post of conductor of the Boston
(U.S.) Symphony Concerts.
The "model-performances" at Gotha have brought
forth discord as well as harmony, Capellmeister Faltis
having resigned his post, it is whispered, through disap
pointment at not having been chosen to conduct any of
the Festival performances. His successor is to be Herr
Aug. Langert, who has held the post before.
Johann Svendsen, now conductor at the Opera
House of Copenhagen, has been paying a visit to his
native place, Chrisjiania, and presided at three concerts,
consisting chiefly of his own compositions. His reception
was most enthusiastic.
Milan promises to be well off for music next season.
It is stated in the Italian papers that the Scala Theatre
will give Rubinstein's Maccabees, Puccini's Manon Lescaut,
Franchetti's new opera Fior d'Alpe, and (perhaps) La
Valkyrie. At the Teatro dal Verme, where Sig. Sonzogno
presides, there is to be the new opera / Medici of Leon
cavallo ; Cavalieri d'Amore, by Mariani ; and Teresa
Raquin, by Coop. A third theatre, less known to fame,
L'Alhambra, proposes to produce Pater, by Gastaldon ;
Una Malia, by Frontini ; and two other works by
Marescotti and Berutti.
Signor Umberto Giordano, whose Mala Vita
has had so much success in Italy and Germany, has
finished a new work in two acts, entitled Regina Diaz,
which will be produced in the course of the coming
season.
It is reported that Sig. Sonzogno is making arrange
ments with the directors of the Grand Opera of Paris for
a series of performances of Italian opera, by an Italian com
pany under his management. He hopes to give not only
those operas which are his property, but others, such as
Verdi's Otello, and Boito's Mefistofele, which belong to
other firms, with whom he is now negotiating on thesubject. According to the latest information, this part of
the scheme has failed.
Of the numerous lyric dramas written by the late Sig.
Ghislanzoni, no less than forty-two have been set to music
by eminent Italian or foreign composers Ponchielli,
Gomes, Petrella, Cagnoni, Catalani, Braga, Lauro Rossi,
and otherslast, but greatest, Verdi, whose Aida will
long preserve the memory of the librettist.
The musical department of the Chicago Exhibition has
collapsed It appears that Mr. Thomas, the chief musical
director, has resigned, and the orchestra is dissolved.
Telegrams are being sent to composers whose works were
to be given, asking them not to come, and altogether an
entire break-down seems to be taking place. Dr. Mac
kenzie has received an intimation that his Bethlehem
cannot be given, and probably even the visit of the
opera company of Messrs. Abbey and Grau will not
come off.
Mr. Edw. German has been commissioned by Mr.
Tree to write music for Mr. Jones' forthcoming play at
the Haymarket, The Tempter.
The prospectus of the Scottish Orchestra Company is
of a most interesting and ambitious kind, to which we
cannot but wish every success. The company proposes
to give at Glasgow, in St. Andrew's Hall, thirteen classical
orchestral concerts, fourteen popular orchestral concerts
(programmes on popular linessays the prospectus ;
there is much scope here for interpretation, but we
will hope for the best), as well as six chamber concerts.
With Mr. Henschel as conductor, a good body of
players, and such soloists as Sarasate, Joachim, Lady
Halle, Paderewski, Miss F. Davies, Mr. Borwick,
MUSICAL
RECORD.
211
Miss Palliser, Mrs. Henschel, etc., the Scottish Orchestra

Company ought to be successful, and we trust to hear
that it is so.
It appears to be a fact that Mme. Patey is about to
retire from public life. She will give a few concerts
in some provincial towns, and take a farewell of London
audiences early in the winter, either at the Albert Hall or
St. James's Hall.
The Carl Rosa Opera Company have begun their
season at Dublin ; they will shortly give English versions
of Orfeo and the Pagliacci.
Mme. Patti is said to be going on another American
tour of forty concerts, for ,1,000 each.
Dr. Mackenzie has finished the composition of a
comic opera.
The Ode written by Mr. Swinburne for the opening of
the new Royal College of Music next year, was given out
to past and present students of composition at the
college, and the judges have decided in favour of the
composition of Mr. Charles Wood, whose setting of
Shelley's " Ode to the West Wind," performed at St.
James's Hall, in 1890, will be recollected with pleasure
by those who heard it.
Deaths.A young Italian composer, who, however,
belonged rather to the school of Verdi and Ponchielli than
to the new Italian school, Alfredo Catalani, died on
August 7th. He produced some six or seven operas, of
which the last two, Lorelei (Turin, February, 1890), and
La Wally (Milan, 20th January, 1892), gave, hopes that
he might produce a work that would endure. His early
deathfor he was only 39is greatly regretted.Antonio
Superchi, who died July 5th, was in his day a famous
baritone, and he was the original Carlo V. in Verdi's
Ernani (1844).Jean Charles Alfred Dckihelle (born
1826) won the Grand Prix de Rome in 1 851, and produced
some small opdras-comiques of no great merit, but seems
never to have fulfilled the promise of his youth.Gabriel
Balart (born 1824, died July 5th) was a Spanish composer
of zarzuelas, and director of the Musical Lyceum of
Barcelona.J. B. Litzau (died July 17th) was a Dutch
musician, who wrote and edited many liturgical works for
use in the Lutheran churches of Holland.The date of
Ghislanzoni's death, announced last month, should have
been July 16th ; and the announcement of the death
of Mme. Landouzy was a mistake. On August 6th, at
Eisenach, Mr. G. Schirmer, of New York, the largest
music importer in America, and for many years sole
agent for Messrs. Augener & Co.'s publications in the
United States. Mr. W. S. B. Woolhouse, F.R.A.S., who
died on August 12th at Canonbury, was the author of
a " Treatise on Musical Intervals," etc, and an occasional
contributor to our columns. He was an enthusiastic
amateur, his instrument- being the violin ; he has left a
large and valuable collection of musical instruments, ineluding one of the best violins by Stradivarius. Up to
the year 1887 he was partner in the firm of Augener & Co.
In the Duke Ernest of Saxe-Coburg-Gotha, who died
on August 22nd, music loses an enthusiastic disciple and
a generous patron, who was also one of the most culti
vated musicians that ever sat on a princely throne.
Besides songs, hymns, cantatas, etc., the Duke produced
five operasZayre (1846), Torn (1848), Casilda (1855),
Santa Chiara (1854), and Diana di Solange (1858), of
which the last two have been performed in several towns
besides Gotha, where they were originally brought out.
Santa Chiara was given at Covent Garden in 1877, but
failed to win public favour. The Duke was present at
the late model performances in his capital town, so that
one of the last acts of his public career was in connection
with the art he so dearly loved.
212
THE
MONTHLY
MUSICAL
RECORD.
[September i, 1893.
AUGEITER'S ETJITIOIN"
SELECTED BY THE ASSOCIATED BOARD

OF

FOR

1893-1894.
In Two ONE SHILLING VOLUMES.
A. LOCAL
CENTRE
EXAMINATIONS.
JUNIOR GRADE.
SENIOR GRADE.
3 Studies and 2 Pieces in
3 Studies and 3 Pieces complete in
AUGENER'S EDITION, No.Gi^c. Price Is., net.
AUGENER'S EDITIOiV, No.bi^y. Price1s.,net.
OIR. SINGLY.
OR SINGLY.
Contents :
Contents :
STUDIES.
JOHN BAPTIST CRAMER.
No. 36. 2s.
DANIEL STEIBELT.
No. 14. is.
STUDIES.
Study in c minor,
Study in c major.
.
Op. 78,
ROBERT SCHUMANN.- Kleinc Fuge

ghetta). Op. 68, No. 40. 2s. 6d.
PIECES.
(Fu.
JQHANN SEBASTIAN BACH. Prelude and Fugue

in g. No. 15 of Book II. 2s. 6d.
MUZIO CLEMENTI. Study in f minor, No. 44,
I '
from his " Gradus ad Parnassum." 3s.
ADOLF JENSEN. " On the Sea-Shore." Romantic
Study, Op. 8, No. 3. 3s.
PIECES.
,,,-r. ,,,-w
,t^ First
t- move- JOII.
NEPOMUK HUMMEL. Rondo
WOLFGANG AM ADEUS
MOZART.
J
r
r.
a
I
J
\
Op.
ment of Sonata in f. flat (composed 1777).
r IOO. 4S.
2S 6d.
LOUIS VAN BEETHOVEN. Adagio
.
,..*,
^^^^...^.-nr
71
.
x
.
Sonata in c minor. Op.
LOUIS VAN BEE1H0\LN. Light Variations in
r 10, No. 1.
1 , on " Tiindeln und Scherzen," by Siissmayer. FREDERIC CHOPIN.
Polonaise in
^s.
minor. Op. 26, No. 1. 2s. 6d.
brillante.
from the
2s. 6d.
c sharp
Published by AUGENER & CO., 86, Newgate Street, E.C., and 1, Foubert's Place, W., London.
September ., .s9j.]
THE
MONTHLY
MUSICAL
RECORD.
2 I
Of August iSth, 1893, has the following Review:

NEW
CHAMBER
MUSIC.
Violin. Many works for the violin.are published by Messrs. instrument, though of course no book can take the place
Augener, both original compositions and new editions of of a master.
standard works. Herr Max Reger, whose first published com
Viola. The clever viola player, Mr. Emil Kreuz, has made
positions are sent, is a decidedly promising composer ; his two an important addition to the literature of his instrument in his
violin sonatas, Op. 1 and 3, are interesting, and, on the whole, Concerto, Op. 20. a work which, while it abounds in formidable
original. The slow movement of the first of these follows the difficulties of various kinds, has plenty of beauty and musical
scheme of the " Sonate pathetique " a little too closely, but the interest to recommend it to musicians in general. The melodious
work, as a whole, is well worth the attention of musicians. The Barcarole, which occupies the place of the slow movement, is
second sonata, in r> major, is a good deal more successfully con published separately, and also in an arrangement for violin and
structed, and the manner of denoting certain details of accent piano. In bringing out a new edition of Schumann's littleand phrasing is altogether excellent. The valuable collection of known " Marchenbilder," for piano and viola, Op. 113, the
" Vortragsstudien," edited by Gustav Jensen, now includes publishers deserve the gratitude of amateurs.
Beethoven's two romances, besides other pieces of the violinist's
Violoncello. A melodious and well-devised "Nocturno"
repertory, such as Rode'* famous air and the like. They are {sic), by Oskar Bruckner, shows thorough understanding of the
most carefully prepared for the use of students, and will be instrument and real musical ability ; the title of the piece, which
found of the greatest service. A group of " Pieces de Salon,'' is incorrect in any language, is, in fact, its only fault. The
arranged by Emile Thomas, contains some works of far lighter first volume of an " Album Classique " edited by this composer
calibre, for the most part adapted from compositions not begins, somewhat inauspiciously, with a transcription of Bach's
originally intended for violin and piano. I'feilTer's pretty well-known " My heart ever faithful," in which the violoncello
" Gigue a l'ancienne," Schubert's songs "StUndchen," "Ave takes only the voice part, being never allowed to altcmpt the
Maria," and " Am Meer," and some trilles by Strelezki and 1 beautiful obbligato* intended for the violoncello piccolo. The
Moszkowski form the' bulk of the collection. A graceful " Air arrangements of two Nocturnes by Field and of the Serenade
d e Ballet," by the editor of this series, is also arranged for the from Gretry's Amant jedoux are far belter. An unaffected and
same instruments ; and another set of pieces of the same musicianly Nocturne by A. M. Grimson and five interesting and
character, edited by F. Hermann, contains some transcriptions pleasing " Petits Morceaux" by \V. II. Squire are also sent, as
from popular pianoforte pieces, &c. A well-written appassionata, well as an arrangement of the complete "Album for the Young"
by A. Strelezki, should find favour at the hands of fairly accom of Schumann, and the same composer's " Kinderscenen," mule
plished players; and to younger violinists the " March " and by Professor Hermann. W. 11. Squire's easy exercises for
" Lullaby " by Marie Wurm may be recommended. For the violoncello alone, and L. Hegyesi's "Rhythmical Scale and Chord
same class of students Reinecke's ten little pieces, Op. 122a, Studies " are two capital books for students of different grades.
will be found useful ; they correspond to the Schumann Album
Trios, &c. Two new trios for the unusual combination of
in point of length, style, and, to a certain extent, difficulty. piano, violin, and viola are sent by the same publishers ; the
Corelli's 12 Sonatas, comprising Op. 5, have been excellently first, Herr Max Reger's Op. 2, consists of an allegro appassionato
edited, from the text of Joachim and Chrysander, by Gustav constructed with a good deal of skill, a bright scherzo, and an
Jensen, and are now published in two books, or together in a adagio with variations, the last of which serves for finale. The
bound volume. The same able editor has included in his series theme of the set is a little wanting in individuality, but other
of " Classiche Violin Musik ".Handel's Sonatas Nos. 10 and wise the movement is praiseworthy, and few will blame it for
13, and Leclair's fine Sonata, " Le Tombeau." In spite ot the the close imitation of a form first used by Beethoven. Mr.
wealth of beautiful classical compositions opened to them by Kreuz's trio for the same instruments, Op. 21, is far less in
this and similar series, violinists seem still to content themselves teresting than his concerto above referred to, but it has, of
with a smaller repertory than almosr. any other class of musicians. course, many points of merit, and it is certainly well written for
Two Sonatinas by F. Hermann for piano and violin with or the instruments. New editions, by Professor Hermann, of
without a violoncello, Pleyel's Overture in G, and other arrange Beethoven's six quartets, Op. 18 ; by \V. S. B. Woolhouse of
ments will be of service in the early practice of concerted Hummel's quintet for piano and strings, Op. 87 ; and of Mr. E.
playing, for it is scarcely desirable to make the great master Silas's first trio in c minor, an effective and pleasing work
pieces common by using them for this purpose. The ten strongly influenced by Mendelssohn, are also sent, as well as
books of Ritter's Practical School for the Violin form two books of well-devised " Morceaux melodiques " by Professor
a remarkably complete body of instruction for the Hermann for two violins and piano.
London : AUGENER & CO., 86, Newgate Street, E.C, and 1, Foubert's Place, W
214
ANALYSIS OF
[September I, 1893.
COMPOSITIONEN
JOH. SEB. BACH'S

FORTY - EIGHT
PRELUDES
AND
FUGUES (Wohltemperirtes Klavier), by Dr. H.

RIEMANN. Translated from the German by J. S.
SHEDLOCK, B.A.
Net.
No.
9205. Part I. (Preludes and Fugues, Nos. i to 24.) In paper covers 2/Bound 2/6
9206. Part II. (Preludes and Fugues, Nos. 25 to 48.) In paper covers
3/
Hound 2/6
:vn^.:x: keg-er.
t. j.
iste Sonate fur Violine und Piano. Op. 1, in d moll

Trio fiir Piano, Violine, und Viola. Op. 2
ate Sonate fur Violine und Piano. Op. 3, in d dur
Sechs Lieder fiir eine mittlere Stimme. Op. 4
Sonate fiir Violoncell und Piano. Op. 5, in f moll (/ the Press)
Extractsfrom Revteiu by Ebenezer Prout, which appeared in "The
Monthly Musical Record," May 1st, 1893.
3 Chore fiir Sopran, 'Alt, Tenor, und Bass, mit Pianofortebegleitung. Op. 6
" Dr. Hugo Riemann, though his name is as yet comparatively little known in this
country, is one of the foremc st anions' l'vinK (German theorists. An c lamination of his
works shows him to be emphatically an ' all round man.' There is hardly a branch of 8601 Walzer Capricen. Op. 9, fiir Piano zu vier Handen
theory which in his excellent series of Catechisms he lias not dealt with. Probably the
most important seivice he has rendered to the cause of musical art has been his
systematizing of the whole question of phrasing. His insistence upon the relation of
unaccented notes, not to the preceding, but to the following accented note, is of the
utmost value, and fjre.atly simplifies the elucidation of many points in connection with
the question of rhythm.'
'* In his analysis of formal structure, Dr. Riemann takes the eight-bar period as the
normal forniition, and regards all periods ( f any other length, not as different forms, but
as extensions and contractions of normal periods by the insertion 'and elision of bars. A
full r*coytiition of this general principle will undouotedly be found of great assistance to
the student."
* 1 here are two different methods of analysis the technical and the xsthetic Tim
former treats of the harmonic, rhythmical, and thematic construction of a piece ; it Is this
kind of analysis which is to be tound in most theoretical treatises. The latter, on the
other hand, rather deals with the true meaning of the music, its artistic conception, and
underlying poetical idea. . . . Dr. Riemann in the present work combines both
methods. He is no mere Dryasdust, dissecting these beautiful compositions merely to
find the contrapuntal devices in which they abound. Not that he leaves this technical
part of the work undone ; on the contrary, few, if any, points of importance escape his
notice. But he is not content without also pointing out, sometimes very felicitously, the
ideas which are presented, to his mind at least, by the music. The following description
o line opening of the C sharp major Prelude of the first book might have been written
by Schumann :
" ' It has a quiet, almost languishing character, and seems TO suggest a siesta under
the shade of leafy trees, on grass fragrant with blooming flowers, and all alive with the
hum of insects.'
" And again a little later in the same analysis
" ' Everywhere is life and movement ; everywhere there is blossom and radiance : the
very .itm<_ sphere trembles ; and yet the firm, metrical design of the principal theme (the
long feminine endings) displays 10 the end the same rapturous repose.'
'As another example of Dr. Kiernann's style of characterization, 1 quote his descrip
tion of the H Mat minor Prelude of the fir->t book.
" ' The prelude with deep, dignified solemnity advances in 2 measure ; the long-drawn
lines of the melody display great and noble let-ling: now clear eyes full of love seem to
be gazing at us, now deep sighs arc^heard, signs of pain at the limited power of human
beings who are able to re.li>e only a amall portion of unlimited will.' "
" In Ids analysis of the thematic construction both of the preludes and fugues. Dr.
Klemann is particulirly happy. Here our author is on his own special domain ; for the
points which, perhaps mare than any other, are the distinguishing feature of his theoreti
cal works are the attention he bestows on thematic development from the motiv*, and
the assistance that a correct understanding of the motive gives in enabling the performer
to determine the phrasing."
" I consider it a most vaJuable aid to the comprehension of Uach's work, and I heartily
share the author's enthusiasm as it shows itself in every page of the volume. The more
the ' Forty-tight ' are known, the more they will be enjjyed and loved, and the student
who wishes far an intelligent guide through the intricacies of the music will find such a
guide in Dr. Riemann. '
7535
5283
7536
8890
7735
4593
Extracts from Review in AUgemeine Musik Zet'tune', July 7th, 1S93 :

" . . . . Max Reirer vcrfitj-t iiber einc ungeohtilich starkc musik.'dischc li rfindurigs*
kraft, die .illes Gewtilmliche zuriickwcist die Motive, die patlielisehen in alien Niiancen,
wie die heitercn, ' schcrzoscti,' fliegen ihni forodich zu, quellcn Ihm unter ocn Handen
empor, so dims er sich initmucr direr car nicht erwehren kann. . . . Abe* dann kehrt
wicder die Ruhe zunick und damit auch einc kecke, frohliche Heiterkcit. die sich im
I 1 stij^cn Scherzo is. Op. 1-3) ausspricht. I'iese kleine. klare lorni belierr-.t. lit der
Komponisi mit wundcxvoUem Gescnick und die drei Scherzi tier Opera 1-3 und *ahre
Kabmctstiicke, die jeden Musikcr cntziicken werden. In denials drifter Sat? folgenden
Ad.iîo inn Trio : <da*io mit Yariationeii zugleich als Schlussatzi zcigt sich des Aut-s
reiclie mclodische Hekiahunjj. Seine Melodu ist vomer 111, tie!' cmciumlen, frci
gegliedert uud stri'unt in ruhiycm, vollem Hrgusse daliin Die Form der Adagios Kt
knapp und iihersiclulich, so class bier Stimmtin^hilder von fa-.t uturetriibter SchflruVit
geboteu werden . . . Reger hat sich gatz und gar den BrMims'ftchen Klavierstil
angeeignet. .-fber er iibertiumpft stin Vorbild bci wcitein durch eine mch rcicbere
Polyphonic . . . Jedeufalls darf man der weiteren Hntwirkelung dieses Jangen
Kiinstlers mit grossem InterehSe entgegensehen. Die Proben, die er mit den r*tcn 5
verb'ffentlichten Werken von seinem Km men abgegeben hat, l>erechtu>en dazu. . . .
Wir werden von seinen weiteren Leistungengern una freudig unseren Lesern berklilen
untl wimschen nur, dass die guten Holfnungen, die dieses neu sich erhebcade, gxoc
Talent verspricht, sich crfiil'en nuigen."
London: AUGENER & CO., 86, Newgate Street., E.G.

and
important new publication.

DICTIONARY OF MUSIC
BY
DR. HUGO RIEMANN.

FOLIO EDITION OF

No.
oacotz
JOH. SEB. BACH'S

WOHLTEMPERIRTES KLAVIER
(4S Preludes and Fugues) fur Piano Mit Phrasirung
uud
Fingersatzbezeichnung
herausgegeben
von
No.
Dr. HUGO RIEMANN.
Nil.
qZita-d Part I. Books i to 4 (each book containing 6 Preludes and
Fugues)
each
1/i)$ija-d Part II. Books 5 to 8 (each book containing 6 Preludes and
Fugues)
each 1/.
JOH. SEB. BACH'S

TNVENTIONEN FUR PIANO.
Mit
i.
No.
genauer liezeichung der Phrasirung und neuem Fingersat z von Dr. HUGO RIEMANN. (Folio Edition.)
Net.
1st Book. 15 Two-part Inventions
j/4
and Hook. 15 Three-part Inventions
1/4
M. CLEMENTI'S
TWELVE SONATINAS FOR PIANO.
No.
99026
J.
Phrasirungs-Ausgabe by Dr. HUGO RIEMANN.
1 st Book (Op. 36)
and Book (Op. 37 and 38)
London : AUGENER & CO., S6, Newgate Street, E.C.,
Part I (A. to BECK)y price is. net.
9200* Part II. (Becke" to Chaconne)^ price is. net.
Net.
Rif.mann's Dictionary is a concisely worded musical encyclopedia,

of noteworthy musicians and writers on music of the past and present, with
criticisms of thtir works, but also a complete description and history of all
definitions of musical art-expressions, etc. It will appear in fourteen parts
at One Shilling each, which will hind in one handy volume. That which
distingubhes Kiernann's Dictionary from other dictionaries is unity and
author writes an entire work, but not if a number of contributors
compete, who are of different opinions and variously gifted. Riemann has
long since, by his striking and many-sided literary activity, given proof o
so to speak, the sum and substance of the results of his researches in the
most varied ranges of musical science, e.g. the history of notation, the
theories of rhythm (phrasing), harmony and form (analysis), musical
aesthetics, etc.; it is therefore adapted to serve as an introduction to his
musical pedagogic reforms. The problem of presenting established facts iu
" Mk^->hs. AUCRNHB are bringing out in parts a handy edition of Dr. H. Ricmann's
Diet onar> of Music' translated by kVlr, Sherlock, and furnishcl ith additional matter
by the author. So Tar as the tir>t instalment goes, the work has been rxo llently done.
espcciilU in the matter of just allotment of space. Such literary ire .tiscs as appeir in
tiiu great dictionaries of Mendel or Grove do not come widiin the scope of a wore like
thi-, but to tht orîtwy itititnt the newly itstted dictionary wil. tr o/it'ifttrme :.v,
and the name of the translator who may Ik; suspected of having taken inure than a
translator's part in the compilation of the J 'Ingush biographies is a guarantee for
accuracy and thorough research." The New Quarterly Mis%<al Review, August, 1693.
'/4
London : AUGENER & CO., 86, Newgate Street, EX.,

and i, Foubert's Place, W.
September i, 1893.]
THE
EBENEZER
MONTHLY
MUSICAL
PROUT'S

Demy 8vo.
Augtner'a
Edition.
91S2
Bound.
ARMONY :
ITS
THEORY
little else than age to rccomnund them, he has provided others supported by references
to fugal works by the greatest writers. In <u- scribing a fugue as a composition in
* ternary form,' Mr. l'rout says : ' The first section expends as far as the end of the last
or middle section begins with the cemmencement of the first episode, which modulates
to any other key thin that of tonic or dominant; and the third or final section begins
with the return of the subject and answer.' The features of each section are admirably
delineated, and the construction of the whole fuue is clearly eiplaii ed and aptly illus
trated. As text-books, oar. Prout's theoretical treatises will doubi eas take
the position, of standard works." The Daily Teltgtofh, Much 17th, 1693.

PRACTICE. By EBENEZER PROUT, B.A.,Lond.,

/-
DR.
9.8*5 ADDITIONAL EXERCISES TO E.

PROUT'S "HARMONY:
ITS THEORY AND
disk KEY TO THE ADDITIONAL EXER
/COUNTERPOINT :
STRICT
Crown 8vO.
1/6

monising
920 1.
CATECHISM OF MUSICAL INSTRU- **

MENTS (Guide to Instrumentation). In paper
covers, net, as
9/6

TORY.
:-:-
9202. Parti. History of Musical Instruments, and History of Tone

Systems and Notation. In paper covers, net, 23
2/6
9203. Part II. History of Musical Form, with Biographical Notices., a/6
2/6
9204.
Bound in
Limp Cloth
No.
j/
COUNTERPOINT
RIEMANN'S
AND
V-' FREE. By EBENEZER PROUT, B.A. Lond., Pro

OUBLE
H.
9tS3.
9184.
215
Review of E. Prout's Text-books (continued)
AND "
918*. KEY TO "HARMONY: ITS THEORY
RECORD.
CANON. By EBENEZER PROUT, B.A. Lond.,

PLAYING. In paper covers, net, ss.
AND
Now Ready..
5/-

,.85. T-TUGUE.
J-

9205 Part I. 24 Preludes and Fugues. In paper covers, net, as. ...
9206 Part II. 24 Preludes and Fugues. In paper covers, net, as. ...
By EBENEZER PROUT, B.A.

9.86. FUGAL- ANALYSIS: A
Companion
to

of Music, &c.
,
t/6
2/6
N.B. T/utt Cateckunu wilt it continued.

London: AUGENER & CO., 86, Newgate St., E.C. ; & 1, Foubert's Place,W.
5/Now Ready.
MUSICAL FORM. ByEhenezerProut,

AUGENER'S EDITION, No. 9,187.
9187.
B.A., Lond., Professor of Harmony and Composition

at the Royal Academy of Music, etc
Che Bat'Ip {Telegraph
5/-
MUSICAL
FORM.
Of March 17th, has the following Review:
EBENEZER PROUT, B.A., Lond.
" The series of theoretical works written by Ebenczer Trout will prove of inestimable
service to teacher and scholar alike. Published in nine volumes, the series embraces an
exliaustive treatise oq ea;h of the following subjects : Harmony, its theory and [Professor of Harmony and Composition at the Royal Academy of
practice; counterpoint, strict and free; double counterpoint; and ftiguo. With
earnestness the author points out the desirability of studying harmony and * strict
Music), Author of " Harmony ; Its Theory and Practice,"
c unterpoint ' simultaneously, and advises that 'as soon as the pupil has mastered
" Counterpoint : Strict and Free,'* " Double Counterpoint and
tion is unheeded by many teachers of theory, and some there are who altogether reject
Canon,'* "Fugue" " Fugal Analysts, " etc.
th* plan, on the ground of strict counterpoint bc-inn of little practical value But the
author, believing it to be mi essential branch of study, has, by verbal explanation ot
Demy 8vo, Bound, net 5srules, as well as by illustrative examples, succeeded in making it appear attractive and
important. Two-part counterpoint is treated at considerable length, a chapter being
*' One need not say that it is the best book on the subject in the English
devoted to each cf the 'Five Species.' As far as the 'species are concerned, the
same order is observed in three-part and four-part strict counterpoint. So varied in language, for, at present, it is the only one of its kind." The Academy',
construction are toe exercises and examples tliat one is apt to forget that the only August 26, 1893.
harmonic* used therein are diatonic Triads and their firit inversions. In leading
students through paths trxtden by our musical ancestors the skilful guide never fails to
London : AUGENER & CO., 86, Newgate Street, E.C. ; and only
point out objects of interest to be met with on the way. Though so much in love with
his subject, he places it in its proper position, as a preliminary study to actual coinWest End Address, 1, Foubert's Place, W.
position. The fact is again and again insisted upon that ' strict counterpoint is simply
i
the means to an end." The object to be attaineu is the power of free part-writing,
here called ' free counterpoint.' the study of which should not, the author says, be com
restraints inijK)seU hy ancient rules, modern counterpoint opens the doo' to well-nigh all
combinations which do nut violate the laws of harmony. The final chapter treats on the
For VIOLONCELLO with Pianoforte Accompaniment,
application of counterpoint to practical composition. ]n the book on Double Counter[joint and Canon, Mr. Prout places these- intricate subjects before the student in the
BY
clearest and most convincing manner. The last, as yet published, of the series is an
able ai.d in some respects remarkable treatise on Fugue. After carefully examining the
rules from time to time laid down by men in authority, and .fter patiently testing their
accuracy by the works of Bach and other great masters, the author is led to df-clare
that 'there tsno branch of musical composition in which theory is more widely at variance
Op. 37.
with practice than in that offuKuv.' In staling his own views, he directs attention to the
principles whichgovern the relation between Subject and Answer. While there is but
Price 4s.
little diversity ofos'inionas to what should be the features of the subject, there are, on
" A melodious find well-devised 'Nocturno' by Oslcar Bruckner, showi thurouRh
the old text-books, ' is absolute ' ; yet Bach is found breaking* t with good effect. Our undemanding of the instrument and real musical ability." The Times, Augub idth, 1893.
1, Foubert's Place, London W
NOCTURNE
OSKAR BRUCKNER.
THE
i6
MONTHLY
MUSICAL
RECORD.
[September i, 1893.
Novelties (co/itinuctt)
NO VE LT I ESIVTOUVEAUTES
INSTRUMENTAL.
miblished
published on
September ist, 1893. by
I -i- ^*
fl(Nova) publiees
Ie ier Septcmbre, 1893, chez
JENSEN, GUSTAV.
Classische Violin - Musik
beruhmter Meister des i7ten und i8ten Jahrhunderts
nach
den
Originalwerken
bearbtitet und
mit Vortragszeii hen versehen :
7429
Henry Purcell. Sonata in B minor (2 Violins, Piano
(All Music engraved and printed in England
and Violoncello ad lib.)
...
...
...
net
7430
Sonata ir. A minor (2 Violins, Piano, and Violon
at Augend's Music Printing OffUine, 10, Lexington Street,
cello ad lit. )
net
London.)
,
SQUIRE, W. H. Morceaux de Salon pour Violon
cello avee accompagncmcnt de Piano:
No. I. Nocturne
3
Et'tion
s. d.
2. t'avatina
3
Number.
BENNETT, W. STERNDALE. Rondino. Op. 28,
No. 2 '
3 3965
CALLCOTT, W. HUTCHINS. National Melodies
and Operatic Airs ; arranged :
<
9896
Italian, French, German, and Alpine Airs. Con
taining Grecian, Maltese, Neapolitan. Sardinian,
Sicilian, Tuscan, and Venetian Melodies ; Trou
badour Melodies; Austrian, Bohemian, Hun
4193
garian, Prussian, Rhenish. Saxon, Swabian, and
Styrian Melodies ; Swiss, Savoyard, and Tyrolean
Melodies
net 2 -
CLEMENTI, M.
12 Sonatinas.
Ausgabe von Dr. Hugo Riemann.
qqoia Book I. (Op. 36)
9902*
Book II. (Op. 37 and 38)
PhrasirungsFolio. C. :
net
net
KLEINM1CHEL, RICHARD. Dorfmusik (Rustic

Scenes). 18 caracteristische Stilcke. Op. 56 :
No. 1. Ilochzeitszug. (Wedding Procession) ...
2. Hansel und Grctel beim Tanz (Hans and
Grete Dancing)
...
...
...
...
3. Am Spinnrocken (Spinning)
...
...
LAUBACH, ALFRED. Valse Caprice
LAYLAND, WILLIAM. The Modern Pianoforte
School. Ji
1
1
4
4
2 6
1
3
VOCAL
MUSIC.
DUNKLEY, FERDINAND. Six two-part songs for

female voices. (Our life is like a rose-tree.
Departing Day. The Skylark.' The Brooklet.
The Passing Year-Canon. The Swallow.) 410
net 1
IIEALE, II. Twelve Operatic Choruses, arranged
Book m. Four Choruses (three-part)
...
net 1
(a) " Oh ! what pleasure the soft guitar."
( ^ From
{6} Angelus. "Angels that around us hover." > Wallace's
(c) " Sing, pretty maiden, sing."
) Maritana.
{d) Serenade and Chorus, " Fair wandering moon," from
Donizetti's Don PasqiiaU.
Laubach :
Why do you still return, sweet maiden ? (Si vous
n'avez rien a me dire)
3
Repose in the Pine-wood (Hvile i Skoven)
1
KREUZ, EMIL. Here's the Bower. Song. Op.
27, No. 2
...
...
...
...
...
... 3
MAC CUNN, HAMISH. If a nobler waits for thee.
Song
Many days and many ways. Song
...
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3
3
BOOKS ON MUSIC.
STRELEZKI, ANTON. Morceaux :9187 PROUT, EBENEZER. Musical Form. Bound.
No. 53. La Fontaine. Etude
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...
... 4
net ;
54. Lied ohne W'orte. Chanson sans Paroles 3 9200* RIEMANN, DR. II. Dictionary of Music. New
Edition, with many additions. Translation bv
STUDIES AND PIECES contained in the Syllabus
J. S. Shedlock, B. A'. Part 1 1. (Beckd to Chaconne. )
of the Associated Board of the Rovat Academy of
i.el 1 - Music and the Royal College of Music for Local
Examinations in Music, 1893-94. <' '
6t32<"
6133^
A. Local Centre Examinations.

Junior Grade: Studies by Cramer, Steibelt, and
Schumann ; Pieces by Mozart and Beethoven, net
Senior tirade : Studies by Bach, Clementi, and A.
Jensen; Pieces by Hummel, Beethoven, and
Chopin
net


8554/
No. 11, in <; major
8578
8635
CONTENTS.
net
MENDELSSOHN-BARTHOLDY. Variations. Op.

82. ('.
net
STRELEZKI, ANTON. Trois nouvelles Danses
Kspagnoles. (1, Cadiz; 2, Seville ; 3, Bolero) net
ORGAN.
5848

styles. Edited by W. T. Best. Oblong:
Book 48.
fcighth Organ Concerto, by G. F.
Handel
...
net

STANFORD, C. VILLIERS.
Legend
1
Ebenezek Prout's " Mus.cal Form." Bv Dr. Charles W.
Pearcr
1
Mere Names
The Pianoforte Teacher : a Collection of Aktici.es In
1
tended for Educational Purposes, Consisting of
Pisces with Regard to Difficulty, and Suggestions as
to their Performance. Bv E. Paiiek. {Continued)-.
..
Music in Leipzig
Our Music Pages: Marie Wuim's "Valse de Concert"
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Operas and Concerts
Musical Notes
4 September Novelties ok Augeker & uo
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Subscription, Free by Post', . 6d. per Annum, payable in advance, by Cash or Pasta' Order, to Augenrr and Co.,
OCTOBER
BIBLICAL OPERAS.
The Biblical oratorio Samson et Dalila of M. Camille
Saint-Saens was produced at the Promenade Concerts last
month in oratorio form. Now there are many religious
persons in England who disapprove of opera, but there is
.icatcely one who would not be scandalised at the idea of an
opera based on a Bible story. On the Continent, however,
n different opinion prevails, and though in certain matters
1 he censorship there is very strict, composers are allowed
to select subjects from sacred as well as from secular
history. Abroad, as well as in this country, there are no
doubt many who frequent the opera merely as a source of
amusement, but there the theatre (where, as a rule, both
plays and operas are given) is a more important factor in
ihe education of the people. In any town deserving of
the name a playhouse is considered as much an essential
as a school or a church ; it is indeed a means of education,
and ihe introduction of Biblical subjects creates neither
surprise nor alarm.
In England matters stand on a different fooling. There
are hundreds of cities in which operas are never heard,
;nd even in our great metropolis the opera season only
lasts for a few months ; and the prices of admission are
high, and the repertoire limited. There is no national
house at which the master works can be constantly heard.
Opera-going is therefore principally an amusement, and
the idea of making any use of the Bible, the symbol of
religion, for such a purpose, naturally seems to put it
mildlyincongruous.
Why, the very art of music itself, until within recent
times, was regarded in this country as a mere pastime !
Young ladies at school learnt the pianoforte and singing
as an accomplishment, so as to shine in the drawing-room
and win compliments, and, perhaps, a husband. And
there has been no lack of trivial pieces written to
strengthen the idea that music was unworthy the con
sideration of seriously disposed persons, and to foster the
(nejudice of narrow-minded persons, that it was an
invention of the enemy of souls to lure them from what
was pure and holy. And let it be said with regret
pome of the greatest composers so far degraded their art
as to write merely for the pleasure of patrons and princes.
The idea that music was a mere amusement was at the
274
1,
1893.
[Price 2d. ; per Post, 2Jd.
root of the former bitter opposition to oratorio. That the

words of Holy Writ, expounded solemnly from the pulpit,
should be used for a worldly and even frivolous purpose,
seemed intolerable and much oratorio music, it must
be admitted, gave good cause for such opposition. But
the sublimity of the Messiah the earnestness of the
Elijah and other serious sacred works, have done much
to beat down the barriers of prejudice.
But a Biblical opera ! What associations does not the
word "opera" bring up sentimental love stories, broken
vows, comic scenes, vulgar ballets. Wagner himself felt,
and strongly, too. that an ordinary opera house was not a
fit place for his Parsifal, which, if not Biblical in letter,
is decidedly so in spirit. Is it then astonishing that sen
sitive minds should be shocked by the very idea of the
Bible in connection with the stage ?
The high claims of musical art are now acknowledged :
the power of music as a civilising factor is now felt, and
seeing that trivial librettieven for secular operasare
well nigh things of the past, it seems as if dramatic
composers ought to have the liberty of seeking inspiration
from the same high source whence has sprung many a
noble poem, picture, or piece of sculpture. The Church
once encouraged the dramatising of the most solemn
scenes even of the New Testament; they found it a direct
and forcible mode of appealing to the hearts of the people.
And if the stage be thoroughly reformed, or if, perhaps, a
place be set apart for sacred musical drama, the Church
may once again welcome such a powerful alliance of
religion and art.
STUDIES
IN
MODERN
OPERA.

VI. THE MEISTERSINGERS OF NURNBERG {Conchtdt.i).
{Continued from p. 171.)
Neither time nor occasion serves for even a passing

glimpse at the treasure of musical beauty, which the
master in his most genial mood has lavished on the score
218
THE
MONTHLY
MUSICAL
of the Meistersinger. I cannot, however, omit to notice

one beautiful idea which runs throughout the web of
music like a silver thread. The principal motive in the
drama is the passion inspired in Walther's heart by Eva,
and this passion matured and chastened into purest,
tenderest love, finds its full expression in the Prcislied.
In the first scene one Of its principal phrases is used with
consummate skill as the subject of the " Zwischenspiele,"
or interludes between each line of a chorale, with which
every visitor to a German Congregational service is
familiar. The ideal organist takes either a phrase from
the chorale, or some subject which suggests itself to him
as having an inner connection with the theme, and im
provises thereon for a few bars, while the faithful gather
breath to attack the next instalment of the " linked
sweetness." On this occasion we, the privileged specta
tors of that memorable service on St. John's Eve, 1561
(as the date has been ingeniously fixed by a contem
porary*), are not compelled to listen to the imperfect
St. Catherine organ, or to its incapable organist twisting
a few notes into a contrapuntal puzzle. Our attention is
directed by a more skilful magician, along a more perfect
vehicle ofexpression to the unseen passage of the ever-new
electric spark, the mutual conquest of two mutually con
quered hearts. In the scene where David tries to explain
the Meistersinger craft, VValther asks, " Who then may
become a Meister?" And as David replies, " He only
who invents a new poem, and also sets music thereto,"
the orchestra gives the lover a hint for his song, and he
nearly falls in with its suggestion in the vocal part.
When Walther is being questioned by the Meistersingers,
one asks him, " Of what master have you learned ? " and
even more poetical than his reply that he has learned
from Nature in the open fields, and from the charming
lyrics of Walther von der Vogelweide, is the answer
given first by the orchestra for his trial song of Spring
will fail, but his love song will win the prize. Pogner, in
the scene with his daughter (Act II.), talks of her ap
proaching marriage with the Meister of her choice ; and
as Eva holds clown her head the orchestra tells us of
whom she is thinking. The same motive appears during
the secret meeting between Walther and Eva, which is
so rudely disturbed by Beckmesser's serenade and the
tumult. An almost complete version of the most passion
ate strain is heard as Eva appears ready to fly with
Walther, and throws herself on her lover's breast. It is
nearly ready in Walther's mind when he sings to Sachs,
" I had a dream last night of wondrous beauty."
" That is a good sign," answers his host, " tell it me."
Its full beauty makes a fitting climax to the delight
ful scene in Sachs' house when St. John's (Mid
summer) Day breaks on its fair promise of success and
happiness ; and its triumph closes at once the Meister
singers' contest of song and Wagner's charming
comedy.
Although the Meistersinger cannot take an equally
important place with Tannhiiuser, or 'Tristan, or Parsifal,
as marking a new stage of development, or a new point
of departure, it presents many points of peculiar interest
to the student of Wagner's life work. The other operas
were composed each in one more or less uninterrupted
effort, and they carried out in every detail the original idea
as it took its first definite shape in the composer's mind.
The first sketches of the Meistersinger, on the other
hand, date from 1845, shortly after Wagner's first triumph
A writer in the Musical Timfs (August number) points out that Sachs'
first wife died in March, 1560, and he married a second time in September,
1561. He is spoken of in Wagner's play as a widower, and it was the part
he played in this idyllic love story, doubtless, which induced him to re-enter
Ihe matrimonial state as soon as possible.
RECORD.
[October I, 1893.
in Dresden seemed to place success, so long delayed, at

length in his grasp ; and the first performance of the
completed work was given in Munich, 1868, when after
the stormy years of revolution, exile, poverty, and despair,
Wagner found himself in the haven of his life, under the
munificent protection of the young King of Bavaria, and
surrounded by devoted friends and disciples. Wagners
first conception seems to have kept in view a comic
counterpart to the Tournament of Song in Tannhiiuser ;
and we may be sure that satire was more in his mind
than comedy. But, as under happier circumstances the
story took shape before the quieter eyes of the successful
composer, much was forgiven the formalists ; they were
explained, excused, even praised. And while the welldeserved prize is awarded to Walther, Beckmesser is
dismissed, not with curses or showers of stones, but
overwhelmed by the more humiliating defeat of confusion
and popular ridicule. Too much has been made of the
attempt to read a chapter of autobiography into the
opposition of Beckmesser and Walther, with all its amus
ing episodes. The opera does not oppose formalism to
genius in this sense, but teaches a salutary lesson to all
youthful enthusiasts who are too apt to over-estimate
the self-sufficiency of untrained genius and to under
estimate the value of recognised systems of educa
tion. It is true that Sachs learns an all-important
lesson from Walther, but no less valuable is his in
struction to the young singer when he shows him
the advisability of self-restraint in art, the necessity of
an artistic balance in any artistic form, and the import
ance of conveying an idea by a vehicle as convincing
and in every way as perfect as possible. His reproof
when Walther so scornfully contemns the Meistersinger
craft is very dignified ; and so is his justification of the
rules, although he acknowledges that pedantry is apt to
interfere with their interpretation, to exaggerate their
importance, and to add unduly to their number. His
peroration in praise of German art and German artists,
helps to raise his interesting rile to a level with those of
Walther and Eva. After all, the victory is not entirely the
merit of the young knight, but is won through the prudent
counsel and kind assistance of the cobbler poet. Can it
be that Wagner had his own genial, wise, and patient
teacher, Weinlig, in his mind when he portrayed the
character of Hans Sachs ?
Whatever the various causes were which softened
Wagner's attitude towards the musical world, there is
no doubt that the artistic and romantic side of his nature
proved too strong for the petty and vindictive. His
characters became so attractive under his hands (just
as those in "Pickwick" and in "Joseph Andrews"
works undertaken by their authors in the spirit of satire
and burlesque) that the contemplated comic opera
appeared as the most delightful comedy, fitted by the
additional charm of its music to take its place among
the comedies of the world's literature. And this is for
tunate both for Wagner and for us. How unpleasant it
would have been to have had Wagner's opinion of Mey
erbeer, Mendelssohn, and other contemporaries per
sonified on the bench of Meistersingers ! And how much
nobler is Wagner as Europe's last great Meistersinger
than as an irresponsible romanticist sneering at all order
in his arrogance, and breaking all law in his ignorance !
Wagner's desire to provide an appropriate frame for his
delightful picture of olden times resulted in some tri
umphs of modern counterpoint almost worthy of old
Bach himself. The potpourri of themes from the opera
which takes the place of overture is written with a skill
as consummate as its ease, its almost carelessness, is
apparent. Weber, Mozart wrote nothing which has less
October I, 1893.]
THE
MONTHLY
resemblance to a. Jin de sihle Vorspiel. Regular airs of

the most melodious character abound throughout the
work, and snatches of themes which haunt the nearer for
days are to be found on every other page. The plot is
transparent and interesting ; there are no complications,
no problems of life. The web of music, most fascinating
throughout, is not so involved in motive and design as,
for example, in Tristan. In consequence there are many
staunch " Anti-Wagnerians " who thoroughly enjoy the
Meistersinger, and who are not ashamed to make the
confession. Wagner could not have done himself a
greater service after publishing the sum of his theories in
Oper 111:1/ Drama and similar essays, and illustrating
them by such an uncompromising work as Tristan is,
than by applying the same theories in a masterly setting
of such a charming comedy, where he shows that it is
not for want of skill that his other works do not
abound in counterpoint, ensemble pieces, great choruses,
and catching airs.
It is not too much to say that Wagner has by this
opera awakened a European interest in the quaint old
Meistersinger guilds ; and the minutest investigation has
hitherto failed to add one important or lively touch to the
picture which the poet-composer has given us. He has
also enriched our lives with a knowledge of Hans Sachs'
personality, and a real love for his charactera happy
result due no less to the affectionate art of the dramatist
than to the beautiful figure of Niirnberg's cobbler-poet,
who will be a living and loved personality so long
as Wagner's genius commands attention for his
works.
We are surely not far wrong when we imagine that the
composition and the performance of the Meistersinger
was the most unalloyed pleasure in Wagner's artistic
career. Rienzi was overshadowed by Meyerbeer, and
tainted with vulgarity. Tannhiiuser was met by Men
delssohn's faint praise of a "canonic answer," and
Intendant von Liittichau's suggestion that the hero should
have been spared to marry Elizabeth. Lohengrin lay in
his desk for months " buried under analyses of /Eschylus
and denunciations of Meyerbeer," until Liszt performed
it at Weimar in 1851 ; Wagner heard it for the first time
in Vienna, after his return from twelve years' exile, in
1861. He began Tristan und Isolde in bitterness
and contempt : " tired of heaping one silent score
upon another," as he said. The Aide/ungen Ring was
such a gigantic, such a hopeless undertaking, that in
despair he writes, " I can hardly expect that 1 shall
find leisure to complete the music, and I have no
hope of living to hear it performed."
And our
thoughts turn from his wonderful swan song Parsifal
to the silver cord which was so slowly, so surely
breaking.
Ah ! of the three suns which hang in music's fir
mament, the centres of whole systems, the only truly
happy one in his life was Bach. Not this tempest-tossed,
storm-beaten mariner who was driven from sea to sea by
an unwearying destiny ; not that nobler soul, the Titan
with the seamed face and the sad brow, who so bravely
and patiently met each new decree of his fate ; but the
old Cantor with the high heart and the peaceful mind, he
who was removed by period and circumstance from the
unrest and the eager, fierce questioning, from the isola
tion and suspicion, from the pride so often wounded, and
the love so often spurned which made Beethoven's Fates
seem ever " fierce as Furies," as far as he was removed
from the self-centred scepticism, and the antagonism
to every settled system of government, society, and
art, which made Wagner's life one continual battle.
(To bt continued.)
MUSICAL RECORD.
219
THE ORGAN WORKS OF J. S. BACH.

Edited by W. T. Best.
(Continuedfrom Vol. XXII., p. 270.)
VOLUME IX.*
AFTER a long interval I am able once more to invite

Bach students to resume the critical examination of the
text of the master's organ works, as edited by Mr. Best.
It will be remembered that with the close of last year we
finished with the Six Trios, or Sonatas. The ninth
volume, recently published, includes twelve composi
tions. Few of these are of the first importance, but all
are of more or less interest. There is little to be said of
them historically, although many copies of some of them
are in existence, and the variations are considerable. The
whole of these pieces are to be found in the thirty-eighth
volume issued by the Bach-Gesellschaft, edited by Carl
Ernst Naumann (cousin of Emil Naumann, the musical
historian), musical director at Jena, who, in his preface,
gives a long list of different readings, errors, and so forth.
Some of these we shall have to notice in comparing the
editions to which our examination is limited, viz., those
of Best, Peters, and the Bach-Gesellschaft. Coming now
to our task, we begin with
No. 1, Prelude and Fugue in A minor :
Ex
0mM mm-
U.
This work forms the ninth number of Peters', Vol. III.,

and is the third in the B G, Vol. XXXVIII. It is an
early effort, assigned by Spitta to the Arnstadt period
before the year 1706. Spitta gives rather a minute
analysis of it (Vol. I., p. 319, English edition), but we
can only quote one sentence : "It consists of a short pre
lude, two fugues separated by an interlude, and a postlude which repeats and dilates upon the movement of
the prelude." The first difference we find in the text is
but trifling, yet we give it as showing the views of the
various editors. It will be found in Best, p. 612, the
last bar top part ; in Peters, p. 84, 1. 3, b. 3 ; and in the
B G, p. 1 8, 1. 1, b. 2 ; respectively as (a), (), (c).
In the pedal part, p. 613, 1. 2, b. 2, the second semi

quaver in the third beat is a, and so in the B G : in
Peters it is b. In the third bar on p. 614, the/ in the
group of demisemiquavcrs is queried sharp, as also in
the BG ; but no such mark is found in Peters. In the
first bar of the second linewhere the (second) fugue
enters, the chord is written in crotchets ; in Peters the
lower notes are minims, thus obscuring the entry of the
subject, which commences in the top part on the second
beat. In the B G the notes are crotchets, but smaller
notes are printed, showing an alteration. Three bars
later, second voice, the last quaver in the second beat is
e, and in Peters it is d. The last note of the subject in
the tenor, a, 1. 3, b. 3, is inserted as a crotchet, doubling
the pedal in the unison, but the note is omitted in Peters.
The B G inserts it as a small note. Peters has, in the
same bar, three additional notes in the pedal after the a,
first beat. They are not in the other editions, and are
regarded by Naumann as a slip of the pen in one of the
manuscripts. There is a difference in the entry of the
* Augcner"s Edition, No. 9,809.
THE
[October I, 1S9J.
220
counter-subject in Rest, p. 615, bar I, (a), and Peter?, sharp, in the chord on the first beat. In the others this
extra note does not appear. The shake on the pedal is,
in Best and the B G, confined to two measures; in
Ex. 11:.
__ _
__
Ptters it runs on to the third. The last half of the final
measure, upper part, is worth quoting as an instance of
diversified notation, as well as showing a small variation
in the text. In Best it is as {a) ; in Peters as (*) ; and in
In the B G the gioup is given in small notes the the B G as (c) :
"me as in Best, but thesis market! natural. AH the
f()T" _ 1 Wl
J&-, 4=MSS. appear to have the passage a third loo low, accord
ing to Naumann, and that explains the error in IJeti is
Another difference will be found between Best, p. 615,
I. 3, b. 1, (a), and Peters, p. 86, 1. 2, b. 1, {b) :
No. 2, Fugue in <; major
&m
Ex. 158.
w^m
This time the BG agrees with Peters. Two bars
on, middle stave, the c in the second group of semi
quavers is sharp, as also in the B G. In Peters the
note is natural. Page 616, 1. 1, b. 3, second voice, the
last note of the third beat is/ and in Peters . The con
text shows which is correct. The last bar of the fugue
it-self, the last bar but one, p. 616, is, in Best, as {a), and
in Peters as (6) :
Ped.
red.
Here the B G agrees with Best, except in the matter

of notation, employing, like Peters, two quavers tied inHead of a crotchet e. Best, p. 617, 1. 2, b. I, is as (a) ;
Peters, p. 87, 1. 3, b. 1, as (b) :
Ex. 155.
Wi^-di=a5Hi-^F?H-- '
g^ggjgf
This is mentioned by Spitta as written when Bach was

under the influence of Buxtehude. It was not published
at the time Spitta wrote, the manuscript then being in
the possession of Dr. Wilhelm Rust [editor of the organ
works of Bach, previously published by the Bach Gesellschaft, died May 2nd, 1892.] A few years ago, it will be
remembered that Peters issued a supplementary Vo'.
(IX) of Bach's organ works, edited by F. A. Roitzscn.
This fugue is No. 4 in that volume, and No. 17 in the
new volume of the B - G. There are very few differences
between the three editions. The first will be found in
Best p 610 1 3, b. 1, the first note for the second voice
being g, and in Peters b. This last causes consecutive
fifths between the second and third voices. In the: B- G
the note is a small one, as an emendation, the MS. having
b As Bach rarely scrupled about such matters when
they interfered with his design, some people may be in
clined to consider the alteration needless. The entry of
the subject in the bass, p. 621, 1. 3, b. 2, is assigned to
the pedal, and so in the B-G ; but in Peters it is given
for the manual, the pedal not being employed until six
bars later. The second bar of the subject is, in Peters,
as in the following extract ; in the others as given in the
previous one.
Ex. i59-_
m.
M.
r _
-m-
As the editor of the BG volume points out, the in

terval of the sixth is constant in the theme ; so that the
octave interval is a palpable mistake. Two bars later,
by the inversion of the third group, the pedal passage is
different from what has gone before. When the subject
appears in the parts for the manual, the fourth bar is the
same throughout ; but for facility of execution, probably,
the fourth bar, when in the pedal part, is as in Best, p.
622,1. 1, b. 1 :
Ex. 160.
The reading as in Peters the B G Fays is not credi

ble ; but the alteration is given in small notes, and the a,
thiid voice, Ian beat, is written as a quaver. Some of
the MSS. give the notation of the first beat, upper parts,
tl.ui :
This bar, in Peters, p. 20, 1. 4, b.
reads thus :-
Ex. 161.
Ex. I5<>.
m_3tzir.
if
UJ--3
In the last bar of the same line (Best) there is a c
sharp, crotchet, under each beat of the shake. In Peters
there is only one, under the third bent ; in the BG the
second is given as a small note. In the last bar but two
of the piece there is, in Peters, an a placed below the c
There is no analogy here. The last time the psdal

has the subject, this passage is, in all the editions, pre
cisely as in the manual. In the last bar of all, the first
dotted minim, d. third voice, is missing in Peters, another
oversight, doubtless, on the part of the transcriber of the
manuscript.
STEPHEN S. STRATTON.
(To be continued.)
October i, 1893-1
THE
MONTHLY
MUSICAL

A Collection of Articles intauicd for Educational Purposes,
consisting of
advice as to the selection of classical and modern
By E. PAUER,
Principal Profettor of Pianoforte at the Royal College ofMutic, A*c.
{Continued from /. avx)
STEP 2.
RohJe, Edttard. Two Sonatinas. No. I in c, Allegro
mnderato, Arietta and Allegretto scheizando. The dif
ficulty is that of dementi's Sonatinas ; the music is
natural, bright, and devoid of any triviality. No. 2 in
F. Allegretto, Andante, and Rondino. This Sonatini
will be found most useful, for it contains a variety of
expression, legato, staccato, cantabile, etc.
Steibelt, D. " Rondo "(c). Very pretty and agreeable.
Let, Maurice. " Etudes chantantes." 2 books. Book I.
contains: (l) "Confidence," (2)" Priere," (3) "La Chasse,"
(4) L'esperance," (5) " Inquidtude," (6) ' Cascatelles."
Of these Nos. 4 and 6 will most likely gain great
fivour. Book II. offers: (1) " Serenitd," (2) " L'Attente,"
(3) " Le Papillon," (4) " Devotion," (5) " Le Rouet," (6)
' Toccatina." Nos. 1 and 4 are to be particularly re
commended.
Cramer, Henri. " Le Desir." A very easy and popu
lar piece, which is well known in almost every country.
Reinecke, Carl. Musical Kindergarten, Op. 206. Books
I.. II., III., IV., V. All the remarks made about this
eminent work apply to this edition for two hands, see
Step II. of Duets for four hands.
STEP 3.
Strelezki, Anton. No. 31, " Prelude " in R flat minor ;
a very animated piece. No. 32, " Valse Scherzo" in A
flat ; presents considerable intricacies. No. 34, " Romance
sans paroles" (F) ; the performer has to take care to
bring many gradations of tone in his execution, for the
piece itself suffers from a slight monotony. No. 35,
" Polka noble" in l> possesses decided elegance. No. 36,
" Valse mignonne" in A; reminds in some parts of
Rubinstein's celebrated Valse-caprice. On the whole
the "Valse mignonne" is not devoid of a certain
elegance. No. 43, " Serenade espagnole " in D minor;
although it lacks the Spanish character, it is a very
acceptable piece. ' Menuet a l'antique " in E flat will be
found a popular piece. " Pres du Ruisseau " (by the
brook), Etude in F, introduces shakes and scales ; on the
whole very brilliant. "Scherzo in (;." The "Polka'
rhythm is here used, and produces a decided effect.
' Second Valse Scherzo" in A flat; very lively and
fluent. "Feuillet d'Album " in D flat; an unpretentious
melody, agreeable and natural. "Allegretto" in C may
be recommended for its pleasant animation.
Kirchner. Fritz. " Edelweiss." Tone-picture, Op.
414 (G). In the style of a menuelto in the pastoral
character.
Kirchner, Fritz. " Waldesruhe, Idvl." Op. 148 (A
flat). An agreeable cantabile, practically written piece,
easy of performance.
Kirchner, Fritz. " Menuet a la Reine," Op. 432 (G).
Written in a stately, somewhat ancient style.
Leclair, Jean Marie. Gavotta graz'osa, from a Violin
Sonata called " Le Tombeau " ; arranged by Gustav
Jensen. Deserves to be warmly recommended for its
elegance and nobility of expression.
Loeschhorn, Albert. " tude melodique," Op. 196, No.
2, (" Perles musicales," No. 15 ) Very pleasing; melody
RECORD.
221
as well as harmony are ingratiating, and a good eflect is

ceriain if the player takes care to give the chords
correctly.
I'auer, Mux. Waltz, Op 7, No. 8 (a major). " Perles
musicales," No. 23. On the whole it is an elegan', well
written, and engaging little work.
Squire, II'. H. 1'aquita, Feuillet d'Album (a). A
live y, pretty movemm', which requires a fluent
execution.
STEP 4.
Thalberg, S. Souvenir d'Amerique, " Lilly Dale " ;
Op. 74 (D). The pleasant American air is likewise
treated with the greatest effect. With respect to technical
difficulties, this air presents many more than the pieceding ones. (See page 205.)
W'ollenhaupt, II. A. "Valse Styrienne," Op. 47 (I)
flat). A very pleasing, natural, and fascinating melodv
is here eltboiattd with great and undeniable effect. It
is a most recommendable drawing-room piece.
Wollenhaupt, //. A. " Rose in thy Beauty," Aria by
Spohr (Zemire and Azor), transcribed in the form of a
Fantasia, Op. 68 (a flat). This arrangement is exceed
ingly effectivenot exactly easy ; it affords plenty of
material for useful practice, whilst the effect of the whole
is very satisfactory.
Wollenhaupt, H. A. "Galop di Bravura," Op. 24
(a flat). A very spirited, bright, and brilliant dance
movement.
Wollenliaupt, H. A. ." Les Clocbettes," Etude, Op. 16
(F sharp). A very useful study for the little finger of the
right hand. The true eflect of the piece is really to
assimilate the tones to the sound of little bells.
Nicode, Jean Louis. "Deux Valses brillantes," Op. 3
(F minor and E minor). These (drawing-room) valsei
are replete with elegance, melody, and graceful figures.
Without reminding directly of Chopin's valses, they
belong to the class of fashionable dance movements
whose real place is the drawing- not the ball-room.
Nicotic, Jean Louis. "Danseset Chansons Nationales
Italicnnes," Op. 13. No. 1, "Tarantelle" (1; sharp minor).
This fascinating piece now enjoys gieat celebrity ;
it is indeed one of the most favourite and often used
drawing-room pieces of the present time. No. 2,
" Canzonelta " (E), is a perfect gem ; both melody and
harmony are exquisite, and the accompaniment, resem
bling that of a guitar, most appropriate.
Pauer, E. " Passacaille," Op. 40 (c. minor). An air
in the ancient character with variations. It received
considerable attention an J approbation 011 its first
performances.
Pauer, E. " La Campanella." Polka de Concert (A
fl u). A conceit p'ecc of considerable effect.
Pauer, E. "La Danza," Tarantella from Rossini's
" Soirees Musicales." This transcription keeps strictly
to the original, and its technical execution is easier than
that by Liszt.
stfp 5.
Nicotic', yean Louis. Three stud es, Op. 2t. No 1 in
F sharp (Quasi Tempo di Tarantella) is an extraordinarily
clever wrist study ; with almost electric rapidity the hand
has to glide over the keyboard, and boih handsright
as well as lefthave to be ready, certain, and accurate.
The charming Andan'e sostenuto, which interrupts the
study is a welcome lehef for the player, for there are not
many persons who could bear to play octaves at this rate
for about four to five minutes incessantly. No. 2 (f) is a
study, for double notes, very difficult and complicated ;
for the left hand here has to produce a legato in thirds
and sixths, which will take some time to learn. The
222
whole study is the work of a master. No. 3 in D minor

is in several respects the most difficult of the setthe
repeated notes must be so close that they are like a
vibration or tremolando ; it likewise needs all the in
genuity of the piano-maker to produce an instrument
of such repeating power as is here required.
(To be continued.)-
WORCESTER MUSICAL FESTIVAL.

The one hundred and seventieth meeting of the " Three
Choirs " was celebrated at Worcester from the 12th to
the 15th of last month.
The bold experiment of
Gloucester last year in establishing a purely local chorus
was not repeated, and the scheme was absolutely void of
novelty as regards choral works. But the programme
was a strong one all the same, and one important work,
Bach's Mass in B minor, was quite new to the midlands.
As usual, the opening of the Festival was preceded by
a grand choral service in the nave of the Cathedral,
on Sunday, September 10th, when the full choir and
orchestra assisted.
The music included a festal Te
Deum and Jubilate, composed by Mr. Hugh Blair,
assistant organist of Worcester Cathedral, and conductor
of the present Festival ; Mendelssohn's eight-part setting
of Psalm cxiv. ; and Mozart's so-called Motet, " Glory,
Honour," arranged from one of the choruses in "Thamos,
King of Egypt.'' An eloquent and appropriate sermon
was preached by the Very Rev. Dr. Forrest, Dean of Wor
cester. During the offertory Mackenzie's " Benedictus "
was played with strikingly impressive effect, and the
immense congregation dispersed to the sound of the last
movement of Beethoven's c Minor Symphony, the first
time, one would hope, that magnificent movement has
served so lowly a purpose.
Monday was busily employed in the work of rehearsal,
as was the previous Saturday afternoon
Worcester,
apparently, is not a very good choral centre, so in view
of the heavy work of the week a large contingent,
one hundred strong, of the Leeds chorus was engaged.
The orchestra was of the usual strength, and was led by
Mr. A. Burnett.
In the band list many old names
disappear, and are replaced by new ones.
The Festival opened on Tuesday morning, September
12th, with Mendelssohn's Elijah, the solos being taken
by Madame Albani, Miss Anna Williams, Madame Belle
Cole, Miss Jessie King, Mr. E. Lloyd, and Mr. Watkin
Mills. The performance was very unequal, and rarely
came up to festival standard. Madame Albani over
powered her colleagues in the concerted numbers.
Madame Cole was but moderately successful, but Miss
Jessie King sang " Woe unto them " with purity of style.
Mr. Mills was highly satisfactory in the title part. In
the evening Beethoven's Symphony, No. 7, in A, opened
the programme. It was a bold proceeding, but justified
in the result. Mr. Blair's tempi were somewhat slower
than is customary, but in the immense building the effect
was by no means bad.
Handel's Israel in Egypt
followed, and the choruses were in general magnificently
sung.
Madame Cole, in " Their land brought forth
frogs," did much better than in the morning. Mr. Ineson
and Mr. Brereton sang the duet, " The Lord is a man of
war," the first-named displaying a voice of brilliant
quality. Miss Anna Williams and Mr. Lloyd, of course,
sustained their reputations, but the latter introduced a
superfluous high- note cadence in "The enemy said."
Wednesday morning, September 13th, was devoted to
Bach's Mass in b minor. Considering that this colossal
work was given for the first time in an English cathedral,
and probably, in its complete form, for the first time in
[October I, 1893.
any place of worship, it ought to have attracted a large

audience, but the attendance was the smallest of the
whole weekthat at the Public Hall, of course, excepted.
That the performance equalled that at Leeds last year
cannot be said, but the stupendous choral numbers
slight blemishes apart were given with grandeur of
effect, and their full solemnity and loftiness became for
the first time clear to the mind. Even the solos, with
their serene, impersonal, devotional spirit, fell upon the
ear with a new and higher significance. These were
beautifully sung by Miss Anna Williams, Miss Hilda
Wilson, Mr. Edwin Houghton, and Mr. Watkin Mills.
Sir Arthur Sullivan lent the score and orchestral parts
as used at Leeds, the old instruments were employed,
and the various obbligati were given in a perfect manner
by Mr. Burnett, violin ; Mr. John Radcliff, flute ; Mr.
Lebon and Mr. E. V. Davies, oboi d'amore ; and Mr.
T. R. Busby, horn.
Even the long straight trumpets
were less strident in tone in the cathedral, and Mr. W.
Morrow and his colleagues are to be congratulated on
the execution of their difficult work in the Mass. In the
evening a miscellaneous concert was given in the Public
Hall, the accommodation being taxed to its utmost
capacity. The principal piece was a Symphonic overture
by Dr. Hubert Parry, the only work composed expressly
for the Festival. It comprises two movements, a lento,
in A minor, and an allegro energico in the same key, but
closing in the tonic major. The overture has a motto,
" On an unwritten tragedy," and with its alternations of
gloom and passion the whole is highly dramatic ; nor
would it be very difficult to evolve from one's inner
consciousness some life-story to which the music would
respond. The performance, conducted by the composer,
was very fine, every point being clearly brought out. A
Symphonic poem, for organ and orchestra (the organ
part taken by Mr. C. Le"e Williams), entitled " Gretchen
im Dom," by the late Carl August Fischer, may be
described as a simple, melodious movement, but entirely
destitute of dramatic significance, and difficult to asso
ciate with the state of the unhappy Margaret in the
cathedral scene from Faust. It was beautifully played
under Mr. Blair's direction, and that gentleman secured
intelligent readings of some movements from Sullivan's
Tempest music ; Schubert's B Minor Symphony, and
Dvorak's Slavonic Dances, first set. Mr. Lloyd gave a
grand rendering of the Preislied, from Die Meistersinger,
Mrs. Hutchinson sang Nedda's Song from / Pagliacci,
and Mr. Plunket Greene was quite at his best in some
old Irish melodies arranged by Dr. Stanford.
On Thursday morning, September 14th, Parry's Job
was performed. It will be remembered that this work
was composed for the Gloucester Festival last year.
There is now no necessity to examine anew its musical
treatment. Its remarkable success at Gloucester justified
the committee in giving it a place in the Worcester
programme, apart altogether from its own merits. There
need be no hesitation in saying that Job is the greatest
and most remarkable work owing its origin to a meeting
of the Three Choirs. It confers on Gloucester something
of the lustre Elijah has thrown over the Birmingham
Festival.
The composer conducted the performance,
which was a very fine one. The chorus singing was
spirited and dramatic, and the tone superb. Mr. Plunket
Greene sustained once more the part of Job, and gave the
lament with undiminished fervour and intensity. Mr.
Houghton surpassed himself in Satan's invocation, " Arise,
O wind of the sea!" Mr. Brereton was effective as the
Narrator, and Master Perrinssang sweetlyas theShepherd
Boy. The orchestral work was grandly done. Spohr's Last
Judgment formed the second part of the programme, and
October I, 1893.]
THE MONTHLY
with Madame Albani, Miss Jessie King, Mr. Houghton,

and Mr. Greene as principals, went well, if it created no
great impression.
The German Requiem of Brahms
opened the evening performance. Here again the chorus
distinguished itself, and Madame Albani was very fine in
the solo, "Ye now are sorrowful,'' whilst Mr. Watkin
Mills did every justice to his part. The sombre score
was well interpreted, and Mr. Blair conducted a most
impressive performance. The work had not been heard
at a Three Choirs Festival since its production at
Gloucester in 1877. Mendelssohn's Lobgesang brought
the evening's performance to a close. Madame Albani,
Miss Anna Williams, and Mr. Lloyd, were the soloists,
and their work was worthily accomplished. The chorus
sang magnificently, and the opening symphony was finely
played.
The Festival was brought to a close on Friday morning,
September 15th, with Handel's Messiah, a work that with
but a single break has been heard at every meeting of the
Three Choirs since 1757, when the composer was living.
On this last occasion no fewer than eight of the vocal
principals took part, and only one number was omitted,
that being the bass air, "Thou art gone up on high."
The performance was quite above the average of recent
years, and the hold the Messiah has yet upon the public
was shown by the attendance, the largest of the week.
Mr. Sinclair, of Hereford, and Mr. C. Lee Williams, of
Gloucester, officiated as organists at the morning and
evening performances respectively, and Mr. Hugh
Blair did his work as conductor in a manner to
promise well for the future. The hard times con
sidered, the attendance was good, only a slight
falling off upon that of 1890. The collections reached
a goodly sum.
S. S. S.

Durinc the past month no one in the musical world has been
so much talked and written about as Fraulein l'aula Mark.
" And pray, who is she ?" some of my readers will be inclined
to ask. I will endeavour, in as few words as possible, to answer
that question. Frl. Mark first of all embraced the career of a
piamsle, for which purpose she entered as a student at the
Vienna Conservatoire. Her success was rapid and brilliant,
and at the end of her course she carried off the gold medal
for piano-playing with Reinecke's Concerto in F sharp minor.
Hut at this point in her career Fraulein Mark discovered that
she was the possessor of a beautiful voice. The pianoforte now
took only a secondary place in her thoughts. She studied
singing assiduously, still at the Vienna Conservatoire, and with
such eminent success that at the end of her three years' training
she was offered, and accepted, a three years' engagement at
the Leipzig Theatre. On the expiration of this term Frl. Mark
returned to Vienna, to fulfil a long engagement at the Imperial
Opera House.
During the three years she was with us Fraulein Mark
became an established favourite with the Leipzig public ; indeed,
the enthusiasm created by her farewell performances was wellnigh unprecedented. That Frl. Mark is an exceedingly talented
performer is unquestionable ; her success as Santuzza in Cavalleria, Nedda in 1'agliacci, and Marva in Reinecke's Gouverncur
von Tours being particularly remarkable. She " created " these
parts in a most agreeable and effective manner, but all the
same, I must place on record my opinion that her success with
the public was somewhat beyond her real deserts. At her last
performance bouquets, laurel wreaths, and presents of jewellery
were scattered in rich profusion at the feet of the young diva ;
but such offerings are now made by the public (? do the public
really give them) with so little discrimination that these tributes
are coming into contempt. They are bestowed alike upon
mediocrities and first-raters. And here I am tempted to ask :
MUSICAL RECORD.
223
How is it that a prima donna who sings but one part in an

opera receives more for one night's performance of her single
part than the composer is paid for the whole opera ? Think of
Hermann Goetz and his Taming of the Shrew! From a pecu
niary point of view the composer seldom receives the fair
reward of his work, though in point of enduring fame he has
the advantage over the merely executive artist, whose triumph,
though brilliant, is short-lived.
" Dem Mimen fliclit die Naehwelt koine Kranze. "
" Posterity wreathes no laurels for the stage-player."
On the 15th of September Franchetti's opera Asrael was pro
duced here for the first time. The libretto of the opera or
legend (as the composer prefers to call it) is based upon a poem
by Ferdinand Fontana. It tells the story of two angels, Asrael
and Nefta, who are " fast bound in the ties of conjugal love." At
the time of Lucifer's war against Jehovah, Asrael, fighting on the
side of the good angels, is made prisoner by Lucifer and carried
oft to the warmest region known to the imagination of poets.
He induces Lucifer to allow him to return to earth for one year,
promising in return to bring back some lost soul to the Prince
of Darkness. Nefta simultaneously obtains permission from
Jehovah to re-visit the "glimpses of the moon" for a twelve
month. She is hoping to rind there her beloved Asrael. The
latter passes through many strange adventures, and after a time
falls a victim to the lust of the flesh. He meets Nefta, disguised
as a sister of mercy, and singles her out as the lost soul he will
take back to Lucifer. But the Sister is proof against all his
wiles. She endeavours to effect his repentance ; and, in the
end, induces him to offer up a prayer, in response to which
heaven again opens to him. Thus Lucifer is cheated out of his
former victim and promised prey. A composer gifted with
strong imaginative powers might have made something out of
this legendary woof ; but Franchetti is evidently not the man
to do it. He studiously avoids the use of any self-contained,
formal melody, and uses harmonies so diabolical as to be unfit
for human ears. This is perhaps done in order to give local
colour to his work. The composer seems to have mastered the
letter of Wagner's art without understanding the spirit of it.
For his method of scoring Signor Franchetti is chiefly indebted
to the liayreuth master, but he has also put Meyerbeer and
Verdi under contribution. The instrumental prelude to the
work promises well, but unfortunately there is a great falling off
after the first act, which contains some excellent music. Acts II.
and III. relatively to the first are exceedingly poor, but in the
last act the music " picks up " somewhat, and a really powerful
effect is produced in the scene where Nefta (disguised as Sister
Clotilde) constrains the erring Asrael to offer up a prayer.
Notwithstanding its indebtedness to other masters, Franchetti's
scoring is very brilliant. The part of Asrael was undertaken by
Herr de Grach, while Frl. von Vahsel was the Nefta. The com
poser has not spared his soloists, and it was as much as either of
the two artists named could manage to get through the fatiguing
task. The most thankful part is that of a gypsy, I.oretta, which
was excellently sung by Frau Kryzanowski-Doxat. Herr Kniipfer
as Lucifer ; Fraulein Osborne and Herr Wiltekopf in smaller
parts, were all efficient, and the chorus was well up to the mark.
Capellmeister Panzner conducted with the utmost skill. During
tjie Leipzig fair, now approaching, which attracts visitors from all
parts of Germany, Asrael is likely to be played to full houses,
but that it will ever obtain permanent popularity I cannot for
one moment believe.
.
OUR
MUSIC
PAGF.S.
Fritz Kirchner is a composer who excels as a writer

of short salon pieces for the pianoforte, easy and of such
a melodious nature, that their popularity is not a matter
of surprise. Our music pages for this month, containing
his Opus 432, give a good example of this kind, show
ing how, with judicious treatment, a simple theme may
become attractive.
'24
THE
MONTHLY
Jtebfrtosf of #rtn jRvalt anb #rto

bltt'OHS.
Studies and Pieces contained in the Syllabus of the
Associated Board of the Royal Academy of Music
and the Royal College of Musicfor Local Centre Ex
aminations in Music, 1893-4. (Edition Nos. 6132c,
and 6133c; net, is. each.) London: Augener & Co.
With the approaching winter months come the drilling
and preparation for the various musical examinations
throughout the country.
Messrs. Augener & Co., in
aniicipationof these, have just issued in the cheap edition
two volumes containing the studies and pieces required
for the local examinations (junior and senior grades), in
connection with the above-named institutions. We have
much pleasure in testifying to the careful manner in
which they have been edited and prepared, so that the
student may have a reliable edition to play from. The
selection of music shows how particular the examiners are
that they may be distinctly educational in their influence,
and, as a matter of course, these volumes will also be in
demand for training purposes in schools, apart from the
examinations. The contents are :Junior grade (No.
6132c), Studies by Cramer, Steibelt and Schumann ;
pieces by Mozart and Beethoven. Senior grade (No.
6133c). Studies by Bach, Clemenli, and A. Jensen ; pieces
by Hummel, Beethoven, and Chopin.
Dorfmusik {Rustic Scenes).
18 characteristische
Stiicke fur das Pianoforte. Op. 56. Von Richard
Kleinmichel. No. 1, "Hochzeitszug" (Wedding
procession.) 2, " Hansel und Gretel beim Tanz "
(Hans and Greta dancing). 3, ' Am Spinnrocken "
(Spinning). London : Augener & Co.
If we may judge of these eighteen pieces by the specimens
now before us, we should be inclined to give them un
qualified praise. They belong to the class of short, easy
pieces for the young, with which the names of Reinecke
and Gurlitt have become inseparably associated, and
which have of late years found much favour with piano
forte teachers of the young. The title given by Reinecke
to a set of volumes lately reviewed in the Monthly
MUSICAL RECORD, viz., Musical Kindergarten, most
aptly describes this class of composition. The above
pieces are delightfully characteristic of rustic life, each
one portraying in itself a mental picture of its subject.
Take, for instance, No. 3, a very easy little piece in F major.
The left hand starts off with a figure in semiquavers,
intended to represent the humming of the spinning
wheels, while the right gives out a song in two parts.
The combined effect is at once pleasing, and, although we
are acquainted with the composer's device, we have
seldom heard so simple a piece with such a good effect*
Teachers, take note !
Cecilia. A collection of organ pieces in diverse styles.
Edited by W. T. Best.- Book XLVIII. (Ednion
No. 5848 ; net, is.) London : Augener & Co.
The book before us gives Handel's Eighth Organ
Concerto, in a major, arranged with the editor's customary
care. A special feature is a well-written cadenza for the
solo instrument, by Mr. Best, which follows the fugal
movement.
false Caprice pour Piano. Par Alfred Laubach.
A welcome addition to the stock of morceaux de salon,
the composer being happy alike in his choice of themes
and their treatment, which is bold and vigorous. Writers
of this class of piece are apt frequently to descend to
MUSICAL
ULCOUD.
[October I, 1S93.
something very nearly bordering upon vulgarity, but here

we have something which is undoubtedly the work of a
musician, wilhout a suspicion even of commonplace. The
result is decidedly pleasing.
Morceaux pour Piano Seul. Par Anton Strelezki.
No. 53. " La Fontaine-Etude." No. 54, " Lied ohne
Worte. Chanson sans paroles.'' London : Augener
& Co.
The first of these two pieces is an etude for the right
hand in F. major, which will help the student to acquire
lightness and fluency. The second is a song without
words, allegretto con moto, with the melody in the upper
part. Both are good salon pieces, similar to others by
this prolific composer, frequently noticed in these
columns.
Symphonies. By Joseph Haydn. Arranged for piano
forte duet by Max Pauer. No. 11, in G major.
(Edition No. 8554/; net, is.) London: Augener
& Co.
The present number of this series is No. 12 of the original
Salomon set, better known as the " Military" Symphony.
It is perhaps the most popular (? because the best known)
of Haydn's Symphonies, and our readers who have heard
it performed will no doubt be glad to have this opportu
nity of making themselves more closely acquainted with
its beauties.
Trois nouvelles Danses Espagnoles pour piano a qualre
mains. Par Anton Strelezki. i, " Cadiz." 2,
' Seville." 3, ' Bolero." (Edition No. 8635 ; net, is.)
These new Spanish dances are easier to play than any
we have hitherto had under notice, yet they are not
lacking in vivacity, and abound in the rhythmic beauties
which we are wont to associate with the Spanish national
dances.
They may be reckoned among the most
attractive of Strelezki's pieces, and young players who
have already made some progress will find them pleasant
to practise, so also will those who devote a part of their
time to duet playing.
Legend for Violin and Pianoforte. By C. Villiers
Stanford. London : Augener & Co.
This beautiful composition is a Legend in the true sense
of the word, carrying our thoughts almost unconsciously
into the regions of imagination, where the pathos of the
subject first makes us sad, then joyful, and returning
again to the plaintive opening, gradually dies away, with
a parting reminiscence of the second part. The gifted
composer shows at the outset of the piece his master
hand in the clever treatment and harmonisation of his
themes, and consequently from beginning to end one's
interest never flags. Are we right in supposing this to be
a legend of the " sister isle " ? Our thoughts seemed
irresistibly drawn in that direction as we played the
piece.
Morceaux de Salon pour Vinloncelle ai/ec accompagnement
de piano. Par W. H. SnuiRE. No. 1, "Nocturne.''
2, " Cavatina." London : Augener & Co.
We are pleased to note that Mr. Squire's compositions
for the violoncello are of a useful and instructive descrip
tion, of service to teachers for pupils in the earlier stage
of progress. The two pieces named above are somewhat
more difficult, and therefore more interesting than the last
we reviewed. The " Nocturne " takes our fancy most,
mainly on account of the climax towards the end. Both
pieces are of a plaintive character, and well suited for the
instrument. The cello part is amply bowed and fingered,
and we may mention that the composer makes use of the
October 1, 1893.]
THE
MONTHLY
treble clef in preference to the C clef ; in this we think

he does right.
Trio for Piano, Violin, and Violoncello. No. 3, in C.

By E. Silas. Op. 46. (Edition No. 10,053 ; net, 4s.)
Mr. Silas in this trio, does not strive after new effects,
but aims rather at producing a work on the old lines, with
interesting themes worked out and developed in a
musicianly way, and as a result he adds an important
composition to the repertoire of chamber music, and one
which will raise him still higher in the esteem of his
large circle of admirers. All the four movements are
equally good and display great ability and genius of a
high order. The two middle movements a bright
Scherzo and an Andante if rendered with the amount
of taste requisite for this class of music, will certainly be
appreciated by all. We must bear in mind that it is
often the middle movements that are weak in this form
of composition. How few composers, for instance, have
succeeded in writing a profound Adagio, or a really
characteristic Scherzo?
MUSICAL
RECORD.
225
Operatic Choruses, arranged for female voices, with

Pianoforte accompaniment, by H. Heale. Book
111.
(Edition No. 4,193 ; net, is.). London :
Augener & Co.
The contents of the book are three choruses from
Wallace's Alarilana, entitled, " Oh, what Pleasure the soft
Guitar," ''Angels that around us hover," and " Sin;;,
pretty Maiden, sing"; also the serenade and choru .
" Fair wandering Moon," from Donizetti's Don PasquaU,
all arranged for first and second soprano and contralto.
The selection is quite a good one, and as the choruses
are a trifle easier than the gipsy choruses which we
noticed last month, this book will doubtless prove a
formidable lival to its immediate predecessor in this
series.
Summer on the River, a cantata for female voices.

Words by Shapcoit Wensi.ev. Music by F. H.
Cowen. London : Novello. Ewer & Co.
The words, which are very good, are descriptive of the
sights and sounds that are to be met with during a
summer day spent on the river, and the music, as would
be expected from so accomplished a writer, is alwa\s
appropriate and agreeable. It is written for soprano ami
contralto solo, and two-part chorus of soprani and cor.traltiexcept in one case, where a mezzo-soprano is
added with a smoothly flowing pianoforte accomp.ini.
ment, which well enhances the general effect. The vocnl
parts are of a moderate degree of difficulty, and the
work, as a whole, is sure to please.
Select Songs. By Halkdan Kjerulf, with the original

words and English versions by C. Laubach. " Elfenland (Alfeland)"; "A Parting (Just som jeg favned
dit liv).:' London: Augener & Co.
These two songs are musical gems, such as are only
found amongst the works of the great song writers. The
moment we try them we are enraptured by the delicate
sentiment and poetical feeling which they convey to us,
so perfectly do the words, melody, and accompaniment East to West. An Ode, by Algernon Charles Swin
blend together. They are for lovers of pure music, and
burne. Set to music for chorus and orchestra, by
must be rendered by such.
Charles Villiers Stanford. London: Novello,
Ewer & Co.
Here's the Bower. Song. Words by Thomas Moore. To Mr. Swinburne's inspiriting words Professor Stan
Music by Emil Kreuz. Op. 27, No. 2. London : ford has set some fine music, which we had live advan
Augener & Co.
tage of hearing rendered by the Albert Hall Choral
An unconventional and graceful setting of Moore's little Society on the occasion of its first performance. The
ballad, which we can cordially recommend. There is favourable impression created then is certainly deepened
plenty of scope here for a high baritone, or tenor of by the further knowledge which a study of the score
moderate compass, and there is an interesting (and not engenders, and there is no doubt that although the work
over-elaborated) accompaniment.
may not be classed as one of the composer's greatest
efforts, it is worthy of the occasion for which it was
If a Nobler waits for Thee, and Many Days and many written, viz., the opening of the Chicago Exposition.
Ways. Songs. Words by George Macdonald. The Ode is dedicated to the President and People of the
Music by Hamish MacCunn. London: Augener United States of America.
&Co.
Mr. MacCunn's work is of sterling merit, and we re The first Principles of Voice Production in Song and
cognise with satisfaction his aim as a song-writer to go
Speech. By Thomas Kellv, S.J. ; price 6d. Lon
above the ordinary ear-tickling ballad style. No doubt, like
don : Burns and Oates.
a true artist, he will be content to wait for the adequate In this short pamphlet of 16 pp. we have a remarkably
recognition of his endeavours to raise the popular taste clear and concise statement of the first principles of
in these matters. The compass of the first song (which voice production. Mr. Kelly says "that the object of
is in the key of F minor) is from C F, and of the this paper is not to bring forward any new method of
second (in G minor), d e?.
vocal culture, but rather to offer some account of this old
school {the Italian school) which has given to the world
Six Two-part Songs for Female Voices. By Ferdinand nearly all the singers of surpassing excellence." The
Dunkley. (" Our Life is like a Rose-tree," " Depart essay is well written and logical in its arguments, so
ing Day," " The Skylark," " The Brooklet," " The much so, that we venture to say that not many readers
Passing Year," " The Swallow.") (Edition No. 8,965 ; will remain unconvinced of its truth. If teachers and
students would but acquaint themselves with the art as
BOTH words and music of these six songs are simple in it was taught by the old Italian Maestri, they would
character, but nevertheless charming. In No. 5 we have assuredly be in the right way, as from personal exa clever canon, set to the words of " The Passing Year," pei ience we can testify.
and in the two songs, " The Skylark " and " The Brook
let," the effect is much heightened by the accompaniment, Bibliography of Wagner's Leit-Afotivcs and Preludes.
Waterlow Bros.
which effect is, however, not entirely new to our ears.
The lyrics by Maud Pitman (Mrs. Dunkley) are very Of books on Wagner's works there seems no end. In
choice, and in combination with the music, are well this small bibliography the history of the Leit-motive is
briefly traced from Mozart to Mascagni, the writer kindly
designed for the use of junior singing classes.
226
THE
MONTHLY
sparing us " the names of every living composer addicted

to the theory of the recurring theme." The italics are
ours. A list of all the motives used by Wagner in his
works! A quoi ton? one might ask with regard to
many. A " Hearty Kick," or a " Sick Man " motive is
not a promising label. Certain themes must be known,
to penetrate into the meaning of Wagner's music, but a
scheme like the one here given is calculated to throw
contempt on the system used by the composer with such
wonderful tact and skill. The little volume contains also
commentaries on Lohengrin and Parsifal by the Chevalier
Choreligo, specially showing the religious meaning of
these dramas. It is scarcely fair to Roman Catholics to
state that the historic roots of the argument in Parsifal
are to be found in the " Christian, Roman Catholic, and
Buddhistic religions."
Zwei Elegien fiir Orgel. Componirt von Otto ThomasOp. 5.Brosamen. Sammlung kleiner Orgelstiicke
sur Vortragsubung und sum kirchlichen Gebrauch.
Componirt von Otto Thomas. Op. 6. Leipzig :
Rieter-Biedermann.
The composer of these organ pieces is organist of St.
Paul's Church, Dresden, and (as we learn from the
dedication of the Elegies) a pupil of the late Gustav
Merkel. An examination of his music shows that he
is one of those musicians who takes his art seriously.
In an age when so much light, we might almost
say flippant, music is written for the king of instru
ments, it is pleasant to meet with pieces which, like
these now before us, show due regard to the genius
of the organ. Their style is solid, rather than super
ficial, and the contrapuntal element is almost invariably
prominent. Herr Thomas appears to have taken Bach,
rather than any other composer, for his model. The two
Elegies, in D minor (" Pathetische Elegie")and F minor,
are both written in the free fugal style, though in the
latter this is abandoned at the close, the subject, changed
to the major mode, being introduced pp in plain harmony
with excellent effect. Both these pieces are exceedingly
well written, and abound in passages of imitation. The col
lection of twenty-one short pieces, bearing the curious title
" Brosamen " (literally " Crumbs "), will be found, perhaps,
more generally attractive than the Elegies, as they are
much more diversified in character. They vary in length
from a few bars to two pages, and several of them are
arrangements of well-known chorales. One of these
deserves special notice from its exceeding ingenuity. It
is a treatment of the choral "Jesus, meine Zuversicht."
The choral is in the bass, and against this is set as a
counterpoint in the upper parts the melody from Mozart's
" Requiem," which is given to the words " Cum vix
justus sit securus." A slight modification has been
necessary in places, but the combination is readily to be
recognised by those familiar with Mozart's work. The
musical effect is as good as the treatment is clever.
Among other numbers to be specially commended are
the first {Langsam, iveich und innig), a short piece full of
feeling, No. 8 (Ruhig, innig), No. 13, entitled " Gedenkblatt," and the short Fughetta, No. 16. Many of the
pieces will be found useful as voluntaries, and, as none
of them present any great difficulties, they may be con
fidently recommended to organists in search of novelties.
MUSICAL
RECORD.
[October i, 1893.
been produced under the name of comic opera, may yield to

works having some artistic features. Audran's pretty opera has
an amusing story, and the music is bright and effective. Comic
opera of the better kind is worthy of encouragement, and need
not sink down to mere common-place because music is asso
ciated with a humorous plot. Take Le Nozie di Figaro for
example. There we have an amusing and ingenious libretto
set to lovely music. We must give the Gaiety management
praise for an admirable representation. Miss Florence St.
John and Mr. Wallace Bro . nlow as the hero and heroine were
very good indeed, and Mr. Pateman was excellent as the
whimsical king. The choral and orchestral portions were
executed in an effective manner.
PROMENADE CONCERTS.
The Promenade Concerts at Covent Garden have attracted
large audiences, but we could wish that the selection of music
were not diluted with so much that is trivial. And the concert
devoted to English music must have given any foreign visitor a
poor idea of the capacity of English composers. Happily there
are works of a high class performed from time to time, and these
we are glad to say arc always well received. The reappearance
of Mr. Sims Reeves after his farewell to the public was success
ful. The famous tenor does not possess the old volume of tone,
but his charming style remains to make the simple music
he sings welcome. Samson et Dalila, by M. Saint-Saens, was
postponed until September 25th. The Biblical character of
the libretti prevents the work being performed on the stage. It
was therefore a welcome innovation at the Promenade Concerts,
where the performance was superintended by the composer.
DALY'S THEATRE.
Much interest will be felt in the forthcoming performance of
the late Lord Tennyson's play, The foresters, owing to the
important music composed for it by Sir Arthur Sullivan. It
was attractive in the concert-room, but will be more so on
the stage.

A CAPITAL selection of music is likely to he performed at the
forthcoming series of Crystal Palace Concerts. Much has been
done to advance good music at the Palace. Mr. Manns de
serves the fullest consideration from the musical public for the
valuable work he has done. The concerts will commence on
October 14th, and among the famous performers already
announced may be named M. Paderewski, who will appear
December 9th to play his new Polish Fantasia which he will
perform at the Norwich festival ; M. Slivinski will play at
the opening concert, Mdlle. fanotha will appear as pianist,
M. Siloti, Madame Bloomfield-Zeisler, and Miss Frida Scotta.
Ilerr Julius Klengel, the violoncellist, will play a new concerto
for the violoncello of his own composition ; Frau Moran Olden,
the famous dramatic soprano, who was so successful last season
in Wagner's operas, will be one of the most prominent vocalists;
Miss Emma Juch, Miss Esther Palliser, from Covent Garden, Miss
Ada Patterson, Miss Otta Brony, Miss Meisslinger ; Mr. Edward
Lloyd, Mr. Ben Davies, Mr. Ludwig, Mr. Andrew Black, Mr.
David Bispham, Mr. Norman Salmond, Mr. Bantock Pierpoint,
and Signor Foli. Mr. Cowen's romantic work, The Water Lily,
and Edward German's new symphony will be produced, and an
orchestral prelude to The Eumenides of .Eschylus, by Mr. William
Wallace, an orchestral ballad called Duratui, by Mr. Godfrey
Pringle. The Fire Worshippers, an overture by Granville
Bamock, and a cradle song by Mr. C. H. Couldery will be
included in the programme. As a further stimulant to musical
enterprise we may note that the price of reserve seats at the
#peraa anli Comerte*
concerts will be revised, and on Saturdays the admission in
stead of half-a-crown will be one shilling. This is a wise
GAIETY THEATRE.
policy, as every attempt to popularise good music must always
Judging by the favourable reception given to the revival of be. The directors gave as the reason for the change the popu
La Mascotte at this theatre on September 2nd, there is some larity of the Saturday half-holiday, which we venture to think
hope that the senseless jingle and music-hall tunes, which have could hardly be better employed than in hearing good music.
THE
October 1, lfi'.'it.]
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THE
MONTHLY

Sir Arthur Sullivan is getting on rapidly with the new
opera for the Savoy, which will be produced earlier than was
expected. The old melodrama, The Green Bushes, will soon be
presented as an opera at the Princess's Theatre, Mr. Haydn
Parry having written the music. We are glad to hear that the
new lessee, Mr. Hollingshead, intends to revive some works
which will be entirely new to the present generation. Among
them will be two or three of Handel's operas. Handel wrote
forty Italian operas, and it may safely be said that no operagoer at the present day ever heard one of them. And the
hopeful sign is that of managers having incidental music
composed for these new plays. Mr. Edward German has written
music for the play. The Tempter, at the Haymarket, which was
very interesting.Lovers of sacred music will note that the
day of performance of the Royal Choral Society will be changed
to Thursday in future. The season will include a number of
great works, but few novelties. Among the latter will be Dr.
Mackenzie's Bethlehem, which is certain to prove of great
interest.Mr. Henschel will commence his Symphony Concerts
in November. The new hall in Regent Street will be opened ere
long. We have paid a visit to the building, and can testify as
to its fine proportions. Its acoustic qualities have to be proved,
but we believe will be quite satisfactory. It will accommodate
very large audiences ; five thousand was stated, but we should
hardly imagine its capacity to be quite so extensive. It adjoins
the well-known St. George's Hall, and it has been decided to
callit "The Queen's Hall" instead of "Victoria Hall."
We hear of an Autumn Opera Season after the Promenade
Concerts. Senor Sarasate will give a series of concerts com
mencing October 14th. M. Paderewski will give a recital on
October 31st, at St. James's Hall. In fact the autumn and
winter seasons are likely to be very animated.
>
The new season of 1893-4 w*s inaugurated at the Grand
Ope"ra by the production, on September 15, of the new
two-act opera, Dcidamie, libretto by Ed. Noel, music by
M. Henri Marechal, composer of Les Amoureux de
Catherine, (a work which has had much success at the
Opera Comique), and of several sacred works which have
been performed at the Chatelet concerts and elsewhere.
The adventures of the lady who made the acquaintance
of Achilles whilst he was lying perdu in the island of
Scyros, disguised as a female, have often before been
made the subject of an opera, but never hitherto with any
success ; it remains to be seen whether MM. Noel and
Marechal have been able to conquer the difficulty of
dealing with such a subject. The three chief parts, those
of the heroine, of Achilles, and of Ulysses were filled by
Mile. Chretien, and MM. Vaguet and Renaud, whose
zealous and skilful efforts were but inadequately rewarded
by an audience that gave both to the work and its
interpreters a distinctly frigid and chilling reception. It
was anticipated that Faust would be produced by the end
of September with an entirely new mise-en-scine, and a
comparatively new cast Mme. Caron, and MM. Alvarez,
Renaud and Delmas as Marguerite, Faust, Valentine and
Mephistopheles. As to La Valkyrie, so numerous have
been the changes of cast lately that almost every important
member of the company has appeared in one or other of
the characters. MM. Bertrand and Gailhard have allowed
Miss Sanderson to remain at the Opera Comique during
some part of October, in order that she may take part in
the approaching 200th performance of Manon.
On
joining the Opera she will begin the study of Massenet's
Thais.
Although a good deal has been done at the Opera
Comique in preparing the production of the operas of
MUSICAL
RECORD.
231
MM. Cui and Bruneau, the first novelties are to be two

little one-act pieces, Le Diner de Pierrot, by M. Charles
Hess, and Madame Rose, by M. Banes. M. Cui's Flibustier
will follow, the new work of M. Bruneau being reserved
till the height of the season. The chief parts in this are
allotted to M. Carvalho's new tenor, M. Imbart de la
Tour, and a debutante, at present known only as Mme.
X
, who is said to be Mme. Leblanc, a lady of the
grand monde, of great beauty, and remarkable musical
talent. Two young laureates, from the Conservatoire,
Miles. Wyns and Grandjean, are on the point of making
their debutsprobably in Mignon.
M. Gustave Charpentier, whose suite " Impressions
d'ltalie," and symphonie-drama " La Vie du Poete,"
attracted so much notice last year, is writing an opera,
to be more realistic even than Le Rive. It is entitled
Marie, and introduces Parisian workmen in blouses, etc.
M. Veronge de la Nux is engaged on a lyric trilogy
entitled " The Labdacida; " ; the three parts being " King
Gidipus," " Gidipus at Colonos," and " Antigone." The
text is in prose, and is translated by the composer from
the dramas of Sophocles. An ambitious work, indeed !
M. Lamoureux intends to take his orchestra on a
fortnight's tour through Belgium, Holland, and the north
of France, and his concerts in Paris will therefore not
begin till November 5.
At the minor Parisian theatrernew pieces are expected
from MM. Emile Pessard, Edm. Audran, Leon Vasseur,
Gregh, etc., and Offenbach's Chat du Diable (Anglice,
Whittington and his Cat) is to be given at the Theatre
du Chatelet.
The Royal Opera of Berlin re-opened on September 1,
with the Freischiitz. Among the novelties which may
be expected shortly are Brail's Gringoire, a new work,
Mara, by Ferd. Hummel, and, it is said, though it seems
hardly credible, a stage performance of Mendelssohn's
Walpurgisnacht.
More serious works promised are
Enna's Cleopatra, and Leoncavallo's / Medici, which will
be given almost immediately after the first Italian per
formance, early in November. There has been much
discussion in the Berlin and Munich papers about the
refusal of Count Hochberg to permit Herr Weingartner
to conduct some of the Wagner performances at Munich ;
from a note issued by the intendant, it would appear,
however, that the conductor has only himself to blame.
He sent in a request for a two months' holiday, backed
by a very strong medical certificate that he really needed
it ; when therefore he, shortly after, applied for leave to
conduct at Munich, the intendant naturally replied that
he could not allow him to imperil his health by under
taking at Munich work which he was not strong enough
to discharge at Berlin. Herr Weingartner has given
notice that he resigns his post at Berlin on the expiration
of his present engagement in April, 1896, from which
date he is engaged to conduct at the Munich Opera
House.
The Wagner performances at Munich are enjoying the
most brilliant success, which, by all accounts, is thoroughly
well deserved ; the performance of Tristan und Isolde
with Herr Vogl and Frau Sucher, is said to have been
one of the finest ever given, and elicited almost endless
applause. The number of French and English visitors is
a striking feature ; they abound at every performance.
It is to be feared that the Kunihild performances at
Wurzburg have not made the Kistler enthusiasts very
happy. The clergy severely denounced the work as a
slander on the monks, and possibly this affected the
attendance. There is a very considerable deficit, and
the guarantors are likely to be called upon to pay some
sixty per cent, of the amounts guaranteed.
232
THE
MONTHLY
MUSICAL
THE Bayreuth performances next year, twenty in

number, will take place between July 19 and August 19,
and will include Parsifal, Tannhduser, and Lohengrin,
the production of which, for the first time at Bayreuth,
will be the great attraction of the series. Just as these
performances come to an end, a second series, consisting
of those works not given at Bayreuth, will begin at
Municha cycle extending from August 15 to Septem
ber 30.
THE Hofoper of Vienna promises five new works for
the next season : A Santa Lucia, by Tasca. the Pagliacci
(which, however, is well known in Vienna), Cornill ^chult,
by Smareglia, Mirjam, oder das Maifest by Heuberger,
and Der Kuss by Smetana. A Wagner cycle also is in
contemplation, and two new ballets are to be given, The
Five Senses, by Roddaz and Van Dyck, music by
Hellmesberger, Junr., and The Devil en Pension, by
Baron Erlanger.
Verdi's FalstaJT was produced at Stuttgart on Sep
tember 10, for the first time in the German language, and
was received with much favour. At the German theatre
of Prague, Moszkowski's Boabdil has just been brought
out. At Carlsruhe, Weber's Euryanthe has been revived,
with Mmes. Meilhac and Reuss-Belce, Herren Gerhiiuser
and Plank a strong cast which should make the work
as acceptable as it can be made.
The Konigliche Kapelle of Berlin will give ten, instead
r>{ nine, concerts this year, under the conduct of Herr
Weingartner ; the first, to take place on October 3, with
a programme of three symphonies, by Haydn, Mozart,
and Beethoven. As to the Philharmonic Concerts, it is
still doubtful whether the state of Dr. v. Billow's health
will permit him to conduct during the season. Herr
Levi (from Munich) will conduct the first two concerts,
and at the opening one on October 16, Handel's Fire and
Water music is to be performed.
It has been announced that the opera season at
Kroll's Theatre would terminate on September 16, nothing
being said as to whether the discontinuance is to be
permanent or only temporary. The performances during
the last year and a half have been so excellent, and have
attracted so much notice, that their permanent cessation
would be deeply regretted. Latterly, Mme. Nevada and
the Italian baritone, Sig. Battistini, have been the great
attractions, and a singer hitherto unknown to fame,
Mme. Francis Saville. has appeared with great success
as Grelchen, Lucia, and Violetta. The lady is a native
of Hamburg, who was early taken to Australia, and on
her return to Europe got married in France.
Besides his opera, Der Rubin, the production of which
at Carlsruhe should have taken place before the end of
the month, Mr. Eugen d'Albert has composed lately a
choral work, " Man and Life," to words from a poem by
the late Otto Ludwig. The great pianist proposes to go
on a lour in Germany for some weeks before Christmas,
accompanied by a partner whose performances may well
rival his own, Herr Joachim.
Umlauft's prize opera EvanUiia, was produced at the
Dresden Opera on August 22, and the composer was
called for twelve times, yet some critics do not consider
it a great success.
THE Mannergesangverein of Vienna celebrates its
Jubilee in October by a three days' festival of speechify
ing, banqueting, and choral singing. When the Union
was founded in 1843, it was regarded by the authorities
with the utmost suspicion ; as Dr. Hanslick says, "In
1 heir eyes, male choral singing and revolution were
brother and sister.'' The Union has now 300 performing
members, and its director is Herr Eduard Kremser.
The honour of being the oldest Mannergesangverein
RECORD.
[October i, 1893.
of Germany has lately been given by some authorities

to that of Weida, in Thuringia, which has just celebrated
its 75th anniversary. It seems, however, that there is a
much older one in exislence, that of Coswig, in Anhalt,
which was founded in 1604.
A Sterndale Bennett-Verein has been established
at Leipsic, under the patronage of Sir A. Sullivan and
other English musicians. Its objects are to promote the
encouragement of English music, to procure situations
or engagements for English artists in Germany, and to
assist English scholars studying at Leipsic.
IT is reported that Herr Johann N. Fuchs, Kapell
meister at the Opera, is to be Hellmesberger's successor
as director of the Conservatorium at Vienna.
Sir A. Sullivan's Gondoliers has opened the season
at the Berlin Theatre, Unter den Linden, and according
to some papers, the composer has written to thank the
manager for the excellent way his opera is put on the
stage. Herr Lessmann, however, distinctly qualifies the
performance as clumsy and inartisticin all respects
far below the London performance. The Germans, he
says, have yet to learn how much merit there is in
Sullivan's operettas.
TO commemorate the twenty-fifth year since the pro
duction of Die Meistersinger, the firm of Schott and
Sons are about to issue a facsimile edition of the original
manuscript of the poem, containing some lines omitted
in the published edition. It will probably appear about
Christmas.
Brahms has written some more Intermezzi for oiano,
which will be first played at Vienna by Mile. Eibenschiitz. But it is not unlikely that before the end of the
year we shall hear of some more important work.
THE title-part in Hans Sommer's new opera, Saint
Foix will be played at Munich by that admirable artis'.
Herr Gura ; but as the opera cannot be given there till
some time in 1894, its first production may perhaps take
place somewhere else.
A MONUMENT to Liszt, consisting of a bronze bust
larger than life-size, the work of the sculptor Tilgner, has
been unveiled at Oedenburg, a town in Hungary, near
which Liszt was born. Count Geza Zichy composed a
Liszt-march for the occasion, but we do not read that any
of Liszt's works were performed.
Two more juvenile prodigies have presented them
selves in public Arthur Argiewiecz, a nine-year-old
violinist from Warsaw, who appeared at Berlin ; and
Berthe Balthasar, a young pianist, hardly eight, who
played at Spa in presence of the King and Queen of the
Belgians, who are reported to have complimented her in
the most flattering terms. She is a daughter of the dis
tinguished composer, Henri Balthasar-Florence.
Mme. Essipoff quits Vienna, having accepted a post
as teacher of the piano at the Conservatoire of St.
Petersburg.
Carl Halir, the distinguished violinist of Weimar,
has just written a concerto for the violin.
Sig. Verdi admits that he is at work on a new opera,
the chief part in which is intended for Signora Bellincioni, whom he has complimented by the remark that
" her youth will supply that which his age cannot give."
The theatre at Biella was lately found to be on tire
during a performance. The actor whose turn it was to go
on the stage, being informed of the state of affair?, went in
front, laid his hand on his heart and fell to the ground.
The manager came forward and begged the audience to
leave, as under the circumstances it would be impossible
to continue the performance. Just as the last person*
were leaving the flames burst forth. We should like to
read that the audience did something handsome for the
October I, 1S93. ]
THE
MONTHLY
MUSICAL
actor to whose presence of mind they owed their escape

from a horrible catastrophe.
A society is about to be founded for the promotion of
the study of old Italian legends and songs. Queen
Margherita has declared herself a patroness, and pro
mised to assist by her own personal labours among the
peasantry.
The success of the Cavalleria has determined Sig.
Verga, the author of the original story, to try his hand at
writing libretti, and he is said to be busy with no less
than three such works.
Sic. Sivori. the famous violinist, has been seriously
ill, from an accident, in Paris. Though not yet quite out
of danger, he is considered to be improving.
The director of the Teatro Reale at Madrid, has been
informed by Sig. Tamagno. the tenor, that his terms are :
(1) 2,000 francs for travelling expense?, (2) 6,000 francs
in cash for each performance, to be paid beforehand, (3)
he is to appear only in Otello (Verdi's), // Profeta, and
the Forza del Destino, (4) he is to be presented to the
Queen-Regent and the young King. His terms have
been declined with thanks (!)
Rubinstein has finished his Christus; the work will
lie published by Senff, of Leipsic, before the close of the
year.
The famous pleasure-garden of Copenhagen, the
" Tivoli," celebrated its half-century jubilee on August
15. This is one of the most excellent and popular resorts
of Europe ; almost every artist of note who visits Den
mark goes to the Tivoli, and on grand evenings, 25,000
persons have been known to be present. The concerts
were originally conducted by H. C. Lumbye, a composer
of dance-music, second perhaps only to Strauss ; he was
succeeded by Baldwin Dahl, who died two years ago, and
the present leader is George, son of the first Lumbye.
A tablet, with a medallion ^portrait and a suitable
inscription, has been put up above the grave of Gade in
the Holmens Kirche at Copenhagen.
From American papers we learn that Mr. Theodore
Thomas resigned his post ?s musical director at Chicago,
< n August 1, on the ground that the financial situation of
the Fair made it necessary to cut down the expenses of
the musical department. His suggestion was that from
that time " Music should not figure as an art at all, but
I e treated on the basis of an amusement .... in which
case there will be no need of the services of a musical
director."
His resignation was accepted, with due
acknowledgment of his valuable services, and grateful
recognition of his promise of help for the future. Since
this collapse the members of the- orchestra have given a few
concerts on their own account, but no permanent arrange
ment has yet been made.
THE twenty-fourth Norfolk and Norwich Triennial
Festival will take place at Norwich, October 3-6. The chief
works are, October 3, ^9. Paul; October 4 (morning), Mr.
('erman's new symphony, and ''The Golden Legend,"
(evening) Gaul's Una, and Paderewski's new fantasia;
October 5 (morning), Pairy's Judith ; (evening) Barnetl's
1 ew cantata, The Wishing Bell, Mackenzie's Pibroch
(Sarasate), etc. October 6 (morning), Messiah ; (evening)
Cowen's " The Water Lily" (first time), and the Italian
Minphony. The new works will be conducted by their
composers ; the others by Mr. Randegger.
THE Eighth liristol Musical Festival is fixed for
October 25-28. Nothing new is announced. Samson
;>nd Schumann's Paradise and the Peri are the least
f tmiliar works. The soloists are Mmes. Albani, Henschel,
1'alliser, Landi, Hilda Wilson, and Clara ISutt ; Messrs
Lloyd, Davies, Santley, A. Black, Worlock, and Pierpoint
Sir C. Halle will be the conductor.
RECORD.
-JJ
The prospectus of the Royal Choral Society offers D>\

Mackenzie's Bethlehem as its only novelty but Handel's
Jephtha, which will be new to many, is promised.
The Highbury Philharmonic Society, of which Mr. G.
H. Beijemann is the enterprising conductor, intend to give
Mr. Cowen's new cantata, "The Water Lily,'' during
their next season.
Deaths. -Sir William George Cusins, late Master of
the Queen's Music, and for sixteen years (1867-1883);
conductor of the Philharmonic Concerts, died at
Remouchamps, in Belgium, on August 31. He was born
in 1833, and being related to musical people connected
with Court circles, had little difficulty in making his way
in the world. He thus easily gained success, but coald
not acquire distinction. He was a competent musician in
all respects, but alike as composer, performer and con
ductor, he had no inspiration in himself, and no capacity
for communicating it to others. His works include an
oratorio, Gideon (Gloucester Festival, 1 871), two concert
overtures (one of which, " Les Travailleurs de la Mer," is
perhaps, his best composition) ; a symphony, a septet, a
piano concerto, and other works of less importance.
Last year he received the honour of knighthood.Ferdi
nand Brissler (died August 6) was a well-known arranger of
pieces for piano. Frau Marie Basta, who died early in
September, was a famous operatic singer, who had been
for several years an esteemed member of the Opera
Company of Munich. She sang in London in 1890 and
subsequent years, under the name of Mme. Tavary.At
Carlsruhe, on September 8, Wilhelm Kalliwoda, son of
the once famous symphonist, Joh. Wenzel Kalliwoda.
He was born July 19, 1827, at Donaueschingen, learnt
music at Leipsic, and was from 1853 to 1875, Capellmeister at the town where he died. He wrote choruses
for male voices, some of which became popular, and
other small works, but never became a composer of any
eminence.
"THE MONTHLY MUSICAL
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Concerts, Reviews, &c) must be addressed to the Editor.
The Musical Record bein a Monthly Paper has space to notice only
may not be sent.
FOUR CHARACTERISTIC PIECES in Canon,

for the Pianoforte, by
CHARLES WOOL).
Or. 6.
No 1, in c ; 2, in A minor ; 3, in F ; 4, n C.
Price 3s. each.
AUGENER & CO., 86, Newgate Street, and r, Foubert's Place. London.
234
THE
MONTHLY
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EBENEZER
PROUT'S
Demy 8vo.
Edition,
No.
9162,
RECORD.
[October i, 1893.

little
else than
recommend
them,
he Inhas describing
provided oth-rs
supported
by re*erer.c*-s
to' ternary
fugal
worksage
bytoProut
the
greatest
writers.
a asfugue
as then composition,
form,'
Mr.
says
:
'The
li'St
section
ex1
ends
far
as
eno
'<i the 1 > in
entry
of
the
subject
or
answer
in
the
origin-it
keys
of
trnic
and
drminant.
Thesec-iid
111iddin
section lieginsthatwith
the crinniciiccnient
of theth*firstthitd
eptscxle,finalwhich
modulai
ers.
toor any
of and
tonic
or dominant
and
section
begins
with
theother
returnkeyof ththem subject
answer.'
The ;features
of eachorsection
tire admiratJy
delineated,As and
the construction
of the uholu
fuvue is treatises
cle.irly eiplaii
and aptly
illuse
trated.
text-books,
tor.work.8."Tht
Prout's
theoretical
willeddoubt
ess tak
the position
of Btandard.
Daily Ttltgiafh,
Mtrch
17th. 1893.
i, Foubert's Place, London, \V.
ARMONY : ITS THEORY AND

H PRACTICE. By EBENEZER PROUT, B.A.,Lond.,
5/9.8M KEY TO "HARMONY: ITS THEORY
DR.
H.
RIEMANN'S
Catechisms
in
Augener's Edition.
9'ÂDDITIONAL EXERCISES TO E.
Crown 8vo.
' Lintp
Bound
PROMT'S "HARMONY: ITS THEORY AND
No.
CiMM
1/6 ,JO,. pATECHISM OF MUSICAL INSTRU***
,.8 KEY TO THE ADDITIONAL EXER
V-^ MENTS (Guide to Instrumentation). In paper
covers, net, as.
, '..
st/6
a/6
STRICT AND
9>83. COUNTERPOINT :
TORY.
>^ FREE. By EBENEZER PROUT, B.A. Lond., Pro
5/Systems and Notation. In paper covers, net, as. . . . . st/6
9303. Part II. History of Musical Form, with Biographical Notices.. a/6
'83 ADDITION AL EXERCISES TO
In Paper
~
Covers,
1
net, 9/E. PROUTS "COUNTERPOINT: STRICT AND
monising
a/6
\ATECHISM OF PIANOFORTE
2 '6
PLAYING, in paper covers, net, as.
9184. TROUBLE COUNTERPOINT AND
LJ CANON. By EBENEZER PROUT, B.A. Lond..
Academy of Musk, &c
5/48 PRELUDES and FUGUES (Wohltemperirtes Klavier).
9205 Part I. 24 Preludes and Fugues. In paper covers, net, as. ... a/6
9Ig5. "pUGUE. By EBENEZER PROUT, B.A.
JL Lond., Professor of Harmony and Composition at the
9206 Part II. 24 Preludes and Fugues. In paper covers, net, 2s. ... 2/6
5/'
N.B.Tkts Catichismi will it continued.
9186. FUGAL- ANALYSIS : A Companion to
London: AUGENER & CO., 86, Newgate St., E.C; & 1, Foubert's Place,W.
AUGENF.R'S EDIT/ON, No. 9,187.
of Music, &c.
5/'87 1VT USICAL FORM. By Ebenezer Prout,
1VX B.A,, Lond., Professor of Harmony and Composition
at the Royal Academy of Music, etc
5/-
MUSICAL
FORM.
BY
EBENEZER PROUT, B.A., Lond.
[Professor of Harmony and Composition at the Royal Academy of
Music), Author of "Harmony ; Its Theory and Practice,"
" Counterpoint : Strict and Free,'1 "Double Counterpoint and
Canon,"1 "Fugue* '* Fugal Analysis,'* etc.
Demy 8vo, Bound, net 5s.
" One need not say that it is the best book on the subject in the English
language, for, at present, it is the only one of its kind."The Academy,
August 26, 1893.
" This work should command a wider sale than some of its predecessors,
for it contains much that is of importance, not only to the composer and
theorist, but to the intelligent musician of every class, whether professional
or amateur." -The University Correspondent, September 23, 1893.
I-ondon : AUGENER & CO., 86, Newgate Street, E.C. ; and
Cljt Bat'lp ^Telegraph

Of March 17M, has the following Review:
" Thetoseries
of theoretical works
written by libenezer
Prout willtheprove
ofembrace*
inestimable
service
teacher
insubjects:
nine volumes,
scries
an
exhaustive
treatiseandonscholar
ea:li
ofalike.
the Published
following
Harmony,
itsfugue.
theory With
and
practice
;
counterpoint,
strict
ami
free
;
double
counterpoinc
;
and
earnestness thesimultaneously,
authur points and
out the
desirability
ofsoonstudying
andmastered
' strict
counterpoint'
advises
that 'ascounterpoint.'
as the harmony
pupil
has
triads
and
their inversions,
lie shall begin
elementary
This
recommenda
tion
is
unheeded
by
many
teachers
of
theory,
and
some
there
are
who
altogether
the
plan,believing
on the ground
of strict
counterpoint
being
of little
practical
value.
Butreject
theot
author,
it
to
bean
essential
branch
of
study,
has.
by
verbal
explanation
rules,
as
well
as
by
illustrative
examples,
succeeded
in
making
it
appear
attractive
and
important.to each
Two-part
is treated
at considerable
length,area concerned,
chapter being
devoted
cf thecounterpoint
'Five
Species.'
As
far
as strict
the "species'
thein
same
order
is
observed
in
three-part
and
four-part
counterpoint.
So varied
construction
are
tne
exercises
and
examples
that
one
is
apt
to
forget
that
the
only
harmonieithrough
used therein
are diatonic
Triads
and
their thefirstskilful
inversions.
In leading
students
paths
trodden
bymetourwith
musical
ancestors
guide
nrver
point
out
objects
of
interest
10
be
on
the
way.
Though
so
much
in
lovefailscom
withto
'lis
subject,
he
places
it
in
its
oroper
position,
as
a
preliminary
study
to
actual
position.
The
is again
againtoinsisted
upon isthatthe'strict
counterpoint
is simply
the
means
to' freeanfactcounterpoint.'
end."
Theandobject
be
attained
of free says,
part-writing,
here
called
the study
ofhiswhich
should
not,power
the author
be com
mented
before
the
pupil
has
completed
course
of
harmony.
Liberated
from
the
restraints
imposed
by
ancient
rules,
modern
counterpoint
opens
the
door
to
well-nigh
all
combinations
which
do
not
violate
the
laws
of
harmony.
The
final
chapter
treats
on
the
For VIOLONCELLO with Pianoforte Accompaniment,
application
of counterpoint
to places
practical
composition.
In the book
ontheDouble
Counter
point
and
Canon,
Mr.
Prout
these
intricate
subjects
before
student
in
the
BY
clearest
and
most
convincing
manner.
The
last,
as
yet
published,
of
the
series
is
an
rules
from
time
to
time
laid
down
by
men
in
authority,
and
after
patiently
testing
their
BRUCKNER.
accuracy
works ofof musical
Bach and
other great
masters,
theis author
is ledattovariance
declare OSKAR
that 'practice
therebyis the
no branch
coniDosition
inhiswhich
theory
more
widely
Op. 37.
with
than
in
that
of
fugue.'
In
stating
own
views,
he
directs
attention
to
the
principles
whichofgovern
theas torelation
between
Subject
and Answer.
Whilethere
thereare,
is but
PRtCE 4S.
little
diversity
opinion
what
should
be
the
features
of
the
subject,
on
the otheronehand,
conflictingand
opinions
as to the acts
nature
the answer. ThisTherule,'
theorist
directs
modemany
of procedure,
the composer
uponof another.
says "A melodious and well-devised ' Nocturuo by Oskar Bruckner, shows thorough
the
old
text-books,
*
is
absolute
'
;
yet
Bach
is
found
breaking
it
with
good
effect.
Ourit understanding of the instrument and real musicalability."Tht Times, August i8th. 18*3.
author
wisely
declines
to
submit
to
the
authority
of
any
rule
however
ancient
unless
London: AUGENER & CO., 86, Newgate Street, E.C ; and
be found
the generalofstudents
practice j ofand,
acknowledged
masters.
Of course,
x, Foubert's Place, London, W.
there
mustinbeagreement
rules for with
the guidance
while rejecting
some which
have
October i, 1893.]
THE
MONTHLY
MUSICAL
RECORD.
235
j^TTOEIsrET^'S EDITION
SELECTED BY THE ASSOCIATED BOARD

OF

FOR

18931894.
In Four ONE SHILLING VOLUMES.
A. LOCAL
JUNIOR
CENTRE
GRADE.

AUGENER'S EDITION, No. 613*-. Price Is., net.
Contents :
STUDIES.
CRAMER. Study in c minor, No. 36.
STEIBELT. Study in c major. Op. 78, No. 14.
ROBERT SCHUMANN. Kleine Fuge (Fughetta).
No. 40. Singly, 2s. 6d.
PIECES.
First movement of Sonata in E flat.
MOZART.
Op. 68,
Singly,
23. 6d.
BEETHOVEN. Eight Variations in F, on "Tandeln und

Scherzen," by Siissmayer. Singly, 3s.
EXAMINATIONS.
SENIOR GRADE.
3 Studies and 3 Pieces complete In

AUGENER'S EDITION, No. 6133c. Price Is., net.
Contents :
STUDIES.
J. S. BACH. Prelude and Fugue in G. No. 15 of Book II.
Singly, 2s. 6d.
CLEMENTI. Study in F minor, No. 44, from his " Gradus
ad Parnassum."
ADOLF JENSEN. "On the Sea-Shore." Romantic Study,
Op. 8, No. 3. Singly, 3s.
PIECES.
HUMMEL. Rondo brillante, Op. 109. Singly, 4s.
BEETHOVEN. Adagio from the Sonata in c minor. Op. 10,
FREDERIC CHOPIN. Polonaise in c sharp minor. Op. 26,
BLOCAL SCHOOL EXAMINATIONS.

HIGHER DIVISION.
LOWER DIVISION.
6 Studies and 4 Pieces In
A UGENER'S edition. No. 6134c. Price Is., net.

A UGENER'S EDITION, No. 6i3Sf. Price Is., net.
Contents :
Contents :
LIST A.
STUDIES : BERTINI. Op. 29, No. 12, in D.
BERENS. Op. 61, No. 8, in K.
PIECES: BEETHOVEN. 6 Variations on "Nel cor piii."
Singly, 3s.
LIST B.
STUDIES: CZERNY. Op. 636, No. 24, in c.
BERENS. Op. 61, No. 13, in A minor.
PIECES: KUHLAU. Sonatina in F. Op. 20, No. 3 (1st
movement). Singly, 2S. 6d.
REINECKE. Les PhaU-nes. No. 8. Singly, is.
LIST A.
STUDIES : CZERNY. Op. 299, No. 24, in d.
LOESCIIHORN. Op. 67, No. II, in A minor.
PIECES : REINECKE. Tanzlied. Op. 88, No. 4. Singly, 2s.
LIST B.
STUDIES : CRAMER. No. 65, in E minor.
PIECES: MOZART. Sonata in A (1st movement). Singly,
3s.
LISZT. Consolation in E, No. 5. Singly, 2s. 6d.
LIST C.
STUDIES: J. S. BACH. Three-part Invention in A minor,
No. 13.
DUVERNOY. Op. 120, No. 13, in c. Singly,
is.
PIECES : HUMMEL. Rondo in B flat. Op. 107. Singly, 3s.
ANTON STRELEZKI.
Minuet a l'antique.
Singly, 3s.
LIST C.
STUDIES : DUVERNOY. Op. 120, No. 1 1, in c. Singly, is.
LEMOINE. No. 37, in c.
PIECES : MOZART. Sonata in C (1st movement). Singly,
2S. O'l.
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OthelU (Rossini)
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Op. 151. Fiorilla
Op. 174. Stephanie
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WITI'E.
Op.
2
4257 8
425c/i,.
BIBL.
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<J
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4259.
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LoT4"7j. AI.ARD. Op. 18. 10 Studes. Book I
II 4274- BACH. Suite in D imjor. (Davidi
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Op. 61. Concerto
I. 4276.
,. 4277. BERIOT. Op. 42. 8th Air varie
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Of. 63. 1st Duo concerlant
.. 4279.
Op. 108. Andante Caprice
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,. 428 />.
Op. 13, No. 2. Ungeduld
., 4281.
Op. 24. Fantasia Lucia
...
4 '82. BOSEN. Bluette
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6 Polish Songs. Arrange 1 by Taborowskv.
4 '85 /.
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each
4286.
Op. 16. Valse. uflat. (D.vidl
4287. DAVID.
Op. 15. Ii.trod. et V- rations. (Lob <'er
Thrantn)
...
...
...
., 428)
Vorstudien zur Hohen Schule des Vio'iasp'eU.
a -1'
Book I., II., III., V., V
each
Op. 41. Nachkltinge. Book III., IV.
,, 4289a h.
each
,. 4293a *. GURLITT. Sonatas. Op. 3 and Op. 4
each
1. 429. HEGAR. Op. 3. Concerto
,. 4292- HENKEL. Op. 49. Danse espagnole
,. 42J3- HERING. Op. 21. 8 Stiicke
,1 4W4- HOLMES. Op. 14. 2nd Nocturne
,. 4295" c. JANSA. Op. 49. Variations. No. I . II.. III. each
Op. 83. Souvenir a Donizetti. No. I., II. III.
4396a c.
zach
Op. 85. 20 Conzert-Etuden. Book I , II. in.
each
429?. KUHLAU. Op 83. Quatre Sonatinas. Book II.
...
4299. LIEBE. Adieu, Absence et Relour
4300. LISZT. Rhapsodic hongroise
4301. MOLIQUE. Duo concerlant. Op. 20
4302. ONSLOW. Op. 16, No. 3. 7th Sduata
...
4303. PAGANIN1. Carneval. et Ghys. Op. 35
4304. PAPINI. Op. 18. Le Premier jour debonheur
...
4305. PERGOLESE. Siciliano (from Ries" Albumb Itttr) ...
4305. RAFF. Op. 59. Duo
4307Op. 115. Deux morceau.x lyr'ques
4jc8.
Op. 145. 5th Grosse Sonate
...
4309. RAMEAU. Menuett et Passepied (Ries Albumblilter)
4110. REINECKE. Fantasiestucke
4311. SCHUMANN. Op. 12. Fantasiestucke. Arranged
by Abel
4312. SINGELEE. Op. 9c. Zampa
4313- VIEUXTEMPS. Op. 31. No 1. Somenir de Beauchimps ..
...
4314.
4115.
4316.
4317.
4318.
4_J'94320.
4321.
4271.
4272
...
...
VIOLIN SOLO.
4322 GAVIN IB. Etuden. (David)
4,2|. KAYSER. Op. jo, B 10k I. 24 Caprices- Etud s
...
4124. LIPINSKY. Op. 27. Trois Caprices de Conceit
...
4323.
Op. 29. Trois Caprices de Coo;ert
4326a/ SPOHR. i2Uebungen. (Don-.) Book I., II. each
432,-11-* WICHTL. Op. 90.
12 leichle and instr. Tonstucle.
took I., II
each
4328.
4329.
4330.
4331.
4332-
r. d.
8
1
z 3
2 3
3
1 ,
8
6
2 0
1
3
6
a_
, 6
, _
PIANO.
GUTH. Op. 38. Leiihte Vaiiationen

KIEL. Op. 9. 4 Melodien
PlAl'TI. Op. 4. Concerto
POPPER. Op. 8. Concerto
Op. 14. Polonaise de Concert
Op. 1*. Conzert Polonaise
ROMBERG. Op. 76. Introduction et Po'ouaise
Op. 77. Souvenir de St. Petersbuig
STRING
ORGAN.
BACH. 8 Priiludien from the Woliltemperirtes Klavier.
Arranged by Andre
PROUI". Op. 5. Concerto for Organ and Orche tra.
(Organ Pari)
[October I, 1893.
Antiquarian Music (continued).
'CELLO AND
HARMONIUM SOLO.
Loliengrin. Transc iption I., II.
HARMONIUM AND PIANO.

426811-A. LICKL. Op. 51. Wiener Pa'on Musik. Book I ,
IV., V., VIII., X., XII., XIII., XXVIII
each
42(9. MEYERBEER. Reminiscences of Robert
WINTER.
Rtquiein
4170.
MUSICAL
9
2
3
, t
z
9
1 6
1
2 _
z 3
1
9
1 o
4
TRIOS.
BEETHOVEN. Op. 3
Op. 25. Serenade
CORELLI. Trio Sonate

KREUTZER. Op. 15. 3 Tiios
WOHLFAHRT. Op. 88. Melodische S itcke
Bojkl.
, 6
t
,_
2 _
i_
THE
Octol>cr I, 1893.]
MONTHLY
MUSICAL
Antiquarian Music (continued).
-01
STRING QUARTETS.
12
Lot 433j-<. BEETHOVEN. Q .artcts. Vols. I., II. III., comjilete

... each
4334. ni'CHLER. Op 12. Lcichte. Serenade
4335. KIEL. Op. 73. Walter
4336. KK'tMMER. Op. 26. TioixQintuon ...
4337. MENDELSSOHN. Ouv. Sommernachttraum
4338.
Ouv. Meeresstille
4339. RE1SSIGER. uuv. Yelva
4340. ROSSINI. Ouv. Barbier
4341. WEBER. Ouv. Precia
Octet.
EASY
EXERCISES
IN PROGRESSIVE
For the
KEYS
VIOLONCELLO,
BV
W. H. SQUIRE.
Edition No. 7,780.
Net, is.

AND CHORD STUDIES
STRING QUINTETS.
4347. GERNSHEIM. Op. 9
4343. ONSLOW. Op. 61
...
4344. SCHURERT. Op. 166.
RECORD.
Arranged by Dur.t
For temainder of Antiquarian Musi.*, see Monthly Musical Rf.cori>

Nos. 249, 250, 254, 258, 263, and 26S ; also Catalogue of Antiquarian
Music, to be had gratt>.
AUGENER & CO., 86, Newgale Street, London.
VIOLONCELLO,
KOR THE
BY
VORTRAGSSTUDIEN.
Eine
Sammlung
LOUIS HEGYESI.
hervorragender und beliebter TonstOcke alter Meister filr Violine

GUSTAV
JENSEN.
,.,
1. J. S. BACH. Air und Gavotte aus der D dur Suite fur Orchester
2. JOS. HAYDN.
3-
Price, net, 3s.
" W. II Squire's easv exorcises (or violoncello alone, and T.. ITo(jyesi's ' Rhythmical
Scnle ami Chord Studies 'are two capital books for students of dittertiit ^rade^ 1 lit
Times, August i8ih, 18,3.
London : AUGENER & CO., 86, Newgate Street, and 1, Foubert's Place, W.
3.
Serenade
Adagio recttativo
..
..
4. JEAN MARIE LECLAIR.

5. F. M. VERACINI.
6. G. TARTINI.
9. --
Sarabanda und Tambourino
..
..
IMPORTANT NEW PUBLICATION.
3
..
Al'gener's Edition, No. 9,200.
..
Aria (u moll)
..
Romanze in K dur.
AirVari<S.
13 J. S. BACH.
..
..
..
DICTIONARY OF MUSIC
..
..
BY
Op. 40 . .
..
..
..
Romanic in G dur.
Op. 50.
1
3
Andante cantabile aus Sonate, VIII
10. L. VAN BEETHOVEN.

11.
..
Menuet
Giga in D dur
17. P. RODE.
..
Larghetto (g moll)
7. J. B. SENAlLLfc.
8. G. TARTINI.
..
..
Andante aus der A moll Sonate No. 3
..
I.ondon: AUGENER & CO., 86, Newgate Street, E.C., and

SCHOOL
FOR
THE

Translated by J. S. SHEDLOCK, B.A.
..3
14. W.A.MOZART. Larghetto aus dem Clarinetten Quintet

.. 3
"The valwab'e ro lection of Vortngsstixl en.' edited by Gu'tav Jensen, now include
tie thriven s two romances, lusides other pieces of the vijunst's repertory, such as
K> des famous air and (he l<ke. They are most carefully prepared for tile use of
tmueiits. and will be found of the greuest service." 1 he timet, August iSth, 18,3,
PRACTICAL
DR. HUGO RIEMANN.
Op. 10
VIOLIN
(Kcole pratique du Violon)
E. W. RITTER.
AX
AW.
*. tf.
r.ook I. Elementary
Hook II. Intervals up to the Octave and scale in c major,
with easy Duett'nos in the first position
i
y 10c
Hook III. Intervals within 2 Octaves, exercises ant! easy
Duettinos in the first position ...
...
_
1
7C10/ Book IV. Intervals over the 4 strings, exenises and Dutttinos in the first position ...
...
..
.
...
... 1
~f.tot-jr Books V.-VII. Major and minor scales, exercises anJ Duetlinos in the first position
each 1
fCiok-k Book VIII. -X. Scales in 2 Octaves, exercises and Duets
in the first position (Gamines en 2 Octaves, ex ere ices et
Duo*, ire position)
eich 1
The ten bojks of Kilter' > 'Practical School f..r the V olin ' forma remarkably
com -tie body of instruction for the Instrument, though of course no \yjok can takes
il.c ]>l.:vc of a master." i he Jimet, August lbtli, 1B93.
-t.iob
Lcndon: AUGENER & CO., 86, Newgate Street, E.C., and

1. Foubert's Place, W.
Sim
rari J- (A- t0 Beck\ price is. net.
9300^ Part II. (Bkck to Chacqnxe), price is. net.

Rirmann's Dictionary is a concisely wjrJed musical encyc.opse Ha,
which avoids all that is hUpertluous. It will comprise not only the biographies
of noteworthy musicians and writers on music of the past and present, with
criticisms of thtir works, but also a complete description and history ol all
musical instruments, an casi y intelligible exposit on of .Musical theory,
deiii-iiions of musical art-expressiens, etc. It will appear in fourteen parts
distinguishes Kiemann's Dictionary from other dictionaries is unity and
author writes an entire work, but not if a number of contributor*
compete, who ate of different opinions and variously gifted. Kiematiu lias
his entire ability to cope with the task of compiling a work of this encvclol>.rdu: nature. His dictionary contains, in convenient alph .l>el.cal order,
so to speak, the sum and substance of the resulis of his researches in the
most varied ranges of musical science, e.g. the history ol notation, the
theories of rhythm (phrasing), harmony and form (analysis), musica
aesthetics, etc.; it is therefore adapted to serve as an introduction to his
musical pedagogic reforms. The problem of presenting established facts i.i
*' MFSSRS. AU^.RNl'.P are urinuint; out in parts .1 handy edition of Dr. H. Ri?Tiann s
' Dictionary of Music.' translated by Mr. ShuUlock, and fumlshc 1 itlt additional uia<ter
bytbeau'hor. So far as the first instalment yin-s, the work has Iweu t-icllciitiy done,
especia.'y in the mattt r of just alio. merit of space. 5uch l.terary ire >tiscf as appc r in
tLe great die iuturies of MenacI or Grove r o not otuo wj hiii the scout! of a work like
lliis |>ui to the ortiui.fy itiiitut the nrtvly i<iutH diato-.ar* wit be 0/ immtmtt 7*a tie.
a id the ntmc of the translator- win ni.iv be suspected of having taken more than a
trans'ator* part in the coinpilatio 1 of the Mniflish biographies s a guarantee l>>r
atcur-ty and thorough rase itch." Tht A'rw Ouarttrly Musical Rttri.-w, August, 189j.

and t, Foubert's Place, \V.
THE
238

NEW VOCAL
JZcole infantine
t*r
Musikaliscktr Kindergarten
von
HAMISH
CARL REINECKE.
687.1

Die trsten Kinder lieder.
73
6343a
Sol-fa Edition. Voice part only. Net, 4tl.
do.
do.
Telling Fairy Tales
M'drchen- ErzaJtlen. La diseuse de conies.
Pt. II.
Mrs
687(

Was alles die Tone erzfthlen. Ce que Us sons racontent.
6877

Kinder-Maskenball. Bal masqui. Pt. I.
6349 Vol. IX.
do.
do.
Pt. II.
fo78
PIANOFORTE SOLO.
PriceEach Book, net, is. 4J.
6879
PIANOFORTE DUET.
PriceEach Book, net, as. 6d.
MACCUNN.
To Eva. No. 1, in a flat

4
a, in F ...
4
3, in e flat
4
i
" When thou art nigh "
3
" All on a fair May morning"
3
" Heart be stout and eye be true" ...
3
1
A Flower Auction
...
Do not vex thy Violet
.'.
3
If a nobler watts for thee
...
J
Many days and many ways
3
On a faded violet
3
O gentle sleep
4
Vocal Album. Six Songs (the words by Lady Lindsay):
No. I. Wishes. " In the Meadows "
3
a. A flower message. " I'll give my love a posy " ... 3
3. Doubting. " IS ay, do not ask tr.e once again " ... 3
land V" ...
...
5. Golden Days. " Sweet, remember golden days"...
6. Hesper. ''O for a light little boat
6344 Vol. IV. Folk-songs and Dances ...

6374
Stimmen derVolker. Chants nationaux et populaires. Pt. I.
6345 Vol. V.
6346 Vol. VI.
MUSIC
SONGS.
Piano Duet
Piano Solo.
Op. 206.
No.
No.
Meine ersten StOurkcAen. Met premiers petite Morceaux.
6342 Vol. II. Favourite Melodies (within the compass of five notes)
L ieblingsmelodieen . Mi lodiesfavorites.
[October I, 1893.

4916 " Another glass before we go." For Male Choir (A. T. T. B.
and B.)
net 6
14051 "In the Primrose Time o' the Year." The words by William
Black, set for S. A. T. T. and 11. , with Pianoforte Accomp.
net 4

CONCERTO (en Ut)

I
MEISTER des I7ten und i8ten Jahrhunderts.

Nach den Originalwerken fur Violine und Bass (oder den vorhandenen
Orchesterpartituren) fur Violine und Pianoforte bearbeitet und mit Vortragszeichen versehen
von GUSTAV JENSEN.
POUR VIOLA
Avec Accompagnement d'Orchestre
PAR
EMIL
7401
740a
7403
EZREUZ.
Op. 20.
Arrangement pour Viola et Piano par l'Auteur.

Edition No. 5,571. Price, net, 41.
(N.B. Full Score and Orchestra Parts may be had on hire from the
Publishers.)
Barcarolle Separê. Pour Viola et Piano
4/,,
,,
4/-
7404
7405
7406
7407
7408
7409
7410
" The clever viols player. Mr. I n i] Kreuz, his made an important addition to the
literature of his instrument in hs Onccrto, Op. 23. 2 woilt which, while it abounds
in forniidatdt; difficulties f vrntus kincs ha^ plenty of beauty find musical interest to
recommend it to uiu-icians in general. The melodious Barcarole, which occupies the
place of the slow mOYcn.eit, is published separately, and also in an arrangement lor
violin and piano. In bringing out a new edition of Schumann's little-known * Marchenbilder.' for piano and viola. Op. 113, the publishers deserve the gratitude of amateurs,"
Ttu Timti. August iBth, 1893.
7411
7413
74t3
7414
7415
London: AUGENER Sc CO., 86, Newgate Street, EC, and

74t6
7417
7418
7419
7420
7421
7422
7423
7424
7425
7426
7427
7428
7429
NEW PIANO
TRIOS (6 Hands).
e TOITSTUOKE
Fur das Pianoforte zu 6 I Linden
VON
CORNELIUS GURLITT.
Op. 192.
No.
s. d.
Valse noble
r. Gavotte
''. Capriccietta
4- Ballata
. Serenata
6. Impromptu.
AUGENER & CO., 86 Newgate Street, and I, Foubert's Place, London.
7430
1.
7431
,.d.
Francesco Geminiani. Sonate I. (a dur)

net,
,,
,, II. (H moll)
net,
G. B. Somis. Adagio und Allegro
Pietro Nardini. * Adagio
net,
G. Pugnani. Sonate (k dur)
net,
J. B. Senaille. Sonate (G dur)
net,
Arcangelo Corelli. 3 Sonaten (A dur, E moll, E dur) net,
Giuseppe Tartini. 2 Sonaten (o dur and G moll)... net,
net,
,,
,,
Sonate Ic moll) ...
net,
,,
,,
Henry Purcell. The Golden Sonata (for two Violins and
Piano)
net,
Francesco Geminiani. Sonate VIII. (p moll)
... net,
,,
1.
Ausgewahlte Sonatensatze net,
L. Borghi. Sonate II. (a dur)
net,
,,
Sonate IV. (G moll)
net,
Antonio Veracini. Sonate (2 Violins, Piano, and Violon
cello ad lib. )
net,
,,
,,
Sonate. (A moll)
net,
G. Torelli. Concerto (for two Violins and Piano)
net,
W. A. Mozart. Andante, Menuetto, und Rondo
net,
Arcangelo Corelli. Follia con Variazioni (d moll)
nrt,
W. A. Mozart Adagio (E dur) ; Rondo (c dur)
net,
F. H. BarthtSlemon. Sonate (e moll)
net.
net,
G. F. Handel.
Sonate (A dur)
Vivaldi. Sonate (a dur)
net,
F. M. Veracini. Concert-sonate (E moll)
net,
Jean Marie Leclair. Sonate IV
net.
G. F. Handel. Sonate X. (g moll)
net.
net.
,,
Jean Marie Leclair. Le Tombeau. (Sonate)
net.
Henry Purcell. Sonata in B minor (2 Violins, Piano
net,
Sonata in A minor (2 Violins, Piano, and Violon
cello ad lib.)
net,
Sonata in c major (2 Violins, Piano, and Violoncello ad lib. )
net,
1 1 1
1
1
1
1
1
1
.
1
1
1
1
1
6
6
1
1
1
1
r
6
6
-
1
1
1
1
1
1
1
r 1
1 1 1 -
" The same able editor iGustav Jensen) has included in his series of ' Classfsche Violin
Mu'ilc ' Handel's Sonatas No,. 10 and 13. and Leclair s fine Sonata, ' l-e Tombeau.' In
spite of the wealth of beautiful classical compositions opened to them by this and
similar series, violinists teem still to content themselves with a smaller repertory than
almost any other class of musicians.' Tkt Timet, August 18th, 169 j.
London : AUGENER & CO., 86, Newgate Street, and 1, Foubert'sPlace.W.
THE
October i, 1893.]
MONTHLY
MUSICAL
RECORD.
10
PETITS
AUGENER'S
MORCEAUX
EDITION.
OPERATIC
ARRANGED
WITH
FOR
PIANOFORTE
C. REINECKE.
239
CHORUSES
FEMALE
VOICES,
ACCOMPANIMENT
BY
H. HEALE.
Op. 122/z.
1. Prelude (Vorspiel)
2. Chansonette (Liedchen)
3. A la Guitare (Zur Guitar re)
l2 6
4. Le Savoyard
5. Variations sur la gamme en UT majeur
6. Danse champfitre
7. Un duo sur la riviere (Wechselgesang itber's Wasser her)
8. Gavotte
9. Sonate miniature
3
I 6
" For yonng violinists ReinecktVs ten little pieces. Op. 122a, will be found useful ;
they correspond to the Schumann Album in point of length, style, and to a certain
extent, difficulty.-' Tfu Times, August i8th, r8.
l-
London : AUGENER & CO., 86, Newgate Street, E.C. ; and

No. 4191. FAIRY MUSIC from Weber's "Oberon." Price Net is.
Chorus of Elves, " Light as Foot of Fay can fall." For 2 Sopranos and
Alto.
Mermaid's Song and Chorus of Waternymphs, Fairies, and Mermaids. For
Soprano (or Semi-Chorus) and three-part Cliorus.
" Spirits of Air and Earth and Sea." For Alto Solo (or Semi-Chorus) and
three-part Chorus.
No. 4192. GIPSY MUSIC (three-part Choruses). Price Net is.
Gipsy March, Dance, and Chorus :
From
" Hail Preciosa, Queen of Beauty
Weber's
Chorus. "The Wood, the Greenwood, and the Brake."
Preciosa."
Chorus. "The Starlets so gladly are shining."
Gipsy Chorus. " In the Gipsy's Life you read," from Balfe's Bohemian
Girl."
ARCANGELO CORELLI'S
No. 4193. FOUR CHORUSES (three-part). Price Net is

" O ! What Pleasure the Soft Guitar."
From Wallace's
Angelas. "Angels that Around Us hover."
"Maritana."
"Sing, Pretty Maiden, Sing."'
Serenade and Chorus, " Fair Wandering Moon," from Donizetti's 'Don
Pasquale."
12 SONATAS.
London : AUGENER ft CO., 86, Newgate Street, E.C. ; and

JUST PUBLISHED.
Op. 5.
*.
7354"
7354*
7354*
G. JENSEN.
Part I. (Sonatas 1 to 6)
Part II. (Sonatas 7 to 12)
USEFUL
TEACHING PIECES.
TWENTY-FIVE
Short Original Pieces

net
net
net
3
3
7
o
o
6
N.B.These 12 Sonatas are also published for Violin with figured Bass,
"Corelli's 12 Sonttas, comprising Op. 5, have been excellently edited, from the text
of Joachim and Chrysander. by Custav Jensen, and are now published in two books, cr
together in a bound volume." Tfu Timts. August rtth, ,893.
London : AUGENER & CO., 86, Newgate Street, E.C. ; and i, Foubert's
Place, W.
12 LIEDER
Fur 2 Soprane
mit pianoforte begleitung
BY
CARL REINECKE.
Op. 217.
Augenbr's Edition, No. 4119a. Book I. Price is.net.
Evening (Abendlied).
When the Christ-child comes (Wenn's Christkind kommt).
Spring Sunshine (Der Lenz ist da).
Farewell to Home (Abschied von der Hcimath).
A Carol of Spring (Hell ist ein Lied erklungen).
Butterfly and Bee (Schmetterling und Biene).
Augenbr's Edition No. 4119^. Book II. Priceis.net.
8. The Concert of Spring (Fruhlings-Concert).
so schdn).
10. The Spring-night's Glamour (Zauber der Frtlhlingsnacht).
11. O take my hand and lead me (Geistliches Lied).
11. Rosebud, ah, when wilt thou Bloom : (Rose, wann bluhst dn anf 7).
x.
2.
3.
4.
5.
6.
London : AUGENER 4t CO., 86, Newgate Street/ E.C. : and

FOR THE PIANOFORTE.

1.
C. Reinkckk. My first Pieces (Idyl, Evening Song, A Sad Moment,

Short Song).
2. C. Rrinecke. My first Pieces (Ballad, Schenino, Prayer, Easy
Dance).
?
Gurlitt. March, Op. 101, No. i.
Reinecke. The Child and the Cuckoo, The Evening Star.
4Gurlitt. Valse noble. Op. lot, No. 14.
s.
6. K. Krausk. Joyful play in the garden. Op. 77, No. 2.
C.
Reinecke.
Ihe Mill, and Duet
7.
8. A. Loeschhorn. The Little Postillion. Op. 96, No. 3.
9- C. Gurlitt. Hunting Song (Jagdstuck). Op. 140, No. 14.
to. K. Pauhk. The Brooklet.
1 1.
A. Loeschhorn. On the Rocking-Horse. Op. 100, No. 4.
1?.
Reinecke. Gavotte.
K. Pauer. Waltz.
,
C. Gurlitt. Gavotte.
M
X. Scharwenka. March. Op. 61, No. 1.
16.
Pauek. Dance Song.
17.
H. Heale. Minuet.
18. (.:. Rrinecke. Hide and Seek.
ID.
H. Heale. Gavotte.
20.
R. Schumann. Albumblatt. Op. 68, No. 30.
91. E. Pauer. Hungarian.
aa. A. Loeschhorn. A Little Dance.
K. Schumann. May, Charming May. Op. 68. No. 13.
V. Mendelssohn-Bartholdy. 6 Pieces. Op. 72, No. 1.
-4V. Mendelssohn-Baktholdv. 6 Pieces. Op. 72, No. 2.
I
c.
c.
c.
c.
*
<
v..
*
*s-
Price is. each.

London: AUGENER & CO.. 86, Newgate Street, E.C. ; and
E. SILAS.
TRIOS
For PIANOFORTE, VIOLIN,
Edition No. 10,051, No. 1, in c minor
11
10,052, No. 2, in a
11
10,053, No. 3, in c
and VIOLONCELLO.
net
net
net

4/4/4/-
240
THE
MONTHLY
MUSICAL
RECORD.
[October I, 1893.
NOVELTIES NOUVEAUTES Novelties {continued)

INSTRUMENTAL.
published on
(Nova) publiees
le ier Octobre, 1893, chez
JENSEN, GUSTAV. Classische Violin - Musik
October 1st, 1893, by
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NOVEMBER 1, 1893.
CHARLES GOUNOD.
Charles Francois Gounod, born June 17, 1818, at
Paris, died there October 19, 1893, was incontestably one
of the most important of French composers, and received
his first musical stimulus from his mother, who was an
accomplished pianist. From 1836-38 he studied, at the
Conservatoire, counterpoint under Halevy and composit on under Pair and Lesueur. In 1837 he won the
second, in 1839, the first state prize (the Grand Prix (it
Rome), for his cantata Fernand ; and during his residence
of three years in Rome, he studied the style of Palestrina.
In 1841 he produced a mass ii 3, with orchestra, at the
church of San Luigi dei Francesi, and in 1842, at Vienna,
a requiem ; after his return to Paris, he undertook the
post of organist and maltre de chapelle of the Missions
Etrangeres, attended lectures on theology, was guest in
the Seminaire, and was on the point of taking holy orders.
However, about this time a change came over him in his
musical efforts. In Germany he had learnt to know
the works of Schumann, and now drew closer to them,
also to those of Berlioz ; he found his poetical gifts
mightily stirred by both, and turned from the church to
the stage. Nevertheless, it was a sacred work which first
drew the attention of the world to him ; in a concert of
Hullah's at London (January, 1851), fragments of his
Messc Solennelle were produced, to which the critics
unanimously ascribed high importance. In the same
year Gounod made his debut at the Grand Opera as an
opera composer with Sapho, but, through imperfect
knowledge of stage technique, met with small success
(the work even as revised, in 1884, was a failure), both
with this and with his next opera, La nonne sanglantc
(1854). He also failed to make an impression with his
antique choruses to Ponsard's Ulysse; but, in spite of the
poor results, he felt his powers strengthened, and re
cognised more and more his vocation as a dramatic com
poser. Meanwhile, 1852, he had been appointed director
of the Orphe'on, the great union of the Paris Male Choral
societies and schools of singing, which office he held for
eight years. He wrote for the Orpheonistes two masses
and various part-songs, and made an essay in instru
mental music with two symphonies j but his chief activity
was concentrated on opera. His next a'temptLe
275
[Price 2d.; per Post, 2Jd.
Mddecin malgri lui, produced at the Opera Comique

(1858), given in England as The Motk Doctor, and also
performed by the pupils of the Royal College of Music in
1890showed that at the Opera Comique he was not in
his right element. At last, in 1859, he made a decided
hit with Faust (Thdacre Lyrique, March 19). Here he
was in his element. The fantastic and the purely lyrical
were admirably expressed by him. That Gounod's f-aust
so despised by the Germans, is not a caricature of Goethe's
Faust, is clear from the fact which is worth more than
many argumentsthat Wagner did not set it to music ;
the latter, in fact, pays him a compliment in giving a re
miniscence of the church-going scene for the address of
Walter to Evchen in the Meistersinger. The Kermesse
and the Garden-scene form two pictures of the first
rank. Gounod's style is very sympathetic to the Ger
mans, for it is really more German than French, and
often reminds one of Weber or Wagner. But it is not
quite a pure style, and sometimes falls into the senti
mental or the chanson type. Faust has remained
Gounod's master-work ; it has carried his name through
all countries of Europe, and was the first French oper.i
which at Paris made its way from another stage to that
of the Grand Ope'ra. The works which followed did not
come up to the high expectations excited by Faust;
Philemon et Baucis (Grand Opera, i860; London, 1890) ;
La Peine de Saba (also there, 1862 ; in English version
as Irene, in London) ; Mireille (Theatre Lyrique, 1864) ;
La Colombe (Opera Comique, 1S66 ; before, at BadenBaden ; in London as Pet Dove). His Romto et Juliette
was, again, a fortunate draw (Theatre Lyrique, 1867) in
France it is placed above Faust, in Germany not far
below. Again Gounod was in complete sympathy with
the subject. In structure he approaches nearer to
Wagner, lays special stress on the music in the orchestra,
and makes continual use of dissonances by suspension.
After that, he produced other operas of less value CinqMars (Opera Comique, 1877), and Polyeucte (Grand Opera,
1878) ; he also wrote entr'actes to Legouvu's Les deuc
Heines, and Barbier's Jeanni d'Arc. His last opera
Le Tribut de Zamora (1881) did, likewise, not fulfil the
hopes which it had excited. The war of 1 870 drove Gounod
from Paris. He went to London, and founded there a
mixed choral un'on (Gounod's Choir), with which lis
242
THE
MONTHLY
MUSICAL
arranged large concerts, and in 1871, for the opening of

the Exhibition, produced his elegiac cantata, Gallia (words
from the Lamentations of Jeremiah, a pendent, in fact, to
Brahms's Triumphlied). In 1875 he returned to Paris.
Of his works are still to be named : two masses, Angeli
Custodes and Messe Solennelle Sle.-C/cile (1882), Messe a
leannc a"Arc (1887), a fourth Messe (1888), and a Te
Deum, " Les Sept Paroles de Jesus," a '' Pater N oster,"
' Ave Verum," and " O Salutaris,"a Te Deum, " Jesus sur
le lac de Tiberiade," " Stabat Mater " with orchestra, the
oratorios Tobie, The Redemption (Birmingham, 1882),
and Mors et Vita (Birmingham, 1885), symphony, " La
Reine des Aputres." " Marche Romaine," " Chant de
bataille Arragonais " (1882), "Marche Funebre d'une
Marionette." Cantatas : A la Frontiere (1870, Grand
Opera), and Le Vin des Gaulois et la Datise de I'epce,
many smaller vocal works, French and English songs,
the widely-known " Meditation" on Bach's first Prelude
from the Well-tempered Clavier (for soprano solo, violin,
pianoforte, and harmonium\ pianoforte pieces for two
and four hands, and a " Methode de cor ii pistons."
Gounod was a member of the Institut de France and
commandeur de la legion d'honneur.
To the above notice from Dr. Hugo Riemann's Dic
tionary, some details respecting Gounod's most popular,
and perhaps greatest work, are now added.
Long and laborious were the preparations for the pro
duction of Faust; the rehearsals lasted no less than six
months. The opera was found too long ; a trio between
Faust, Siebel, aad Wagner was cut out of the second
act, while a duet between Marguerite and Valentine in
the third, a romance for Siebel in the fourth, and a
part of the "Prison" duet in the last act met with a
similar fate. The church scene gave offence to the
"censorship, and was saved only by the intervention of
the Nonce aposiolique, Monseigneur de Segur, an old
fellow pupil of Gounod's. Then well-meaning friends ex
pressed their opinions : the Garden scene alarmed them,
the Church scene was too long, the death of Valentine
too lugubrious, etc. Four years later friends (sic) were
assailing Berlioz in a similar manner during the rehearsals
of Les Troyens a Carthage, and the author in his Memoirs
tells us that the criticisms were enough to drive him mad.
Gounod, however, was able patiently to listen to these
discouraging predictions without being discouraged :
faith in his work outweighed the fears of friends. Danger
seemed to threaten the opera up to the very moment of
production. The first performance had been announced
for the 24th of February, 1859, but Guardi, who sang the
title-rote, suddenly lost the use of his voice, and post
ponement was inevitable. Gounod, in despair, thought
of creating the part himself, but at length a tenor, Barbot,
was found, and the work was given on the 19th of March.
Among modern operas Gounod's Faust and Bizet's
Carmen have achieved a brilliant and, apparently, lasting
success. And yet at their debut they were received with
out enthusiasm. Faust, indeed, recalls Berlioz's work of
the same name, which at first attracted no attention, but
now enjoys wonderful popularity. By the way, Berlioz
wrote a notice of Gounod's opera in the Journal des
Debals, and spoke of it in terms of the highest praise.
He has a curious little criticism of Marguerite's spinningwheel song in the third act. Why, he asks, that whirring
noise to imitate the sound made by the wheel? And
he adds : '' Schuben may perhaps be excused, in a song
not intended for the theatre, for having wished to convey
the idea of a spinning-wheel not visible. But in the
opera it is seen. Marguerite is actually spinning ; the
imitation is not, therefore, in any way necessary."
Ten years after its production at the Thdatre-Lyrique,
RECORD.
[November 1, ,893.
Faust was given at the Grand-OpeYa (March 3, 1869),

with Mile. Nilson as Marguerite,* Colin as Faust, and
Faure as Me'phistopheles ; then, of course, the spoken
dialogue was suppressed. The " Brocken " ballet was a
special feature of this new birth of tjie opera.
On the 4th of November, 1887, the 500th performance
of Faust at the Grand Opera was one of marked bril
liancy. At the conductor's desk was no less distin
guished a person than the composer himself, and the
Faust was M. Jean de Reske, now facile princeps both in
that role and in that of Romeo, two of Gounod's greatest
creations in lyric drama. Faust was first heard in
England in 1863.
Dr.
H. RIEMANN'S EDITION OF BACH'S

" WOHLTEMPERIRTES CLAVIER" (48 PRE
LUDES AND FUGUES).
By Eisenezer Prout.
In the number of the Monthly Musical Record for
last May, I reviewed Dr. Riemann's Analysis of Bach's
" Wohltemperirtes Clavier," which forms one of his
series of musical catechisms. Those who have read my
notice of that work will be aware that it interested me
greatly ; it was, therefore, with much pleasure that 1
acceded to a request from the publishers of this journal
to write a review for these columns of Dr. Riemann's
edition of the immortal work itself.
The first impression produced by a careful examination
of this edition is that of astonishment at the amount of
labour that Dr. Riemann has bestowed upon it. He has
entitled it " Phrasierungsausgabe " ; and I believe I am
strictly correct when I say that not only every bar, but
nearly every single note, has been phrased throughout the
whole work. How much this involves will be best under
stood if my readers will take one of the shorter and simpler
fuguese.g., No. 2 in C minor and copy into another
edition all Dr. Riemann's indications slurs, dots, etc.
When, in addition to this merely mechanical task, we
think of the mental tax involved in elaborating a con
sistent and logical system, which shall be equally ap
plicable to the whole work, to preludes and fugues alike,
it is impossible to refuse a tribute of admiration to the
industry displayed by the editor.
Dr. Riemann's whole system of phrasing is founded
upon the recognition of the true nature of the motive,
that is to say, the connexion of every accented note with
the preceding unaccented note or notes, and not with the
following, except in the case of the feminine ending.
With this view, as many of my readers will be aware, 1
am most thoroughly in accord. I do not, however, go so
far as Dr. Riemann in thinking it needful to indicate the
commencement of a new motive by separating the stems
of semiquavers or demisemiquavers which belong to the
same time-subdivision. By doing this the music- becomes
sometimes really difficult to read needlessly so, I can
not help thinking. For example, in the 41st Prelude,
bjrs 63, 64, appear in Dr. Riemann's edition in the
following shape
The original Marguerite was Mine. Carvalho,
November I, 1893.]
THE
MONTHLY
MUSICAL
RECORD.
243
Text.
This notation unquestionably shows the division of the

music into its motives ; but inasmuch as in playing no
break has to be made between the different motives
which form part of the same phrase, I think the increased
difficulty in reading outweighs the advantages of the
system. I should have preferred that Dr. Riemann had
retained the " Lesezeichcn " (SEE)
which he has
used in other places. The left-hand part of bar 63 would

then have been written
which would, I cannot help thinking, have been quite as

intelligible, and far less distracting to the player. This, I
should add, is only a matter of personal opinion, and in
no way detracts from the soundness of the system itself.
There are many places in the work in which the sub
divisions are a real assistance to the playeras, for
instance, in the Prelude in C minor (No. 26). Dr.
Riemann is strictly consistent, and I think he some
times carries out his consistency at the cost of con
venience.
The edition is most carefully, and, on the whole, ex
cellently fingered. Dr. Riemann does not follow Kroll in
writing all the notes to be played by the right hand on
the upper staff, and those for the left on the lower ; but
the hand to be employed is plainly indicated in all cases
of doubt. There are advantages in both methods.
Kroll's is unquestionably the easier to play from ; but
with Dr. Riemann's (which is also that of the Bach
Society's edition), the progression of the separate voices
can be more readily followed. In one instance, however,
I venture to doubt the judiciousness of Dr. Riemann's
division of the music between the hands. In two pas
sages of the fugue in A minor (No. 20 of the second
book), viz., at bars 7 and 14, the editor prescribes a
crossing of the hands, which renders the passage rather
difficult to play. This is obviously done to avoid the
dividing of the countersubject between the two hands ;
but I cannot help thinking that the fingering given both
by Czerny and Kroll is preferable ; it is certainly
decidedly easier.
The present edition and the author's analysis of it,
which 1 reviewed last May, are, it might almost be said,
the necessary complement the one of the other ; but it
will be as well to warn intending students that they will
at times find considerable discrepancies between the two.
I am far from blaming Dr. Riemann for this. My own
impression, formed from the study of both, is that the
analysis has been written since the edition was pub
lished, and that it contains Dr. Riemann's second
thoughts as to the rhythmic divisions of some of the
periods and phrases. If my surmise is correct, it would
be well in future editions to bring the text into conformity
with the commentary. To illustrate my meaning, I give
the commencement of the fugue, No. 8 of the first book,
in both versions.
Of the different lengths of the bars (some containing

four beats and others two), I will speak directly ; what 1
wish now to point out is, that in the first of the two
examples, that of the text, the subject of the fugue is
given as a complete sentence, with elision of the first and
fifth (unaccented) bars, while in the analysis it is re
garded as a four-bar phrase with an elision of the first
bar and a twofold repetition of the cadence. Practically,
I think it makes very little difference in which way we
explain it ; I only point it out now, that students may be
prepared to meet with similar discrepancies in using the
books.
With the alteration in the position of the bar-lines to
be constantly met with in this edition, and of which an
example is seen in the passage just quoted, let me say
emphatically that I entirely disagree. I hold that no
editor has any right to alter the text of the great com
posers ; though I fully admit that he is perfectly justified
in adding marks of phrasing, etc., because it is well
known that it was formerly the custom to leave such
matters to the performer. But the changing of the barlines is a different matter altogether, and, moreover,
one that appears to me here to be entirely unnecessary.
There is no doubt that in this fugue, as in many others
{e.g., No. 1 of the first book), the bars are compound,
each containing two accents. In such cases, nothing
would have been easier than to insert dotted bars before
the third beat of each bar, still retaining Bach's text.
But in the present edition many of Bach's bar-lines dis
appear entirely. This arises from Dr. Riemann's deter
mination to reduce all the fugues to the four- and eightbar measurea thing which I am forced to believe is
impracticable. I wish I could arrive at some other
conclusion ; for it would be an immense advantage
to be able to apply one uniform system of measure
ment to all compositions ; but I cannot bring myself
to do so, for reasons which I will now proceed to
give.
I fully admit the broad general principle that the fourand eight-bar construction is the very foundation of
musical rhythm, the fourth bar marking the end of a
phrase, and the eighth bar that of a sentence. It is also
perfectly well known to all who have studied the subject
that it is only in the smaller forms that this construction
is uniformly carried out, and that in larger works modifi
cations by extension and contraction are continually to
be met with. The object of the cadences which mark
the position of the fourth and eighth bars is to furnish
244
points of repose, in exactly the same way as is done by

the cadences at the ends of the verses in poetry. But,
as I have said in speaking of this subject in my recently
published book on Musical Form ( 278),"the peculiarity
of fugue (and, I might have added, of the polyphonic
style in general) is its continuity. Properly speaking, it
has no points of repose, for though cadential formulae are
frequently employed, the last note of a cadence is always
the point for a new departure. Hence, as, in conse
quence of the continuity of the music just spoken of, the
want of repose is not felt, so neither can any ill-effect be
produced by the absence of regularity in the position of
the cadences. The ear accepts bar-accent as a substi
tute for cadence."
I do not for a moment dispute the possibility of re
ducing all Bach's fugues to the normal rhythm. Dr.
Riemann, by the expenditure of an enormous amount of
ingenuity, has proved in the present work that it can be
done. But I very seriously doubt whether it is worth
doing at all, considering what it involves. To show
what I mean, I will take the fugue in 11 flat minor, No.
22 of the first book. Bach, it will be remembered, writes
it in alia breve time two minims in the bar. Dr. Rie
mann, in order to show the position of the strong accents,
writes the first four bars in * time ; at the fifth bar he
changes the time-signature to \ ; at the sixth to \ ; at
the ninth to \ ; at the tenth to J ; at the twelfth to \ ; at
the fifteenth to \ ; and so on, all through the piece. In
the course of the fugue there are no fewer than sixteen
changes of the time-signature. And even such drastic
measures do not suffice to satisfy the requirements of
the normal rhythm. Dr. Riemann has also to assume
more than a dozen elisions and insertions of bars, in
order to stretch this unfortunate fugue upon his Pro
crustean bed of four and eight bars. And this in a piece
only two pages in length ! Could anything show more
clearly how utterly the system breaks down when applied
to polyphonic music ?
1 admit that I have selected an extreme case for my
illustration. I have intentionally done so, because it
appears to me to be the reductio ad absurdum of the
four and eight bar theory as applied to fugues. Surely
Bach must have known whether his piece was in triple
or common lime ; and we can hardly imagine his writing
a fugue which was partly in the one and partly in the
other. But the difficulties against which Dr. Riemann
has to contend show themselves throughout the whole
work. In order to carry out his views, he is compelled
to alter Bach's time-signatures, either for the whole or a
part of the piece, in five preludes and nine fugues ; while
the position of the bar-lines is changed in thirty-one pre
ludes and thirty-two fugues. In at least one case the
result is, to my mind, disastrous. Many of my readers
will remember the fine effect in the a flat fugue (No. 17)
of the second book, which Bach obtains at the 37th
bar, by introducing the theme in the bass per arsin el
thesinletting it enter one crotchet later than usual.
Dr. Riemann has utterly destroyed the effect by barring
the passnge thus
[November I, 1893.
rc^-^^L
Here the editor begins with a bar of six crotchets,

followed by one of three. This is done, no doubt, to
bring the succeeding cadences into their usual positions
in the bar. The sign (8 i) indicates the conversion of
an eighth (accented) into a fifth (unaccented) bar. But
Bach knew as well as anybody the proper place for the
cadence ; and it seems perfectly clear that he here in
tended Xa reverse the usual position of the accents. This
effect is entirely lost by Dr. Riemann's alteration of the
bar-lines.
I further find it difficult sometimes to follow the
editor's method, even in simpler passages. Let me give
one example to illustrate this. One of the fundamental
principles which Dr. Riemann inculcates is, that the
fourth, and even more strongly the eighth bar, mark the
conclusion of phrases and sentences. But in the second
Prelude of the first book, Dr. Riemann begins as
follows
V.
(S)
Here the third bar contains the chord of the dominant

ninth over a tonic pedal, resolved in the following bar on
the tonic chord. Surely, on Dr. Riemann's own system
the .latter chord shows the end of the phrase, or period.
Yet the third bar, containing the discord, on which a
sentence cannot possibly end, is marked as (8), a final
bar. Similarly the 13th and 17th bars, both containing
discords resolved in the next bar, are marked as (8). I
have puzzled for a long while over this, to try to find any
possible explanation, but in vain. No light is thrown on
the matter in the " Analysis." The bars are there marked
in the same way, but without any comment.
A somewhat similar example is furnished by the fol
lowing Prelude (No. 3, in C sharp major). Dr. Riemann
writes this in J time instead of %, to show the position of
the accented bars, and his sentences contain, therefore,
sixteen of Bach's bars instead of eight. But, unless my
musical feeling is altogether at fault, he marks the close
of the first phrase in the wrong place. Here is the
passage as it stands in his edition.
November i, 1893.]
THE
MONTHLY
MUSICAL
RECORD.
*45
Riemann's theories, in which I am deeply interested.

Dr. Riemann has rendered immense services to musi
iLuJJ^6."S:-r" S3 cians by his discoveries with regard to the laws oi
rhythm, and especially of the true nature and functions
of the motive ; but I cannot help suspecting that, as has
been the case with many other discoverers of important
truths, his enthusiasm has led him to endeavour to apply
his theories in cases where from the very nature of things
they are inapplicable.
With the reservations I have made, 1 consider the
present edition to be most valuable, as it unquestionably
is most interesting. I should hardly recommend it to
those who are beginning the study of this incomparable
work, partly because of the difficulties of notation whicli
I spoke of above, and partly from the confusion likely to
To my mind it is perfectly clear that the phrase ends be caused to the student from the irregular position of
in the last bar I have quoted. I think it is quite unne the bar-lines. But to those who are already acquainted
cessary to put the passage into JJ time at ali. I would with the work, Dr. Riemann's edition will be most in
read it thusI give only the right-hand part
teresting, as throwing much light on its thematic struc
ture.
I have myself played through the whole of
the preludes and fugues from this copy, not only with
pleasure but with profit ; and I feel no doubt that my
experience will also be that of others who may procure
the edition.
,-rJ-* m-mfLg_g-,
(l>)
(8) ~~~
The phrase evidently begins with the elision of an un

accented bar. Owing to the rapid tempo, with only one
accent in the bar, the sentence consists of sixteen bars,
just as Dr. Riemann has marked it, and the bar that I
have here marked (8) only shows the end of the first
phrase. But that the construction of the phrase is
what I have just given appears to me to be conclusively
proved, first by the fact that there is a much more
decided cadence at the eighth bar than at the sixth ; and
secondly by the immediately succeeding repetitions of
the phrase in three other keys- 11 sharp major, n sharp
minor, and A sharp minor. I am quite at a loss to un
derstand why Dr. Riemann considers the phrase to end
on E in the bass, nor dees he give any explanation in
his "Analysis." He merely refers to the " long feminine
endings," which I cannot help thinking are a purely
gratuitous assumption.
I have only quoted a few representative passages ; but,
regarded from the rhythmical point of view, the whole
edition is full of similar problems. It is with very great
regret that I find myself compelled to differ with Dr.
Riemann on this point, for I feel myself under such deep
obligations to him, and I have learned from the study of
his books so much that has been of use to me in writing
my own, that it seems almost an ungracious act on my
part to attack, as I really feel compelled to do, an im
portant point in his theory. But I am sure that, when
he reads this article, he will feel that it is written in no
hostile spirit to him. Both he and myself are alike
anxious to get at the truth, though at present we hold
divergent views as to what the truth may really be. I
shall be only too happy to be convinced of the soundness
of his views ; and if 1 can only see that he is right and I
am wrong (of which I fully admit the possibility), I will
at once acknowledge it with the utmost frankness.
After all, what a comfort it is to think that one can
appreciate and enjoy these glorious works without
troubling one's self at all as to whether they are in eightbar rhythm or not ! The question seems to me in this
connection to occupy a very subordinate place ; and I
have devoted so much space to its discussion less be
cause of its importance in relation to the "Wohltemperirtes Clavier " than because of its bearing on Dr.

Edited bv W. T. Best.
{Continued from /. 220.)
VOLUME IX.* (Continued.)

No. 3, Prelude in A minor :-Ex. 162. *^
r
This forms the thirteenth number of Vol. IV. of the
Peters Edition, and also the thirteenth of Vol. XXXVIII.
of the Bach-Gesellschafc. Dr. Kriepenkerl had but two
manuscripts from which to prepare his edition, originally
belonging to Krebs and Hauser. In addition to these
Carl Ernst Naumann was able to collate MSS. in the
town library of Leipzig, and those in the Royal Library,
Berlin, besides profiting by the labour of his pre
decessor. He gives a list of twenty variations in the
copies, but only those found in the editions to which this
scrutiny is limited can here be noticed. The prelude in
A minor belongs to the Weimar period.
It is one of
three that head the list.
"The characteristic of [the
second] is calm, clear sobriety," says Spitta ; " it is
entirely built on the thematic material of a single bar,
the separate sections of which go through all the parts
with ingenious changes of position, and with great variety
of harmonies." The doubled pedal part towards the
close is " especially fine.'' Our examination of the three
texts will discover but few discrepancies. The chord in
bar 1 of the second line, p. 624, has in the top stave
three notes : in Peters there is a fourth, d, but not in the
B.-G.
Page 626, 1. 2, b. 1, Best, is as (a), and Peters,
p. 69, 1. 2, b. 9, as (/<) :
Ex. 163.
" Augener s Edition, No. 9,809.
246
THE
MONTHLY
The B.-G. and Best agree; but on p. 627, 1. 2, b. 8, the

second voice entering with b, e, Best agrees with Peters,
in the B.-G. the second voice coming in a bar later.
This is one of the differences or errors Naumann inserts
in his table in the preface. In the next bar there begins
a difference in the pedal part, that in Best being as (a),
in Peters and the B.-G. as (6) :
Ex. J64.
(<0p-i
ST
In the previous bar the " figure " is started in all three
editions, and it will be found in sequence on the first page
of the prelude, as will the variant farther on in the middle
part. There is a further difference in the pedal part of
the last four bars on p. 627, Best, which reads as (a) ; the
corresponding passage being in Peters and the B.-G.
as (b) :-
:-
Other readings are given in the preface of the B.-G.
volume, but either of the above may be authoritative,
the different readings being the choice of the editors.
Analogy is in favour of (a), whilst the highest part in
these four measures forms a passage in canon with (b).
It will be observed in the sequential passage, bars 3 to 5,
page 629, that each chord in quavers at the end of the
bar has five notes, including the pedal. In Peters, the
last chord has only four notes, the b, middle part, being
omitted. The last "auxiliary" note in the cadenza, f
'sharp, is resolved on a, doubling the pedal part in unison,
but in the other editions it simply vanishes into space.
This is a matter appealing to the eye, and it certainly is
better to satisfy it.
No. 4, Fantasia in G major :
fc***ii-p,**=
MUSICAL
RECORD.
[November I, 1893.
furnishes an interesting analysis (English Ed., Vol. I.,

p. 320). From this we can only quote the remark, " The
treatment of the subject is free, in the antiquated style."
There are numerous slight divergences in the texts of the
editions under notice, although the copies upon which
they are based are so few. The term Concerto was
applied to the work presumably owing to the short adagio
which separates the two quick movements. There is no
indication of tempo attached to the first movement in
Peters or the B.-G., but Mr. Best prefixes the words Con
spirito, which sufficiently express its character. In Peters
the work is printed in two staves, and the first deviation
will be found in the tenth bar, and that only owing to
vagueness in notation. The pedal should come in with
the second quaver, but looks as though it entered with
the first. The next three cases are of a like kind. In
Best, the first bar, top part, p. 631 ; p. 632, 1. 3, b. 2 and
3, middle and top stave, the subject uniformly enters on
the second quaver (as in the extract above1, either of the
first or last half of the bar. In the first of the three
instances the B.-G. agrees with Best ; in the others, with
Peters. In bar 3, 1. 2, p. 633, the c, second beat, top part,
is queried natural, although marked sharp in the text, and
so in the B.-G. ; but in Peters no sign is given. Page
634, I. 3, b. i, middle stave, a crotchet, a, is inserted,
concluding the passage in thirds. The note is omitted in
Peters and the B.-G. The fifth and sixth groups, p. 635,
1. 3, b. 1, are, in Best, as {a), and in Peters, as (b) :
Ex. 167 l
In this Best follows the B.-G. The reading, (a), is a

compromise between the two MSS. In the adagio, the
differences begin in the fourth bar, last beat, and the third
beat in the next bar, the reading, in Best and the B.-G.,
being as (a), and in Peters, as (b) :
it)
1
'
' '
^^
u&' "T; I S
'"'I
' " 3-
"us=
Five bars later, from the second beat, top stave, the
text in Best and the B.-G. is as (a), and in Peters,
as (b) :Ex. 169
This appears in the Peters Supplementary Volume

(IX.), as No. 6, and is No. 9 in the B.-G. vol. (XXXVIII.).
Roitzsch edited it from an old copy, found among the
effects of Dr. Griepenkerl ; and the editor of the B.-G.
vol. had only one other copy with which to compare
it.
This was an old manuscript in the Voss-Buch
(now in the library at Berlin), belonging to the organist
Westphal.
Reference to the Countess von Voss has
been made more than once. She was, so far as I can
ascertain, the Countess Sophie Marie, Mistress of the
Household to Queen Louisa of Prussia. She was a good
musician, and not without merit as a composer (born
1729; died 1814). There were three organists named
Westphal, but the one most likely to have possessed the
Voss-Buch was Court Organist at Mecklenburg. He was
a passionate admirer of Emanuel Bach, and made a
collection of his works, of which he formed a thematic
catalogue. After his death in 1835 his fine library was
acquired by F. J. Fetis. To return to the Fantasia, which,
it may be stated, is termed a Concerto in the Peters
Edition. We have to turn to Spitta for what historical
information may be obtained regarding it. He gives it a
very early datethe Arnstadt period (1703-4), and
,^<H-
==^n
1 r*2
In the next bar the arrangement of the staves shows
the progression of the parts, which meet in unison on the
last quaver. In Peters, this is not so clearly set forth,
and in the top there is an extra note, b, and the parts do
not cross at all. What appears to be a mistake is found
in the next bar, in Peters, an extra note, a, appearing in
the second voice on the third beat, making Bach commit
the academic solecism of writing the suspended ninth and
its resolution at the same time.
There is a further
different reading two bars later, Best (p. 636, I. 3, b. 3)
and the B.-G. being as (a), and Peters as (b) :
Ex. 170.
w _-
November ., .893.]
THE
MONTHLY
MUSICAL
RECORD.
247
In the last bar but one of this adagio, the second g, top
No. 3 (F) In a pastoral character.
part, is marked natural in Peters, whilst in the others it is
No. 4 (a) Highly to be recommended.
sharp, and the sharp is omitted to the first g in the last
No. s (G min.) The first movement a little
bar. The first point of difference in the allegro will be
serious, the finale exceedingly bright.
found in Best, p. 637, 1. 2, b. 5, the last c in the group of
No. 6. Exceedingly nice.
semiquavers, middle stave, being marked sharp, and so
Gurlitt, Cornelius.
" Grateful tasks."
26 original
in the B.-G. In Peters it is natural. In the last bar but pieces in all the major and minor keys, the melodies
one of the same page, the last note of the middle part is a constructed upon five notes, Op. 102.
crotchet, e, in Peters, c. In the next bar the c in the
Book I. (1 to 11) These pieces might be taken
ascending scale passage is queried sharp, but not noticed
already in Step 1., but young performers
in Peters. Page 638, 1. 2, b. I, the notes of the top part
using them in Step 2 will do greater justice
are a dotted minim, a, and a crotchet, g; in Peters both
to them, being better able to play them in
are minims. In bar 1 of the next page, middle, third
the proper time.
beat, the note is g, in Peters, d, a fifth above. The former
Book II. (12 to 17) Nos. 12 (" Tarantella ") and 15
preserves the " figure." A double stem, semiquaver, is
(March) will most likely be the favourites.
affixed to the last note but one, top part, of the penulti
Book III. (18 to 26) Each of the pieces possesses
mate bar to provide a proper " tie " to the following d.
interest, and will be found very useful.
In Peters there is only the slur. In all these Best agrees
with the B.-G.
Stephen S. Stratton.
Gurlitt, Cornelius. 18 short pieces. (The secondo
within the compass of five notes.) In these pieces (each
(7> be continued.}
having a title) the pupil has to play the bass part, which
is very practical in so far as the young student becomes
better acquainted with the bass clef.
Reinecke, Carl. Musical Kindergarten.
A Collection of Articles intendedfor Educational Purposes,
Book I. My first pieces. Several of them could be
CONSISTING OF
taken in Step 1. There are 21 numbers, of
which every piece is headed with a titleveryPieces with regard to Difficulty, and Suggestions
appropriate and emulating ; added to them
are little rhymes, such as above No 11.
By E. PAUER,
Principal Professor of Pianoforte at the Royal College of Music, &V.
" When the little lingers sing.
Clear the melody will ring.''
STEP 4.
Loeschhorn,A. Rhythmical Problems, Studies, Op. 197.
Books Land II. The experienced composer gives here
ample material for earnest study ; indeed, there is scarcely
a rhythmical intricacy which is not presented in these
volumes. No. 4 in the first, and Nos. 5 and 6 in the
second book will be found the most complicated.
Nicode, J. L. " Deux Etudes," Op. 1 2 (c sharp minor
and C minor). Nicode"s Etudes possess the great merit
that they present an entirely new and original technical
material, with which are combined charming melody and
noble, distinguished harmony. No. 1 of these splendid
studies is also called " Elfin Dance/' It requires great
accuracy in repeating the notes, the time must be quick,
the left hand accurate and precise. No. 2 in C minor, a
kind of scherzo, has been enriched with suggestions
(Varianten) by Liszt, a proof that it is well worthy of
attention.
Kalkbrenner, Ft: Twelve Studies, Op. 143. These
studies are selected from a collection of 25 Etudes de
style el de perfcctionnt'inent. They are exceedingly well
written and very useful ; although not quite as extended
as those by Moscheles, Op 70, they still contain a great
number of very useful points.
Schytte. L. " Passant les Steppes " ((J minor). An
undoubtedly original and ingenious piece, which, how
ever, requires quick hands and thon,jgh correctness of
performance, in order to avoid confusion. It is well
worth practising with attention and perseverance.
Everything is here done to make the task a pleasant

one ; indeed, a " philanthropic " principle is observed
throughout.
Book II. Favourite Melodies. Nos. 1 to 23. The
melodies are mostly taken from operas (Ger
man, French, and Italian), and No. 23 is an
original Comic Opera without words, after the
example of Hiller. {See Step 3.)
Book III. " My First Songs." Nos. 1 to 15. This
book is intended for a regular little family
party, for to the piano part is added the part
for the singer ; thus more than one child may
be amused.
It is indeed a capital idea to give interest to several
children at the same time ; and an ample proof that the
composer has full sympathy with the young folks.
Book IV. Folk Songs and Dances. Part 1. A
most comprehensive collection of national
songs ; 10 belonging to Germany, 8 to Austria,
2 to Switzerland, 10 to Russia, 2 to Roumania,
' 1 each to Scrvia, Bulgaria, and Montenegro,
2 to Turkey, and 1 to Greece.
The plan to make children early acquainted with
the characteristics of the different national music is an
excellent one, and cannot be too highly recommended.
Book V. Part 2. In this book England is repre

sented by 4 numbersScotland and Ireland
each by 2, France and Italy each by 4, Belgium
by 1, Spain by 6, Portugal by 2, Holland
DUETS FOR FOUR HANDS.
by 1, Denmark by 3, Sweden by 9 (Nos.
STEP 2.
75 and 76 belonging to Norway), and America
by 4.
No. 80, " Home, Sweet Home,''
lieinecke, Carl. 6 Sonatinas (the right-hand part
belongs by rights to England.
within the compass of five fingers), Op. 127 A.
It has to be observed that each division repres-nts
No. 1 (c) Very bright.
also the national dances.
No. 2 (g) Charming and entertaining.
248
THE
MONTHLY
STEP 3.
Gurlitt,_ Cornelius. "Jagd" Overture, Op. 191 I'd
major). A very bright, jovial, and amusing duet.
Gurlilt, Cornelius. ' Commedietta," Overture; Op.
137 (e flat). Very lively; most appropriate to be per
formed by youthful performers before a play acted by
their friends.
Gounod, Charles. " Danse des Bacchantes " (G minor).
Highly characteristic, original, and amusing. Rhyth
mical precision and accuracy must be observed most
particularly.
Haydn, Joseph. Symphonies (1 to 12), arranged by
Max Pauer. These practical, proportionately easy and
well-sounding arrangements deserve to be unhesitatingly
recommended. The figures fall, so to say, under the hand :
a proof that the arranger is intimately acquainted with
the resources and nature of the instrument. Of the
beauties Haydn gives us in his immortal symphonies a
veritable mine of melody and charmnothing need be
said.
Afoszkowski, Moritz. Germany. This beautiful melody
belongs as No. 2 to the well-known collection " From
foreign parts," a collection which has in a short time
gained the approval of the whole of musical Europe.
D'Ourville, Leon. " Chant des Chasseurs " (c). A
bright and spirited movement.
Miller, Ferdinand. " Huntsmen's Chorus. " This
most excellently composed piece, so full of fire, animation,
and spirit, belongs to the valued composer's " Operetta
without words," a work that ought to be found in every
library.
Reinecke, Carl. Serious and gay. Studies and Dances,
Op. 145. The plan of this collection is : Firstly, a technical
exercise, which has to be repeated about twenty to thirty
times ; secondly, a study of moderate length ; and thirdly,
a piece for which the material (melodious and har
monious ) of the study is used. Thus Book I. contains six
studies which are followed by a Ltindler Mazurka, Ungarisch, Gavotte and Musette, Fandango and Tarantelle.
Book II. contains also six studies, which are supple
mented by a Minuet, Polonaise, Walzer, Polka, Gigue,
and Pavane. No one has reason to complain that the
composer does not try to combine the useful with the
agreeable.
(To It continued.)
NORTH STAFFORDSHIRE MUSICAL FESTIVAL.
The third triennial musical festival of the Potteries district
was held in the Victoria Hall, Hanley, on Thursday and Friday,
October 19th and 20th. The festival was only established in
1888, and accounts of that meeting and of the second festival, in
1890, have been given in Thk Musical Record. This year's
festival was limited to three performances, only one of which
took place in the morning, it being found difficult to secure
audiences, excepting for the evening', in these busy districts.
There were no novelties presented this year, the programme ol
the Thursday evening concert consisting of the Faust of Berlioz ;
that of Friday morning being devoted to Henry Smart's
dramatic cantata, The Bride of Dunkerron, Beethoven's Sym
phony in c minor, and Mackenzie's Violin Suite. "Pibroch,"
whilst the festival closed with Mendelssohn's Elijah in the
evening Concerning the works themselves nothing need here
be said. In Faust Miss Esther Palliser made her festival debut, and
achieved a great success, her Margaret being distinguished alike
by artistic vocalisation and truthful expression. Mr. Henry
Piercy and Mr. Watkin Mills did excellently as Faust and
Mephistopheles, whilst Mr. William Evans, a baritone from
Birmingham, sang Brander's song in good style. In Smart's
cantata Miss Palliser was equally successful, charming the
audience with the beauty of her singing. Mr. Lloyd was great
MUSICAL
RECORD.
[November I, 1893.
in his part, and Mr. Ffrancon Davies, another festival dlbutant,

created a highly favourable impression Mr. Watkin Mills
repeated former successes in the title-part of Elijah, and Miss
Medora Her.son and Miss Clara Butt, both new to festival
audiences, ably filled their positions. Mr. Edward Lloyd was
unapproachable in the tenor music. But the special distinction
of the festival lay in the chorus. Good as was the chorus of
iSgo. it was surpassed by that of 1S93. The soprano voices,
lacking something of the ring of the Vorkshire singers, are
bright, and the quality of tone can only be described as beau
tiful ; the tenors are of the genuine stamp, smooth yet brilliant
in quality, without the slightest tinge of harshness ; the con
traltos and basses are rich and full in lone, the latter as fine a
body of singers as could anywhere be found. Their singing
was very line ; attack firm, and expression dramatic or tender,
as occasion warranted. Every detail was intelligently mastered,
and, although there were occasional faults, the work as a whole
was done in a manner difficult to surpass. If the festival endures,
and the quality of the chorus can be maintained, it will stand
side by side with the greatest institutions of its kind. Sir
Arthur Sullivan and Dr. Hubert Parry attended the perform
ances as guests of the President, his Grace the Duke of
Sutherland, and both were loud in their praises o: the chorus.
A performance, perfect of its class, was that of Failing's partsong, " Moonlight," given under the direction of Mr. F.
Mountford, chorus-master. A pleasing incident of the festival
was the appearance of Sir Arthur Sullivan on the platform, who
conducted while Mr. Ffrancon Davies sang the Templar's
soliloquy from J-ianhoc. This interchange of courtesies was
very gratifying to the audience, and the more appreciated
inasmuch as the festival conductor. Dr. Swinnerton Heap, was
Sir Arthur's immediate successor in the Mendelssohn Scholar
ship. Mr. Willy Hess, the leader of the orchestra, gave a
line display of violin - playing in the "Pibroch," and was
recalled with acclamation. The band, as before, was formed
of members of Sir Charles Halle's orchestra, with a large
contingent from Birmingham, so that the festival was distinctly
and properly local as to its material. Dr. Heap again distin
guished himself as conductor ; and, as this time the festival was
well supported, all concerned in carrying out the arrangements
may be congratulated on an unqualified success.
THE AMALGAMATED MUSICIANS' UNION.
A PERSONAL EXPLANATION.
In reply to an article which I wrote in the July number
of this paper, the Union has issued a manifesto, written
and signed by their Hon. Secretary, Mr. Joseph 15.
Williams. With a fairness which is greatly to their
credit, they have printed my article and their reply in
parallel columns. It is, therefore, perfectly easy for
readers to judge for themselves how far my arguments
have been met. On that point I am quite willing to
leave the verdict to any unprejudiced man of ordinary
intelligence and common sense ; and I should have taken
no notice of the reply had it not been for one statement
which I cannot allow to go unchallenged.
In my article I wrote that "before giving any answer
(i.e., to the invitation to become a patron) I read the
circular very carefully." On this, Mr. Williams remarks :
At the request of a member I wrote a letter to Mr. Prout asking
him to become a patron of the Union. I posted it to London on the
Thursday evening, and received a criticism from him on the Friday
night. I leave it to my readers to judge whether he could have read
it very carefully in the time."
A few simple facts will show that the above statement
is absolutely incorrect. If Mr. Williams posted his letter
to me on Thursday evening, it would reach me by the
first post on Friday morning. Now on Friday mornings
I always leave home immediately after breakfast, as I
have to be at the Royal Academy by ten o'clock. It
would be quite impossible for me to find time to write
November I, 1893.
249
The funds of the charity must have substantially benefited by

the concert, for the room was quite sold out. Herr Capellmeister
Reinocke and Herr Julius Klengel opened the concert with
Reinecke's Sonata Op. 42, for pianoforte and 'cello. Herr
Perron followed with several lieder, not too well selected, but
admirably suns:, and for that reason heartily applauded. Frau
Baumann and Fraulein Osborne made a great hit with two
charming duels by Dr. Reinecke " Abendlicd," and " Rose,
wann bliihst du auf," from his Op. 217. Both these ladies
were afterwards heard in songs by Brahms, Schumann,
Muszkowski, and others. Herr Capellmeister Reinecke con
tributed three pianoforte solosa minuet by Mozart, " Litany"
by Schubert-Liszt, and Schumann's "Am Springbrunnen," a
most judicious selection, which atforded the audience genuine
pleasure. Herr Klengel's exquisite 'cello-playing was displayed
in an 'air" by Bach, an "air de ballet " by Massenet, and a
" Tarantella " by l'iatti. The last two pieces are somewhat of
the ad captandum order of art, and their choice can only be
excused on the ground that there are so few good solo pieces for
violoncello by modern composers. Schubert, Spohr, Schumann,
and Mendelssohn almost ignored the instrument.
We shall shortly be celebrating the hundred and fiftieth
anniversary of the Gewandhaus concerts, a jubilee deserving of
marked recognition. We are promised some specially interest
ing concerts in this connection, of which I will duly notify you
in my next communication.
Herr Professor Dr. Reinecke is about to celebrate the fiftieth
anniversary of his connection with the Gewandhaus. On
Thursday, the 16th November, 1843, Dr- Reinecke first played
there, and it is a curious fact that after a lapse of half a century,
the 16th November again falls upon a Thursday. Congratulations
are sure to flow in upon the veteran composer and teacher, for he
has pupils in every quarter of the globe ; and Leipzigers may be
The latest operatic novelty here is Smetana's A'uss, which in trusted to celebrate such an event in a special and befitting
point of musical interest is above the average of most recent manner.
productions. Smetana, I may slate for the benefit of those of my
readers who are not an fait with modern musical biography, was
a Bohemian by birth, and in his own country so absurdly
OUR MUSIC PAGES.
overrated as to be styled the " Bohemian Beethoven," a title he We give this month one of the four characteristic pieces
has about as much right to as Van Vondel to be called
the "Dutch" or Maeterluick the "Belgian Shakespeare." in Canon, written by Mr. Charles Wood, to which we
The one we have chosen is
Smetana died insane about nine years ago. It is a curious but have referred elsewhere.
indisputable fact that nations which have never produced a in f major, and our readers can see for themselves how
really great genius in any of the arts are the last to admit such perfect is the Canon throughout, and in what a natural,
It is a good
an unpleasant truth, however patent to the rest of the world. easy style the composer has written.
" All their geese are swans," to use an old saying. It may, example of the other three.
however, be admitted without cavil that Smetana was an
excellent musician, for there are many fine ideas and charming
passages in the A'uss. The libretto, unfortunately, has no such
characteristics ; it is tedious in the extreme. Some of the
music, too, is decidedly heavy, and the Bohemian nationality of
the composer is obtruded upon us with unpleasant persistency.
The opera had a mixed reception, in spite of the fact that full
justice was done to it by all the executants. The numbers most Double Counterpoint and Canon. By EBENEZER Prout,
applauded were a song entrusted to Fraulein Kernie, and a duet
B.A. (Edition No. 9,184.) Second Edition.
in the second act. Smetana was not infected by the Wagnerian Fugal Analysis. By Ehenezer Prout, B.A. (Edition
notion that self-contained movements are out of place in
No. 9,186.) Second Edition.
opera. Some of his numbers are very nicely rounded off; and, Musical Form. By Ebenezer Prout, B.A. (Edition
for that reason, well adapted for concert use.
No. 9,187.) Second Edition.
I must now speak of the two violin recitals given by Herr
(London : Augener &. Co.)
Concertmeister Halir, of Weimar, at the Old Gewandhaus, on
the 5th and 12th October. Three concertos were included in the No better proof could be affordedwere any required
programme of each recital. In the first, Beethoven, Brahms, and of the real need which existed amongst musical students
l'aganini were the composers drawn upon ; anil, in the second, and others for good, reliable, and consistent theoretical
Lalo, Spohr, and Tschaikowsky. Programmes of this sort have text-books, than the phenomenal rapidity which has
a certain educational value, but are apt to induce a sense of attended the sale of the first edition of the three volumes
monotony in the hearers. Though I have heard the Beethoven mentioned above.
"' Musical Form " made its first
concerto better played by Joachim, and those by Brahms and appearance only two months ago, " Fugal Analysis "
I'aginini more beautifully rendered by Brodsky and Hilf
respectively, I can state without reserve that Herr Halir is an preceded it by little more than a twelvemonth, and
accomplished violinist. His technical and intellectual attain " Double Counterpoint " has only been in the hands of
ments are truly remarkable, and entitle him to a very high the public for something like two years. Manifestly, a
great want has been supplied, for these books are being
position among contemporary players.
A concert in aid of the local Children's Hospital took place widely used and fully appreciated by the several classes
on the 9th of October, in the splendid new room of the Hotel of readers whose requirements the author has done his
de Pologne, which was used for the first time on this occasion. best to meet.
Music must indeed be studied in this
a letter before leaving. I never return home on Friday

early enough to save the country post.
I believe I
answered Mr. Williams's letter on the same evening ;
but by referring to the Postal Guide to see the times of
the delivery of London letters in Manchester, I find that
it is absolutely impossible that he could have received
a reply from me before midday on Saturday. If Mr.
Williams received my answer on the Friday night, as he
says, he must have written to me on Wednesday, not
Thursday. In his anxiety to prove that I arrived at a
hasty decision, he has misrepresented facts.
I will only add that the circular to which I referred was
a small leaflet of three pages, which would certainly not
take more than ten minutes to " read very carefully."
Having read it, it did not take me one minute to decide
what to answer. The question " What will you do if, in
time to come, Unionists refuse to play at an engagement
with you?" settled the matter in my mind instantly in the
negative. The criticism I sent to Mr. Williams was
directed to this point. He wrote back to me that if
compulsion were necessary, as it was for the benefit of
the profession, he believed 1 would admit that the end
justified the means. I replied that I declined to admit
any such doctrine, and that I was supported by the
authority of St. Paul, who, after speaking of those who
say " Let us do evil that good may come," adds "whose
damnation is just."
EBENEZER Prout.
tbteto$ of #eto j&u*it attir #eto
250
THE
MONTHLY
country to a considerable extent, when the first edition of

an abstruse treatise on Form (amounting to 1,500 copies)
can be exhausted in a space of time the brevity of which
might be envied by a popular novelist or a much-admired
writer of " shilling shockers." Sir John Stainer thinks
that " our real want in England at this moment is not
professional performers or even composers, but intelligent
hearers.* The higher musical education of our English
concert audiences promises to be un fait accompli at no
distant date, as we witness Mr. Prout's admirable series
of treatises quickly and surely making their way amongst
the various sections of our musical community. At any
rate, the ultimate result of all this dissemination of learn
ing can only be as Sir John predictsviz., that " a general
knowledge and acquirement of art amongst the many
percipients must inevitably raise the standard of excel
lence amongst the few producers." We have often before
had occasion in these columns to point out that Mr.
Prout's books are intended quite as muchperhaps
morefor listeners and performers than for composers
only ; it must, therefore, be a source of gratification to
both author and publishers to observe how thoroughly
their efforts are being recognised and accepted by the
music-loving public.
No system of teaching how to
analyze and how to compose music could be safer, or
more sound and true in all its details, than the method
which is consistently and unswervingly followed in every
page of every volume of this series, viz., that which is
founded upon the undoubted general practice of the
Great Masters. Such a method of conveying instruction
must, in course of time, entirely supersede the antiquated
maxims and rules which were hoary with age and mouldy
for want of use a century ago, and which still live (or die
hardly) in some quarters even now. May they eventually
and finally rest in peace !
Several important improvements have been made in
the second editions of the three books before us. In
" Double Counterpoint " the headings of the right-hand
pages have been altered to correspond with the subjects
treated in the chapters ; this alteration will greatly
facilitate reference, and save much time for busy readers.
The same capital idea might well have been carried out
in " Fugal Analysis" even as it was in the first edition
of " Musical Form." Doubtless, however, a third edition
is not very far off, and then this important feature of
uniformity may be more generally adopted in the series.
All three books appear to have received a most thorough
revision at the author's hands ; several slight typographical
errors which existed in the first editions have now been
set right. In 58 of Form there is the valuable addition
made to the definition of Moth>es that they " correspond
exactly to the feet in poetry " ; and, again, in 66 of
the same volume the author improves his original text
very much to the same purpose by substituting the ex
pression musical feet for musical words. We can onlywish these second editions as speedy an exhaustion as
that which befell their predecessors ; for such treatises
cannot fail to raise the standard of musical culture
wherever they go.
In very few libraries will Mr. Prout's
books gather dust upon the shelves !
Studies and Pieces contained in the Syllabus of the
Associated Board of the Royal Academy of Music
and the Royal College of Music. . B. Local Ex
aminations : Lower Division (Edition No. 6,134*:/
net, is.). Higher Division (Edition No. 6,1351-/ net,
is.). London: Augener & Co.
The two volumes for the local school examinations in
music, higher and lower divisions, each contain ten
' Mus'c in its Relation to the Intellect and the Emotions'" (p. 57).
MUSICAL
RECORD.
[November I, 1893.
numbersviz., the two studies and two pieces in each of

the three lists, excepting two numbers in each division,
which can be had only in a separate form. The volumes
are brought out with the same care as were those for the
local centre examinations reviewed last month, and we
need only say that both are exceptionally good collec
tions of useful teaching music, which will, doubtless,
command a ready sale long after the examinations are
over.
:
Twenty-five short Original Pieces for the Pianoforte.
We have here a set of pieces selected from the very
easiest compositions of Reinecke, Gurlitt, E. Krause,
A. Loeschhorn, and others, so tuneful and pretty, and
withal instructive, that they must prove a perfect boon
in the Kindergarten or elementary school, where teachers
are interested in awakening the love of music in the
minds of the youngest beginners. We are often asked
to recommend music of this class, and have hitherto been
obliged to name sets in which often only a few pieces are
suitable ; this collection, published in twenty-live separate
sheets, at the uniform price of is. each, relieves us of
this trouble, as all are good, and comprise a charm
ing variety (copiously fingered) with such titles as
" Idyll " ; "Evening Song" ; " A Sad Moment " ; " Bal
lad " ; " Prayer " ; " Valse Noble " ; " The Mill " ; " The
Little Postillion"; "Hunting Song," etc. etc., which at
once engage the attention of little players.
Dorfmusik (Rustic Scenes). 18 charakleristische Stucke
fur das Pianoforte. Op. 56. Von Richard KleinMICHEL. London : Augener & Co.
The second instalment of this set of short, easy pieces
brings us No. 4. Fahrende Sanger (Wandering Minstrels).
5. Jagergruss (Hunter's Greeting). 6. Beim Zitherspiel
(Cither-playing). 7. In der Kunstreiterbude (At the Circus).
8. Die Post kommt (The Post is coming). 9. Feierabend (Evening Rest).
10. Erntefest-Reigen (Harvest
Festival Dance). On perusal we find all are good,
although we have a decided preference for No. 10, and
next to that, Nos. 5, 6, and 7. No. 8, " Die Post kommt,"
will be found too difficult of execution by the young
people for whom these pieces are most serviceable, other
wise it would be effective enough. No. 10 is in valse
rhythm, and is remarkably bright and cheerful.
Trois Chansons de Stanislas Moniuszko, transcrites pour
piano. Par Sioismond Noskowski. (Edition No.
6,281; net, is.) London: Augener & Co.
Thf.se pieces are transcriptions of three songs by
Stanislas Moniuszko, entitled " L'abricot ; L'oiselet de
passage ; et les dons.'' The natural grace and quaint
simplicity of these songs appear to advantage in the
setting for piano by Noskowski, and we heartily recom
mend them as something out of the common, calling only
for a sympathetic player and an appreciative listener.
Sonatinc en sol majeur pour piano.
Par Ai.kked
Lauhach. London: Augener & Co.
The Sonatina consists of three movements, viz.. Allegro,
Andante, and Allegro. It is written throughout, as the
title implies, with due regard to the capabilities of young
performers ; and, being modelled on perfectly orthodox
lines, will be found very useful for teaching purposes.
The first movement is written in a vein of cheerful
melody ; the second, " Abends im Walde," is a beautiful
little tone-picture, and the last, " Jagdstiick," is noticeable
for an agreeable change from the everlasting -J- measure
to a skilful use of \ time to illustrate the hunters' gallop.
November i,i893.]
25l
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THE
MONTHLY
MUSICAL
RECORD.
255
We congratulate the composer on the production of a excellence, our suggestion may sound almost hypercritical,
very meritorious little work.
but we nevertheless make it for what it is worth.
Four Characteristic Pieces in Canon, for the Pianoforte.
By Charles Wood. Op. 6. London : Augener
&Co.
These four Canons (all of which are in the octave) are
most cleverly constructed, and are undoubtedly the work
of a musician of no little culture. As we give one of
them in extenso in " Our Music Pages " this month, there
is no need to refer to them here in detail, but we are sure
our readers will thank us for drawing their special atten
tion to this publication.
Nine Variations on the Air " Quanta c Bello," for Piano
forte. By L. van Beethoven. London: Augener
&Co.
The value of this composition as an educational piece of
the highest order has long been recognized alike by
examiners and teachers. The melodious theme lends
itself well to this form of composition, and the nine
variations are particularly flowing and agreeable to the
ear. The present edition has been carefully phrased and
a fingering added to enhance its value as an easy teach
ing piece.
Favourite Pieces. Arranged and fingered in a familiar

style for the Pianoforte by William Smallwood.
The four pieces before us are " La Cascade de Rubis,'
by Sydney Smith ; " Gondolina," and " Happy Thoughts,"
by Edouard Dorn ; and Roeckel's " Air du Dauphin."
They are certainly arranged and fingered in a familiar
style, but we may be pardoned for suggesting that the
familiar style is not always the best. For instance, we
are quite against the left-hand " thrumming," conspicuous
throughout three of these numbers, and we find ourselves
frequently at variance with the fingering indicated.
Die Lori vom Berge. Tonbild fur das Pianoforte. Von
Fritz Kirchner. Op. 484.
London : Augener
& Co.
This is a small, easy, and effective morceau de salon,
written in quite an unpretentious style, which, no doubt,
many young people will be glad to possess. It is full of
agreeable melody, and is carefully fingered.
Intermezzo pour piano. Par Amina Goodwin. Paris :
Enoch Frcres & Costallat.
This little piece of four pages is written in the spirit of
the modern French composers of salon music.
The
melody is extremely simple, but is sufficiently attractive
to please any listener. The Arpeggi and wide chords in
the accompaniment add greatly to its effect, and, indeed,
taken as a whole, it is a very creditable piece of writing
and deserves praise.
Symphonies. By Joseph Haydn. Arranged for piano
forte duet by Max Pauek. No. 12 in it flat. (Edition
No. 8,554/// ; net, is.) London : Augener & Co.
Tins month brings us No. y of the original Salomon set,
and No. 12 of the present edition the conclusion, we
take it, of the task that Mr. Max Pauer set himself to
accomplish just a twelvemonth ago. With the Editor's
intimate knowledge of orchestral music, and his experience
in the work of transcription, we predicted a success for
this undertaking which those of our readers who have
studied the work will know has been fully earned.
Perhaps Mr Pauer may see his way to enhance the value
of similar works in the future by indicating the chief
points of the orchestration. Where all is of such
Morceaux pour piano. Par Anton Strelezki. No.

55. Yalse Franchise.
56. Notturno en Si bemol
majeur. 57. Capriccio en Sol Majeur.
London:1
Augener & Co.
This writer's compositions are so often after the same
style that there is little to say in addition to our former
remarks. We have here a Valse Francaise consisting,
as usual, of two sections, both extremely melodious
though of a light character ; the same may be said of
the Notturno. The Capriccio is a little more worked
out, though largely made up of repetition. The three
pieces are of an attractive nature, and pleasing no doubt
to many.
C/assische Violin Musik beriihmtcr Meister ties 1 yten und
i8len Jahrhundcrts, nach den Originalwerken bearbeitet und mil Vortragszeichen versehen. Heft 29.
Purcell, Sonata, 11 minor (Edition, Xo. 7429 ; net, is.).
Heft 30. Purcell, Sonata, A minor (Edition No.
7,430; net, is.). Both for two violins, piano and
violoncello ad lib. London : Augener & Co.
We welcome with pleasure the appearance of this
excellent edition of the sonatas by this great English
composer, who was born in 1658 and died 1695, nearly
200 years ago. Henry Purcell is best known as the com
poser of church music (" Te Deum" and "Jubilate," etc.),
and, as far as we know, these sonatas appear for the first
time in this form, and have therefore not had a fair chance
of becoming standard works, as they deserve to be. They
will now no doubt take among the other favourite classical
compositions of the seventeenth century a place on the
music-shelf of the musical amateur, for use rather than
preservation. Those who wish to be possessed of repre
sentative compositions of the old school should purchase
the entire series, so ably edited and arranged by Gustav
Jensen, which, with four exceptions, are published at is.
each.
Vocalises avec accompagnement dc piano. Par J. ConCONE. Op. 12. Pour soprano ou mezzo-soprano.
(Edition No. 6,792a ; net, is.) Pour alto ou contr'alto. (Edition No. 6,792* ; net, is.) London :
Augener it Co.
It is unnecessary at this late period to eulogise the worldfamed vocalises of Concone, which are to-day regarded as
standard works for the cultivation of the voice, and with
justice too, for they combine beautiful ideas, exactly suited
to the purpose, with excellent technical material. They
have easy pianoforte accompaniments which are neither
thin nor heavy, but just sufficient to support the singer
and make his practice enjoyable, showing the writer to
be a thoroughly practical musician. The work before us
(Op. 12 ; 15 vocalises) is now to be had in two octavo
editions one for soprano or mezzo-soprano, the other for
alto or contralto both published in Augenei's Cheap
Edition.
Quartet for Two Violins, Viola and Violoncello. By
Ignaz Lachner, Op. 104. (Edition No. 7,217 ; net,
2s. 6d.) London : Augener & Co.
One listening for the first time to this quartet, might at
once credit Haydn with its authorship, and wonder
whether it could possibly be an hitherto unpublished
work of his, so successfully has the old master's style been
imitated. On turning to the title-page we observe that it
is "dem Andenken Joseph Haydn's gewidmet," and
forms Op. 104 by this composer, whose well-known trios
for piano, violin, and viola, as well as many other of his
compositions, are already established favourites amongst
us. The quartet under notice is easier than the majority
ce for violin, and

and violin. Mile.
. Davies the pianist,
following Saturday,
iin, an esteemed proI Kahn is, to some
ver, his quartet is not
ood workmanship and
Miss Fanny Davies,
and Wliitehouse. An
f Mendelssohn's E flat
.he Romance by Max
in Sonata Both ladies
ne Oudin sang four of
ilCAL ITEMS,
netli, in the orthodox four
J. SenorAlbeniz is engaged
oduced in Madrid. Messrs.
lall Chamber concerts on
menced her provincial tour
at success. Madame Minnie
15th, and spent a few hours
for a five months' tour in
gone to Paris for a brief stay,
starring " engagement at the
te will probably also sing at
tte Sterling is again in England.
)t concerts at St. Petersburg and
256
THE
MONTHLY
of Haydn's, therefore supplying a most entertaining work

for many who wish to commence the practice of string
quartets, a class of composition more trying than any
other to young players. Especially deserving of notice
are the two middle movements, Andante grave, and
Allegro vivace, the latter movement introducing in a
most humorous manner a strain of a very popular air,
intended no doubt as an adoption of Haydn's own keen
appreciation of humour, so frequently met with in his
symphonies. We sincerely hope to receive more works
of this kind from the pen of the same clever writer.
Twelve Operatic Choruses, arranged for female voices,
with pianoforte accompaniment by H. Heale.
" Let's be Merry." Two-part chorus from Weber's
Oberon. (Edition No. 4,148 ; net, 4d.) London :
Augener & Co.
This series closes as it began, with a chorus from Weber's
Oberon, adapted for two soprano voices with quite a
happy result. The music is particularly tuneful, and
where, in one or two places, it may be found too florid for
ordinary purposes, an alternative is provided which keeps
as closely as possible to the original. In the absence of
a national opera, one must welcome all such attempts as
this to open what is practically a sealed book to so many
English folk.
Six Songs. By Emil Kreuz. Op. 27. (Edition No.
8,882 ; net, is.) London : Augener and Co.
The titles of these songs are, respectively: (1) "O,
Remember the Time," (2) "Here's the Bower," (3) " O,
soon return," (4) " Could'st thou look as dear," (5) "A
Finland Love Song," (6) " Love thee, dearest, love thee."
The first song (the song of the Castilian Maid) has a
quaint accompaniment with a strong Spanish accent
about it. The second we noticed last month. Nos. 3
and 4 seem to us to suffer somewhat by over-elaboration
of detail. No. 5 has a straightforward melody with a
cleverly worked-out accompaniment, and No. 6 (which
with No. 1 takes our fancy most) is both melodious and
graceful. The composer always has something to say to
the educated musician, but the majority of his songs are
a long way above the average singer and listener. He is
no doubt (rightly) anxious to educate the popular taste,
but we may perhaps suggest to him that he could do this
so much better if his song work were a little simpler.
MUSICAL
RECORD.
[November I, 1893.
"On a faded Violet"; " O, Gentle Sleep." Songs by

Hamish MacCunn. London : Augener & Co.
These songs claim our attention particularly on account
of their skilful harmonization, which is distinctly of the
German school. The last chord on page 1 of " On a
faded Violet " jars on our sensitive ears, but with this
single exception the song pleases us exceedingly. " O,
Gentle Sleep," words by James MacCunn, is effective on
every point.
The melody flows evenly to a rippling
accompaniment, which is kept up to the end. Both are
for a medium voice, and are well worthy of admiration.
We trust they will meet with hearty appreciation.
(^jprras anto ontttti*

SAVOY THEATRE.
The production of a new opera by Messrs. Gilbert and Sullivan,
on the 7th of October, attracted an immense audience to the
Savoy Theatre, and the author and composer had a most
enthusiastic welcome. Such cheering as that which greeted Sir
Arthur Sullivan when he stepped into the orchestra to conduct
the opera we can scarcely remember. It was a most spontaneous
tribute to a native composer. The new opera, called Utopia,
Limited; or, Flowers of Piogress, is written in Mr. Gilbert's
happiest vein, and his " Topsy-turveydom " theories are once
more introduced in the most amusing fashion. As most readers
are by this time well acquainted with the libretto, we need only
refer to the principal idea, which is that of a savage monarch,
ruler of an island in the South Pacific, having an idea of adopt
ing the manners and customs of this country. This is brought
about by his daughter, the Princess Zara, who, after being
educated at Girton, takes back to her native land representatives
of British institutions, who make a complete change in King
l'aramount's kingdom. To the libretto, which is very witty and
satirical, Sir Arthur Sullivan has set charming music. There is
no overture, but a prelude founded on a gavotte, which occurs in
the I ) rawing- Room scene, where visitors are presented to the king.
Mr. Rutland Barrington, who played the dusky monarch with
much drollery, has some grotesque songs, and a very funny con
certed movement is that in which a Council of State is conducted
after the pattern of a " Christy Minstrel " performance. Some
very pretty feminine choruses are heard in the opera, and some
lively " patter songs " in the composer's best style One of these
is the song of a " Company Promoter," who reveals the system
of starting Limited Liability Companies in some satirical verses.
The heroine was Miss Mcintosh, who was very graceful and
attractive, but wanted greater volume of tone. She sang,
however, in a pleasing manner, and the composer had given a
charming vein of sentiment to a love duet, in which Miss
Mcintosh was associated with Mr. Kenningham, who has a
laughable ditty, in which a popular tenor is supposed always to
break down on particular notes. It was very droll and clever.
Some of the processional music in the Drawing- Room scene was
also excellent, and the blending of admirable musical ideas with
a dash of the grotesque recalled the style of Offenbach. But in
many instances the composer has written music of a thoroughly
artistic kind, which will be appreciated by those who examine
the score. The reception of the opera was so flattering that it
will probably run for a year or two.
Old English Melodies, arranged for three female voices.

By A. MOFFAT. Books I. and II. (Edition Nos.
4,292 and 4,293 ; each, net, is.) London : Augener
& Co.
WE can give this work unstinted commendation. The
Editor has unearthed English music of 200 years ago,
which comes with all the freshness of novelty. Each
book contains six numbers, written for soprano, mezzosoprano, and contralto, the parts being carefully disposed
to suit the compass of the different voices. In the first
book we are especially pleased with " The Swallow and
the Willow," " The Sweet Rosie Morning," " Gentle
PRINCESS'S THEATRE.
Murmurs," and the minuet " Spring, bright and fair,"
and we can say the same of " Robin Hood " and " The An odd experiment was made on the occasion of the reopening
of this theatre, on Monday, October 16th, by Mr. John
Castabclla " in the second book.
Hollingshead, formerly of the Gaiety Theatre. This was the
A Gondola Song. Words by Charles D. Steele. transformation of the old melodrama, 77/* Green Bushes, into an
Music by C. Vanden Dvck. London : Augener & opera. The piece was written by Mr. Buckstone, and produced
as far back as 1845, hut it does not appear well fitted for operatic
Co.
purposes. After the fashion of the old English ballad operas, a
A remarkably agreeable setting, in the usual 5 measure, song, a duet, a concerted movement, are introduced hap-hazard.
of some well-written words, which is sure to take the Sometimes they suit the scene, character, or incident, but asoiten
popular fancy. It is at present published in the key of as not they fail to do so, and one has the feeling that an operatic
E flat with a compass C F, but it will no doubt appear libretto should be especially adapted for musical purposes, or
before long in other keys, to suit different voices.
it is a failure. There is something crude in the story of The
November i, 1893.]
THE
MONTHLY
Green Bushes, and if there was an idea that it would make

another Lily of Killamey, there must have been some disappoint
ment. Mr. Hadyn Parry has done fairly well in the music,
which is of the familiar ballad style for the most part. Miss
Violet Cameron, Miss Jessie Bond, Miss Clara Jecks, Mr.
Courtice Pounds, and Mr. Richard Temple represented the
respective characters
Mr. Hollingshead proposes to revive
Handel's Kinaldo and Dr. Arne's Artaxerxcs. They will be
musical curiosities for modern opera-goers.
LYRIC THEATRE.
Little Christopher Columbus at this theatre only calls for
notice owing to some clever music composed for the piece by
Mr. Ivan Caryll, who had scarcely justice done to his musical
ideas, owing to their being mixed up with music-hall tunes and
negro minstrel melodies. In fact, the taste for music-hall enter
tainments almost eclipsed the really musical claims of the piece,
which is mainly what is now popularly known as a " variety
show."
PRINCE OF WALES'S THEATRE.
A Gaiity Girl, produced at this theatre on Saturday, October
14th, had a sensational introduction to the public owing to the
licence having been refused, but alterations were made and A
Gaiety Girl had considerable success, in which the music had
a full share. This is by Mr. Sidney Jones, and it is not with
out merit of an unpretentious kind. The composer has a fluent
vein of melody, and some of the songs were very successful.
Mr. Hayden Coffin, Miss Lottie Venne, and other popular
performers were very successful in the music.
On Saturday, 14th October, the thirty-eighth season of Crystal
Palace Concerts commenced as usual. Mr. Manns, true to his
principles, gave in the concert some examples of works by native
composers. Among these must be mentioned the overture to
Macbeth, which Sir Arthur Sullivan wrote on the occasion of
the revival of that play at the Lyceum Theatre. It is one of the
best examples of the composer's dramatic music, and should be
more frequently heard. Another work by an English musician
deserves cordial praise. This was a ballad for the orchestra
suggested by a poem of Uhland called "Durand." The com
poser is Mr. Godfrey Pringle, formerly a student at the Royal
College of Music. The ballad might rather be termed a
symphonic poem, and in the performance it could be clearly seen
that Mr. Pringle has a strong feeling for orchestral colouring.
His themes are not very characteristic, but they are well intro
duced, and the instrumentation is effective, and. considered as the
work of a student, it is full of promise. Mr. Pringle was called
to the orchestra at the conclusion and warmly applauded. We
cannot be complimentary respecting the arrangement of a portion
of the love duet in the second Act of Wagner's Tristan. The
solo parts are given to the cornet and trombone, which instru
ments we grant were well played ; but remembering how bitterly
the composer himself railed at the-e " arrangements," which
may be more properly called dis-arrangements, we must con
demn the experiment made by Herr Arthur Seidel, which was
well-intentioned but a mistake notwithstanding. M. Slivinski
played with power and brilliancy the excellent concerto for the
pianoforte in c; minor, Op. 22, by M. Saint-Saens, a work in
which the composer has ofien distinguished himself. Miss Esther
Palliser sang an air from Pagliacci and M. Henschel's " Spring
Song." Beethoven's No. 4 Symphony in 11 Hat worthily con
cluded the concert. On Saturday, 21st, as a tribute to the
memory of M. Gounod, his "Marche Religieuse," and the over
ture to Mireille were played. The overture was the original
work written when the opera was performed in five acts. The
prelude to the Eumenidesoi .Eschylus, by Mr. William Wallace,
gave a favourable impression of the advance the young com
poser is making. Miss Frida Scotta, the Danish violinist,
played the concerto of Saint-Saens in B minor, and songs were
given by Miss Emma Juch and Mr. David Bispham. Schumann's
H flat symphony was also included in the concert, and was finely
played.
MUSICAL
RECORD.
257
SARASATE CONCERTS.
On Saturday, October 14th, Seiior Sarasategave his first concert
of the present series, there being an immense audience. The
brilliant Spanish violinist we are glad to see introducing music
of the highest class to blend with works intended merely for
display. Thus we find the beautiful c minor Sonata of
Beethoven for pianoforte and violin in the programme, and it
was charmingly played by Sefior Sarasate and Madame Berthe
Marx, who has greatly increased in popularity. The violinist
was again associated with Madame Marx in the duet sonata
of Raff in A major, the second of his five sonatas. It is a
graceful and melodious work, equally welcome for its learning
and its flowing melody. As solos Sefior Sarasate played the
attractive " Legende " of Wieniawski, the "Witches' Dance"
of Bazzini, and a brilliant Bolero of his own composition. His
success was so great that he was compelled to play other pieces
in response to the demand for repetition. Madame Marx played
Chopin's Scherzo in K, and Thalberg's Study in A minor, and
being encored gave a transcription of a Schubert melody in
most artistic style. The enthusiasm of the vast audience was
remarkable.
POPULAR CONCERTS.
The first Monday Popular Concert was given on the 16th, and
included Beethoven's Quartet in c major, Bach's Chromatic
Fantasia for pianoforte, Svensden's Romance for violin, and
Schumann's Sonata in A minor for pianoforte and violin. Mile.
Wietrowetz was the violinist and Miss Fanny Davies the pianist.
M. Eugene Oudin was the vocalist. On the following Saturday,
a pianoforte quartet by Herr Robert Kahn, an esteemed pro
fessor at Leipsic, was performed.
Herr Kahn is, to some
extent, a follower of Brahms. If, however, his quartet is not
strikingly original, it has the merit of good workmanship and
refinement of style.
It was played by Miss Fanny Davies,
Mile. Wietrowetz, and Messrs. Gibson and Whitehouse. An
artistic performance was also given of Mendelssohn's E flat
quartet ; Mile. Wietrowetz played the Romance by Max
Kruch, and Miss Davies the Waldstein Sonata Both ladies
were several times recalled. M. Eugene Oudin sang four of
Gounod's songs.
A new symphony by Signor Mancinelli, in the orthodox four
movements, will shortly be performed. Senor Albeniz is engaged
in composing a grand opera to be produced in Madrid. Messrs.
Hann resumed their Bington Hall Chamber concerts on
October 30. Madame Patti commenced her provincial tour
on the iSlh at Sheffield with great success. Madame Minnie
Hauk came to London on the 15th, and spent a few hours
visiting friends before departing lor a five months' tour in
America. Madame Melba has gone to Paris for a brief stay,
and will shortly undertake a "starring" engagement at the
Stockholm Royal Opera. She will probably also sing at
Copenhagen Madame Antoinette Sterling is again in England.
M. Eugene Oudin is engaged for concerts at St. Petersburg and
Moscow.
*
There is little to record of the doings at the Grand
Opera during the past month save the grand sensational
event of September 18th, when the young, newly-appointed
conductor, M. Paul Viardot, in conducting a performance
of La Valkyrie, lost his place during the final duet of
Act I., and, after a vain attempt to recover himself, was
obliged to stop the orchestra and order a fresh start.
The audience gave vent to loud hisses, and at the close
of the act, M. Viardot was replaced by M. Ed. Mangin.
The unfortunate chef has since excused himself by plead
ing that he was suffering from a complaint in the ear;
but he found it advisable to resign his post, and M.
Mangin was at once appointed in his place. Le Figaro,
in championing M. Viardot, pretends that such accidents
258
THE
MONTHLY
are unavoidable in dealing with Wagner's music, and

even declares that they frequently occur in German
opera-houses. We suspect that the Figaro would be hard
put to it to quote any instance of such an event in any
German theatre of note. The production of Reyer's
Sigurd has been delayed by an accident to M. Sal&a,
who is cast for the part of the hero. M. Taffanel, the
chief conductor, has been attending the Wagner per
formances at Munich it is believed, with a view to the
production of Tristan next year. The strange jumble
of pieces performed on the occasion of the State visit of
the Russian naval officers must be excused as dictated
rather by political and patriotic than by musical con
siderations. The sad death of M. Gounod on the morn
ing of the 1 8th is an event which will be heard of with
profound regret all over the civilised world, for of all
French composers, he was the most universally known.
The Ope>a Comique has not done much that needs
notice. Two little one-act pieces, Le Diner de Pierrot,
music by Ch. L. Hess ; and Madame Rose, by Antoine
Banes, were produced together on September 25th, but
have little claim to be regarded seriously. One wonders
why M. Carvalho chose them. It was thought that the
occasion would have been seized to bring out the opera
of M. Cui, which has long been in rehearsal ; but M.
Carvalho seems to have changed his mind again, and is
now busy with Bruneau's work, which may be expected in
the course of the month unless something else should
happen. Intimations have been given that the style of
the Attaque du Moulin will be totally different from that
of Le Rive, as required by the difference of the subjects.
Manon attained its 200th performance on Monday, the
1 6th ult., and the composer came from Brussels to be
present, in order that he might personally thank the
artists to whom he and his work owed so much. Nego
tiations are going on with a view to the reappearance of
Mile. Van Zandt, who has not been heard in Paris for
some years.
A VERSION of Sophocles' Antigone, by MM. Vacquerie and Paul Meurice, is to be produced at the
Comedie Frangaise, andthanks to the ultra-patriotism
now raging in Paristhe music of Mendelssohn is to be
discarded in favour of a new score to be written by M.
Saint-Satins, who tells the world that his work will be
more literary than musicala sort of rhythmical and
measured me'lopce, having more in common with plainsong than with music. We wonder whether M. SaintSaens thinks that his plain-song will supplant Mendels
sohn's music.
THE season at Brussels promises to be unusually
brilliant. The company at the Theatre de la Monnaie is
said to be distinctly superior to most of those of late years,
and already Mmes. Armand, de Nuovina,Horwitz, Lejeune,
Tanesy, and MM. Cossira, Leprestre, Massart, Seguin,
etc., have secured the favour of the public. Tristan is
still contemplated as the grand feature of the season, but
Werther and Manon are now in preparation, and there
is a talk of reviving Gevaert's Quentin Durward, one of
the composer's chief works, which has not been given
for many years.
A Flemish opera company has begun a season at
Antwerp, and their first production was Der Freischiitz.
However, they promise by-and-by a real new Flemish
opera by Peter Benoit, entitled Meilief.
The new director of the Munich Opera, Herrv. Possart,
may certainly feel proud of the result of his first nine
months of management. Thanks chiefly to the success
of the Wagner performances, a net profit of 180,000 marks
has been made, which not only wipes out the previous
deficit of 125,000 marks, but covers the amount expended
MUSICAL
RECORD.
[November I, 1893.
on scenery and other extras. It is intended to increase

the company and to take other steps to maintain and,
if possible, add to the high reputation now enjoyed by
the Munich Opera. The list of novelties intended to be
produced during the coming season is almost portentous :
Mascagni's Rantzau, Briill's Schach dem Kbnig, Humperdinck's Hansel u. Gretel, Smetana's Verkaufte Braut,
Rich. Strauss' Guntram, Verdi's Falstaff, Hans Somrher's
Saint-Foix (a one-act piece), Berlioz's Les Troyens, and,
perhaps, Kistler's Kunihild.
The Prince Regent of Bavaria is about to offer for
competition a prize of 6,ooo marks for the best German
opera as yet unperformed. The full conditions for the
competition are not yet published.
A TRIPLE bill (as theatrical announcements put it) was
presented at the Berlin Opera House on the nth ult.,
consisting of three noveltiesBriill's Gringoire, a oneact piece, Mara, by Ferd. Hummel, both of which, but
especially the first, were favourably received ; and a
stage performance of Mendelssohn's Walpurgis-Night.
If the composer had lived to hear of this perversion of
his work, his notorious dislike to Berlin would probably
have been greatly strengthened. Fortunately, the success
does not seem to have been such as to encourage any
would-be imitators. It is said that Falstaff is to be the
next novelty. Mascagni's Ratcliff has been postponed
till February next, as the composer contemplates a con
siderable alteration of the score.
The closing of the opera season at Kroll's Theatre is,
as we anticipated, only temporary, but it will be of some
duration. The performances will be renewed early next
summer.
The concert-season at Berlin has set in with consider
able severity. The symphony concerts of the Konigliche
Kapelle, under Weingartner, began on the 3rd ult., with
a programme of three symphonies by Haydn, Mozart
and Beethoven. The concerts of the Philharmonic
Orchestra, now led by Prof. Mannstadt, began on the 5th.
The Philharmonic Concerts, hitherto presided over by
v. Biilow, will this year be conducted by Levi, of Munich,
for the first two, and Schuch, of Dresden, for the others,
Dr. v. Billow's health not being such as to admit of his
undertaking the duties at present. Artists' concerts are
already almost as numerous as though it were the height
of the season. Two which deserve especial mention are
that of young Argiewicz, the latest juvenile prodigy on the
violin, and that of Felix Berber, also a violinist, who
introduced a new concerto of some merit by Fritz Kaufmann, and at which a new American soprano, Mrs.
Hascall, made a very successful debut, winning an encore
for Purcell's song, " Nymphs and Shepherds."
THE world seems likely to hear a good deal of the
operas of the Bohemian composer Smetana. There are
eight of them, and the whole set have just been given at
Prague in chronological order, with very exceptional and
very significant success. Die Verkaufte Braut'has already
won much favour at Vienna and Berlin, but at Prague
Das Geheimniss (The Secret) seems to have achieved an
even greater success. Another of the set, The Kiss, has
just been produced at Leipsic, and many other opera-houses
are about to introduce Smetana to their patrons. The
great drawback is likely to be that the serious operas are
too national in subject, and the comic ones too trivial ;
but the high musical merit of both kinds is admitted.
A rather unpleasant controversy, apropos of the
posthumous opera of Peter Cornelius, Gunlod, has been
honourably settled by the withdrawal of the edition
published "as completed by Dr. Ed. Lassen." It appears
that large portions which Lassen supposed to be the work
of Cornelius had really been supplied or supplemented
November i, 1893.]
THE
MONTHLY
by Hoffbauer, a musician to whom the score had been

sent for completion. Hoffbauer died a little while ago,
but an independent investigation has proved his claim to
the disputed portions, and Dr. Lassen has declared that
nothing could be farther from his wish than to claim any
credit which is properly due to another.
Felix Mottl's opera, Fiirst u. Sanger, which narrowly
escaped being a total failure on its production at Carlsruhe, has been more fortunate at Mannheim, where it
was produced on September 22nd, under the conduct of
the composer.
Munich is to have a second permanent orchestra,
thanks to the zeal and perseverance of Herr Dr. Kaim,
who has got together a body of players, to be entitled the
" Philharmonic Orchestra," and with great difficulty has
at last succeeded in securing the Odeon-Saal as the locale
for their performances. Herr Winderstein is to be the
conductor.
Eugen d'Albert'S new opera, Der Rubin, was pro
duced at Carlsruhe on October 12th, and very well
received. It is said by the best critics to be a work
which shows the composer to possess individuality and
independence, a striking power of dramatic characterisa
tion, and very skilful thematic development. The style
is distinctly Wagnerian, but without any trace of imita
tion ; the lion's share of melodic interest is, perhaps,
given rather too decidedly to the orchestra, but the de
clamation of the vocal parts is very masterly.
Other new operas of the last month are Aglaja, by Leo
Blech, at Aachen, and Der Pfeifer v. Hardt, by Ferd.
Langer, at Stuttgart ; and, though not a novelty, the pro
duction of Berlioz's Cellini at Darmstadt should be
recorded. The operas of Berlioz are making their way in
Germany.
Rubinstein's oratorio, or, as he prefers to call it
sacred opera, Moses, is to be performed for the first time
in public, at Vienna, on December 3rd, by the Gesellschaft
der Musikfreunde.
The Liszt-verein of Leipzig has secured the help of a
number of distinguished conductors for this season's con
certs Rich. Strauss, Weingartner, Zumpe, Mr. F. H.
Cowen (!) and Siegfried Wagner (!!). Herr Stavenhagen
will perform his new piano concerto at one of the concerts,
and many other distinguished soloists will appear.
The Jubilee Festival of the Mannergesangverein of
Vienna (October6th to8th)went ofifbrilliantly. Newworks,
which had been written for the occasion by Gernsheim,
Bruch, Bruckner, and Kremser (the society's conductor),
were sung, and at the grand banquet 2,000 guests were
present. The United Liedertafel Societies of North
Germany sent a bAton made from the rose-tree, said to be
a thousand years old, which grows (or grew) outside the
cathedral of Hildesheim.
AMONG the new works announced for performance at
the concerts of the Museumsgesellschaft at Frankfurt is
a concert-overture by our young countryman, Mr. Fred
Lamond.
Herr Nickisch, the new conductor of the Opera
House at Pesth, is setting to work with remarkable
energy.
Besides giving particular attention to the
national music of Hungary, lie contemplates giving a
cycle of the operas of the lately deceased Franz Erkel ;
he hopes to produce a new Hungarian opera, Wagner's
Tristan and Meistersinger, and Puccini's Manon. Smetana's Verkau/te Braut he has already produced.
Herr Reinthaler has retired from the post of organ
ist and choirmaster of the Cathedral of Bremen, which
he has held for thirty-five years, and is succeeded by
Herr Ed. Nossler.
A publication which should be of very great interest
MUSICAL
RECORD.
259
is about to be issueda selection of the airs from the

operas of Schubert which have little chance of a stage
performance. It will consist of two volumes, one for
female, one for male voices, and is edited by Philip
Scharwenka and Dr. Hugo Goldschmidt. All singers
may be advised to look into this.
Messrs. Breitkopf and Haertel are about to pub
lish a supplementary volume of hitherto unpublished piano
pieces and songs by Schumann, edited by Herr Brahms. It
will contain the original version of the variations for two
pianos, Op. 46, five variations belonging to the Etudes
Symphoniques, which were omitted in the published
version, a scherzo intended for the Sonata in F minor,
and Schumann's last composition, a theme on which he
intended to write variations, dated 7th February, 1854.
The theme is given, but it is not thought proper to pub
lish the variations, written just before the composer's
brain gave way. Some unpublished vocal pieces are
also included.
The report of the marriage of Mile. Virginia Zucchi is,
we are informed, incorrect. We found it in several
foreign papers, whose information there seemed no reason
to doubt. Another distinguished artist, Mme. Materna,
a report of whose recent marriage has appeared in several
papers, but not in these columns, has contradicted the
report.
Herr Samuel de Lange, the distinguished Dutch
organist, has accepted a post as teacher at the Stuttgart
Conservatoire.
Preparations have begun at the Teatro Dal Verme
of Milan for the production of Leoncavallo's new work,
/ Medici. The critic of the Neue Freie Presse appears to
have read the libretto, and describes the fourth act as
remarkably powerful. The cast is expected to include
Signoras Stehle and Gini-Pizzorni, and Sigs. Tamagno,
Beltrami, Scarneo and Contini.
A mass in five parts by the Belgian composer, Edgar
Tinel, author of the oratorio Franciscus, was performed
in the Cathedral of Milan on September 8th, but, as we
gather from the Gazzetta Musicale, accompanied by the
organ only. As the mass is numbered Op. 41, it would
appear to be one of its author's latest works.
A grand concert was given at Bergamo on September
18th, in aid of the Donizetti Memorial Fund. Sig. Piatti,
himself a native of Bergamo, gave his services, and
played two movements from his own second concerto, as
well as some smaller pieces, one of which, a Fantasia on
themes from Linda, excited an enthusiasm unusual even
for an Italian audience. The illustrious violoncellist
has received the dignity of Commendatore of the Order of
the Italian Crown. The Donizetti fund has reached the
amount of 17,500 lire the required amount being 40,000
lire.
A report, probably entirely unfounded, appears in
some of the Italian papers that Mascagni is trying his
hand at a drama, without music, for the tragedian
Novelli.
SlGNOR Paderewski is engaged on an opera the
subject of which is taken from the history of Poland.
A work is about to be published in Vienna which
should be of great interest "The International Exhibition
for Music and the Theatre, Vienna, 1892." It will con
tain, besides articles on the special features of the exhibi
tion, numerous reproductions of musical compositions,
manuscripts and letters of famous musicians, many of
which have never before been published or exhibited. A
volume of " Notes and Letters, by N. W. Gade," has also
appeared at Basel.
The well-known writer on music, La Mara, has
published two volumes of " Musical Letters of Five
26o
THE
MONTHLY
MUSICAL
RECORD.
[November I, 1893.
Centuries," containing many curious and hitherto unknown | (Verona, 1856) and Guerra in quattro (Milan, 1861).
letters by Orlando Lasso, H. Schiitz, and other early He was born November 12th, 1817. Mr. J. Waterson,
musicians ; the second volume comes down to our own formerly bandmaster of the 1st Life Guards, and a popu
lar composer and arranger of military music, died in the
times.
A Stahat Mater for soli, chorus and orchestra, by middle of October.
Mr. Henschel. has been accepted for performance at the
Birmingham Festival next yc?r. Mr. Henschel will con
duct his own work.
SUBSCRIPTION
per Annum {Free by Posl), 2S. 6J.,
The report, which has before been circulated, is again
revived that Mine. Nordica has been engaged for next
The Number of the "Monthly Musical Kecord"
year's performances at Bayreuth, when, it is said, she will
play Elsa, and perhaps also the part of Kundry. To be is 6,000 per month. This can be verified at Messrs. C ass ell
&
Company's, the Printers, Belle Sauvagt Yard, Ludgate Hill.
the first Elsa at Bayreuth will be indeed an honour to be
proud of, and we hope Mine. Nordica may enjoy it.
is as follows :
The third Cheltenham Musical Festival, which owes
Per Page
j o o
8
in.
by
3
2x60
its existence to the enterprise and energy of Mr. J. H.
4 IN. BY 3
X XO O
Matthews, a local professor, was celebrated from October
2 IN. BY 3
O 16 O
X IN. BY 3
090
16th to 20th.
The chief works performed were the
Smaller Advertisements at the rate of xs. per line.
Messiah, Golden Legend, Stabat Mater, and some novel
tiesa Festival Ode by B. Tours, a setting of Milton's there is room, or if the character of the advertisement admits of its publica
tion in the Monthly M usical Record. When Testimonials are mentioned
" Sweet Echo," for eight-part chorus, by Dr. Iliffe, etc.
advertisements, the originals must be produced before such adver
Dr. Mackenzie has again been commissioned by in
Mr. Irving to write music for a forthcoming play at the
Lyceum by Mr. Comyns Carr, on the subject of King
Arthur.
Mr. Max Pauer has been appointed Court-pianist by
Standard Concerts (such as the Monday and Saturday Popular,
he Grand Duke of Hesse [Grossherzogl. Hess. Kammcr- established
The Philharmonic, 6tc), and it is requested that tickets for other Concerts
Virtuos).
may not be sent.
The report of the death of Mme. Marie Basta is
erroneous. The lady's brother writes to the papers to
say that his sister is alive and well in New York, and
NEW VOCAL MUSIC
about to start on a concert tour in the States.
Deaths. The biography of M. Gounod, who died on
October 1 8th, is given in another column. Compared
with this great loss, the other deaths of the month are
SONGS.
not very imporlant. On September 9th, Paul Ehrke
To Eva. No. 1, in a flat ; 2, in f ; 3, in t flat
each 4
(born 1 8th March, 1840), for many years buffo-baritone
3
"
When
thou
art
nigh
"
3
at Leipsic and Hamburg, where he enjoyed a great re
" All on a fair May morning"
3
putation, though somewhat overshadowed by his senior

" Heart be stout and eye be true*' ...
3
1
A Flower Auction
...
companion Freny. Ehrke was the original Beckmesser
Do noL vex thy Violet ...
...
3
n the first performance of the Meistersinger in England,
If a nobler waits for thee
3
ind a better Beckmesser has never been seen. His con
Many days and many ways ...
...
...
3
On a faded violet
3
ception was no doubt derived from that of Freny, who
O gen'le sleep
4
got his idea of the part from Wagner himself.Ant.
When roses blow
3
Vocal Album. Six Songs (the words by Lady Lindsay) :
J. B. Dubrucq, who died September igtb, was the wellNo. 1. Wishes. " In the Meadows'*
known and admirable player who was for many years
a. A flower message. " I'll give my love a posy " ...
first oboist at the Crystal Palace, Richter, and other
3. Doubting. " Nay, do not ask me once again " ...
first-class concerts. Lady Eastlake, widow of the former
land T"
President of the Royal Academy, was the authoress of a
Golden Days. " Sweet, remember golden days''.
6. Hesper. *rO
*n for
- a light little boat '
sprightly and clever article on " Music," which appeared
in the Quarterly Review for September, 1848, and has
been republished in Murray's " Home and Colonial 4916 " Another glass before we go." For Male Choir (A. T. T. B.
and H.)
net 6
Library." She died October 2nd, aged 83. According
the Primrose Time o' the Year." The words by William
to a paragraph published in a Swiss newspaper, Maurice 14051 "In Black,
set for S. A. T. T. and B.,with Pianoforte Accomp,
Dengremont, a once famous juvenile-prodigy violinist,
net 4
London : AUGENER & CO., 86, Newgate Street, E.C ;
died lately at Buenos Ayres. He was born in Brazil of
1, Foubert's Place and 8r, Regent Street, W.
French parents, in 1867, and coming to Europe in 1877,
attracted great notice as a wonderful performer for some FOUR CHARACTERISTIC PIECES in Canon,
\ears ; but for many years past nothing has been heard
of him.Towards the middle of September Mr. J. S.
CHARLES WOOD.
Dwight, the founder of Dwighfs Journal of Music, the
Of. 6. No. 1, in c ; 2, in a minor ; 3, in F ; 4, in c.
earliest musical journal of America, died at Boston,
Price 3s. each.
aged 80. His journal was first published in 1852, and AUGENER & CO., 86, Newgate Street, and 1, Foubert's Place. London.
was discontinued in 1881. Carlo Pedrotti, who threw
AUGENER'S LIST of "BOUND VOLUMES
himself into the Adige at Verona on October 17th, was
an operatic composer of some eminence, especially in A. OF MUSIC SUITABLE FOR SCHOOL PRIZES, PRESENTS,
comic operas, but he also did good service by founding Etc," also List of ' CANTATAS, Ere, SUITABLE FOR PER
AT SCHOOL FESTIVALS, MUSICAL PARTIES,
some excellent orchestral concerts at Turin, in days FORMANCE
Etc,'' to be had gtatis.
when good orchestral concerts were almost unknown in
London : AUGENER & CO., 86. Newgate Street, E.C. ;
Italy. His best-known operas were Tutti in Maschera
1, Foubert's Place, and 81, Regent Street, W.
HAMISH
MACCUNN.
November i, 1S93 ]
THE
MONTHLY
MUSICAL
RECORD.
^TTQ-EnSTEIR'S
LIBRARY
OF
FOR
PIANOFORTE
STUDY AND
MUSIC
AMUSEMENT.
A Collection of Studies, Classical and Drawing-room Pieces, Selected, Revised, and Fingered by
E.
Junior Grade.
PAUER.
Senior Grade.
I.A'rAd. a'av".
5981 Book I
Studies : M. Szymanowska, Study in A flat ;
X. Scharwenka, Prelude in C.
Andante in E flat.
of Camacho " ; Moszkowski, Scherzino in P.
5^61 Book I
Studies: Steibelt, in A minor; Hummel, in D;
E. Pauer, in G.
Pieces: E. Muller, Capr'ce in c; Clementi, Adagio
con espressione.
Gloire"; Loeschhorn, Romania in A minor;
Lanner, Original Styrian Dance ; 3 National
Polish Mazurkas.
5962 Book II
5982 Book II
1
Studies : Loeschhorn, in A major ; Berger, in G
Studies : Schumann, for Pedal Piano in c and A flit.
Pieces: C, P. E. Bach, Allegro assii in E flat;
J. Field, Polonaise in E flat ; E. Pauer, Welsh
Recreations : E. Pauer, " La Campanella," and
sharp minor.
5983 Book III
1
5963 Book III
Studies : Gurlitt, Op. 132, Nos. 4 and 10 , Laubach,
Pieces: J. S. Bach, Minuet in G; Schumann, Air on
on Divided Scales.
the name " Abejg" with variations.
Pieces : J. S. Bach, Allegro scherzando ; Haydn,
Presto from Sonata in i> ; Beethoven, Bagatelle,
Recreations: Clementi, " Monferina" ; Steibelt,
Valse in F ; Mozart, Gavotte from " Idomeneo" ;
5984 Book IV
1
Studies
:
Czerny,
in
C
minor
;
Kalkbrenner,
in
r
sharp
5964 Book IV
Studies : Czerny, in c major, c minor, and D major.
Pieces : J. S. Bach, Prelude and Fupue in A minor ;
Pieces : Mozart, Fantasia in I) minor ; Kirnl>erger,
Beethoven. Variations in n, Op. 76.
Gallenberg's Waltz.
Recreations
: Schumann, Hunting Sjng; Kjerulf,
Recreations : Corelli, Pastorale in c, ; Von WoikenCradle Song ; Strelezki, Valse meUancolique.
stein, Love Song ; E. Rommel, First Love,
5985 Book V.
5965 Book V
Studies : Czerny, in c, D flat, A major ; C. Gurlitt,
Studies : Weyse, in E flat ; Kalkbrenner, in G sharp
in F, C ; Pauer, 6 Short Preludes.
minor ; Loeschhorn, in c major.
Pieces : Paradies, Toccata in A nrnjor ; F. Ries,
Pieces:
Hummel, Scherzo in F major; Schumann,
Romanza in u minor.
B minor.
Recreation! J. S. Bach, Bouir^c and 2 Gavottes
Recreations : Mattheson, Gigue in K minor; Schu
from Suite in D ; W< )er, Waltz in D major;
bert, Scherzo in B fiat; J. Low, Albumleaf ;
Mayer, Galop militaire in E flat.
Bohemian Polka in B flat.
"The 'Library of Pianoforte Music for Study and Amusement,' by Ernst Pauer, is a collection of 'studies, classical and drawing-room pieces,
selected, revised, and fingered for teaching purposes. The selection is admirableno pieC! unworthy of attention is included in the scried, the
revision is that of the scholarly musician, and the fingering what we expect from the exp-rienced teacher."Manchester Guardian, Nov. 15, 1392.
" Thus collection will be of great use to students, especially to the many who study music without tile assistance of a teacher."Musical Sews,
Nov. 18, 1892.
" These books are a decided acquisition to our ripcrloire for study and amusement,"Musical Record, 1892.
" This Series is one of the most valuable for purposes of teaching and improvement." Daily News, Feb. 1, 1893.
" How to impart instruction in the higher branches of instrumental music without unduly fatiguing the pupil is a matter for the teacher's bsst
consideration. To keep alive the interest of the scholar the lessons must he pleasant us well as profitable. This is the object Professor Paw r has in view
when selecting and preparing works for 1 Augenpr's Library of Pianoforte Music for Study and Amusement.' 'l ire rscently issued Film lto>k (Senior
Grade edition) contains ' studies ' by Weyse, Kalkbrenner, and Loeschhorn ; ' pieces ' by h umnicl an J Schumann and ' recreations ' by B iclt, Weber,
and
Mayer.Ries,A Mendelssohn,
similar order UMattheson,
observed 111Schubert,
the arrangement
tirade edition),
by 0*rny,
Gurlitt,
Pauer,
l'arad:es,
and Low.of the
EachFifth
work[tookha",(Junior
b-eti carefully
revis-d the
andcompositions
lingered forbeing
leaching
purposes
by Proressjr
Pau. r, whose skill as a composer is displayed in the six clever preludes of the Fifth book." Daily Tc.'ecra 'h, Oct. ao, 1393.
AUGENER & CO., 86, Newgate Street, E.C., I, Foubert's Place, and 81, Regent Street, \V., London.
262
THE
MONTHLY
EBENEZER
PROUT'S
Demy 8vo.
Atcgener's
Biund.
Edition.
9& J-JARMONY : ITS THEORY AND AWPRACTICR. By EBENEZER PROUT, B.A., Lond ,
5'9'*"* KEY TO "HARMONY: ITS THEORY
2/,.8^ ADDITIONAL EXERCISES TO E.
PROUT'S "HARMONY: ITS THEORY AND
.,
1/6
9,8* KEY TO THE ADDITIONAL EXER
2/6
MUSICAL
RECORD.
[November I, 1893.

little else than age to recommend them, he has provided others supported by references
to' ternary
fugal form,'
works Mr.
by Prout
the greatest
writers.
In describing
a fugue
as thea composition
says: in"The
first section
fard asminant.
enaThe
of the
lastin
entry
of thesection
subjectbegins
or answer
the
original
keysex'ends
ofthe
tenicfirstasandepisode,
second
or
middle
with
the
crmmeneement
of
which
modulates
towithanytheother
key thin subject
that of antl
tonicanswer.'
or dominant :leatures
and theofthird
orsection
final section
bîn-i
return
each
are aptly
admiraUy
delineated,
andofthetheconstruction
of the wholeThe
fuvue is cleirly
eplah
cd and
illus
trated.
As
text-book?,
liar.
Prout'H
theoretical
treatises
will
doutr
ess
the position of standard worlcs."7'Ar Daily Telegtafh, Mirch 17th, 1893. tawe
London: AUGENER & CO., 86, Newgale Street, E.C. ; and
DR.
H.
RIEMANN'S
Catechisms in Augener's Edition,
Crown 8vO.
Bound
in
No. CATECHISM OF
Limp
CUtk
MUSICAL INSTRUA"
9201.
MENTS (Guide to Instrumentation). In paper
2/6
covers, net, as. . . . .

TORY.
OUNTERPOINT :
STRICT AND
c
Systems
and Notation. In paper covers, net, as. ..
2/6
Biographical Notices.. 3/C
5/- 9203. Part II. History of Musical Form, with
In Paper Covers, net, a/^'ADDITIONAL EXERCISES TO
0*04. /ÂTECHISM OF PIANOFORTE
PLAYING. In paper covers, net, as
2.0
monising
2/6
9-84. F\0UBLE COUNTERPOINT AND
48 PRELUDES and FUGUES (Wohllemperirles KUvier).
-L/ CANON. By EBENEZER PROUT, B.A. Lond.,
Academy of Music, &c. Second Edition ... ... ... 5/- 9205 Part I. 24 Preludes and Fugues. In paper covers, net, as. ... a/6
9206 Part 11. 24 Preludes and Fugues, in paper covers, net, as. ... 2/6
9,85. "PUGUE. By EBENEZER PROUT, B.A.
-1- Lond., Professor of Harmony and Composition at the
London: AUGENER & CO., 86, Newgate Su.E.C.; & 1, Fonbert's Place,W.
5/9.8e. FUGAL- ANALYSIS : A Companion to
" Fugue." Beinp a Collection of Fugues put into Score and
of Music, &c. Second Edition
5/- DICTIONARY OF MUSIC
9183.
FORM. By Ebenezer Prout,

9187. MUSICAL
H.A., Lond., Professor of Harmony and Composition
at the Royal Academy of Music, etc. Second Edition ... 5/
Che JBat'Ip ftdtgrajph
Of March 17M, has the following Review ;
" Thetoseries
of tlieoretic.il
works
written
by HLcnczcr
Prout willtheprove
ofembraces
inestimable
service
teacher
andonsctioUr
alike.
Published
insubjects:
nine volumes,
series
an
exhaustive
treatise
ea:h
of
the
following
Harmony,
its
theory
and
practice
;
counterpoint,
strict
and
free
:
double
counterpoint
;
and
fugue.
With
earnestness thesimultaneously,
author points and
out the
desirability
ofsoonstudying
andmastered
'strict
counterpoint'
advises
that ' ascounterpoint.'
as the harmony
pupil
has
triads
and
their
inversions,
he
shall
begin
elementary
This
recommenda
tion plan,
is unheeded
by manyofteachers
of theory, andbeing
someof there
are who altogether
the
on the ground
counterpoint
little
value
Butreject
theot
author,
believing
it illustrative
to be anstrict
essential
branch
of study,
has, practical
byit verbal
explanation
rules,
as
well
as
by
examples,
succeeded
in
making
appear
attractive
and
important.
Two part
is treated
atfar considerable
length,area concerned,
chapter being
devoted
1 f thecounterpoint
Species.'
as strict
the 'species'
ihe
same orderto iseach
ob terved
in'Five
three-part
and As
tour-part
counterpoint.
So varied
construction
are
e
exercises
and
examples
that
one
is
apt
to
forget
that
thetrading
onlyin
harmonie>
used
therein
are
diatonic
triads
and
their
first
inversions.
In
students
ugh ofpaths
tr dden
bymetourwith
musical
ancestors
the
skilfulsoguide
never
point
out *hr
oDjecis
10 lieuroptr
on the
Though
'much
in lovefailscom
withto
his
subject,
he f.ict
plactsisinterest
It in itsand
position,
as way.
a preliminary
study
tu actual
position.
The
again
aj;ain
insisted
upon
that
"strict
c
junterpoint
is
simply
the
to' freean counterpoint,'
end.' The object
to be
attainedshould
is thenot,power
of tree says,
part-writing,
here means
calledbefore
the study
ofhiswhich
the author
lie comlucnccd
the pupil has completed
course of harmony.
Uberated
from
the
the
di
ll-ingh
all
restraint*
impjst.d
by
ancient
rules,
mot."
y.
The
final
chapte
combinations
which
do
not
violate
the
Li
In
the
l*;ok
on
Double
C
application
of
counterpoint
to
practical
point andandCanon,
Mr. Pnut places
t*'f<Te the
clearest
mostrespects
convincing
manner.these
Theintricate
last,
assubjects
yet published,
of thestudent
seriesinis the
an
able
some
realise
on fugue.
Afrcr
carefully
examining
the
rulesad
fromin time
to time laidremarkable
down by men
in authority,
and
after
patiently
testing
iheir
1 the author is led to declare
of Each and oth
accuracy
byisthe
v
oryishe more
widely
at variance
ch tiltews,
that
'there
nothanbr.m<..>
ui of.,.*.<.,
directs
attention
the
with
practice
in
that
fugue.'
In
n
Subject
and
Answer.
While
there toii but
principles
which
govern
the
relation
bet
be
the
features
of
the
subject,
there
are.
on
little
diversity
of
opinion
as
to
what
sin
s to the acts
nature
answer.' ThisTherule,*
theorist
the othtone
r hand,
conflictingand
opinio!
uponof the
another.
says
directs
modemany
of. ' isprocedure,
theBach
< inuoser
Theold
text-books.
absolute
'
;
yet
is
found
breaking
it
with
good
effect.
Our
author wisely declines to submit to the authority of any rule however ancient unless n
be found
the generalofstudents
practice ; ofand,acknowledged
masters.
Of course,
there
mustinbeagreement
rules for with
the guidance
while refecting
some which
he
DR. HUGO" RIEMANN.

9*2om Part L (A. to Beck), price is. net.
9200* Fart IL (Beck to Chacoxxe), price is. net.
920c* Part III. (CiiADiriCK to Dissonance), is. net.
Riemann's Dictionary is a concisely worded musical encyclopaedia,
of noteworthy musicians and writers on music ot the past and present, with
criticisms of their works, but also a complete description and history of all
definitions of musical art-expressions, etc. It will appear in fourteen parts
distinguishes Riemann's Dictionary from other dictionaries is unity and
author writes an entire work, but nut if a number of contributors
compete, who are of different opinions and variously gifted. Rieinann has
so to speak, the sum and substance of the results of his researches in the
most varied ranges of musical science, e.g. the history ot notation, the
thcorics of rhythm (phrasing), harmony and form (analysis), musical
aesthetics, etc. ; it is therefore adapted to serve as an introduction to his
musical pedagogic reforms, 'i he problem of presenting established facts la
" MHS^RS.ofAUGRNF.K
are bringing
in parts aand
handy
editionm nfilh Dr.
H. Riemann's
*byDictionary
Music,'
byinstalment
Mr.outShedlock,
furnished
additional
matter
the author.
Somatter
far translated
asofthe
lirstallotment
goes, the
work
has been
ec- Hcntty
aone.
1specially
in
the
just
of
space.
Such
literary
ire.tises
asappcrui
ti>e
great
dictionaries
of
Mendel
or
(..rove
do
nut
come
within
the
scope
of
a
worn;
like
tin?, the
but name
to tht ofotdinti'y
studtnt- tht
dictionary
unit te taken
>)f immtnst
vo.*u,
and
the
translator
whontuly
utavtheissued
be Lntfl.sh
BUSpetted
c f having
more than
translator*
part
in
the
compilation
of
b.ographies-is
a
guarautee
tora
accuracy and thorough research."The NtW Quarterly Mitsii a; Retnrw, August, 1893.
London : AUGENER & CO., 86, Newgate Street, E.C,
i, Foubert's Place, and St, Regent Street, W,
November i, 1893.]
THE
MONTHLY
MUSICAL
RECORD.
263
AUGENER'S EDIT/OX.
Musikalischer Kindergarten
P.cole en/antine
par
CARL
REINECKE.
Piano Duet
Piano Solo.
Op. 206.
Xo.
No.
6*71
6341 Vol. I. My first Pieces (within the compass of five notes)
Meine ersten St^ckcken. Met premiers petits Morceanx.
634a Vol. II. Favourite Melodies (within the compass of five notes) 6S72
Licbiingsmelodieen. Melodiesfavorites.
6873
Die ersien Kinderlieder.
6343a Sol-fa Edition. Voice part only. Net, 4d.
6874
StimmenderVutker. Chants nationaux etfto/ulaires. Pt. I.
6345 Vol. V.
do.
do.
Pull. 6875
6876
Marchen-Erzdhlen. La dtseuse de contes.
6877
Was alles die Tone erzdhlen. Ce que les sens racontent.
6373
Kinder*Maskenball. Bui masque. Pt. I.
319 Vol. IX.
do.
do.
Pt. II
6879
PIANOFORTE SOLO.
PIAXOFORTE DUET.
PriceEach Book, net, 2s. 6d.
The ninth volume of Ctrl Refneckes ' Musical Kindergarten ' completes a set of
works
of
singular
meit.
Designcl
for
the
instruction
of children
inonthey attractive
art of plaving
the
pianr>forre,
ttieSosystem
adopted
bvlessons
the eminent
composer
is notfoci
but
Ivgbly
efficient.
sitilfu
ly
arc
the
arranged
tlia,
pupils
no
tedium
whilst
being
led
step
by
step
t
.wars
the
at*ainmcnt
of
(.r.n_tic
il
knowledge
In
the
first
twu
books they are entar .lined with pretty tunes arranged within the compass of five nt.tes,
aid
trie third withof nacharming
littleandsongs
withn aakesimple
accompaniment,
*biltheinarranvernen's
ional
kotius
dances
up
thepianoforte
fourth
and
fifth volumes.
On
st
dy
of
this
branch
of
music
Schumann's
advice
tostude
its
w
s
conveyed
Allowing
w
>rds
:
*
L'sten
most
attentively
o
all
popular
s
n<s
;
they
are
a
mine Inof the
tie
rnost
iiic!odionses initfht
and afford
an iiui^ht
diffeieot
T"a* charming
these instruc
be carried
out atintonn the
earlycharaccr
age theolauthor
of rations."
Music U
Ki dergartc ' h.s provided young s.holars with an arrangement of all the nati. iitl
*vtnns
huplakcn
pe, and
these
has
^drted
a 'lar^c
< f representative
songs,
the peaof and
ure
by tolittifolkheitcomposed
' Kni-y
Tales
will: and
benumber
enhanred
t.ycommand
the playinguu-r
of the
ihe
'I'rightly
suggestive
tbemcs
toal them
increasing
L-'yboard
w
!l
attend
their
pracliceot
*
M
11sit
Illustrations
'
of
laimlur
subjects
forming
it;
Seventh
Book. In the
concludingindicating
volumes the
ioc idc its nfof vricci
a 'Masquerade'
are
*et forth.
the confusion
he tuning
>merrily
1'instrumei
is. the After
lively droll
st-ainspassages
cumaisnce in earnest,
and with but litileandinterruption
onnnue
to
.intinate
the
dancers
umil
th#t
*
Midnight
vl.irch"
is
sounded.
Thereare
two
editions of Keinecke's ' Kmderganco,' the inu<c bei 'g arranged in the cne as a solo
..id in the other at a duat for the pianoforte."Daily
October 20th, i3?3.
AUGENER & CO.. 86. Newgate Street. E.C. ; i, Foubert's Place,
and 81, Regent Street, W.
OPERATIC
CHORUSES
ARRANGED FOR FEMALE VOICES,
WITH FIASOFORTE ACCOMPAKIMEST BY
H. HEALE.
No. 4191. FAIRV MUSIC from Weber's " Oberon." Price Net is.
Chorus of F.Ives, " Light as Foot of Fay can fall." For 2 Sopranos and
Alto.
Mermaid s Song and Chorus of Waternymph.s, Fairies, and Mermaids. For
Soprano (or Semi-Chorus) and three-part Cnorus.
" Spirits of Air and Earth and Sea." For Alto Solo (or Semi-Chorus) and
three-part Chorus.
No. 4192. GIPSY MUSIC (three-part Choruses). Price Net is.
Gipsy March, Dance, and C horus :
*\ v
" Hail Prcciosa, Queen or Beauty. ( Leber's
1 pr ^ ,
)
Gipsy Chorus. In the Gipsy's Life you read," from I'alfe's " Bohemian
Girl."
No. 4193. FOUR CHORUSES (three-part). Price Net is.
" O ! What Pleasure the Soft Guitar."
From Wallace's
Angelus. "Angels that Around Us hover."
" Maritana."
"Sing, Pretty Maiden, Sing."
Serenade and Chorus, " Fair Wandering Moon," from Donizetti's ' Don
Pasquale."
No. 4x48. " Let's be Merry," from Weber's " Oberon." (Two-part
Choius.) Net, 4d.
London : AUGENER & CO., 86, Newgate Street. E.C; i, Foubert's Place,
and St, Regent Street, W.
TWENTY-FIVE

FOR THE PIANOFORTE.
1. C. Reineckk. My first Pieces (Idyl, Evening Song, A Sad Moment,
Short Song).
2. C. Reinbcke. My first Pieces (Ballad, Schemno, Prayer, Easy
Dance).
Guri.itt. Marrh, Op. 101, No. x.
Reinsckr. The child and the Cuckoo, The Evening Stai.
Guklitt. VaKe noble. Op. 101, No. 14.
Kralse. Joylul play in the garden. Op. 77, No. 2,
Rrineckk. the Mill, and Duct
Loeschhorn. The Little Postillion. Op. 96, No. 3.

*
Gurlitt. Hunting Song (JagdstUck). Op. 140, No. 14.
Paubk The Brooklet.
Loeschhorn. On the Rock;ng-Horse. Op. 100, No. 4.
/
Rbinecke. Gavotte.
Pauer. Waltz.
12 LIEDER
Guri.itt. Gavotte,.
Scharwenka. March. Op. 62, No, 1.
FUR 2 SOPRA.VE
Paubr. Dance Song.
Hkai.e. Minuet.
MIT PIANOFORTE BEGLEITUNO
kniNECKE. Hide and Seek.
Healb. Gavotte.
Schumann. Albitmblatt. Op. 68, No. 30.
1
[VOCAL DUETS FOR SOPRANO VOICES),
Pauer. Hungarian.
BY
Loeschhorn. A Little Dance.
I
Schumann. May, Charming May. Op. 68. No. 13.
Mendelssohn-Bartholdv. 6 Pieces. Op. 72, No. t.
,
CARL
REINECKE.
Mkndelssohn-Bartholdv. 6 Pieces. Op. 72, No. 2.
Oi*. 217.
Price 1j. each.
London : AUGENER & CO.. 86. Newgate Street, it Foubert's Place, W.f
Augener's Edition, No. 4119a. Book I. Price is. net.
and
8t,
Regent Street, W.
1. Evening (Abendlied).
2. When the Christ-child comes (Wenn* Christkind kommt).
3. Spring Sunshine (Der Lenz ist da).
FAVORITE
PIECES.
Arrangid and Fingered in a Familiar Style for the
5. A Carol of Spring (H*-ll ist tin Lied erklungen).
Pianoforte by
Augekek's Edition No. 41 19^. Book II. Priceis.net.
WILLIAM
SMALLWOOP.
7. Morning Prayer (Morgengebct).
r. La Cascade de Ruhis. Morceau. Sydney Smith.
e. The Concert of Spring (KrUhlings-Coneert).
2. Gavotte dc Louis XV. Maurice Lee.
9. How bright is the Earth and how fair ! (Wic ist doch die Erdc
3. Lily of the Valley. Mazurka. Sydney Smith.
so schon).
a. Gondolina. Barcarolle. Kdouard Dorn.
Air du Dauphin. Anciennc Dan.se de la Cour. J. L. Rocckcl.
tt. 0 take my hand and lead me (Geistliches Lied).
6.
Happy Thoughts. Caprice a la Valse. Edouard Dorn.
la. Rosebud, ah, when wilt thou Bloom ? (Rose, wann bliihst du auf?).
Price as. d. each.
London : AUGENER & CO., 86, Newgate Street. E.C. ; I, Foubert's Place, London : AUGENER & CO., 86, Newgate Street, E.C; 1, Foubert's Place,
and 8:, Regent Street, W,
and 81, Regent Street. W.
264
THE
NO VELT I ES
MONTHLY
NOUVEAUTES
published on
1 ^
(Nova) publiees
if
November ist, 1893. by
le ler Novembre, 1893, chez
ALKiKNKK & CO., 86, Newgate Street, R.C., and
1, Konbert's Place, & 81 Regent Street, London, W.
(A'l Afusir engraved and prinltd in England at Aligner's
Music Printing Officine, io, Lexington Street, London.)
F.di'i m
Number.

9S93
German Opera Airs, Containing too celebrated
Melodies front the Operas of Mozart, Weber,
Beethoven, Mendelssohn, &c, &c
net
CLEMENTI. 12 Sonatinas. I'hrasirungs-Ansgabe von
Dr. H. Kiemann. Revised Edition. Folio. C:
9902.1
Book I. (Op. 36I
net
9902/'
Book II. (Op, 37 and 33)
net
KLKINMICHKL, RICHARD. Dorfmusik (Rustic

Scenes). 18 charactcriitische Stticke. Op. 56:
No. n. Die Miihle am Rich (The Mill on the
Brook)
12. Bruder Studio ( Hie Student)

13. I.andminns Morgenge.'ang 1 Peasant's Morn
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(Journeyman's
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S.MALLWOOD. WILLIAM.
Favorite Pieces,
arranged and fingered in a familiar style :
No. 4. Edouard Dotn. Ciondolina. Bircarol'e ...
5. J. L. koeckel. Air du Dauphin. Ancicnne
danse de la cour
6. Edouard Horn. Happy Thoughts. Caprice
STRELEZKI. ANTON. Morceaux :No. 58. Melodic en Fa ...
59. Intermezzo scherzoso, en SOL majcu:
60. Etude, en Mi hkmoi
25 SHORT
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A.
C.
E.
A.
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ORIGINAL 1'IECES (Easv). C. :

Reinecke. The Mill, and Duet
I.oe<chhom. '1 he Little Postillion.
Gurlitt. Hunting Song (Jagdsiuck).
I'auer. The Brooklet
Loeschhorrf. On the RockingHorse ...
Keine^ke. Gavotte.
Pauer. Waltz.
Gurlitt. Gavotte
Scharwenk 1. March. Op. 62, No. 1 ...
Patter. Dance Son^r.
MUSICAL
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[November 1, 18,3.
Novelties {continued)
Numb j.
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ACTON, JOHN. The Rose and the Nightingale.

Cantata for female voices, soli and chorus (threepart), with Pianoforte accompaniment ...
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4037
" Up, up, ye dames, ye lasses gay.'' Rigiudm.
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Bring flowers,
young flowers."
Minuet.
Haydn
...
...
...
...
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' Hesperus ! In thy right hand." Minuet. A.
S-reiezki ...
...
...
...
...
net 4
"It was a lover and his lass.'' Rigaudon. J. P.
1 4
Rameau ...
...
...
...
...
net
1 4
After g'ow (Aftenstemning)
Nightingale, sing ! (Syng. syng 1)
MACCUNN, HAM1SH. When roses blow. Song
MOFFAT, ALFRED.
12 Old English Melodies,
arranged for 3 female voices :
4293
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Mine. A lullaby
3 ~
WOOD. CHARLES. Ah ! Robin ! Jolly Robin ! Song 3 5
Why so pale and wan, fond Lover? Song ... 3 -
BOOK ON MUSIC.
PROUT, E.
Fugal Analysis.
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and
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9200C KIEMANN, DR. H. Dictionary of Mmic. New3
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CONTENTS.
CHARLw.5 Counod
ORGAN.
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oSn
BACH, J. S. Orjan Works. Ed i led by W. T. Best

(Oblong Fol:o) : Vol. XI. The Great ChoralPreludes. Nos. 1 to 6
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PALMER, GEORGE.
A Dream.
Nocturne
INSTRUMENTAL.
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Violons avec accompagnement de Piano (nd lib.).
Op. 26: Livre III. Morceauv. Nos. 5 & 6, net
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H. Rifmann's Edition op Bach's " Wohi.temfbrirtes

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The Pianoforte Tkacher : a Collection of Art clcs IN
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DECEMBER
MISSING MUSIC.
Many are the dangers to which the treasures of art and
literature have been exposed. The invasions of bar
barians, the ravages of armies, and times of disorder
have helped to diminish the wealth bequeathed to man
kind by great artists.
Rome was pillaged by the Vandals and Moors, by the
Goths and by the Saracens ; the valuable library of the
Ptolemies perished in the flames ; the wealthy city of
Constantinople was sacked by the victorious arms of
Mahomet II. And coming to modern times, one might
mention the ravages caused during the wars of Frederick
the Great or Napoleon I. ; the Louvre, indeed, with its
priceless collection of treasures, narrowly escaped de
struction during the Commune of 1871. During our own
Commonwealth the cathedrals and churches suffered, the
organs were destroyed, monuments defaced, and books
burnt. In addition to the havoc caused by war, works of
art, buildings, sculpture, paintings, have suffered from
accidents of various kindsfrom fire, water, earthquake.
Music has also had its share of misfortune ; and fire
has naturally proved its chief enemy, though losses have
occurred through war. The works of Vincenzo Albrici,
once held in high esteem, were destroyed at the bom
bardment of Dresden in 1760. A curious event happened
at Leipzig after the battle of Jena. The learned historian,
Forkel, had written out in modern score some old and
valuable masses, and they had already been engraved,
and a proof corrected by Forkel (which proof is care
fully preserved in the Berlin library). The French troops
poured into Leipzig, and seized, among other things, these
very plates, melting them down to make cannon-balls.
Surely these masses might be called requiemsmasses
for the dead.
Many of Haydn's compositions were burnt in the fire
which broke out at Esterhazy in the early morning of
November 18th, 1779, and which destroyed the theatre,
the instruments, and the music. Friedrich Kuhlau was
another composer, many of whose manuscripts were
destroyed by fire in 1830. This heavy loss, together with
the death of his parents, so affected his health that he
died as early as 1832.
Much of Bach's music has been lost, and it would
276
1893.
seem almost irretrievably ; although after the discovery

of the Schubert autographs by Sir A Sullivan and Sir
G. Grove at Vienna in 1867, the turning up of the score
of Mozart's ballet music " Les Petits Riens " in the
library of the Paris Ope>a in 1873, and the finding of
the Wagner symphony after it had lain concealed in a
trunk for well-nigh half a century, it seems as if one
ought never to despair. Even the " Gastein " symphony
may one day recuscitate to silence those critics who
doubt of its existence !
One would like to know what became of the original
score of Mendelssohn's overture to the Midsummer
Night's Dream. It was performed in London, and most
appropriately on Midsummer night, 1829, but after the
concert the score was left in a hackney coach and lost.
The music, however, was still in the composer's head,
who when he heard of the misfortune merely said :
"Never mind, I will make another." This he did, and
Sir George Grove tells us that on comparing it with the
parts no variations were found. So, too, one would like
to know what became of Wagner's two overtures
"Columbus" and "Rule Britannia", the one written at
Magdeburg in 1835, the other at Konigsberg in 1836.
After a performance of "Columbus" at Paris in 1841,
score and parts disappeared. " Rule Britannia " is said
to have been sent to the London Philharmonic Society
in 1840, but, adds Mr. Dannreuther in his chronological
list of the master's works, "apparently- lost."
It would, no doubt, be easy to sfcell the list of works
which are "wanted," but all we wish to do is to call
attention to the fact that many a composition which
must have cost its author much thought and time is
missing, having perished, or, buried in some dusty cup
board or drowsy library, become practically dead.
We have spoken of autographs accidentally destroyed
by fire. But there are at least two cases in which
composers wilfully consigned their music to the flames.
Michael Brandt Mosonyi, Hungarian composer, born
in 1814so relates Dr. Hugo Riemann in his Dictionary
wrote an opera, Maximilian, which Liszt wished to
produce at Weimar in 1857. The great pianist desired
some changes, whereupon Mosonyi cast his score into
the fire. The other instancealso related by Dr.
Riemannis of a composer, whose name we cannot for
2 66
THE
MONTHLY
the moment recall, who gave away a quantity of his

music to a firework maker. This composer must have
been of a kin Uy disposition. He perhaps thought his
music unworthy to live, but so arranged that even in
articulo mortis it should give out light and prove a source
of pleasure. " Firework music " is a common term ; but
we doubt whether any composer of such stuff ever
thought of turning his paltry productions to such luminous
account.
PETER TSCHAIKOWSKY.
The Russian musician lately deceased was one of the
foremost men of his day, and by his death our art has
suffered a distinct loss ; for he had only just arrived at
the age of maturity, and there is every reason to believe
that he would have still added to his reputation. So far,
however, as England is concerned, the question is not so
much what might have been, but what Tschaikowsky
actually accomplished. His name is tolerably familiar
among us, but, somehow or other, we know very little
of his music. Take, for instance, his operas. He wrote
seven, and yet, of these, only Eugene Oneguine has been
heard in London. Ce5sar Cui, the composer-critic, may
be right in saying that dramatic music is the " cdt
faible" of Tschaikowsky, and it must be confessed that
the work just mentioned did not create a very strong
impression ; but the performance was not in all respects
perfect, and the opera may not, after all, represent the
composer at his best. One accepts, too, Cui's criticism
cum grano salt's, for he finds in Tschaikowsky's operas
traces of " the defective and irrational system of Wagner "
of assigning a more important rdle to the orchestra than
to the stage. That is an old objectionone which was
raised against Gluck, Mozart, and Beethoven, and one
which nowadays speaks rather in a composer's favour.
Then, again, Cui complains that, in spite of warm patron
age, the success of Tschaikowsky's operas has been only
mediocre ; but from history, we know that popular success
is often slow of foot.
In an article on Tschaikowsky in our columns,* the
few instrumental works by which he was known here were
mentioned; to these must now be added the 4th Symphony
in F minor, produced under the composer's direction at a
Philharmonic Concert only last June. But Tschaikowsky
wrote six symphonies, and has left, we believe, one in
manuscript Then, besides, there are symphonic poems,
suites, quartets for strings, and other chamber music
works which have never been given here. From the
one opera, and the few instrumental compositions known
to us, it is quite impossible to form a serious, solid
opinion of Tschaikowsky as a musicianimpossible to
assign the place which he is likely to occupy in the pages
of musical history. His sudden death may draw atten
tion to his musicfivlr. A. Manns or Mr. A. Chappell
would find it an "Krsy matter to draw up an interesting
programme selected entirely from his works, and such a
scheme appears to us by no means unreasonable. If not
earlier, the first anniversary of his death might prove a
suitable occasion ; that of his birth is out of the question,
for he was bornat least, so say the dictionarieson
Christmas Day. But his death may serve a wider pur
pose, and through Tschaikowsky the claims of modern
Russian music to consideration may become more fully
recognised. Not to mention the works of Glinka and
Rubinstein, why should not some enterprising manager
let us hear some of the symphonic works of Dargomijsky,
or the symphonies of Borodine, or the King Lear music
rvf Ralak'reff?
* See Monthly Musical Rbcuhu for Novemb:r, 1892.
MUSICAL
RECORD.
[December i, 1893.
The melancholy charm of Russian national music

attracted Weber and Beethoven ; Liszt and Berlioz were
in strong sympathy with the efforts of Russian com
posers, while the enthusiasm in Russia for music
generally has been acknowledged by creative and
executive musicians of various nationalities. A closer
acquaintance with Russian music will increase our
knowledge and widen our sympathies, and is, therefore,
much to be desired. It would be unjust to close this
brief notice of Tschaikowsky without referring to the
degree of Doctor conferred on him by the University of
Cambridge only last June. Great men, as a rule, care
little for the titles and distinctions which the world can
offer, and can afford to despise them ; but such a public
recognition of service rendered to art by a foreign com
poser is not only a graceful compliment, but an act likely
to bring about " sweeter manners " among musicians who,
instead of dwelling together in unity, are too much in
clined to be jealous one of another, and to disparage
rather than praise.
MARS AND MUSIC.
In 1798 Napoleon fciled to Egypt, won the battle of the
Pyramids, and on his return to Paris became First Consul.
Then followed brilliant victories over the Austrians, and
the drawing up of the famous Code Napoleon. Beethoven
had watched the soldier's career with interest, had looked
upon him as the saviour of his country, and, accordingly,
wrote a " Napoleon Bonaparte" symphonythe " Eroica."
The work was finished in 1804, and ready for trans
mission to Paris, when the news came that Napoleon
had made himself Emperor. Beethoven at once tore off
the title-page and dashed it to the ground. The hero dis
appeared, but the symphony remained ; to Napoleon must
be traced the origin of that symphony : heor rather the
ideal picture of him framed by the composerhad proved
the source of inspiration. One year later (1805) the
conqueror crossed the composer's pith. Napoleon,
having defeated the Austrians at Ulm, had taken up his
quarters at Schdnbrunn (November 13). One week later
Fidelio was produced, but the Emperor and Empress
and chief nobility had left the city of Vienna, which was
occupied by French troops under the command of Murat
and Lannes. No rnoment could have been more unpropitious ; the opera was only played three times, and
the French officers who, on the first night, occupied the
principal seats in the house formed anything but a sym
pathetic audience ; the Prussian army was in Moravia,
and military minds must have been filled with thoughts of
coming battle of that great battle of Austerlitz, fought on
December 2nd, which completed the humiliation of
Austria. From a notice of the period, we learn that, for
the other two performances, the theatre was deserted.
But the name of another famous composer is connected
with this occupation of the city of Vienna by the French.
Napoleon found Cherubini at Vienna, where the latter was
making preparationsfor the production ofhis opera Faniska,
and forthwith summoned him to Schiinbrunn to organise
and conduct his soirees. Napoleon disliked Cherubini ; ten
years previously, as Consul, he had bestowed on him an
inferior appointment, and made no secret of his antipathy
to him. The cause, indeed, for it is not altogether clear ;
there may have been personal reasons, but Cherubini's
music was repulsive to the soldier of simple tastes.
" V'our music is so noisy and complicated," he once said
to the composer, " that I can make nothing of it." And
on another occasion it is related that he informed him
that his music was too learned and too German. It was
during this stay at Vienna that Cherubini made the
December i, 1893.]
THE
MONTHLY
acquaintance of Beethoven, and was present at the first per

formance of Fidelia. The high esteem in which his music
especially his operaswas held by the German com
poser is well known. His opera Faniska was produced
at Vienna on February 25th, 1806. The peace of Pressburg had been signed, and the French no longer occupied
the city ; but there was fighting in Italy, and the moment
was scarcely a favourable one. The public, however,
applauded ; the critics approved ; and the two great
masters, Haydn and Beethoven, had nothing but praise
for the new work.
Three years later Napoleon again defeated the Austrians in Bavaria, won the battle of Wagram, and ad
vanced to Vienna ; but his entry was opposed, and
on May 12th he bombarded the city. Beethoven,
who, lodging in the Wallfischgasse, was exposed to
the firing, beat a hasty retreat to the Rauhensteingasse,
and there so relates Rieshe hid in a cellar so
as not to hear the noise. At this time, it may be
noted, the composer was at work at his pianoforte con
certo in E flat. The bombardment was soon over, yet
not until it had brought discomfortliay death, to the
veteran composer of " The Creation." Shot fell close to
his house at Gumperdorff, where, "old and weak," he
was calmly awaiting death. When his servants, filled
with alarm, ran to him, with dignified air he exclaimed :
" Why this terror ? Know that no disaster can come
where Haydn is." But though the spirit was strong, the
flesh was weak ; a convulsive shivering gat hold of him,
and he was carried to his bed. Before the end of the
month his eyes were closed in death. It is recorded of
Napoleon that he gave orders to the gunners to spare
the house of Haydn, whose name had probably been
mentioned to him.
With the victory of Austerlitz the student of the history
of music will then associate the failure of Fidelio; and
with' that of .Wagram, the death of Haydn. The de
pressing circumstances under which Fidelio was pro
duced must have acted unfavourably on the composer,
and musical art thereby have become the loser. Had
his opera been received with syjnpathy, even if not with
enthusiasm, the master might have written again for the
stage, and probably have hastened the reform of opera. The
death of Haydn, so far as the man was concerned, may
call for sympathy ; for to pass his last hours amid the din
and turmoil of war must indeed have been trying to one
who had spent his life in ease and quiet. His work,
however, was accomplished ; the accompaniments of his
old age according to one of his biographerswere
only " the fear of falling ill, and the fear of wanting
money."
{Continuedfrom /. J19.)
VII. --TRISTAN AND ISOLDE.
Tristan and Isolde is probably the most difficult of all the
music-dramas. It is for the most part practically un
quotable, because in it Wagner uses his " Melos " in one
continuous streamsurpassingly beautiful, it is true, bat
time and study are required before any ordinary hearer
can say that he is able to keep his feet in it. The piano
forte score conveys less to the eye than do those of the
other dramas, and therefore to the average student a real
acquaintance with Tristan depends largely on patience,
MUSICAL
RECORD.
267
study, and opportunities of hearing the work adequately

performed. A criticism as easy and as exaggerated as
it was frequently repeated, is that "a duet which lasts
for six hours is an absurdity, not an opera." It is a long
work certainly, and little interest is centred in any but
the two chief characters ; and yet those who know the
Wagner scores best give Tristan a place second to none.
With the exception of Parsifal, which for many reasons
must be placed on a separate and solitary platform, it is
certainly the most fascinating of all V/agner's works.
The story is so sadso supernaturally human (if one
may use the expression) in its pathosand its details are
so simple, depending on no scenic effect, no exciting
chorus-work ; and when one has mastered the details,
and is familiar with the motives and dramatic conditions,
when acquaintance with the work has relieved the per
petual strain of following an ever-new melody, the fas
cination which seizes the heart and mind from the first
notes of the Vorspiel does not relax its hold until the
curtain closes on the last sad scene.
Truly, it is a magical " power over tears," which
weaves its spell as the story unfolds itself. The sad
faces of the lovers look out from the canvas less shadowy
than those whom Dante saw, more noble than the two
who live in Tennyson's " Guinevere." Fate is the key
note ; and among the rocks of Fate's hungry whirlpool
" more deep, more dark than the wide sea's womb "all
the love, all the longing, is crushed in night.
The Introduction is based on the expression of
" Sehnsucht" (a word which is only imperfectly translated
by "yearning"); and surely music never penetrated.an
emotion deeper or expressed it more poignantly than in
the first phrase with its threefold repetition as of a spirit
stretching out empty arms in a very agony of " Sehn
sucht."
Langsam unci zchmachtend.
Then follows the short phrase (a) which tells of the

first time when Tristan's eyes met those of Isolde. These
flow on into the tale of their love, their misery, their fate,
their defiance of death, and the Prelude closes, or rather
breaks off, in the unsatisfied notes of longing with which
it began.
The first act shows Isolde with her maid, Brangiine, on
the ship which Tristan is steering to Cornwall, the realm
of his uncle and benefactor, King Mark. Tristan stands
at the helm with- a set white face, and Isolde's name
burning into his heart. For he, " the soul of honour,"hadnot
felt at liberty to woo the lovely Irish princess for himself,
bound as he was in gratitude to King Mark and stained
moreover with the blood of I solde's kinsman Morold, whom
he had slain in single combat. Isolde, won in the blunt old
fashion for the Cornish king, feels cruelly wronged by
Tristan's conduct. She tells Brangiine of Morold's death,
268
THE
MONTHLY
and how she had discovered the slayer of her betrothed

kinsman in the wounded stranger " Tantris," who had
come to the palace to be saved by her mother's wellknown healing art, and how the uplifted sword had fallen
from her hand when she found the stranger's eyes fixed
on hers instead of on the threatening blade. She now
summons Tristan, and when he offers her his sword to
avenge on his unprotected breast the death of Morold
she demands instead that he drink expiation (Siihne).
He, understanding her purpose to mix poison in the cup,
agrees to embrace death, but when he has drunk only
half the cup Isolde snatches it from him "Traitor!
wouldst thou here also deny me my right ?"and drinks
what is left. Having by this act silently confessed their
mutual love, in recognizing its hopelessness, they stand
looking in each other's eyes, and await the dull relief of
death. But the faithful Brangiine has substituted the
" love potion " for the " death potion "has prepared life
long misery instead of sharp, kind death, and the passion
which grows in their eyes is henceforth to overmaster
them and "to lead these twain to the life of tears and
fire,to the lifeless life of night."
' ' Each on each
Hung with strange eyes, and hovered as a bird
Wounded, and each mouth trembled for a word ;
Their heads neared, and their hands were drawn in one,
And they saw dark, though still the unsunken sun
Far through fine rain shot fire into the south ;
And their four lips became one burning mouth."
The second act glows with passion from the beginning
to the end. The Introduction portrays Isolde's impatient
expectation of her lover. She is now in King Mark's
castle. The king is hunting, and his court is with him
all save Tristan, who only awaits the extinction of Isolde's
torch to fly to her arms. The night draws down, the
hunting-horns die away in the distance, and in spite of
Brangtine's entreaties and warnings Isolde seizes the signal
torch, exclaiming, ' Even were it my life's light, thus
would I quench it, smiling." The duet, or rather the
series of duets which follow, is pitched in an ever more
impassioned tone, and the intensity is only relieved as in
actual physical exhaustion by the soothing " Slumber "
motive and by the song Brangiine sings in her watchtower.
" Slumber Motive."
MUSICAL
RECORD.
[December I, 1893.
The second last duet is the " Dedication to Death,

the only release the hapless lovers may look for, and
infinitely pathetic are the notes in which the words find
expression.
Tristan.
The mad passion of the last duet is interrupted at its

height by the return of King Mark, who has been in
formed of the treachery of his friend and hero. Though
he knows nothing of the Fate in whose hands the lovers
are as clay, his chief feeling is a wistful disappointment
in his cherished ideal Tristan, and it is Melot. the be
trayer, whose sword is stretched out against the unguarded
breast of the friend for whom he had feigned unbounded
admiration.
"Melot smote aright
Full in the wound's print of his great first fight.-'
Mark is avenged and Tristan is carried home to die.
The third act is introduced by a new form of the
" Sehnsucht " motive, dark with the death which is to be
the lovers' expiation.
At times there comes from the sea-shore the melancholy

strains of the pipe played by a shepherd who has been
stationed on the shore to give warning of Isolde's arrival.
The faithful henchman Kurwenal has sent a trusty mes
senger to beg her to come, " for her art alone can
cure the wound." Tristan lying in the courtyard of
his deserted castle in Brittany hungers with the longing
of a dying man to see once more the sweet face of
her who is his life. This scene is indeed rather long
and exceedingly difficult, but it serves to relieve the
tension of passion and to prepare the audience for the
last scene. Tristan's dying eyes see Isolde's ship before
the changed and joyous notes of the shepherd's pipe carry
the tidings to Kurwenal, who hastens down to the shore
to meet the Princess. Tristan becomes delirious, and
raising himself from his couch he tears the bandage from
his wound
Iseult ! "and like a death-bell, faint and clear,
The virgin voice rang answer, " I am here. ''
But his life-blood is gushing out in a warm red stream ;
she is only just in time to pillow his head on her breast
and to catch the last faint breath which dies away in her
name :
And ere her ear might hear her heart had heard,
Nor sought she sign for witness of the word,
But came and stood above him newly dead,
And felt his death upon her ; and her head
Bowed as to reach the spring that slakes all drouth,
And their four lips became one silent mouth.
Brangiine has told King Mark of the potion, and how
hers was the blame. The generous king has taken ship
December t, 1893.]
THE
MONTHLY
and hastened after Isolde to assure her and Tristan of his

forgiveness ; but Kurwenal in his despair sees only the
avenger, and, single-handed as he is, tries to defend the
castle gate. Melot is the first to force an entrance, and pays
the penalty to the trusty henchman's sword. Kurwenal
falls at last, and drags himself to die beside his master's
dead body. Isolde recovers consciousness under Brangane's care, and raising her head a little she begins that
wonderful " Death Song " which Wagner has surely
drawn from the fountain-head of tears. Unwonted
moisture stands in not a few eyes as the lovely girl, in
notes which we heard in the second act as the " Dedication
to Death," pours forth the death of her broken heart at the
altar of her dead love. The curtain closes as she sinks
lifeless in Brangane's arms.
(To be continued.)
DR. B_LOW AND HIS PUPILS.
Gentle Reader,Are you tired of the music of the
presentof the exciting Pagliacci, of the Mascagni Inter
mezzo ? Are you weary of listening to discussions about
Wagner, between those who would belittle him and those
who would extol him to the skies ? Are you worn out
with watching for the rise of some new star in the musical
firmament ? If it be so, come with me for a few moments
within the quiet precincts of Westminster Abbey ; and
while you gaze at the monument erected to Dr. Blow, I
will tell you something about this master and some of
his pupils.
Dr. John Blow was born in 1648, and, already at the
age of twenty-one, was appointed organist of Westminster
Abbey. But in 1680 he magnanimously resigned in
favour of Purcell. On the death (1695) of the latter,
however, Blow resumed the duties, and held the post
until his own death in 1708. Mr. E. Pauer, in his " Old
English Composers for the Virginals and Harpsichord,"
has given interesting specimens of his instrumental music ;
but I would now tell you something about a volume in the
British Museum, published in 1700, only four years after
the appearance of PurcelPs " Choice Collection of
Lessons " ; it is entitled :
" A Choice Collection of Ayres
for the
Harpsichord or Spinett,
With very Plain and Easey Directions for young
Beginners."
It may be said, en passant, that, judging from the con
tents of the volume, the " young beginners " of that period
were far ahead of those of our day.
Now these " Ayres " are actually " Lessons." The first
is by Dr. John Blow himself, and the others are, respect
ively, by Mr. Francis Piggott, Mr. Jeremiah Clarke, Mr.
John Barrett, and Mr. William Crofts. One word respect
ing these " Eminent Masters," as they are named on the
title-page. Francis Piggott, Mus.Bac, was successively
organist of Magdalen College, Oxford, the Temple
Church, and the Chapel Royal, and died May 15, 1704.
He composed, says the writer in Grove's Dictionary,
" some anthems now forgotten." He succeeded Purcell
at the Chapel Royal. Of the famous Jeremiah Clarke it
will be sufficient to say that he studied under Blow, that
he became organist of the Chapel Royal on Piggott's
death, and that he died by his own hand in 1707. Mr.
John Barrett, another pupil of Dr. Blow's, was organist
of St. Mary-Hill Church about 1720. Of the celebrated
William Croft, or Crofts (as he sometimes spelt his name),
it will suffice to give the dates of his birth and death,
MUSICAL
kECOUDL
26$
1677 and 1727, and to add that he was one of the Children
of the Chapel Royal under Dr. Blow, that he became
joint organist with Clarke at the Chapel Royal in 1704,
and, on the death of Clarke in 1707, sgle organist. One
is not altogether justified in ranking Francis Piggott as a
pupil of Blow's, but if not directly so, he must have been
influenced by him, and must, too, have been well known
to the eminent master. In the volume under notice the
publisher informs the reader that, after naming the men
that composed these Lessons, "'twould be Presumption
and Impertinence to Offer at a Charactar of 'em, and 'tis
Sufficient to Assure the Reader that they are Genuine.1'
As our brief description of this volume will show, the
publisher might have added, "and highly interesting."
In the preface the "Graces" are fully explained; and
considering the difficulties, and, at times, uncertainties
connected with ornaments, these explanations are wel
come. They are precisely similar to those given in the
third edition of Purcell's '' Lessons for the Harpsichord."
The first "sett," as it is called, is by Dr. Blow, and
includes an "Almand, a Corant.a Minuett, a Sarabrand (by
Mr. Crofts), and a Jigg." Whether the two last movements
really belong to the " sett " seems open to serious ques
tion ; the one, as mentioned, bears another composer's
name, and the latter is in A major, whereas the other
movements are in D minor. The "Almand" is more
stately and of more importance than similar movements
in Purcell's " Lessons," published only four years pre
viously : a comparison with Handel's Allemande in his
third suite (same key), will be found interesting. The
" Corant " is in J time : it is the old dotted movement
with the J rhythm at the close of each section. The
" Minuett is short, and is well described by a former
possessor of the book, who has written above it in irk,
" smooth." I pass by the Croft " Sarabrand " (can any
one, by the way, throw any light on this spelling of the
word ?) as later on there is a complete " Sett " from his
pen ; and, also, the short, unimportant " Jigg."
The next "Set "(Dr. Blow's was honoured with two
t's) bears the name of Mr. Frn. Piggott. It opens with a
short, but substantial Prelude of only eight bars, in the key
of c major. It begins with scale-passages for each hand ;
then come some points of imitation, a cadence, and the
somewhat quaint ending
There follows an "Almand," and here again the com

ment of the owner, " near to Handel," seems most
appropriate. It is, as we shall see immediately, not the
only nearness to Handel in the volume. The " Corant,"
an excellent contrast, is equally interesting. As in the
early Suites, the one reflects the spirit of the. other. The
Almand commences
the Corant
The " Sarabrand " is simple, but imposing in character,

and the harmonies are unusually bold. The "Jigg" is
lively and, in usual fashion, the principal lively theme
270
THE
MONTHLY
MUSICAL
RECORD.
[December 1, 1893.
piUS
is inverted in the second section. The"Jigg" ought to
conclude the set, and possibly does. On the following
page, however, there is a March, still in the key of C.
It is followed by a " Minuet," which, considering its
family likeness to the March, would seem to be intended
as a kind of " Trio." At the end of the latter, though
undoubtedly referring to the two pieces, is written, " By
Frn. Piggott ; " while, at the top of the page is written in
ink, " Excellent." The whole of this music is now given ;
and the reader is requested to noticefirst, its dignified
character, and, secondly, its remarkable nearness to a
well-known march by Handel
A March.
The following, quoted from explanation of Graces,

will show how the signs in the March are to be inter
preted :
Played.
Then follow a number of short pieces by " Mr. Clarke."

First, a characteristic "Trumpett Minnuett," the opening
phrase given out tasto so/o-wise, as if by a trumpet.
Then a short "March," a pleasing ("excellent,'-' again
says our commentator) "Ayre," a brisk, bold march
entitled, "The Emperour of Germany's March," a
" Serenade " styled " remarkable." It is really fine ; the
opening section runs thus :
and, lastly, a fine " Prince of Denmark's March."

We then come to a set of " Ayres " by Mr. John
Barrett, an Almand, Corand, Sarabrand, and a move
ment entitled, " The St. Catherine," described by our
glossator as " airy tautology "unless, indeed, this refer,
as is quite possible, to the whole set.
The volume concludes with two fine sets by Croft. In
the first, a Sarabrand comes, curiously, between the
Almand and Corant.
J. S. S.
December i, 1893.]
THE
MONTHLY
MUSICAL
RECORD.
271
and the note under it, a quaver ; in Peters the first note
is d, and that below, a semiquaver. In the next bar,
middle stave, in Best the g is a demisemiquaver ; in the
B.-G. a semiquaver ; in Peters the note is left out. The
cadenza passage, in Best, p. 654, b. 3, to the note c after
the termination of the shake in the next bar, is, in Peters,
a third higher. According to Naumann the Peters
edition here is in error, the passage being correct in
the Fischhof copy. In b. 3, 1. 2, same page, the /sharp,
Ex. 171.
middle stave, is in Best tied to the previous note as a
first inversion of the suspended ninth ; in Peters the note
isg. The B.-G. agrees with Best, but gives it as a small
note, implying a doubt as to its correctness. In bar 4
the end, the chord at the beginning is, in Best,
This forms the first number of the Peters Supplement from
written
in quavers ; in Peters, in semiquavers.
ary Volume (IX.), and is No. 5 in the B.-G., Vol.
No. 6, Fantasia con imitazione, B minor :
XXXVIII. F. A. Roitzsch edited it from a copy found
among the effects of Johann Nepomuk Schelble (Founder
Ex.
174. s pat,,.
of the Cecilia Union, Frankfort, and already mentioned
in the course of these papers), and it is printed in Peters'
Edition, without separate stave for pedal. The editor of
the B.-G. volume had only one other copy with which to
compare the abovethat now in the Berlin Library,
This Fantasia is not published in the Peters edition
the bequest of [Joseph ?] Fischhof. This, Ernst Naumann describes as being full of errors. The Fischhof among the organ works, but will be found in Vol.
mentioned was, presumably, Joseph Fischhof, pianist, 216 of the Peters edition of the complete works, being
born April 4, 1804, in Moravia; died at Vienna, June No. 7 of Book 13 of Series I. It is the sixth number of
28, 1857. Reference to this work, and the next to come the B.-G., Vol. XXXVIII. Spitta remarks of it, that it
under notice, will be found in Spitta's Life of Bach, does not seem to him to have been intended for the
Vol. I., p. 436 (English edition always to be understood). organ, neither does he think it fitted for that instrument.
It is there classed among the "clavier" fantasias, and Of the six copies, besides the published edition of Peters,
assigned to the Weimar period (1708-1717). The work that Naumann was able to collate, not one directly states
is given by Mr. Best in proper form, on three staves, and in the title that the piece is for the organ. The " Vossalso in the same way in the B.-G. Vol. The first difference Buch," so often mentioned, is a " collection of twelve
in the text occurs on p. 641, 1. 2, b. 1 ; the chord at the clavier and organ pieces," but under which description
commencement of the bar having an afiat, making it an the B minor Fantasia comes, I am unable to state. Nau
inversion of a minor ninth. It is so in the B.-G. Vol., mann thinks its whole character better suited to the
but in Peters the note \% g. One of the copies above organ. So do doctors differ ! There are many slight
referred to has g, the other a, so that the a flat seems an differences! in the various copies; but, as before, my
ingenious compromise ; but a similar passage two bars scrutiny is limited to the three editions under notice.
earlier should be decisive as to which is correct. In the The first divergence will be found in Best, p. 656, line 2,
pedal part, p. 645, 1. 2, b. 2, the second note, tied, is, in b. 4, first group, top part, which reads as (a), and Peters,
Best, a crotchet, in the others a quaver. In the cadence p. 41, 1. 3, b. 1, which is as (b) :
introducing the fugue, the pedal, in Best, descends to a,
first space ; in Peters it rises to the fifth line. Page 647,
1. 1, b. 4, last half, Best follows, with the B.-G., the
Fischhof copy, as (a) ; Peters, the other, as (b) :
Ex. 172.
The B.-G. agrees with Best, but gives the semiquavers
M
in small notes. Peters alone gives e instead of/, in the last
group, second voice, 1. 3, b. 2, of same page in Best. In
the first bar, p. 657, second voice, second beat, Peters
again gives e where the others have /. TheB.-G./isa
The latter causes consecutive octaves with the bass. small
The last note, middle stave, line 1 of p.
There is a slight difference in the next bar, the pedal 657, is note.
d sharp, and so in Peters ; but in the B.-G. it is e,
note, third beat, being a crotchet, in Best, and a quaver this being
supported by all the MSS. In the next bar,
in the other editions, but in these others the subject, top part, first
group, all the editions differ, Best being as
entering four bars earlier, is not assigned to the pedal at
all. In the second bar, top part, on p. 649, Mr. Best (a), Peters as (b), and the B.-G. as (c) :
differs from the Peters text, the former reading as (a), the
latter as (b) :
Ex. 173.
(Continvtdfrom fi. 247.)
VOLUME IX.* (Contintud.)
No. 5, Fantasia and Fugue in A minor :
Substitute e (org in the last of the above, and another

reading will be illustrated. Bar 1, line 3, last beat,
Page 653, third part, middle stave, the third beat is bj middle stave, on same page, Best has d, and Peters b.
in Peters, c. Same page, 1. 3, b. 1, the first note is b, All the other copies agree with Peters, but Naumann
thinks it probable that d is right, and it may be, as it
supplies the third to the chord. The first half of the
iji
fkE
MONTHLY
last bar but one, before coming to the " Imitation," is ill
Best and the B.-G. as {a) ; in Peters as (*) :
In the last bar but two, p. 659, Best, middle stave, the
minim a is replaced by two crotchets, the second falling
an octave. Page 660, line 1, b. 12, top part, the last note
is a ; in Peters,/" sharp. The passage beginning ten bars
from the end, and extending to four bars, is first assigned
to the manual, and answered on the pedal two bars later.
In some of the copies, the lowest part, or pedal, comes
first, and the effect is therefore different where the parts
cross. On the pianoforte, of course, there would be no
difference.
Stephen S. Stratton.
[To be continued?)

The celebration of the Jubilee Centenary of the Gewandhaus
concerts, to which brief allusion was made in these columns last
month, took the form of two festival orchestral concerts and a
special concert of chamber music. For the first concert Dr.
Reinecke had composed a " Solemn Prologue " in the form of an
overture. After the prologue (which was well received) came a
festival poem by H. v. Gottschall. This was ably delivered
by Fraulein Manche, of the local theatre. A setting a cappella
of " Ein feste Burg" by Doles came next on the programme.
This work was considered especially appropriate to the cele
bration because the words " Ein feste Burg ist unser Gott " were
the motto of our now world-famous institution in its early days
before it migrated to and was named after the Gewandhaus, and
also from the fact that Doles was the first conductor of the
concerts. It was admirably sung by the Thomaner choir, con
ducted by their cantor, Herr Gustav Schreck. Bach's Concerto
in n minor for three pianofortes was next played by Frau Pro
fessor Kretzschmar, Fraulein Mtiller, and Herr Professor
Reinecke. The concert concluded with Mendelssohn's Sym
phony in A minor.At the second festival concert, Beethoven's
overture Leonora (No. 3) and Schumann's cantata Paradise and
the Peri were the principal works performed. The chamber
music concert brought forward Haydn's Quartet in D, played by
the Prill quartet party, and Mozart's Quintet in G minor,
played by the Hilt party, with the assistance of Herr Unkenstein. Herr Eugen d'Albert played Beethoven's Sonata appassionata, a l'assecaille by Bach, and Andante by Schubert ;
and Herr Sistermanns contributed several Lieder by Schubert.
From the list of pieces given it will be seen that novelties
scarcely figured in the celebration scheme, only works of sterling
and standard merit being allowed. The inclusion of a work by
Professor Reinecke was a fitting compliment to the present
conductor of the Gewandhaus, who, in spite of increasing years,
shows very little sign of impaired vitality. His activity is
really marvellous. Limits of space forbid my describing in
detail the performances of the various works. Their all-round
excellence may be gathered from the fact that there was not a
single wrong note, with the exception of a " quack " on one of
the horns in the Leonora overture. All the artists entered into
their work con amore, and with results gratifying in the extreme.
The two following Gewandhaus concerts (of the regular
series) were so arranged as to be in some measure supplementary
to the special festival concerts, for at the first works by Rietz
and Hilier, and at the second by Gade, were put under contri
bution. Rietz and Hilier were both former conductors at the
Gewandhaus, while Gade is one of the most distinguished of
Leipzig alumni. The Symphony in A by Julius Rietz proved
a very bright and acceptable work despite its sixty years.
MtfSiCAL
RECOR13.
[December i, 1853.
Schubert's unfinished symphony and Beethoven's Symphony

in A wete the other orchestral items of this the third concert of
the regular series.At the fourth concert, Weber's overture to
Der Freischiitz was the opening and Gade's Symphony in c minor
the closing work. A spirited Festival March by Gounod was
also included in the scheme. Herr Concertmeister Hilf played
Ueethoven's Violin Concerto and Paganini's variations on " Di
tanti palpiti."At the fifth concert (on Oct. 9th), Brahms'
line Symphony in F and Mendelssohn's overture to A Midsummer Night's Dream were excellently rendered. Berlioz's
" Danse des Follets," though played as well as might be wished,
did not please to anything like the same extent as the two
works just mentioned. Its piccolo tricks and altogether artificial
method are certainly not in the best taste.
Herr Scheidemantel was the vocalist He chose Beethoven's song An die
Hoffnunv (using the awkward orchestral accompaniment added
by Riccius) and one or two acceptable Lieder by Brahms and
Rubinstein.
Dr. Kretzschmar's Academic Concerts and those of the
Liszt Society have both begun their season, and are attracting
good audiences. Among the numerous extra concerts were two
given by young Raoul Koczalski, at one of which the pianist
figured also as a conductor of some of his own compositions.
Noteworthy pianoforte recitals have been given by Fraulein
Clothilde Kleeberg and Herr Barth.
Some stir has also been created by Arthur Argiewiecz, a
violinist, said to be only nine years of age.
The Leipzig Singakademie recently performed Franciscus,
by Edgar Tinel, which proved to be a work of excep
tional interest. The society had secured as soloists Fraulein
Pliidemann, Messrs. Vogl, Schelper, Trautermann, andHungar.
The composer has entirely eschewed the oratorio style, and we
find St. Prancis under the spell of the world, illustrated by the
strains of a hyper-modem waltz, such as Bizet or Massenet
might have written. St. Francis, who made a vow of poverty,
is accompanied with a parade of instrumental pomp which
strikes one as, to say the least, highly anachronistic. He is
made to sing With a fervour such as we are more accustomed
to associate with Tristan or T.innhauser. Indeed, the influence
of Wagner is unmistakably felt. The work is brilliantly
written, and made an immense impression at its first per
formance.
Dr. Klengel, who conducted, did his work
admirably. The composer was called, and heartily applauded,
the same honours being conferred on Dr. Klengel. I'~ranciscus
will surely be heard of again.
OUR MUSIC PAGES.

We present our readers this month with a two-part song,
" The Fairy's Tea-party," by A. Moffat, which we feel
assured will find favour with all the young folk who are
anxious to prepare something suitable for Christmas
entertainment, whether in public or private. The words
and music are well suited to each other, and both are
excellent for this purpose. The song is easy to learn
and introduces only notes that are in the middle register of
the voice.
fcrimtoa of #eto $8ca&\t attii #eto

Gtoftfons*
Reflections upon Musical Art. By JOSEPH GoDDARD
(Goddard & Co.).
Any attempt to penetrate the secret of the emotional
power of music deserves consideration, and especially
so when, as in the present instance, the writer has pre
pared himself for his difficult task by careful reading and
due reflection. He discusses Herbert Spencer's theory,
that vocal music originally diverged from emotional
speech gradually, but feelsand, we believe, rightly
that such a theory will not explain the whole mystery of
December i, 1893.]
THE
MONTHLY
MUSICAL
music. Certain facts, too, seem to protest against such

an evolution. Emotional speech and music have, natur
ally, many elements in common, and yet in essence the
latter, Mr. Goddard maintains, differs from the former.
The " thrill " of the positive musical sensation, the
arousing of feeling directly, he regards as special powers
of music. It might, however, be argued that such powers,
though in an inferior degree, belong also to impassioned
speech, and that the difference is, therefore, one of degree
rather than of kind. Speech is the expression of thought,
and though feelings may be directly aroused by the tones
of the voice, yet, being faint, they do not attract notice
per se : tone and word are mixed, and to the latter is
ascribed almost all the effect. Mr. Richard Wallaschek,
in his recently published " Primitive Music," will not,
however, for a moment, admit that music can be the
direct offspring of emotional speech, for he says : " The
most primitive music is no melody, but noise reduced to
time." To that, however, it may be answered that
" noise reduced to time " can scarcely be regarded as
music. In a brief notice, complex questions relating to
the art of music cannot be properly discussed, and, for
the present, we merely call attention to Mr. Goddard's
" Reflections." He has many things of interest to say
about the position of hearing among the senses in con
nection with music. And his principle of " arbitrary
association," bearing as it does on the theories of Richard
Wagner, is of importance. " Music applied to language
is aiding phenomena" says Mr. Goddard.
Dorjmusik (Rustic scenes). 18 ckaracteristische Stiicke
fur das Pianoforte. Von Richard Kleinmichel.
Op. 56. No. 11, Die Miihle am Bach (The mill on
the brook); 12, Bruder Studio (The student); 13,
Landmann's Morgengesang (Peasant's morning
song) ; 14, Handwerksburschen Lied (Journeyman's
song). London : Augener & Co.
These pieces are especially suitable for teaching pur
poses, and are, in addition to this, cleverly written. Nos.
1 1 and 14 are two lively tunes in \ rhythm, and were it
not for one passage for the right hand in the middle of
No 1 1, they would serve admirably as " first pieces."
No 12, "Bruder Studio," is the popular German student's
song, " Wer kommt dort von der Hoh'," also an ex
cellent first piece. No. 13, "Landmann's Morgengesang,"
is considerably more difficult for small hands than the
others. We consider all of them worthy to be added to
i he teacher's repertoire.
Twenty-five short original Pieces for the Pianoforte.
Nos. 1325. London : Augener & Co.
We referred last month to this happy thought of the
publishers, and we now draw attention to the completion
of this set of easy, high-class little pieces, each of which,
beautifully printed, is issued at the modest price of a
shilling. The different composers who have been drawn
upon are Krause, Gurlitt, Scharwenka, Pauer, Heale,
Reinecke, Loeschhorn, Schumann, and Mendelssohn, so
that it will be evident at once that there is plenty of
variety to choose from. Each piece is carefully fingered,
and the whole publication must surely supply a real
want.
MiIodic en fa, pour le Piano. Par Anton Strelezki.
Intermezzo Scherzoso pour Piano.
Par Anton
Strelezki. Elude pour Piano. Par Anton Stre
lezki. London : Augener & Co.
Of these three pieces the first two are decidedly superior
to a good many, of this prolific composer's recent works
which have come under our notice. The melody (dedi
cated to Mile. Clothilde Kleeberg) is a refined little
RECORD.
273
piece of writing, with a certain poetic charm about it

which will please many. The Intermezzo Scherzoso
(dedicated to Mons. B. Stavenhagen) is quite an ac
ceptable representative of its class, although it seems to
us somewhat overburdened by unusual chromatic pro
gressions. The Study (dedicated to Eugen d'Albert)
contains no particularly striking feature, but it will be
found agreeable, as well as useful to play.
Sonata in E flat. For the Pianoforte. Composed by
E. A. Chamberlayne. London : Novello, Ewer
&Co.
The Sonata consists of three movements : Allegro non
troppo, Adagio sostenuto, and Allegro molto vivace; and
for a proper interpretation it requires a player with a
sure command of the keyboard. The writer shows a
fertile resource (which, however, occasionally runs away
with him) combined with considerable ingenuity of con
struction. The last movement reveals decided talent,
and, with a more matured style, we may confidently look
for good work in the future from this composer's pen.
Berceuse and Scherzo from the Concerto for Pianoforte
and Orchestra. By Horton Allison. London :
Forsyth Bros.
These two pieces are easy and effective, the Scherzo
containing some graceful writing. The Berceuse, as it
stands, is a little monotonouspossibly it has more
variety in its original form. There is an obbligato for
violin or flute for both numbers.
Symphonies by Beethoven arranged as Pianoforte Duets.
By E. Pauer. No i in c major. Op. 21. (Edition
No. 8,517a ; net, is.) London : Augener & Co.
This edition of the Beethoven symphonies has one
advantage over its predecessorsnamely, the lettering,
which has been added, enabling the performers more
readily to find a starting point, in case of their losing
their place. The pedal marks and the phrasing are also
additional advantages. We could wish that a few in
dications of the orchestration be added; this would greatly
enhance its value as an educational edition, and, perhaps,
here and there a little fingering would not be amiss. In
the matter of printing, etc., no fault could possibly be
found, and we are of opinion that such an edition as this
of the symphonies published separately was required, and
will prove acceptable to many.
Sonata in C major/or 2 Violins, Piano, and Vcello ad lib.
By H. Purcell. Arr. by G. JENSEN. (Edition
No. 7,431; net, is.) London : Augener & Co.
The third of Purcell's Sonatas which has appeared in
this collection does not strike us so favourably as the two
reviewed by us last month, probably because the subjects
are not so attractive ; at the same time we do not find it
in the least uninteresting. These works are in the main
best adapted for teaching, especially as studies for the
cultivation of a full, broad tone, and may also be con
sidered good examples of this celebrated old English
composer's style, which is remarkably like Handel's, but
without the depth and power of that master. They are
equally effective as trios for 2 violins and piano or 2
violins and 'cello, or as quartets for 2 violins, 'cello, and
piano.
Morceaux melodiques pour deux Violons avec accompagnement de Piano {ad lib.). Par F. Hermann. Op.
26, Livre III. Morceaux Nos. 5 and 6. (Edition
No. 5,328c ; net, is.). London : Augener & Co.
The third book of these most interesting compositions
for two violins with an accompaniment for piano (ad lib.)
274
THE
MONTHLY
consists of two numbers viz., No. 5 Allegro confuoco in

A major, \ rhythm, and No. 6 Allegro giocoso in G major,
\ rhythm, changing to vivace in | in the character of a
scherzo. The former of these, bearing the title " Spring
time," is descriptive, and has some clever four-part writing
for the two violins. The contents of this book are more
difficult than Books Land II., and are worthy of the
highest praise, displaying as they do no ordinary powers
of invention. They deserve to be placed on a par with
the best compositions of this class, of the same degree of
difficulty, which have yet appeared. We only express
our hope that Prof. Hermann will add at least another
three books to those already published.
Morceaux de Salon pour Violoncelle avec accompagnement de Piano. Par W. H. Squire. No. 3, Minuet.
4, Mazurka. London : Augener & Co.
These two pieces are even better than the others by this
composer which have already passed through our hands.
The Mazurka is the better of the two ; it is bright and
lively, without being in any way difficult. The Minuet is
almost as attractive, and we therefore recommend both
pieces.
A Dream. Nocturne for Violin and Pianoforte. By

George Palmer. London : Augener & Co.
The above solo for violin is not a difficult one, and will
be useful for teaching purposes, though it does not call
for special mention on account of its originality. It is
like so many other solos for violin bearing similar titles
and of a soft emotional character, which with but few
exceptions fall short of producing the effect desired. In
this piece, however, we are evidently dealing with the
work of an experienced performer, as the violin part lies
well, and is properly bowed and fingered.
Thou Wondrous Love. Song with violin obbligato. By
Carl Reinecke. London : Augener & Co.
The vocal part of this song is easy ; so also is the
accompaniment, to which is added a most effective violin
obbligato introducing several trills. The compass is that
of a high voice, namely, from E to ni>, and the character
of the melody and accompaniment is Mendelssohnian,
though without the slightest taint of plagiarism. With
this song is given a separate voice part for the singerin
our opinion, a great advantage. We should consider it a
benefit, though perhaps an innovation, if all songs were
printed in the same way. The words, by C. O. Sternan,
are decidedly sentimental.
Max Reger. Sonate in f moll, fiir Violoncell und Piano.
Op. 5. (Edition No. 7,735 ; net 2s. 6d.)
No one can read through this sonata without coming to
the conclusion that the composer has much to say, but,
at the same time, that his mode of writing is the reverse
of comfortable. A composer in the heat of inspiration
may not care to pause and reflect whether his music is
easy or not of execution, but, inspiration should be followed
by criticism ; and for the sake of the music, if not of the
interpreter, rough places, so far as is possible, should be
made plain. Anyone who plays through the pianoforte
part of this sonata will certainly hope that Herr Reger
will profit by this hint. But now to the music. The
opening Allegro is full of earnestness. The passionate
principal theme is not lacking in dignity, while the soft,
plaintive, second theme forms a contrast as striking as it
is appropriate. In the development section the subjectmatter is presented in intensified form. We have, as it
were, the picture of a soul struggling with dark fate ; ex
cepting in a few passages, storm and stress prevail, while
these passages, if quiet, are unutterably sad. The adagio,
MUSICAL
RECORD.
[December I, 1893.
with its restless rhythm and extended length, is perhaps

scarcely the right kind of movement to follow the opening
one, but its heroic character and melancholy charm are
features which deserve full recognition. The finale is an
exceedingly complex movement ; the varied rhythm, the
striking harmonies will interest the listener, although the
music, as a whole, will probably produce the effect of
effort rather than of imagination. In the first two move
ments, in spite of all peculiarities of diction, the composer
seemed to be speaking as the spirit moved him.
When Roses Blow. Song. Words by Lady Lindsay.
Music by Hamish MacCunn. London : Augener
&Co.
A STUDY of this song has afforded us genuine pleasure.
There is real pathos in the music, and, with a sympa
thetic singer, the song will make a great impression.
Compass EF.
Slumber Sweetly, Baby Mine. A Lullaby. Words and
music by Edith Swepstone. London : Augener
&Co.
An agreeably written song, with words rather above the
average, which mezzo-sopranos will be glad to possess.
The melody is well defined, and flows easily and natur
ally, and is backed up by an interesting and well-written
accompaniment.
Select Songs, with the Original Words and English
Versions. By H. KjERL'LF. "After-glow" (Aftenstemning) ; " Nightingale, Sing ! " ( Syng, Syng ! ) :
"Dissimulation" (Fdrstallningen) ; "Good Night"
(God natt). London : Augener & Co.
We come now to the last four of the set of select songs
by this gifted composer, which brings the number up to
twelve. The two last are the most important of these
four, the two first are short, but nevertheless gems like
the rest. "Good Night" is perhaps our favourite; the
pathos of the words and music cpmbined is exquisite,
and, as they are so aptly blended, the song is easy to
sing.
Forty lecons de chant, pour voix de contr'alto. Par J.
CONCONE. (Edition No. 6,790; net, is. 6d.) London : Augener & Co.
An excellent complete edition of the Forty lecons de chant
for contr'alto voice, by Concone, lies before us. They
form a substantial yet handy volume of eighty-five pages,
beautifully printed, and published in the best style at a
remarkably small price. We presume that this master's
vocal studies are too well known and appreciated to call
for words of praise from us. As we look over the
different numbers so familiar to us, we cannot help ad
miring again the beauty of these melodies, which embody
so much useful material for the singing student.
The Rose and the Nightingale. A Cantata for female
voices, with pianoforte accompaniment. Words by
Edward Oxenford. Music by John Acton.
(Edition No. 9,027 ; net, 2s.) London : Augener
&Co.
A prince and princess, son and daughter respectively
of two neighbouring kings, have been changedthe boy
into a nightingale, and the girl into a roseby a spiteful
fairy, whose power over them could last only until love
united them. How all this is brought about, Mr. Oxenford has shown in verse of a high order, and Mr. Acton
has provided a capital musical setting. A perusal of the
airs certainly awakens more than one reminiscence, but
still, we are able to speak in high terms of the work as a
whole, which is one of the best of its kind that we have
seen. The choruses are well laid out for first and second
December i, 1893.]
THE
MONTHLY
MUSICAL
RECORD.
275
soprano and contralto, interspersed with solos for soprano delightful little works, and delightfully performed. Miss Amy
and contralto, and all is well within the grasp of a Sherwin was the vocalist. On Saturday, Nov. 18th, the
quartet by Saint-Saens, in B flat, Op. 41, was played, and
moderately advanced ladies' singing class.
Signor Piatti gave a Sonata by Valentin!, two centuries old.
Miss Fanny Davies, in a suite of Handel, was very successful,
Four Songs, with Pianoforte accompaniment.
By as
was Miss Liza Lehmann in her songs. On the following
Charles Wood. No. 2. " Why so pale and wan, Monday the Quintet of Goldmark, for pianoforte and strings,
fond lover"? No. 4." Ah 1 Robin, Jolly Robin." was a welcome novelty. Herr Schonberger was the pianist,
and also played Beethoven's Sonata in A major, Op. 101, Lady
Two sixteenth-century poets have furnished the words Halle being heard in Tartini's "Trillo": Schubert's quartet in
for these songs, and there is an appropriate flavour of A minor concluded the concert.
" three hundred years agone " about the music. Both
songs are short, and can be sung by voices of moderate
compassthe first extending from C to e flat, and the
second n to f sharp. Singers who want something The concert of Nov. 4 was mainly devoted to Mr. F. II.
Cowcn's romantic legend, The Water Lily, which was first tried
uncommon cannot do better than take up these songs.
at the Norwich Festival. The choral passages were given in
creditable style by the Crystal Palace Choir, and Miss Emma
Juch, Miss Hilda Wilson, and Mr. Ken Davies displayed their
accustomed ability in the solos. The anniversary of Mendels
sohn's death was commemorated by a performance of his
Overture to A Midsummer Night's Dream, which the orchestra
played charmingly. On Nov. nth, the Overture "The FireCRITERION THEATRE.
The revival of Offenbach's comic opera, Madame Favart, on worshippers," by Mr. Granville Bantock, was performed. It
the gth was an event of some musical interest, for although had been heard at a Royal Academy concert, and was again
the work belongs to the lightest school of operatic music, it is well received. The Symphony of Goetz in V was admirably
not wanting in good qualities of a tuneful kind. Miss Florence performed, and the Preludo from Lohengrin was interpreted
the orchestra, also the transcription by Berlioz of
St. John distinguished herself as the heroine, singing and exquisitely" by
Invitation to the Waltz." Miss Beatrice Langley
acting with much brilliancy. Mr. Wallace Brownlow also Weber's
gave able assistance. The ensemble left something to be desired. played Bruch's Violin Concerto in G minor with considerable
effect. Mr. Plunket Greene was the vocalist. On Nov. 18th
M. Siloti appeared. The Moscow pianist had an enthusiastic
reception in Liszt's arrangement of Schubert's Fantasia in c.
GAIETY THEATRE.
The burlesque of DmJuan takes Byron and not Mozart as its He also played Chopin's Ballade in A flat, and other pieces,
basis, and some bright and pretty music has been supplied by including Tschai'kowsky's Romance. M. Siloti made a most
Herr Meyer Lutz, who has a great facility for catching the successful debut at the Palace. It was the first time an English
popular ear. The Don Juan is a bright and clever young lady, audience fully comprehended and appreciated his unquestion
Miss Hylton, whose experience has hitherto been in the music ably great powers. The Symphony was Harold in Italy of
halls, but she sings in better style and acts with greater effect Berlioz, which the orchestra played finely, the solo for the viola
than could have been anticipated, considering her previous being admirably interpreted by Mr. Krause, who was excellent
training. Her success was most decided. Many of the choruses alike in execution and style. The Leonora Overture, No. 3, we
have heard go better, but the Rosamondc Oveituie of Schuteit,
and the dance music proved attractive.
given in memory of the composer's death, was well-nigh
perfect. Mrs. Hutchinson sang an air from Euryanthc
POPULAR CONCERTS.
moderately well ; she was more successful in two quaint songs
At the concert of Nov. 4th, the Quartet in E flat of Mendels of Scarlatti.
sohn was admirably performed by Mile. Wietrowetz and
Messrs. Ries, Gibson, and Becker, the latter being associated
LONDON SYMPHONY CONCERTS.
with Mr. Henry Bird in the Sonata in A major of Boccherini. These excellent concerts commenced on Wednesday, Nov. 8th,
Mr. Leonard Borwick played splendidly in Schumann's when in memory of the Russian composer, Tschaikowsky, his
Kinderscenen ; Miss Florence Hoskins sang Mr. Santley's beautiful Elegy for strings was performed. The Symphony of
graceful Ave Maria. On Nov. 6th Lady Halle' reappeared, Brahms in c minor was finely played, and Mr. Henschel was
and was most cordially greeted as the leader of a Beethoven cordially complimented as conductor. Mdlle. Frida Scotta was
Quartet, being associated with Messrs. Ries, Gibson, and successful in the G minor Violin Concerto of Max Bruch, and
Becker. She also played the adagio from Dvorak's Violin she also played the Romance of Svendsen. Mr. Plunket Greene
Concerto in A minor, and as an encore Lady Halle gave Gade's was the vocalist, and the concluding item was the flower maidens'
*' Springquelle."
Mr. Leonard Borwick was remarkably scene from Parsifal, given with excellent effect. The feature
successful in his performance of Chopin's " Funeral March " of the concert of Nov. 23rd was the brilliant success of
Sonata, and joined Herr Becker in Beethoven's Sonata in D M. Paderewski in his Polish Fantasia.
major.
Miss Damian was the vocalist. At the concert of
Saturday afternoon, Nov. nth, Herr Schonberger played
SARASATE CONCERTS.
Schumann's Sonata in o minor, Op. 22, and was heard with
Lady Halle and Mr. Whitehouse in Schubert's n flat Trio. Thk Sarasate Concert of Monday, Nov. nth, had for one of
Lady Halle played the lienedictus, Berceuse, and Saltarello, its chief points of interest the t> minor Sonata for pianoforte
from Dr. Mackenzie's six pieces for the violin. Mr. William and violin of Schumann.
This work is not so attractive
Nicholl was the vocalist, and gave songs of Grieg and Brahms. perhaps to amateurs as the Sonata in A minor, but the perform
The return of Signor Piatti on Monday, Nov. 13, was a welcome ance by SeMor Sarasate and Madame Berthe Marx was in every
event to the patrons of the Popular Concerts. The gieat respect admirable. The popular Spanish violinist played Raffs
violoncellist played by desire the Andantino, Presto and Vivace fanciful and imaginative piece "La Fee d'Amour," in which
from his own Concerto in c major, which was performed at the delicacy and refinement of his style captivated the audience.
these concerts eight years ago, and it need hardly be said how He also gave a Suite by Bernard, and a solo of his own, and in
finely he played. In tone, expression, and execution it was response to a demand for repetition played Chopin's Second
an almost perfect performance. He was thrice recalled, and Nocturne in E flat in his most expressive manner. Madame
the audience would not permit him to quit the platform until he Berthe Marx was heard at her best in the difficult and effective
had played another piece. Miss Fanny Davies had also an Fantasia by Liszt on airs from Don Juan, There was, as
enthusiastic reception in a selection from Chopin's Preludes usual, a very large audience.
perasf airti Cowerte*
276
THE
MONTHLY
M. PADEREWSKI'S RECITAL.
St- James's Hall was not large enough to contain all the
admirers of M. Paderewski, who flocked to hear his recital on
Tuesday, Oct. 30th. The great pianist was in wonderful form,
astonishing and delighting every amateur present. It was
difficult to say in which piece he was most successful, for in
passages of force his energy was astounding, while in delicate
movements his graceful pressure was equally remarkable. But
M. Paderewski might have chosen something fresher than
" Home Sweet Home" with variations.
At the opening concert of the season, Nov. 2nd, a tribute was
paid to the memory of Gounod, who was first connected with
the Albert Hall in 1871, the year when it was opened. The
composer, like so many of his countrymen, had taken refuge in
London during the siege of Paris. The work chosen for the
first concert was the Faust of Berlioz, in which Madame MoranOlden was to have been heard, but owing to indisposition she
was absent. Mrs. Hutchinson took her place, and Mr. Ben
Davies sang the music of Faust, Mr. Henschel being a most
successful representative of Mephistopheles.
Sir Joseph
Barnby conducted with admirable results. On the 23rd Israel
in Egypt was given.
The performance of Auber's Fra Diavolo at Balmoral by
command of Her Majesty appears to have been very successful.
A pianist from Constantinople, named Sevadjian, gave a recital
at Prince's Hall, on Wednesday, Nov. 15th. He is of Armenian
parentage, and played in public at a very early age, but his style
and execution have hardly the vigour and decision to enable M.
Sevadjian to compete with the famous pianists of the present
day. In the lighter kinds of music he has a certain grace that
is pleasing. Nov. 27th being the fiftieth anniversary of the
production of Balfe's Bohemian Girl, Sir Augustus Harris
announced an afternoon representation at Drury Lane Theatre.
Professor Bridge's Gresham lectures at the City of London
School were well attended. The sum presented as a testi
monial to Sir Augustus Harris will be employed by him in the
purchase of three Steinway grand pianofortes as prizes for the
students of the Royal Academy of Music, the Royal College,
and the Guildhall School. The first recital of M. Siloti, the
Moscow pianist, on Nov. 22nd, at St. James's Hall, was very
successful.
iHusiral potest*
The funeral of M.Gounod, though an imposing spectacle,

and a touching ceremony, had little musical interest, the
service, by desire of the deceased, being sung simply in
plain chant. A committee has already been formed to
take steps for the erection of a monument to the illustrious
composer, and a site has now been chosen in the Pare
Monceau. It does not appear that foreign nations are
invited to contribute, but seeing how close was the connec
tion of M. Gounod with this country, it cannot be doubted
that some steps will be taken to honour his memory. A
very large number of messages of condolence have been
received by the family and by the official representatives
of the State, but England seems to have been represented
solely by Her Majesty in her private capacity, and by the
Westminster Orchestral Society, the Philharmonic ap
parently ignoring the occasion, though M.Gounod was an
honorary member of the body, and had written works for
the Society.
According to Le Mrneslrei, Faust had been performed
in Paris 948 times up to the end of last year ; a revival has
been for some time past in preparation at the Opera, and
it seems pretty certain that if the composer had lived a
few weeks longer he might have witnessed the t,oooth
MUSICAL
RECORD.
[December I, 1893.
performance of his work. Romeo el Juliette had had 509

performances up to the same date.
Gounod has left portions of an opera entitled Maitre
Pierre, that is, Pierre Abelard, but for some reason he
seems not to have cared to finish the work. II is last
work is said to be three religious pieces, written for the
approaching celebration of the eleventh centenary of tht
basilica of Loretto.
The directors of the Grand Opera announce that in
consequence of the time occupied by the preparation for
the grand Russian fete, and the numerous repetitions of it
which have been given, it will only be possible to produce
Chabrier's Gwendoline and Massenet's Thais this season,
and the production of Tristan und Isolde must be deferred
till next Octobera postponement which will probably
surprise no one, and disappoint very few. Reger's fine
opera, Sigurd, has been revived, with Mme. Caron as a
superb Briinnhild, and three new singers, MM.
Gibert, Bartet, and Gogny, have made their debuts
without attracting any particular notice.
It is reported that arrangements have been made for
an early production of Verdi's Otello at the Grand Opera.
M. Carvalho has been negotiating with Mile. Van
Zandt for the lady's reappearance at the Ope"ra Comique,
but without success. Mile. Wyns, a debutante fresh from
the Conservatoire, was well received as Mignon, and
Mile. Petrini, a young singer who has made some sensa
tion in Italy and elsewhere, appeared with great success
in Lakme. Bruneau's Attaque du Moulin was produced
on November 23rd with success.
M. Massenet has three tasks on his hands. He has
undertaken to turn the part of the hero in his Werther
from a tenor to a baritone, in order to adapt it to the
voice of Maurel, who wishes to play the part. He is
writing a one-act piece, La Navaraise (a commission, it is
said, from Sir A. Harris), for Mile. Calve, who will produce
the piece next season in London ; thirdly, he is writing a
sequel to his Manon, entitled Le Portrait de Manon, in
one act.
Anew Socie"t6 des Grands Concerts, with M. Derenbourg
as founder and general manager, and M. Colonne as sole
artistic director, has been founded, to give lyric and
dramatic recitals (without costumes or action) in the Eden
Theatre. There is to be an orchestra of 1 20, a chorus of
100 (only ?), and soloists of the highest eminence. A
crowd of important works, new and old, native and foreign,
are promised, and the series was to begin on November
2 1st with Massenet's Marie Magdeleine.
The first two of M. Colonne's Concerts du Ch&telet
were mainly devoted to Russian composers, the second
two to the works of Gounod, and at the fifth the four
symphonic poems of M. Saint-Saens were all given, with
the c minor symphony of Beethoven, etc. M. Lamoureux,
having returned from his successful tour through Belgium
and Holland, began his concerts on November 5th.
An interesting incident of M. Gounod's last visit (it
was in 1889) to Antwerp, where he was almost more
popular than in Paris, is told in the Minestrel. He was
present at a performance of Faust, in which the part of
Marguerite was being played by Mme. Albani. Though
much fatigued, he was persuaded to conduct the third
act, and soon became so interested that he insisted on
directing the fourth also. Meanwhile the prima donna,
stimulated by the sight of the composer, sang her share in
the final trio with such passion and fervour, that
Gounod, excited by the unusual enthusiasm provoked by
the scene, burst into tears, and was scarcely able to finish
the opera. A scene of wild enthusiasm followed.
" Faust " was given at Antwerp on the Sunday following
the composer's deaththe " Marche Religieuse " being
December i, 1893.]
THE
MONTHLY
played after the third act, and the " Ave Maria " sung
by Mme. Cagniart-Verhees, wearing a black veil over her
costume as Margaret, and surrounded by the other artists,
also in black. The theatre was crowded, and hundreds
were unable to procure even standing room.
The Berlin Royal Opera Company are giving a Mozartcycle, including all the composer's operas, even Bastien
and Die Gdrtnerin aus Liebe (in the new adaptation of
Max Kalbeck). The cycle began on November 24th with
Idomeneo, and will terminate on December 5th (the anni
versary of the composer's death) with Die Zauberflote.
Ferdinand Hummel's new opera, Mara, has been very
successful, has already been given many times, and is
described as the best one-act opera of our day, written
by a German composer. As this is the author's first
work for the stage, he is to be heartily congratulated.
There is a report that the German Emperor has desired
(ordered ?) the early production of Sir A. Sullivan's Ivanhoe,
but it is believed that the composer desires to make some
alterations in his work, and withholds it till these are
complete.
Among the orchestral concerts of the month at Berlin
are three Philharmonic, two directed by Levi (of Munich),
and one by Schuch, of Dresden. At one of the former,
Bruckner's Symphony in D minor (the one dedicated to
Wagner) was the chief feature, but had a very chilling
reception. At the concerts of the Kgl. Kapelle, under
Weingartner, the chief items have been Tschaikowsky's
Romeo and Juliet Overture, Goetz's Symphony and Smetana's Overture to Die Verkaufte Braut. Mme. Bloomfield-Zeisler, the American pianist, has produced a
remarkable impression at her two concerts, and is recog
nised as a pianist of a very high order. Mme. Amalia
Joachim has resumed her wonderfully interesting Liederabende, in which she sings songs of all nationsabout
thirty on each evening in perfect style, admirably ac
companied by Dr. Reimann. Lastly, the Philharmonic
Choir, under Dr. Siegfried Ochs, has given another per
formance of Tinel's Franciscus, a work which was also
performed on the same day at Leipsic, and which is now
making its way in every part of North Germany.
The Berlioz-cycle at Carlsruhe has deservedly attracted
great notice. The performances which took place during
the week, November 5 to 12, included Benvenuto Cellini,
Beatiice u. Benedick, La Prise de Troie, Les Troyens, and
a concert at which the Symphonie Fantastique, two
movements of the Harold symphony, the Roi Lear
Overture, and the set of songs entitled, "Nuits d'e"t6," were
performed. It seems a pity that a place could not be
found for the Romeo et Juliette^ which contains some of
the author's most exquisite music. AH the performances
were admirably conducted by Herr Mottl, who has now
conclusively shown that a devotion to Wagner is not
inconsistent with profound admiration for the greatest of
French composers. Of the executants, Frau Mailhac
(Dido and Beatrice), Frau Reuss (Cassandra), Fraulein
Fritsch (Teresa and Hero), Herr Nebe (Fieramosca and
Somarone), and Plank, particularly distinguished them
selves. The whole scheme was excellently planned and
admirably carried out.
THE Coburg prize opera of Paul Umlauft, Evanthia,
was produced at the Stadttheater of Leipsic on October
24th, and received with much favour, though the per
formance was not what it should have been. Umlauft's
work is clearly forging ahead of the opera which the
judges bracketed with it. Another novelty at the same
theatre is Im Brunnen, a comic opera in one act by
Wilh. Blodek (October 29th). It is rather surprising to
find that the critics of some of the papers (Herr Bernsdorf, of the Signale, etc.) speak of this work as a new
MUSICAL
RECORD.
277
one by a living composer. Blodek was a Bohemian who

died in 1874, and his opera was originally produced at
Prague in 1867. However, it is described as remarkably
melodious, and generally well written, but, like most
Czech comic operas, it suffers from a trivial and foolish
libretto.
Three new operas of the last month are Hagbart und
Signe, by Richard Metzdorff, Weimar, October 1 5th ;
Clare Dettin, by Meyer-Olbersleben, also at Weimar,
November 2nd ; and Erlbst (Redeemed), by the Swiss
composer, Franz Curti, produced at Mannheim November
6th. Of these, the first is the most elaborate and im
portant in dimensions, but which (if any) deserves to live
a long life must remain for future judgment. The second
mentioned is its composer's first stage work ; Curti has
already had great success with his Hcrtha in many
German and Swiss towns.
Among the novelties to be produced at the Philhar
monic Concerts of Vienna are a new overture to Sappho
(Grillparzer's ?), and a Scherzo, Andante, and Finale (to,
or from, what ?), by Goldmark, and a Symphony in E flat
by the Bohemian composer, Fibich. Grieg's second
suite from Peer Gynt, and Bruckner's second symphony,
are also to be given.
The conditions for the new German opera prize com
petition of Prince Luitpold of Bavaria are now pub
lished ; works (which must not have been publicly
performed) may be sent in up to November 1st, 1894, and
the decision will be announced on March 12th, 1895.
Competitors must be Germans or Austrians. The prize
is 6,000 marks (,300).
A SOCIETY of amateurs at Strasburg proposes to give
a performance of a play, 9er Pfingstmontag (WhitMonday), in the Strasburg dialect, written by G. D.
Arnold in 1818. This piece was greatly admired by
Goethe, and it has one character so strikingly similar to
Beckmesser that one may well suppose Wagner to have
read the piece and borrowed some features for his own
conceited Meistersinger. Many of the incidents which
befall Beckmesser are almost identical with those which
happen to Melbriih in Arnold's play. It is neither im
probable nor at all derogatory to Wagner to suppose
that he had read the piece, and taken some hints
from it.
Manon, the Manon of Puccini, not of Massenet, was
produced at Hamburg on November 7th, in a German
version, for the first time in Germany, with great success.
The Allg. Musik-Zeitung says that the music is charac
terised by extraordinary warmth and passion, and shows
the young Italian to possess a remarkable dramatic
faculty. Puccini, it says further, treats the orchestra with
great delicacy. The Signale, however, says that the
great objection to the opera is the incessant din in the
orchestra. We cannot decide which authority is right on
the point.
The new Philharmonic Orchestra at Munich, founded
by Dr. Kaim and conducted by Herr Winderstein, began
its career in a very brilliant fashion with a concert on
October 14th, at which Herr Stavenhagen, the pianist,
played his own concerto, and Alfred Krasselt, the young
violinist, Spohr's D minor concerto. Bizet's suite from
"L'Arl<5sienne"and(once more) Smetana's popular overture
to the Verkaufte Braut were the show-pieces for the
orchestra. This, it appears, was a " classical " concert,
but it is intended to give also, " popular " symphony
concerts.
There is, if we may trust the Musikalisches Wochen.
blatt, one town in Germany where the symphonies and
other great works of Brahms are almost unknown. This is
Weimar, and a great sensation has been produced there
278
THE
MONTHLY
MUSICAL
RECORD.
[December I, 1893.
by the fact that Carl Halir, the famous violinist, has been and third acts are superior to the second and fourth, but
suffered to perform the Violin Concerto. He also per it is cle.:r, on the whole, that the author has attempted to
formed a new concerto of his own composition, said to cover U o much ground in his book, and that his own
musical resources are not rich enough to enable him to
contain some very beautiful passages.
The firm of Simrock (of Berlin) announce the early treat such a subject on such a scale. The representatives
publication of two new sets of piano pieces by Brahms : of the four chief characters were : Giuliano de Medici,
Intermezzo, Romanze, Ballade, etc. Op. 118; and Inter Sig. Tamagno ; Lorenzo, Sig. Beltrami ; Simonetta, Siga.
mezzi, Rhapsodie, etc., Op. 1 19. But we hope Brahms Stehle ; Fioretta, Siga. Gini-Pizzorni, of whom the first
and last particularly distinguished themselves. There
has something more than this nearly ready for us.
Siegfried Wagner is determined to appear as a were three encores (notably for a septet in act 3), and
conductor, and he proposes to revive his father's sym over twenty calls for the composer. The opera was put
phonyperhaps at Hamburg, where, it is said, he is on the stage with great magnificence, but for the present
the production cannot be chronicled as more than a fair
engaged to conduct.
That prolific composer ofoperettas, Richard Genee, has success.
just added another to his lengthy list, Freund Felix, of
Three days after the production of / Medici, on
which he is not only the composer of the music, but November 12, the enterprising impresario of the Dal
also joint author (with L. Herrmann) of the book of Verme Theatre, Sig. Sonzogno, the publisher, and grand
words. The operetta did not fail to obtain the usual champion of the young Italian school, placed before the
success, when produced at Berlin, on October 14th.
public the new opera, Signa, of our countryman, Mr.
The past month has produced a whole crop of musical F. H. Cowen. For this he deserves hearty thanks, and it
jubilees of various kinds in Germany. First comes that is much to be regretted that by his subsequent behaviour
of the firm of Schott and Sons, who celebrated the 125th he has alienated those sympathies which his previous
anniversary of its foundation, in 1768.
This is ingen conduct had gained him. The reception of Mr. Cowen's
iously linked with their centenary by the publication of a opera by its first very distinguished, if not very large, audi
facsimile edition of the manuscript of the poem of Die ence was extremely favourable, and everything promised
Meistcrsinger, an opera which was produced in the year well for the work, when Sig. Sonzogno, irritated appar
when the firm reached its centenary. On November 7th, ently by a rather unfavourable criticism of / Medici in
the piano-manufacturing firm of Julius Bliilhner cele an English paper which came under his notice, took it
brated its 40th anniversary. On November 16th, a half- into his head that Mr. Cowen had something to do with
century elapsed since the day when Dr. Reinecke, then a the article in question, and, under the influence of this
young man of 19, made his first appearance at one of ihe absurd and insulting idea, declared that the second per
Gewandhaus Concerts, of which he has now been for formance of Signa should be the last. It is a most
33 years the esteemed conductor. Next day, November regrettable affair, for all the accounts of Signa which
17th, the veteran Friedrich Griilzmacher, the famous have come to hand describe it as a most interesting work
'cellist, completed his 50 years of work. There are others, of great skill and charm. It cannot be doubted that it will
too, whom we can only congratulate without more specific be heard in this country before long. It must be observed
that the artists of the Dal Verme, though fairly capable,
mention.
Tschaikovvsky's last opera, Iolanthc, has been very were none of them of any remarkable excellence.
favourably received at Copenhagen, partly, perhaps.because
We would call attention to the prospectus of the West
it is a setting of one of the most popular of Danish dramas, minster Orchestral Society, than which none better
the King Rene's Daughter of Henrik Hertz.
The deserves support. In the coming season three orchestral
Concert-Verein, the second oldest concert-giving institution and two smoking concerts will be given. English music
of Copenhagen, has been dissolved for want of adequate here finds a warm welcome, and at the third concert,
support, after an existence of 17 years. A new series of among other novelties, a suite for orchestra, by Mr. C. L.
concerts, styled Philharmonic, has been begun, at the Williams, of Gloucester, written for the Society, will be
first of which, conducted by Herr Grieg, the composer given.
produced a new (?) orchestral suite, " Sigurd Jorsalfar."
The two prizes of ten guineas each offered by the
This, however, is probably only new as an orchestral Bristol Orpheus Glee Society to students of the Royal
piece, for music to this piece was produced with the Academy and the Royal College for an unaccompanied
drama in 1872, and some of it published for piano as glee for male voices in five parts, have been won by Mr.
Charles Macpherson, of the Academy, and Mr. H. WalOp. 22.
Madame Nordica and Herr van Dyck are said to ford Davies, of the College.
have been chosen to play Elsa and Lohengrin at Bayreuth
A well-deserved testimonial is to be presented to
Mr. Kuhe, the well-known pianist and teacher, on his
next year.
Nous verrons.
SlG. Vkrdi completed his 80th year on October 9th, seventieth birthday, December 10.
and was the recipient of a vast number of complimentary
An influential committee has been formed to take steps
messages from all sorts of distinguished persons from for founding a scholarship at the Guildhall School of
the King of Italy downwards.
Music in memory of Mr. T. Wingham, who was a pro
The long-talked-of opera, IMedici, by Sig. Leoncavallo, fessor there for some years.
author of the enormously popular / I'agliacci, was pro
Deaths. Of the greatRussian composer, PetcrTschaiduced at the Teatro Dal Verme of Milan, on November kowsky, who died November 6, very suddenly from
9th, with apparently fair success, which did not rise to cholera, an account will be found on another page.
the dimensions of a triumph.
Sig. Leoncavallo, like Compared with this great loss, the other deaths ol the
Wagner, loves to write his own libretti, and in this case month are not of great importance. Josef Hellmesberger,
he has done it with much skill, but with rather too much who only lately retired from the posts of Kapellmeister
development. Unfortunately, he seems to have borrowed of the Hofopcr oi 'ienna and Director of the Conservafrom Wagner not only the notion of bting his own torium, died on October 24, in his 64th year.
He
librettist, but a good number of musical ideas and will probably be best remembered as the founder
phrases, so that, with all his skill in treatment, the opera of the Hellmesberger Quartett (in 1849), which did
is far too much a patchwork of reminiscences. The first so much for the popularity of chamber music in
December i, 1893.]
THE
MONTHLY
Vienna, from 1849 to 1887, when he yielded the post of

leader to his son. He was, also, for many years con
ductor of the concerts of the Gesellschaft der Musikfreunde.
To the outside public, he was known as a man
of caustic wit, whose numerous bon-mots were inconstant
circulation in Viennese society.Theodor Wachtel, the
famous tenor, died in Frankfort, on November 14, at the
age of 70. The son of a jobmaster, he drove coaches
and cabs until discovering that he possessed a wonderful
voice, he got some vocal training and took to the stage.
He never became a real artist, either as singer or actor,
but his phenomenally powerful and beautiful voice made
him always acceptable.
He made his appearance in
London in 1862, in the opera of Lucia, but made no great
sensation.Alfred Quidant, the eminent pianist, died
at Paris on October 9th. Ernest Cahen (died Novem
ber 8, at. 65) was a French composer, who began by
winning the second Grand Prix de Rome, produced
two or three operettas with little success and settled
down to a life of teaching. Mr. T. Hill, head of the
well-known firm of organ-builders, died on October 22,
aged 72. Mr. G. A. Osborne, the pianist and composer,
died November 16, at the age of 87. He produced much
music of various kinds, but it was his numerous pieces of
salon music (" La Pluie de Perles," etc.) by which he was
best known to the general public
MUSICAL
DORFMUSIK {Rustic Scenes).

18
MONTHLY
MUSICAL
CHARAKTERISTISCHE
FUR
STUCKE
DAS PIANOFORTE VON
RICHARD KLEINMICHEL.
Op. 56.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
Hochzeitszug (Wedding Procession) . .

..
..
Hansel und Gretel beim Tanz (Hans and Crete dancing)
Am Spinnrockcn (Spinning)
..
..
.,
..
Fahrende Sanger (Wandering Minstrels)
..
Jiigergruss (Hunter's Greeting) . .
..
..
Beim Zitherspiel (Cither-playing)
..
..
In der Kunstreiterbude (At the Circus)
Die Post kommt (The Post is coming)
..
Feieralrend (Evening Rest)
Erntefcst-Rcigen (Harvest Festival Dance) ..
Die Muhle am Bach (The Mill on the Brook)
Bruder Studio (The Student)^ ..
Landmanns Morgengcsang (Peasant's Morning Song)
Handwerksburschen-Lied (Journeyman's Song)
Kirchgang (Going to Church) ..
Durch/iehende Truppen (Passing Troops)
Kirme--s (Kermess) . .
..
..
..
..
In der Dorfschenke (At the Village Inn)
..
London
"THE
279
RECORD.
..
..
..
..
..
..
..26
..26
.. 1
.. 1
.. a 6
..26
.. 2 ^
..26
..26
..26
AUGENER & CO., 86. Newgate Street, E.C. ;

RECORD."
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will be ready by December 9//1 .
Price 3s. net.
No. 1 PIANOFORTE MUSIC.

A. With English Fingering.
B. With Foreign Fingering.
No. II.ORGAN AND HARMONIUM.
No. III.INSTRUMENTAL MUSIC (Violin).
No. IV.VOCAL MUSIC.
CATALOGUES OF AUGENER'8 EDITION IN VOLUMES.

No. V.AUGEXER.S EDITION. List of over 3,000 Cheap
Volumes, sold at Net Prices. Complete or separately.
Part I. KEYED INSTRUMENTS.
Pianoforte Music.
Harmonium and Organ Music.
PART II. STRING AND WIND INSTRUMENTS.
Instrumental Music (Violin, Violoncello. Flute, Xc.
Part III.VOCAL MUSIC.
Part IV.BOOKS ON MUSIC.
Harmony, Counterpoint, Dictionaries of Music,
Catechisms, &c.
No. VI.- -LIST OF HANDSOMELY BOUND VOLUMES
specially adapted for Presents and t-'chool- Prizes, &c.
PRACTICAL
SCHOOL FOR THE

(Ecole pratique du Violon)
VIOLIN
BY
E. W. RITTER.
No.
761CX?
7610*
*,,
! d.
Book I. Elementary
< ...
... i
Book II. Intervals up to the Octave and scale in c major,
with easy Duettinos in the first position
i
7610c Book III. Intervals within 2 Octaves, exercises and easy
Duettinos in the first position
1
76icx/ Book IV. Inteivals over the 4 strings, exercises and Duet
tinos in the first position
..
._.
1
76iof-vtf Books V.-VII. Major and minor scales, exercises and Duet
tinos in the first position
... each 1
jbiah-k Book VIII. -X. Scales in 2 Octaves, exercises and Duets
in the first position (Gammes en 2 Octaves, exercices et
Duos, ire position)
...
...
... each 1
London : AUGENER & CO., 86, Newgate Street. E.C; 1, Faubert's Place,
and 8i, Regent Street, W
No. VII. EDUCATIONAL CATALOGUE OF VOCAL

AND INSTRUMENTAL MUSIC, containing In
struction Hooks, Exercises, and Elementary Works,
suitable for Teaching Purposes.
No. VIII.LIST
OF
PIANOFORTE
PIECES
FOR
TEACHING PURPOSES. Arranged in Steps ac
cording to the degree of difficulty.
No. IX.WORKS SUITABLE for PUBLIC PERFORMANCE
at Breaking-up of Schools, Musical Parties, &c.
No. X.AUGENER'S SHILLING CATALOGUE; containing
only those Volumes in Augener's Edition which are sold
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London : AlTrcKNKR & f"0 . 86, Newgate Street, E.C. ; alsQ
I Foubert's Plate, and 81, Kegml Street, W.
THE
280
KIRCHNER.
MONTHLY .MUSICAL
AUGENER&CO., 86, Newgate St, E.C.; r, Foubert's Place, & 8t Regent

Street W., London.
[December I, 1893.
USEFUL TEACHING PIECES.
Favourite Pieces.
PIANOFORTE SOLOS.
Op. 181. i les Jagdstiick
3
184. Schlummerlied (Slumber Song)
3 209. Souvenir des Alpes
3
910. Die Rosenzeit. Valse brillante
4
an. Nixenlied
,
3
3ia. Buhmische National Tanze
4
323. Schneewittchen (Snow-white)
3
230. Meditation. Nocturne
3
333. Sanssouci. Galop brillant
4 333. Spinnlied (Spinning Song)
3
338. Foe me d'Amour
3 239. Suite de Danses dans le style facile (Complete)
4
No. 1. Menuet
No. 3. Polka
1
each
,, 2. Valse
4. Mazurka )
2 6
5. Galop
343. Serenade Espagnole
...
3
245. 2tes Jagdstiick
3
351. Reit erst uck
3
252. Campanella
3
270. Reise-Skizzen. Impressions de Voyage :
No. 1. Morgenwanderung. Promenade du Matin. A Morn
8 6
ing Walk
2. Im Waldc. Dans le bois. In the Woods
3
3. Ueber Berg und Thai. Par monts et vaux. Over
Hill and Dale
4. Abend im Gebirge. Un crepuscule sur la Montague.
Evening in the Mountains
5. Am Meeresstrande. Au bordde lamer. On the Seashore
6. Gewitter in den Bergen. O' *. i-tns les montagnes.
Storm in the Mountains
7. Sonnenschein in Flur und Hnin. Clarte du Soleil dans
les champs et bois. Sunshine in Field and Grove
8. In Tyrol. En Tyrol. In the Tyrol
9. In der Hange matte (Schlummerlied).
Berceuse.
Slumber Song
10. Abschied von den Bergen. Adieu aux montagnes.
Adieu to the Mountains
272. J'y pense. Introduction et Gavotte
?36. L'Adieu. Farewell ! Melody
2S7. Valse Caprice
391. A revoir ! Air populaire
202. Le Postilion (Postilions Lied). Me*lodie
299. Caprice-Mazurka
301. Heimathkl3nge. Melodie
306. Maurisches Stiindchen
307. Die Muhle im Thai
308. Danse des Sylphides. Scherzo
3*3. Der lustige Schweizerbub'
3'5> Abendkliinge. Notturno
318. Frith lings-Grusse. Valse Impromptu
321. Intermezzo
339. Die schOne Sennerin (La belle montagnarde)
334- Das Gretel vom See. Tonbild
360. Winzerfest. Fte de Vigneron. 3 Morceaux :
No. 1. Festzug (Marsch). Cortege
2. Spiel und Tanz im Freien (Lrindler), Jeu ct Dansc
en plein air
...
...
363. Eglantine. Mazurka de Salon
3S5. Klange aus dem Oberland. Tyroler Lieder-Walzer
381. Danse espagnole
386. Moments musicaux :
No. 1. Impromptu
2. Alia turca ...
...
...
3. Menuet
...
...
.39'- Stimmungsbilder. 4 Miniatures
395- La Fontaine. Morceau de Salon
Serenade,
en
4
Parties
:
401.
No. 1. Alia Marcia
3
2. Canzonetta ...
4
3. Tempo di Minuetto
3
4. Valse
3
40?. Reveil des Oiseaux. Erwachen der Vdgel. Tonstuck
404. Alpenrosen. Tyrolienne
4<>5 Evviva Napoli ! Tarentelle
May-flower. Maiglockchen. Tonstiick
Polka eJegante
41.!. La Reine du Bal. Valse de Salon
413. Carillon. Morceau de Salon
...
...
414. Edelweiss. Tonbild
418. Waldesruhe. Idylle
411. Saltarelle
43- Menuet a la Rcine...
4 5J. Longing for Home (Heimweh) Melody
458. Irrlichter Tanz. (Danse de* fcux follets.) Scherzo
45A Rondo Scherzando coa moio Perpetuo
434. Die Lori vom Berge. Tonbild.
RECORD.
TWENTY-FIVE

FOR THE PIANOFORTE.
i.
C. Rsineckr. My first Pieces (Idyl, Evening Song, A Sad Moment,

Short Song).
Rkinhcke. My first Pieces (Ballad, Scherzino, Prayer, Easy
Dance).
Gurlitt. March, Op. iox, No. 1.
Reinbckb. The Child and the Cuckoo, The Evening Star.
Gurlitt. Valse noble. Op. 101, No. 14.
Krause. Joyful play in the garden. Op. 77, No. 2.
Reineckk. The Mill, and Duet.
Loeschhorn. The Little Postillion. Op. 06, No. 3.
Gurlitt. Hunting Song (Jagdstiick). Op. 140, No. 14.
Pauer The Brooklet.
Loeschhorn. On the Rocking- Horse. Op. 100, No. 4.
Reineckk. Gavotte.
Pauer. WTaltz.
Gurlitt. Gavotte.
Scharwekka. March. Op. 6a No. 1.
Pauer. Dance Song.
Hkale. Minuet.
Reinkcke. Hide and Seek.
Heale. Gavotte.
Schumann. Albumblatt. Op. 68, No. 30.
Pauer. Hungarian.
Loeschhorn; A Little Dance.
Schumann. May, Charming May. Op. 68. No. 13.
Mendelssohn-Bartholdy. 6 Pieces. Op. 72, No. 1.
Mendelssohn-Bartholdy. 6 Pieces. Op. 73, No. 3.
Price is. each.

London : AUGENER & CO., 86, Newgate Street, 1, Foubert's Place, W.,
FAVORITE PIECES.
Arranged and Fingered in a Familiar Style for the
Pianoforte by
WILLIAM SMALLWOOD.
i.
2.
3.
4.
5.
6.
La Cascade de Rubis. Morceau. Sydney Smith.

Gavotte de Louis XV. Maurice Lee.
Lily of the Valley. Mazurka. Sydney Smith.
Gondolina. Barcarolle. Edouard Dorn.
Air du Dauphin. Ancienne Danse de la Cour. J. L. Roeckel.
Happy Thoughts Caprice a la Valse. Edouard Dora.
Price as. 6d. each.
London: AUGENER & CO., 86, Newgate Street: 1, Foubert's Place,

and 81, Regent Street, W., London.
JAGD-OUVERTURE
BY
CORNELIUS GURLITT.
Augener's
OP. I9I.
Edition.
net
net
. J
a
London : AUGENER & CO., 86, Newgate Street, E.C. ;

81, Regent Street & i, Foubert's Place, W.
PREPARATORY
PIANOFORTE
SCHOOL
C.
Edition No.
6.86a Parti
Rudiments, Scales, Exercises, and Pieces, exempli
fying all Major and Minor Keys, and all Time Signatures ;
net
6186/'
net
" H. Healc's 'Preparatory Pianoforte School' is a valuable instruction-book, con
student." The Timet, December sand, 1893.
London ; AUGENER & CO., 86, Newgate Street, E.C. ; 1, Foubert's
Place, and 8i, Regent Street, W., London.
December 1,1893.]
281
Tvm-parr Sang fonfemale voices

withl?i<uiofbrtx accompaniment
ALFRED
M Q; FFATi
Quick and brightly
PIANO.
Voice I.
J)
Voice II. And
P
And
asked her
sun . ny
fai . ry gave
skies were blue
a
a
0'part . y
Be
bove them And
fai . ry gave
skies were bine
a
a
part . y
Be
bove them And
lit _ tie
rays of
r-j-f
asked her
sun _ ny
lit _ tie
rays of
fai . ry friends And

gol . den light Did
And
And
neatli a chest . nut

earth was green be
tree
neath
And
And
us
first they all had
stream a . cross the
fai . ry friends And

gol . den light Did
1 Jl-J'
neath a chest _ nut

earth was green be
=f=
tree
neath
first they all had

stream a . cross the
Vras&fasfan^ Qttvco*. *IW?FÎ? 10 Lexington StreetLondon W.
r
tea
heath
1
*LL
p
Their
It
tea
heath
Their
It
282
to
I J'
[December 1,1893.
J>
ta . ble
was
a
was a
time of
mush . room Their

glad . ness
A
plates were
sum . mers
pan . sies
day of
fair
joy
They
And
ta . ble
was
a
was a
time of
mush - room Their

glad . ness
A
plates were
sum . mer's
paiT- sies
day of
fair
joy
They
And
con Ptd.
December l, ia3
283
ftft h Ji J* J> mrjryrj^+ p g g I i^^

choir of birds Poured forththeirsongwith
tS
si
#
glee
The
PP
blue
bells nod. ding
gent _ ly Rang
HuniT
sempre Ped.
_z
p J J!
^^
out
their silv'ry
<A
-*-,*
tone
And
p-JnM | Ji Ji ji | i J. .h Jt j
all the
in. sects
round
a. bout Did
buzz and chirp and
*-
drone
And
But
oh the buns and

now the sun was
hon . ey And
set . ting 'Twas
oh the
time to
jam
go
and
a
cake
way
It
And
And
But
oh the buns and

now the sun was
hon . ey And
set . ting 'Twas
oh
time
the jam
to
go
and
a
cake
way
It
And
284
[December 1,1893.
was a feast of
all the bees and
dain . ty things For

a . ny
dra . gon.flies Had ceased to
kins to
sing and
take
play
And
oh the fun and
It was a charming
was a feast of
all the bees and
dain . ty things For

a . ny
dra. gon.flies Had ceased to
king to
sing and
take
play
And
oh the fun and
It was a charming
langh . ter And oh the

par _ ry Each lit _ tie
mer. ry
fai. ry
jests
said
And oh how pleased the

And when they'd sung a
fai _ ry was To
part . ingsong They
laugh . ter And

par . ty Each
mer. ry
fai. ry
jests
said
And oh how pleased the

And when they'd sung a
fai . ry was To
part, ingsong They
oh the
lit. tie
f7\
4
see her
all went
fai . ry
home to
guests.
bed. (K. R. Mo/fat.)
December i, 1893.]
lETERS'
THE
MONTHLY
2657*
2708
3682
9683
2684
2715
2716
2710
2711
2712
Nit.
PIANOFORTE SOLOS.
CRAMER. Op. 100. 100 Daily Studies
DIABELI.I. Op. 125. The First Studies
GRIEG. Op. 57. Lyric Pieces. Bk. VI., No. 1-3 (Minuet,
Gade, Illusion)
...
...
Op. 57, No. 4-6 (Secret, She dances. Home-sickness) ...
HUMMEL. Op. 56. Rondo brillant
MOSZKOWSKI. Op. 50. Suite pour Piano
Op. 50, No. 3. Capriccio
Op. 51. Dance with flambeaux
SCHMITT. Musical Casket
ALBUM for the Left Hand (MehuL Goria, Zichy, &c.)
MASTERS FOR THE YOUNG (easy, without octaves).
(Ruthardt):
Haydn, Mozart
Beethoven, Schubert
Mendelssohn, Schumann
PIANO DUETS (4 Hands).

2700 GRIEG. Op. 27. Quartet
2748 MOSZKOWSKI. Op. 51. Dance with flambeaux
2720 RUTHARDT. Master and Pupil (Exercises and Pieces for
Beginners in Progressive order)..,
2347a SCHUMANN. Impressions of the East
2704 SINDING. Op. 21. Symphony in d minor
2701 SMETANA. Quartet
ORGAN.
707 BERENS. Op. 25. Fantasia in c minor
=734 HESSE-ALBUM
=735 RJ.TTER. Op. 11. Sonata in d minor
2705 TOPFER. Sonata in d minor
2733
HARMONIUM.
GRIEG-ALBUM (Reinhard)
.1
s
8
...
I
I
1
8
I
i
t
i
8
8
8
8
VIOLIN SOLO.
27220 VIOLIN-ALBUM for Beginners Popular Pieces)
VIOLIN DUETS.
284a KREUTZER. Studies 2nd Violin
2723a VIOLIN-ALBUM for Beginners Popular Pieces)
VIOLIN & PIANO.
MASTERS FOR THE YOUNG (easy):
2715 Haydn, Mozart
(Hermann)
(do.)
2726 Beethoven, Schubert
2727 Mendelssohn, Schumann (do.)
2724a VIOLIN-ALBUM for Beginners (Popular Pieces)
2732
2738
2739
HOFMANN.
ALTO (VIOLA).
The First Studies
VIOLONCELLO & PIANO.

GOLTERMANN. Op. 117. 3 Lyric Pieces
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ALBUM for Piano, Violin and 'Cello (orig. and arr.)
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2661 GRIEG. Op. 22. 2 Songs for Male Voices (German) :
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Chorus Parts, each
"2751 MOSZKOWSKI. Op. 51. Dance with flambeaux. Score
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2736
3737
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Books in Augener's Edition.

5
.. 6
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,. 28
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2742a-*
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274;a-
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2714
2713
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9.78. /ÂTECHISM OF
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THE
286
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[December i, 1893.
Pianoforte Studies and Schools, with English New Pianoforte Studies and Schools, with
Fingering.
ABECEDARIAN
(THE) IN
PIANOFORTE
-tV PLAYING. Elementary Pianoforte School, arranged in easy steps

leading from the first beginning up to the degree of difficulty of dementi's
1st Sonatina in c :
Part I. 17 Melodious Pianoforte Duets. The Treble (for s. d,
040
the Pupil) within the compass of five notes.
Duets
1 to 6, only crotchets and no rests. Duets 7 to xo, semibreves, minims, and crotchets used
040
only)
040
Part IV. Daily Exercises. 14 Instructive Pieces, Airs and
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040
Part V. Dally Exercises, Variations, Airs, Pieces, &c,
leading up to the degree of difficulty of Clementi's 1st
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040
NEW
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TRAINING SCHOOL for the PIANOFORTE,

ENGLISH FINGERING.
First Step.
clef only).
Book II. 19 Studies and Scale Exercises; 5 Very Easy Pieces; 13
Book III. Exercises for gaining Velocity; Melodious Pieces; Italian,
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Book IV. Exercises for gaining Velocity ; Tuneful pieces by Gurlitt and
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Second Step.
Book V. 34 Preparatory Exercises : Studies of Velocity ; Six Easy Pieces
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and Volkmann ; Old Dances by Cluck, Handel, Purcell, Lully, &c.
and Gurlitt ; Musettes by J. S. Bach and Mont eclair ; Passecailles by
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Third Step.
Book VIII. Shake Studies by Pauer, Loeschhorn, A. Schmitt; Arpeggio
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Dances by Mozart, Clementi, Marschner, and Mendelssohn.
Book IX. Studies by Pauer ; Arpeggio Studies ; Pieces by Gurlitt, Pauer.
Book X. Studies ; Pieces by Beethoven, Diabelli, Schumann, and Hummel ;
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Book XL Daily Practice by Cramer ; Pieces by Handel, Bach, Dussek,
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Book XII. Studies by Handel and C. P. E. Bach ; Pieces by Clementi,
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major and a minor. Exercises in Double Notes, Scale Exercises in G
major, B minor, f major and D minor, 27 Popular Melodies in c, G, f,
and e major, and D minor, Grace Notes or Ornaments, Arpeggios, the
major and minor scales, 15 Popular Melodies in various keys.

AND EXPRESSION
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E. PAUER.
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Aujjener'i
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'- *.
8339a The Book of Scales {Livres des GammesJ
3
8325 The Hook of Finger Exercises (Exercices pour le developpement simultane des deux mains)
5
STUDIES.
8336 34 Easy and Melodious Studies (34 tudes faciles et melodiques)
1
8319 20 Easy and Progressive Studies (so Etudes faciles et pro
gressives)
a
1 6
8328 The Culture of the Scale. 34 Original Scale Studies in all
3
Mozart's Sonatas
2
MELODIOUS PIECES.
8314 Musical Sketches (Esquisses musicales). 20 Characteristic Easy
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a
et Gigue
1
%
8310a-/ National Sonatinas: a, Germany; b, Austria; c, Suabia ;
d, Italy; ct Wales ;/, Ireland
each z
8311 Sonatina in A major (Sonatine en la majeur)
1
Swedish Air ...
...
...
...
...
j
8313 A Child's Life (Jugend -Album)
1
8333
8331
FOR THE LEFT HAND.

3
Suite for the Left Hand : Prelude, Allemande, Gavotte, Sara
...
...
... x
PIANOFORTE
DUETS.
la Short, Easy, and Melodious Duets (xa petits duos faciles

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x
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HORN. C. 4to.
555* ) â Easy Studies. Op. 193. (Preparatory to Op. 193).
555 f
Books 1, 2, 3
6553 )
' ' "*
A5* J 31 Melodic Studies. Op. 193. Books 4 and 5
each
JUJ \ 17 Melodic Studies.
Op. 194.
Books 6 and 7
each
6559 } M McIodic Studies.
Op. 195.
Books 8 and 9
each
g5i [ 12 Melodic Studies.
Op. 196.
Books xo and xi
each
Studien fur
each
6562 \ Rhythmische Probleme (Rhythmical Problems).

6563 f
..
s. a.
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(En
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TROIS PlfcCES. Op. 35. (Conte d'hiver, Duma et Valse
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net
6277
6278
1
1
2
2
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D1VERSITES. -\ Pieces caracteristiques. Op. 41 ...
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1 6
1
6280
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6281
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...
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...
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...
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14. A. STREI.EZKI. Barcarolle en la mineur
15. A. I.OESCHHORN. Etude melodique. Op. 196, No. 2
...
16. A. HENSELT. Nocturne in e flat
17. M. MOSZKOWSKI. Caprice in G
,8. MENUELSSOHN-HARTHOLDY. Prelude in s minor. Op. 35
20. S. NOSKOWSKI. Humoreske. Op. 41
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zi.
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13.
14.
15.
16.
17.
18.
10
20.
21.
22.
23.
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25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
43.
43.
44.
45.
46.
47.
48.
49.
50.
51.
52.
53.
54.
55.
56.
57.
58.
59.
60.
61.
62.
63.
Valsette
Notturno en la majeur
Sur la rive. Morceau caractcristique
Senta's Traum. Spinnerlied
Menuet a l'antique en sol majeur
Menuet a l'antique en Mi bemol
Valse Souvenir en fa
Mazur
Notturno en ut diese mineur
Impromptu
Serenade ...
...
...
...
...
...
Grande Taran telle en fa
Barcarolle en sol majeur
Jagdstiick
Tarentelle en r& mineur
Valse intime
Berceuse en sol bemol
Au bord d'une source
Valse-Impromptu
Scherzo-Minuet
2nd Rigaudon en la majeur
Canlique d'amour
Istorietta
Barcarolle en la mineur
Valsette en la bemol majeur
Valse melancolique en si
...
Serenata en la majeur
Prelude en si bemol mineur
Valse-Scherzo en la bemol majeur
Dcuxieme Valse Melancolique en la mineur
Romance sans Paroles en Fa majeur
Polka Noble
Valse Mignonne
Caprice-Etude
Masurek en si bemol majeur
Allegretto en ut majeur
Feuillet d' Album
ade Valse-Scherzo en la bemol majeur
Scherzo en sol majeur
Serenade Espagnole
Menuet a l'antique en mi bemol
Pies du Ruisseau. Etude
Venezia. Barcarolle
Grande Polonaise en Hi majeur
Etude a la Valse
aieme Aubade, en la majeur
Valsette en fa mineur
Menuet a l'antique en kh majeur
Barcarolle en la bemol majeur
...
...
La Fontaine. Etude
'
Lied ohne Worte (Chanson sins Paroles)
Valse francaise
Notturno, en si bemol majeur
Capriccio, en SOL majeur
Melodic en fa
Intermezzo Scherzoso, en sul majeur
Etude, en mi bemol
Polkette, en fa majeur
Menuet a l'Antique, en i.A majeur
Tempo di Mazurka, en re bemol majeur
...
...
...
...
3*
i
4
4
3
3
3
3
3
.. 3
1
... 3
4
3
3
3
4
3
3
4
3
3
3
3
3
3
3
3
3
3
3
3
... 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
... 4
4
3
3
3
3
3 ~~
3
3
... 3
3
3
"Tin; first of a long scries of piei.es by A. Strelezk', "Valsette" in D major, is

curiously idcntic.il in theme with the entrancing val*e in Chabrier's delicious opera
comique. Le Jioi' matgrelui, a work we can hardly hope fo he.ir in Kngl.nul until the
higher forms of light opera find more acceptance than they do at present. A pretty
nocturne in C sharp minor, dedicated to M. Padcrcwski. a serenade in D, a graceful
valse-iiupromptu, two so-called " values" in H flat and A flat lesptcttvely, deserve
special notice. All are salon pieces, but rank high in the class." The Times.
London : AUGENER & CO., 86, Newgate Street, E.C;
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GILT SIDES AND EDGES (UNLESS DIFFERENTLY STATED).
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PIANOFORTE MUSK'.
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ALBUMS (CLASSICAL). Each containing about 36 Piano
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Arranged, and Revised by E. Pauer. With Illustrated
Biography. E. 4to
..
..
..
..
. . each 4 6
B301
8302
8303
8.^04
8305
8010
Bach Album.
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Handel Album.
Haydn Album.
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33o6
8309
8337
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BACH, J. S. 48 Preludes and Fugues (Das wohltemperirtc

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BEETHOVEN.
Complete (3S) Sonatas.
Folio Edition,
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Artistic Binding in Gold and Colours. In best Morocco ..210
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..
. . 126
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..
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8030
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Portrait, Metronome, and Historical Notes to each Sonata 7
8032
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7
8064 BRAHMS, J. Select Works. Revised by the Author. E.
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THE CHILDREN'S CLASSICS.
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4to. :8016
The Children's Bach. E
8034
The Children's Beethoven. E.
8151
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8161
The Children's Haydn. /*.
8240
The Children's Mendelssohn. E.
8254
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8338
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8429
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8471
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8282
Musical Pastime for the Young.
E.
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Musical Scrap-Book ..
8075 CHOPIN.
PIANOFORTE WORKS.
Reprinted from
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Fingered, and carefully Corrected after the Partsun,
English, and German Editions, by Carl Klindworth,
final Revise by Xaver Scharwenka. Complete in 3 Vols.,
with Portrait and Biography. C.
..
..
. . 52
&..7J
8083
8084^
8081
8070
8072
8071
8077
8073
8076
8078
S080
B082
8084
9985
8287
8288
Or Singly :
14 Waltzes
5
51 Mazurkas ..
..
..
..
..
..
..
..6
1 1 Polonaises . .
..
..
..
..
..
..
.. 5
19 Nocturnes ..
..
..
..
..
..
..5
Ballades
..
..
..
..
4
Impromptus and Fantasias ..
..
..
..
. 4
Rondos and Scherzos
..
..
..
..
..
.. 6
Studies and Preludes. .
...
-.
..
..7'
Sonatas . .
..
..
..
..
-.
-5
Berceuse, Barcarolle, and six other Works
Concertos and other works originally for Pianoforte and
Orchestra. Pianoforte Part
7 6
Works. Octavo Edition. Edited by E. Pauer :
Waltzes
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CLASSIC COMPANION, THE.
A Collection of easy
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most celebrated Composers of the 17th and 18th centuries.
Edited by E. Pauer. E. 410 :
Vol. I. (Corelli to Mozart.) With Mozart's Portrait
Vol, II. (Haeslcrto Field)
..
..
..
..
Vol. III. (Onslow to Schubert) (19th century)
..
.. \
.. )
.. j
CLEMENTI.
Gradus ad Parna^sum.
A Selection of
Studies. Rt vised and Fingered, with Marks of Expression
and Directions as to the proper mode of practising them,
by Carl Tauslg. With a Preface by C. F. Weitzmann,
E, With Portrait. Folio
6
6
6
Pianoforte Music {continued).
Net
No.
COUPERIN, F. Pieces de Clavecin. Revues par J. Brahms s. d.

et F. Chrysander. 8vo :
BlOoa Livre I. Paris 171 3.
Livre II. Paris 1716-1717.
SlOCK*
Bound in 2 Vols
each 7 6
Livre III. Paris 1722.
8IOOC
8l03rf Livre IV. Paris 1730.
Studies. Selected, Revised, and the
9905 CRAMER, J. B.
Fingering Supplemented, with Marks of Fixpression, and
Directions as to the proper mode of practising them, fix.,
by E. Pauer. With Portrait. E. Folio, in cloth .
6 8IO9 CZERNY. Etude de la Velocite. The School of Velocity,
comprising 30 Exercises. Op. 229. E. 4to. Limp coth
40 Daily Studies. E. 410. Limp cloth ..
8l IO
Pianoforte School for Young Beginners. E.
8ll6 ENGEL, C.
4to, in cloth
ESCHMANN. 81 Mouvements choisies de Haydn, Mozart,
et Beethoven. Arranged in progressive order. C. 410,
in cloLh 7
8^75 FAMILY GIFT-BOOK, THE. A Collection of Pianoforte
Pieces, comprising Christmas Music, Pastorals, Hunting
Songs, Love Songs, Soldiers' and Sailors' Songs, Patriotic
Hymns, National Melodies, Dances of the Olden Time,
National Dances and Modern Dances, many of them com
posed for this Work.
With Illustrations and Poetical
Quotations. (4^75 pages, the largest collection of good
Pianoforte Music ever collected under one cover.) Arranged
by E. Pauer. 4to ...
..
..
..
..
..
. . 21
8146 GURLITT, C.
Our Favourite Tunes (Unsere LieblingsMelodien).
A Collection of Melodies, Ancient and
Modern, Op. 106. C. Books I. and II. bound to
gether. 4to - .
..
..
7
Complete Pianoforte Solo Works. Edited and
B160 HAYDN.
Fingt red by E. Pauer.wiih Portrait, Biography, &c. E. 8vo 8
8220 LISZT. Transcription of 22 Songs by F. Schubert. 8vo
.. 4
MENDELSSOHN. Songs without words. C. 4to :b.v,7
36 Licder ohne Woite (containing 6 Books)
5 6248
42 Lieder ohne Worte (containing 7 Books)
6
WORKS. (Pauer.) Octavo Edition.
8231
Vol. I. Concertos, Rondos, &c. Op. 25, 40, 22, 29, 43
Vol. II. Op. 5, 6, 7, 14, 15, 16, 28
46
823a
Vol. III. Op. 33, 35, 54, and 9 other Works
..
..46
8233
Vol. IV. Songs without Words. With a Poetical Motto
8334
for each Piece
..
..
..
..
..46
Favourite Dances and other
8324 MERRY MUSICIANS.
cheerful Pieces from the Works of the most celebrated
Composers of the 17th and iSth centuries. Arranged by
E. I'auer. 4to
..
..
..
..
..
..76
MOSCHELES. Studies for the Pianoforte as finishing Lessons
for Advanced Performers, consisting of 24 Characteristic
Compositions in the different major and minor keys. Op. 70,
with Portrait. Revised by E. Pauer. 4*0 :
With Continental Fingering
..
..
..
..
..76
6245
With English Fingering
..
..
..
..
..
..76
6246
S25i
8271a
8371*
8271c
82710'
8271*
8*7*7
8a7V
8271A
MOZART. Complete (22) Sonatas. Folio Edition. Finely

engraved, printed on best stout paper, with wide margins,
Portrait.
Newly Revised, Fingered, and Edited by
Professor E. Pauer. E. :
Edition de Luxe. Artistic binding in gold and colours. In
best morocco
..
..
..
..
..
..
. . 84
In cloth, gilt sides and edges
..
..
..
..
. . 52 6
Complete (63) Pianoforte Works. Octavo Edition :
Vol. I. 22 Sonatas, with Portrait. Illustrated Biography,
Metronome, Historical Notes, &c. (Pauer) ..
.
..6 6
Vol. II. 21 Books of Variations, 12 smaller Pieces, and
his 8 Piano Duets. (Pauer)
..
..
..
..
..66
NINETEENTH CENTURY (THE), Pianoforte Pieces by
Representative Composers of the 19th Century. Chrono
logically arranged. C. 4to. :
Vol. I. Mendelssohn, Chopin, Schumann.
Vol. II. Taubert, Lachner, Liszt, Hiller.
Vol. III. Thalberg, Harberbier, Wagner, Henselt, Heller,
Volkmann.
Vols. I . III. bound in one, with Portrait of Liszt
..
.. 10 6
Vol. IV. Slcrndale Bennett, Gade, Gounod, Kiel, Raff.
Vol. V. Reinecke, Kirchner, Schulhoff, E. Pauer, Wollenhaupt, Bargiel.
Vol. VI. Seeling, Btilow, Rubinstein.
Vols. IV. VI. bound in one, with Portrait of Rubinstein . . 10 6
Vol. VII. Bendel, Brahms. Jensen, Barnett.
Vol. VI II. Rheinberger, Ischaikowsky, Dvorak. Grieg,
H. Scholtz.
Vol. IX. Mackenzie, X. Scharwei ka, Nicode, Mosxkowski,
Max Pauer.
Vols. VII. IX. bound in one, with portrait of Scharwenka 10 6
December, ., ,893-j
THE
MONTHLY
MUSICAL
RECORD.
289
AUGENER'S EDITION VOLUMES.

BOUND IN CLOTH.
YOCAIj music.
.v. Pianoforte Music UontinHed).
Htt.
All Zvo sha/e (unless differently stated).
8300 OLD ENGLISH COMPOSERS for the Virginals and 1. dSet.
Harpsichord. William Byrde, Dr. John Bull, Orlando
Songs.
Xo.
1. d.
Gibbons, Dr. John Blow, Henry Purcell, and Dr.
38qd BEETHOVEN. Complete (67) Songs. (Pauer.) E. & G. 6 6
Thomas Augustine Arne. Revised and Edited by E.
Pauer. Portrait ol Purcell. 4to.
to 6 8830 ENGLISH SONGS (100 STANDARD). Edited, revised,
the words partially re-written by W. A. Barrett. The
8197 OLD GERMAN COMPOSERS for the Clavecin. Selected,
accompaniments arranged by Dr. Stainer, Dr. Martin,
partly A- ranged, supplied with Marks of Expression and
Henry Gadsby, A. J. Caldicolt, Burnham Horner, Joseph
Biographical Notes, by E. Pauer. Portrait of Bach. 410.
Barnby, and trie Editor
8398 OLD ITALIAN COMPOSERS. Popular Pieces selected
8844 HULLAH, JOHN. 58 English Songs, by Composers chiefly
from the most celebrated Works of the 17th and 18th
of
the 17th and iSth centuries. E.
centuries. Partly Arranged, supplemented with Signs
MENDELSSOHN. Vocal Album. 52 Songs. (Pauer.) E.&G.
of Expression and Marks for the Metronome. Revised
Original Edition
.. ..
and Edited by E. Pauer. With Portrait of Scarlatti. 410.
The same. Transposed Edition
PAUER, E. New Gradus ad Parnassum. 100 Studies for
8861
the Pianoforte, Selected, the Fingering Supplemented and
MOZART.
Vocal
Album.
Complete
Songs. (Pauer.) E.&>C.
S866
Revised by E. Pauer. Limp cloth. E. :
8S93 REINECKE.C. 50 Children's Songs. E. 4to
9931 Sect. a. Scales and Velocity
5
A. 58 Songs. With Portrait. E.&G.:

9031
,, B. Studies in 1 hirds and Sixths
7 S897 RUBINSTEIN,
Original Edition
9933
,, 0 School of the Shake _
5
Transposed
Edition
6S9S
9934
,, d. School of the Arpeggio ..
72 6
9O35
E. Wrist Studies
SCHUBERT. First Vocal Album. 82 Songs :
9946
M f. School of Octaves .. ..
Original Edition
51 6 8900 Transposed
9937
,, G. Studies in Chords
Edition . .
I901
9938
,, H. Extensions in Arpeggio Chords. .
2 6 8902
Second Vocal Album. 82 Songs
9)39
1. School of Staccato. .
Third Vocal Album. 43 Songs
89o3
5
9940
,, K. School of Legato . .
a 6 Sg2^ SCHUMANN. Album of Songs. (Pauer.) E. <VC. Original
9911
,, u School for the l.>'U Hand..
Edition
SjSo SCHARWENKA, XAVER. 19 PolnUche Nationaltame 5 0921 Transposed
Edition ..
(Polish Dances). W iih Portrait. 410.
7
VOLKSLIEDERALBUM.
Edited by E. Pauer. (62 Pop8947
SCHUBERT. Complete Pianoforte Solo Works. Octavo.
ular Songs.) E.
S384 Vol. I. Piano Solo Sonatas, with Portrait, Biography,
8951 WEBER,
Histcrical Nctes, &c. (Pauer)..
Duets.)F. E. The
& G.Family Singing Book. (55 Songs and
8385 Vol.11. Fantasias, Impromptus, Moments musicaux, Dances, 7
and Variations. (Pauer)..
7 6
VOCAL DUETS.
SCHUMANN. Complete Pianoforte Solo Works, with Portrait,
8970 MENDELSSOHN. 16 Two-part Songs. (Pauer.) E. & G.
Biography, Historical Notes, &c (E. Pauer.) 8vo. :
8973 RUBINSTEIN, A. 18 Vocal Duets. E.&G.
3<oi Vol. I. Op. 1 to 12
II. Op. 13 to 21
VOCAL TUTOR.
.40; Vol.
Vol. III. Op. 22 to 68
9998 CRIVELLI, D. F. The Art of Singing. The first in the
S0| Vol. IV. Op. 72 to 134
form of a Grammatical System, containing those philo
S410 SCHUMANN-ALBUM of 56 Original Pieces, with Advice
sophical principles which serve to direct the development
to Young Musicians, Portrait, &c. (E. Pauer. ) E 8vo. ..
of the organ of sound, and the cultivation of the vocal
8413 SCHUMANN. Album. 56 Pieces precedees de Conseils
power, with progressive scales, ornamental exercises, and
aux Jeunes Musiciens. Edition soigneusement revue,
solfeggi. In limp cloth. Folio
7 6
doigtee et pourvue des Annotations instructives par
Theodore Kullak. With Po trait. C. 410.
7
BOUND
BOOKS
ON
MUSIC,
Jte.
;4-'6
Sy mphonies. Arranged by E. Pauer, complete. 4^0 .. 7 9179 GOODWIN, AMINA. Practical Hints on the Technique and
-449 STRAUSS-ALBUM. 12 Favourite Dances. 410
Touch of Pianoforte Playing, with Illustrations
? 6
8.'96 SUNDAY MUSIC. A Collection of too Short Pieces 5 9178 LOBE,
J. C. Catechism of Music. Translated and Edited
extracted from the Sacred Vocal and Instrumental
by
C.
Bache.
Crown
8vo.
Works of the most celebrated Composers. Selected,
9180 NIECKS, FREDERICK. A Concise Dictionary of Musical
Arranged for the Pianoforte, and Revised by E. Pauer.
Terms, to which is prefixed an introduction to the elements
With Chromo-Litho, &c. 4to
;o 6
of music. Crown 8vo
9 6
8470 WEBER, C. M. von. Complete (33) Pianoforte Solo Works,
9t8oc*
Introduction to the Elements of Music (separately)
I
with Portrait, Biography, Ac. Edited by E. Pauer. 8vo. 6 6 9182 PROUT,
EBENEZER. HARMONY: Its Theonv and
Practice. Demy 8vo. Fifth Edition
PIANOFORTE DUET.
5
9182a
Key to " Harmony." Second Edition
a
8554 HAYDN. 12 Symphonies arr. by Max Pauer. Vol. I. (Nos. 1
9182*2
Additional
Exercises
to
"
Harmony."
Second
Edition...
1 6
to 6), Vol. II. (Nos. 7 to 12). Oblong 410. each Vol. 6 Key to the Additional Exercises to Harmony.'' Second
8620 SCHUMANN. Complete symphonies. (E. Pauer.) Oblong 4to V 91821:
Edition
a 6
9183
COUNTERPOINT: Strict anu Free. Demy 8vo.
n ARMONIUSI.
Third Edition
8784 LOW, JOS. Harmonium Album. A Collection of 100 favourite
9183a
Additional Exercises to " Counterpoint,'' with Melodies 1
Songs and Airs, &c , arranged in progressive order. 4to.. 6 and Unfigured Basses for Harmonizing. Second Edition 2 6
9184
DOUBLE COUNTERPOINT AND CANON. Demy
organ.
8vo. Second Edition ...
5
CECILIA. A Collection of Organ Pieces in diverse styles.
9185
FUGUE. Demy 8vo. Second Edition
Edited by W. T. Best. Oblong 410.
9186
FUUAL ANALYSIS. A Con.panion to " Fugue," 3
6751
Vol. I. (containing 29 Works)
being a Collection of Fugues put into Score and analyzed.
'752
Vol. II. (containing 29 Works)
Second Edition
3
Vol. 1 1 1, (containing 32 Works)
12 9187
'753
MUSICAL FORM. Second Edition
Vol. IV. (containing 28 Works)
12 9201 RIEMANN,
'>;>4 HANDEL-ALBUM
DR. H. Catechism of Musical Instruments 5 for the Organ. Containing Extracts from
(Guide to Instrumentation) ...
2 6
Instrumental Music by Handel, now rarely performed, the
Catechism of Musical History:
Curtain Tunes, Marches, and other Incidental Music from
I
920a
Part
I.
History
of
Musical
Instruments,
and
History
of
the Italian Operas, Selections from the Sonatas for Stringed
Tone Systems and Notations
6
Instruments, Organ and Harpsichord Music, Oboe Con
9003. Part II. History of Musical Form, with Biographical Notices 3 6
certos, Grand Concertos, Water and Fire Music, Ac.
9204
Catechism of Pianoforte Playing
2 6
Arranged from the scores by W. T. Best. Oblong tolio
Analysis of. J. S. Bach's 46 Preludes and Fugues"
6757 I Superior Edition, with contents, classified index, and Index of
(Wohltemperirtes Clavier) :
6758 f
major and minor keys, &c. In 2 Vols
each 15 9205 Part
I. 24 Preludes and Fugues
9206 Part II. 24 ,,
,,
.*.
violin.
9193
RUBINSTEIN,
A. Music and its Masters. A Conversation.
7322 ALBUMS, arranged
range by F. Hermann. 4to :
Second
Edition
Vols. A, B. fEuvres modernes
9196 STIELER, J. The Great German Composers. Biographical
Vols, C, D. Giuvres anciennes et modernes
Notices, with some account of their several Works, espe
7354 CORELLI, A. Twelve Sonatas for Violin with figured Baa,
cially adapted to young minds. From the Original German,
Op. 5, with Pianoforte accompaniment worked out from
by
C. P. S., with Woodcuts, &c. Crown 410.
the figured bass of the author, and with all necessary in
9177 THOUGHTS OF GREAT MUSICIANS. Collected by La 7
dications for bowing, fingering, and execution of orna
Mara
ments by Gustav Jensen. With Portrait. 4to
4936 - Oluvres completes revues par J. Joachim et F. 7 London: AUGENER ft CO., 86, Newgate St., E.C.; i, Foubert's Place,
Chrysander. Op. t to 6. (In Score.) Bound in a Vols. . .
290
THE
MONTHLY
SPLENDID MUSICAL PRESENTS.

Published for Ihc first time in a style worthy of the great Composer's
memory, regardless of expense.
L.
van
BEETHOVEN'S
COMPLETE (38)
Pianoforte Sonatas.
FOLIO EDITION.
Finely engraved, printed on best stout Paper with wide Margins. Portrait
and Historical Notes to each Sonata. Newly Revised, Fingered, and
Edited by
Professor E. PAUER.
Augener's Edition.
Nil.
Nos.
t. d.
97049706. In three Folio volumes (Edition de luxe).
Artistic Binding in Gold and Colours.
In best Morocco
The set 10 10 o
In Cloth, gilt sides and edges
660
97019703. Three Folio Volumes, in Paper covers,
Cloth backs. On ordinary paper. The set 2 5 o
Or per Volume o 15 o
8030. In one Octavo Volume. With Illustrated Bio
graphy, Portrait, Metronome, and Historical
Notes to each Sonata ... Bound in cloth 076
"
We
cannot,
however,
close thisSonatas
reviewit without
toMr.theErnest
nxwt
sumptuous
edition
of Beethoven's
hasgreatest
everparticular
been
our lotreference
to see.
Paucr,
the
editor,
has
done
his
work
with
the
possible
care
and
fulness,
not
only
supervising
the
musical
text,
but giving have
historical
and other
particulars
regarding
each
work.
On de
their
part,
the volumes,
publishers
provided
amateurs
oftime,tasteartistically
with a
veritable
Edition
hurt
in
three
gorgeously,
but,
at
the
same
l>ound and (it to be on the table in the stateliest home. This is a form of hommagt a
Itecthovcn which has our cordial sympathy."Daily Telegrafh.
W.
A.
MOZART'S
COMPLETE (22)
Pianoforte Sonatas.
FOLIO EDITION, finely engraved and printed on best stout
paper, with wide margins. Portrait. Newly Revised, Fingered,
and Edited by
Professor E. PAUER.
A Hgeittr's Edition.
Net.
No.
t. d.
9732. dilion de Luxe. Artistic binding, in gold
and colours. In best morocco
4 4 o
In cloth, gilt sides and edges
2 12 6
9731. In Paper cover, Cloth back. On ordinary paper 100
8251. In Octavo Volume. With Portrait, Illus
trated Biography, Metronome, Historical
Notes, &c. Bound in cloth ..
066
" A nicely got-up folio edition of Mozart's pianoforte Sonatas, edited and
fingered by Mr. . Pauer, is a volume to be welcomed by amateurs who do
not possess works which, despite the fact that so few pianists think it worth
while to play them in public, every musician should know by heart."Daily
Telegraph.
AUGENER'S EDITION.
NATIONAL MELODIES
Arranged for Pianoforte by
W. HUTCHINS CALLCOTT.
No.
s. d.
9891 ENGLISH AIRS. Book I. Containing 100 beautiful Melodies
ofthe 12th, i3tni 14th, 15th,and 16th centuries. Among them
the celebrated Elizabethan Airs from the Queen's Virginal
Book, the Tunes mentioned by Shakespeare, March of
Mary Queen of Scots, Original Melody of *' God Save the
Queen, &c.
#
net a
9892 ENGLISH AIRS. Book II. Containing 100 favourite
Operatic Airs by Purcell, Arne, Storace, Linlcy, Shield,
Dibdin, Hook, &c. &C, formingamost extensive collection
from the "Beggar's Opera," Artaxerxes," '"Love in a
Village," "The Duenna,'' and other admired works net 2
9893 IRISH MELODIES. Containing 100 celebrated Airs, and
among them will be found all the favourite subjects adapted
by Thomas Moore
net 2
9894 WELSH MELODIES. Containing 100 beautiful Airs of this
country, including the celebrated Marches of the Men of
Harlech, The Men of Glamorgan, &c. &c
net 2
AUGENER & CO., LONDON.
MUSICAL
RECORD.
[December I, 1893.
THE COMPLETE PIANOFORTE WORKS OF

FEED. CHOPIN.
Reprinted from the celebrated Russian Publication, which
was revised, fingered, and carefully corrected after the Parisian,
English, and German Editions by CARL KLINDWORTH.
Final Revise by XAVER SCHARWENKA.
In Eleven quarto Vols., Continental Fingering ; or complete in
3 Quarto Volumes, Elegantly bound. Net, 2 12s. 6d.
Paper Covers. Bound in Cloth,
net.
net.
S. d.
X. d.
8079 14 Waltzes
2 o
5 o
6091
Popular Edition
14
8083 51 Mazurkas ...
30
60
6093
Popular Edition
2 o
8084^ 11 Polonaises
_
2 6
5 o
6003
,, Popular Edition
1 6
8081 19 Nocturnes ... ...^
3 6
5 o
6094
Popular Edition
1 6
8070 Ballades
1 6
4 o
6095
,, Popular Edition
1 o
8072 Impromptus and Fantasias
16
... 4 o
8071 Rondos and Scherzos
3 o
6 o
8068 Studies and Preludes
40
70
8077 Sonatas
t
2 6
5 o
8073 Berceuse, Barcarolle, and six other Works 2 6
5 o
8076 Concertos and other works originally for
Pianoforte and Orchestra. Pianoforte Part 50
76
AUGENER & CO., Newgate Street and Regent Street, London.
Illustrated Classics for the Young.
By E. PAUER.
In Paper In
Augeneis
FIANOFORTE.
Cover. Cloih.
Edition.
*. d. x. d.
8016 The Children's Bach. Short Pieces (32 Solos,
net.
t Duels). Selected, Arranged (without Octaves),
'ingered, and Revised by E. Pauer. With Portrait,
Illustrated Biography, &c
30 40
8034 Ttc Children s Beethoven. Short Pieces (30
Solos. 6 duets). Selected, Arranged (without Oc
taves), Fingered, and Revised oy E. Pauer. With
30 40
8151 The Children's Handel.Short Pieces (30 Solos,
6 duets). Selected, Arranged (without Octaves),
Fingered, and Revised by E. Pauer. With Portrait,
30 40
8161 The Children's Haydn. Short Pieces (24 Solos,
6 Duets), by Jos. Haydn. Selected, Arranged
(without Octaves), Fingered, and Revised by E.
Pauer. With Illustrated Biography
3 o 40
8240 The Children's Mendelssohn. Short Pieces (30
Solos, 6 Duets). Selected, Arranged (without Oc
taves), Fingered, and Revised by E. Pauer. With
Illustrated Biography
30 40
8354 The Children's Mozart. Short Pieces (30 Solos.
6 Duets). Selected, Arranged (without Octaves),
Fingered, and Revised by E. Pauer. With Illus
trated Biography, &c
30 40
8281 The Musical Scrap-Book. 100 Short Pieces
by various Classical Composers. Selected, partly
Arranged (without Octaves), and Revised by
E. Pauer
26 40
8282 Musical Pastime for the Young. 36 Short and
Easy Characteristic and National Pieces. (In the
TrebleClef, without Octaves.) Composed, Arranged,
and Fingered by E. Pauer
26 40
8388 The Children's Schubert. Short Pieces (20 Solos,
Fingered, and Revised by E. Pauer
30 40
8429 The Children's Schumann. Short Pieces (36
Solos, 4 Duets). Selected, Arranged (without Oc
taves), Fingered, and Revised by E. Pauer. With
Portrait, &c.
30 40
8471 The Children's Weber. Short Pieces (30 Solos,
Fingered, and Revised by . Pauer. With Illus
trated Biography, &c
30 40
Or as Albums in red cloth with gilt imprint at
4s. 6d. each.
London : AUGENER & CO., 86, Newgate Street, E C. ; also Foubert's
Place and 8i, Regent Street, W.
December I, 1893.]
THE
MONTHLY
MUSICAL
Augener's Edition* No. 8271.
RECORD.
291
NINETEENTH CENTURY (THE). Pianoforte

Musikaltscher Kindergarten
Ecole enfant ine

par
Bound in cloth. (With Portrait of Liszt)
... net 10/6
Contains :
Felix Mbndelssohn-Bartholdy (1800,1847). Andante con
moto and Allegro vivace ; Two Musical Sketches ; Prelude,
Piano Solo.
Op. 206.
Piano Duet
in B minor, Op. 35, No. 1.
No.
No.
Frbd. Chopin (1809 1849). Prelude, in d Hat ; Nocturne, in
; 6341 Vol. I. My first Pieces (within the compass of five notes) ... 6871
c minor ; Mazurka, in b minor ; Polonaise, in c sharp minor.
Mein* ersten Stilckchen. Met premiers Petits Morceaux.
Robbrt Schumann (18101856).
Soaring (Aufschwung);
\ 634a Vol. II. Favourite Melodies (within the compass of five notes) 687a
Whims (Grillcnj; Novellette (Op. ai) ; Why? (Waruml) ;
Lieblingtmelodieen. Melodiesfavorites.
Serenade ; Dreaming (Traumerei).
Wilhelm Taubert (i8ii 1891). Le Pi in temps, Impromptu
6873
caractt'ristique ; Lays of Love No. i, in a flat; No. a, in b
flat ; No. 3, in d minor ; and No. 4, in a major.
6343a Sol-fa Edition. Voice part only. Net, 4J.
Vincenz Lachner(i8ii 1893). Prelude and Toccata.
Franz Liszt (i8ii 1886). Consolation No. i, in e major;
6874
No. a, in e major; and No. 3, in d flat. Liebestraum,
SttmmenderVolker. Chants nationaux etpo/ulaires. Pt. I.
A Dream of Love, Nocturne.
Fkrdinand Hiller (1 B 1 1 1885). Andante ; Marcia elegiaca ;
6345 Vol. V.
do.
do.
Pt. II. 6875
Zur Guitarre, Impromptu.
6346 Vol VI. Telling Fairy Tales
6876
StcisMUND Thalberg (18121871). , Nocturne in a flat ; La
Marchen-Erxahlen. La diseuse de conies.
Cadence, Impromptu en forme d'fitude.
Richard Wagner (1813 1883). Album-leaf, in c ; Romance
6877
from " Tannhiiuser," " O du mein holder Abendstern "(F.
Was alles die Tdne erxdklen, Ce que les sons racontent.
Liszt).
6S78
E. Habekdibr (18131869). Les Cloches enchantes ;. Prelude;
Pres de la Source.
Kinder-Maskenball. Bal masque. Pt. I.
Adolf Hensei.t(i8i4 1890). ChansondePrintemps(FrUMings; 6349 Vol. IX.
do.
do.
Pt. II
6879
lied) ; Si oLseau j'etais ! Berceuse (Wiegenlied).
PIANOFORTE SOLO.
PIANOFORTE DUET.
Stephen Heller (1814 1888). La Chasse, Etude.
PriceEach Book, net, is. *<J.
Price Each Book, net, 2s. 6d.
Robert Volkmann (1815 1883). Unter der Linde (Under
"The ninth volume of Cart Reineclccs,' Musical Kindergarten ' completes a set of
the Linden-tree) ; Blumensttick (Wreath of Flowers) Das
works
of
singular
merit.
Designed
for
tbc
instruction
of children in the art of playing
Lied vom Helden (The Lay of the Hero).
the pianoforte, the system adopted by the eminent enmnoser is not only attractive but
highly efficient. So skilfully are the lessons arranged that pupils feel no tedium whilst
VOLUME II. Bound in cloth. (With Portrait of Rubinstein)
net 10/6 being led step by step towaros the attainment of practical knowledge. In the first two
books they are entertained with pretty tunes ai ranged within the compass of five notes,
Contains :
and in the third with charming little sorgswith a simple pianoforte accompaniment,
William Sterndale Bennett (18161875). 3 Musical
while arrangements of national songs and dances make up the fourth and fifth volumes.
On the stidyof this branch of music Schumann's advice tostudents was conveyed in the
Sketches (The Lake, The Mill-Stream, and the Fountain).
following words : ' Listen most attentively to all popular songs ; they are a mine of the
Niels Wilhelm Gadb (18171890). In the Flower Garden
most charming melodies, and afford an insight into the character of different rations.'
(Im Blumengarten) ; Spring Flower (Fruhlingsblume) ;
That these instructions might be carried out at an early age, the author of ' Musicil
Volkstanz in G.
Kindergarten ' has provided young scholars with an arrangement of all the national
hymns of Europe, and to these he has added a lar?e number of representative songs.
Charlbs Gounod (1818 1893). Danse des Bacchantes de
The p'easurc taken by little folk in ' Fairy Tales ' will be enhanced by the playing of the
l'opera "Philemon et Baucis."
sprightly and suggestive themes composed to them ; and increasing command over tha
Friedrich Kiel (18211885). Andante, Melody, Romanza.
keyboard will attend their practiced ' Musical Illustrations' of laimliar subjects forming
Joachim Raff (1822 1882). Romanza (from Suite in e minor) ;
the Seventh Book. In the concluding volumes the incidents of a ' Masquerade ' are
merrily set forth. After droll passages indicating the confusion of voices ami the tuning
L'Espiegle (valse Impromptu) ; Ranz-des-Vaches.
of instruments, the lively strains commence in earnest, and with but little interruption
Carl Rkinecke (1834). Mazurka ; Les Phalcnes, No. 3, in k,
continue to animate the dancers until the ' Midnight March' Is sounded. There are two
and No. 4, in a flat.
editions of Reinecke's ' Kindergarten,' the music being arranged in the one a.s a solo
Theodor Kirchner (1824). Album-leaf, in f ; Prelude, in d flat.
and In the other as a duet for the pianoforte." Daily TtUgrafh, October 20th, 1893.
Jules Schulhofp (1825). Chant du Berger (Idyl) ; Romanza ;
London : AUGENER & CO.. 86. Newgate Street. E.C. ; i, Foubert's Place,
Elegy.
Ernst Pauer (1826). Passecaille (Op. 40).
H. A. Wollenhaupt (18271863). Scherzo brillant.
Woldemar Bargibl (1828). Fantasiesttick No. i, in g;
AUGENER*S EDITION of
No. 3, in c ; and No. 6, in g. Elegy.
Hans Seeling {1828 1862). Lurline (Lorelei), and Grazioso,
Valie-Etude.
Hans von BOlow (1830). La Canzonatura (Intermezzo Scher*
joso).
II V
Anton Rubinstein (1830). Impatience, Valse (Allemagne),
Souvenir, Impromptu, and Barcarolle.
Pieces by Representative Composers of the 19th Century.
VOLUME I.
CARL REINECKE.
SYMPHONIES
JOSEPH HAYDN.
VOLUME 111.
Bound incloth. (With Portrait of Scharwenka) net

Contains :
10/6
Franz Bbndel (18331874). Pastorale, Schlummerlied, Le

Rflve, and Lied.
Johannes Bkahms ('833). Ballades, Nos. 1 and 3.
Adolf Jensen (18371879).
Barcarolle, Berceuse, Tidings of
Coming Spring (Vom kommenden FrUhling), Silent Love
(Stille Liebe), Evening Song (Abendlied).
John Francis Barnett (1838). Tarantelle.
josef Rheinberger (1839). Idyl, from 3 Eludes, Op. 6. The
Chase (Die Jagd), Impromptu ; Serenata ; and WanderSong (Wanderlied).
P. Tschaikowsky (1840 1893). Mazurka de Salon, Chant
sans Paroles, Chanson tiisie, and Troika (fcn Traineaux).
Antonin Dvorak (1841). Dumka, Elegit.
Edvard Grieg (1843). Minuet, Andante, and Albumblad.
Hermann Sckoltz (1845). Albumblatt in r, f, and d.
A. C. Mackenzie (1847J. Nocturne; Chasse aux papillons
(Etude).
Xaver Scharwenka (1850). Polnischer Nationaltanz (Polish
National Dance), No. 1 ; Impromptu.
Jean Louis Nicods (1853). "Erste Begegnung," from " Ein
Liebesleben." Scherzo.
Moritz Moszkowski (1854). Menuet, Miniature.
Max Pauer (1866). Walzer.
London: AUGENER & CO., 86, Newgate Street, E.C.
Place, and li, Regent Street, W.
also i, Foubert's
Arranged for the Pianoforte by MAX PAUER.

No. i, in e flat (mit dem Paukenwirbel)
a, in d major ...
3, in b flat major
4, in D major*...
5, in d major ...
6, in 1; man r ...
7, in c major ...
81 in B flat major
9, in c minor ...
10, in d major ...
11, inc. major ...
ia, in b fiat major
Pianoforte
Duet.
Edition No.
8554*
8 s 54*
85541855^
8 5 54*
8554/
8554
8554*
8554'
8554*
8554'
8554"'
Pianoforte
Solo.
Edition No.
6183a
6183*
6183c
61 8y*
6183*
6.83/
Price,
each, \s ncl.
Also publishedfor Flute {or Violin\ a Violins, Alto, Vio'oncella and
Contrabass (No. 7 31), 'let, 4*.
t Also published for Flute {or Violin), a Violins. Alto, Violoncello and
Contrabass (No. 7135), net, 5*.
Arranged by GUSTAV JENSEN.

London : AUGENER & CO., 86, Newgate Street, E.C. ; also i, Foubert's
I
Place, and Bx, Regent Street, W.
292
AUGENER S EDITION.
[December I, 1893.
AUGENERS EDITION, No. 8458.
No. 8044a- c.
TSCHAKOWSKY- ALBUM
POUR
PIANO.
(Favourite Pianoforte Pieces by P. Tschakowsky.)
L. VAN BEETHOVEN.
Vol. I. (No. 84580.) Price, net, is.

Troka, Romance, Scherzo humoristique, Chant sans parolei,
Contains
Feuillet d'Album et Nocturne.
Vol. II. (No. 8458*.) Price, net, is.
Contains : Barcarolle. Chanson triste, Humoresque, Mazurka de Salon,
Valse-Scherzo et Chant sans Paroles (a mineur).

nach NOTTEBOHM'S AUFZEICHNUNGEN,
Also
EUSEBIUS MANDYCZEWSKI.
8461
8460
Edition compared and kept strictly after Beethoven's original

text, without any additions, fingering, &c, not contained
in the original.
8o44<w 3 Vols, each
...
net 3 6
Or bound, each
...
...
...
net 6
TSCHAKOWSKY'S
1 a Morceaux caractristiques.
Les Mois d'anne. 1
12 Morceaux. Op. 40
Op. 37
net 2/net a/6
London : AUGENER & CO., 86, Newgate Street. E.C. ; also 1, Foubert's
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NEW PIANO
TRIOS (6 Hands).
e TONSTtTOEE
By J. B. CRAMER,
fur das Pianoforte zu 6 Hnden
with Comments by
VON
L. VAN BEETHOVEN,
CORNELIUS GURLITT.
Op. 192.
No.
Price as. 6d. net.

Valse noble
Gavotte
Capriccietta
Ballau
Serenata
Impromptu...
F. MENDELSSOHN'S
42 Lieder ohne Worte.
{Songs without words.)
Containing the 7 Books, complete in 1 Vol., 4to.

6228 In paper covers
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From
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TRANSCRIBED FOR THE PIANOFORTE BY
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E. PAUER.
t\o.
8241
8577
Pianoforte Solo
Pianoforte Duct
...
And for Pianofortes, 8 hands :
6656 Wedding March from " Midsummer Night's Dream" ...
6657 War March of Priests from " Athalie "
4658 March from the " Wedding of Camacho "
net
net
' *
I
I
net
net
net
1
1
1
FOLIO EDITIONS.
GURLITT, CORNELIUS. Duos progressifs pour a Pianos 4

mains. C. :
Huit Morceaux mlodieux. Op. 174.
Livre I. (Nos. 1 3)
..
..
..
..
..
..
II. ( 4-6)
I". ( 7-8)
Trois Rondos. Op. 175.
Nos. 1, en R majeur (d major)
2, en mi bmol majeur (a flat)
3, en m mineur (k minor) ..
..
..
..
,.
Fantaisie sur un air original. Op. 176
8237a In paper cover
THREE
FOR TWO PIANOS (4 HANDS).
N.B. For Cheap Volumes 0/ this Class see " Augener's Edition"
Catalogue, Class V.
A/fUSIC FOR TWO PIANOFORTES

*"*
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FOLIO
EDITIONS.
CLARK, SCOTSON. Marches arranged by F. Hermann:

Marche aux Flambeaux
Marche Indienne
Inauguration March
...
...
...
...
...
Marche Militaire
MARCHES FAVORITES TIREES DES OPERAS

1IK
RICHARD WAGNER.
DORN, EDOUARD.
(Marche de Paix et Marche de Guerre, "Rienzi" ; Grande Marche,
"Tannhauser" ; Marche Religieuse et Marche des Fianailles,
" Lohengrin.")
LEE, M.
Grande Marche Impriale
Gavotte de Louis XV
ROECKEL, J. L.
Air du Dauphin
I. ,
5
5
... 5
5
5
5
5
Aranges par E. PAUER.

No.
8477
8646
6675<i
6675/1
6675c
66751/
667V
Piano Solo. Complete

Piano h 4 mains. Complete
2 Pianos 8 mains:-No. 1. Marche de Paix(Friedensmar5ch), Rienzi.
" * MarchedeGuerre(Kriegsmarsch), Rienzi.
., 3. Grande Marche (Tannhauser)
...
" 4- Marche Religieuse (Lohengrin)
...
,, 5- Marche des Fianailles (Lohengrin) ...
WAGNER, RICHARD. Marches Favorites, tires des Opera*.

Arranges par E. Pauer. Oblong :
No. 1. Marche de Paix (Friedensmarsch). (Rienzi)
5
2. Marche de Guerre (Kriegsmarsch). (Rienzi)
6
3. Grande Marche. (Tannhauser)
6 *
4. Marche Religieuse. (Lohengrin)
4
5. Marche des Fianailles. (Lohemgrin)
4
s. d.
net 2
net 3
net
net
net
net
net
1
1 6
1 6
1
1
N.B. For Cheap Volumes 0/ this Class see " Augener's Edition"
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I
London: AUGENER & CO., 86, Newgate Street; E.C. ; also t, Foubert's
Place, and 81, Regent Street, W.
London : AUGENEP fk CO., 86, Newgate Street. E.C. ; also 1, Foubert'J

Place, and Si, Regent Street, \V.
becembe* t, 1B93J
THE
MONTHLY
CECILIA. A Collection of Organ Pieces in

diverse Styles.
No.
8701
370a
8703
8704
8705
8706
8707
8708
8709
8710
8711
871?
87:3
8714
8715
8716
8717
8718
8719
8720
87*1
8722
8723
8724
8725
8726
8727
S728
8729
8730
S731
873a
8733
B734
8735
B736
Edited by W. T. BEST.
MUSICAL
Cecilia,
5837
RECORD.
Collection of Organ Pieces {eontinntd).
*$$
AW.
Book XXXVII. Fugue (Art of Fugue), by Bach; Varia- #. d.

tions on an Original Theme, a major, by Ad. Hesse ;
Christmas Pastorale, by W. T. Best
t
Book XXXVIII. Fugue, c major, by J. L. Krebs; An
dante religioso, by Francesco Sangalli ; Prelude and Fugue,
c minor, by Samuel Wesley
t "*
Book XXXIX. Concert Fantasia on Old English Airs,
by W. T. Best ; Fugue, in g major, by Samuel Wesley ... 1 *
BOOK XL. Marcia di Processione, by Enrico Bossi; An
dante, in F major, by Samuel Wesley ; National Anthem,
arr. by W. T. Best
'
Book XLI. Fugue, by J. L. Krebs ; and Concert Overture
byW. T. Best
.- 1
Book XLI I. Prelude and Fugue, G major, E. Agmlar ;
Eievaîone and Offertorio, Domenico Zipoli ; Civic March,
W. T. Best
1
Book XL1II. Organ Symphony, by Elfrida Andree
... 1
Book XLIV. Sonata, in e minor, by Polibio Fumagalli ... 1
Book XLV. Sonata in a minor, by Remigio Renzi
1
Book XLVI. Fantasia on a Chorale, W. T. Best ; Andante
in c major, W. T. Best ; Fugue in f major, Samuel
Wesley
'
Book XLVI I.
Fantasia con fuga (g minor), Concert
Fugue (No. 2, g major), Prelude on the Choral "Was
Gott thut, das ist wohlgethan," and Fugue (f minor), by J.
L. Krebs

Book XLVIII. Eighth Organ Concerto, by G. F. Handel 1
Net.
Book I. Fantasia- Sonata in a flat major. Op. 65. By s. d. 5838
Josef Rheinberger
Book II. Raff, Introduction and Fugue; Boely, Andante
5839
in G minor ; Hesse, Prelude and Fugue
Book III.
Sonata in c minor.
Op. 27.
By Josef
5840
Rheinberger
Book IV. N. W. Gade, Three Organ Pieces. Op. 22
Book V. W. T. Best, Fantasia and Fugue in e minor
5841
Book VI. G. Merkel, Op. 35, Adagio in e major ; E.
Pcrelli, Marcia religiosa ; and Polibio Fumagalli, Alle
584a
gretto villereccio, Op. 254
Book VII. Boely, Toccata Interlude ; Topfer, Fugue in
b flat Fugue in D
5843
Book VIII. Hesse, Toccata; Chauvet, Marchc religieuse
5844
Book IX. W. T. Best, Scherzo
5845
Book X. F. Benoist, Andante (Priere) in e flat major;
5846
J. L. Krebs, Double Fugue in f minor ; W, T. Best,
Adagio in f sharp major ; J. Rheinberger, Trio in
e flat major
5847
Book XI.
Samuel Wesley, Fugue in g major; Th.
Dubois, Andante in b flat major ; Lefebure-Wely,
Andante (Priere) in u flat major
Book XII. Albrechtsberger, Fugue in b flat major; J.
5848
G. Topfer, Fugue in e minor ; A. P. F. Boely, Scherzo
in b major, Advent Hymn in i- major, Christmas Carol
48 Books, in 4 Vols., with indexes of major and minor
keys, &c bound in cloth, gilt sides and edges.
in g major
Book XIII.
Adolf Hesse, Prelude and Fugue in b
6751
Vol. I. (Books 1 to 12)
12/minor ; F. Benoist, Marche religieuse ; Lefebure Wely,
6752
Vol. II. (Books 13 to 24)
12/Andantino
6753
Vol. III. (Books 25 to ^6)
12/6754
Vol. IV. (Books 37 to 48)
12/Book XIV. E. T. Chipp, Four Organ Pieces: 1. "O
Sanctissima," with Variations and Finale ; 2. Andante
Cases for Binding, Title, and Index, per vol. 2s.
con moto ; 3. Intermezzo ; 4. Fugue in a minor ...
Book XV. W. T. Best, Twelve short Preludes on Old
English Psalm Tunes
AUGENER'S EDITION OF
I
Book XVI. Meditation, Toccata, and Paques fleuries, by
Alphonse Mailly ...
...
...
Book XVII. Fantasia, by A. Hesse; Andantino (Priere),
W. T. BEST.
by Ambroise Thomas ; Offertoire, by A. Chauvet
net
No. 9801. Vol. I. 6 Preludes and Fugues
Book XVIII. Fugue, Eberlin; Funeral- Prelude, Chauvet;
(No. 1 in c, 2 in G minor, 3 in n, 4 in e minor, 5 in r
Offertoire, Ambroise Thomas ; two Fugues, Topfer
minor, 6 in g.)
Book XIX. Fugue in c major, by Samuel Wesley ; and
net 4
Pastorale by W. T. Best
No. 9802. Vol. II. 6 Preludes and Fugues
Book XX.
Fantasia in a major, by C. S. Heap ; and
(No. 7 in c, 8 in a minor, 9 in n minor, 10 in G, it in
Andante in D flat major, by Franz Lachner
c minor, 12 in e flat " St. Anne.")
Book XXI.
Prelude funebre, Marche solennelle, and
net 4No. 9803. Vol. III. 6 Preludes and Fugues
Cantilene, by Alphonse Mailly
(No. 13 in c, 14 in c minor, 15 in a, 16 in b minor, 17 in
Book XXII. Fantasia in c minor, Op. 25, by Hermann
c minor, 18 in E minor.)
Berens ; Andante cantabile, by E. Paladilhe
net 3
No. 9804. Vol. IV
Book XXIII. Offertoire, by Ambroise Thomas; Adagio,
by Collin ; Fugue in f minor, by Rheinberger ; and
(Fantasia and Fugue in c, minor. Toccata and Fugue in
Alia Marcia, by V. A. Pctrali
i> minor. Toccata and Fugue in R major. Toccata
and Fugue in c major.)
Book XXIV.
Andante (Elevation), by A. D. Me*hul ;
Prelude, c major, by A. P. F. BoSly ; Adagio, g major,
..
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No. 9805. Vol. V
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Book XXV.
Offertoire in b flat, by A. Chauvet ;
d minor. Passacaglia in c minor.)
Fantasia in a flat, by Moritz Brosig
net
No. 9806. Vol. VI
Book XXVI.
Fantasia Concertante, by V. A. Pctrali;
Offertorio, by V. A. Petrali
(Fugue in G minor. Fugue in c minor. Fugue in b minor.
Fugue in c minor. Alia breve in d major. Canzona
Book XXVII.
Andante (Posthumous Work), by H.
in d minor. Fantasia in c: minor. Fantasia in g major.)
Smart ; Fugue in c minor, by J. L. Krebs
Book XXVIII. Andante with Variations, by W. T. Best;
No. 9807. Vol. VII
net
Prelude and Fugue, by C. G. Hopner
(Eight shortPreludes and Fugues. No. 1 in c major, a in
Book XXIX. Sonata in d minor. (Dedicated to FrSulein
u minor, 3 in f, minor, 4 in f major. 5 in g major, 6 in
Hesse.) By W. T. Best
G minor, 7 in a minor, 8 in b flat major.)
Book XXX.
Inno trionfale (Triumphal Hymn), by
No. 9808. Vol. VIII
net
Enrico Bossi ; Concert Fantasia, f minor, by A. Freyer ;
(Six Sonatas for 2 Claviers and Pedal. No. 1 in s flat
Andante cantabile, by W. Rea
major, a in c minor, 3 in o minor, 4 in e minor, 5 in c
Book XXXI. Prelude and Fugue, a major, by Samuel
major, 6 in g major.)
Wesley ; Marche religieuse and Andante (Communion),
No. 9809. Vol. IX
net
by F. Benoist; Fugue in e, by Albrechtsberger
(Prelude and Fugue, a minor. Fugue, G major. Prelude,
Book XXXII. Dirge, by A. Thomas; two Fugues, by
a
minor.
Fantasia,
g
major.
Fantasia
and
Fugue,
a
Boely ; Prelude, by Niedermeyer ; Andantes, by Lefe"minor. Fantasia with imitation, 11 minor. Fantasia,
bure-Wi<ly
c major. Prelude, G major. Fugue, G major. Pas
Book XXXIII. Sonata in d, by Polibio Fumagalli
torale, F major. Prelude, c major. Trio, d minor.)
Book XXXIV.
Fugue, by J. L. Krebs ; Prelude on the
No. 9810. Vol. X
t
...
net 4
Chorale " Sei Lob und Ehr' dem hochsten Gut," by J. G.
Four Concertos : No. 1, in g major ; 2, in a minor ; 3, in
Topfer ; Andante, by C. V. Alkan ; Andante cantabile
c major ; 4, in c major.
(Communion) and Marche triomphale, by Reuaud de
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No. 9811. Vol. XL The Great Choral-Preludes. Nos. 1 to 6 net 2
Book XXXV. Elegie, by Lefebure-Wely ; Fantasia and
No. 9812. Vol. XII.
...
Ditto
...
Nos. 7 to 12 net 2
Fugue, c minor, by Joh. Schneider
Book XXXVI. Capriccio alia Sonata, by Fumagalli ; and

Variations on an Original Theme, a flat major, by A. Hesse
s.
BACH'S ORGAN WORKS.
Edited by
London: AUGENER & CO., 86, Newgate Street, E.C.; 1, FoubeiVs

294
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No. THE SHIP O' THE FIEND. Orchestral Ballad. Op. 5 :- s.d.
7001a Full Score . . . . . . . . . . . . . . - . 5
70010 Orchestra Parts
76
8571 Pianoforte Duet arranged by Marmaduke Barton .. ..26
THE D0W1E DENS 0' YARROW. Ballad-Overture.
Op. 6 :
7002a Full Score .. .. ..
.. .. .. ..5
7002^ Orchestra Parts
. . . . . . ..76
B573 Pianoforte Duet arranged by Marmaduke Barton . . . . a 6
SUITE DE BALLET:
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7132
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.. net 4
7133 W. A. Mozart, in c major . .
. . . . . . net 4
7134
,.
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MUSICAL
RECORD.
[December i, 1893.
BEETHOVENIANA. EXTRAITS des SONATESpour PIANO de BEETHOVEN arranges par FR. HER
MANN. Livre A. Op. 7, No. 2 ; Op. 26 ; Op. 27, No. 2. Livre B. Op. 10,
No. 3. Livre C. Op. 2, No. 3 ; Op. 13 ; Op. 14, No. 2 ; Op. 31, No. 3:
Net. j. <t.
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7197*1,3,^ Pour 2 Violons, Viola, et Violoncelle
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7i75,,f Pour Piano, Violon, Viola, et Violoncelle ... 3 Bks. each 2 6
7145a,b,c Pour Piano, 2 Violons, Viola, et Violoncelle ... 3 Bks. each 3
7i43a,,c Pour 2 Violons, Viola, Violoncelle et Contrebasse (ou
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London : AUGENER & CO., 86, Newgate Street, E.C. ; also 1, Foubert's
VORTRAGSSTUDIEN. Eine Sammlung
hervorragender und beliebter TonstOcke alter Meister fur Violine
GUSTAV JENSEN.
1. J. S. BACH. Air und Gavotte aus der D dur Suite fur Orchester 3
3. JOS. HAYDN. Serenade
33.
Adagio recitativo
..
.. .. .. 3
4. JEAN MARIE LECLAIR. Sarabanda und Tambourine .. 3
5. F. M. VERACINI. Menuet
36. G. TARTINI. Larghetto (g moll)
J7. J. B. SENAILLE. Aria (g moll)
38. G. TARTINI. Andante cantabile aus Sonate VIII
3
9.
Giga in d dur
3
10. L. VAN BEETHOVEN. Romanze in g dur. Op. 40 . . . . 3 ti.
Romanze in p dur. Op. 50. ..
3
11. P. RODE. Air Varied Op. 10
313 J. S. BACH. Andante aus der a moll Sonate No. 3
.. 3
14. W. A. MOZART. Larghetto aus dem Clarinetten Quintet .. 3" The valuable collection of ' Vortraffsstudien.' edited by Gustav Jensen, now include
Beethoven's
two romances,
besidesThey
other pieces
the violinist's
repertory, such at
Rode's
theoflike.
most ofcarefully
prepared
students,famous
and willairlieand
found
the greatestare
service."The
Timts,
Augustfor18th,the1833.use of
SONATINES POUR VIOLON ET PIANO,

NEW ORCHESTRAL WORK.
Arrangees en ordre progressif, et en partie revues ct doigtees, par
J^REI CHARAKTERSTUCKE ffttr Orchester von EMILE THOMAS.
La Partie du Violon dans la ire position.
1. i.
C. GURLITT. Sonate miniature en fa (f). Op. 180, No. 1
... 3
GUSTAV JENSEN.
Sonate miniature en re (d). Op. 180, No. a
3
Op. 33.
C. REINECKE. Sonate miniature en Ul (c)
3No.
Alia Marcia.
Sonate miniature en la mineur (a minor)
4
Canzona.
4
Minuetto.
Full Score (Edition No. 7O50A), net 5/-.
La Partie du Violon dans la ire, ade, et 3me positions.
Orchestral Parts (Edition No. 70590), net 10/-.
F. KUHLAU. Sonatine en UT (c)
4London : AUGENER & CO., 86, Newgate Street, E.C. ; also 1, Foubert's J. SCHMITT. Sonatine en re (d)
3Place, and Si. Regent Street, W.
F. KUHLAU. Sonatine en la mineur (A minor)
4
J. SCHMITT. Sonatine en ut (c)
3C. REINECKE. Sonate miniature en si mineur (b minor)
5
DIABELLI. Sonatine en sol (g)
4
ARCANGELO CORELLFS A.
F. RIES. Sonatine en la mineur (a minor)
4
I. LACHNER. Sonatine en sol (g)
612 soist^ta.s.
4Op. 5.
I. LACHNER. Sonatine en si bemol (b flat)
6For Violin with figured Bass (a Violino Solo e Violone o Cimbalo) ;
bass of the author, and with all necessary indications for F. KUHLAU. Sonatine en sol (g)
4bowing, fingering, and execution of ornaments by
F. RIES. Sonatine en ut (c)
4
F.
KUHLAU.
Sonatine
en
fa
(f)
4
G. JENSEN.
5Na.
s. d. E. THOMAS. Sonatine en ut (c)
7354a Part I. (Sonatas 1 to 6)
net 3 o F. SCHUBERT. Sonatine en re (d)
67354^ Part II- (Sonatas 7 to 12)
net 3 o C. GURLITT. Sonatine en fa (f)
7 6
net 7 6 F. SCHUBERT. Sonatine en la mineur (a minor)
6
5N.B.These 12 Sonatas are also published for Violin with figured Bass, C. GURLITT. Sonatine en la (a)
edited by Joachim and Chrysander. Edition No. 4936V, net, 4s.
F. SCHUBERT. Sonatine en sol (g)
6London : AUGENER & CO., 86, Newgate Street. E.C. ; also x, Foubert's London : AUGENER & CO., 86, Newgate Street, E.C. ; also 1, Foubert's
December i, 1893.]
THE
MONTHLY

MEISTER des 17M und i8ten Jahrhunderts.
Nach den Originalwerken fur Violine und Bass fader den vorhandenen
Orchesterpartituren) filr Violine und Pianoforte bearbeicet und mit Vortragszeicben versehen
von GUSTAV JENSEN.
,.d.
7401 Francesco Geminiani, Sonate I. (a dur) .
net, I
7402
II. (h moll) .
net, 1
74<>3 G. B. Somis. Adagio und Allegro
net. 1
7404 G. Pugnani. Sonate (E dur)
net, 1
7405 J. B. Senaille. Sonate (G dur)
net, 1 7406 Arcangelo Corelli. 3 Sonaten (A dur, E moll, E durj net, 1 6
7407 Giuseppe Tartini. 2 Sonaten (g dur and G moll)... net, 1 6
7408
,,
,,
Sonate (c moll) ...
net, 1 7409
net, 1 ,,
,,
7410 Henry PurcelL The Golden Sonata (for two Violins and
Piano)
net, 1 74" Francesco Geminiani. Sonate VIII. (d moll) ... net, 1 7412
,,
Ausgewahlte Sonatensatie net, 1 7413 L. Borghi. Sonate II. (A dur)
net, 1 ,,
Sonate IV. (G moll)
net, 1 74M
7415 Antonio Veracini. Sonate (2 Violins, Piano, and Violon
cello ad lib.)
net, 1 7416
,,
,,
Sonate. (A moll)
net, 1 7417 G. Torelli. Concerto (for two Violins and Piano) net, 1 6
7418 W. A. Moiart Andante, Menuetto, und Rondo net, 1 6
7419 Arcangelo Corelli. Follia con Variazioni (D moll) net, 1 7420 W. A. Mozart. Adagio (e dur) ; Rondo (c dur) net, r 7421 F. H. Barthelemon. Sonate (E moll)
net, 1 7422 G. F. Handel. Sonate (A dur)
net, 1 net, 1
7423 Vivaldi. Sonate (A dur)
7424 F. M. Veracini. Concert-sonate (e moll)
net, 1 Jean
Marie
Leclair.
Sonate
IV
net, 1 742S
7426 G. F. Handel. Sonate X. (g moll)
net, 1 7427
net, 1 7428 Jean Marie Leclair. Le Tombeau. (Sonate)
net, i 7429 Henry Purcell. Sonata in B minor (2 Violins, Piano
and Violoncello ad lib. )
net, 1 7430
Sonata in A minor (2 Violins, Piano, and Violon
cello ad lib.)
... net, 1 7431
Sonata in c major (2 Violins, Piano, and Violon
cello ad Hi. )
net, 1 " The' Handel's
same ableSonatas
editor rGustav
Jensen)
has included
infinehisSonata,
series of' I.e' Classischc
ViolinIn
Musik
Nos.
10
and
13,
and
Leclair
s
Tombeau.'
spite
the wealth
of beautiful
compositions
to themrepertory
by this than
and
similarofseries,
violinists
iceen stillclassical
to content
themselvesopened
with a smaller
almost any other class of musicians.* The Times, August 18th, 1893.
London : AUGENER & CO., 86, Newgate Street, E.C. j also t, Foubert's
NEW EASY MUSIC BY
MUSICAL
RECORD.
295
DANCE MOVEMENTS
FROM THE WORKS OF GREAT MASTERS,
ARRANGED FOR
VIOLIN AND PIANOFORTE (Augener's Edition, No. 7387a-).
FLUTE AND PIANOFORTE (Augener's Edition, No. 7793am).
STRING ORCHESTRA : Two Violins, Viola, V'cello, and Bass
FLUTE QUINTET: Flute, Violin, Viola, V'ckllo, and Bass
by
IF. HERMANN.
a J. S. BACH. Sarabande from the Second Violin Sonata.
b G. F. HANDEL. Scherzo from the Concerto in G minor.
c JOSEPH HAYDN. Nachtwachter Menuet.
d PIERRE MONSIGNV. Rigaudon from " La Reine de Golconde."
e W. A. MOZART. Minuet from the Divertimento in d.
f BEETHOVEN. Allegretto from " Die Geschopfe des Prometheus."
g MOZART. All' ongarese from the Violin-Concerto in A major.
h CHERUBINI. Ballet-music from " Ali Baba."
i H. MARSCHNER. Tanwnusik from " Des Falkners Braut."
* J. P. RAMEAU. Chaconne and Musette.
/ CHR. VON GLUCK. Musette from " Armida."
* PIERRE MONSIGNY. Chaconne from " La Reine de Golconde."
Price, net, if- eaih.
* Also for Pianoforte Solo (Antbologie Classique, No. 80), 2/6.
Place, and Si, Regent Street, W.
10
PETITS MORCEAUX
PAR
C.
REINECKE.
Op. 122a.
s. d.
Prelude (Vorspiel)
Chansonettc (Licdchen)
A la Guitarc (Zur Guitarre)
Le Savoyard
t
"'j-2 6
Variations sur la gamme cn ut majeur
... I
Danse champfitre ...
...pUn duo sur fa riviere (Wechselgesang uber's Wasser her)
:::}3Gavotte
Sonate miniature ^
Arlequin (Harlekin)
...... 23 6
CARL
REINECKE.
to PETITS MORCEAUX. Op. 213 ;
s.d.
75431 Pour Violon et Piano. (Edition originale)
net 2 6
7643 Pour Viola et Piano. Arranges par Emil Kreuz ... net s 6
6963 Pour Piano a quatre mains. Arranges par l'Auteur ... net a
TOY
SYMPHONIES,
London : AUGENER & CO., 86, Newgate Street, E.C. also 1, Foubert's
Etc.
7108 GURLITT,^ C, Kindersymphonie. Toy-Symphony for Piano- Net.
forte (Violin and Violoncello ad tii.), Cuckoo. Quail, Night- s. d.
PIECES
IDE
SALOKJ
pour VIOLON
et PIANO.
ingale, Trumpet, Triangle, and Drum. Op. 169 . . ..26
7109 HAYDN, J. Toy Symphony for Pianoforte (or 2 Violins and
Revues et arrangees par EMILE THOMAS.
Bass) and 7 Toy Instruments. Score and Parts .. .. 1
s. d.
Toy Symphony (in c). Arranged for 2 Treble Voices
1. Moszkowski. Valse Briliante
with
Pianoforte, 7 Toy Instruments, and 2 Violins and
a. 13. Noskowski. Dumka
Bass
(ad lib.) by H. Heale :
Jos.
Haydn.
Variations
sur
"
Gott
erhalte
Franz
den
Kaiser
3- C. M. dk Websr. Invitation a ia Valse
9242
Full Score and Complete Instrumental Parts. 410
.. 1
4- M. Moszkowski. Russia (Russ/andt. Op. 23, No. 1
9243
Vocal Parts. 8vo
.. .. .. .. .. .. 4
M
Germany (Deutschiand). Op. 23, No. 2 ..
6.59047 OTTO, J. Christmas Time. Cantata for Children, Solo for
Hungary (Ungam). Op. 23, No. 6.

Soprano, 2 Bassi, Chorus of Female Voices, and Toy In
E Anton Strelezki. Sirtnade. Op. 191, No. 4
struments. Vocal Score . . . . . .
26
G.
Ppeiffer.
Gr'gue
dans
legenre
ancien.
Op.
77
...
99347a
Book of Words
.. ..
.. 6
10. F. Schubert. ?r/nade ...
Ave Maria
71 16 ROMBERG, B. Toy Symphony (Kindcrsymphonie) for Piano
M. Moszkowski. Menuet. Op. 17, No. 2.
(or 2 Violins and Bass) with 7 Toy Instruments . . . . 16
13- F. Schubert. Romance de " Rosamond*"
(The Toy Instruments may be had of the Publishers.)
,,
Am Meer ...
London : AUGENER & CO., 86, Newgate Street. E.C. ; also i, Foubert's London : AUGENER & CO., 86, Newgate Street, E.C. ; also 1, Foubert's
Place, and Si, Regent Street, W.
THE MONTHlV MUSICAL RECORb.
*96
T\TEW WORKS,
CONCERTO (en Ut)

POUR VIOLA
by W. H. SQUIRE.
Avec Accompagnement d'Orchestre

PAR
EMIL
KREXJZ.
Or. ao.
Arrangement pour Viola et Piano par I'Auteur.

Eiition Ne. 5,571.
Price, net, 4.1.
(N.B. Full Score and Orchesir^ Parts may be had on hire from the
Publishers.)
Barcarolle Sm'Akk. Pour Viola et Piano
4/,,
,,
4/" The clever violi plaver, Mr. Firil Kreuz, has mide an importanl addition to the
literature of bis instrument in his Concerto, Op. a\ a work which, while it abounds
in formidable difficulties . f virions kinJs. has plenty of beauty and musical interest to
recommend it to mu-icians in general. The melodious Bircarollc. which occupies the
place of the slow moveae >t. is published sioarately, a"d also in an arrangement for
violin and piano. In bringing out a new edition of Schumann's little-known ' Marrhenbililer ' for piano and viola. Op. 113, the publishers deserve the gratitude of amateurs."
The Tinu; August 18th, 1835.
London: AUGENER & CO., 86, Newgate Street, E.G. ; also
1, Foubert's Place, and 8i, Regent Street, W.
NEW WORKS by IGNAZ LACHNER :

Op. 02.
5293a
5293^
5293c
3 Sonatinas for 3 Violins
No. 1, in b flat major

2, in g major . .
3, in a..
..
Op. 93.
7511a
75118
751 ic
Op. 94.
..
..
..
..
net
net
net
..
..
x
1
1
3 Morceaux de Salon pour Violon et Piano

..
..
..
..
..
..
net
net
net
..
1
1
z
..
..
..
..4
4
Violoncello Solo.
12 Easy Exercises in progressive keys
net
1 0
Violin and Piano.

Gavotte sentimentale
Reverie
Gavotte humoristique
40
30
4 o
"
London: AUGENER & CO., 86, Newgate Street, E.C. ; also at

1, Foubert's Place, and 8r, Regent Street, W.
No. 1.
2.
3.
4.
An der Quelle
Nordisch
Gondelfahrt
Freude
Op. 9698.
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
3
3
3
3
3 Sonatinas for 2 Violins
No. 1, in a major. Op. 96

2, in d major. Op. 97
..
3, in b flat major. Op. 98 . .
Op. 99 101.
Op. 46.
Violoncello and Piano
Violin and Piano
net 4
net 4
London : AUGENER & CO., 86, Newgate Street, E.C

AUGENF.R'S EDITION.
H. PURCELL'S GOLDEN SONATA,

..
..
..
..
..
net
net
net
1
1
1
net
net
net
I
x
1
net
net
net
4
4
2 6
ARRANGED by
GUSTAV JENSEN,
3 Sonatinas for Violin and Piano
No. i, in a major. Op. 99

2, in b flat major. Op. 100
3. in c major. Op. 101
Op. 102103.
XAVER SCHARWENKA'S SONATA in e minor.

9387
7566
Op. 95. Vier KlavierstUcke
7503
7504
755
7780
Deux Morceaux de Salon pour Violon avec Piano
No. 1. Siesta
..
2. Grande Polonaise . .
5621
562a
5623
Violoncello with Pianoforte.

x. </.
Gavotte humoristique
40
Dreaming, Romance
,
30
4 Petits Morceaux ;
1. Romance
, 3 0
2. Intermezzo
3 o
3. Barcarolle
3 0
4. Gavotte
3 0
Melodie
40
Pastorale
4 o
Serenade
..
..40
Petits Morceaux pour le Viotoncelle (dans la premiere position)
avec accompagnement du Piano :
No. 1. Triste
2. Joyeuse
3. Le Plaisir
4. Le Bonheur
...
.,
5. LInnocence
Morceaux de Salon :
No. 1. Nocturne
3 0
2. Cavatina ...
...
...
...
... 3 o
3. Minuet
...
...
...
3 o
4. Mazurka
3 o
s. d.
..
Nocturne
Taran telle
..
Danse des matelots
timber J-, m
..
4
4
4
In his "Classische Violin Musik bertlhmter Meister des I7ten and iSten
Jahrhunderts."
s.d
7410 For Two Violins and Pianoforte
..
..
..
..
net 1
7410a For Two Violins, Violoncello, and Pianoforte
..
..
net I 6
2 Trios for Violin, Viola and Pianoforte :

AUGENER & CO., 86, Newgate Street, and i, Foubert's Place, London.
5277
5278
7217
Grand Trio in K flat. Op. 102 ..

..
..
Grand Trio in c. Op. 103
..
..
..
..
Op. 104. Quartet for 2 Violins, Viola, and Violoncello
London : AUGENER & CO., 86, Newgate Street, E.C. ; also at

SECOND
New Violoncello Studies.

AND CHORD STUDIES
EDITION
OF
A.
RUBINSTEIN'S
MUSIC AND
9193.
9193*
ITS MASTERS.
VIOLONCELLO,
In paper covers
net
s. d.
a o
Bound in limp cloth
net
Editun No.
Conversation,
BY
LOUIS
HEGYESI.

i, Foubert's Place, and 81, Regent Street w.
London : AUGENER& CO., 86, Newgate Street, and i, Foubert's Place, W.
December i, 1893.]

New SongS {continued')-'
zlntie^v- sozlstgi-s.
BARNETT, JOHN FRANCIS. The Vesper Hour, Song
with piaooforte accompaniment and harmonium ad libitum.
BERGSON, M. Parted Lovers <" Wenn sich zwei Herzen
scheiden ). Song :
No. 1. For Soprano or Tenor in a flat
...
2. For Contralto or Bass in v
...
cello obbligato
...
BUCHANAN, M. M. "Good Night and Good Morning."
Song
Schmerzen). Song
..
8824 DELIUS, FRITZ. Three Songs, the words by Shelley:
my Heart. 410
net
8829^
7 Lieder (aus dem Norwegischen). 4to. E. & G.
net
a Flower ; Love's Parting ; In the Silence of the Night;
Highland Heather. 410
net
FITZGERALD, GERALDINE. "To Sleep.'' Song. The
words from Lord Tennyson's "The Foresters"
GRIEG, E. 6 Lieder. Op. 48 and Op. 49
...
each.net
HEARNE, ISABEL. 3 Songs :
1. Love is ours
2. Bird Raptures
3. The Secret
Three Songs ; the words by Christina Dening :
1. There was a time
2. My Lady's Heart
3. I Love your Look
KREUZ, E. Songs. English and German Words : 8849a-* Op. 1, 2, 3, 4, and 6. (Each Vol. containing 4 Songs.)
5 Vols
each, net
8845
Six Songs. (The Words by Robert Burns.) Op.
net
t. My Heart is Sair (Mein Herz ist schwer).
2. A Red, Red Rose (Ein Rosletn roth).
3. ^John Anderson, my Jo (Hans Anderson, mein Hans),
4. The Bonnie Wee Thing (Liebe Kleine).
5. O, wilt thou go wi1 me ? (O willst du gehn mit mir ?)
6. Saw ye my Phely? (Sah Remand?)
Two Songs, with Violin Obbligato. Op. 8 :
1. To the Evening Star (An den Abendstern)
7. Soft! Roving Wind! (Still, lieber Wind)
Pastoralia. 10 Songs. Op. ?o. E .'
8847.1
Book I. (As Phyllis wended, If thou wert asked, Tell me
Colin, A shepherdess once wandered) ...
net
8847^
Book II. (Robin's lament. Gentle Shepherd, The Wooing
Day, A Summer's Morning, Proud Janet, Which is most
fair?)
net
Ballad for a Bass Voice. The Turkish Lady. Op. 11 ...
8S46
3 Songs. Op. 12. Rose Marie, Love is a dream, Kiss
and be friends. E.
net
B874 Three Songs. Op. 14. Sir Knave of Bergen (Schelm
von Bergen), The Mountain Echo (Bergstimme), The
Flower of Love (Ich Heb eine Blume). E. & G. ...
net
8S75
Five Songs for Soprano or Tenor. Op. 15. The
Wounded Hussar, Earl March looked on his dying child,
winning. E.
net
8876
Four Songs for a Tenor or Soprano Voice. Op. 17. On
Parting, Beware, When Napoleon was flying, When Love
net
8879
5 Songs for Mezzo-Soprano.
Op. 23.
Twilight
Memories (Abends); Dolly's Bedtime (Das Madchen);
My White Lily (Weisse Lilie) ; Mother nods (Die nickende
Mutter); Good-night (Gme Nacht)
net
LEE, MAURICE. Faint Heart (Pas braves !) Song
8855 LIDGEV, C. A. 4 Lieder by Heine. Op. 6 : Violets, Roses,
The Message of the Stars. E. & G. 4to
net
MACCUNN, HAMISHv Strathallans Lament. Song
- " When thou art nigh." Song
No. 1. Wishes. " In the Meadows"
2. A flower message. " I'll give my love a posy"
...
3. Doubting. '* Nay, do not ask me once again "
land?"
5. Golden Days. " Sweet, remember golden days" ...
6. Hesper. " O for a tight little boat"
Op. 190
..
Rhymes (Rondes avec Jeux et de Petits Chansons traditionelles), with the Original French Words, an English
translation by E. M. Traquair, and pianoforte accom
paniment by Charles Lebouc. E, & Ft
not
SIMPSON, F.J. A Message to Phyllis. Song
297
s. d.
4
8945
3
3
4
3
8954
s. d.
SWEPSTONE, EDITH. I Worship Thee Yet (Ich liebe

4
Foreshadowing. Song with Violoncello obbligato
... 3
Accompaniment 1, Who will buy Pansies? 2, O my Lost
Love. 3, Oh, What's the Sweetest Thing there is V 4to, net 1
WOOD, CHARLES. Four Songs : 1, An Ancient Love Song
Suckling) ; 3, How can the tree but waste and wither away?
{Lord Vaux) ; 4, Ah ! Robin! Jolly Robin ! (Sir Thomas
Wyat). 410
net 1
Ef)t Ctme0
Has thefollowing Review :
*' NEW SONGS. The latest songs of Grieg, published in tin; Peters edition (Autfentr
and Co.), contain much that is worthy of the composer's reputation, though there is lirtie
that will enhance it. The charming ' Gruss.' set to Heine's words, and the sombre
' Uereinst, Gedanke mein,' to the well-known words by Geibel. are the most beautiful of
Op. 48 ; in Op. 49, all of which are set to words by Holger Drachma nn, the accompani
ments will deter most of the incompetent from even essayiny them ; these more elaborate
works are all graceful and interesting. Three books of sonys by F. Deli us show the
strong influence of Grieg ; the composer is bent on puzzling even the best readers as
when he writes .1 passage in A sharp major without using its enharmonic equivalent.
The songs are thoughtful and well written. Another stumbling-block to Incapable
accompanists is the set of three very clever songs by Isabel Hearne, more especially
" Bird Raptures," set to the well-known lines of Christina Rossetti. All three are weal
worthy of attention, for all are inusici.inly and original In a later proup by the same
composer, ' My lady's heart ' and * I love your look' have considerable charm and deft
grace. Hdith Swepstone's ' Foreshadowing^.* a well-constructed song with a violon
cello obbligato, and a set of three lyrics to words by Mr. W. Black, show the hand of an
accomplished musician ; and more than one of C. A. Ltdgcy's album of four SOURS to
words by Heine is worthy of vocalists' attention. As over 70 so.tgs by Mr.Fmil Kreuz are
among tnc puolications of the firm, it is manifestly impossible to notice them here as
fully as they deserve. The two with violin. Op. B, the ten called ' Pastoralia,' the finelyconceived ballad of ' The Turkish Lady,' Op. n, the vigorous 'Schelm von Bergen '
in Op. 14. the interesting settings of Campbell and Shelley in Op. 15, the effective
' When Napoleon was flying ' in Op. 17, and the suave ' Abends ' in Op. 33. are all the
work of an earnest and cultivated composer, many of them containing passages of real
originality and beauty. A group of four songs by C. Wood contains settings of sonic
old-world poems ; the best of them. Suckling's * Why so pale and wan V is spoilt by the
unnecessary alteration of the final outburst. ' How can tne tree but waste 1 ' has mire
spontaneity than some of the others. A set of six songs by Mr. MacCunn contains some
specimens of the composer's better class of work; 'Wishes' is a graceful little song;
'Doubting' is sufficiently expressive, though not particularly well written for the
voice; and 'Hesper' has plenty of opportunities for effect. A pretty 'Message to
Phyllis,' by F. J. Simpson, and a melodious 'Parted Lover*.' by M. Bergson. issued
wiin and without an obbligato part for violin or violoncello, which may be recommended,
are sent by the same firm. A really delightful book is the volume of ' French Rounds
and Nursery Rhymes." edited by C. Lebouc, and provided with both French and
English words, and directions for playing the various games with which most of the
songs are connected. The lovely 'Chevalier du Guet, ' Roi Dagobert.' * Au clair de
la Linn-,' 'Gcntil Coquelicot,' and many other favourites will be found, and it is on'y
fair to say that in nearly all cases the whole of the original words have been given, or at
least as tuny of them as could possibly be considered fit for nursery use. Twenty-two
stanzas of ' Malbrook ' will probably be enough for anybody. It is perhaps a pity that
the immortal * Frere Jacques ' is given as a canon * two in one,' not, as it should be. in
its proper guise of a canon ' four in one.' " !'h< Timts, March 3rd, 1833.
London : AUGENER & CO., 86, Newgate Street. E.C.; also 1, Foubert's
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"1.
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"O! What Pleasure the Soft Guitar."
)
,
Angeius. " Angels that around us hover."
\
from Wallace s
" Sing, Pretty Maiden, Sing.''
j
Mantana.
Serenade and Chorus, " Fair Wandering Moon," from Donizetti's " Don
Pasquale."
No. 4148.
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THE
>98
MONTHLY
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GLEES AND CHORUSES
RECORD.
[December I, 1893.
12 LIBDER
FUR 2
SOPSANE
from the Works of English Composers,

MIT PIANOFORTE BEGLEITUNG
ARRANGED FOR
FEMALE
VOICES BY
{VOCAL DUETS FOR SOPRANO
VOICES),
BY
FIRST SERIES, TO BE SUNG WITHOUT ACCOMPANIMENT.

[For the purpose of practice an ad lib. Pianoforte accompaniment
is added.)
CARL REINECKE.
Op. 217.
24 GLEES AND CHORUSES

4301
IN THREE PARTS.
Book I
net
The Thistle, the Shamrock, and

Rose
Hark ! The Lark at Heaven's
Gate sings
Blow, blow, thou Winter Wind ...
When shall we three meet again ?
Divine Cecilia
Ye Spotted Snakes
4302
Book II.
I The Red Cross
8. The Erl-King
9.
10.
11.
12.
4303
18.
4304
Music's the Language of the

Blest above
S. Webbe.
Foresters, Sound the Cheerful
Horn
Sir Henry Bishop.
Come, Fairest Nymph
Sir Henry Bishop.
Under the Greenwood Tree
... Dr. Arne.
2.
3456.
Sir H. R. Bishop.
Sir H. R. Bishop.
Samuel Webbe.
Earl 0/ Mornittgton.
16.
7-
IN
FOUR
JU.
SI.
22.
"3-4-
BY
Here in Cool Grot...

Awake -i olian Lyre
To the Moon
...
Oh ! Skylark for thy wing
When winds breathe soft
Hand in hand, with fairy grace.
No. 2 in A flat.
Each, 4-.

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Sir H. Bishop.
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Dr. Cooke.
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You think I have a merry heart ... Sir H. Bishop.
Welcome to this place
Sir H. Bishop.
Hunting Sonc, "0 whither roams
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Sir H. Bishop.
O ! for the Harp whose strings
of Gold
Sir H. Bishop.
Majestic Night
Sir //. Bishop.
Where the Bee Sucks
William Jackson.
My Fatherland
In prospect wide
To Harmony
Up ! Quit thy Bower
From Oberon in Fairyland
Address to the Sun (O thou that
rollest above)
Op. 26, No. 4.
No. I in B.
PARTS.
net
What shall he have that killed

the Deer?
Sir H. R. Bishop.
Now the bright Morning Star ... X. Greville.
Hail, Smiling Morn
R. Spofforth.
Blest pair of Sirens
J. Stafford Smith.
The Fisherman's "Good- Night" Sir H. R. Bishop.
Ode to St. Cecilia
Samuel Webbe.
Book IV
19.

SONG
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1415-
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Sir H. R. Bishop.
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How merrily we live
Michael Este.
Lightly o'er the rapid Rhine ... Sir H. R. Bishop.
When the Storms aloft arise
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Sigh not for Summer Flowers ... Sir H. R. Bishop.
The May Fly
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Now the Storm begins to lour... Sir H. R. Bishop.
Book II
7.
8.
9.
10.
11.
12.
4324
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Hark I hark ! each Spartan hound

All in the Greenwood Shade ...
As o'er the Varied Meads I Stray
As it fell upon a day
Hark
"ark I! hark ! the Voice of the
1
Falling Flood
When the Moon is riding high...
24 GLEES AND CHORUSES
4322
Dr. Calkott.
Dr. Calkott,
Book IV
19.
20.
21.
22.
23.
24.
4321
Dr. Cooke.
R. 7. S. Strums.
M. P. King.
Samuel Webbe.
R. y. S. Stevens.
Book III
154IS16.
17-
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net
Knight
Augenbr's Edition, No. 4119a. Book I. Price is. net.

x. Evening (Abendlied).
2. When the Christ -child comes (Wenn's Christkind kommt).
3. Spring Sunshine (Der Lenz ist da).
5. A Carol of Spring (Hell ist ein Lied erklungenj.
Augenbr's Edition No. 4119& Book II. Price is. net.
8. The Concert of Spring (Frtihlings-Concert).
9. How bright is the Earth and how fair I (Wie ist doch die Erde
so tenon).
10. The Spring-night's Glamour (Zauber der FrUhUngsnacht).
it. O take my hand and lead me (Geistliches Lied),
xa. Rosebud, ah, when wilt thou Bloom ? (Rose, wann bluhst du tuf ?).
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Sir H. Bishop.
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Sir H. Bishop.
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To Eva. No. i, in a flat ; 2, in f ; 3, in e flat

each
" When thou art nigh"
" Heart be stout and eye be true" ...
A Flower Auction
Do not vex thy Violet
If a nobler waits for thee
...
Many days and many ways
On a faded violet
:
O gentle sleep ...
...
When roses blow
No. x. Wishes. "In the Meadows"
a. A flower message. " I'll give my love a posy " ...
3. Doubting. " Nay, do not ask me once again " ...
land?"
5. Golden Days. " Sweet, remember golden days*'...
6. Hesper. *rO for a light little boat
PART-SONGS
FOR
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4 -
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33
3
3
3 '
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THE
December I, 1893.]
EBENEZER
PROUT'S

Demy 8vo.
Augener's
Edition.
Fund,
,. UARMONY:
ITS THEORY AND A"
LX PRACTICE. By EBENEZER PROUT. B.A.,Lond.,

5/-
98*KEY TO "HARMONY: ITS THEORY

AND PRACTICE."
Second Edition
'299
Review of E. Prout a Text-books {contimtedylittle else than age to recommend them, he has provided others supported by references
to fugal works by the greatest writers. In describing a fugue as a composition in
' ternary form,' Mr. Prout says : ' The first section extends as far as the end of the last
or middle section begins with the commencement of the first episode, which modulates
to any other key than that of tonic or dominant ; and the third or final section begins
with the return of the subject and answer.' The features of each section are admiranly
delineated, and the construction of the whole fugue is clearly explained and aptly illus
trated. As text-books, Mr. Prout's theoretical treatises will doubtless tane
the position of standard worlta." The Daily Telegraph, Much 17th, 1893.
London: AUGENER & CO., 86, Newgate Street, E.C. ; also at
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CISES TO E. PROUT'S " HARMONY." Second Edition
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TORY.
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In paper
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91
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Academy of Music, &c. Second Edition

5/-
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J-
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91M. FUGAL- ANALYSIS: A Companion
Part I. 24 Preludes and Fugues. In paper covers, net, as.

Part II. 24 Preludes and Fugues. In paper covers, net, as.
N.B. Thtst Cattchisnu mill it continued.
...
...
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to

Analysed.
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9205
9306
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DICTIONARY OF MUSIC
BY
\J\
USICAL
FORM.
By EBENEZER
DR. HUGO RIEMANN.
Prout,
IV J.
IS. A., Lond.. Professor of Harmony and Composition
at the Royal Academy of Music, etc. Second Edition
...
5/.

I
Cfte IBaflp ^Telegraph

Of March 17M, has the following Review:
*
Part L (A. to Beck), price is. net.
oaoo* Part If. (Becke* to Chaconne), price is. net.
9200c Part Iff. (Chadwick to Dissonance), is. net
"The scries of theoretical works written by Ebenerer Prout will prove of inestimable
service to teacher and scholar alike. Published in nine volumes, the scries embraces an
exhaustive treatise on ea:n of the following subjects : Harmony, its theory and
practice; counterpoint, strict and free; double counterpoint; and fugue. With
Rif.mann's Dictionary is a concisely worded musical encyclopedia,
earnestness the author points out the desirability of studying harmony and ' strict which avoids all that is superfluous. It will comprise not only the biographies
counterpoint' simultaneously, and advises that 'as soon as trie pupil has mastered of noteworthy musicians and writers on music of the past and present, with
tion is unheeded by many teacheis of theory, and some there are who altogether reject criticisms of their works, but also a complete description and history of all
the plan, on the ground of strict counterpoint being of little practical value. But the musical instruments, an easity intelligible exposition of musical theory,
author, believing it to l>e an essential branch of study, has, by verbal explanation 01 definitions of musical art-expressions, etc. It will appear in fourteen parts,
rules, as well as oy illustrative examples, succeeded in making it appear attractive and
important. Two part counterpoint is treated at considerable length, a chapter being at One Shilling each, which will bind in one handy volume. That which
devoted to each cf the ' Five Species." As far as the * species ' are concerned, the distinguishes Riemann's Dictionary from other dictionaries is unity and
same order is observed in three-part and four-part strict counterjH>int. So varied in consistency of statement, which is only attainable if one and the same
construction are tne exercises and examples that one is apt to forget that the only author writes an entire work, but not if a number of contributors
harmonies used therein are diatonic Triads and their first inversions. In leading
students through paths trwldcn by uur musical ancestors the skilful guide never fails to compete, who are of different opinions and variously gifted. Rienunn has
point out objects of interest 10 be met with on the way. Though so much in love with long since, by his striking and many-sided literary activity, given proof of
his subject, he places it in its tiroper position, as a preliminary study to actual com
position. The fact is again and aâin insisted upon that 'strict counterpoint is simply paedic nature. His dictionary contains, in convenient alphabetical order,
the means to an end." The object to be attained is the power of free part-writing, so to speak, the sum and substance of the results of his researches in the
..ere called 'free counterpoint,' the study of which should not, the author says, be comttteni-ed before the pupil has completed his course of harmony. Liberated from the most varied ranges of musical science, e.g. the history of notation, the
restraint* imposed by ancient rules, modern counterpoint opens the door to well-nigh all theories of rhythm (phrasing), harmony and form (analysis), musical
combinations which do not violate the laws of harmony. The final chapter treats on the aesthetics, etc.; it is therefore adapted to serve as an introduction to his
point and Canon. Mr. Prout places these intricate subjects before the student in the musical pedagogic reforms. The problem of presenting established facts in
clearest and most convincing manner. The last, as yet published, of the series is an a concise and clear manner has here been brilliantly solved.
" MESSRS. AUCRNER are bringing out in parts a handy edition of Dr. H. Riemann's
rules from time to time laid down by men in authority, and after patiently testing their
accuracy by the works of Bach and other great masters, the author is led to declare ' Dictionary of Music,' translate*! by Mr. Shedlock, and furnished with additional matter
that 'there is no branch of musical composition in which theory is more widely at variance by the author. So far as the hrit instalment goes, the work has been excdlcntly done,
with practice than in that of fugue." In stating his own views, he directs attention to the tspecially in the matter of just allotment of space. Such Literary treatises as appe >r in
tiie great dictionaries of Mendel or Grove ou not come within the scope of a work like
fjrinctples which govern the relation between Subject arid Answer. While there is but this,
but to the ordinary student the newly issued dictionary tvill be o/ immense va.tte,
itile diversity of opinion as to what should be the features of the subject, there are, on
the name of the translator-who may be suspected of having taken more than a
the other hsnJ, many conflicting opinions as to the nature of the answer. The theorist and
translator's part In the compilation of the English biographies -is a guarantee for
directs one mode of procedure and the composer acts upon another. * This rule,' says accuracy
ana thorough research." The AVw Quarterly Musical Rtvie-**, August, it?93.
the old text-book, 'is absolute'; yet Bach is found breaking it with good effect. Our
author wisely declines to sutmut to the authority of any rule however ancient unless it
London : AUGENER & CO., 86, Newgate Strest, E.C ;
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I
THE
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le ler Decembre, 1893, chez
AUGENER & CO., 86, Newgate Street, E.C.
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(All Music engraved and printed in England at Augener's

Music Printing Officine, 10, Lexington Street, London.)
fltS.
9899
BECKER, M. Cathedral Chimes. Die Domglocken.

Nocturne. Op. 18
Italian Opera Airs.
Containing 100 celebrated
Melodies from the Operas of Rossini, Bellini,
Meyerbeer, &c. &c
net
CZIBULKA, A. Im Sonnenschein (In the Sunshine).
Gavotte. Op. 212
HARTLAND, L. Idyll
KLEINMICHEL, RICHARD. Dorfmusik (Rustic
Scenes). 18 characteristische Stucke. Op. 56 :
No. 15. Kirchgang (Going to Church)
16. Durchziehende Truppen (Passing Troops) ...
17. Kirmess (Kermess)
18. In der Dorfschenke (At the Village Inn) ...
STRELEZKI, ANTON. Morceaux :No. 61. Polkette, en Fa
...
...
62. Menuet a l'antique, en LA majeur
63. Tempo di Mazurka, en si bemol
SHORT ORIGINAL PIECES (Easy). C. :
No. 17. H. Heale. Minuet,
18. C. Reinecke. Hide and Seek.
19. H. Heale. Gavotte
20. R. Schumann. Albumblatt. Op. 68, No. 30
2i. E. Pauer. Hungarian
s. d.
3
3
3
I
1
RECORD.
[December I, 1893.
Novelties.Vocal Music {continued)

HANDEL, G. F. Select Songs, edited by H. Heale.
No. 1. " Love Sounds th'Alarm," Recit and Air
(Tenor) from Acts and Galatea
...
...
2. "See the Raging Flames Arise," Recit. and
Air (Bass) from Joshua
HEALE, H. 12 Dance Tunes, arranged for 2 female
voices, with pianoforte accompaniment, and
adapted to English words :
4041 "The Sun Comes Forth." Bourree. J. J. Mouret
net
4042 " Hail ! Morning Sun." Gavotte. A. Renaud.
net
4043 "Thou'rt bearing hence thy roses." Gigue. J. P.
Rameau
net
4044 "The skylark, when the dews of morn. Gigue.
A. E. M. Gre'try
net
Dissimulation ( Forstallningen)
Good Night (God natt)
4346 MENDELSSOHN.
"Hear my Prayer." Hymn.
Arranged for female voices (Sopr. solo and 4-p 't
Chorus) with Pianoforte accompaniment by H.
Heale
net
STANFORD, C. VILLIERS. A Message to Phillis.
Song
STROLLERS' SOCIETY (Dublin) Series of Quartets
for Male Voices :
4891
Sleep, Dear One, Sleep ! G. W. Torrance, net
TSCHAiKOWSKY, P. Why? (Warum?) Song
9105 WOOD, CHARLES. Music: An Ode. Poem by
A. C. Swinburne, set to music for Soprano Solo,
Chorus and Orchestra. Vocal Score.
...
net
1. d.
3
3
3
4
4
3
2 6
2 6
1
4
6
3
BOOKS ON MUSIC.
9182* PROUT, EBENEZER. Key to the additional Ex

ercises to ' ' Harmony : its Theory and Practice. ''
2nd Edition. Bound
net 2 6
9183a
Additional Exercises to "Counterpoint: strict
BEETHOVEN. Symphonies arranged by E. Pauer :
and free," with Melodies and unfigured Basses
8517* No. 2, in D, Op. 36
net 1
for harmonising. Second Edition. Bound. ... net 2 6
9197 RIEMANN, DR. HUGO. Vereinfachte Harmonielehre
ORGAN.
oder die Lehre von den tonalen Funktionen der
9812 BACH, J. S. Organ Works. Edited by W. T. Best
Akkorde
net 2 6
(Oblong Folio) : Vol. XII. The Great ChoralPreludes. Nos. 7 to 12
net 2

7529
MOSZKOWSKI, M.
Album Espagnol (Spanish
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West End Branches : 1, Foubert's Place,
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INSTRUMENTAL.
Album Classique pour Violoncelle et Piano. VoL II.
Arrange par Alfred Moffat : Purcell, Melodie ;
Bach, Gavotte; Corelli, Adagio religioso; Men
delssohn, Minnelied ; Chopin, Nocturne ; Spohr,
Larghetto ; Schumann, Lied ; Schubert, Schwanengesang ; Mozart, Agnus Dei
net
53281/ HERMANN, F. Morceaux melodiques pour deux
Violons avec accompagnement de Piano (ad lit. ).
Op. 26 : Livre IV. Morceaux Nos. 7 4 8, net
JENSEN, GUSTAV.
Classische Violin - Musik
beriibmter Master des iyten und i8ten Jahrhunderts nach den Originalwerken bearbeitet und
mit Vortragszeichen versehen :
7432
William Boyce. Sonata in A major (2 Violins,
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7264 KREUZ, EMIL. Trio facile pour Piano, Violon et
Violoncelle. Op. 31
net

7662*
Telegraphic AddressAUGENER, LONDON,
PAGE
1
2
VOCAL MUSIC.
ABT, F. Christmas Cantata for Soprano and Alto
Soli and Chorus for Female Voices :
9036
Vocal Score
net
9036a
Words and connecting text for Recitation
net
CONTENTS.
2 6
4
Missing Music
Peter Tschaikowsky
Mars and Music
Studies in Modern Opbra : a Course of Lectures Delivered
By
Franklin Pbtrrson. (Continued)
Dr. Blow and his Pupils
The Organ Works ok J. S. Bach. Edited by W. T. Brst.
By Stephen S. Stratton. {Continued)
Letter prom Leipzig
Our Music Pages: "The Fairy's Tea Party," Two-part Soko
for Female Voices. By A. Moffat
Operas and Concerts
Musical Notes
December Novelties of Augener ft Co.
165
266
266
267
269
271
277
272
272
275
276
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Published by Messrs. Auoener ft Co., 86, Newgate Street, in the City of London. Printed by Messrs. Cassell & Company, Limited,
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This is a reproduction of a library book that was digitized

by Google as part of an ongoing effort to preserve the

86, NEWGATE STREET, E.C.

THE NEW YORK

Amalgamated Musicians' Union, The. By E. Prout .

145, 248 I Incorporated Society of Musicians

Jensen, G. Classical Violin Music ....

Leclair. "Gavotta Graziosa."';. -No. jj. of-T^rles Musicales

MacCunn, Hamish. "Dreamland." Song.

Dictionary of Music .... 171

{Registered for Transmission Abroad.)

Vol. XXIII., No. 265.]

THE YEAR 1892.

[Price 2d. ; per Post, 2M.

And now let us turn to the other side of the picture.

circumstances were against him, and the season came to

chamber concerts in the suburbs, such as those of the

sensation, and may possibly lead to the introduction of

that by "old" you mean "old'fashioned." On the other

THE MONTHLY MUSICAL RECORD.

key-note or tonic), to which all the others (except the

three-fold conception, the tonic bounded by related chords

The related scales are G minor and F minor (5th above

and may well have their foundation in the dominant,

The available keys for " borrowing" in C major are G and

The internals from the ionic in a chromatic scale are

7. Having now defined the modern conception of key

are accompanied. If it is the relative minor, there will

STUDIES IN MODERN OPERA.

IV.TRANSITION TO THE MUSIC DRAMA (continued).

of her situation, and it is no little surprise to all present

Xhe PIANOFORTE TEACHER:

Advice as to the Selection of Classical and Modern

Soon after Elsa has drawn the apparently unwilling

Principal Professor 0/ Pianoforte at the Royal College of Music, &c.

Bennett, W. Sterndale. Capriccio in d minor. Op. 2.

Bendel, Franz. " Le petit Ruisseau," in D flat. It

1879 at Elmen, near Magdeburg) was one of the most

LETTER FROM LEITZIG.

OUR MUSIC PAGES.

manner of treatment of each of its themes. The violin

b. Pour Piano d 4 mains, c. Pour Violon et Piano. our highest praise.

THE MONTHLY MUSICAL RECORD.

Mamtsh Mac Gum.

Allegretto con moto.

Copyright /A9S, byjiugenrr * f.?

THE MONTHLY MUSICAL RECORD.

tra - vel, thy head

THE MONTHLY MUSICAL RECORD.

ten.der.est thoughts take

THE MONTHLY MUSICAL RECORD.

or so, however, may be said about Mr. Hadow's "Estimates

$perasf ano Concert**

encored. Altogether Miss Butt achieved a positive triumph,

be a great feature of the season of 1893. Aida also is to

followed, on Dec. 5, by another, Der Bajazzo, which

Gerster, and Mile. Eibenschiitz, Herr Waldemar Meyer,

for a performance on December 7th, 1742, the opera then

XX PRACTICE. By EBENEZER PROUT, B.A. Lond.,

,i8mKEY TO "HARMONY: ITS THEORY

,.8KEY TO THE ADDITIONAL EXER

W. A. Mozart Andante, Menuetto, and Rondo

9183FREE. By EBENEZER PROUT, B.A. Lond., Pro

o,8ji ADDITIONAL EXERCISES TO E.