r
A\[}lo
THE GLEN COLLECTION
OF SCOTTISH MUSIC
Presented by Lady Dorothea Ruggles-
Brise to the National Library of Scotland,
m memory of her brother, Major Lord
George Stewart Murray, Black Watch,
killed in action in France in 1914.
28th Jn II liar!/ 1927.
(BOOK Third.] KOHLERS' .
VIOLIN EEPOSITOET
DANCE MUSIC,
COMPRISING
%xh, %\xi\%%ti%, p0nipp> (im^\xi ^um,
QUADRILLES, WALTZES, &g.
EDITED BY
A. PROFESSIONAL PLAYER.
r^ OF SCOTLAND ^J
EDINBURGH: ERNEST KOHLER & SON, MUSICSELLERS, 11 NORTH BRIDGE.
MORISON" BROTHERS, 99 BUOHAlSrAlSr STREET, GLASGOW.
MABTIN, ABERDEEN. MENZIE3 & CO., EDINBURGH.
J. CUNNINGHAM, DUNDEE. J. M. MILLER, PERTH. WILLIAM DBAS, KIEKCALDY.
JAMES H0RSBUR6H, 73 GEORGE STREET, DUNEDIX, NEW ZEALAND.
LONDON : CATTY & DOBSON, 14 PILGRIM ST., LUDGATE HILL.
Digitized by the Internet Archive
in 2011 with funding from
National Library of Scotland
http://www.archive.org/details/klersviolinrepos03rugg
CONTENTS.
Page No.
A 1, The, Jig 274 S5
Aerial Quadrille 241 31
Annie is my Darling— Reel, , . .230 29
Annie's Hornpipe 250 32
Arthur's Seat "Waltz 285 3G
Baillie's Violin Duet 278 35
Ball, Ihe, Hornpipe 251 32
Balmoral Strathspey, . . . . 219 28
Banks of Loch Ness Strathspey, . . 196 25
Beaufort Castle Keel 204 26
Bell, The, Polka 200 34
Black Jock, with variations, . . .207 20
Blinkin' Tihhie— Hornpipe, . . .275 35
Blue Bonnets' Hornpipe 212 27
Bob the Sailor— Hornpipe, . . .232 29
Braes, The, of Tullymet Strathspey, . 261 33
Bushwick Hornpipe 195 25
EuyaBroom— OldQermanAir.lvithvar., 233 30
Cairds o' Keith Strathspey, . . .218 28
Calder's Welcome Strathspey, . . 215 27
Caledonia's Wail for Neil Gow— Strath., 288 36
Campbell's Hornpipe 221 28
Caper Fey Reel, 288 36
Catch and Kiss the Romp- Reel, . . 19' 25
Celia Schottische 211 27
Chorus, The, Lancers' Quadrilles, . . 254 32
Coborn's Delight Hornpipe, . . .248 31
Couk of the North— Strathspey, . . 205 20
Colin M'Kay's Reel 237 ;0
Common Schottische (Dewdrop), . , 208 34
Cornet Hornpipe 202 26
Corrymonny Strathspey 204 26
Craigmiller Castle Reel, . . . . 218 28
Craigmiller Castle Strathspey, . . 218 28
Crown Hornpipe 220 28
Daisy Hornpipe 227 29
Darling, The— Strathspey, . . .230 29
Dashing White Sergeant^Contre Dance, 240 30
Davie Lonie's Farm Yard Hornpipe, . 250 32
Davie Moffat's Hornpipe, , . . 234 30
Donald Butcher's Bridal, with variations, 244 31
Duet for Two Violins (Baillie), . . 2?0 34
Duo Pour Deux Violons, . . . . 238 30
Emelina Polka 217 28
Ewie,The,wi'theCrookedHorn— Strath., 230 29
Exercise from " Loder," . . . . 286 36
Fair fa' the Minstrel— Reel, . . . 205 ' 20
Fairy Wedding— Polka 200 26
Firth House, The, Hornpipe, . . .271 34
Forget-Me-Not Hornpipe, . . .213 27
French Valse 201 20
General Gordon's Hornpipe, . . . 275 35
German Valse, 201 26
Glen Farnete Keel, 237 30
Glenpatrick Waltzes 249 32
Grand Old Man Horni ipe, . . .235 30
Hawthoruden, 275 35
Hooley's Hornpipe, 272 34
Hornpipe by H. Allan, . . . . 221 28
Howard Hornpipe, 195 25
Hunter's, The, Valse 269 34 I
Huntly's Wedding Medley— Strathspey,
Imperial Hornpipe,
Inverness Lasses' Reel, .
Irish Jig
James Ware of Wick's Strathspey,
Jeanie in the Glen— Strathspey,
Jeanie's Reel
John Dwight's Plantation Dance,
John o' Groats' Jig, .
Johnston's Hornpipe,
Keel Row, The, with variations.
Keep the Country, bonnie Lassie,
Kilwinning Archers' Strathspey,
Kinraro's Strathspey,
Lady Ann Stewart's Strathspey,
Lady Elizabeth Lindsay's Strathspey,
Lady Grace Douglas' Reel,
Lady Sutherland's Reel, .
La Enfant Valse,
La Gitana Polka,
Laird o' Cockpen (Duet), .
Leno Hornpipe,
Les Farceurs Valse, . .
Lightfoot Hornpipe, .
Little Jim's Hornpipe,
Lochleven Castle Hornpipe,
Long Island Hornpipe, .
Lord Hawick's March,
Lord Kellie's Reel, .
Marie, The, Valses, .
Mamiont's Reel, ,
Masher, The, Polka, .
Master Erskine's Hornpipe,
Merry may the Pair be — Reel,
Merry, The, Lads of Ayr Reel,
Miller Lads' Strathspey, .
Miller's Hornpipe, .
Miss Anderson's Polka, .
Miss Baigrie — Reel, .
Miss Baigrie— Strathspey,
Miss Baker's Hornpipe, .
Miss Hamilton's Strathspey,
Miss Samuel's Fancy Jig— Contre Dance,
Montmorris' Hornpipe, .
Mount Shasta Hornpipe, .
M'Queen's Frolic— Strathspey,
Mr. Hamilton of Wishaw's Reel,
Mr. James Grant's Hornpipe,
BIr. Martin's Hornpipe, .
Mr. Morthland's Reel,
Mr. Murray of Abercarney's Strathspey,
Mrs. Captain Stewart's Strathspey,
Mrs. Findlay of Haywood's Reel, .
Mrs. Fiudlay of Haywood's Strathspey,
Mrs. Scott Skinner — Reel,
Mrs. Wilson's Fancy Hornpipe,
Naval Brigade, The, Hornpipe,
Neil Gow's Recovery Strathspey,
New Conquest — Contre Dance,
New Tear's Day— Strathspey, .
0 dear what can the matter be? var.
231
268
224
214
214
240
200
203
281
219
252
230
246
200
247
261
257
264
222
220
I9S
232
280
235
195
224
246
207
253
256
288
205
236
231
203
274
276
276
262
246
206
232
248
214
260
243
235
247
247
237
262
252
215
251
263
200
No.
20 Old Favourite Minnetto (Duet),
29 Old Hickory Hornpipe,
29 Old Toon of Bro.\burn Reel,
34 Old Woodhouselee Castle Strathspey,
Old Woodhouselee Reel, .
27 Opera Polka,
27 Our little Beauties' Valse,
30 Owre the Muir aniang the Heather, var.,
26 Paddy o' Snap Jig— Contre Dance,
SO Penicuick, The, Hornpipe,
Pearl Hornpipe,
Pilgrim, The, Hornpipe
Pipe Slang— Reel,
Pirates' Hornpipe,
Pride of the North, The— Quadrille, .
Princess Beatrice Galop
Princess Beatrice Hornpipe, .
Princess Beatrice Waltzes (W. Findlay),
Rainbow : or. Midnight Schottische, .
Randy, The, Wives of Greenlaw— Reel,
Rinettan's Daughter — Strathspey, .
Rocket, The, Hornpipe
Rock Hornpipe
Rondo (Duet, Pleyel)
Rondo : or. Ape Slienkin (Irish Air), .
Rosebud Valse
Ross Hornpipe,
Rothemurchue's Rant— Strathspey,
Sanderson's Hornpipe, . . . .
Sandy M'Gaff— Jig,
Scolding, The, Wives of Abertarff— Reel,
Scotia's Reel
Shamrock Hornpipe
Shamrock Hornpipe (Easton's),
Sir Garnet's Hornpipe
Sir Ronald M'Donald's Reel, .
Smiddy's Clamour Reel
Starlight Schottische
Stetson's Hornpipe,
Stranger, The, Hornpipe,
Sunbeam Polka
Thistle Hornpipe
Thistle, The, Hornpipe
Thompson's Hornpipe
Titus Hornpipe
To my Bed I winna gang— Reel, .
Tom Thumb— Contre Dance, .
Tom Tullie's Hornpipe
Turnbull's Compliments— Strathspey, .
Union Jack Hornpipe, ....
Up in the Morning early — variations, .
Vermont Hornpipe,
Vienna, The, Polka
Walker Street Hornpipe, ....
Wedding Ring— Reel
Wee Bella Schottische
Weisbaden Polka
West's Hornpipe
Wlien you go to the Ilill- Strathspey, .
Winchburgh Castle— Strathspey, .
Worrell's Hornpipe
272
197
263
282
280
260
373
250
263
197
262
213
228
258
224
194
236
263
266
231
277
212
243
243
201
215
226
213
272
242
212
251
£03
194
219
240
234
253
221
193
194
264
202
190
217
216
262
277
276
i02
No.
30
31
35
34
34
33
SO
23
34
25
33
36
3S
32
35
32
32
25
33
27
25
30
33
34
29
3S
27
31
31
33
27
29
27
34
31
27
32
26
25
32
23
25
25
33
26
25
23
27
33
35
35
26
KOHLERS' VIOLIN REPOSITORY.
No 25.]
Price 4d.
[Copyright.
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Bowing and Fingering arranged by W. B. LAYBOURN.
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K0HLER3' "Violin Eepositoey," 11 Nokth Bkibge, Edinbukgh.
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KOHLEJRS' "ViOUN EbPOSITOKT," 11 NOHTH BbIUQB, EBINBL'iiGa.
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KOhleks' "Violin Eepository," 11 Nokth Beidoe, Edinburgh,
D.G, for Finale.
207
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BLACK JOCK, WITH VARIATIONS- (ro be Continued).
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Arranged by W. B. Latbourn.
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KOhleks' "Violin Repositoby," 11 North Bkidge, Edinburgh,
Volti Suhito,
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KdHLERs' "Violin Eepositoet," U Noeth Bridge, Edinburgh.
KOHLERS' VIOLIN REPOSITORY.
No 27.]
Price 4d.
[Copyright.
CONTINUATION OF BLACK JOCK-With Variations.
To play this, Tune the Third and Fourth Strings one note higher.
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KOHLEKS' "Violin Ebpository," 11 North BBisaE, Edinburgh.
210
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KoHLKEs' "Violin Kepository," 11 Nokth Beitqe, Edinburgh,
212
THE THISTLE HORNPIPE.
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KOhleks' "Violin Repositoky," 11 Nokth Bkidob, Edinbukoh.
213
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KOhleks' "Violin Eepositoby," 11 North Bkidqb, BDiHBURnF,
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KOhlbes' "Violin Ebpositoby," 11 Noeth Beidgb, Edikbuegh.
BegVtQ Reel.
216
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Published by E. Kohler & Son, 11 North Bridge, Edinbueoh.
216
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V Up Bow. n Down Bow. _: — •— Two Up or Down Bows.
KOHLBKS' "ViouN Rbpositoks," 11 NoKTH Bridqe, Edinbuegh.
KdHLERS' VIOLIN REPOSITORY.
No 28.]
Price 4d.
[Copyright.
EMELIXA FOLEA.
Bowing and Fingering arranged by W. B. LAYBOURN.
Introduction. Vivace. Composed hy J. 0. Paton, Edinburgh.
WEE BELLA SGHOTTISCHE.
Ba Capo to ■.^■
Composed by W. B. Latbourn.
V Up Bow. n Down Bow.
Two Up or Down Bowa.
KOhleks' "Violin Kepositoet," 11 North Bbidge, EDiNBUBda
218
CRAIGMILLAR CASTLE STRATHSPEY. By w. 0. T a'toti;, Minhit^gh.
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KOHLEES' "Violin Repository," 11 North BKiDGa), Edinburgh.
_i_ Two Up or Down Bows.
219
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KgHiEEs' "Violin Kepositoet," 11 Nokth Bridge, EimiBCBGa
220
"THE CROWN" HORNPIPE. By W. C. T ato^, Bdmburgk
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"THE PEARL" HORNPIPE. £y W. G. Taton, Minburgih.
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KOhlees' "Violin KBPOSiiORy," 11 North Bridge, Edinbuegh.
221
UNION JACK HORNPIPE. Composed ly J. C. Paton, Edmburgh, 1884
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CAMPBELL'S HORNPIPE, Composed ly W. B. Latbourn, Edinburgh, 1884.
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Published by E. Kohlek & Son, 11 North Beidoe, EDiNBURoa
222
THE LAIRD 0' COCKPEN (for Two Violins).
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KOHLEBS' "Violin REPosiTony," 11 North Bkidgb, Edinbukgh.
223
THE LAIRD 0' COCKPEN-Continued.
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KOhlees' "Violin Eepositoby," 11 North BRisaE, Eddtbuboh,
224
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KOhleks' "Violin Kkpositoet," 11 Noeth Bkidgb, Edinburgh.
KdHLERS' VIOLIN REPOSITORY.
No 29.]
Price 4d.
[Copyright.
OUR LITTLE BEAUTIES— Valse. Composed by W. 0. Paton.
Bowing and Fingering arranged by W. B. LAYBOURN.
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KoHLEBs' "Violin EEposrroBy," 11 Noeth Bridge, Edinburgh.
B.G. Fine.
227
IMPERIAL HORNPIPE. By James Fkancis, Edinburgh, 1884.
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DAISY HORNPIPE. % James Francis, Edinburgh, 1884.
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KOhleks' "Violin Repositoey," 11 North Bridoe, Edinburgh.
Segue Reel.
231
THE SCOLDING WIVES OF ABERTARPF-Reel.
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KOhleks' "Violin Repository," 11 North Bridge, Edinburgh.
232
BOB, THE SAILOR, HORNPIPE.
MONTMORRIS HORNPIPE.
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KiiHLEBS' "VlOUN REFOaiTORT," 11 KORTH Bridqe, EDiNBUiiaB.
KOHLERS' VIOLIN REPOSITORY.
No 30.]
Prick 4d.
[Copyright.
BUY A BROOM— Old German Air, with variations. Arr. by T. W. Howard.
Bowing and Fingering arranged by W. B. LAYBOURN.
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KoHLEBs' "Violin Kepositoet," 11 North Bridge, Edinbtjrgh.
234
DAVIE MOFFAT'S HORXPIPE. ^...J:::L':^'iLtfotp^icuioL
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MR. MARTON'S HORNPIPE.
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Composed hy W. B. Latbourn, Edinburgh, 1884.
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236
ROTHEMURCHUE'S RANT-Strathspey.
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Published by E, Kohlbr & Son, 11 North Bkidoe, Edinbuboh,
237
GLEX FARNETE REEL.
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KOHLEBs' "Violin Repository," 11 North Bridge, Esinburoh.
238
Andante,
VlOLINO PrIMO.
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DUO POUR DEUX VIOLONS.
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KOHLEBS' "Violin Rbpositoby," 11 North Bridoe, Edinburgh.
839
Andante. DUO POUR DEUX VIOLONS.
VioLiNo Secondo. Par James C. Paton.
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KoELEBs' "Violin Eepositort," 11 North Bridge, Edinburgh.
KOHLERS' VIOLIN REPOSITORY.
No 31.]
Price 4d.
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THE SHAMROCK HORNPIPE. By John B. Easton, Edinburgli.
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KoHLEKs' "Violin Eepositobt," 11 North Beidob, Edinbukgh,
Moderato.
244
DONALD BUTCHER'S BRIDAL (with Variations).
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246
MISS HAMILTON'S STRATHSPEY,
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KOHLERS' "Violin Kepository," 11 North Bridge, Edinburgh.
Segue Reel.
247
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Published by E, Kohler & Son, 11 Noeth Bkidqe, Edinbukgh,
KOHLERS' VIOLIN REPOSITORY.
No 32.]
Price 4d.
[Copyright.
Newly out. Set Waltzes— " GLENPATRICK." By John B. Easton, Edinburgh, 1884.
Bowing and Fingering arranged by W. B. LAYBOURN.
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KciHLEKs' "Violin Eepository," 11 North Bridge, Edikbueoh.
250
PRINCESS BEATRICE HORNPIPE. Composed hy W. E. Laybouen, 1885.
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MRS. WILSON'S FANCY HORNPIPE. (7ow?^wsec? 6y Wm. Findlat, Haywood.
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MRS. PINDLAY'S, OP HAYWOOD, STRATHSPEY.
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KoHLEBS' "Violin Repository," 11 North Bridge, Edinburgh.
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THE RANDY WIVES OP GREENLAW REEL.
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KoHLEKS' "Violin Repositoky," 11 Noeth Beidoe, Edinburgh,
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KOhlees' "Violin Kepository," 11 North Bridge, Edinburgh.
KOHLERS' VIOLIN REPOSITORY.
No 33.]
Price 4d.
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1. LA ENFANT VALSE. Com/posed ly Miss M. Laybouen, Edinburgh, 1885.
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KOHi/EEa' ''Violin Eepository," 11 Noeth Bkidge, Edinburgh.
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KiJHLEKs' "Violin Repositoey," 11 Nokth Bkidge, Edinburgh,
D.G.
260
NEIL GOW'S RECOVERY STRATHSPEY.
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KlJHI.KII.M' "VmjI.IN JilCl'dHITOIlV," 11 NoKTll HlllIJUH, JOuiNUUUUII.
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THE NAVAL BRIGADE HORNPIPE. Ctmposed by W. B. Latbourn, 1885.
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264.
THE VIENNA POLKA.
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KeHLEKS' ^'Violin Repositoky," 11 Nokth Bridge, Edinburgh.
KOHLERS' VIOLIN REPOSITORY.
No 34.]
Prick 4d.
[Copyright.
Allegretto. Q DEAR WHAT CAN THE MATTER BE ?-Variations.
Bowing and Fingering arranged by W. B. LAYBOURN.
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KoHLEKS' "Violin REPOfsiTOBV," 11 Noivra Bkidge, Edinbukgh.
266
THE BELL POLKA. By E. Ames Muirpark, Dalkeith.
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Kohlees' "Violin Repositoey," 11 Noeth BEiDGtB, Edinbukgh.
269
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Violin Primo,
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270
DUET FOR TWO VIOLINS.
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KOhlers' "Violin Kepositoey," H North Bridge, Edinburgh.
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KiiHLEKs' "Violin Kepositoky," 11 Nokth Bbidgb, EdinbukqFi
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KOHLllS' ¥lOUH MlPOSITOlY,
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Price 4d.
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276
WINCHBURGH CASTLE— Strathspey. By Wm. Findlat, Broxburn.
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KShleks' "Violin Eepository," 11 Noeth Bkidge, Edinburgh.
278
Violin Primo.
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KdHLEKs' "Violin Eepository," U North Bkidse, Edinbukgh,
279
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Published by E. Kohler & Son, 11 North Bridge, Edinburgh,
280
PRINCESS BEATRICE GALOP. Cm. Jy W. B. Laybourn, 1885.
Introduction.
2 3
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KOhlees' "Violin Repository," 11 Nohth BEroaE, Edinbukqh.
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No. 36.]
Prick 4d.-
[Copyright.
THE KEEL ROW— with Variations.
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K0HLEE3' "Violin Kepositoey," 11 North Bkidge, Edinbueqh.
285
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KOHLEEs' "Violin Repositoby," 11 Noeth Beidoe, Edinbuegh,
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Violin Pbimo.
Andante, n
286
EXERCISE—" LODER." Arranged by W. B. Latbouen.
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287
Violin Secundo,
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KOhlees' "Violin Repositoky," 11 North Bbidge, Edinburgh.
288
CAPER FEY REEL.
MASTER ERSKINE'S HORNPIPE.
By Neil Gow.
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V Up Bow. n Down Bow. -s :- Two Up or Down Bom>
Published by E, K^hleb & Son, 11 North Bridge, Edinburgh.
MUSICAL TREASDRY.
Published by ERNEST KOHLER & SON, II North Bridge, Edinburgh.
YEARLY, Post Free, 2s. ed.
1885.
JUNB-No. 73.
SECTTLAR.
MONTHLT, Price 2d.
IMPORTANT TO ALL TEACHERS OF SINGING I!
The Simplest and Easiest Method of learning to Sing at Sight from the Staff, is by means of the LETTER-NOTE SYSTEM
comhining the advantages of the TONIC SOL-FA with the acknowledged Superiority of the OLD NOTATION. '
Key E. Round for Jf voices
for-tune and
sure, — All
thine 1
EDDCATIOML WORKS FOR PRIVATE SCHOOLS, CHOIRS, AND EVENING CLASSES.
ELEMENTARY SINGING MASTER, by Bavid Colville. A Complete
Course of Iiisti-uctiou ou the Method. Eichty pp., clotli, Is. 6d.: paper.
Is. lu this coui'se ttie notes are gradually withdrawn, training the
pupils to dispense with their aid.
ELEMENTARY SINGING SCHOOL. Being the Exercises in the above
work, published separately, for use of pupils, in 'l parts. 3d. each,
in wrapper.
A GRABUATED COURSE of Elementary Instruction in Sinking, by
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initials are gradually withdrawn. In cloth. Is. Cd.; in wrapper. Is.
THE PUPIL'S IIANBBOOK, containing the Songs, Exercises, &c., in the
above course, published separately. In 2 parts, 3d. each.
In the following Courses the Notes are Lettered throughout ;~
LETTER-NOTE SINGING METHOB. A course of Elementary Instruc-
tion in Singing arranged principally in Four-Part Harmony. Cloth,
Is. Cd. ; paper. Is.
CHORAL GUIDE. Being the Exercises of the above work, published
separately in 2 parts, ]irice ."Jd. each, in wrapper. This is a systematic
ciementary course, leading the Student by easy stages to a convevtsance
with the art of sight singing.
THE CHORAL PRIMER. A Course of Elementary Training, by Bavid
Colville. 48 pp. in wrapper, pi-ice Cd.; or in six 8-page Nos.. Id.
each : contains a more thoruugh and complete course of training tlian
any other work published at the price.
SCHOOL MUSIC. Revised and enlarged edition. Part I., 32 pp., stitched
in paper cover, price 3d,, containing a complete course for Junior
Pupils, with the addition of Voice-training Exercises and Elementary
Instruction in the Theory of Music. The above is also published in
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the cheai)est and most systematic educational work ever published.
THE JUNIOR COURSE. A Course of Elementary Practice in Singing,
by Bavid Colville. Arranged for two trebles, with ad lib. bass. In
(i penny mimbei-s.
; LETTER-NOTE VOCALIST. For Class and Home Singing, being a
carefully chosen selection of favourite high-class Melodies, arranged
as Buets and Trios: price, stitched in paper cover, 3d. each. Twelve
Numbers already published.
No. 1.
2.
.'! 3*
,. G.
No. 4.
BUETS.
Ring for Christmas— Scoicfi. Air.
Home Again— J»/. T. Pike.
Cherry Ripe— C E. Horn.
Love's Messenger— //a Hf?ei.
Won't you buy my Pretty Flowers?
Freedom's Land.
Say a kind word when you can— y. It, Thomas.
Windows to the Sunrise— G. F. Rout.
Before all hands— Michael Kelly.
God Speed the Riglxt — German.
OurCuuiitry; our Fatherland— iVaf/fZJ,
ll;irv'.'s! Xi'Wj.—Storace.
Hulo' \)»\y\n\i\—Old Mdotlij.
Holiday— _Yt£f/c?i.
TRIOS.
The Bells, a^tTanacd hy G. JMerritt, O.T.S.C.
Never say " I can t"—W. B. Bradbury.
See our o.ars — Sir John SlevcTison.
How lovely are the Woods, aira^ed by O. Me^-rilt, O.T.S.C.
The Wild Rose— HauiHmau.
When Stormy Clouds— Zu?)i^(eef/.
Bon't Fret— (?. F. Boot.
Have you ever heard the Echoes, arr. hy O. Jilerritt, Q. T.S.C.
Where art^thou Beam of Light?— *'/r H. li. Bishop
The entihe Twelve Nu.mbers Handsomely Bodxd in One Volumb,
Cloth Gilt, Red Edges, Price 43.
EASY CANTATAS, S.A.T.B.. with Solos. &c., printed in Letter-note,
Pilgrims of Ocean, 4d. ; Maypole, 3d.
jfor Government, IRational, anb Boarb Schools.
IMPORTANT TO SCHOOLMASTERS AND OTHERS.
The Letter-Note Method has obtiiiiicd Government recognition, and Letter-Note pupils are entitled to have the Sol-fa initials appended
to the sight-singing test supplied hy the School Inspector.
SCHOOL MUSIC— A cheap edition of the ahove, printed on inferior paper, containing Nos. L to VI, stitched in wrapper, for the use of
Government, Board, and National Scliools, 24 pp., price 2d.
THE CODE SINGER, in 14 numbers, 8 pp. each, price Id. Embracing all the requirements of the New Code for Divisions L, II., III., and IV,
Divisions I. and II., in three numbers each. Divisions III. and IV., in four numbers each.
LETTER-NOTE VOCALIST. A selection of favourite Melodies, arranged as Duets and Trios. 4 pp., full music size. Twelvo numbers already
published ; price 12s. Od. per 100, assorted, if required ; or Is. 9d. per dozen.
LONDON : J. ADLEY & CO., Letter-Note PubUsbers, 26 Cornwall Eoad, Finsbury Park, N.
F. PITMAN, 20 Paternoster Row, E.C.
EDINBUROH : E. KOHLER & SON, 11 North Bridge ; JOHN MENZIES & CO., 12 Hanover St. ; JOHNSTONE <St HUNTER, 4 Melbourne PI.
GLASGOW: JOHN MENZIES & CO., 21 Dniry Street; MOEISON BROTHERS, Buchanan Street.
TEE MUSICAL TREASURY.
KINDER SPIEL:
OLD FRIENDS WITH NEW FACES;
-A. OVC TJ S I C -A. Xi SICETCH IF O 12, J" TJ'VE IsT I Xj E S.
SOLO Sc CHOEtrS.
Bt J. C. GRIEVE.
An entirely original conception. Interesting to read ; delightful to sing ; amusing to perform ; easy to get up.
Part I., see "Star" for July. Old Notation in preparation and will sliortly be issued.
We have every confidence in recommending tliis work to our readers ; and, as both words and music arc of special importance and interest, wo
respectfully request that our subscribers will recommend it to the notice of their friends.
EKNEST KOHLEE & SON, 11 NORTH BRIBGE, EDINBURGH.
THE LEA BIG.
The attestio.v op Vocalists 13 caileb to Reid's ahuaxge-mekt of this admiked Scoitish Ballad. REMAnnABLE alike fok SisirLiciTT
AND Exquisite Melody, it is received with enthusiasm wherever it is sung.
"With a few m.astcrly and skilful touches, Mr. Reid has transformed the original setting of 'The Lea Rio' into a beautiful and refined Song,
possessing all the characteristic charm of the finest Scotch Melodies."— i?t'L-iciy.
Excerpt from Concert notice:— "Perhaps the most enjoyable number in the programme was the singinsr of 'The Lea Rig' by a young lady, whose
sympathetic voice and finished method could not have been heard to better advantage tlian in tliis lovely Scotch Ballad."
CO.MPAS
E. KOHLER
5 E TO r. Order evervwheiie. Price Cd.
6 SON, 11 NORTH BRIDGE, EDINBURGH.
musical motee.
EDINBURGH.
The Parkside Institute Choir gave an evening concert
on Friday, 1st May, in the Oddfellows' Hall. The
rendering of the choral numbers "was only moderately
good, the best efforts being "Wae's me for Prince
Charlie," and Knyvett'.s "The Bells of St. Michael's
Tower. " Miss Bannermau's singing was pleasing, especially
inBehrend's pretty little song, "Auntie," and Miss Cowan
showed some signs of culture in her delivery of Pinsuti's
"All Hallow E'en." Mr. Stewart's fine voice was heard
to advantage in " Sailing," but the young gentleman who
sang "Bird of the Wilderness" has yet much to learn
before he can give adequate expression to such composi-
tions. Mr. James Dovvie conducted, and Miss Henderson
■was the accompanist. A somewhat meagre audience
received the various pieces of the programme with hearty
applause.
The Second Annual Concert, in aid of the Magazine
Fund of Ij'ountaiubridge B.U. Church, took place in the
hall of the chapel on Thursday evening, April 30. The
programme was very well carried through, and, though not
large, the audience was appreciative.
Edinburgh Choe^u:. Union. — The annual general
business meeting of the Union was held on the 6th ult.
in DoweU's Kooms, George Street— Mr. George Yule,
president, in the chair — when the secretary's, treasurer's,
and librarian's reports were submitted and approved. The
following directors for the ensuing season were elected: —
Hon. president. Sir H. Oakeley, Mus. Doc; president,
Mr. George Yule, F.E.I.S. ; idee -president, Mr. James
Waddel; secretary, Mr. Ralph Marshall; treasurer, Mr.
D. S. Lunau; librarian, Mr. J. C. Porter; ladies' con-
vener, Mr. John Sturrock; convener of Stewards, Mr.
George Drysdale; committee, Messrs. J. T. Robertson,
J. E. Craig, W. Mackay, and F. Paterson.
Mr. Thomas Richardson, organist of St. Peter's
Church, assisted by professional and amateur friends, gave
an enjoyable evening concert in the Literary Institute on
7th May. The part-songs most efficiently rendered were,
"The Dawn of Day "and "The Vikings," the inten^re-
tation of Mr. Richardson's glee, " How Calm, How
Beautiful," not being consiMcuously brilliant. Herr
Gallrein and Mr. James Winram played delightful solos
on violincello and violin resi^ectively, and Mr. Richardson
himself was a tasteful accompanist. Master Willie
Richardson's solo "Tell me, my Heart" (Bishop), Mr.
J. Munro's "Let me love thee," Miss Mackenzie's "La
Serenata," and Mr. Kirkhope's "I love thee," had the
heartiest reception.
The Annual Recital of Stockbridge Free Church Musical
Association took place in the church on Friday evening,
Sth May. Under the baton of Mr. David Taylor, Dr.
Stainer's cantata, "The Daughter of Jairus," and a few
miscellaneous pieces were sung with excellent taste. Miss
Wishart, Messrs. Taylor and Urquhart, on whom the solo
parts in the cantata devolved, interpreted their individual
pieces admirably. Of the miscellaneous pieces, perhaps
the best rendered were, " O, Saviour of the 'VVorld,"
"Peace, Perfect Peace," "The Beauteous Song," and
"There is a Green Hill." Mr. John Hartley 'accompanied
in his usual efficient manner. Mr. David Taylor con-
ducted with marked ability and success. 'The church was
comfortably filled with an appreciative audience.
A CONCERT of Sacred Music was given in Rosehall
Church, Dalkeith Road, on April 29th, by the members
of the congregational choir. There was a fairly large and
very appreciative audience. The principal item in the
programme was A. R. Gaul's sacred cantata, " The Holy
City," which was very successfully rendered, the chorus
being very good, the members singing with a decision
and expression that indicated careful rehearsal. The
miscellaneous part consisted of a new anthem, by the
conductor, and several solos, which were all well rendered.
Mr. Osborne W. Pinck was the conductor and organist.
GLASGOW.
The musical association connected with Free St.
Matthew's Church gave their annual concert in the
THE MUSICAL TREASURY.
Berkeley Halls on the Gth ult. , before a crowded audience.
The Eev. C. A. Salmond, M.A., presided, and the first
half of the ijrogramme comprised sacred solos, quartettes,
part-songs, and choruses; whilst Haydn's "Spring"
occupied the entire second half. "The heavens are
telling," brought out the excellent tone of the association,
although the attack was a little faulty. The prayer from
"Mose in Egitto," "To Thee, Great Lord," ilisplayed
careful training ; and Sullivan's " Watchman, what of the
night? " was also well suug. The lady who sang Gounod's
"The King of Love my Shepherd is" is possessed of a
good voice, which will improve with further cultivation ;
and special mention must also be made of the young tenor
who was deservedly encored for a thoroughly sympathetic
rendering of the same composer's "Guardian Angel."
Kreutzer's " Chapel," in quartette form, was fairly given,
and Haydn's "Spring" was very creditably performed.
At times the tempo was a little hun-ied, and this was
particularly noticeable in the bass solo, " With joy the
impatient husbandman," but the skilful way in which the
accompaniment was handled prevented any evil effects.
" Be propitious, bounteous Heaven," was fairly rendered,
but, as usual with most choirs, the B flat in both trio and
chorus was beyond the reach of all but one or two voices.
On the wholej the concert reflected great credit on the
painstaking and popular conductor, Mr. W. H. Murray,
ilr. Hopper did ample justice to the iiianoforte accom-
paniments.
On the 12th nit., in the Queen's Eooms, a fairy cantata,
by Mr. Arthm- J. Waley, a gentleman resident in Glasgow,
was produced for the first time. The audience was a large
one, composed mostly of ladies. Neither in text nor music
does the cantata claim to be one of an advanced style ; but
it is, nevertheless, an attractive and sparkling little work.
Mr. C. H. Wolnoth conducted irith his wonted care and
judgment, while the chorus of ladies made "the wellcin
ring " tunefully, and with good effect. The principal
soloist (Mrs. Buntine) sustained the part of Dame Hvlda
gracefully and with artistic finish. Miss Jones displayed
an excellent mezzo-soprano voice, and sang her music
admirably. Miss Clark and also the tenor (Mr. Wareham)
who forms the "bone of contention" among the ladies,
deserve a word of commendation. The accompaniments,
under the care of the composer himself, formed a most
enjoyable feature of the performance.
It is stated that as Mr. A. C. Mackenzie, our Scottish
musical comijoser, has left his Italian home to reside in
this country, he mU probably conduct the interpretation
of "'The Rose of Sharon" in the ensuing choro-orchestral
season in the city.
An entertainment in connection with the music class
of the PoUokshields Free Church was given on the 28th
April. The concert was a fitting termination to a course
of lessons given by Mr. M'Coll during the winter and
spring months. Considering the fact that a large pro-
portion of the members of the class were very young, the
performance was in every way creditable alike to the
class and their energetic and persevering conductor.
Further, this fact must also be taken iuto account, that,
amongst the residents in this fashionable suburb, singing
from sol-fa is looked upon with very apparent iirejudice,
and that from amongst such families, as were represented
on the platform, Mr. M'CoU could draw over 150
members, shows that even here sol-fa is at last being
discovered as a valuable and trustworthy means of obtain-
ing a real knowledge of music. Mr. M'Coll deserves
very warm congratulation for the elaborate arrangements
made and the entire success of this his first experiment in
this locality. The singing throughout was marked by
taste and intelligence, and was warmly appreciated by
the lai'ge audience which crowded the church. The
soloists sang with care and expression, and the Misses
White proved themselves to be very trustworthy accom-
panists. Several readings by Mr. Vallance were
thoroughly enjoyed and heartily applauded.
The regretted death is announced, under mysterious
circumstances, of Mi-. Channon Cornwall, whose body
was found in the Forth and Clyde Canal, Glasgow. He
was missed on May 4th, and on May 6th his hat was
found in the canal. Men were employed aU Wednesday
and Thursday, May 6th and 7th, searching for the body,
and it was recovered by means of grapphng-u-ons. Mr.
Cornwall, who resided at HiUhead, Glasgow, was forty
years of age, and known throughout the country as an
organist of distinction. He received his early musical
education, it is said, from his father, who has been for
many years connected with Queenwood College. As he
grew into manhood he came to Southampton, and, study-
ing under Mr. Sharpe, secured in succession the organist-
ship of Shirley Church and (in competition) of Romsey
Abbey. Here he remained several years, moving hence
to Alloa, in Scotland, some twelve or fifteen years ago,
where he at once came to the front, and thence removed
to Glasgow. His talents, which extended to original com-
positions and variations on popular airs, often selected by
the celebrated Lambeth choir (from the name of their
conductor) in their visits to Balmoral and their appearance
in various places in Scotland, led to his making a wide
acquaintance with the musical profession in the busy port
of the North. He frequently " deputised " for Dr. Peace
at the Cathedral, and for Mr. Lambeth at his church ; and '
at the monstre popular concerts in St. Andrew's HalL
■Though somewhat eccentric in jnanner, he was of a re-
markably unpretentious and even retiring disposition;
and, a cordial hater of shams, shoddy, and pretenders of
all sorts, a very staunch and cordial personal friend.
His untimely end will be most keenly regretted by those
who knew him best, and could not fail to appreciate his
talents and many good personal qualities. He was un-
married.
lEITH.
On April 30, a sacred concert was given by the membera
of Junction Koad U. P. Church Musical Association,
assisted by an amateur orchestra. The pieces per-
formed were selections from "The Messiah," "Judas
Maooabffius," "Samson," and "The Creation," and, taking
into consideration the difficult nature of the works, the
singers acquitted themselves creditably. The soloists-
Miss Stein, Miss E. Koss, and Mr. Reid were in very good
voice, but Mr. J. M. Graham has been heard to better
advantage. The orchestra, under the leadership of Mr.
D. Law, was at first rather disappointing, but they quite
redeemed themselves later on by smooth and steady
execution. Miss A. Sinclair and Mr. A. Sutherland presided
at the piano and harmonium respectively, and the result
of Mr. J. Burns' command of his forces was of a very
satisfactory nature.
RINGPORD, KIRKCUDBRiaHT.
Am Elementary Singing Class Concert was given in
the hall here on the evening of Tuesday, the 28th ult.,
Mr. J. Welsh, Castle-Douglas, conductor. Among the
sacred pieces sung were—" The Rescue " and " A Dream,"
for the first tune introduced in the district ; while, in the
secular part, were such as " We ride the foaming sea,
tHE MTJSIGAL TREASURt.
" A life on tte ocean wave," " Ye Mariners of England,"
&c. Several solos, duets, and trios were also interspersed.
The rendering of the whole programme was much appre-
ciated by the audience. Mr. Hunter, teacher, Tougland
Public School, moved a vote of thanks to Mr. Welsh and
his class for the groat musical treat ])rovided, and ex-
pressed surprise at the state of jjerfection attained in so
short a period of training. He also spoke in laudatory
terms of the excellent jDurity of tone and attention to
expression evinced throughout. This is the second annual
concert given here by Mr. Welsh, who has established
himself a favourite in the district.
SCOTSMEN AND SCOTCH MUSIC.
The following instance shows that Scotch music vnO.
make a Scotsman do anything when out of his own
country : — A gentleman, who was a fu-at-rate performer
of Scotch music on the violin, spent a winter in Exeter,
and of course soon became acquainted with the musical
dilettanti of the place. Dining one day with a professor,
the conversation turned upon Scotch music, and a strong
argument arose as to its bearing competition with foreign
music ; the Scotsman, whom we shall for the present
designate the fiddler, insisting that, when jaroperly played,
nothing could excel it — the professor on the other hand,
insisting that it was only fit for the barn-yard. " I'll tell
you what," says the fiddler, " I'll lay you a bet of five
pounds, that if a party of Scotsmen can be got together,
I'll make them shed tears one minute, sing the next, and
dance the third." "Done," says the prof essor ; "and if
your music is capable of that, I ^vill not only pay you the
five pounds with pleasure, but will be convinced that it is
the most enlivening, pathetic, and best music in the
world." The difficulty arose as to getting an opportunity
for a trial. But this was soon obviated by a third party
informing them that a number of young Scotsmen dined
annually at the Old London Hotel on the anniversary of
Burns' birth-day. This was a capital opportunity for the
fiddler ; for these young men, being principally raw-boned,
over-grown Scots lads who had recently left their own
country to make their fortunes in the great metropolis,
were the very ones upon whom he was sure to make a hit.
All being now arranged, and the utmost secrecy being
agreed upon, the eventful day was anxiously looked for.
At length it came ; and the fiddler and professor, by an in-
troduction to one of the party, got an invitation to the
dinner. There were twelve altogether sat down, and a
right merry party they soon became, for the whisky
toddy was not spared when the memory of any of Scotia's
bards was proposed. The fiddler was not long in per-
ceiving that he had got among a right musical set, and he
waited patiently till they were in that happy state when
they were fit for anything. At length he gave a wink to
the professor, who at once projiosed that his friend should
favour them with a Scotch tune on the violin. " Capital !
capital ! " cried the whole party. The violin was brought,
and all were in breathless anxiety. The fiddler chose for
his first tune,- "Here's a health to them that's awa'," and
played it in the most solemn and pathetic manner.
"That's a waefu' tune," said a great, big, raw-boned
youth to his next neighbour. " It is that, Sandy ; there's
muckle in that tune, man. It reminds me o' ane that's
gane;" Jamie at the same time giving a deep sigh, and
drawing his hand over his long gaunt face to hide the
tears which were trickling down his cheeks. The fiddler
with his keen eye soon perceived that before he got through
the second part of the tune he would have them all in the
same mood. He therefore threw his whole soul into the
instrument, played the tune as he had never done before ;
and as the last four bars of the tune died away like the
distant echo, there was not a dry cheek amongst the
company. Now is the time, thought the fiddler; and,
without stopping a moment, struck up, in a bold, vigor-
ous style, "Willie brevv'd a peck o' maut." Out went
the h.andkerchiefs, away wenfthe tears. " Chorus ! " cried
the fiddler ; and in an instant all struck up—
"For WG are na fou we're nae that fou,
But just a drappie in our e'e;
The cock may craw, the day may daw.
But aye we'll taste the barley bree! "
The song ended, up struck the fiddler, in his best style,
the reel of " Jenny dang the weaver." " Hey, ye devils !"
cried Sandy. " Scotland for ever ! " cried Jamie ; and in
an instant tables, chairs, and glasses, were scattered^ in
all directions, and the whole party dancing and jumping
like madmen. Out ran the affrighted professor (for he
did not know what might come next); up came the land-
lady mth her terrified train of inmates. But none ditrst
enter the room, the hurras and thumps on the floor being
so boisterous ; and it was only upon the entry of a Scots
traveller, who had just arrived, and who cried to the
fiddler for any sake to stop, that order was restored. It
is needless to say that the professor paid his bet cheer-
fully, and was fully convinced of the effect of Scotch music
when properly played ; and that the landlady took care
that the fiddler never came into her house again on Bums's
anniversary dinner.
• PAGANINI.
(Continued from last month.)
Paganini's playing made an extraordinary impression on
Liszt, who was twenty years of age when the great
violinist took Paris by storm. It is generally admitted
that Paganini's violin capriccios and wondrously expanded
art of violin-playing gave Liszt the impulse towards the
treatment of the pianoforte which resulted in the creation
of a new school of jjianists. Liszt was in London when
news of Paganini's death reached him, and the following
essay may be taken as his tribute laid upon the fresh grave
of Paganini, the artist. It has also the strongest interest
as self-expression : —
The flame of Paganini's life is extinguished, and with it
one of those mighty breathings of Nature for which she
appears to rouse herseK only to reinspire it immediately.
With it has vanished a marvellous apparition, such as the
whole compass of art has seen but once— this great and
marvellous occasion.
The height of this unsurpassable and unattainable genius
excludes all imitation. No one will ever tread in his foot-
steps; no fame stands on equal ground beside his reputation;
his name will be breathed without a compeer. Where
is there an artist life which, in so high a degree, can point
to so shadowless a sunshine of glory, to so kingly a name
accorded him by universal judgment, to so infinite a chasm
as that which the verdict of mankind has opened between
him and all competitors?
When Paganini, already forty years old, came before the
public with a talent that had reached the highest point of
all attainable perfection, the world wondered at him as at a
supernatural appearance. The sensation which he excited
was so tempestuous, his power over the imagination so
mighty, that it could not be kept within the limits of
THE MUSICAL TREASURY.
reality. There arose tales of the sorcerer's art, and
spectres of the middle ages. They sought to unite the
wonders of his playing with the past ; they would explain
his inexplicable genius by inexplicable facts, and almost
came to the conclusion that he had sold his soul to the evil
one, and that the fourth string, from which he elicited such
enchanting melodies, was the intestines of his \vife, whom
he had killed with his own hand.
He travelled through aU Europe. The multitude,
allured and enchanted by his playing, strewed gold at his
feet, and sought to bestow the fairest reward on artists
distinguishing themselves on their instruments by baptising
them after his name. There were now Paganinis of the
piano, of the counterbass, of the guitar. The violinists
racked their brains to find out his secret. In the sweat of
their brow they laboured through the difficulties which he
had created in play, and with which they only extorted a
pitying smile from the public, while they could not even
enjoy the satisfaction of hearing their names mentioned
iu the world of art. Thus Paganini's ambition, if he
possessed any, enjoyed the rare happiness of drinking in
the air of unattainable heights, disturbed by no injustice,
disquieted by no indifference. His sunset in the grave
was not even darkened by the grievous shadow of an heir
to his glory.
■Who will believe it without having been a ivitness of the
same? This talent to which the world gave so laxdshly
what it often denies to greatness — fame and riches ; this
man before whom they shouted so enthusiastically, passed
by the multitude without associating with. them. No one
knew the sentiments which moved his heart ; the golden
ray of his life gilded no other existence ; no communion of
thought and feeling bound him to his brethren. He
remained a stranger to every affection, to every passion,
a stranger even to his own genius — for what is genius else
than a priestly power, revealing God to the human mind ;
and Paganini's god has never been other than his own
gloomy, mournful self.
I pronounce these severe words with inward reluctance.
Does one blame the dead or praise the living — iu both cases
one must expect small thanks, I know. I am aware, too,
that, under pretence of respecting the sanctity of the grave,
in judguig a man, the falsehood apotheosis immediately
follows the deceit of heresy, and that some deeds of
benevolence will be quoted which appear to contradict
such accusations. Yet, what are solitary cases against the
testimony of a whole life ? Consistent evil is as difficult
in the actions of a man as consistent goodness. I ask,
then, using the word egotism not so much in a narrow as
in a comprehensive sense, and in reference to the artist
rather than to the man — am I not authorised in describing
the end and aim of Paganini as a narrow egotism?
Be that as it may, peace to his memory ! He was great.
All greatness bears its own justification. Do we know at
what price a man buys his renown? Can the void which
Paganini has left behind — can it be soon filled up? Are
the main or incidental points to which he owed his supre-
macy, and which I joyfully accord him — are they of a
kind to be renewed by repetition? "Will the kingly, artistic
dignity acquired by him pass into other hands? Is the
artist king to be expected once again?
I say it without hesitation — no second Paganini wiU
arise. The wonderful coincidence of a gigantic talent,
with all the circumstances appropriate to his apotheosis,
will appear in the history of art as a sohtary instance.
An artist who, in the present day, should strive inten-
tionally to throw a cloak of mystery around himself in
order to set minds in astonishment aa Paganini did, would
cause no surprise, and— even supposing him to be
possessed of inestimable talent— the remembrance of
Paganini would accuse him of charlatanism and plagiarism.
Moreover, the public of the present day requii-es other
things of the artist whom it favours, and a similar glory
and power can be won only by entirely opposite means.
To comprehend art— not as a convenient means for
egotistical advantages and unfruitful celebrity, but as a
sympathetic power, which unites and binds men together ;
to educate one's own life to that lofty dignity which floats
before talent as an ideal ; to open the understanding of
artists to what they should and what they can do ; to rule
public opinion by the noble ascendency of a high, thought-
ful life ; and to kindle and nourish in the minds of men
that enthusiasm for the beautiful which is so nearly allied
to the good — that is the task which the artist has to set
before him who feels himself strong enough to strive to be
Paganini's heir.
This task is difficult, but not impossible of fulfilment.
Broad paths are open to every endeavour, and a sym-
pathetic recognition is assured to every one who consecrates
his art to the divine service of a conviction — of a
consciousness. We all foresee a transformation of our
social positions. "Without e.xaggerating the importance of
the artist as regards them, without — as has already
perhaps often been done — wishing to announce his mission
in pompous expressions, an artist may, at least, have the
firm conviction that to him also a place is destined in the
plans of Providence, .and that he, too, is called to be a
fellow toiler in a new and noble work.
May the artist of the future with joyful heart renounce
the vain and egotistic part, which, as we hope, has found
its last briUiant representative in Paganini ! May he set
his aim vnthin, and not -without! and may virtuosoship be
the means, and not the end ! May he, moreover, never
forget that, though it is said. Noblesse oblige, quite as much,
and even more, Oiiiie oblige !
The Stoet of " Auld Kobin Geat." — This exquisite
ballad was written by Lady Anne Lindsay, daughter of
the fifth Earl of Balcarres. ' She was born on November
27, 1750, and at the early age of twenty-one produced
the ballad which Sir Walter Scott says " is worth all the
dialogues which Corydon and Phylis have had together,
from the days of Theocritus downwards." In 1793, Lady
A. Lindsay married Mr. Andrew Barnard, son of the
Bishop of Limerick, with whom she went out to the Cape
on his aijpointment as Colonial Secretary under Lord
Macartney. Mr. Barnard dying at the Cape, his widow
returned to London, where she enjoyed the friendship of
Burke, Windham, and others, imtil her death, which
occurred in the year 1S25. It was not until she was in
her seventy-third year that Lady Barnard made known
the secret of the authorship of this ballad. An amusing
story is told in connection with its production. On Lord
Balcarres' estate was a shepherd of the name of Robin
Gray, and for some act of his Lady Anne resolved to
immortalise his memory. Upon her little sister entering
her room one day. Lady Anne said, " I have been writing
a baUad, my dear; and I am oppressing my heroine with
many misfortunes. I have already sent her Jamie to sea,
broken her father's arm, made her mother fall sick, and
given her auld Eobin Gray for a lover; but 1 wish to load
her with a fifth sorrow in the four lines. Help me toone,
I pray." " Steal the cow, sister Anne," said her sister.
Accordingly, we are told that the cow was "lifted." —
Prom Cassell's "Illustrated British Ballads,"
THE MUSICAL TREASURY.
AN INTERESTING STORY OE GEORGE II. AND
THE DUCHESS OE QUEENSBERRY.
An anecdote is told of the Duchess of Queensberry'g being
forbid the Covirt, which belongs to the literary history of
the cleverest ojiera in our o\vn or any other language —
Gay's famous production. Walpole justly regarded him-
self as caricatured in the " Beggar's Opera," obtaine_d the
Dnke of Grafton's authority, as Lord Chamberlain, to
suppress the representation of his next opera, "Polly."
Gay- resolved to publish it by subscription; and his
patroness, the Duchess of Queensberry, put herself at the
head of the undertaking, and solicited every person she
met to subscribe. As the Duchess was handsome, a wit,
and of the first fashion, she obtained guineas in all
directions, even from those who dreaded to encourage this
act of defiance. The Duchess' zeal, however, increased with
her success ; and she even came to the drawing-room, and,
under the very eye of majesty, solicited subscriptions fur
an opera the Monarch had forioidden to be acted. \Vlien
the King came into the drawing-room, seeing the Duchess
very busy in a corner with three or four persons, he asked
her what she was doing? She answex-ed, "What was most
agreeable, she was sure, to anybody so humane as his
Majesty, for it was an act of charity; and a charity to
which she did not despair of bringing his Majesty to
contribute." This proceeding was so much resented, that
Mr. Stanhope, the Vice-Ch.imberlain to the King, was
sent in form to the Diichess to forbid her coming to Court.
The message was verbal ; but she desired to send a written
answer — wrote it on the spot — and thus furnished a docu-
ment, whose style certainly exhibited more sincerity than
courtiership : — "That the Duchess of Queensberry is
surprised and well pleased that the King has given her so
agreeable a command as to stay away from Court, where
she never came for diversion, but to bestow a great
civiHty on the King and Queen. She hopes that, by such
an unprecedented order as this, the King mU see as few
as he wishes at his Court, particularly such as dare to
think or speak truth I dare not do otherwise, and ought
not, nor could have imagined that it would not have been
the very highest compliment I could possibly pay the
King, to endeavour to support truth and innocence in his
house — particularly when the King and Qvieen both told
me that they had not read Mr. Gay's play. I have
certainly done right, then, to stand by my o^vn words
rather than by his Grace of Grafton's, who had neither
made use of truth, judgment, nor honour through this
whole ffiair, either for himself or his friends. — C. QuEENS-
BEERT." When her Grace had finished this paper, drawn
up, as Lord Harvey observes, "with more spirit than
accuracy," Stanhope requested of her to think again, and
give him a more courtly message to deliver. The Duchess
took her pen, and wrote another; but it was so much
more disrespectful that he asked for the former one, and
delivered it. There was, of course, a prodigious quantity
of coxirt-gossip on this occasion; and, doubtless, though
some pretended to be shocked, many more were amused
at the dashing oddity of the Duchess. But public opinion,
on the whole, blamed the Court. It certainly was
infinitely childish in the King to have inquired into what
the Duchess was doing among her acquaintances in the
drawing-room ; it was equally beneath the natural notions
of royal dignitj' that the King should put himself in a
state of hostility with a subject, and in so trifling a matter
as the subscription to an unpublished opera ; and it was
equally impolitic, for the world was sure to range itself on
the side of the woman, especially when that woman was
handsome, eccentric, and rich, It produced some incon-
venience, however, to the lady's husband, as he in
consequence gave up the office of Admiral of Scotland.
THE REMAINS OE BEETHOVEN AND
SCHUBERT.
The remains of Beethoven and Schubert were recently
transferred from the burial ground of Waehring, one of the
suburbs of Vienna, to the Cieutral Friedhof, a large new
cemetery just outside the town, where gi'ound has been
specially reserved for the interment of great men. This
tardy tribute of honour to two great heroes of music will
relieve many peoi^le's minds, for it has long been a source
of amazement to those who have visited the graves at
AVaehring, tliat such meagre sepulchres should mark the
last resting place of such men. The old graveyard of
Waehring lias been closed for the last seven years, and, as
I saw it recently, it looked dirty and neglected beyond
description. The tomb of Beethoven was erected more
than four years ago ; until then his remains had been left
where they were deposited after his death, a common stone
slab alone indicating the spot where they lay. This slab
has been replaced by something better; and when the
change was made his ashes were put into a metal coflin.
The grave is now surrounded by a low iron railing, and at
the foot stands a stone slab, pyramid-shaped, bearing for
all inscription the name of Beethoven in large gilt letters.
It is, however, still of modest appearance, and no stranger
would think of looking there for the burial-place of Ludwig
Van Beethoven. The tomb of Schubert is more pre-
tentious, but, if possible, less imposing, and altogether
unworthy of the great genius whose remains lie beneath.
A bronze bust, reproducing the features of the immortal
tone-i3oet is placed at the upper extremity. But, though
we know Schubert was not of prepossessing appearance, yet
the metallic work of art 1 saw lacks that expression
so admiraljly rendered in a portrait taken from life, which
hangs, if I mistake not, in the reception hall of the Vienna
Conservatoire. On the stone pediment behind the bust is
the following inscription — "Musical art has buried here a
rich possession, but still brighter hopes." Surely the
memory of Franz Schubert might have inspired a nobler
epitaph than that. When the transfer to the Central
Eriedhof was effected, a monument was provided for the
tomb of Beethoven by the Society of the Conservatoire,
and another for that of Schidjert by the Vienna Maennerg-
sangverein or Men's Choral Union.
IPHIGENIA IN AULIS.
Gluck's " Iphigenia in Aulis " pi-oved the final overthrow
of the Piccini faction which so fiercely contested the pro-
gress of the master reformer. Many strange stories are
told concerning its first performance. It was in 1774,
April 19. At midnight the opera drew to a close, and
the opera house at Paris re-echoed with applause.
"Iphigenia" had triumphed, and the excitement was
intense. Tears flowed, smiles 'beamed around, sobs were
audible, Gbick's name sounded from a thousand Hps_.
In one of the boxes sat the Queen — Marie Antoinette,
in regal attire. Louis XVI. stood beside her, his face pale
and in deep agitation.
"Oh God!" said he suddenly, "what if this flash of
joy should be turned to glow of fury ! what a picture ! "
Marie Antoinette shuddered at the thought as she
looked upon the easily influenced mass of people.
THE MUSICAL TBEASUB7.
" Where is Gluck ? " she asked in a whisper.
Soon the master was sent for. Entering, he bent low
before the King. The Queen drew near, and with a smUe
pressed upon the composer's brow a green laurel wreath.
Gluck raised hinaself up, an uncertain gleam in his eyes;
he passed his hand over his pale brow, and stared at the
Queen with an expression of horror.
"Merciful heavens!" he cried, "what a fearful sight!
Quick, my Queen, wipe away that terrible streak of blood
which encircles your beautiful neck ! Who gave j'ou such
an ornament ? — destroy it ! every instant the crimson stain
widens ! your fair head totters ! the band is a stream !
Too late ! Oh ! nierciful heaven — " as he uttered this cry
he sank into a swoon.
"Gluck must see spirits," whispered the King in a
terrible whisper; "the excitement of his victory has
unnerved him."
Marie Antoinette's whole frame shuddered, and sob-
bing Hke a frightened child, she tore off the costly necklace
of rubies, which like a gUstening band encircled her
snowy neck. Then commending the still unconscious
composer to a physician, leaning on the King's arm she
tremblingly left the box.
* * it # i:- * *
Was it an inspiration that caused Gluck to utter those
awful words? How coiild he know — that glorious
Orpheus of the modern ages, that his prophetic vision had
lifted the veil of the horrible future !
Nineteen years after the night on which "Iphigeuia"
triumphed, the crimson band which encircled the neck of
the imhappy Queen became a stream indeed ! In October,
1793, Marie Ajitoinette's head fell beneath the axe of the
guillotine ! — Miiskal People.
A VISIT TO THE LONDON CONSERVATOIRE
OF MUSIC.
This very successful institution will be found in Porchester
Square, Hyde Park. It is a large and handsome building,
in a beautiful and healthy neighbourhood. It is out of
the crowd, but conveniently placed within a few yards of
the Royal Oak Railway Station. It stands alone, "un-
touched by baser stuff," partly surrounded with garden
ground ; and there is a fine view from almost every
window.
I make my idsit at about eleven in the morning, and
find the page almost lost amongst a number of young
ladies he has just admitted. These are students, ready for
the morning work. Professors of the different branches
of music make their appearance now and then, coming
and going through the hall from different parts of the
establishment, and the place is busy with greeting and
hand-shaking.
Presently Mr. Lansdowne Cottell, the genial and enter-
prising director, makes his appearance. He leads the way
through a running fire of morning salutations; and I
leave the hall mth him to have a quiet survey, while the
students are making themselves ready, and finding their
different class-rooms.
I am soon impressed mth the fact that the place is
comfortably and almost luxuriously furnished — and very
clean. In any part of the building the feet find them-
selves comfortable on good carpets. As the Conservatoire
is full of students who not only learn here but live here
as boarders, these home advantages are doubly acceptable.
In every room there is an Ascherberg or an English piano
of the best make. As fai- as I know there may be one in
the kitchen also. I did not go to see, but it would not
surprise me to find that even the cooks are allowed to
reiine the sauce with a little harmony, and plaice a sole
amongst the fish. The Erench, German, and Italian
professors on the estabUshment have my full j^ennission
to set this joke to music, or translate it into their own
language.
The whole of the Conservatoire is fitted like a mansion,
and there is throughout an air of comfort and prosperity.
Mr. Cottell is successful and hapjjy in his work, and "full
of it" all the time. When he gets mentally tired, he
takes his tricycle out of the stable and enjoys a breather
to the seaside. He has trained many good singers for the
IJublie, and several are famous. And they have not for-
gotten him either. On a large sideboard, in one of the
rooms, I noticed a massive silver cpergne about four feet
high, suiTounded by four other large pieces of silver— a
suitably-inscribed present from students who have_ re-
membered the good training and sensible advice received
at his hands.
The work of the morning has commenced. I find each
room with its class and professor sX work, and it is time
Mr. Cottell made a start, too. I accompany him to an-
other part of the building to hear him give a singing
lesson. In a large and pleasant room we find about
fifteen or twenty young ladies awaiting his coming. Their
chairs are arranged in a large semicircle, and they are
sitting very much at home %vith plenty of gossip for
mutual entertainment. "Now, ladies, standing if you
please," and the next moment Mr. Cottell is at the piano,
and the work has commenced. In the midst of striking
chords and accompanying their songs, he is continually
illustrating, advising, encoiu-aging, or correcting bad ijro-
ductious. The exercises and comments go merrily on
together, until this preliminary part of the singing lesson
is ended, and all are seated. Now, each pupil has to
sing a song separately, %vith stops and comments as
occasion may require. Shortcomings are promptly set
right, and good points are quickly caught, encouraged,
and developed. All is bright, and earnest, and interesting.
Indeed, the instruction throughout is in every way made
attractive, sensible, and diverting. My listening is brought
to an end by the entrance of Mrs. Cottell, who, in her
happy, business-like way, and with her hands full of
letters, comes to have her word, and give her welcome.
I must tell you that Mrs. Cottell knows the art side and
the business side of every branch of the work, and is thus
enabled to enter fuUy into the management and spirit of
the undertaking.
The London Conservatoire of Music can boast of a
complete orchestra and choir, the conductors being Dr.
Hartmann and Mr. Walter Wesche. There are also
elocution classes, and many more advantages than we
have space to speak of. For many years students from
the Conservatoire have distinguished themselves at the
Monday and Popular Concerts, at Covent Garden, and
with the Carl Rosa and D'Oyly Carte Opera Companies.
This of itself will suggest that the system of tuition is of
a thoroughly practical kind and leads to success. Indeed,
man.agers write from all parts to thanlc the Conservatoire
for new talent.
I advise all who are interested to send for a prospectus.
By-tlie-bye, an extra series of concerts is announced for
the season, concluding July 9, at St. James's Great Hall,
when Mr. Sims Reeves, Herr Oberthur, and many other
eminent artists wiU appear. — The Age,
THE MUSICAL TREASURY.
ros, B¥ J. ©,
WORTH SINGING.
"A FLOWER," Price Is. 6d., net.
A very prdfij son>/ (Press Op.)
"MOONLIGHT ON THE LAKE."— Sol-faEdition,
with full Pianoforte Accoiupaniment. Price Od., net. The son{i
is certain to become a favourite {Press Op.)
"BRITAIN'S THOUSAND MEN." (Dedicated to
the Heroes of Abu-KIea.) Full music size, price Cd. ; Sol-fa
Edition, Id. Tftis Patriotic Soiu/ is siire to please wherevtT heard
(Press Op.)
"ONWARD." An Easy and Effective Part Song.
Sol-fa Edition, price Id.
In order to bring his Songs before the public, the composer -will
forward to any address a parcel of those named above, post free, for
Is. 6d. Money returned if bongs do not please.
J. 0. Murdoch, Dundee Court, Falkirk.
SCHOOL SONG BOOKS
"KOHLERS' (JREEN LEAVES."
Books I., II., III., IV., and V., in the Tonic Sol-fa
Notation, for Three Voice.s— Soprano, Alto, and (ad lib.)
Bass. Price (redncal to) One Penny.
A mew edition of Book III. has just been published, t/ie
Hm-monies of which have been carefully revised.
KoHLER & Son, Edinburgh.
Musical XTreasuv^.
EDINBURGH, JUNE 1, 188.5.
ADVERTISEMENTS.
Advertisements will be received at the following rate : —
One page, . . . .£100
Half page, . . . OHO
Quarter page, . . .060
One-eighth page, . . 0 3 6
Three lines, . . 0 10
Advertisements must reach the Treasury Office not later
than the 20th of each month.
NOTICE.
All Advertisements appear in the "Musical StSir" and
"Musical Treasury."
As both journals have a larf/e and increasiny circulation,
advertisers can hnrdbi fail to appreciate the advantcuies
offered.'fby the "Star" and "Treasury" as advertising)
mediums, onlii one charge bcimj made.
The "Musical Star" and "Musical Treasury" may he
obtained through all Booksellers and Newsagents, vr from
the Office, 11 North Bridge, Edinburgh.
"A TASTE EGR MUSIC."
Though Goldsmith was perhaps not the first to make
the discovery, he has certainly expressed most felicitously
the idea that the cultivation of taste makes no actual
addition to our happiness. We may imagine that when
we have studied the great masters, and are able to
appreciate the delicate beauties of their works, to talk
learnedly of this oratorio or that opera, we are the
possessors of an amount of happiness which the artisan
with his concertina can never know. But is there any
proof that it is so ? Absolutely none ! Indeed, the
proof is all the other way. We cannot imagine for a
moment that the workman who comes home, plays his
melodeon for several hours on end, and in the belief that
his musical instrument should not be shut in a box any
more than that a candle should be placed under a bushel,
parades the street and gives the public a share of his joys ;
we cannot bring ourselves to think that he is doing this
merely to fiU \\p his time before going to rest. The notion
is too ludicrous. He is enjoying himself most thoroughly.
The misguided individual, too, who has stored his memory
with songs, sentimental and tragical, is delighted with
himself when he trolls off a few of them to an admiring
circle in one of those dens where the atmosphere is
rendered unwholesome and sickening by reason of villanous
tobacco smoke and the fumes of stale beer. To him a
pianoforte solo by Dr. Charles Halle, or a nocturne played
by Madame Morman Neruda, would be as destitute of
interest as a lecture on Kant's Metaphysics of Ethics.
We need not, however, cite the highest and the lowest
musical tastes as if the matter ended there. Between the
two there are innumerable shades and diversities which
may be roughly described as ascending from the keyed
flute, through the cheap harmonium and square piano, to
the better class of American and church organs. You
have acrjuaintances who will tell you that they are very
fond of music, "though they can't do anything at it
themselves." These worthy people take a curious method
of indicating their fondness, namely, by eagerly entering
into trivial conversation or staring out at the window,
while in response to their request you are performing the
choicest pieces in your repertoire. One may be excused
for thinking that these good people are under a delusion in
imagining they have a taste for music. There are many
whom to doubt would be the height of uucharitableness,
and the theory that they are under a delusion is therefore
at once the most reasonable and the most charitable. But
the people who perhaps deserve the greatest commiseration
are those who have absolutely no taste for music — who
have actually no music in their soids. The cases are
happily comparatively few, but we have met people who
did not know one tune from another. Perfect candour in
stating the fact is, however, a characteristic of this class,
and contrasts favourably ■with the conduct of those who
say they like music, and look as if they were on heckles
when they are listening to it ! liCt us note, however,
that cultivated musical perception has its disadvantages.
Supposing we go through a course of musical .study by
which the ear is trained to perfect tune and time, it
naturally follows that any \-iolations in these jiarticulars
will be exceedingly annoying to us, and the annoyance
will be in projjortion to the thoroughness of our training.
Everybody loiows that this vexation frequently comes
upon us at the most inconvenient times. We wish
perhaps to enter into the spirit of the praise in public
worship, when a bass at the back drives the devotion out
of us by singing two notes behind time, or a thin tenor
hangs fire with his s s.f m at the end of the tune.
Though, as we indicated at the commencement, cultivated
musical taste may not peld lis in the abstract greater
happiness than is enjoyed by the parties who troll
"Wait till the clouds," &c., &c., on the melodeon, do not
let us relinquish the pleasant task of adding to our musical
knowledge. Instead of being contented with the standard
which x^revails, higher though that standard is undoubtedly
becoming, let us aid by every means in our power the
efforts which are being made all over Britain to popularise
the works of the really great composers.
THE MUSICAL TBEASUBY.
9
MUSICAL LITERATUKE.
The Child's Voice. By EmU Behnke and Lennox
Browne, F.R.C.S-, Ed. London: Sampson, Low,
Marston, Searle, and Eivington. Price, 3s. 6d.
The appearance of this volume, which forms a valuable
appendix to the well-known Avork " Voice, Son^, and
Speech," merits a cordial welcome, inasmuch as it is per-
haps the only complete and reliable authority extant,
bearing directly on the treatment and cultivation of the
voice in children. Now that the teaching of singing plays
BO prominent a part in our schools, it is all the more
desirable that the opinions of the most distinguished
vocaUsts and voice-trainers, with regard to the conditions
under which boys and girls may with safety begin a
systematic course of voice culture, should be placed on
record for the guidance and information of the many pre-
ceptors who are comparatively inexperienced. Apart,
however, from its distinct educational value, " The Child's
Voice " has a peculiar interest for parents, the majority
of whom have probably hitherto never given the subject
even a passing thought. The tendency to overstrain the
juvenile organ wherever there is the slightest indication of
precocity, and the disastrous results that almost invariably
ensue when due care is not exercised during puberty, are
brought out in an eminently practical manner. In brief,
it may be said that " The Child's Voice " is a treatise
that ought to be read, and carefully digested by all who
are concerned and interested in the training of young
vocalists.
mew flOusic.
B. Williams, 19 Paternoster Row, London, E.C.
Little Love. Song. Words by G. Clifton Bingham.
Music by Ciro Pinsuti. Price 2s. net. — Trust and he
True. Song. Words by G. Clifton Bingham. Music by
Ciro Pinsuti. Price 2s. net. — AU Halloio E'en. Song.
Words by Mary Mark Lemon. Music by Ciro Pinsuti.
Price 2s. net. Few musicians understand the art of
beautifying a simple melody with rich harmonic effects
better than Signer Pinsuti, and in Little Lore_ he is, in
this respect, at his very best. It is a captivating little
ballad, and worthy of all praise. Two settings — E flat
.and G ; compass, B flat to D. Trust and be True is
a capital song that will be most effective when rendered
with expression by a baritone voice. Two settings— E flat
and F; compass, B flat to E flat. All Hallow E'en is
already so well known that we need only record our
opinion that it is a pretty song with a catching waltz
refrain. Three settings— E flat, F, and G ; compass, B
flat to E flat. — Our Captain. Song. Words by Edward
Oxenford. Music by WiUiam M. Hutchison. Price 2s.
net. While appreciating the difficulties of song writers in
attempting to infuse anything like freshness into new sea
songs, it must be acknowledged that rather more origin-
ality might reasonably have been looked for from the
composer of Ehren on the Rhine than appears in this
nautical ditty. It can hardly be said to rise above the
commonplace, and only serves to remind us of older and,
it must be admitted, better songs. Three settings— E flat,
F, and G ; compass, B flat to E flat.— Who ean saij ?
Song. Words by G. Clifton Bingham. Music by Frederic
Mullen. Price 2s. net. An expressive and graceful love
song, which would have been all the more attractive had
the composer omitted the antiquated idea of a peal of
bells. The bells fortunately do not extend over more than
a few bars, and apart from this it is a charming composi-
tion. Two settings— E flat and F; compass, C to E. —
Tite a THe. Polka. By Amhroise Leduc. Price Is. 6d.
net. A sprightly and tuneful dance measure. Very easy
to play. — Azalea. Scottische. By Percy Lester. Price
Is. 6d. Although people are rather conservative in the
matter of Schottische music, and, as a rule, prefer the old-
fashioned tunes. Azalea is by no means deficient in
merit, and is well worthy of favourable notice.— Birdie's
Nest. Song. Words by M. Inglis Ball. Music by
Odoardo Barri. Price 2s._ net. A mother singing her
baby to sleep is depicted in words and music that are
beautiful and appropriate. The symphony and accom-
paniment are very quaint .and pretty. Three settings —
D,F, and Aflat; compass, A to C.— /Some one. Song.
Words by Mary Mark Lemon. Music by H. Trot^re.
Price 2s. net. If a trifle conventional in its general con-
struction, this ballad is certainly not devoid of artistic
merit, and being easy both to sing and play, should win a
fair measure of poiiularity. Two settings— F and A flat ;
compass, C to D.
H. Berbsford, 99 New Street, Birmingham.
Beyond the Realms of Niyht. Song. "Words by David
Grayl. Music by Ciro Pinsuti. Price 2s. net. Signer
Pinsuti has never been happier in his work than in this
beautiful song. Expressively sung, it will be listened to
with pleasure and attention, and should achieve more than
an average amount of success. Three settings— D, F, and
G ; compass, B to T>.
E. AsoHERBERG & Co., 211 Regent Street, London, W.
Notturiw in B fiat. By G. J. Rubini. Price 2s. —
Militaria. Fantasia. By Emil Leonardi. Price 23. — Lc
Rcveill(yn,Air, LouisXV. '&jG.3.'R\i\Am. Price2s. The
above three pieces possess considerable merit, and are by
no means difficult. The NoUurne is a smoothly written,
graceful theme ; while Militaria is always interesting, and
at times brilliant. Le Reoeillon will find many admirers,
being an extremely quaint and pretty movement in the
old style. — 7'/ie Primrose Badiie. Song. Words by
Arthur Chapman. Music by Odoardo Barri. Price 2s.
Among Conservatives this song ought to have a large sale.
The words, if a trifle high falutin, are decidedly clever,
and sing in praise of the late Lord Beaconsfield's states-
manship, and of toryism generally. The melody and
harmony are admirable, and being most appropriate, the
result, as a whole, is a really capital song. Key D;
compass, D sharp to E. — Life's Journey. Song. Words
by Lillie Davis. Music by D. M. Davis. Price 2s. An
extremely simple and rather pretty little song. Key Cj
compass, EtoF. — Looh Down from your windoio. Dearest.
Song. Composed by Richard Harvey. Price 2s.
Described as "a song of Seville," and as an example of
the serenade class, is not devoid of the elegance and
graceful melody which are so essential to success in this
class of composition. Keys D and F ; compass, C to E.
— Her Dreeim. Song. Words by Edward Oxenford.
Music by Felix Argent. Price 2s. A dainty love song,
with a pleasing air and neat accompaniment. Key D;
compass, D to "Si.— At Heaven's Gate. Song. Written
and composed by R. Piandolph Arndell. Price 2s.
Assuredly one of the most charming songs recently pub-
lished. The narrative is daring, but exceedingly well told ;
and the melody and accompaniment are beautiful, espe-
cially the latter, which is very skilfully elaborated. Key
D flat, changing to F ; compass, D to F. — Arise, my
10
THE MUSICAL TREASURY.
Love. Words by Sinclair Dunn. Music by Edward
Jakobovvski. Price 2s. An excellent song, that will be
most effective when interpreted by a tenor voice of
average power. Key D, changing to G ; compass, D
to Gr. — Lullahy. Words and music by Mabel BomTie.
Price 2s. The extreme simplicity and prettiness of this
lullaby, in which a "sweet babe" is prominent, will
doubtless win it many friends. Keys B flat and F;
compass, B flat to B flat.
Basspoed & Son, 2 Princes Street, Oxford Circus,
London, W.
Svnny Showers. Caprice Caracterhtique. By Seymour
Smith. Price Is. 6d. — Woodland Samblcs. Morceau de
Sahn. By Seymour Smith. Price Is. 6d. The above
win be found admirably adapted for tutorial purijoses,
being sufficiently strong in musical interest, and not too
difficult of execution to attract young pianists. — Twelfth
Night. Olde Enylyshe Dansc. By Seymour Smith. Price
Is. 6d. Our young friends will be delighted with this
charmingly quaint movement, which we cordially com-
mend to their favourable notice. — Granada. Sloorish
March. By Ed. Jakobowski. Price 2s. Since the
great success achieved by the celebrated Turkish
Patrol, few compositions in this particular class have
been published possessing more genuine merit than the
Granada; and it may safely be said, that it only
requires to be kno^vn to be thoroughly appreciated by all
classes of pianoforte players. — The May Lily. Gavotte.
By Willem VanderveU. Price Is. 6d. This is one more
addition to the large number of gavottes that are by no
means distinguished either by melodiousness or originality.
— Garotte and Musette. By Ludwig Schumann. Price
Is. 6d. A distinctly clever and musioianly piece, which
should become a favourite with players of good taste. —
Old- Time Memories. Song. Written and composed by
H. Elliot Lath. Price 23. A pleasing .and easy little
ballad, with a waltz chorus that is somewhat above the
usual in point of musical quality. Key G- ; compass,
DtoE,
C. B. Tkee, 132 Petherton Eoad, Highbiu-y, New Park,
Loudon, N.
Sunbeams. Song. Words and music by G. Hubi
Newcombe. Price 2s. An expressive and artistic love
song that should -win m.any admirers. Key G ; compass,
D to fi*. — Euphorhia. Waltz. By Ernest Spencer. Price
2s. A capital and very daneeable waltz. The time is
■well marked, and several of the movements are more
than usually attractive. — March in F. By Arthur
Harvey. Price 2s. A showy and clever composition.
Not at all difficult, and well worth playing. — Gavottein D.
By Ernest H. Wadmore. Price Is. 6d. There is a
freshness in this charming piece that is all the more
welcome, seeing that the great majority of gavottes
recently issued are sadly lacking in that desirable quality.
Heney Klein, 3 Holbum Viaduct, London.
A Shilling and a Kiss. Jacobite song. Words by
Erederic Wood. Composed by Henry Pontet. Price 2s.
The well-known historical fact of the handsome Duchess
of Gordon enticing Highlanders to join the rebels in 1745
by the irresistible inducement of a kiss, accompanied by
the usual token of good faith in the more substantial form
of one shilling, has been taken as the motif lor a song that
is likely to win an appreciable measure of popularity in
Scotland. The composer has made a commendable effort
to grasp the true spirit of Scottish melody, and with con-
siderable success ; while the composition, as a whole, albeit
simplicity personified, does not lack the genuine native
ring which characterises our favourite national ballads.
Keys C and A flat ; compass, B to G. — A Shilling and a
Kiss. March. By Ernest Travers. Price Is. Cd. A tran-
scription of the song of the same title, which makes a simple
and timeful pianoforte piece. — Dream on. Song. Words
by Oonagh. Music by Henry Klein. Price 2s. A
beautiful and refined song that should never fail to be
mo.st effective when sung mth feeling and expression.
Three keys — B flat, E, and Aflat; compass, C to E. —
I'll send Thee, Lore, an Offering. Song. Words by
Oonagh. Music by Henry Klein. Price 2s. An unpre-
tentious and extremely sweet little love song, with pretty
words, and an air and accompaniment that are at once
pleasing and appropriate. Key E flat ; compass, D to
E flat.
"Magazine of Music" Office, 34 Paternoster Row,
London, E.G.
The Princess of Thuie. Words by L. J. Nicolson.
Music by W. A. CoUisson. It is by no means an un-
common complaint among vocalists of aU classes that th6
number of really meritorious songs— or, in other words,
songs with the slightest claim or pretension to intrinsic
worth as musical compositions— published nowadays, are
few and very far apart. A pleasing task is, therefore,
assigned us in bringing to the notice of our readers the
apijearance of one that honestly deserves a distinguished
place in the repertory of all singers of cultivated taste in
song music ; and by those musicians, to whom the ephe-
meral prettiness of the modern ballad is but scant and
enervating fare, the artistic and comprehensive beauty
of The Princess of Thule wiU be at once appreciated.
The love of the young Princess for the land of her birth
is told by Mr. Nicolson in lines whose poetic force and
fu'c are very far removed from the insipidity of the con-
ventional drawing-room song ; and no higher praise can
be given the composer than to say the music is worthy
of_ these beautiful verses. Mr. Collisson displays much
science and perception of effect in imparting to his charm-
ingly fresh melody and accompaniment a local colour
that is singularly appropriate to the weird grandeur of
the "lone land of the mist." The song is a dehghtful
one, and we cordially recommend it to all our singing
friends. Two settings can be had. Keys G and E flat ;
compass, D to G sharp.
*** Where there are two or more settinas, the compass rioen is that
of No. 1.
flDu0(cal (5o00fp.
New music, and matters of interest for notice in this column, should
be addreBsed, Editor, Musical Treasury, 11 N. Bridge, Kdinhurgh.
" Britain's Thousand Men " is the title of a song
just pubhshed by Messrs. E. Kohler & Son, Edinburgh.
It is dedicated to the heroes of Abu-Klea, and the words
(by Mr. Joseph Macdonald) have a stirring patriotic ring
about them. These, in conjunction ■with the thoroughly
appropriate music of Mr. J. O. Murdoch, cannot fail to
commend the song to singers who are on the outlook for a
suitable addition to their repertoire. One of our popular
local singers, Miss Effie Goodwin, has already sung
THE MUSICAL TREASURY.
11
" Britain's Thousand Men " mth great ^clat. The title
ia a healthy rebound from the England this, that, and the
other thing, which ia so offensive to Scottish ears.
The aunouncement that M. Gounod has been
sentenced to pay Mrs. Weldon £10,000 damages has
caused a great sensation in Paris. In the Matin appears
an account of a conversation on the subject between M.
Gounod and an editor of that jom-nal. After expressing
bitter regret that he had wasted so many years in England
with Mrs. Weldon, M. Gounod explained that he be-
lieved he had found in her an apostle of musical art, and
an enthusiastic admirer of his works. As to the jiidgment
just pronounced, M. Gounod called it "simiily monstrous."
The calumnious article which was attributed to the in-
spiration of M. Gounod was, he affirmed, not seen by him
until two months after it appeared, when it so irritated
and annoyed him that he was on the point of demanding
satisfaction in the usual way from its author, M. Albert
Wolff. The judgment of the EngUsh tribunal could not,
he affirmed, be executed in France ; and if Mrs. Weldon
should attempt to get it ratified by the French courts he
should look forward mth confidence to the issue. He had
not put himself to any trouble in regard to Mrs. Weldon's
suit ; but the Directors of the Birmingham Musical
Festival, where " Mors et Vita " is about to be produced,
had simply instructed Mr. Lyttleton to appear, so that
judgment might not go by default. M. Gounod declared
that he should not now go to Birmingham to conduct the
first performance of "Mors et Vita," and would, indeed,
never again set foot in England.
Mr. Capx Kosa speaks our language as perfectly
as if he were born a Briton. But when under the influence
of strong artistic excitement, he lapses into the most extra-
ordinary pigeon Enghsh. So when the popular manager
was called before the curtain, after the production of
" Mapon " on Thursday, to bow to as cordial a burst of
cheering as ever rang through Drury Lane, certain
wickedly disposed friends and admirers of his in the stalls
yelled at him for a " speech." Mr. Carl Eosa then
delivered himself somewhat as follows ; —
" Ladies and Gentlemen,— I haf the honor now to in-
form you that M. Blassenet the composer lie haf not yet
come for England in consequence to-night of illness as was
expected. Under these circumstances I shall telegraph
you that he haf received this the opera with great success
if you will allow me and I think dot is right."
And then the audience went merrily into renewed cheering.
Mr. Carl Eosa is the most deservedly successful of all
opera managers ; but he really should not prepare his
speeches in advance.
The difficulties under which Italian opera managers
nowadays labour can hardly be appreciated by the out-
sider. Miss Nevada was, for instance, paid at the rate of
£200 per night until she consented to accept halt that
rate for a few performances in the American provinces.
Madame Patti has received from Mr. J. H. Mapleson
since November last no less than £35,200. Madame Patti
■was to receive at the rate of £800 per night for two nights
a-week, the services of Signor Nicohni being, of course,
thrown into the bargain. Signor Nicoliui was, however,
not obliged to sing in every opera, but only in those which
contained a suitable part, and he was to sing with no other
prima donna save Madame Patti. Madame Patti was to
have at least a week's notice of the dates selected, and her
repertory was to be made out by her and determined upon
by agreement. "La Traviata" was, moreover, to be ex-
clusively kept for her in New York, and she was to have
the right of the first two performances of "Lucia."
Article 10 says that for every representation Mr. Mapleson
shall pay Madame Patti £800, either directly after the
performance or next day at latest, and whether Signor
Nicolini take part in the performance or not. Article 11
deserves to be quoted— "Mr. Mapleson shall defray all
travelling expenses incurred by Madame Patti, Signor
Nicolini, and their suite, supplying a first-class railway
car, exclusively intended for Madame Patti's occupancy,
with attendants, cook, &c." If Madame Patti were
indisposed, Mr. Mapleson was to be entitled to no damages,
and if Signor NicoUni were indisposed, Mr. Mapleson
bound himself to provide a substitute. Mr. Mapleson had
to deposit £4,800 before Oct. 1.5. Madame Patti's name
was to be at the head of all bills, c&c. ; and, lastly, Madame
Patti and Signor Nicolini were to be free from the necessity
of attending rehearsals, "Madame Patti being the sole
judge of the utility of taking part in a rehearsal."
The other day Signor Arditi got into hot water
from a Chicago audience, because he had forgotten to
provide the Ijand parts of "Home, sweet home," which
Miss Emma Nevada interpolated after the mad music in
"Lucia." Miss Nevada sang the song nevertheless, and
can therefore cordially be congratulated tor her artistic
feehng. On the last night of the season a Chicago audience
of ten thousand persons called upon Madame Patti for
" Home, sweet home " in the prison scene in " Faust."
Madame Patti decbned, but sang the melody after the
opera. To staid British audiences this sort of thing may
seem funny ; but to a people who applaud a vocalist who
introduces "Nearer, my God, to Thee," in the church
scene in "Faust," the incongruity of "Home, sweet
home" in the prison scene is not particularly striking.
Somebody has played off a cruel practical joke at
Sir George Grove's expense. It seems that a letter, pur-
porting to come from Sir George Grove, was sent to a
certain musician at Malvernj saying that the Eoyal
College of Music had conferred upon him the degree of
Mus. Bac. A notification was also sent, to be read in the
parish church, and, finally, patterns of a hood were
despatched. The notice was duly read in the parish
church on Easter day, when the musician appeared
in church in all the glory of his new hood. The hoax xyas
complete. Its success seems to show much misapplied
inventive genius on the one hand, and hopeless creduUty
on the other.
Seeing what the number of military bands in this
country is, and to what a pitch of excellence many of them
have attained, the tax-payers may fairly congratulate
themselves on the small sum they are called on to con-
tribute towards the cost of military music. The entire
sum that is to be rated for band expenses this year is
£10,600, a sum which -svill not go far towards defraying the
actual cost of the regimental music.
Sir Julius Benedict, now recovered from his
dangerous Olness, has resumed his professional engage-
ments, and will give his annual concert about the middle
of June.
The programme of the Birmingham Festival, to
be held during the last week of August next, runs thus ; —
Tuesday morning, " Elijah;" Tuesday evening, Mr. F. H.
Cowen's new cantata, Mr. Front's new symphony, Men-
delssohn's violin concerto, i^layed by Seiior Sarasate, the
Overture to " Tannhiiuser," &c. Gounod's "Mors et
Vita " will be produced on Wednesday morning ; and the
programme for the same evening includ.es Mr. Anderton's
cantata and Mr. A. C. Mackenzie's violin concerto. The
12
THE MUSICAL TBEASVR7.
" Messiah " is to be given on Thursday morning ; on
Thursday evening Dvorak's cantata, "The Spectre's
Bride," will be produced, followed by a miscellaneous
selection, including an orchestral selection from " Tristan
und Isolde," Dr. Bridge's hymn, "Kock of Ages," and
the third "Leonora" Overture. The programme of
Friday morning will consist of Dr. Stanford's new
oratorio and Beethoven's "Choral" Symphony; and the
festival will be brought to a close on the same evening
by a repetition of Gounod's new work.
The Tonic Sol-fa College annual meeting at
E.xeter Hall, on May 19, was an enthusiastic re-imion.
There was a proposal made to erect a scholarship in the
College in memory of the esteemed and earliest I'onic
Sol-fa teacher, the late Mrs. Stapleton.
Mdme. Christine Nilsson.— The action brought
by Mdme. Christine Nilsson against the estate of her late
husband, M. Eouzaud, for the recovery of a sum of £9,960
sterling, which she had advanced to him during his life-
time, came on for hearing before the First Chamber of
the Civil Tribunal of the Seine. The money had been
sunk in the purchase of a share in a stockbroker's business,
of some landed property in France, and of Russian bonds
and Panama shares. The case was adjourned for a week.
M. Eouzaud was a stockbroker's clerk without fortune
when he was married, in 1872, to the celebrated singer,
who had saved £32,000. Mdme. Nilsson was, according
to the marriage settlement, to retain complete control of
her own money. M. Rouzaud died about three years ago
in a lunatic asylum. We are informed that if JWdme.
Nilsson gains her case she intends to make a present of
the money to the married sister of her late husband, her
motive in bringing the action being to prevent the large
sum in dispute from falling into the hands of the other
members of the family.
The Age of Some Composees and Musicians. —
Pergolesi, when he died, was 26 ; Schiibert, 31 ; Bellini,
33 ; Mozart, 35 ; Mendelssohn, 38 ; Weber, 39 ; Chopin,
id.; Herold, 42: Schumann, 46 ; Donizetti, .50; Cimarosa,
51 ; Adolphe Adam, Sacchini, and Traetta were 52 ;
Glinka and Benedetto MarceUo, 53; Gordigiani, Lxilli,
Me'hul, and Luigi Ricci, 54 ; Beethoven and Paganini, 56 ;
Morlacchi was 57 ; Boieldieu, 58 ; Thalberg and Hummel
were 59 ; Jommelli and Corelli, 60 ; Asioli, Boccherini,
and Halevy, 62 ; Petrella was 63 ; J. S. Bach, 6.^ ;
Felicien David and Alessandro Scarlatti were 66 ; Pauer
and De B(5riot, 68 ; Berhoz was 69 ; Pacini, Durante, and
Viotti were 71 ; Meyerbeer, Piccinni, and Sarti were 72 ;
Gluck was 73; Domenico Scarlatti, Orlando Lasso,
Handel, F. E. Bach, and Salieri were 74 ; Spohr, Paisiello,
Padre Stanislao Mattel, Mercadante, and Monteverde, 75;
Rossini and Spontini, 76; Lesueur and Haydn, 77; Muzio
dementi was 80 ; Porpora, Rameau, and Cherubini were
81; Mayr was 82; Zingarelli, 85; Auber, 89; and
Coccia, 91,
When Some Lveic Composers Began. — When he
commenced his career as a lyric composer Lulli was 39 ;
Handel, 20; Pergolesi, 24; JommeUi, 23; Gluck, 28;
Piccinni, 26; Sacchini, 24: Paisiello, 22; Gretry, 24;
Mozart, 12; ZingarelU, 16; Salieri, 20; Cimarosa, 23;
Cherubini, 20; Flora van ti (Valentino), 21; Mehul, 20;
Paer, 21; Lesueur, 23; Boieldieu, 18; Mayr, 31;
Spontini, 22; Weber, 14; Morlacchi, 19; Rossini, 18;
Auber, 30; Meyerbeer, 21; Pacini, 17; Herold, 24;
Coppola, 23 ; Donizetti, 20 ; Mercadante. 24 ; Ricci
(Luigi), 18; BeUini, 22; Halevy, 28; Petrella, 17; Ricci
(Federico), 26; Wagner, 23; Glinka, 32; Verdi, 26;
Pedrotti, 22; Gounod, 33; Ponchielli, 21; Gomes, 22;
Massenet, 25 ; and Boito, 26.
SiGNOR Arditi, when he wants to persuade his
orchestra not to attend to his hasty remarks, but when he
is calm to look out for squalls, this is how he puts it :
"When I tell, I means nothings; but when I notteU
A-a-a-h!"
Musical Manners.— Those now fashionable gather-
ings known as " At Homes " are of frequent occurrence.
At most of these, music plays an important part in the
evening's entertainment. At some, indeed, it is the only
means adopted for this purpose. We need not now pause
to inquire whether this is a good thing for music or other-
wise, but, seeing that it is the practice, it might naturally
be thought that there is in music a something which so
captivates all listeners — the learned and the ignorant— as
to banish for the time all other ideas. But is this so ? Do
we not all recognise the truth of what the genial author of
".John BuU and his Island" says, when he informs his
fellow- countrymen that in English society the commence-
ment of music is the signal for general conversation to
begin ? A progress in musical education is a matter of
almost daily boast, but here we have a friendly critic who,
with one observation, makes us begin to wonder whether
we have advanced or not. It is some consolation to be
able to reflect that there can be no doubt that the
behaviour of our public audiences has shown palpable
improvement of late years. Conversation in our concert-
rooms is happily becoming a rarity, and at the opera the
largest audiences sit in quietness through long acts, where
less than ten years ago the interruptions would have been
both frequent and noisy. In passing, it may be added,
that it does not seem altogether imreasonable to look for a
day arriving when the selfish practice of entering a
concert-room after a performance has begun, and leaving
before it has ended, to the great disturbance of the
majority present, will have almost disappeared. But why
is it that so many seem to leave their love of art and
manners in the place of public performance? Why, in
private circles, is the hour of music turned into one of
inattention and a general exhibition of discourtesy? — for
by what other i)hrase can be termed the extraordinary
custom which permits of one person being selected for the
ostensible purpose of amusing a roomful of people who
take no pains whatever to attend to what is being played ?
No doubt one cause of this much-to-be-deplored state of
things is the fact that, in spite of a real spread of musical
education, our social gatherings still contain — and for that
matter it may be supposed always will — a number of
individuals whose love of music is small, and their
knowledge of it less.
BALL.UD Poetry. — It is recorded of Aldhelm, Bishop of
Sherborne at the commencement of the eighth century,
that he could find no mode of commanding the attention
of his townsmen so efficacious as that of standing on the
bridge and singing a ballad which he had composed.
Certainly the ballads of a nation hold a distinct and
important place in its literature, and can be made the
vehicle for inculcating the highest morality and the loftiest
sentiments. In the early ages of our o^vn country,
minstrels sat in the courts of kings ; and bards, by their
impassioned strains, incited the wamors to battle. The
Sa.xons had their ballads, and the brave actions of Here-
ward, who lived in the time of Edward the Confessor,
were sung throughout England. A fragment still survives
THE MVSICAL TREASUMY.
13
of a ballad composect by Canute the Great, as, sailing by
the abbey in the Isle of Ely, he heard the monks chanting
their psalms and anthems. The ballad or song of Roland
was chanted by the minstrel Taillefer before the battle of
Hastings, to excite a martial spirit in the Normans. The
spirit of our ancestors still survives in the song on
Athelstan's victory at Brunanburgh; while the heroic
ardour and undaunted courage of Englishmen of a later
age are immortalised in such ballads as " The Battle of
Otterburne " and " The Hunting of the Cheviot."— -From
UlastrKted British Ballads, Part I., for March.
dramatic (Bossip.
Edinburgh — Royal Lyceum Theatre. — During
the past month the very best of theatrical fare has been
provided at the Royal Lyceum, under the lesseeship of
Messrs. Howard and Wyndham. In the first place, there
was Sardott's "Eedora" (with Miss Clara Villiers in the
title r6le)—3. play whose strength of incident and cogency
of construction suggest no question as to the reason of its
popularity. Then Madame Modjesha submitted four of
her best known impersonations, and was enthusiastically
received during her stay. Her Bosalind exhibited certain
short-comings, as well in conception as in expression, which
were all the more readily observaMe, perhaps, from the
frequency with which the character figures on the British
stage; but, in her Adrienne Leconrrem; her Constance,
and her 3fari/ Stuart, she showed the possession of
such a wide range of histrionic expression as entitles her
to a foremost place among living actresses. Next come
Messrs. Bruce and Robertson's "Caste" Company. The
interval of time which has elapsed since the comedies of
the late T. W. Robertson has been performed has wrought
its changes on the company, but the representations given
were in most cases fully adequate. Mr. Younge's Old
Eccles in "Caste," was probably the feature of the visit.
Last week the Compton Comedy Company presented the
cream of their repertory, including "Davy Garrick,"
"The Rivals," '^'Money," " Comedy of Errors," and "The
Road to Ruin. " The management have arranged an un-
commonly attractive Hst of prospective engagements
during the summer and autumn months. Among the
more important are Mrs. Langtry, Miss Mary Anderson,
Mr. J. L. Toole, and Mr. Edward Terry. A company
wiU appear in a few weeks at this theatre in Mr. Penero's
"The Magistrate," which has proved a prodigious success
in London, and is generally admitted to be one of the
funniest comedies of modern times.
EoYAL Princess's Tiieatke, Edinburgh. — A
capital start was made last month at the south side house
■vvith the clever comedian, Mr. Edward Righton, who
appeared with his company in an exceedingly amusin"
comedy, entitled "Twins." The brunt of the work fell
upon Mr. Righton, who, in the dual impersonation of a
venerable and dignified bishop and a shrewd London writer
of a highly diverting type, played with abundant comic
power, his efforts being received with hearty applause and
laughter. Byron's "Daisy Farm" was next on the bill,
but, notwithstanding the fact that, being its first appear-
ance in Edinburgh, considerable interest was taken in the
production of the comedy by the author's numerous
admirers, the general verdict was decidedly unfavourable,
and its success more than dubious. Although not ab-
solutely devoid of the ingenious construction and neatly
turned repartee that distinguish the works of the favourite
dramatist, " Daisy Farm" has many weak points, the more
conspicuous being certain incongruities of dialogue — pathos
and puns coming together in the most bewildering fashion
— that go a long way to dejjrive the play of any chance it
might otherwise have of winning the sympathy and favour
of the onlookers. In the following week Mrs. Deering, an
American actress, made her first bow before an Edinburgh
audience in a new version of "East Lynn," which, how-
ever, cannot be described as an improvement on the
original play. "The Danites," a drama of considerable
power, and containing several most ingenious and in-
teresting situations, is this week attracting fairly good
houses. Many of Mr. M'Neill's irrespective engagements
are, we believe, of more than usual importance— an
announcement that will give satisfaction to his many
patrons, who will doubtless look forward with interest to
the good things in store for them.
THE ART OP SINGING AND ITS
DIFFICULTIES.
As it is generally admitted that the path of knowledge is
thorny, the student of singing cannot expect his way to
be made easy, or rose leaves to be strewn under his feet ;
yet, the voice being a natural gift, people often do expect
this, and either do not take into consideration at all the
time and especial training required for its development,
or they think that by some mysterious process they can
attain the maximum of effect with the minimum of labour.
To a superficial observer, con.sidering the simplicity and
perfect nataralness of really good singing, it does seem
strange that, given the organ of voice, natural resonance
chambers to enhance the tone, and lungs to breathe with,
that the same result should not at once be arrived at.
In forming this hasty judgment, he would lose sight of
two simple truths : First, That, by the natural perversity
of our human nature, the most simple things are the last
that we discover, and consequently that we cannot attain
to the smallest amount of good without obeying the in-
evitable law of work ; Secondly, That every germ of life,
though spontaneous, requires growth, and, in order to
grow, must be supplied with the necessary conditions.
These are the merest truisms, and should be as widely
known as they are wide in their apjdication ; but there is
a great tendency to shirk the truth, and to treat the ques-
tion of voice training apart from the principles of law and
common sense. This error is to be found not only in the
superficial observer and his class, but amongst professors
of singing and those who ought to luiow better. Earnest
students have been often mystified by much unscientific
talk about "voice production," "making of certain notes,"
&c., whereby it would appear not only that each professor
has a magic method of winding up the organ, tuning it
and arranging it in registers, but is infallilily certain that
he, and he alone, possesses the secret. Since the voice is
a ready-made musical instrument, it is undoubtedly cer-
tain that nothing can " produce " it, and all that the
teacher can do is to develop to the highest extent the
natural resources. For this purpose he requires the per-
fection of musical " ear " and critical judgment to recog-
nise the artistic possibilities of a voice when he first hears
it, to watch its gi'owth, guard it from faults, preserve it
from overstraining, and bring it to its highest possible
u
mE MUSICAL theasury.
perfection. For this he must study the individuality of
the singer, and the special order of his talent, not em-
ploying a cut-and-dry method with uniformity of treat-
ment as if he were drilling a regiment, but adapting the
mechanical means to the requirements and capability of
the student. Surely the difficulty and honour of such a
task are great enough without pretending to do what is
not possible !
To return to the difficulties of singing from the stand-
point of the pupil, I will suppose him or her to have
commenced regular study, ha\Tng escaped the danger of
an incapable teacher on the one hand, and a narrow and
bigoted one on the other. He now finds the real diffi-
culty of what before seemed so simple ; he learns how to
breathe, to attack, to sustain, to diminish ; how to place
each note that it may be pure in tone and quality- all the
things which require the minutest care and attention. It
is pecuhar to singing that the ear needs cultivation in
order to detect faults, the throat and ear being so inti-
mately connected that even a very musical student may
not hear defects of intonation and quality in his own voice
which he would discover at once if played on an instru-
ment or sung by another person. In addition to this it
often happens that there is some trick or ijeculiarity to
be got rid of which occasions great trouble to the teacher,
and is a provoking obstacle to the pupil. Arrived at a
stage when the study of songs is advisable, there is a host
of difficulties to be encountered, especially if the language
chosen be English, The impure vowels, with awkv.'ard
combinations of consonants, calculated rather to hinder
than help the emission of the voice, require the most
skilful management. Well sung, they delight the ear, but
it too often happens that even cultured persons who
speak English perfectly, yet sing it -svith an indistinctness
and vulgarity of accent that is quite distressing. Beside
the mere mechanical means, and technical exercise of the
voice, with its necessary auxiliaries, the organs of speech,
the musical feeHng and knowledge of the student must
develop in order to attain the perfection of phrasing
required of a great artist, and admirable in any singer. A
professor who is testlietic (I mean in its original sense,
i.e., perceptive), will always divine what is beautiful and
poetic in music, and foster it in his jiupil. Since to be a
great singer, or a great teacher, means so much, and to be
excellent even to the extent of mediocre powers implies
such work, one wonders at the hardihood of people
attempting to take ujj music as a jjrofession, mthout
possessing the special quidifications, or being prejiared to
submit to the necessary discipline. There are no short
cuts to knowledge. Formerly our great singers were "to
the manner born," sfins and daughters of actors and
singers, reared amid the traditions of their art, famiHar
with its technicalities, and under no illusion as to its
difficulties. Singers in these days, who enjoy greater
facilities, are apt to attempt in a few months what can
only be attained by years of patient study. Growth in
nature is gi-adual, and forcing, far from adding to its
strength and dui-ability, will infallibly injure it. It is
possible, by a special effort of memory, and a judicious
selection of facts, to condense a large amount of mere
information, as by the process known as "cramming" for
an examination ; but these facts, hastily learnt, are all too
easily forgotten, and, where retained, require to be sorted
and arranged before they can be of practical use. If this
mode of study is of doubtful benefit in those departments
of learning where the mind is only required to be receptive,
a mere mechanical instrument for taking in facts, is it
likely to succeed in developing the perceptive faculty, or in
training such a delicate organ as the human voice ? Since
this gift of song is a beautiful living germ which only
requires the right conditions to make it grow, it is the
skilled teacher who supplies the greater part of these con-
ditions, and, properly nourished, the germ wiU expand
into the fulness of strength and beauty, and will be, to all
around, a source of pleasure and delight.— G., Musical
Standm'd,
MUSICAL MEMORIES..
HENRY STEEDMAN.
It occurs to me that some of your readers may possibly
feel interested in some old musical memories of one who
can no longer call himself young, save in spirit. About
1840 I first made acquaintance with Henry Steedman, a
name entirely unknown to most of your readers, I doubt
not, but which deserves at least to be better known, as I
trust to show ere quitting the subject. He was in the
bookbinding establishment of a respectable bookseller in
Edinburgh, under whom I served my apprenticeship to
that profession. Both he and I were naturally fond of
music, and about 1845-6 he attended a class of Dr. Joseph
Mainzer's. He very soon, however, perceived the fallacy
of the "fixed do" theory, and applied his mind to trying
to master the "movable do" system. At this time Mr.
Cunven's system, now so popular, was scarcely known in
Scotland, and Mr. Steedman worked mostly on the plan
of the old " sol fa," as taught by Mr. B. Gleadhill and
others, although without being a pupil of Gleadhill's. In
lb48 he had become a good reader of music, and also had
a fair knowledge of theory, while I also had progressed
pretty well upon the staff notation — knowing almost
nothing then of sol-fa — and we frequently interchanged
views. Many young men came about Steedman, asking
him questions about theory, to which he replied intelli-
gently ; and, as he had a happy knack of explaining himself
in a clear, homely, and graphic style, he was often re-
quested to form a class for tuiticm in music. This he
declined, but at last was so importuned that he consented
upon condition that William Hardie, a pupil of Gleadhill's
and a good tenor singer, who died some fifteen or twenty
years ago, and myself woidd lend him an occasional help,
which we willingly agreed to do. Prehminaries thus
agreed upon, we (or, rather, the committee, for we were
but honorary members) hired a small room, rejoicing in
the pretentious appellation of "East Thistle Street Hall ; "
and on the first night I think about twenty male members
were enrolled, some of whom brought their sisters and sweet-
hearts. Steedman's modus operandi was to devote about
an hour to practising scales and theoretical instruction
upon the "black-board," after which the class sang over
a few simijle choruses, chiefly in three- and foiu'-part
harmony. In singing Steedman himself led the bass,
Hardie the tenor, myself the alto, and one of the best
voiced tenors or sopranos the melody. Homely as this
method was, it was wonderfully successful, and not the
less so that he encouraged any who chose to go forward
and sing duets, trios, &c., before the class, thus encouraging
many young singers of both sexes to go forward and
gi-aduaily raise themselves into prominence. That much
of the seed thus so\vn was good is certain. One of the
best local teachers in Edinburgh was a pupil of Steedman;
so was George Hastie, now Curator of the Royal Insti-
tution, Edinburgh, and celebrated as an intelligent and
THE MUSICAL TMEASURY.
15
entlnisJastic antiquary, and many others, some of whom
became choirmasters and choristers in various places.
The society (known as " The Thistle Solfeggio Club ") at
one time was nearly 200 strong, and for several years met
in the large room vmder the Edinburgh Music Hall.
From 1848 till about 1853, Steedman continued to act as
conductor. He then retired in favour of Messrs. W.
Howard and F. W". Bridgnian, as conductor and accom-
panist respectively. Alas for the mutations of time !
My dear old friend, Heniy Steedman, died in March,
1884! May he rest in peace. — D. Baptie, Musical
World.
THE INVENTIONS EXHIBITION.
The Second Division deals exclusively with music, and is
divided into three sections, relating to musical instruments
and appliances constructed since 1800, to music engraving
and printing, and to old instruments, pictures, scores,
besides a cornet room de.signed exclusively for practical
trials. In reference to this most interesting division
(designated Group XXXII.), it may be well to quote in
extenso the indications given in the Official Guide of the
kind and nature of the exhiljits under this special head.
Eor the moment it is sufficient to say that the great
Central Gallery is now one vast bazaar of musical instru-
ments, contributed by nearly every maker of native or
foreign reputation : —
" Since the year 1800 the improvements imported into
instruments have been innumerable. The full orchestra,
such as we know it, is practically the same as it was at the
end of the last century, but of the instruments composing
it the string group alone remains unchanged. The flute
was perhajis the first to undergo reformation, and in the
hands of Boehm became what we now know it. He
altered the bore, the position and shape of the holes, the
venting of the holes, the action of the keys, and the finger-
ing. Other inventors have endeavoured to apply the in-
ventions of Boehm with partial success to tTie double and
single reed instruments — viz., oboe and bassoon, the
clarionet, basset-horn, and bass clarionet. In brass in-
struments the principal changes have been the introduc-
tion of keyed instruments, such as the Kent bugle and
ophecleide as substitutes for the older type of sUding
brass instruments, represented by the trumpet and trom-
bone. Keys have, however, been superseded by the
invention of piston valves, which are now appUed to
comets, horns, euphoniums, and bombardons. The
greatest musical invention of the present century is the
pianoforte, which has been developed by a series of im-
provements out of the old harpsichord. By the intro-
duction of tension bars, metal frames, and other improve-
ments, it was found possible to endow this instrument
with a power which was formerly thought unattainable.
Some idea of the strains put upon the frames of modem
grand pianofortes may be gained from the fact that the
total tension in the strings of some of these instruments
attains the figure of about twenty-five tons. The Exhibi-
tion is very rich in its collection of pianofortes, which
illustrate all the recent improvements in frames, sound-
boards, and actions. The organ, also, has undergone
many mechanical improvements in the present century,
the principal of which are the pneumatic and electric
methods of lightening touch, the methods of regulating
the pressure of wind, the application of mechanical instead
of hand power for actuating the blowing apparatus, and
the introduction of the pneumatic tubular transmission
which enables the player to be seated at a considerable
distance from his instrument. The harmonium and the
American organ are instruments of comparatively recent
introduction."
It may be mentioned that the Loan Collection of old
instruments, &c., the third section of the division, which
is no\v being placed in the upper gallery of the Albert
Hall, is not yet ready for inspection, and wUl not be open
to the public for a few days to come.
Ifjonouvable /Iftention Certificate.
Test No. 1 (Xew NolationJ.
KevF. D is La!i.
Il
n 1 d
r n f PI r
d 1
se
Ua
se
ba"
ll
se
1 t 1 t d It dr n
r n f n r|d
t 1
se
se 1 1
a. The above melody is supposeil 1o be in four-pulse measure;
supply the necessary pulse marks. The notes are not spaced out
exactly as tbey should be.
&. The melody is for a treble voice; supply the proper odare
inarks.
c. Write the time names to the above.
J. C. G.
\* Every reader of the S/ar is at liberty to try these tests. No
fee is charged. Tost papers must be sent in not later than the I8th
of the same mouth iu which t..o test appears.
Corvespon&tng Class.
Foi' conditions^ see '"'■ tHar"" for October, ISSl.
First Co unsii— HARMONY.
Text-book— Novello'e Music Primer, ''Harmony," by Dr. Stainor.
Lesson IS.
Chap. VII., pago 5G.— Study paragraphs 95 and 96.
Note. — The information contained in par, 95 may appear to be of
little importance, but it is, nevertheless, valuable, and it' borne ia
mind by the student, it will assist him consideral)ly to write
smoothly. The changing of all the notes of a chord, when a
change of figure occurs, such as 5 to 6, frequently produces jerky
and abrupt progression. Neither must par. 96 be passed over
without any consideration, or the pupil may flni himself at fault
in. some of the figured basses that follow.
Study paragraphs 97, 93, 99, with examples.
Note.— This is a point deserving of some attention. Tho explana-
tions and examples given by Stainer will doubtless be perfectly
clear to the student; and "False Relation " is often so offensive to
tho ear that he will do well to keep those rules in mind. If tho
student will remember, in using a chromatic semitone, to give both
of its notes to tho one part, and, at the same time, let neither of its
notes (uor their octaves) he heard in any of the other parts, ho will
escape erttire/ij the bad effect of "False Relation." There are, of
course, occasions when this rule may be broken through ; but, unlil
the pupil has had more experience of the subject, it will be better
to he as rigid in his treatment of chromatic notes as possible.
Exercise.— l<io. IV., page 64— harmonise, tell the modulations, and
name the chords. Also 48 and 49, Appendix— harmonise.
Exercise. — Write a single chant in the key F sJtarp minor, con-
taining the dominant seventh chord in all its invei'sions.
J. C. G.
16
AbVERTISEMENtS.
KOHLERS'
/iDusical 'JTreasurg,
For June.
No. 73-Staff Notation. Price 2lI.
Bonnie Wood op CaAiGiELEA. Harmonised by
James Yoekston
Charlie is mt Barlisg. Harmonised by
James Yorkston.
Duncan Gray. Harmonised by J. C. Grieve.
Home, Sweet Home. Harmonised by
James Yorkston.
VIOLIN REPOSITORY OF DANCE MUSIC,
No. 33, Price 4d., contains—
La Enfant Valse—Eondo, or ApeShenkin, Irish
Air— Neil Gow's Recovery Strathspey — Mr.
Hamilton's, of Wishaw, Keel— Lady Elizabeth
Lindsay's Strathspey— Lady Sutherland's Reel—
The Braes of Tullymet Stratbspey— Sir Ronald
M'Douald's Reel— Miss Baker's Hornpipe— The
Rocket Hornpipe — West's Hornpipe — Pirates'
Hornpipe — Sanderson's Hornpipe— The Naval
Brigade Hornpipe — The Vienna Polka — La
Gitana Polka— Opera Polka.
Treamry Office, or all Musicsellers.
SOL-?A DAITCB MUSIC.
A Collection of all the most popular "Waltzes,
Schottisches, Polkas, Hornpipes, Jigs, Strath-
speys, &c., in the Tonic Sol-fa Notation, for the
Violin, Flute. Cornet, Accordion, Flutina, Melo-
deon. Concertina, &c. Price 6d., of all book and
Musicsellers; post free, 7 stamps. Every Sol-
faist should send for the above.
E. Kohler & Son, Edinburgh. Trade supplied.
CONDUCTORS' BATON:.
Ebony, Black each, 2s.
Cocoa, Brown . ,,28.
Sycamore, White 2s.
Sycamore, ,, 3 Silver Mounts, . „ 12s. Cd.
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Ebony, „ 3 „ Better, „ l"s. Cd.
Ebony, Ivorv Jlandle. 3 „ „ „ 62s.
Ivory, Ebony Handle, 3 „ „ „ C5s.
Ivory, „ 3„ „ „ ros.
Batons made to any price, with any mscnijtion.
E. KoHLEE & Sou, 11 North Bridge, Edinburgh.
STRONG AND VERY LIGHT WEIGHT
WOOD VIOLIN CASES,
Handle on Side,
Cheapest in the Trade : 6s. Cd. each, post free.
E. Kohler & Son, 11 North Bridge, Edinburgh.
J%tst Published, Second Edition, Full Jilvsic Size.
Price-is.; Postiid.
The Young Violinist's Tutor
and Duet Bool<.
A collection of Easy Airs, Operatic Selections,
and Familiar Melodies, harmonised as Duets
lor Two Violins, with simple Scales and Progres-
sive Exercises, and full directions for Parents,
Pupil, and Teacher : the whole arranged on an
entirely new principle, in a pleasing and attrac-
tive manner, for the use of Bestinners.
BY A PROFESSIONAL PLAYER.
author of "the violin : how to master it."
This work is designed to teach the art of play-
ng the Violin and the Reading of Music by the
implest and surest steps ever devised, and though
specially designed for the young, is eminently suit-
aole for beginners of any age.
Treasury Office, North Bridge, Edinburgh.
Vocal and Instrumental Score
OP ALL THE LATEST
COMIC OPERAS.
0,000 numbers of Musical BouquU, containing all
the Newest Songs, Dances, ifcc. Catalogues,
Id. each.
Instruction Books for every Instrument.
E. Kohler & Son, 11 North Bridge, Edinburgh.
Now Ready,
No. 7, Price 4d., contaiuing
Hallelujah Chorus— Handel. Arranged
specially for the Harmonium.
Offertory in F.
Both pieces carefully fingered.
Treasiirif Office, Edinburgh.
Et JAXONE and VERNON KEY.
SissiE.— Every brother should buy it.
SissiE.— Every sister .sliould sing it.
SissiE.—Every parent should purchase it.
SissiE.— Is a pathetic and perfect poem.
SissiE.— Is sweetly set to music.
In E flat (B flat to E flat), E and G. 23. net.
" Both wcrds aud iQiisicii.re fall of poetic beauty, the
latter as easy ixa elegaut. The song is sure to take its
place among our standard songs." — Review.
Orsborn & Tuck WOOD, 64 Berners St., London.
E. Kohler & Son, Edinburgh.
KOTICB TO TEACHERS.
No\o Ready,
KOHLERS'
"Excelsior" School Song Book,
IN THE
Tonic Sol-fa Notation. Price Gd.; Post Id.
The "Excelsior," now ready for the opening of
the schools. There are upwards of 90 pages c»f
music, which contain many of the most popular
copyright song.-, harmonised expressly for school
use— Soprano, Alto, and {ad lib.) Bass, by Ja.me3
Yorkston.
The following among others appear:—
The Boatman of the Forth; Silver Herring; Wait for
the turn of the Tide ; Pulling hard against the Stream;
Homeward Bound; All among the Barley; The lang
awa' Ship ; Will ye no come back again ? The Scottish
Blue Bells; Auld Edinburgh cries ; Our Welcome
Holiday; Work and Play; The Christmas Tree;
Spring ! Spring 1 Gentle Spring 1 &c., &c.
In preparation. Heady October, 1885. Vniform
with " The Violin : How to Master it."
HINTS TO VIOLIN PLAYERS.
By the Author of " The Violin : How to Manter it."
The work will contain valuable advice and
instruction on the higher arts of Violin Playing,
the selection and management of strings, the
choosing of violins and bows, adjusting the in-
stiuraent, the tricks of dealers, the mastery of the
close shake, monochord playing, flexible finger-
ing, and every other detail necessary to refined
solo playing. The whole illustrated with wood
engravings from photographs.
Price is. ; Post, Is. 2d.
Treasury Office, Edinburgh.
MUSIC SUNCt in THE PLAY OF
"E0B ]R0¥,"
Now Ready, in Five Numbers of Treasury, Price
Twopence each. Sol-fa, Twopence.
Of all Musicsellers, or Treasury Office.
MUSIC COPIED.
Any Song or Dance Music Translated into
Sol-fa, and any particular song transposed to
suit the Singer's Voice.
Apply at Treasury Office, Edinburgh.
address column.
JOHN M'INTYRE, 40 Cockijurn Street, Edin.,
Teacher of the Violin— Tenor and Alto,
Parties supplied.
JOHN DAVIDSON, Violinist, 32 St. Mary
Street, Edinburgh. Parties supplied.
J. C. GRIEVE, 8 Rankeilor Street, Edin.,
Voice, Harmonium, and Piano.
Ikoblers' /iftusical Star,
No. 16G— For June.
I WISH I were where Gadie RIN9 {Part Song).
Harmonised by James Yorkston.
Bonnie Wood of Craigielea (Part Song).
Harmonised by James Yorkston.
O'er the Muir amang the Heathbr (Solo).
Words by Jean Glover.
Laxg. Lang Syne (Part Song). Harmonised by
James Yorkston.
Green grow the Rashes, 0 ! (Part Song).
Harmonised by Jajies Yorkston.
When the King comes owre the Water (Part
Song). Harmonised by James Yorkston.
Ae fokd Kiss and then we Sever (Duet).
Arranged by A. Hume.
II EY ! ca' thro' (Solo and Chorus). Arranged by
James Sneddon.
Second Edition.
THE HARMONIUM:
HOW TO USE IT.
The best and most complete work on the
harmonium extant.
___^__ Price One Shilling. Post 2d.
MELODEONS.
Finest make, all the newest improvements.
Double bellows ; miniature size ; portable,
powerful in tone, and durable. A splendid in-
strument. By parcel post for lOs. Gd. May be
had through any of the Agents for Musical
Treasui-y, or direct from Treasury Office.
Embossed Covers, in Gilt, containing Piano,
Dance Music, Instrumental, Vocal, Duets, 6ic.,
upwards of Three Pounds worth of full size
Music. A very suitable present. Price 6s.
Treasury Office ; all Musicsellers.
IMPORTANT TO TEACHERS,
Xow ready. P7'ice id. each.
KOHLERS'
"MUSICAL STAR" EXERCISES.
Nos. 1 and 2, Intermediate and Advanced.
Rounds, Catches, Canons, &c. , in the graded form.
Second Edition.
THREE EASY FANTASIAS
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Price Is.: Post lid.
From all Musicsellers or Newsagents.
OF FIRST QUALITY.
Send 13 Stamps for a Sample Set.
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ALL THE LATEST
SOITG-S,
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THE VIOLIN: HOW TO MASTER IT,
By a Professional Plater.
Nmo ready: Seve7i(h Edition.
With New Appendix and Diagrams, from Photos.
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