2
Trois Feuillets d'Album. Pour le Piano by Stephen Heller The Musical Times and Singing Class Circular, Vol. 26, No. 512 (Oct. 1, 1885), p. 610 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3356752 . Accessed: 10/12/2014 08:06 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 128.235.251.160 on Wed, 10 Dec 2014 08:06:29 AM All use subject to JSTOR Terms and Conditions

Trois Feuillets d'Album. Pour le Pianoby Stephen Heller

Embed Size (px)

Citation preview

Page 1: Trois Feuillets d'Album. Pour le Pianoby Stephen Heller

Trois Feuillets d'Album. Pour le Piano by Stephen HellerThe Musical Times and Singing Class Circular, Vol. 26, No. 512 (Oct. 1, 1885), p. 610Published by: Musical Times Publications Ltd.Stable URL: http://www.jstor.org/stable/3356752 .

Accessed: 10/12/2014 08:06

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to TheMusical Times and Singing Class Circular.

http://www.jstor.org

This content downloaded from 128.235.251.160 on Wed, 10 Dec 2014 08:06:29 AMAll use subject to JSTOR Terms and Conditions

Page 2: Trois Feuillets d'Album. Pour le Pianoby Stephen Heller

6IO 6IO 6IO 6IO 6IO 6IO 6IO 6IO 6IO THE MUSICAL TIMES.-OCTOSER I, I885. THE MUSICAL TIMES.-OCTOSER I, I885. THE MUSICAL TIMES.-OCTOSER I, I885. THE MUSICAL TIMES.-OCTOSER I, I885. THE MUSICAL TIMES.-OCTOSER I, I885. THE MUSICAL TIMES.-OCTOSER I, I885. THE MUSICAL TIMES.-OCTOSER I, I885. THE MUSICAL TIMES.-OCTOSER I, I885. THE MUSICAL TIMES.-OCTOSER I, I885.

even one more to his works of this class, his name will long live in our memory. Each of the pieces before us has a definite character, and the last especially should become a favourite with all who can appreciate artistic and unpretentious music.

Szzzely. Song. Words by M. Mark Lemon. Musie by A. LI. Behrend.

Till the breaki1;lg of tha day. Song. Words by H. L d'Arcy Jaxone. Music by Ciro Pinsuti.

[W. Morley and Co.] THE list of vocalists on the title-page of Mr. Behrend's

song who have sung the composition with " unbounded applause," and the fact of its being published in six keys, may be accepted as undoubted prooEs of its popularity; but as popular songs are not always good ones, we have much pleasure in bearing testimony to its musical worth. Little, indeed, is attempted save the telling of a simple story in simple notes; but the composer has thorough]y well accomplished what he aimed at, and this is no mean praise in these pretentious times. The lengthening of the word " home " at the conclusion of each verse gives much pathos to the sentence. Signor Pinsuti's vocal composi- tions do not decrease in quality as they increase in quantityv " Till the breaking of the day " is as full of true poetical feellng as any song we can remember by this refined and graceful artist; and we confidently predict for it a wide acceptance. The lingering upon the dominant of F minor before the double bar, and tlae unexpected change to A flat major, where the C becomes the third of the tonic harmony, is extremely beautiful, the placid accompaniment materially aiding the eSect of the tranquil phrase to which- the music is wedded. We cordially commenc!. this com- position, for its unforced eloquence, to all vocalists who do not devote themselves to the feeble conventional sonCs of the day.

Corvfinczfor Viotisz. By G. F. Vincent. Op. 25. [W. J. Willcocks and Co.]

THIS piece might fairly be described as a piano and violin duet, as a considerable share of the interest is allotted to the former instrument, particularly in the episode in A flat which divides the first and second exposition of the principal theme, a refined and elegant melody in E flat. Although a little condensation would certainly be an im- provement, the piece, as a whole, is very expressive and pleasing, and violinists of moderate acquirements will find it within their means.

Overttlre {o WCzg11er'5 " Rie7tsi." Arranved for the Orga by A. F. Delmar. LWeekes and Co.1

THIS is No. 2 of X; a series of Overturesand Selections from the standard operas arranged for the chamber organ." The term chamber organ is misleading here; it should be concerD

organ, the arrangements being evidently intended for recitals and not for church use. A few months ago we noticed Mr. Delmar's clever transcription of Mendelssohn's " Ruy Blas " Overture, and Wagner's brilliant and grandiose prelude to his afterwards discarded opera has been dealt with in a like skilful manner, effEct being gained without any great technical difficulty.

The Souls of the Righ f eous. Anthem. By William Rea. [Novello, Ewer and Co.]

THIS work (No. 294 of Novello's Octavo Anthems) is worthy of its composer, who enioys a very high reputation not only for his skill as an organist, but for his self-denying zeal in the cause of musical art in the North of England. Indeed, the beautiful verses from the Book of Wisdom could scarcely receive a more satisfactory illustration. The anthem opens with a dignified and expressive chorus with which the succeeding passage for tenors and basses " The hope of the ungodly," is in appropriate contrast. This is followed by a melodious and somewhat Mendels- sohnian soprano solo, " But the rivhteous live for ever- more," and the very vigorous and well developed chorus " They shall receive a glorious kingdom," brings the com- position to a highly effective conclusion. Alike as a funeral anthem and for ordinary use, Mr. Rea's anthem otlght to be in strong request.

even one more to his works of this class, his name will long live in our memory. Each of the pieces before us has a definite character, and the last especially should become a favourite with all who can appreciate artistic and unpretentious music.

Szzzely. Song. Words by M. Mark Lemon. Musie by A. LI. Behrend.

Till the breaki1;lg of tha day. Song. Words by H. L d'Arcy Jaxone. Music by Ciro Pinsuti.

[W. Morley and Co.] THE list of vocalists on the title-page of Mr. Behrend's

song who have sung the composition with " unbounded applause," and the fact of its being published in six keys, may be accepted as undoubted prooEs of its popularity; but as popular songs are not always good ones, we have much pleasure in bearing testimony to its musical worth. Little, indeed, is attempted save the telling of a simple story in simple notes; but the composer has thorough]y well accomplished what he aimed at, and this is no mean praise in these pretentious times. The lengthening of the word " home " at the conclusion of each verse gives much pathos to the sentence. Signor Pinsuti's vocal composi- tions do not decrease in quality as they increase in quantityv " Till the breaking of the day " is as full of true poetical feellng as any song we can remember by this refined and graceful artist; and we confidently predict for it a wide acceptance. The lingering upon the dominant of F minor before the double bar, and tlae unexpected change to A flat major, where the C becomes the third of the tonic harmony, is extremely beautiful, the placid accompaniment materially aiding the eSect of the tranquil phrase to which- the music is wedded. We cordially commenc!. this com- position, for its unforced eloquence, to all vocalists who do not devote themselves to the feeble conventional sonCs of the day.

Corvfinczfor Viotisz. By G. F. Vincent. Op. 25. [W. J. Willcocks and Co.]

THIS piece might fairly be described as a piano and violin duet, as a considerable share of the interest is allotted to the former instrument, particularly in the episode in A flat which divides the first and second exposition of the principal theme, a refined and elegant melody in E flat. Although a little condensation would certainly be an im- provement, the piece, as a whole, is very expressive and pleasing, and violinists of moderate acquirements will find it within their means.

Overttlre {o WCzg11er'5 " Rie7tsi." Arranved for the Orga by A. F. Delmar. LWeekes and Co.1

THIS is No. 2 of X; a series of Overturesand Selections from the standard operas arranged for the chamber organ." The term chamber organ is misleading here; it should be concerD

organ, the arrangements being evidently intended for recitals and not for church use. A few months ago we noticed Mr. Delmar's clever transcription of Mendelssohn's " Ruy Blas " Overture, and Wagner's brilliant and grandiose prelude to his afterwards discarded opera has been dealt with in a like skilful manner, effEct being gained without any great technical difficulty.

The Souls of the Righ f eous. Anthem. By William Rea. [Novello, Ewer and Co.]

THIS work (No. 294 of Novello's Octavo Anthems) is worthy of its composer, who enioys a very high reputation not only for his skill as an organist, but for his self-denying zeal in the cause of musical art in the North of England. Indeed, the beautiful verses from the Book of Wisdom could scarcely receive a more satisfactory illustration. The anthem opens with a dignified and expressive chorus with which the succeeding passage for tenors and basses " The hope of the ungodly," is in appropriate contrast. This is followed by a melodious and somewhat Mendels- sohnian soprano solo, " But the rivhteous live for ever- more," and the very vigorous and well developed chorus " They shall receive a glorious kingdom," brings the com- position to a highly effective conclusion. Alike as a funeral anthem and for ordinary use, Mr. Rea's anthem otlght to be in strong request.

even one more to his works of this class, his name will long live in our memory. Each of the pieces before us has a definite character, and the last especially should become a favourite with all who can appreciate artistic and unpretentious music.

Szzzely. Song. Words by M. Mark Lemon. Musie by A. LI. Behrend.

Till the breaki1;lg of tha day. Song. Words by H. L d'Arcy Jaxone. Music by Ciro Pinsuti.

[W. Morley and Co.] THE list of vocalists on the title-page of Mr. Behrend's

song who have sung the composition with " unbounded applause," and the fact of its being published in six keys, may be accepted as undoubted prooEs of its popularity; but as popular songs are not always good ones, we have much pleasure in bearing testimony to its musical worth. Little, indeed, is attempted save the telling of a simple story in simple notes; but the composer has thorough]y well accomplished what he aimed at, and this is no mean praise in these pretentious times. The lengthening of the word " home " at the conclusion of each verse gives much pathos to the sentence. Signor Pinsuti's vocal composi- tions do not decrease in quality as they increase in quantityv " Till the breaking of the day " is as full of true poetical feellng as any song we can remember by this refined and graceful artist; and we confidently predict for it a wide acceptance. The lingering upon the dominant of F minor before the double bar, and tlae unexpected change to A flat major, where the C becomes the third of the tonic harmony, is extremely beautiful, the placid accompaniment materially aiding the eSect of the tranquil phrase to which- the music is wedded. We cordially commenc!. this com- position, for its unforced eloquence, to all vocalists who do not devote themselves to the feeble conventional sonCs of the day.

Corvfinczfor Viotisz. By G. F. Vincent. Op. 25. [W. J. Willcocks and Co.]

THIS piece might fairly be described as a piano and violin duet, as a considerable share of the interest is allotted to the former instrument, particularly in the episode in A flat which divides the first and second exposition of the principal theme, a refined and elegant melody in E flat. Although a little condensation would certainly be an im- provement, the piece, as a whole, is very expressive and pleasing, and violinists of moderate acquirements will find it within their means.

Overttlre {o WCzg11er'5 " Rie7tsi." Arranved for the Orga by A. F. Delmar. LWeekes and Co.1

THIS is No. 2 of X; a series of Overturesand Selections from the standard operas arranged for the chamber organ." The term chamber organ is misleading here; it should be concerD

organ, the arrangements being evidently intended for recitals and not for church use. A few months ago we noticed Mr. Delmar's clever transcription of Mendelssohn's " Ruy Blas " Overture, and Wagner's brilliant and grandiose prelude to his afterwards discarded opera has been dealt with in a like skilful manner, effEct being gained without any great technical difficulty.

The Souls of the Righ f eous. Anthem. By William Rea. [Novello, Ewer and Co.]

THIS work (No. 294 of Novello's Octavo Anthems) is worthy of its composer, who enioys a very high reputation not only for his skill as an organist, but for his self-denying zeal in the cause of musical art in the North of England. Indeed, the beautiful verses from the Book of Wisdom could scarcely receive a more satisfactory illustration. The anthem opens with a dignified and expressive chorus with which the succeeding passage for tenors and basses " The hope of the ungodly," is in appropriate contrast. This is followed by a melodious and somewhat Mendels- sohnian soprano solo, " But the rivhteous live for ever- more," and the very vigorous and well developed chorus " They shall receive a glorious kingdom," brings the com- position to a highly effective conclusion. Alike as a funeral anthem and for ordinary use, Mr. Rea's anthem otlght to be in strong request.

even one more to his works of this class, his name will long live in our memory. Each of the pieces before us has a definite character, and the last especially should become a favourite with all who can appreciate artistic and unpretentious music.

Szzzely. Song. Words by M. Mark Lemon. Musie by A. LI. Behrend.

Till the breaki1;lg of tha day. Song. Words by H. L d'Arcy Jaxone. Music by Ciro Pinsuti.

[W. Morley and Co.] THE list of vocalists on the title-page of Mr. Behrend's

song who have sung the composition with " unbounded applause," and the fact of its being published in six keys, may be accepted as undoubted prooEs of its popularity; but as popular songs are not always good ones, we have much pleasure in bearing testimony to its musical worth. Little, indeed, is attempted save the telling of a simple story in simple notes; but the composer has thorough]y well accomplished what he aimed at, and this is no mean praise in these pretentious times. The lengthening of the word " home " at the conclusion of each verse gives much pathos to the sentence. Signor Pinsuti's vocal composi- tions do not decrease in quality as they increase in quantityv " Till the breaking of the day " is as full of true poetical feellng as any song we can remember by this refined and graceful artist; and we confidently predict for it a wide acceptance. The lingering upon the dominant of F minor before the double bar, and tlae unexpected change to A flat major, where the C becomes the third of the tonic harmony, is extremely beautiful, the placid accompaniment materially aiding the eSect of the tranquil phrase to which- the music is wedded. We cordially commenc!. this com- position, for its unforced eloquence, to all vocalists who do not devote themselves to the feeble conventional sonCs of the day.

Corvfinczfor Viotisz. By G. F. Vincent. Op. 25. [W. J. Willcocks and Co.]

THIS piece might fairly be described as a piano and violin duet, as a considerable share of the interest is allotted to the former instrument, particularly in the episode in A flat which divides the first and second exposition of the principal theme, a refined and elegant melody in E flat. Although a little condensation would certainly be an im- provement, the piece, as a whole, is very expressive and pleasing, and violinists of moderate acquirements will find it within their means.

Overttlre {o WCzg11er'5 " Rie7tsi." Arranved for the Orga by A. F. Delmar. LWeekes and Co.1

THIS is No. 2 of X; a series of Overturesand Selections from the standard operas arranged for the chamber organ." The term chamber organ is misleading here; it should be concerD

organ, the arrangements being evidently intended for recitals and not for church use. A few months ago we noticed Mr. Delmar's clever transcription of Mendelssohn's " Ruy Blas " Overture, and Wagner's brilliant and grandiose prelude to his afterwards discarded opera has been dealt with in a like skilful manner, effEct being gained without any great technical difficulty.

The Souls of the Righ f eous. Anthem. By William Rea. [Novello, Ewer and Co.]

THIS work (No. 294 of Novello's Octavo Anthems) is worthy of its composer, who enioys a very high reputation not only for his skill as an organist, but for his self-denying zeal in the cause of musical art in the North of England. Indeed, the beautiful verses from the Book of Wisdom could scarcely receive a more satisfactory illustration. The anthem opens with a dignified and expressive chorus with which the succeeding passage for tenors and basses " The hope of the ungodly," is in appropriate contrast. This is followed by a melodious and somewhat Mendels- sohnian soprano solo, " But the rivhteous live for ever- more," and the very vigorous and well developed chorus " They shall receive a glorious kingdom," brings the com- position to a highly effective conclusion. Alike as a funeral anthem and for ordinary use, Mr. Rea's anthem otlght to be in strong request.

even one more to his works of this class, his name will long live in our memory. Each of the pieces before us has a definite character, and the last especially should become a favourite with all who can appreciate artistic and unpretentious music.

Szzzely. Song. Words by M. Mark Lemon. Musie by A. LI. Behrend.

Till the breaki1;lg of tha day. Song. Words by H. L d'Arcy Jaxone. Music by Ciro Pinsuti.

[W. Morley and Co.] THE list of vocalists on the title-page of Mr. Behrend's

song who have sung the composition with " unbounded applause," and the fact of its being published in six keys, may be accepted as undoubted prooEs of its popularity; but as popular songs are not always good ones, we have much pleasure in bearing testimony to its musical worth. Little, indeed, is attempted save the telling of a simple story in simple notes; but the composer has thorough]y well accomplished what he aimed at, and this is no mean praise in these pretentious times. The lengthening of the word " home " at the conclusion of each verse gives much pathos to the sentence. Signor Pinsuti's vocal composi- tions do not decrease in quality as they increase in quantityv " Till the breaking of the day " is as full of true poetical feellng as any song we can remember by this refined and graceful artist; and we confidently predict for it a wide acceptance. The lingering upon the dominant of F minor before the double bar, and tlae unexpected change to A flat major, where the C becomes the third of the tonic harmony, is extremely beautiful, the placid accompaniment materially aiding the eSect of the tranquil phrase to which- the music is wedded. We cordially commenc!. this com- position, for its unforced eloquence, to all vocalists who do not devote themselves to the feeble conventional sonCs of the day.

Corvfinczfor Viotisz. By G. F. Vincent. Op. 25. [W. J. Willcocks and Co.]

THIS piece might fairly be described as a piano and violin duet, as a considerable share of the interest is allotted to the former instrument, particularly in the episode in A flat which divides the first and second exposition of the principal theme, a refined and elegant melody in E flat. Although a little condensation would certainly be an im- provement, the piece, as a whole, is very expressive and pleasing, and violinists of moderate acquirements will find it within their means.

Overttlre {o WCzg11er'5 " Rie7tsi." Arranved for the Orga by A. F. Delmar. LWeekes and Co.1

THIS is No. 2 of X; a series of Overturesand Selections from the standard operas arranged for the chamber organ." The term chamber organ is misleading here; it should be concerD

organ, the arrangements being evidently intended for recitals and not for church use. A few months ago we noticed Mr. Delmar's clever transcription of Mendelssohn's " Ruy Blas " Overture, and Wagner's brilliant and grandiose prelude to his afterwards discarded opera has been dealt with in a like skilful manner, effEct being gained without any great technical difficulty.

The Souls of the Righ f eous. Anthem. By William Rea. [Novello, Ewer and Co.]

THIS work (No. 294 of Novello's Octavo Anthems) is worthy of its composer, who enioys a very high reputation not only for his skill as an organist, but for his self-denying zeal in the cause of musical art in the North of England. Indeed, the beautiful verses from the Book of Wisdom could scarcely receive a more satisfactory illustration. The anthem opens with a dignified and expressive chorus with which the succeeding passage for tenors and basses " The hope of the ungodly," is in appropriate contrast. This is followed by a melodious and somewhat Mendels- sohnian soprano solo, " But the rivhteous live for ever- more," and the very vigorous and well developed chorus " They shall receive a glorious kingdom," brings the com- position to a highly effective conclusion. Alike as a funeral anthem and for ordinary use, Mr. Rea's anthem otlght to be in strong request.

even one more to his works of this class, his name will long live in our memory. Each of the pieces before us has a definite character, and the last especially should become a favourite with all who can appreciate artistic and unpretentious music.

Szzzely. Song. Words by M. Mark Lemon. Musie by A. LI. Behrend.

Till the breaki1;lg of tha day. Song. Words by H. L d'Arcy Jaxone. Music by Ciro Pinsuti.

[W. Morley and Co.] THE list of vocalists on the title-page of Mr. Behrend's

song who have sung the composition with " unbounded applause," and the fact of its being published in six keys, may be accepted as undoubted prooEs of its popularity; but as popular songs are not always good ones, we have much pleasure in bearing testimony to its musical worth. Little, indeed, is attempted save the telling of a simple story in simple notes; but the composer has thorough]y well accomplished what he aimed at, and this is no mean praise in these pretentious times. The lengthening of the word " home " at the conclusion of each verse gives much pathos to the sentence. Signor Pinsuti's vocal composi- tions do not decrease in quality as they increase in quantityv " Till the breaking of the day " is as full of true poetical feellng as any song we can remember by this refined and graceful artist; and we confidently predict for it a wide acceptance. The lingering upon the dominant of F minor before the double bar, and tlae unexpected change to A flat major, where the C becomes the third of the tonic harmony, is extremely beautiful, the placid accompaniment materially aiding the eSect of the tranquil phrase to which- the music is wedded. We cordially commenc!. this com- position, for its unforced eloquence, to all vocalists who do not devote themselves to the feeble conventional sonCs of the day.

Corvfinczfor Viotisz. By G. F. Vincent. Op. 25. [W. J. Willcocks and Co.]

THIS piece might fairly be described as a piano and violin duet, as a considerable share of the interest is allotted to the former instrument, particularly in the episode in A flat which divides the first and second exposition of the principal theme, a refined and elegant melody in E flat. Although a little condensation would certainly be an im- provement, the piece, as a whole, is very expressive and pleasing, and violinists of moderate acquirements will find it within their means.

Overttlre {o WCzg11er'5 " Rie7tsi." Arranved for the Orga by A. F. Delmar. LWeekes and Co.1

THIS is No. 2 of X; a series of Overturesand Selections from the standard operas arranged for the chamber organ." The term chamber organ is misleading here; it should be concerD

organ, the arrangements being evidently intended for recitals and not for church use. A few months ago we noticed Mr. Delmar's clever transcription of Mendelssohn's " Ruy Blas " Overture, and Wagner's brilliant and grandiose prelude to his afterwards discarded opera has been dealt with in a like skilful manner, effEct being gained without any great technical difficulty.

The Souls of the Righ f eous. Anthem. By William Rea. [Novello, Ewer and Co.]

THIS work (No. 294 of Novello's Octavo Anthems) is worthy of its composer, who enioys a very high reputation not only for his skill as an organist, but for his self-denying zeal in the cause of musical art in the North of England. Indeed, the beautiful verses from the Book of Wisdom could scarcely receive a more satisfactory illustration. The anthem opens with a dignified and expressive chorus with which the succeeding passage for tenors and basses " The hope of the ungodly," is in appropriate contrast. This is followed by a melodious and somewhat Mendels- sohnian soprano solo, " But the rivhteous live for ever- more," and the very vigorous and well developed chorus " They shall receive a glorious kingdom," brings the com- position to a highly effective conclusion. Alike as a funeral anthem and for ordinary use, Mr. Rea's anthem otlght to be in strong request.

even one more to his works of this class, his name will long live in our memory. Each of the pieces before us has a definite character, and the last especially should become a favourite with all who can appreciate artistic and unpretentious music.

Szzzely. Song. Words by M. Mark Lemon. Musie by A. LI. Behrend.

Till the breaki1;lg of tha day. Song. Words by H. L d'Arcy Jaxone. Music by Ciro Pinsuti.

[W. Morley and Co.] THE list of vocalists on the title-page of Mr. Behrend's

song who have sung the composition with " unbounded applause," and the fact of its being published in six keys, may be accepted as undoubted prooEs of its popularity; but as popular songs are not always good ones, we have much pleasure in bearing testimony to its musical worth. Little, indeed, is attempted save the telling of a simple story in simple notes; but the composer has thorough]y well accomplished what he aimed at, and this is no mean praise in these pretentious times. The lengthening of the word " home " at the conclusion of each verse gives much pathos to the sentence. Signor Pinsuti's vocal composi- tions do not decrease in quality as they increase in quantityv " Till the breaking of the day " is as full of true poetical feellng as any song we can remember by this refined and graceful artist; and we confidently predict for it a wide acceptance. The lingering upon the dominant of F minor before the double bar, and tlae unexpected change to A flat major, where the C becomes the third of the tonic harmony, is extremely beautiful, the placid accompaniment materially aiding the eSect of the tranquil phrase to which- the music is wedded. We cordially commenc!. this com- position, for its unforced eloquence, to all vocalists who do not devote themselves to the feeble conventional sonCs of the day.

Corvfinczfor Viotisz. By G. F. Vincent. Op. 25. [W. J. Willcocks and Co.]

THIS piece might fairly be described as a piano and violin duet, as a considerable share of the interest is allotted to the former instrument, particularly in the episode in A flat which divides the first and second exposition of the principal theme, a refined and elegant melody in E flat. Although a little condensation would certainly be an im- provement, the piece, as a whole, is very expressive and pleasing, and violinists of moderate acquirements will find it within their means.

Overttlre {o WCzg11er'5 " Rie7tsi." Arranved for the Orga by A. F. Delmar. LWeekes and Co.1

THIS is No. 2 of X; a series of Overturesand Selections from the standard operas arranged for the chamber organ." The term chamber organ is misleading here; it should be concerD

organ, the arrangements being evidently intended for recitals and not for church use. A few months ago we noticed Mr. Delmar's clever transcription of Mendelssohn's " Ruy Blas " Overture, and Wagner's brilliant and grandiose prelude to his afterwards discarded opera has been dealt with in a like skilful manner, effEct being gained without any great technical difficulty.

The Souls of the Righ f eous. Anthem. By William Rea. [Novello, Ewer and Co.]

THIS work (No. 294 of Novello's Octavo Anthems) is worthy of its composer, who enioys a very high reputation not only for his skill as an organist, but for his self-denying zeal in the cause of musical art in the North of England. Indeed, the beautiful verses from the Book of Wisdom could scarcely receive a more satisfactory illustration. The anthem opens with a dignified and expressive chorus with which the succeeding passage for tenors and basses " The hope of the ungodly," is in appropriate contrast. This is followed by a melodious and somewhat Mendels- sohnian soprano solo, " But the rivhteous live for ever- more," and the very vigorous and well developed chorus " They shall receive a glorious kingdom," brings the com- position to a highly effective conclusion. Alike as a funeral anthem and for ordinary use, Mr. Rea's anthem otlght to be in strong request.

even one more to his works of this class, his name will long live in our memory. Each of the pieces before us has a definite character, and the last especially should become a favourite with all who can appreciate artistic and unpretentious music.

Szzzely. Song. Words by M. Mark Lemon. Musie by A. LI. Behrend.

Till the breaki1;lg of tha day. Song. Words by H. L d'Arcy Jaxone. Music by Ciro Pinsuti.

[W. Morley and Co.] THE list of vocalists on the title-page of Mr. Behrend's

song who have sung the composition with " unbounded applause," and the fact of its being published in six keys, may be accepted as undoubted prooEs of its popularity; but as popular songs are not always good ones, we have much pleasure in bearing testimony to its musical worth. Little, indeed, is attempted save the telling of a simple story in simple notes; but the composer has thorough]y well accomplished what he aimed at, and this is no mean praise in these pretentious times. The lengthening of the word " home " at the conclusion of each verse gives much pathos to the sentence. Signor Pinsuti's vocal composi- tions do not decrease in quality as they increase in quantityv " Till the breaking of the day " is as full of true poetical feellng as any song we can remember by this refined and graceful artist; and we confidently predict for it a wide acceptance. The lingering upon the dominant of F minor before the double bar, and tlae unexpected change to A flat major, where the C becomes the third of the tonic harmony, is extremely beautiful, the placid accompaniment materially aiding the eSect of the tranquil phrase to which- the music is wedded. We cordially commenc!. this com- position, for its unforced eloquence, to all vocalists who do not devote themselves to the feeble conventional sonCs of the day.

Corvfinczfor Viotisz. By G. F. Vincent. Op. 25. [W. J. Willcocks and Co.]

THIS piece might fairly be described as a piano and violin duet, as a considerable share of the interest is allotted to the former instrument, particularly in the episode in A flat which divides the first and second exposition of the principal theme, a refined and elegant melody in E flat. Although a little condensation would certainly be an im- provement, the piece, as a whole, is very expressive and pleasing, and violinists of moderate acquirements will find it within their means.

Overttlre {o WCzg11er'5 " Rie7tsi." Arranved for the Orga by A. F. Delmar. LWeekes and Co.1

THIS is No. 2 of X; a series of Overturesand Selections from the standard operas arranged for the chamber organ." The term chamber organ is misleading here; it should be concerD

organ, the arrangements being evidently intended for recitals and not for church use. A few months ago we noticed Mr. Delmar's clever transcription of Mendelssohn's " Ruy Blas " Overture, and Wagner's brilliant and grandiose prelude to his afterwards discarded opera has been dealt with in a like skilful manner, effEct being gained without any great technical difficulty.

The Souls of the Righ f eous. Anthem. By William Rea. [Novello, Ewer and Co.]

THIS work (No. 294 of Novello's Octavo Anthems) is worthy of its composer, who enioys a very high reputation not only for his skill as an organist, but for his self-denying zeal in the cause of musical art in the North of England. Indeed, the beautiful verses from the Book of Wisdom could scarcely receive a more satisfactory illustration. The anthem opens with a dignified and expressive chorus with which the succeeding passage for tenors and basses " The hope of the ungodly," is in appropriate contrast. This is followed by a melodious and somewhat Mendels- sohnian soprano solo, " But the rivhteous live for ever- more," and the very vigorous and well developed chorus " They shall receive a glorious kingdom," brings the com- position to a highly effective conclusion. Alike as a funeral anthem and for ordinary use, Mr. Rea's anthem otlght to be in strong request.

even one more to his works of this class, his name will long live in our memory. Each of the pieces before us has a definite character, and the last especially should become a favourite with all who can appreciate artistic and unpretentious music.

Szzzely. Song. Words by M. Mark Lemon. Musie by A. LI. Behrend.

Till the breaki1;lg of tha day. Song. Words by H. L d'Arcy Jaxone. Music by Ciro Pinsuti.

[W. Morley and Co.] THE list of vocalists on the title-page of Mr. Behrend's

song who have sung the composition with " unbounded applause," and the fact of its being published in six keys, may be accepted as undoubted prooEs of its popularity; but as popular songs are not always good ones, we have much pleasure in bearing testimony to its musical worth. Little, indeed, is attempted save the telling of a simple story in simple notes; but the composer has thorough]y well accomplished what he aimed at, and this is no mean praise in these pretentious times. The lengthening of the word " home " at the conclusion of each verse gives much pathos to the sentence. Signor Pinsuti's vocal composi- tions do not decrease in quality as they increase in quantityv " Till the breaking of the day " is as full of true poetical feellng as any song we can remember by this refined and graceful artist; and we confidently predict for it a wide acceptance. The lingering upon the dominant of F minor before the double bar, and tlae unexpected change to A flat major, where the C becomes the third of the tonic harmony, is extremely beautiful, the placid accompaniment materially aiding the eSect of the tranquil phrase to which- the music is wedded. We cordially commenc!. this com- position, for its unforced eloquence, to all vocalists who do not devote themselves to the feeble conventional sonCs of the day.

Corvfinczfor Viotisz. By G. F. Vincent. Op. 25. [W. J. Willcocks and Co.]

THIS piece might fairly be described as a piano and violin duet, as a considerable share of the interest is allotted to the former instrument, particularly in the episode in A flat which divides the first and second exposition of the principal theme, a refined and elegant melody in E flat. Although a little condensation would certainly be an im- provement, the piece, as a whole, is very expressive and pleasing, and violinists of moderate acquirements will find it within their means.

Overttlre {o WCzg11er'5 " Rie7tsi." Arranved for the Orga by A. F. Delmar. LWeekes and Co.1

THIS is No. 2 of X; a series of Overturesand Selections from the standard operas arranged for the chamber organ." The term chamber organ is misleading here; it should be concerD

organ, the arrangements being evidently intended for recitals and not for church use. A few months ago we noticed Mr. Delmar's clever transcription of Mendelssohn's " Ruy Blas " Overture, and Wagner's brilliant and grandiose prelude to his afterwards discarded opera has been dealt with in a like skilful manner, effEct being gained without any great technical difficulty.

The Souls of the Righ f eous. Anthem. By William Rea. [Novello, Ewer and Co.]

THIS work (No. 294 of Novello's Octavo Anthems) is worthy of its composer, who enioys a very high reputation not only for his skill as an organist, but for his self-denying zeal in the cause of musical art in the North of England. Indeed, the beautiful verses from the Book of Wisdom could scarcely receive a more satisfactory illustration. The anthem opens with a dignified and expressive chorus with which the succeeding passage for tenors and basses " The hope of the ungodly," is in appropriate contrast. This is followed by a melodious and somewhat Mendels- sohnian soprano solo, " But the rivhteous live for ever- more," and the very vigorous and well developed chorus " They shall receive a glorious kingdom," brings the com- position to a highly effective conclusion. Alike as a funeral anthem and for ordinary use, Mr. Rea's anthem otlght to be in strong request.

Only pedants object to transcriptions per se, the common sense view of the matter being that every arrangement should stand or fall on its osvn merits. Considered in this light the present pieces deserve favourable recognition, for they are not generally knon in their original shape, while svithout exception their merits are considerable. We would especially draw attention to a lovely air in the manner of a slosv minuet from Haydn's forgotten " Orfeo ' in No. 7, and in No. 8 an Aszdante rustico, by Dussek, from the Fantasia (Op. 76). It is scarcely necessary to state that in all cases the tasl; of transcription has been carried out with taste and knovledge of efict.

THens a szoz. Pensee musicale. Pour Piano. Zet) v s dc llf cei. Caprice Fantastique. Pour Piano. Tyrolicllste. Pour Piano.

Par Victor Delacour. [Edwin Ashdown.]

WERE the special characteristics of modern " drawing- room " works as varied as their titles, amateurs might select an interestint, repertory of su¢h compositions for perform- ance before their friends. Unfortunately, however, the piece is usually written upon the plan of presenting an eight-bar phrase, with a second part-either in the dominant or relative minor-which is repeated with different accom- paniments and a cod. Part-writing, even in the mildest form, is rarely attempted, the left hand being a servile attendant upon the right. Although sve hope that the time is approaching when music will cease to be written down to unformed amateurs, we are bound to chronicle some of the most refined of the multitude of " fashionable " trifles which come before us, and amongst these may be placed the pieces by Victor Delacour, the style of whom is fairly represented in the three we have selected from a number of his contributions. The first on our list is thoroughly conventional in design; but the Caprice, " Zephyrs de Mai," is based upon a pleasing, light subject, and contains some good pianoforte passages. The '; Tyrolienne " is a well-written piece of its kind, and will aSord some useful practice. The change into the sub- dominant is a welcome relief from the monotony of the too prevailing key of C.

Pack Clo7zds away, Son. VVords by Thomas Heywood, I607. Music by Jessie Batterill.

tStanley Lucas, XVeber and Co.] THE composer of this song, although new to us, claims

a right to be heard, even in the present over-productive age, for her setting of Heywood's well-known words is as melodious as it is u;pretentious. Her opening symphony presents us with an effective sequence of sevenths leading gracefully into the voice part, the melody of which is appro- priately harmonised and sympathetically accompanied throughout. The ballad will assuredly secure a good reception from those who admire simple vocal music.

Hzzmtius in Mlcro. Part-Song for A.T.T.B.B. The Latin Version of " Humpty Dumpty." From the Nursery Rhymes of England. Written by J O Hallisvell Phillips.

Hztsh-a-Bye. Part-Song. Composed by C. A. Macirone.

[J. B. Cramer and Co.] ALL who weIcome a classical version of the well-known

legend of " Humpty Dumpty" will be pleased to possess themselves of this capital part-song, the musical merits of which we need not here enlarge upon. " Hush-a-Bye " is composed to the authorised nursery words, for soprano, mezzo-soprano, and contralto, and, treated throughout rvith Miss Macirone's skill and humour, so often before shown in her settings of nursery ditties, cannot fail to produce a marked eSect upon an audience. Mr. Henry Leslie, who now seems to have brought back the feeling for delicate part-music, should include this composition in his programme for next season.

Trois Fenillets fI'AIbum. Pour le Piano. Par Stephen Heller. [Forsyth Brothers.]

As a nvriter of refined and poetical sketches for the pianoforte the composer of these three pieces has long been celebrated; and should the misfortune which has now overtaken him preclude the possibility of his adding

Only pedants object to transcriptions per se, the common sense view of the matter being that every arrangement should stand or fall on its osvn merits. Considered in this light the present pieces deserve favourable recognition, for they are not generally knon in their original shape, while svithout exception their merits are considerable. We would especially draw attention to a lovely air in the manner of a slosv minuet from Haydn's forgotten " Orfeo ' in No. 7, and in No. 8 an Aszdante rustico, by Dussek, from the Fantasia (Op. 76). It is scarcely necessary to state that in all cases the tasl; of transcription has been carried out with taste and knovledge of efict.

THens a szoz. Pensee musicale. Pour Piano. Zet) v s dc llf cei. Caprice Fantastique. Pour Piano. Tyrolicllste. Pour Piano.

Par Victor Delacour. [Edwin Ashdown.]

WERE the special characteristics of modern " drawing- room " works as varied as their titles, amateurs might select an interestint, repertory of su¢h compositions for perform- ance before their friends. Unfortunately, however, the piece is usually written upon the plan of presenting an eight-bar phrase, with a second part-either in the dominant or relative minor-which is repeated with different accom- paniments and a cod. Part-writing, even in the mildest form, is rarely attempted, the left hand being a servile attendant upon the right. Although sve hope that the time is approaching when music will cease to be written down to unformed amateurs, we are bound to chronicle some of the most refined of the multitude of " fashionable " trifles which come before us, and amongst these may be placed the pieces by Victor Delacour, the style of whom is fairly represented in the three we have selected from a number of his contributions. The first on our list is thoroughly conventional in design; but the Caprice, " Zephyrs de Mai," is based upon a pleasing, light subject, and contains some good pianoforte passages. The '; Tyrolienne " is a well-written piece of its kind, and will aSord some useful practice. The change into the sub- dominant is a welcome relief from the monotony of the too prevailing key of C.

Pack Clo7zds away, Son. VVords by Thomas Heywood, I607. Music by Jessie Batterill.

tStanley Lucas, XVeber and Co.] THE composer of this song, although new to us, claims

a right to be heard, even in the present over-productive age, for her setting of Heywood's well-known words is as melodious as it is u;pretentious. Her opening symphony presents us with an effective sequence of sevenths leading gracefully into the voice part, the melody of which is appro- priately harmonised and sympathetically accompanied throughout. The ballad will assuredly secure a good reception from those who admire simple vocal music.

Hzzmtius in Mlcro. Part-Song for A.T.T.B.B. The Latin Version of " Humpty Dumpty." From the Nursery Rhymes of England. Written by J O Hallisvell Phillips.

Hztsh-a-Bye. Part-Song. Composed by C. A. Macirone.

[J. B. Cramer and Co.] ALL who weIcome a classical version of the well-known

legend of " Humpty Dumpty" will be pleased to possess themselves of this capital part-song, the musical merits of which we need not here enlarge upon. " Hush-a-Bye " is composed to the authorised nursery words, for soprano, mezzo-soprano, and contralto, and, treated throughout rvith Miss Macirone's skill and humour, so often before shown in her settings of nursery ditties, cannot fail to produce a marked eSect upon an audience. Mr. Henry Leslie, who now seems to have brought back the feeling for delicate part-music, should include this composition in his programme for next season.

Trois Fenillets fI'AIbum. Pour le Piano. Par Stephen Heller. [Forsyth Brothers.]

As a nvriter of refined and poetical sketches for the pianoforte the composer of these three pieces has long been celebrated; and should the misfortune which has now overtaken him preclude the possibility of his adding

Only pedants object to transcriptions per se, the common sense view of the matter being that every arrangement should stand or fall on its osvn merits. Considered in this light the present pieces deserve favourable recognition, for they are not generally knon in their original shape, while svithout exception their merits are considerable. We would especially draw attention to a lovely air in the manner of a slosv minuet from Haydn's forgotten " Orfeo ' in No. 7, and in No. 8 an Aszdante rustico, by Dussek, from the Fantasia (Op. 76). It is scarcely necessary to state that in all cases the tasl; of transcription has been carried out with taste and knovledge of efict.

THens a szoz. Pensee musicale. Pour Piano. Zet) v s dc llf cei. Caprice Fantastique. Pour Piano. Tyrolicllste. Pour Piano.

Par Victor Delacour. [Edwin Ashdown.]

WERE the special characteristics of modern " drawing- room " works as varied as their titles, amateurs might select an interestint, repertory of su¢h compositions for perform- ance before their friends. Unfortunately, however, the piece is usually written upon the plan of presenting an eight-bar phrase, with a second part-either in the dominant or relative minor-which is repeated with different accom- paniments and a cod. Part-writing, even in the mildest form, is rarely attempted, the left hand being a servile attendant upon the right. Although sve hope that the time is approaching when music will cease to be written down to unformed amateurs, we are bound to chronicle some of the most refined of the multitude of " fashionable " trifles which come before us, and amongst these may be placed the pieces by Victor Delacour, the style of whom is fairly represented in the three we have selected from a number of his contributions. The first on our list is thoroughly conventional in design; but the Caprice, " Zephyrs de Mai," is based upon a pleasing, light subject, and contains some good pianoforte passages. The '; Tyrolienne " is a well-written piece of its kind, and will aSord some useful practice. The change into the sub- dominant is a welcome relief from the monotony of the too prevailing key of C.

Pack Clo7zds away, Son. VVords by Thomas Heywood, I607. Music by Jessie Batterill.

tStanley Lucas, XVeber and Co.] THE composer of this song, although new to us, claims

a right to be heard, even in the present over-productive age, for her setting of Heywood's well-known words is as melodious as it is u;pretentious. Her opening symphony presents us with an effective sequence of sevenths leading gracefully into the voice part, the melody of which is appro- priately harmonised and sympathetically accompanied throughout. The ballad will assuredly secure a good reception from those who admire simple vocal music.

Hzzmtius in Mlcro. Part-Song for A.T.T.B.B. The Latin Version of " Humpty Dumpty." From the Nursery Rhymes of England. Written by J O Hallisvell Phillips.

Hztsh-a-Bye. Part-Song. Composed by C. A. Macirone.

[J. B. Cramer and Co.] ALL who weIcome a classical version of the well-known

legend of " Humpty Dumpty" will be pleased to possess themselves of this capital part-song, the musical merits of which we need not here enlarge upon. " Hush-a-Bye " is composed to the authorised nursery words, for soprano, mezzo-soprano, and contralto, and, treated throughout rvith Miss Macirone's skill and humour, so often before shown in her settings of nursery ditties, cannot fail to produce a marked eSect upon an audience. Mr. Henry Leslie, who now seems to have brought back the feeling for delicate part-music, should include this composition in his programme for next season.

Trois Fenillets fI'AIbum. Pour le Piano. Par Stephen Heller. [Forsyth Brothers.]

As a nvriter of refined and poetical sketches for the pianoforte the composer of these three pieces has long been celebrated; and should the misfortune which has now overtaken him preclude the possibility of his adding

Only pedants object to transcriptions per se, the common sense view of the matter being that every arrangement should stand or fall on its osvn merits. Considered in this light the present pieces deserve favourable recognition, for they are not generally knon in their original shape, while svithout exception their merits are considerable. We would especially draw attention to a lovely air in the manner of a slosv minuet from Haydn's forgotten " Orfeo ' in No. 7, and in No. 8 an Aszdante rustico, by Dussek, from the Fantasia (Op. 76). It is scarcely necessary to state that in all cases the tasl; of transcription has been carried out with taste and knovledge of efict.

THens a szoz. Pensee musicale. Pour Piano. Zet) v s dc llf cei. Caprice Fantastique. Pour Piano. Tyrolicllste. Pour Piano.

Par Victor Delacour. [Edwin Ashdown.]

WERE the special characteristics of modern " drawing- room " works as varied as their titles, amateurs might select an interestint, repertory of su¢h compositions for perform- ance before their friends. Unfortunately, however, the piece is usually written upon the plan of presenting an eight-bar phrase, with a second part-either in the dominant or relative minor-which is repeated with different accom- paniments and a cod. Part-writing, even in the mildest form, is rarely attempted, the left hand being a servile attendant upon the right. Although sve hope that the time is approaching when music will cease to be written down to unformed amateurs, we are bound to chronicle some of the most refined of the multitude of " fashionable " trifles which come before us, and amongst these may be placed the pieces by Victor Delacour, the style of whom is fairly represented in the three we have selected from a number of his contributions. The first on our list is thoroughly conventional in design; but the Caprice, " Zephyrs de Mai," is based upon a pleasing, light subject, and contains some good pianoforte passages. The '; Tyrolienne " is a well-written piece of its kind, and will aSord some useful practice. The change into the sub- dominant is a welcome relief from the monotony of the too prevailing key of C.

Pack Clo7zds away, Son. VVords by Thomas Heywood, I607. Music by Jessie Batterill.

tStanley Lucas, XVeber and Co.] THE composer of this song, although new to us, claims

a right to be heard, even in the present over-productive age, for her setting of Heywood's well-known words is as melodious as it is u;pretentious. Her opening symphony presents us with an effective sequence of sevenths leading gracefully into the voice part, the melody of which is appro- priately harmonised and sympathetically accompanied throughout. The ballad will assuredly secure a good reception from those who admire simple vocal music.

Hzzmtius in Mlcro. Part-Song for A.T.T.B.B. The Latin Version of " Humpty Dumpty." From the Nursery Rhymes of England. Written by J O Hallisvell Phillips.

Hztsh-a-Bye. Part-Song. Composed by C. A. Macirone.

[J. B. Cramer and Co.] ALL who weIcome a classical version of the well-known

legend of " Humpty Dumpty" will be pleased to possess themselves of this capital part-song, the musical merits of which we need not here enlarge upon. " Hush-a-Bye " is composed to the authorised nursery words, for soprano, mezzo-soprano, and contralto, and, treated throughout rvith Miss Macirone's skill and humour, so often before shown in her settings of nursery ditties, cannot fail to produce a marked eSect upon an audience. Mr. Henry Leslie, who now seems to have brought back the feeling for delicate part-music, should include this composition in his programme for next season.

Trois Fenillets fI'AIbum. Pour le Piano. Par Stephen Heller. [Forsyth Brothers.]

As a nvriter of refined and poetical sketches for the pianoforte the composer of these three pieces has long been celebrated; and should the misfortune which has now overtaken him preclude the possibility of his adding

Only pedants object to transcriptions per se, the common sense view of the matter being that every arrangement should stand or fall on its osvn merits. Considered in this light the present pieces deserve favourable recognition, for they are not generally knon in their original shape, while svithout exception their merits are considerable. We would especially draw attention to a lovely air in the manner of a slosv minuet from Haydn's forgotten " Orfeo ' in No. 7, and in No. 8 an Aszdante rustico, by Dussek, from the Fantasia (Op. 76). It is scarcely necessary to state that in all cases the tasl; of transcription has been carried out with taste and knovledge of efict.

THens a szoz. Pensee musicale. Pour Piano. Zet) v s dc llf cei. Caprice Fantastique. Pour Piano. Tyrolicllste. Pour Piano.

Par Victor Delacour. [Edwin Ashdown.]

WERE the special characteristics of modern " drawing- room " works as varied as their titles, amateurs might select an interestint, repertory of su¢h compositions for perform- ance before their friends. Unfortunately, however, the piece is usually written upon the plan of presenting an eight-bar phrase, with a second part-either in the dominant or relative minor-which is repeated with different accom- paniments and a cod. Part-writing, even in the mildest form, is rarely attempted, the left hand being a servile attendant upon the right. Although sve hope that the time is approaching when music will cease to be written down to unformed amateurs, we are bound to chronicle some of the most refined of the multitude of " fashionable " trifles which come before us, and amongst these may be placed the pieces by Victor Delacour, the style of whom is fairly represented in the three we have selected from a number of his contributions. The first on our list is thoroughly conventional in design; but the Caprice, " Zephyrs de Mai," is based upon a pleasing, light subject, and contains some good pianoforte passages. The '; Tyrolienne " is a well-written piece of its kind, and will aSord some useful practice. The change into the sub- dominant is a welcome relief from the monotony of the too prevailing key of C.

Pack Clo7zds away, Son. VVords by Thomas Heywood, I607. Music by Jessie Batterill.

tStanley Lucas, XVeber and Co.] THE composer of this song, although new to us, claims

a right to be heard, even in the present over-productive age, for her setting of Heywood's well-known words is as melodious as it is u;pretentious. Her opening symphony presents us with an effective sequence of sevenths leading gracefully into the voice part, the melody of which is appro- priately harmonised and sympathetically accompanied throughout. The ballad will assuredly secure a good reception from those who admire simple vocal music.

Hzzmtius in Mlcro. Part-Song for A.T.T.B.B. The Latin Version of " Humpty Dumpty." From the Nursery Rhymes of England. Written by J O Hallisvell Phillips.

Hztsh-a-Bye. Part-Song. Composed by C. A. Macirone.

[J. B. Cramer and Co.] ALL who weIcome a classical version of the well-known

legend of " Humpty Dumpty" will be pleased to possess themselves of this capital part-song, the musical merits of which we need not here enlarge upon. " Hush-a-Bye " is composed to the authorised nursery words, for soprano, mezzo-soprano, and contralto, and, treated throughout rvith Miss Macirone's skill and humour, so often before shown in her settings of nursery ditties, cannot fail to produce a marked eSect upon an audience. Mr. Henry Leslie, who now seems to have brought back the feeling for delicate part-music, should include this composition in his programme for next season.

Trois Fenillets fI'AIbum. Pour le Piano. Par Stephen Heller. [Forsyth Brothers.]

As a nvriter of refined and poetical sketches for the pianoforte the composer of these three pieces has long been celebrated; and should the misfortune which has now overtaken him preclude the possibility of his adding

Only pedants object to transcriptions per se, the common sense view of the matter being that every arrangement should stand or fall on its osvn merits. Considered in this light the present pieces deserve favourable recognition, for they are not generally knon in their original shape, while svithout exception their merits are considerable. We would especially draw attention to a lovely air in the manner of a slosv minuet from Haydn's forgotten " Orfeo ' in No. 7, and in No. 8 an Aszdante rustico, by Dussek, from the Fantasia (Op. 76). It is scarcely necessary to state that in all cases the tasl; of transcription has been carried out with taste and knovledge of efict.

THens a szoz. Pensee musicale. Pour Piano. Zet) v s dc llf cei. Caprice Fantastique. Pour Piano. Tyrolicllste. Pour Piano.

Par Victor Delacour. [Edwin Ashdown.]

WERE the special characteristics of modern " drawing- room " works as varied as their titles, amateurs might select an interestint, repertory of su¢h compositions for perform- ance before their friends. Unfortunately, however, the piece is usually written upon the plan of presenting an eight-bar phrase, with a second part-either in the dominant or relative minor-which is repeated with different accom- paniments and a cod. Part-writing, even in the mildest form, is rarely attempted, the left hand being a servile attendant upon the right. Although sve hope that the time is approaching when music will cease to be written down to unformed amateurs, we are bound to chronicle some of the most refined of the multitude of " fashionable " trifles which come before us, and amongst these may be placed the pieces by Victor Delacour, the style of whom is fairly represented in the three we have selected from a number of his contributions. The first on our list is thoroughly conventional in design; but the Caprice, " Zephyrs de Mai," is based upon a pleasing, light subject, and contains some good pianoforte passages. The '; Tyrolienne " is a well-written piece of its kind, and will aSord some useful practice. The change into the sub- dominant is a welcome relief from the monotony of the too prevailing key of C.

Pack Clo7zds away, Son. VVords by Thomas Heywood, I607. Music by Jessie Batterill.

tStanley Lucas, XVeber and Co.] THE composer of this song, although new to us, claims

a right to be heard, even in the present over-productive age, for her setting of Heywood's well-known words is as melodious as it is u;pretentious. Her opening symphony presents us with an effective sequence of sevenths leading gracefully into the voice part, the melody of which is appro- priately harmonised and sympathetically accompanied throughout. The ballad will assuredly secure a good reception from those who admire simple vocal music.

Hzzmtius in Mlcro. Part-Song for A.T.T.B.B. The Latin Version of " Humpty Dumpty." From the Nursery Rhymes of England. Written by J O Hallisvell Phillips.

Hztsh-a-Bye. Part-Song. Composed by C. A. Macirone.

[J. B. Cramer and Co.] ALL who weIcome a classical version of the well-known

legend of " Humpty Dumpty" will be pleased to possess themselves of this capital part-song, the musical merits of which we need not here enlarge upon. " Hush-a-Bye " is composed to the authorised nursery words, for soprano, mezzo-soprano, and contralto, and, treated throughout rvith Miss Macirone's skill and humour, so often before shown in her settings of nursery ditties, cannot fail to produce a marked eSect upon an audience. Mr. Henry Leslie, who now seems to have brought back the feeling for delicate part-music, should include this composition in his programme for next season.

Trois Fenillets fI'AIbum. Pour le Piano. Par Stephen Heller. [Forsyth Brothers.]

As a nvriter of refined and poetical sketches for the pianoforte the composer of these three pieces has long been celebrated; and should the misfortune which has now overtaken him preclude the possibility of his adding

Only pedants object to transcriptions per se, the common sense view of the matter being that every arrangement should stand or fall on its osvn merits. Considered in this light the present pieces deserve favourable recognition, for they are not generally knon in their original shape, while svithout exception their merits are considerable. We would especially draw attention to a lovely air in the manner of a slosv minuet from Haydn's forgotten " Orfeo ' in No. 7, and in No. 8 an Aszdante rustico, by Dussek, from the Fantasia (Op. 76). It is scarcely necessary to state that in all cases the tasl; of transcription has been carried out with taste and knovledge of efict.

THens a szoz. Pensee musicale. Pour Piano. Zet) v s dc llf cei. Caprice Fantastique. Pour Piano. Tyrolicllste. Pour Piano.

Par Victor Delacour. [Edwin Ashdown.]

WERE the special characteristics of modern " drawing- room " works as varied as their titles, amateurs might select an interestint, repertory of su¢h compositions for perform- ance before their friends. Unfortunately, however, the piece is usually written upon the plan of presenting an eight-bar phrase, with a second part-either in the dominant or relative minor-which is repeated with different accom- paniments and a cod. Part-writing, even in the mildest form, is rarely attempted, the left hand being a servile attendant upon the right. Although sve hope that the time is approaching when music will cease to be written down to unformed amateurs, we are bound to chronicle some of the most refined of the multitude of " fashionable " trifles which come before us, and amongst these may be placed the pieces by Victor Delacour, the style of whom is fairly represented in the three we have selected from a number of his contributions. The first on our list is thoroughly conventional in design; but the Caprice, " Zephyrs de Mai," is based upon a pleasing, light subject, and contains some good pianoforte passages. The '; Tyrolienne " is a well-written piece of its kind, and will aSord some useful practice. The change into the sub- dominant is a welcome relief from the monotony of the too prevailing key of C.

Pack Clo7zds away, Son. VVords by Thomas Heywood, I607. Music by Jessie Batterill.

tStanley Lucas, XVeber and Co.] THE composer of this song, although new to us, claims

a right to be heard, even in the present over-productive age, for her setting of Heywood's well-known words is as melodious as it is u;pretentious. Her opening symphony presents us with an effective sequence of sevenths leading gracefully into the voice part, the melody of which is appro- priately harmonised and sympathetically accompanied throughout. The ballad will assuredly secure a good reception from those who admire simple vocal music.

Hzzmtius in Mlcro. Part-Song for A.T.T.B.B. The Latin Version of " Humpty Dumpty." From the Nursery Rhymes of England. Written by J O Hallisvell Phillips.

Hztsh-a-Bye. Part-Song. Composed by C. A. Macirone.

[J. B. Cramer and Co.] ALL who weIcome a classical version of the well-known

legend of " Humpty Dumpty" will be pleased to possess themselves of this capital part-song, the musical merits of which we need not here enlarge upon. " Hush-a-Bye " is composed to the authorised nursery words, for soprano, mezzo-soprano, and contralto, and, treated throughout rvith Miss Macirone's skill and humour, so often before shown in her settings of nursery ditties, cannot fail to produce a marked eSect upon an audience. Mr. Henry Leslie, who now seems to have brought back the feeling for delicate part-music, should include this composition in his programme for next season.

Trois Fenillets fI'AIbum. Pour le Piano. Par Stephen Heller. [Forsyth Brothers.]

As a nvriter of refined and poetical sketches for the pianoforte the composer of these three pieces has long been celebrated; and should the misfortune which has now overtaken him preclude the possibility of his adding

Only pedants object to transcriptions per se, the common sense view of the matter being that every arrangement should stand or fall on its osvn merits. Considered in this light the present pieces deserve favourable recognition, for they are not generally knon in their original shape, while svithout exception their merits are considerable. We would especially draw attention to a lovely air in the manner of a slosv minuet from Haydn's forgotten " Orfeo ' in No. 7, and in No. 8 an Aszdante rustico, by Dussek, from the Fantasia (Op. 76). It is scarcely necessary to state that in all cases the tasl; of transcription has been carried out with taste and knovledge of efict.

THens a szoz. Pensee musicale. Pour Piano. Zet) v s dc llf cei. Caprice Fantastique. Pour Piano. Tyrolicllste. Pour Piano.

Par Victor Delacour. [Edwin Ashdown.]

WERE the special characteristics of modern " drawing- room " works as varied as their titles, amateurs might select an interestint, repertory of su¢h compositions for perform- ance before their friends. Unfortunately, however, the piece is usually written upon the plan of presenting an eight-bar phrase, with a second part-either in the dominant or relative minor-which is repeated with different accom- paniments and a cod. Part-writing, even in the mildest form, is rarely attempted, the left hand being a servile attendant upon the right. Although sve hope that the time is approaching when music will cease to be written down to unformed amateurs, we are bound to chronicle some of the most refined of the multitude of " fashionable " trifles which come before us, and amongst these may be placed the pieces by Victor Delacour, the style of whom is fairly represented in the three we have selected from a number of his contributions. The first on our list is thoroughly conventional in design; but the Caprice, " Zephyrs de Mai," is based upon a pleasing, light subject, and contains some good pianoforte passages. The '; Tyrolienne " is a well-written piece of its kind, and will aSord some useful practice. The change into the sub- dominant is a welcome relief from the monotony of the too prevailing key of C.

Pack Clo7zds away, Son. VVords by Thomas Heywood, I607. Music by Jessie Batterill.

tStanley Lucas, XVeber and Co.] THE composer of this song, although new to us, claims

a right to be heard, even in the present over-productive age, for her setting of Heywood's well-known words is as melodious as it is u;pretentious. Her opening symphony presents us with an effective sequence of sevenths leading gracefully into the voice part, the melody of which is appro- priately harmonised and sympathetically accompanied throughout. The ballad will assuredly secure a good reception from those who admire simple vocal music.

Hzzmtius in Mlcro. Part-Song for A.T.T.B.B. The Latin Version of " Humpty Dumpty." From the Nursery Rhymes of England. Written by J O Hallisvell Phillips.

Hztsh-a-Bye. Part-Song. Composed by C. A. Macirone.

[J. B. Cramer and Co.] ALL who weIcome a classical version of the well-known

legend of " Humpty Dumpty" will be pleased to possess themselves of this capital part-song, the musical merits of which we need not here enlarge upon. " Hush-a-Bye " is composed to the authorised nursery words, for soprano, mezzo-soprano, and contralto, and, treated throughout rvith Miss Macirone's skill and humour, so often before shown in her settings of nursery ditties, cannot fail to produce a marked eSect upon an audience. Mr. Henry Leslie, who now seems to have brought back the feeling for delicate part-music, should include this composition in his programme for next season.

Trois Fenillets fI'AIbum. Pour le Piano. Par Stephen Heller. [Forsyth Brothers.]

As a nvriter of refined and poetical sketches for the pianoforte the composer of these three pieces has long been celebrated; and should the misfortune which has now overtaken him preclude the possibility of his adding

Only pedants object to transcriptions per se, the common sense view of the matter being that every arrangement should stand or fall on its osvn merits. Considered in this light the present pieces deserve favourable recognition, for they are not generally knon in their original shape, while svithout exception their merits are considerable. We would especially draw attention to a lovely air in the manner of a slosv minuet from Haydn's forgotten " Orfeo ' in No. 7, and in No. 8 an Aszdante rustico, by Dussek, from the Fantasia (Op. 76). It is scarcely necessary to state that in all cases the tasl; of transcription has been carried out with taste and knovledge of efict.

THens a szoz. Pensee musicale. Pour Piano. Zet) v s dc llf cei. Caprice Fantastique. Pour Piano. Tyrolicllste. Pour Piano.

Par Victor Delacour. [Edwin Ashdown.]

WERE the special characteristics of modern " drawing- room " works as varied as their titles, amateurs might select an interestint, repertory of su¢h compositions for perform- ance before their friends. Unfortunately, however, the piece is usually written upon the plan of presenting an eight-bar phrase, with a second part-either in the dominant or relative minor-which is repeated with different accom- paniments and a cod. Part-writing, even in the mildest form, is rarely attempted, the left hand being a servile attendant upon the right. Although sve hope that the time is approaching when music will cease to be written down to unformed amateurs, we are bound to chronicle some of the most refined of the multitude of " fashionable " trifles which come before us, and amongst these may be placed the pieces by Victor Delacour, the style of whom is fairly represented in the three we have selected from a number of his contributions. The first on our list is thoroughly conventional in design; but the Caprice, " Zephyrs de Mai," is based upon a pleasing, light subject, and contains some good pianoforte passages. The '; Tyrolienne " is a well-written piece of its kind, and will aSord some useful practice. The change into the sub- dominant is a welcome relief from the monotony of the too prevailing key of C.

Pack Clo7zds away, Son. VVords by Thomas Heywood, I607. Music by Jessie Batterill.

tStanley Lucas, XVeber and Co.] THE composer of this song, although new to us, claims

a right to be heard, even in the present over-productive age, for her setting of Heywood's well-known words is as melodious as it is u;pretentious. Her opening symphony presents us with an effective sequence of sevenths leading gracefully into the voice part, the melody of which is appro- priately harmonised and sympathetically accompanied throughout. The ballad will assuredly secure a good reception from those who admire simple vocal music.

Hzzmtius in Mlcro. Part-Song for A.T.T.B.B. The Latin Version of " Humpty Dumpty." From the Nursery Rhymes of England. Written by J O Hallisvell Phillips.

Hztsh-a-Bye. Part-Song. Composed by C. A. Macirone.

[J. B. Cramer and Co.] ALL who weIcome a classical version of the well-known

legend of " Humpty Dumpty" will be pleased to possess themselves of this capital part-song, the musical merits of which we need not here enlarge upon. " Hush-a-Bye " is composed to the authorised nursery words, for soprano, mezzo-soprano, and contralto, and, treated throughout rvith Miss Macirone's skill and humour, so often before shown in her settings of nursery ditties, cannot fail to produce a marked eSect upon an audience. Mr. Henry Leslie, who now seems to have brought back the feeling for delicate part-music, should include this composition in his programme for next season.

Trois Fenillets fI'AIbum. Pour le Piano. Par Stephen Heller. [Forsyth Brothers.]

As a nvriter of refined and poetical sketches for the pianoforte the composer of these three pieces has long been celebrated; and should the misfortune which has now overtaken him preclude the possibility of his adding

This content downloaded from 128.235.251.160 on Wed, 10 Dec 2014 08:06:29 AMAll use subject to JSTOR Terms and Conditions