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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/37786-8.txt b/37786-8.txt new file mode 100644 index 0000000..6d32e72 --- /dev/null +++ b/37786-8.txt @@ -0,0 +1,3681 @@ +Project Gutenberg's The Influence of the Organ in History, by Dudley Buck + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Influence of the Organ in History + Inaugural Lecture of the Department of the Organ in the + College of Music of Boston University + +Author: Dudley Buck + +Release Date: October 18, 2011 [EBook #37786] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE INFLUENCE OF THE ORGAN *** + + + + +Produced by Chris Curnow, Hunter Monroe, Joseph Cooper and +the Online Distributed Proofreading Team at +http://www.pgdp.net + + + + + + + + + + + + THE INFLUENCE OF THE ORGAN + IN HISTORY. + + [Illustration: PNEUMATIC ORGAN FROM A MS. PSALTER OF EADWINE IN THE + LIBRARY OF TRINITY COLLEGE CAMBRIDGE.] + + + + + THE + INFLUENCE OF THE ORGAN + IN HISTORY. + + + Inaugural Lecture of the Department of the + Organ in the College of Music + of Boston University + + + BY + + DUDLEY BUCK. + PROFESSOR AND LECTURER OF THE DEPARTMENT. + + + _New Edition, with Illustrations._ + + + LONDON: + W. REEVES, 83, CHARING CROSS ROAD, W.C. + Office of "The Musical Standard." + + + + + LIST OF ILLUSTRATIONS. + + I.--PNEUMATIC-ORGAN FROM A MS. PSALTER OF EADWINE + IN THE LIBRARY OF TRINITY COLLEGE, + CAMBRIDGE (_Frontispiece_). + + II.--PERUVIAN PAN'S PIPES, DOUBLE SET. FROM A + TOMB IN AFRICA 10 + + III.--EARLY FORM OF THE REGALS. FROM LUCINIUS' + MUSURGIA, SEN PRAXIS MUSICÆ, 1536 19 + + IV.--FROM GORI'S THESAURUS DIPTYCHORUM. SAID + TO BE FROM AN ANCIENT MS. OF THE TIME OF + CHARLEMAGNE 22 + + V.--A POSITIVE ORGAN. FROM AMBROSIUS WILPHLINGSEDER'S + EROTEMATA, MUSICES PRATICAE, + NUREMBERG, 1563 31 + + VI.--A CURIOUS ENGRAVING SHOWING AN ORGANIST + PERFORMING UPON AN INSTRUMENT WITH BROAD + KEYS. FROM FRANCHINUS GAFFURIUS' THEORICA + MUSICA, 1492 34 + + VII.--THE ANCIENT MODE OF ORGAN BLOWING. FROM + PRAETORIUS' THEATRUM INSTRUMENTORUM, + 1620 46 + +VIII.--TERRA-COTTA MODEL OF HYDRAULIC ORGAN. + CIR. 150 A.D. CARTHAGE MUSEUM. FROM HERMANN + SMITH'S "THE MAKING OF SOUND IN THE + ORGAN AND IN THE ORCHESTRA" 47 + + IX.--REV. F. W. GALPIN'S WORKING REPRODUCTION + OF THE ROMAN HYDRAULUS. FROM HERMANN + SMITH'S "THE MAKING OF SOUND IN THE ORGAN + AND IN THE ORCHESTRA" 48 + + + + +SECTION I. + +[Illustration: PERUVIAN PAN'S PIPES, DOUBLE SET. FROM A TOMB IN +AFRICA.] + + + + +THE INFLUENCE OF THE ORGAN IN HISTORY. + + +SECTION I. + + +Ladies and Gentlemen:-- + +It having become my duty to deliver this, the inaugural lecture of the +organ department attached to this institution, I have found myself +considerably embarrassed as to choice of subjects. + +The trouble lay in the quantity of material at hand, and not in any lack +of it. + +The history of the Organ runs back so far into the centuries, that no +matter what point one might select for examination, it can scarcely be +brought into the scope of a lecture except in a very empty and skeleton +form. You will bear with me, then, for the superficial manner in which I +shall be forced to treat many important points. As many of those present +do not propose to make a study of the organ, I shall avoid treating of +the instrument itself in any technical sense, and would offer a few +thoughts on the subject of + + +THE INFLUENCE OF THE ORGAN IN HISTORY, + +with a glance at the "schools of playing" thus created. + +The Organ is called the "king of instruments." + +This phrase has been used so often that it has become decidedly well +worn and trite. None the less, however, is the expression full of +significance; and to what an extent (especially in a historical sense) +is known to but comparatively few persons, among whom I fear far too few +organists would be found. + +To bring up some of these neglected facts; to examine them in their +historical and theoretical bearing, as well as in practice; to thus +create a greater love for and appreciation of the instrument on the part +of its students,--to do this, I say, is, if I apprehend it aright, one +of the principal objects which the Boston University has had in view in +founding this department. + +The organ, then, is called the "king of instruments." + +If we look at the phrase a little closer, it will be perceived that the +simile is a striking one. A king, in the so-called "good old times of +yore," if he were a man of any force of character, generally possessed, +along with the divine right theoretical, any quantity of the human power +practical. The day of more or less ornamental constitutional +figure-heads had not yet arrived. + +In other words, the live kings of the past, of the feudal time, moulded +to their own tastes and characters their age, their people, or only +their court, according to the innate ability they might possess. In turn +they were themselves affected, to a degree, by their surroundings, but +to a far lesser extent than is the case at this day, the balance of +influence remaining largely in their favour. + +I will endeavour to show that among musical instruments this "kingship," +as regards the organ, held good in a parallel way,--that by its own +nature as to construction, by its very faults and weaknesses, by the +mission it was called upon to fulfil, it did, in very fact, long reign +supreme as king of instruments. + +Absolute power, as represented by a monarch, became narrowed down, in +the lapse of centuries, by external forces working out their own +independence, thus checking and limiting this absolutism. Here, too, I +will endeavour to draw a parallel, and show that as years rolled on, the +influence of the organ upon music in the abstract diminished. The +process became inverted, and music began to affect the organ, rather +than the organ it. To this we owe the vast improvements in the +construction of the instrument, the many additions of new qualities of +tone, and numberless new inventions of value still going on in our day, +with a rapidity difficult to keep pace with. To fairly appreciate this +past or present relation of things, it becomes necessary to take a hasty +and necessarily superficial glance backward at the origin of the +organ,--its invention and development. + +All writers attribute the origin of the organ to that simplest as well +as most ancient of musical instruments, called by the Greeks the "pipes +of Pan,"--Pan, in the ancient mythology, being the god of the woods and +groves. It consisted of a few hollow reeds of various lengths, securely +bound together, and blown by the lips. We still occasionally see and +hear this instrument in our streets, performed upon by those nomadic +"sons of art," the organ-grinders. The performer being obliged to move +his head continually from side to side, an unpleasant and fatiguing +operation, soon led to an attempt to blow these tubes artificially. From +this resulted the placing of the pipes upon a small wind-chest, and the +addition of a primitive bellows, the whole being easily carried and +operated by one performer. Of particular value in the establishment of +this historical fact was the discovery, in Syria, among some ancient +ruins, of a sculptured figure playing on such an instrument. Although +much mutilated, all the more important parts were still intact. This +interesting relic was brought to England about the year 1853. + +It should be mentioned here, that the word "organ," not unfrequently +found in the Bible, should not be supposed to refer to any such +instrument as the name would suggest to our minds. Both with +the Greeks and Romans the term translated "organ" simply meant an +"instrument,"--and that of any kind, but with usage apparently favouring +its application to musical instruments. + +Upon the application of the bellows to supply wind, instead of the human +lungs, the fingers were used to stop the pipes, and thus prevent their +sounding all at once, which it is evident they would have done, standing +on a simple wind-chest, which was filled by the bellows. As the number +of pipes was gradually increased, the difficulty of managing them by +hand of course became greater and greater. This in time led to the +invention of the pallet, or valve, to control the admission of wind to +each pipe, and by the close of the eleventh century we find it +chronicled that there existed at Magdeburg an organ with a _key-board_ +comprising sixteen keys. From this time the name of the instrument +begins to correspond with our modern idea of the same; its invention was +a realized fact, although but a germ of that development which has since +raised organ-building to its artistic importance. It must be borne in +mind that the pedal organ, with its keys for the feet, was a much later +invention. Meantime, the first keys made use of measured from three to +five inches and a half wide. Consequently, the title of the performer on +this instrument, in the eleventh century, was not that of +organ-_player_, but organ-_beater_, the keys being struck by the fist, +which was protected by a heavy glove. There was, it must be remembered, +but one rank of pipes, and these could seldom, if ever, have been in +tune, from the fact that they had no means of regulating the wind +pressure; while in organs of later date, and at the present day, an even +wind is secured principally by weights placed upon the bellows, and the +creation of a reservoir of compressed air. At this early time the wind +supply was furnished by the common bellows as used by blacksmiths. Thus +the supply and consequent pressure of the wind would necessarily be in +direct proportion to the muscle or activity of the blowers. + +While the various discoveries and improvements in organs of the twelfth +and thirteenth centuries were slowly progressing, almost the only vocal +music the world knew were the Gregorian tones, or plain song of the +Early Church. Harmony was entirely unknown, and indeed remained so for +many a long year in anything like our modern significance. It is not my +purpose here to enter into even a partial examination of the parallel +progress of melody and harmony at this age of the world. You have +already heard it treated by an abler pen than mine; nor does it properly +belong to this department, except in so far as it becomes necessary to +note any decided influence exerted by the one upon the other. This +influence, as exerted by the organ upon Church music, did not begin as +early as might be supposed. Rimbault, in his work on the "History of the +Organ" (which I shall have occasion frequently to quote), states that +"even in the thirteenth century, the priests of both the Greek and Roman +Churches thought the use of organs in divine service scandalous and +profane. They preferred rendering divine worship as simple as possible, +in order to distinguish it from that of the Jews and Pagans. Even to +this day the Greek Church does not tolerate the use of organs in their +public services. Notwithstanding these opinions, the use of organs, and +even other instruments, gradually became almost universal, not only in +great churches, but in those of monasteries, convents, and small towns. +The historians of this era celebrate several monks distinguished for the +art of playing on the organ. For some time, however, organs were not +used in the ordinary celebration of the offices, but only on great +feasts and solemn occasions. These first monastic and conventual organs +were very small, being only used to play the melody of the plain song in +unison with the voices." + +In spite of the disrepute into which the whole monastic system fell, +there is no question but that the monks and friars were the great +conservators and preservers of all the fine arts, and even mechanics, +during the troubled times of the Middle Ages. As the prejudice against +the employment of instrumental music in the church services began to +disappear, nothing was more natural than that the monks, having both the +leisure and pecuniary means, and containing among their number the best +educated men of the day, should turn their attention to organ-building, +animated by the same spirit which led them to decorate and ornament +their churches and monasteries. Thus we find that it is to them we owe +the improvement of the hitherto clumsy key-board, extending its compass +both upward and downward to the extent of some three octaves, and so +reduced both fall and breadth of the keys that they could be pressed +down by the fingers, instead of struck by the fist; certainly no small +improvement. The first organ possessing keys to give the chromatic tones +or semitones was built by a priest--Nicholas Faber by name--about 1360. + +It now behoves us to glance for a moment at the influence which the +organ already began to exert upon music, or the art composition, and to +show how the instrument became to show proofs of that right to the +title, "king of instruments," in the sense I have adopted. It must be +kept in mind that the veriest twilight dawn of the knowledge of harmony +had scarcely begun. Yet what can be conceived more natural, than that +the organist of that day, even, should stumble on the fact that +different tones in conjunction were more agreeable to the ear than the +bare unison, which was at first the only accompaniment of the choral +song? This being noted, the next logical step was to try and produce the +same approved effect with the voices themselves. In the "_History of the +Modern Music of Western Europe_," by _Kiesewetter_, the following +passage occurs. He is not speaking of the organ, but of the origin and +development of the science of harmony. + +He says: "The union of different human voices which now occurred to +their thoughts (the early harmonists), was an imitation not altogether +happy, perhaps, of that which in various instances _they had discovered +with the organ_!" Here the fact that the organ was even then beginning +to assert itself, to mould the minds of the early writers, in fact, to +claim its royal dues, is pretty conclusively shown. + +Time would altogether fail me in the scope that this lecture must +necessarily occupy, to trace down this influence, once established, +through the long cycle of years that followed; the theoretic science and +practical application keeping pace with the mechanical development, +until it found its full culmination and glory in the new-born science of +Counterpoint. This science, which has given polish to the mightiest +thoughts of the greatest masters of our art (and in totally different +departments than mere organ-playing),--a science, without a satisfactory +knowledge of which no man can call himself a thoroughly educated +musician,--sprang from just this source. + +How often we hear the remark that contrapuntal treatment is best suited +to the organ! True; but how many reflect that the organ, so to speak, +first _dictated_ counterpoint to the world? An influence, which (the +free forms being derived from the stricter) is carried clear down into +the realm of Italian opera, _i.e._, when it is good of its kind. Is not, +then, this influence, which the organ has indisputably exerted upon not +merely its own literature, but the musical literature at large, an +all-sufficient proof of its right to the royal title? It must be borne +in mind that this absolutism, as in matters political (to carry out the +simile), was possible at this stage of the world in matters musical, +because not even the harpsichord, clavichord, spinet, or any of those +presentiments of the modern pianoforte, by whatever name they were +called, had as yet made their appearance. The organ was, for the time, +the sole keyed instrument. + +In view of these facts, it seems to me that it may be justly claimed +that the title "king of instruments" should be based on far nobler and +more historic grounds than is usually done, and that we should not +content ourselves with explaining this phrase as arising from the +circumstances that it is the instrument which can, of its own resources, +make the loudest noise! + +[Illustration: EARLY FORM OF THE REGALS. FROM LUCINIUS' MUSURGIA, SEN +PRAXIS MUSICÆ. 1536.] + + + + +SECTION II. + +[Illustration: FROM GORI'S THESAURUS DIPTYCHORUM. + +SAID TO BE FROM AN ANCIENT MS. OF THE TIME OF CHARLEMAGNE.] + + + + +SECTION II. + + +The organ nomenclature has, as is the way of the world, changed somewhat +from age to age. In accounts of the old English organ, we frequently +find this and that church being referred to as possessing a "payre of +organs." This has been variously interpreted, some supposing it to refer +to organs of two manuals, which explanation seems natural enough; but +the best authorities explain it as meaning an organ which possesses more +than one rank of pipes, or more than one stop. Rimbault, who takes this +view, says the expression is to be regarded as a phrase of nearly +obsolete English, and to be taken in the same sense as we still +sometimes say "a pair of stairs," instead of a "flight of stairs." One +proof of this interpretation that he cites is interesting. During the +great Cromwellian rebellion, and the rule of the Roundheads in England, +a great many organs were destroyed by the soldiery, who considered them +a relic of Popery. At this time, a certain Mr. Pepys, whose diary is +still extant, travelled about considerably and interested himself in the +organ, as well as some other matters, as will be seen from the following +extract from the aforesaid diary. The point to us (although by no means +the only one to him) lies in the fact that he uses the words "the +organ" and the "pair of organs" as evidently, synonymous. He writes as +follows:-- + + April 5, 1667. "_To Hackney: where good beef tongue, and things to + eat and drink, and very merry, the weather being mighty pleasant; + and here I was told, that at their church they have a fair PAIR OF + ORGANS, which play while the people sing, which I am mighty glad of + wishing the like at our church at London, and would give £50 + towards it._" + + April 21, 1667. "_To Hackney church, where very full, and found + much difficulty to get pews. I offered the sexton money, and he + could not help me.... That which I chiefly went to see was the + young ladies of the schools, whereof there is great store, very + pretty" (you see how history repeats itself); "and ALSO the ORGAN, + which is handsome and tunes the psalms, and plays with the people; + which is mighty pretty, and makes me mighty earnest to have a pair + at our church, I having almost a mind to give them a pair, if they + would settle a maintenance on them for it._" + +Mr. Pepys' heart was evidently in the right place, and the thought of +having the church provide a fund for the proper tuning and repair of the +organ, not only sensible, but, to quote his own words, "a mighty pretty" +idea. + +The invention of the pedal key-board, that most important and +characteristic part of the organ, seems to have occurred about the +beginning of the fourteenth century. There is no reliable account of who +first made this addition, it being claimed by various parties. The +sixteenth century was the period when the arts of sculpture, painting, +and architecture had gained what might almost be termed a modern +artistic polish, in not a few instances, indeed, surpassing all that the +moderns have accomplished. The early school of church painters had +become modified. Grace and relative refinement had largely taken the +place of the early stiffness of design and execution, and in sculpture +and architecture were witnessed many of the results which are still the +wonder of the world. With this refinement came a taste for luxury and a +love of ornament which in the seventeenth and early part of the +eighteenth century had extended to and affected organ-building, at least +externally. + +Seidel, in his work on the organ, gives this excellent account of the +tendency referred to:-- + +"At this time, great industry and expense was bestowed upon the external +decoration of the organ. The entire case was ornamented with statues, +heads of angels, vases, foliage, and even figures of animals. Sometimes +the front pipes were painted with grotesque figures, and the lips of the +pipes made to resemble lions' jaws. They went further, and threw away +the money, which might have been expended in a worthier manner, on the +display of the most tasteless and absurd tricks of art, degrading +thereby--doubtless unintentionally--a noble instrument, intended for +sacred purposes, into a _raree-show_. Among these ornaments, the figures +of angels played a very conspicuous part; trumpets were placed in their +hands, which by means of mechanism could be moved to and from the mouth. +Carillons (bells) too, and kettle-drums, were performed upon by the +movable arms of angels." (Think of an angel playing upon a +kettle-drum!). "In the midst of this heavenly host, sometimes a gigantic +angel would be exhibited hovering in a 'glory' over the organ, beating +time with his bâton as conductor of this super-earthly orchestra! + +"Under such circumstances, the firmament, of course, could not be +dispensed with. So we had wandering suns and moons, and jingling stars +in motion. Even the animal kingdom was summoned to activity. Cuckoos, +nightingales, and every species of bird, singing, or rather chirping, +glorified the festival of Christmas, and announced to the assembled +congregation the birth of the Redeemer. Eagles flapped their wings, or +flew towards an artificial sun. The climax, however, of all these +rarities, was the _fox-tail_. It was intended to frighten away from the +organ all such inquisitive persons as had no business near it. Thus, +when they pulled out this draw-stop, suddenly a large fox-tail flew into +their faces! It is clear that by such absurd practices, curiosity was +much rather excited than stopped, and that all this host of moving +figures, and their ridiculous jingling, disturbed meditation, excited +the curiosity of the congregation, and thus disparaged the sublimity of +divine service." + +Of course all this nonsense in due time brought its own cure with it. +The money expended was diverted towards its worthy and legitimate +object, and to-day, in Europe, but few such relics of the past can be +found, and those generally in out-of-the-way places. I have myself seen +but one organ containing any of these absurdities. That was in a small +town of Camin, on the Baltic sea-coast of North Prussia, and I was +informed by the old organist (as Seidel says) that these things were +_reserved for Christmas and Easter_! + +While the power, compass, and variety of organ tone, as well as the +mechanism of the instrument, made steady progress throughout the +fifteenth and sixteenth centuries, the science of harmony in the largest +sense kept even pace with it, and, perhaps, received even a greater +relative development. Meantime, the orchestral instruments of the day +had received a fair share of improvement. The harpsichord had been +invented, and sufficiently perfected to be worthy of the powers of such +a master as Sebastian Bach. With the appearance of this great man the +art of counterpoint reached its culmination, never surpassed, if even +equalled in isolated instances, by any subsequent writer. His organ +compositions cover every resource, both in design and execution, +possible to the organ of his day; and yet, I do not think it too much to +say that, had Bach never written a single organ piece, his claims for +recognition as a great composer would remain substantially the same. His +greatest works are to be found among his vocal and orchestral writings. +Let us examine for a moment the reason for this, and of the influence of +the "king of instruments" upon musical composition at this time. + +We have seen that contrapuntal treatment, so-called, owed its origin to +the nature of the organ. Vocal music, at the time of which we speak, +felt the same influence and followed the same form. Now, if we open one +of the vocal and orchestral scores of Bach, we shall see that while he +gives the instruments more freedom than his predecessors, in consequence +of their largely increased powers and the proportional increased ability +of the executants of his day, yet the contrapuntal influence is +everywhere visible. It was the period of strict form. As we count back +such cycles, it was but a relatively short time since music had been +"without form, and void; and darkness was upon the face of the deep," +artistically speaking. Music was a serious matter. They revelled in +fugue, and even danced contrapuntally. Although not a direct influence, +perhaps, is not this state of things, after all, a sufficient proof of +the absolutism of the organ in a derived manner,--the regal sway of the +king of instruments at this period? Bach breathed new life into these +dry and purely scientific forms, and it is his greatest glory that in +many, if not all, of his profoundest works, his genius enabled him to +unite the emotional and æsthetic element with the purely intellectual +and scientific. + +While the improvement of the organ, as respects both tone, mechanism and +general capabilities, continued, and still continues at the present day, +it is noteworthy that from the time of Bach, of all others, the +influence of the organ upon music at large began to diminish. From this +point we have to consider the decline of this influence, showing that +music began to emancipate itself, each instrument claiming and receiving +its own especial rights and treatment, long before a similar dawn of +liberty began in the political world. Two reasons conduced to this +change. + +First, the requirements of music, which found no prototype in the organ +of that day. As the instruments were then built, they possessed but +little variety of tone, the swelling or diminishing of which was an +impossibility; nor had the organist any mechanical assistance whatever +to enable him to vary the combinations of stops. + +Second, the invention of the harpsichord. This instrument, the +_avant-courier_ of the pianoforte, to which we have already referred, +had already become sufficiently popular to make its own peculiar +influence felt. This consisted in the power of crescendo and diminuendo +according to the force exerted by the player, and a light touch which +offered no impediment to rapid execution, besides certain other effects +through its characteristic tone impossible upon the organ. + +The light touch of the harpsichord, as compared with the heavy and +fatiguing action of the organs of that day, was necessarily a source of +great attraction; and the instrument itself, although far from finding a +home in every household, as the piano has in our time, yet possessed the +merit of being portable. + +It was not long before the transition period began,--that period in +which musicians and composers tested and decided upon that which was +best and most fitting in the treatment of these respective instruments. +Nowhere can we find more evident signs of this time of experiment, this +gradually leaving old landmarks and seeking a new form of expression, +than in the works of Bach himself. + +In the "Well-Tempered Clavier" we find preludes and fugues impossible to +properly interpret on any other instrument except the piano, placed side +by side with those whose real significance can only be developed upon +the organ. In a portion of the pieces written especially for the organ, +we find, on the other hand, passages which to modern ears are only fit +for and tolerable on the piano. The dividing lines of effect, not to say +possibility, had not as yet been fully marked out. The organ was no more +disposed to give up its long sway, and be narrowed to its own particular +sphere, than any other sovereign, when the limiting influences of modern +times first began to make themselves felt. Like them, however, it was +obliged to yield. Little by little the piano emancipated itself from the +_strict_ contrapuntal chain which bound it to the organ, until, in the +sonatas of Mozart and Beethoven, it emerged into a new life. + +Here it was strengthened by the _free_ contrapuntal treatment it +received, like the fruits of early education showing themselves in new +and original forms,--speaking a language founded indeed on the past, but +new, fresh, and sparkling; or, when adopting the strict style, taking it +up as a matter of choice, but not of compulsion. Such results followed +the invention of the harpsichord,--the early piano,--and here we must +leave it. It would, however, be an interesting subject to trace this +development down to Chopin, Liszt, and the modern Titans of the piano, +showing how gradually the mutual treatment of piano and organ +disappeared and what was substituted in their place. It could, however, +only be satisfactorily done by musical examples. + +Meanwhile the orchestra blossomed into a new significance. To us moderns +who read its history, or look back into the scores which antedate this +time, it does not seem so much a period to be described, as that of +progress, as that of a veritable new birth itself, a new creation. And +this is, indeed, the fact; for no improvements in ancient instruments, +although they took place, nor addition of new ones, can account for the +change which now occurred in the orchestra. Here it was _the man_, not +the instrument; and the name of Joseph Haydn will always be quoted as +"Father of the Modern Orchestra." + +The organ lost nothing of real value to itself by this increased +significance of other branches of instrumental music. Its sphere became +defined, and in Germany quite limited, as to this day it is but rarely +employed there in the way of accompaniment beyond supporting the choral +song of the congregation. In France and England it has been different, +the organ having been employed to accompany many anthems and other +extended pieces of music, which in Germany (at least in the larger +cities) would be given with the orchestra. It should be noticed that to +England we owe one great improvement, which, especially for the _rôle_ +the organ is called upon to fill in this country, can scarcely be +overrated. I refer to the invention of the swell, and the great variety +of effects we are enabled to achieve by its means in both accompaniment +and solo playing. + +[Illustration: A POSITIVE ORGAN. FROM AMBROSIUS WELPHLINGSEDER'S +EROTEMATA MUSICES PRACTIÆ. NUREMBERG, 1563.] + + + + +SECTION III. + +[Illustration: A CURIOUS ENGRAVING SHOWING AN ORGANIST PERFORMING UPON +AN INSTRUMENT WITH BROAD KEYS. FROM FRANCHINUS GAFFURIUS' THEORICA +MUSICA. 1492.] + + + + +SECTION III. + + +In the London "Spectator" of Feb. 8, 1712, is the following +announcement:-- + +"Whereas, Mr. Abraham Jordan, senior and junior, have, with their own +hands, joynery excepted, made and erected a very large organ in St. +Magnus' church, at the foot of London bridge, consisting of four sets of +keys, one of which is adapted to the art of emitting the sounds by +swelling the notes, _which was never in any organ before_; this +instrument will be publicly opened on Sunday next, the performance by +Mr. John Robinson. The above said Abraham Jordan gives notice to all +masters and performers, that he will attend every day next week at the +said church, to accommodate all those gentlemen who shall have a +curiosity to hear it." + +Very little is known of this Mr. Jordan, except that his invention +pleased greatly, and was found of such practical use, that not only were +all new organs in England (virtually from this date) furnished with +swells, but himself and son found much occupation in adapting and adding +their invention to the older London organs. The lack of a swell is the +weakest point of the great majority of German organs. Even Dr. Burney, +fifty years after swells had become common in England, expresses, in +his famous work entitled _The Present State of Music in Germany, the +Netherlands and United Provinces_, two volumes, also _The Present State +of Music in France and Italy_, his great surprise to find them utterly +unknown upon the Continent. His remarks would hold true at the present +day with but little modification, as far as Germany is concerned, few +instruments outside the larger ones of recent date possessing this great +improvement. The reason of this is to be found, partly in the extremely +conservative character of their organ-builders, almost a national trait, +and still more in the fact that but little use would be found for a +swell organ outside solo playing. With us, nearly the reverse is true, +the swell being most indispensable in accompanying choirs as here +constituted. Notwithstanding this neglect of what seems to us an +indispensable addition to the instrument, the glory of the invention and +perfection of the organ justly belongs to Germany. Modern organ-building +requires the most profound study of the laws both of mechanics and +acoustics, and the German mind was constitutionally fitted, by a natural +depth and thoroughness of thought, together with the truly artistic +quality of patience, to be successful in solving this great +problem,--the creation of the most complex instrument known. + +France, too, has produced her great organs and organ-builders. If often +lacking the sublimity and solidity of tone characteristic of many of the +famous German organs, they interest (particularly the American taste) by +a greater variety of the so-called "fancy," or solo stops. This +difference, too, has grown out of the nature of the duties demanded of +the organ and the organist in the service of the Roman Catholic church, +and it is these differences of usage which in process of time, combining +with further differences of national taste, led to that varied style and +treatment which we denominate "Schools of Playing." + +We divide these schools into the German, French, and English. + +The first of these, the German school, is especially characterized by +the importance given to the use of the pedals, the feet being called +upon to execute passages of equal melodic value with that assigned to +the fingers. This renders it the school of schools for those who would +really attain a mastery of the instrument, and gain that independence of +foot and finger so difficult to acquire. In fact, it is only possible by +a thorough study of the great masters in this school of playing, to +destroy that sympathy which exists between the left hand and the feet. +This sympathy lies in the fact that should a pedal passage _ascending_ +occur in conjunction with a left-hand passage _descending_, the natural +inclination of the left hand is to follow the pedal, instead of +executing its own independent part. Of course the same trouble is +experienced if the conditions, as just stated, should be reversed. This +is the great difficulty of the _obbligato_, or independent mode of +treating the pedals, to conquer which may fairly be termed a life-study. +For this reason the earnest student should always begin his studies in +this school, and not deviate therefrom until such time as a reasonable +degree of skill has been attained, and the sympathy between hands and +feet, before alluded to, measurably overcome. And here let me say that +far too many of those who feel themselves drawn towards the study of the +organ, approach such study unprepared. The organ, as a keyed instrument, +has all the main points of technique in common with the piano. All the +varied forms of scales, arpeggios, &c., together with the necessary +independence of finger requisite to play in the _legato_ style, should +first be learned upon the piano, where, by the way, it can be more +speedily acquired. Pupils who, having accomplished this, proceed to the +study of the organ, can at once begin with the peculiarities and +characteristic difficulties of the instrument, and as far as the pedal +is concerned, will make far more rapid progress if fair manual players. +They are thus enabled to concentrate their attention upon that which is +new and strange to them. Such would undoubtedly be the testimony of all +those who have had experience in this branch of teaching. + +Without questioning the pre-eminence of the German school in all matters +of technique and pure science, although educated in that school myself, +I would not claim for it, as do some, that it is the Alpha and Omega of +all true organ playing. Viewed in relation to the modern organ as it +exists to-day, especially in France, England, and America, it seems to +me that the instrument is in advance of the school, or that the school +is weak in the two following points:-- + +First: It does not make a sufficient employ of registration within the +limits of one and the same composition. Beauties of contrast, to be +obtained by this means, are too frequently regarded as a matter of less +than secondary importance. This, I am aware, arises from the fact that +the majority of German organs are incapable of producing such variety, +being built with a single eye to accompanying the congregation. In the +direction of the grand and sublime, this school is unequalled; but +surely there are many effects possible to-day which lay no claim to +profundity, and yet are pleasing and worthy of employment by a true +artist. + +Second: Ignoring the emotional element in organ music to a great extent, +and substituting the purely intellectual and technical. In their +melodies we recognize the true inspiration of the great composers. The +scientific setting they may give them, the technical dress in which they +may clothe them, thus often greatly enhancing their beauty, is, after +all, a matter of pure science acquired through schooling and dignified +by talent. This appeals to the intellect, and is a most desirable object +of study; but the melodic inspiration itself appeals to the heart, and, +as the God-given quality, is the higher of the two. Now the German +writers for the organ, from Bach to this day, have, as a rule (to which +I am aware there are some marked exceptions), apparently avoiding giving +to the organ that _melodious_ element which their great composers have +so beautifully done, not only in their symphonic writings, but also in +their smallest works for the piano or other instruments. The mere lack +of means for expression (by means of the swell or other mechanical +appliances) is hardly a sufficient explanation of this, nor do I see +anything in the character of the organ to account for it. That the great +German writers following Bach (Mendelssohn excepted), but more +especially the masters of the more recent so-called Romantic School, +have contributed little or nothing towards the literature of the organ, +is really explained by the following remark of Berlioz, in his treatise +on "Modern Instrumentation." Speaking of writing properly for the organ, +he says: "The special resources are here so vast and numerous, that the +composer will never be well acquainted with them, as it appears to me, +unless he be himself an accomplished organist." + +The French school of organ playing is usually light, sensational, often +pleasing, but too often frivolous and unworthy of the instrument. Yet in +a certain direction they have had their great men. No one who has had +the opportunity of hearing Lefebure Wely extemporize on that great organ +at the church of Saint Sulpice, in Paris, but must acknowledge that the +performance was masterly, although widely different from the German +school. In fact, these extempore performances of Wely's were far better +than his published compositions. The prevailing tone of the French +organ-playing is dramatic, and, as before said, too often sensational. +As might be expected from the national character, it forms a great +contrast to the German style. The use of the pedal for melodic phrases +is rare, it being more generally employed simply to give the fundamental +support of the harmonies and passages executed upon the manuals. On the +other hand, much attention is paid to registration, and frequently much +talent displayed in this direction; besides, their organs are built in a +manner calculated to assist the player in this respect. Of course the +Romish ceremonial, the universally dominant religion in France, gives +much opportunity for display of this kind. To judge any of these +varieties of organ-playing, it will be seen that the standpoint of use +to which the instrument is to be put must be carefully borne in mind. +Although this school is by no means devoid of excellencies, it is not to +be recommended to the American student who is seeking a solid foundation +in organ-playing. Still it may be employed to advantage, both in the way +of recreation, general culture, and especially as studies in +registration, after the "weightier matters of the law" have received due +attention. + +The English school, as a _distinctive_ method of treatment, can hardly +be said to exist. It forms a sort of middle ground between the two +schools of which I have just spoken, and their organs may be described +in the same manner as to characteristics of building. In America, of +late years, we have followed suit, copying Germany in the voicing of +most of our open and stopped pipes, both metal and wood; copying France +in the main characteristics of their reed voicing (in which they were +long pre-eminent), and copying England in the general plan of our +organs, together with their conveniences of mechanism and effects of +combination. + +In spite of the fact, then, that England has no distinctive _national_ +school of the instrument, still there is probably no country where so +much interest is taken in organs and organ-playing as in the England of +to-day. Her prominent organists are solidly founded on the German +school; but while they execute these great works in a masterly manner, +their _repertoire_ extends over a far wider range and variety of +compositions than the German school alone can supply. This seems to me +to be praiseworthy, for although the practice of this theory may be +carried too far, and it is certain that _everything_ cannot even +approximately be played upon the organ; yet, in view of the vast +improvements of the last twenty years, all tending to assist the players +in producing effects impossible heretofore, why should the use of these +means be ignored? The English organists, to this end, have made a vast +number of arrangements and adaptations from works not originally +composed for the organ. Very many of these are just as effective as if +originally composed for the instrument, and so far form a welcome +addition to organ literature; inasmuch as they generally embody the use +of the new improvements and facilities referred to. On the other hand, +many of these go too far, and attempt transcriptions of compositions +totally opposed to the genius of the organ. The careful student will, +however, easily be able to recognize and avoid such, if he has had the +proper foundation laid before attempting works of this class. + +There are those, however (and their opinions are entitled to respect), +who claim that such free treatment of the organ is improper. These +persons would, with little or no exception, limit the _repertoire_ to +such works as have been originally written for the organ; and when they +got outside fugue or canon, would still remain carefully within the +limits of purely contrapuntal orthodoxy. Any other treatment is styled +"_illegitimate_." I had hoped to avoid this terrible word,--the great +bugbear among conscientious students of the organ,--nor do I propose to +enter into any analysis of what the "legitimate" may or may not consist +in. The fact is, we should all retain our original opinions very much +according to our early education, natural tastes, and impressions. There +has been much controversy on this point, and I do not think it necessary +to contribute to that. In any case, where the subject under discussion +cannot be considered as a _positive_ right or wrong, but largely as a +matter of taste or preference, there will always be a difference of +opinion. + +Froude, the historian, says in one of his published lectures: +"Controversy has kept alive a certain quantity of bitterness; and that, +I suspect, is all that it would accomplish if continued till the day of +judgment.... Each polemic writes for his _own partisans_, and makes no +impression on his adversary." So it would be in this case. + +The inference which I draw from this superficial glance at the main +characteristics of these three schools, is this:-- + +The American student who would excel as an organist, must first be +thoroughly educated in the German school of playing. Here alone can he +gain the solid technique which will fit him for the execution of any +tasks he may propose to himself. Only from that mine of musical wealth, +the German school, especially as represented by Bach, can the suitable +foundation-stones for the desired structure be derived. But with this +foundation broadly and deeply laid, as the building progresses upward, +the best of architects may, without fear, add many things that simply +please the eye, but bear no relation whatever to the strength or +durability of the edifice. So with the education of the organ student; +first the broad foundation, and then a judicious liberalism. His +auditors will always remain the great public, and that public to the end +of time will never be so versed in musical science that it can +appreciate the stricter forms of organ music. But very many among the +public _can_ appreciate, or at least enjoy; and this number is +increasing from year to year. I am by no means arguing that the organist +should avoid these stricter forms on this account; quite the contrary; +but simply that the judicious liberalism above referred to should +provide as great a variety of musical food as will suit and satisfy the +musical appetite within the means of the instrument as it now exists. +Nor should the "milk for babes" be despised. The workings of this +principle will surely attract rather than repel, and maturer musical +strength will instinctively call for heartier food. We have to deal with +men as we find them, and tastes vary. A programme intended for a +miscellaneous audience is, after all, only a musical bill of fare. Real +musical hunger can only be satisfied with solids; but if we first quiet +the deeper cravings with roast beef, I know of no moral obligation why +we should not finish with ice-cream, if inclination should point that +way. To invert the order would be manifestly unsound. + +To my mind, then, the duty of the American organist of to-day is to be +eclectic. He has no "call" to tie himself up exclusively and strictly to +any one particular school; nor, if he pursues the right course, need his +education, technical or æsthetic, suffer on this account. But he must +justify this argument by being thorough in what he undertakes. The skill +with which a thing is done goes far to justify it, if there is any +question at all about the matter. Not that I suppose that many can be +found, who, with all talent and due diligence, can equally excel in all +styles; still the effect of liberalism in this respect cannot but have a +good effect upon the general culture, and aid not a little towards the +accomplishment of that great problem, professional success. + +I cannot close without a congratulatory word respecting the standing, +present and prospective, of the profession in America to-day. I am proud +that we begin to be able to point to so many musicians (even if the +number is still relatively few) who, both from their own scientific +standpoint, and from that of general culture, are deemed worthy of being +placed side by side with the other learned professions. Is not the +creation of this college as a branch of a university course, proof of +this comparatively new but happily increasing appreciation? Of what +importance, then, to keep this present status intact, to secure it, to +increase it, by upholding the dignity of our profession! Let such as +propose to devote their lives to it, both feel and practise the idea so +beautifully expressed by Schiller in his "Ode to the Artists"-- + + "O, Sons of Art! man's dignity to you is given, + Preserve it, then! + It falls with you; with you ascends to heaven." + + * * * * * + + "While you her thousand paths are tracing, + Press onward, keeping truth in sight! + Come, all together, stand embracing + Before the throne where paths unite!" + +_Printed by the New Temple Press, Grant Road, Croydon._ + +[Illustration: THE ANCIENT MODE OF ORGAN BLOWING. FROM PRAETORIUS' +THEATRUM INSTRUMENTORUM. 1620.] + +[Illustration: TERRA-COTTA MODEL OF HYDRAULIC ORGAN. CIR. 150 A.D. +CARTHAGE MUSEUM. FROM HERMANN SMITH'S _The Making of Sound in the Organ +and in the Orchestra._] + +[Illustration: REV. F. W. GALPIN'S WORKING REPRODUCTION OF THE ROMAN +HYDRAULUS. FROM HERMANN SMITH'S _The Making of Sound in the Organ and in +the Orchestra._] + + + + +CATALOGUE B + +LIST OF BOOKS ON MUSIC + + +Literature covering every branch of Music, Biographical and Critical +Studies of Composers, Histories of Musical Instruments, also valuable +Textbooks and Tutors for Teachers and Students of the Piano, Organ, +Violin, Cello, Theory, Singing, etc. + +_All prices are net and postage extra_ + + WILLIAM REEVES Bookseller Limited + 1a Norbury Crescent, London, S.W.16 + + Phone POLlards 2108 + +HISTORICAL, DESCRIPTIVE AND ANALYTICAL ACCOUNT OF THE ENTIRE WORKS OF +BRAHMS + +BY + +EDWIN EVANS (SENIOR) + +The works are treated in the order of their opus number, and =every= +single composition is dealt with =exhaustively=. No other work with such +a wealth of detail exists in any language. The whole, being adequately +indexed, forms a complete reference book for pianist, student and +concert-goer, and may be described as =monumental=. + +Of the =CHAMBER AND ORCHESTRAL= music, a minute analysis reaching to the +rhythmical significance of each bar is given. + +The analytical accounts of the =PIANO= works are each subdivided under +the headings: Key; Time and Extent; Thematic Material; Melody; Harmony; +Rhythm; etc. + +The =CHORAL= works are dealt with in the fullest detail, and original +English translations have been made to most of the =SONGS=. + +Each volume is a self-contained unit and a complete textbook on its +particular subject. + +=WITH 1,500 PAGES AND OVER 1,000 MUSIC EXAMPLES AND TABLES, COMPLETE IN +4 VOLUMES. OCTAVO, CLOTH,= £6 _net._ =OR SOLD SEPARATELY AS FOLLOWS:--= + +=Chamber and Orchestral Works. First Series to Op. 67.= 30s. _net._ + +=Chamber and Orchestral Works. Second Series. Op. 68 to the end.= 30s. +_net._ + +=Piano and Organ Works.= Comprising the complete Solo Works; Works for +Piano and Orchestra; also Works for Piano Duet and Organ Works as +applicable to Pianoforte Solo. 30s. _net._ + +=Vocal Works.= With portrait. 599 pages. 30s. _net._ + + "This treatise is comparable only to the Kochel catalogue of + Mozart. Research and detail could go no further; this book, a + labour of love indeed, will be the standard work of reference on + Brahms for this century, if not longer."--_The Library Assistant._ + +ÆSTHETICS, CRITICISMS, ESSAYS. + +=PAN PIPES. THE SPIRIT OF MUSIC= in Nature, Art and Legend, from East to +West. Penned in Sixteen Articles for General Reading, with Drawings of +Eastern Musical Instruments By G. P. GREEN (_author of_ "Some Aspects of +Chinese Music"). Crown 8vo, cloth, 7s. 6d. _net._ + +=HOW TO LISTEN TO GOOD MUSIC= and Encourage the Taste in Instrumental +and Vocal Music. With many useful Notes for Listener and Executant. By +K. BROADLEY GREENE. Complete, cloth, 7s. 6d. _net_; or in two books, +paper, 2s. 6d. _net_ each. + +=MOZART, WEBER AND WAGNER=, with Various other Essays on Musical +Subjects. By HECTOR BERLIOZ. Translated from the French by EDWIN EVANS, +Senior, F.R.C.O. Crown 8vo, cloth, 10s. _net._ + +A charming Book of Musical Essays. + +=SOME FAMOUS SYMPHONIES=, How to Understand Them. With their Story and +Simple Analysis. References also to Gramophone Records; numerous +Portraits. By J. F. Porte. Dealing with Symphonies of Beethoven, +Berlioz, Borodin, Brahms, Chausson, Dvorák, Elgar, César Franck, Haydn, +Mendelssohn, Mozart, Schubert, Stanford and Tchaïkovsky. Complete in +cloth, 8s. _net_, or in 2 separate parts, paper, 2s. 6d. _net_ each. + +For the general reader and musician alike. + +=THE DEATH AND RESURRECTION OF THE MUSICAL FESTIVAL.= By RUTLAND +BOUGHTON. 8vo, sewed, 1s. _net_. + + The Decay of Triennials--The Rise of Competitions--The Reform of + Competitions--The Festival of the Future. + +=SOME ASPECTS OF CHINESE MUSIC AND SOME THOUGHTS AND IMPRESSIONS ON ART +PRINCIPLES IN MUSIC.= By G. P. GREEN. Post 8vo, cloth, 6s. _net_, paper +covers, 3s. 6d. _net_. + +=THE FUTURE OF MUSIC.= Coming Changes Outlined in Regard to Composer, +Conductor and Orchestra. By LOUIS LALOY. Translated by MRS. FRANZ +LIEBICH. 8vo, cloth, 3s. 6d. _net_; paper, 2s. _net_. + +=SOME ASPECTS OF GIPSY MUSIC.= By D. C. PARKER. Post 8vo, cloth, 6s. +_net_ (or paper covers, 3s. 6d. _net_). + +=MUSIC AND MUSICIANS.= Essays and Criticisms, by ROBERT SCHUMANN. +Translated, Edited and Annotated by F. R. RITTER. Portrait of Robert +Schumann, photographed from a Crayon by BENDEMANN. First Series, Eighth +Edition. Thick crown 8vo, cloth, 419 pages, 15s. _net_. + +_Ditto._ Second Series. Fourth Edition, with a Contents-index added. +Thick crown 8vo, cloth, 540 pages, 15s. _net_. + +=THE DEEPER SOURCES OF THE BEAUTY AND EXPRESSION OF MUSIC.= By JOSEPH +GODDARD. With many Musical Examples. Crown 8vo, cloth, 7s. 6d. _net_. + +=MUSIC AND THE HIGHER EDUCATION.= Art a Necessity in the College World. +The Teacher's Preparation and his Method. By EDWARD DICKINSON. Crown +8vo, cloth, 10s. _net_. + +=WOMAN AS A MUSICIAN.= An Art Historical Study. By F. R. RITTER, 8vo, +sewed, 3s. _net_. + +=MUSICAL DEVELOPMENT=, or, Remarks on the Spirit of the Principal +Musical Forms. Being an Æsthetical Investigation, in which an Attempt is +made to show the Action in Music of certain Laws of Human Expression; to +point out what are the Spiritual Aims of the Chief Forms of Composition, +and the Broad Principles upon which they should be Constructed. By +JOSEPH GODDARD. 8vo, cloth, 10s. _net_. + +=IN THE SERVICE OF ART.= A Plea for Simplicity in Music. By J.-JOACHIM +NIN. Translated by MRS. FRANZ LIEBICH. Post 8vo, 2s. 6d. _net_. + + Translations of this brilliant essay have already appeared in + Spanish, Italian and German. + +=THE PLACE OF SCIENCE IN MUSIC.= By H. SAINT-GEORGE. Addressed to +Advanced Students of that branch of Musical Knowledge commonly called +Harmony. With music examples. 8vo, sewed, 2s. 6d. _net_. + +=NECESSITY OF MUSIC IN THE SCHOOL CURRICULUM.= Address delivered to +Members of the Music Teachers' Association. By A. W. POLLITT, _Mus.D., +F.R.C.O._ 8vo, sewed, 1s. 6d. _net_. + +=ÆSTHETICS OF MUSICAL ART=, or, The Beautiful in Music. By DR. FERDINAND +HAND. Translated from the German by WALTER E. LAWSON, Mus. Bac. Cantab, +etc. Second Edition. Crown 8vo, cloth, 10s. _net_. + +=NATIONAL SCHOOL OF OPERA FOR ENGLAND.= Being the Substance of a Paper +read at Trinity College, London. By FRANK AUSTIN. 1s. _net_. + +=MATERIAL OF MELODY= and Early Steps in Musical Art. By J. H. LEWIS. 6d. +_net_. + +=MUSIC IN THE HIRSCH LIBRARY= (Part 53 of the Catalogue of Printed Music +in the British Museum), by A. Hyatt King and C. Humphries, 1951. +Published for the Trustees of the British Museum. This catalogue, +prepared by the Museum staff, lists also a considerable number of works +which were either not included in the original four volume catalogue by +P. Hirsch, or were acquired later. 4to, cloth, £2 2s. _net_. + + + + +BOOKS ABOUT MUSICIANS AND THEIR WORKS. + +I.--COLLECTED. + + +=ON RUSSIAN MUSIC.= Critical and Historical Studies of Glinka's Operas, +Balakirev's Works, etc. With chapters dealing with Compositions by +Borodin, Rimsky-Korsakov, Tchaïkovsky, Mussorgsky, Glazunov, and various +other Aspects of Russian Music. By GERALD ABRAHAM. With Frontispiece and +Music Examples. 8vo, cloth, 15s. _net._ + + Companion to the same author's "Studies in Russian Music." + +=STUDIES IN RUSSIAN MUSIC.= Rimsky-Korsakov and his Contemporaries. +Critical Essays on the most important of Rimsky-Korsakov's operas, +Borodin's "Prince Igor," Dargomïzhsky's "Stone Guest," etc.; with +chapters on Glinka, Mussorgsky, Balakirev and Tchaïkovsky. By GERALD +ABRAHAM. Copiously illustrated by music examples. 350 pages, crown 8vo, +cloth, 18s. _net._ + +=FROM MENDELSSOHN TO WAGNER.= Being the Memoirs of J. W. Davison, forty +years Music Critic of "The Times," compiled by his son, HENRY DAVISON, +from Memoranda and Documents. With 52 portraits of Musicians and +Important Letters (previously unpublished) of Mendelssohn, Berlioz, +Gounod, Jullien, Macfarren, Sterndale Bennett, etc. Index, 539 pages, +8vo, cloth, 25s. _net._ + +=WITH THE GREAT COMPOSERS.= A Series of Pen Pictures, exhibiting the +Personal Characteristics as Artists of the World's great Tone Poets in +the form of Interviews. By GERALD CUMBERLAND. Portraits. Cr. 8vo, cloth, +10s. _net._ + + Deals with Chopin, Haydn, Mendelssohn, Paganini, Beethoven, Handel, + Rossini, Schubert, Liszt, Berlioz, Mozart, Wagner, Tchaïkovsky, + Cherubini, Wolf, Borodin, Schumann, Sullivan. + +=THE SYMPHONY WRITERS SINCE BEETHOVEN.= Critical Essays on Schubert, +Schumann, Götz, Brahms, Tchaïkovsky, Brückner, Berlioz, Liszt, Strauss, +Mahler, Mendelssohn, Saint-Saëns, etc. By FELIX WEINGARTNER. Translated +by A. BLES. Twelve Portraits. _Second Impression._ With Chapter added by +D. C. PARKER on Weingartner's Symphony No. 5. Crown 8vo, cloth, 12s. 6d. +_net._ + +=REEVES' DICTIONARY OF MUSICIANS.= Biographical Accounts of about 2,500 +Noteworthy Musicians of the Past and Present. Edited by EDMONDSTOUNE +DUNCAN and Others. Crown 8vo, cloth, 7s. 6d. _net_ (paper covers, 4s. +_net_). + +=SKETCHES OF GREAT VIOLINISTS AND GREAT PIANISTS.= Biographical and +Anecdotal, with Account of the Violin and Early Violinists. Viotti, +Spohr, Paganini, De Beriot, Ole Bull, Clementi, Moscheles, Schumann +(Robert and Clara), Chopin, Thalberg, Gottschalk, Liszt. By G. T. +FERRIS. Third Edition. Crown 8vo, cloth, 8s. 6d. _net._ Edition with +Portraits to each, 10s. _net._ + +=SKETCHES OF ENGLISH GLEE COMPOSERS.= Historical, Biographical and +Critical. From about 1735-1866. By D. BAPTIE. Post 8vo, cloth 8s. 6d. +_net._ + +=ENGLISH GLEE AND MADRIGAL WRITERS.= By W. A. BARRETT. 8vo, cloth, 6s. +_net_ (paper covers, 3s. 6d. _net_). + +=SOME MUSICAL RECOLLECTIONS OF FIFTY YEARS.= By RICHARD HOFFMAN. With +Memoir by MRS. HOFFMAN. Illustrated with many Plate Portraits. Crown +8vo, cloth, 10s. _net._ + +=MUSICAL MEMORIES.= By WILLIAM SPARK, _Mus.Doc. (late Organist of the +Town Hall, Leeds)_. Revised Popular Edition. With sixteen Portraits. +Thick crown 8vo, cloth, 10s. _net._ + +=BIOGRAPHICAL DICTIONARY OF FIDDLERS.= Including Performers on the +Violoncello and Double Bass, Past and Present. Containing a Sketch of +their Artistic Career, together with Notes of their Compositions. By A. +MASON CLARKE. Nine Portraits. Post 8vo, cloth, 10s. _net._ + + "We may here take the opportunity of recommending a useful book to + all lovers of violins and violinists. Fiddlers, Ancient and Modern, + is practically a little Biographical Dictionary, well arranged, + with some excellent portraits."--_Northern Whig._ + +=HOW TO STUDY THE PIANOFORTE WORKS OF THE GREAT COMPOSERS.= By HERBERT +WESTERBY Mus.Bac. Handel, Bach, Haydn, Scarlatti, Mozart, Clementi, C. +P. E. Bach. With Portraits and Musical Examples throughout. Crown 8vo, +cloth 12s. _net._ + +The following issued singly, paper covers: HANDEL, 1s.; D. SCARLATTI, +1s.; J. S. BACH, 1s. 6d.; C. P. E. BACH AND HAYDN, 1s.; CLEMENTI, 1s.; +MOZART, 1s. 6d. + +=MAKERS OF MUSIC.= Biographical Sketches of the Great Composers. With +Chronological Summaries of their Works and Facsimiles from Musical MSS. +of Bach, Handel, Purcell, Dr. Arne, Gluck, Haydn, Mozart, Beethoven, +Weber, Schubert, Berlioz, Mendelssohn, Chopin, Schumann, Wagner, Verdi, +Gounod, Tchaïkovsky, Brahms and Grieg, with General Chronological Table. +By R. FARQUHARSON SHARP. Numerous Portraits. Fourth Edition, Revised and +Enlarged. Crown 8vo, cloth, 12s. 6d. _net_. + + The author's endeavour throughout this work has been to convey an + impression of the personality of each composer, as well as to + furnish biographical details. At the end of each biography is a + tabulated list of the composer's works and dates of production, + together with a facsimile from one of his original manuscripts. A + useful volume, got up in good style and well adapted for a gift or + prize. Has speedily run into several editions. + +=BRITISH MUSICAL BIOGRAPHY.= A Dictionary of Musical Artists, Authors +and Composers born in Britain and its Colonies. By J. D. BROWN and S. S. +STRATTON. 8vo, cloth, 21s. _net_. + + + + +BOOKS ABOUT MUSICIANS AND THEIR WORKS. + + +II.--INDIVIDUAL. + +=BACH. A DIGEST OF THE ANALYSES OF J. S. BACH'S FORTY-EIGHT CELEBRATED +FUGUES FROM THE WELL-TEMPERED CLAVIER= (Das Wohltemperirte Klavier). +With over 1,600 Music Examples and 46 Tables. The five parts in one +thick royal 8vo vol., cloth, 25s. _net_. Compiled by BROOK SAMPSON, +F.R.C.O. + +The following parts can be had separately:-- + +Section I, Subject, Answer, Theme. 2s. 6d. _net_. + +Section II, Exposition, Counter-Exposition, Plan of Construction. 2s. +6d. _net_. + +Section III, Subject and Counter-Subject, etc. 5s. _net_. + +Section IV, Codetta and Episodes. 5s. _net_. + +Section V, Stretti--Summary of Interesting Facts--General Index. 5s. +_net_. + +=THE FORTY-EIGHT FUGUES IN THE WELL-TEMPERED CLAVIER= (Das +Wohltemperirte Klavier). By J. S. BACH. Analysed by BROOK SAMPSON, +Mus.Bac. Oxon., F.R.C.O. + +Following obtainable, 1s. 6d. _net each_. + + No. 4, in C sharp minor + No. 9, in E major + No. 16, in G minor + No. 18, in G sharp minor + No. 24, in B minor + No. 28, in C sharp minor + No. 29, in D major + No. 34, in E minor + No. 36, in F minor + No. 38, in F sharp minor + No. 40, in G minor + +=OUTLINE ANALYSIS OF BACH'S FORTY-EIGHT FUGUES.= By BROOK SAMPSON. 3s. +_net_. + +=BALFE: HIS LIFE AND WORK.= By WM. ALEXANDER BARRETT. Over 300 pages. +Crown 8vo, cloth, 12s. 6d. _net_. + +=A CRITICAL STUDY OF BEETHOVEN'S NINE SYMPHONIES=, with a Few Words on +His Trios and Sonatas, a Criticism of "Fidelio" and an Introductory +Essay on Music. By HECTOR BERLIOZ. Translated from the French by EDWIN +EVANS, _Senior_. Portrait. Crown 8vo, cloth, 21s. _net_. + +=BEETHOVEN AND HIS PIANO WORKS= (Sonatas, Concertos, Variations, etc.). +Descriptive and Analytic Aid to their Understanding and Rendering. By +HERBERT WESTERBY. With list of Principal Editions and Bibliography. 3 +illustrations, 45 music examples. Crown 8vo, cloth, 10s. _net_. + + +"THE IMMORTAL NINE." + +=BEETHOVEN'S NINE SYMPHONIES.= Fully Described and Analysed. A Series of +Chapters giving a complete Account of Thematic Material and auxiliary +Motives: an Analytical Chart of each Movement; full Technical +Descriptions of Developments; Particulars of Formal and Rhythmic +Features; Epitomical Tables, etc. Illustrated by 637 Musical Examples. +By EDWIN EVANS (Senior), _author of_ "Handbook to the Vocal Works of +Brahms," etc. Cloth, Vol. I (Nos. 1 to 5), 17s. 6d. _net_. Vol. II (Nos. +6 to 9), 17s. 6d. _net_. + +=BEETHOVEN'S SYMPHONIES= in their Ideal Significance, Explained by ERNST +VON ELTERLEIN. Translated by FRANCIS WEBER. With an Account of the Facts +Relating to Beethoven's Tenth Symphony. By L. NOHL. Second Edition, with +Portrait. Crown 8vo, cloth, 10s. _net_. + +=BEETHOVEN'S SYMPHONIES= Critically Discussed by ALEXANDER TEETGEN. With +Preface by JOHN BROADHOUSE. Second Edition. Post 8vo, cloth, 6s. 6d. +_net_. + +=BEETHOVEN'S PIANO SONATAS.= A Descriptive Commentary on the Sonatas in +the light of Schnabel's Interpretations; giving an æsthetic Appreciation +of each Sonata, with an Outline of the Development of the Sonata Form in +Beethoven's hands. With a Biographical Sketch of Schnabel and an account +of his activity as an executant, composer and teacher. By RUDOLF +KASTNER. Englished by GERALD ABRAHAM. 55 pages, post 8vo, cloth, 5s. 6d. +NET (paper, 3s. 6d. NET). + +=BEETHOVEN'S PIANOFORTE SONATAS= Explained for the Lovers of the Musical +Art. By ERNST VON ELTERLEIN. Translated by E. HILL, with Preface by +ERNST PAUER. Revised Edition (the Seventh issue). With Portrait, and +View of Beethoven's House. Crown 8vo, cloth, 10s. _net_. + + "He writes with the ripe knowledge and thorough understanding of a + practical musician. Every musical student or amateur can safely + trust him as a competent and agreeable guide."--E. PAUER. + +=NOTES ON THE INTERPRETATION OF 24 FAMOUS PIANO SONATAS OF BEETHOVEN.= +By J. ALFRED JOHNSTONE (_author of_ "The Art of Teaching Piano Playing," +"Piano Touch, Phrasing and Interpretation," etc.). Portrait, crown 8vo, +cloth, 12s. 6d. _net_. + +=BEETHOVEN.= By RICHARD WAGNER. With a Supplement from the Philosophical +Works of Arthur Schopenhauer. Translated by EDWARD DANNREUTHER. Third +Edition. Crown 8vo, cloth, 12s. _net_. + + "It is a plain duty to be familiar and even intimate with the + opinion of one famous man about another. Gladly therefore we + welcome Mr. Dannreuther's translation of the work before us. Mr. + Dannreuther has achieved his task with the conscientiousness of his + nature and with a success due to much tact and patience."--_Musical + Times._ + + "This work contains his contributions towards the metaphysics of + music, if, indeed, such can be said to exist. Apart, however, from + metaphysics, the work is an exposition of Wagner's thoughts on the + significance of Beethoven's music."--_Grove's Dictionary._ + +=BORODIN THE COMPOSER AND HIS MUSIC.= A Descriptive and Critical +Analysis of his Works and a Study of his Value as an Art Force. With +many references to the Russian Kouchka Circle of Five--Balakirev, +Moussorgsky, César Cui and Rimsky-Korsakov, with Borodin. By G. E. H. +ABRAHAM. With 5 Portraits. Thick crown 8vo, cloth, 15s. _net_. + +=LIFE OF JOHANNES BRAHMS.= By FLORENCE MAY. Second Edition. Revised by +the Author, with additional matter and Illustrations, and an +Introduction by Ralph Hill. In 2 vols., 8vo, cloth, 35s. _net_. + +=LIFE OF CHOPIN. By FRANZ LISZT.= New and very much Enlarged Edition. +Translated in full now for the first time by JOHN BROADHOUSE. Second +Edition, Corrected. Crown 8vo, cloth, 10s. _net_. + + "Franz Liszt has written a charming sketch of Chopin's life and + art."--_Encyclopædia Britannica._ + + "Liszt's criticisms upon his separate works have all the eloquent + mysticisms to be expected from him; and the biography is a book + musicians will always prize."--_Sunday Times._ + +GEORGE SAND describes it as "un peu exuberent en style, mais rempli de +bonnes choses et de très belles pages." + +=CHOPIN, HIS LIFE AND LETTERS.= By MORITZ KARASOWSKI. Translated by +EMILY HILL. Third Edition, with additional Letters in Polish with +English translation, Chopin to Grzymala, and extra Illustrations. +Fourteen Illustrations. Crown 8vo, cloth, 21s. _net_. + + Karasowski was a close friend of the family of Chopin and was + intimate with them for several years. He was given access to the + letters, many of which were subsequently destroyed during the + Warsaw insurrection, written by Chopin to his family in Poland + throughout his life abroad. These facts give this work particular + value, and to it we are also indebted for valuable information + regarding Chopin's life. + +=CHOPIN'S GREATER WORKS= (Preludes, Ballads, Nocturnes, Polonaises, +Mazurkas). How they should be Understood. By J. KLECZYNSKI. Including +Chopin's Notes for a "Method of Methods." Translated with additions by +N. JANOTHA and Edited by SUTHERLAND EDWARDS. Second Edition. With three +Portraits and a Facsimile. Crown 8vo, cloth, 8s. 6d. _net_. + +=FREDERIC CHOPIN=, Critical and Appreciative Essay. By J. W. DAVISON, +forty years Music Critic of "The Times." 8vo, 3s. _net_. + +=CHOPIN: AS REVEALED BY EXTRACTS FROM HIS DIARY.= By COUNT TARNOWSKI. +Translated from the Polish by N. JANOTHA. With eight Portraits. Crown +8vo, cloth, 6s. _net_ (or paper cover, 3s. 6d. _net_). + +In the above notes Chopin alludes to many of his compositions as well as +relating the conditions under which they were written. + +=CHOPIN THE COMPOSER AND HIS MUSIC.= An Analytical Critique of Famous +Traditions and Interpretations, as exhibited in the Playing of Great +Pianists, Past and Present. By JOHN F. PORTE. With portrait. 193 pages, +crown 8vo, cloth, 10s. 6d. _net_. + + "Your excellent book gives me supreme pleasure. You judge tradition + so well. I thank you for your artistic sympathy and your wonderful + book."--MORITZ ROSENTHAL. + +=HOW TO PLAY CHOPIN.= The Works of Chopin. Their Proper Interpretation. +By J. KLECZYNSKI. Translated by A. WHITTINGHAM. Sixth Edition. Woodcut +and Music Illustrations. Crown 8vo, cloth, 7s. 6d. _net_. + + "Contains the cream of Chopin's instructions to his own pupils. To + admirers of Chopin and players of his music we should say this book + is indispensable."--_Bazaar._ + +=HANDBOOK TO CHOPIN'S WORKS.= Detailed Account of all Compositions of +Chopin. Short Analyses for Piano Student and Critical Quotations from +Writings of Well-known Musical Authors. Also a Short Biography, Critical +Bibliography and a Chronological List of Works, etc. By G. C. A. JONSON. +Third edition. Crown 8vo, cloth, 15s. _net_. + + "Here in one compact volume, is all that it is necessary to know + about Chopin and his works except by the leisured + enthusiast."--_Daily Chronicle._ + +=CHERUBINI, LIFE OF.= By F. J. CROWEST. Crown 8vo, cloth, 6s. _net_. + +=CHERUBINI.= Memorials illustrative of his Life. By E. BELLASIS. Thick +crown 8vo, cloth, 12s. 6d. _net_. + + Standard biography of Cherubini. + +=CESAR FRANCK.= Personal Reminiscences. By J. W. HINTON, M.A., Mus.D. +Crown 8vo, limp cloth, 5s. _net_. + +=GLUCK AND HIS OPERAS.= With an Account of their Relation to Musical +Art. By HECTOR BERLIOZ. Translated from the French by EDWIN EVANS, +Senior. Portrait. Crown 8vo, cloth, 10s. _net_. + +=HANDEL'S "MESSIAH."= The Oratorio and its History. A Handbook of Hints +and Aids to its Public Performance, with useful Notes on each Movement, +as well as Numerous References and much Original Information. By J. +ALLANSON BENSON. Cloth, 6s. _net_ (paper 3s. _net_). + +=FRANZ LISZT.= By T. CARLAW MARTIN. A Sketch of his Life and +Personality. Post 8vo, 2s. 6d. _net_. + +=LISZT, COMPOSER, AND HIS PIANO WORKS.= Descriptive Guide and Critical +Analysis, written in a popular and concise style. By HERBERT WESTERBY, +Mus.Bac. Lon., etc. 5 illustrations, 24 music examples. 336 pp., crown +8vo, cloth, 12s. 6d. _net_. + +=THE ORGAN PARTS OF MENDELSSOHN'S ORATORIOS AND OTHER CHORAL WORKS.= +Analytically Considered. By ORLANDO A. MANSFIELD, _Mus.Doc._, _F.R.C.O._ +Numerous Musical Examples. Crown 8vo, cloth, 10s. _net_. + +=HOW TO INTERPRET MENDELSSOHN'S "SONGS WITHOUT WORDS"= (the celebrated +"Lieder ohne Worte"). A Readable and Useful Guide for All. Gives the +Piano Student helpful Insight into the first Principles of Form in +Music. By CHARLES W. WILKINSON. With portrait and facsimile of MS. Crown +8vo, cloth, 6s. _net_ (paper, 3s. 6d. _net_). + + These notes on each of the "Lieder" will help the student in + playing these homely and easily intelligible compositions. + +=ANALYSIS OF MENDELSSOHN'S ORGAN WORKS.= A Study of their Structural +Features. For the Use of Students. By JOSEPH W. G. HATHAWAY, _Mus.B. +Oxon._ 127 Musical Examples. Portrait and Facsimiles. Crown 8vo, cloth, +8s. 6d. _net_. + +=MOZART=: a Commemorative Address read before the Positivist Society. By +V. LUSHINGTON. 8vo, 2s. _net_. + + Mozart and Religion. + +=MOZART AND THE SONATA FORM=: A Companion Book to any Volume of the +Sonatas for Piano, including an Analysis of the Form of each Movement, +with Notes upon Treatment and Tonality, by J. R. TOBIN, Mus.B. Crown +8vo, cloth, 10s. _net_. + +=THE SONATA=: Its Form and Meaning, as Exemplified in the Piano Sonatas +by Mozart. A Descriptive Analysis, with Musical Examples. By F. H. +MARKS. Sq. 8vo, well printed on good paper, cloth, 15s. _net_; paper, +10s. 6d. _net_; or in two volumes (Nos. 1 to 9 and 10 to 20), paper, +each 6s. _net_. + +=QUESTIONS ON MOZART'S SONATAS=, both Educational and Suggestive. By F. +HELENA MARKS. Aid and Companion to the Study of the Author's work, "The +Sonata: Its Form and Meaning as Exemplified in the Piano Sonatas by +Mozart." For Teachers and Students. 2s. 6d. _net_. + +=PURCELL.= By WILLIAM H. CUMMINGS, _Mus. Doc._ Crown 8vo, cloth, 6s. +_net_. + +=RACHMANINOFF.= An Exhilarating Biographical Study of this Genius of the +Keyboard. By WATSON LYLE. With Critical Survey of his Works as recorded +on Gramophone Records, also his Playing of other Composers' Works. +Preface by LEFF POUISHNOFF. Two Portraits and List of Works. Crown 8vo, +cloth, 15s. _net_. + +=FRANZ SCHUBERT=, Man and Composer. A Vivid Story of a Charming +Personality. By C. WHITAKER-WILSON. With Original Translations into +English of eight Well-known Schubert Songs, together with the Music for +the Voice. Portraits and Illustrations of Schubert and his Friends. +Handsome volume, thick crown 8vo, cloth gilt, 15s. _net_. + + Schubert--the most poetical musician that ever was.--LISZT. + + Schubert--the man with the Divine Spark.--BEETHOVEN. + +=HENRY SMART'S ORGAN COMPOSITIONS ANALYSED.= By J. BROADHOUSE. Crown +8vo, cloth, 5s. _net_. + +=TEMPLETON AND MALIBRAN.= Reminiscences of these Renowned Singers, with +Original Letters and Anecdotes. Three Authentic Portraits by MAYALL. +8vo, cloth, 10s. _net_. + +=WAGNER'S TEACHINGS BY ANALOGY.= His Views on Absolute Music and of the +Relations of Articulate and Tonal Speech, with Special Reference to +"Opera and Drama." A Series of Papers for the Student. By EDWIN EVANS, +Senior, F.R.C.O. Crown 8vo, cloth, 6s. _net_; paper, 3s. 6d. _net_. + + The above forms an introduction to Wagner's Prose Writings. + +=WAGNER'S "PARSIFAL."= And the Bayreuth Fest-Spielhaus. By N. KILBURN. +Paper, 1s. _net_. + +=WAGNER SKETCHES=, 1849. A Historical Retrospect in vindication of +Wagner. By WILLIAM ASHTON ELLIS. Cloth, 3s. 6d. _net_ (paper 2s. _net_). + + +=OPERA AND DRAMA.= By RICHARD WAGNER. Translated by EDWIN EVANS, Senior, +F.R.C.O. Vol. I: Part I. Opera and the Essence of Music. Part II. The +Stage-Play and Dramatical Poetic Art in the Abstract. Vol. II: Part III. +Poetry and Music in the Drama of the Future. The Three Parts in 2 vols. +Portrait. Crown 8vo, cloth, 30s. _net_. + + The value of the study of Wagner's prose writing as an education to + the musical student cannot be over-estimated, and amongst these + prose writings "Opera and Drama" may be considered his principal + critical and theoretical production. Without a study of its + contents no true and lasting understanding of opera can be arrived + at. + + Wagner writing to his friend Uhlig said: + + _"Here you have my testament; I may as well die now--anything + further that I could do seems to me a useless piece of luxury."_ + + ERNEST NEWMAN in "A Study of Wagner," writes: "Although there + appears here and there in his prose-work something of the vast + synthetic power of his musical imagination--such a work as 'Opera + and Drama,' for instance, finally compelling our admiration for its + tenacity of purpose and the breadth of vision that sweeps so far + before and after." + +=WAGNER'S PROSE WORKS.= Translated by WM. ASHTON ELLIS. Vol. I, The +Art-Work of the Future, etc., 21s. _net_; Vol. II, Opera and Drama, 25s. +_net_; Vol. III, The Theatre, 21s. _net_; Vol. IV, Art and Politics, +21s. _net_; Vol. V., Actors and Singers, _out of print_; Vol. VI, +Religion and Art, _out of print_; Vol. VII, In Paris and Dresden, 25s. +_net_; Vol. VIII, Posthumous, etc., 25s. _net_. Complete sets are +occasionally available. Apply to the publishers of this list for +particulars. + +=DIARY OF A PILGRIM IN THE NETHERLANDS.= The Holy Grail in Bruges and +Other Impressions of Travel. Bruges, Courtrai, Tournai, Amsterdam, the +Hague, Antwerp. By ROSE KOENIG. Crown 8vo, cloth, 3s. 6d. _net_ (paper +covers, 2s. _net_). + +=HOW TO UNDERSTAND WAGNER'S "RING OF THE NIBELUNG."= Being the Story and +a Descriptive Analysis of the "Rheingold," the "Valkyr," "Siegfried" and +the "Dusk of the Gods." With Musical Examples of the Leading Motives of +each Drama. By GUSTAVE KOBBE. Together with a Sketch of Wagner's Life. +By N. KILBURN, Mus.Bac. Cantab. Seventh Edition, with Additions, a +Portrait and Facsimile. Post 8vo, cloth, 7s. 6d. _net_. + + "Description and analysis go hand in hand with the narration of the + story. Musical examples are given as aids to the identification of + the leading motives and an index makes it easy for any reader to + turn up any particular motive instantly."--_Yorkshire Observer._ + +=MY RECOLLECTIONS OF RICHARD WAGNER.= By AUGUST LESIMPLE. Post 8vo, +cloth, 3s. 6d. _net_ (paper covers, 2s. _net_). + +=WAGNER.= A Sketch of his Life and Works. By N. KILBURN, Mus.Bac. +Cantab. Paper, 1s. _net_. + +=ON CONDUCTING.= By RICHARD WAGNER. Translated by EDWARD DANNREUTHER. +Fourth Edition. Crown 8vo, cloth, 7s. 6d. _net_. + + "One of the finest of his minor publications, and to the + professional musician, perhaps the most instructive, giving his + views as to the true way of rendering classical music, with + numerous directions how to do it, and how not to do it, together + with many examples in musical type from the instrumental works of + Beethoven, Weber, Mozart, etc."--_Grove's Dictionary._ + +=WAGNER.= "Ring of the Nibelungen." Being the Story concisely told of +"Das Rheingold," "Die Walküre," "Siegfried" and "Götterdämmerung." By N. +KILBURN, Mus.Bac. Cantab. Crown 8vo, paper, 2s. _net_. + +=THREE IMPRESSIONS OF BAYREUTH.= The 1908 and Previous Wagner Festivals. +By ROSE KOENIG. With Two Facsimile Programmes. Crown 8vo, cloth, 3s. 6d. +_net_ (paper, 2s. _net_). + +=LIFE OF WEBER.= With List of his Compositions. By SIR J. BENEDICT. +Crown 8vo, cloth, 6s. _net_. + +=BERLIOZ AND THE ROMANTIC CENTURY.= By J. BARZUN. Two volumes. 18 +illustrations. Demy 8vo, cloth, 42s. _net_. + + This monumental work, on which Professor Barzun has been engaged + for twenty years, is the first comprehensive book on Berlioz in the + English language. + + +HISTORY OF MUSIC, AND OF MUSICAL INSTRUMENTS. + +=STRINGED INSTRUMENTS OF THE MIDDLE AGES.= Their Evolution and +Development. By HORTENSE PANUM. English edition, revised and edited by +JEFFREY PULVER. A detailed and comprehensive history, with +illustrations, of the evolution of the mediæval stringed musical +instruments from their first appearance in the records of the earliest +civilisations, through their gradual development in the Greek, Roman and +Christian eras down to more recent times. 400 illustrations, 8vo, cloth, +pp. ix, 511, 35s. + + Many years of travel and research were necessary to make the + production of this work possible. The author, in addition, has most + painstakingly searched mediæval literature and the records of + contemporary art for references to and descriptions of the + instruments dealt with, and it is believed that the account here + given of them is as complete as it is possible to make it. + + The book is most generously illustrated and carefully indexed by + the editor. No pains have been spared to secure drawings or + photographs of practically every type mentioned. + +=TRIBAL MUSIC AND DANCING IN THE SOUTHERN SUDAN=, at Social and +Ceremonial Gatherings. A descriptive account of the music, rhythm, etc., +from personal observation. By DR. A. N. TUCKER. 5 illustrations, 61 +music examples illustrating the dances, songs and rhythm. 57 pages, demy +8vo, 10s. 6d. _net_ (or paper, 6s. 6d. _net_). + +=HISTORY OF THE TRUMPET= of Bach and Handel. A New Point of View and New +Instruments. Forming a History of the Trumpet and its Music, from its +earliest use as an artistic instrument to the middle of the 18th +century. Special reference given to its employment by Bach and Handel, +and the correct modern performance of old parts; including a description +of the new instrument invented by the author for this purpose. By WERNER +MENKE. Englished by GERALD ABRAHAM. With 5 plates and music supplement. +English and German text. 223 pages, crown 8vo, cloth, 15s. _net_. + +=BOWED HARP (THE).= A Study showing Fresh Light on the History of Early +Musical Instruments. By OTTO ANDERSSON, Ph.D., President of the Swedish +University at Äbo. From the Original Swedish Edition, revised by the +Author. The Translation Edited with additional footnotes by Kathleen +Schlesinger. 116 Illustrations, Bibliography and Index. 340 pages, 8vo, +cloth, 30s. _net_. + + "A valuable contribution to the literature about early musical + instruments."--_The Strad._ + +=MUSIC IN MEDIÆVAL SCOTLAND.= By DR. HENRY G. FARMER. Introduction by +SIR RICHARD R. TERRY, Mus.Doc. 8vo, sewed, 5s. _net_. + +=MUSIC OF THE MOST ANCIENT NATIONS=, Particularly of the Assyrians, +Egyptians and Hebrews; with special reference to Discoveries in Western +Asia and in Egypt. By CARL ENGEL. This issue has large size +reproductions of Harp unearthed at Ur (1928), and of Silver Military +Trumpet from the Tomb of Tut-Ankh-Amen in the Valley of the Kings +(unearthed 1926). The volume has about 100 illustrations. Thick 8vo, +cloth, 30s. _net_. + +=STORY OF INDIAN MUSIC AND ITS INSTRUMENTS.= A Study of the Present and +a Record of the Past. Together with Sir William Jones' celebrated +Treatise in full. With 19 Plates, chiefly of Instruments, 7 Music +Illustrations and a Map. By ETHEL ROSENTHAL, _A.R.C.M., F.R.G.S._ Crown +8vo, cloth, 15s. _net_. + +=OPERA STORIES OF TO-DAY AND YESTERDAY=, Retold Act by Act (including +Wagner's 5 "The Ring" Operas). By EDMONDSTOUNE DUNCAN. Complete, cloth, +6s. 6d. _net_. + + A racy account of the plots and histories of fifty famous operas, + from Purcell, Gluck and Mozart, to Richard Strauss and Ethel Smyth. + +=OLD ENGLISH PSALMODY.= By W. T. BROOKE. First Series: From the +Accession of Edward VI to the Restoration of Charles II, 1547-1660. +Second Series: Psalmists from 1660-1800. Crown 8vo, paper covers, 3s. +6d. _net_ each series. + +=THE GIPSY IN MUSIC.= By FRANZ LISZT. Englished for the first time by +EDWIN EVANS, _Senior_, and preceded by an Essay on Liszt and his Work. + + Gipsy and Jew, Two Wandering Races. Gipsy Life in Relation to Art. + Gipsy Music and Musicians. + +The result of the Author's long Experience and Investigations of the +Gipsies and their Music. With Portraits of the Author, etc. In two +handsome volumes, 8vo, cloth, 30s. _net_. + +=ARABIC MUSICAL MANUSCRIPTS IN THE BODLEIAN LIBRARY.= Plate of two +Musical Instruments from early Arabic Manuscripts. By H. G. FARMER, +_M.A., Ph.D._ 8vo, sewed, 10s. _net_. + +=HISTORY OF THE HARP.= From the Earliest Period. By JOHN THOMAS +(_Pencerdd Gwalia_). 8vo, paper covers, 6s. _net_. + +=HISTORY OF RUSSIAN MUSIC.= By M. MONTAGU-NATHAN. Being an Account of +the Rise and Progress of the Russian School of Composers. With a Survey +of their Lives and a Description of their Works. Frontispiece. 2nd +Edition, Revised. Thick crown 8vo, cloth, 15s. _net_. + + "Mr. Montagu-Nathan's book breaks new ground; it introduces the + English reader to a number of composers many of whom until recently + were nothing more than names. Mr. Montagu-Nathan presents a vast + amount of new material to the music-loving public of this country + ... his book should find many eager readers."--_Manchester + Courier._ + + "... We want a book packed full of hard stuff. This we get at its + best in ... Mr. Montagu-Nathan's 'History.'"--_Saturday Review._ + +=MUSIC AND MUSICAL INSTRUMENTS OF THE ARAB=, with Introduction on How to +Appreciate Arab Music by FRANCESCO SALVADOR-DANIEL (_Director, Paris +Conservatoire of Music, 1871_). Edited with Notes, Memoir, Bibliography +and thirty Examples and Illustrations, by DR. H. G. FARMER. Crown 8vo, +cloth, 25s. _net_. + +=THE STUDENT'S HISTORY OF MUSIC.= History of Music, from the Christian +Era to the Present Time. By DR. F. L. RITTER. Third Edition. 478 pages +of Letterpress and 72 Plates of Musical Illustrations. Thick crown 8vo, +cloth, 12s. 6d. _net_. + +=IRISH MUSICAL HISTORY=, Introductory Sketch of, by W. H. GRATTAN FLOOD. +A compact Record of the Progress of Music in Ireland during 1,000 Years. +Portraits. Crown 8vo, cloth, 5s. 6d. _net_ (paper 3s. _net_). + +=RISE AND DEVELOPMENT OF OPERA.= Embracing a Comparative View of the Art +in Italy, Germany, France and England. By JOSEPH GODDARD. Showing the +Cause of the Falling Back of the English School in the Modern Period, +and the Compensation which that Involved. Numerous Musical Examples, +Portraits and Facsimiles. Crown 8vo, cloth, 12s. 6d. _net_. + +=RISE AND DEVELOPMENT OF MILITARY MUSIC.= By DR. H. G. FARMER. With +Illustrations of Early Instruments and Musical Examples, and Short +Biographical Notices of all the Staff Bandmasters. Preface by LIEUT. A. +WILLIAMS, _M.V.O., Mus.Doc., Bandmaster of Grenadier Guards_. Crown 8vo, +cloth, 15s. _net_. + +=CATECHISM OF MUSICAL HISTORY AND BIOGRAPHY= By F. J. CROWEST. Revised +and Enlarged Edition. Tenth Thousand. 187 pages. Post 8vo, cloth, 5s. +_net_ (paper, 2s. 6d. _net_). + + _Musical Education_ says: "An excellent little book--yet not so + little since it contains an immense amount of + information--historical, biographical and critical--in a very small + compass." + +=THE TROUBADOUR AS MUSICIAN=, Past and Present. By C. A. HARRIS. Cloth, +5s. _net_ (paper, 2s. 6d. _net_). + +=POLISH MUSIC AND CHOPIN, ITS LAUREATE.= A Historical Account from 995 +to the Present Time, including Chopin and his Works. By E. RAYSON. Four +Portraits. Square 8vo, cloth, 5s. _net_ (paper, 3s. 6d. _net_). + +=NATIONAL MUSIC OF THE WORLD.= By H. F. CHORLEY. Edited by H. G. +HEWLETT. Many Music Examples. New Issue, with Index added. Crown 8vo, +cloth, 10s. 6d. _net_. + + Treats of the national tunes, folk-songs and airs of various races + of the world. The chapters are undoubtedly marked in a high degree + with the critic's acumen, attesting the wide range of Chorley's + learning. + +=CHRONOMETRICAL CHART OF MUSICAL HISTORY.= Presenting a Bird's Eye View +from the Pre-Christian Era to the XXth Century. By C. A. HARRIS, +_A.R.C.O._, etc. On linen, folded in case, 5s. _net_ (on special paper, +2s. 6d. _net_). + + "Sure to be very useful to students ... excellently arranged and + seems to be very accurate and thorough."--DR. RALPH DUNSTAN. + +=HISTORICAL FACTS FOR THE ARABIAN MUSICAL INFLUENCE ON MUSICAL THEORY.= +By HENRY GEORGE FARMER, _M.A., Ph.D._ Thick crown 8vo, cloth, 27s. 6d. +_net_. + + Dr. Farmer's researches into the MUSIC OF THE ARABS OF THE MIDDLE + AGES, a period when these people led the world's culture, have + universal recognition. He now throws a flood of fresh light on many + obscure corners in the History of Mediæval Music. + + The present work undoubtedly breaks fresh ground in history, and is + from the hands of a scholar. + +=THE PAST AND THE FUTURE.= An Inaugural Lecture at Gresham College. By +SIR F. BRIDGE, _Mus.Doc._ Crown 8vo, sewed, 1s. _net_. + +=THE WORLD'S EARLIEST MUSIC.= Traced to its Beginnings in Ancient Lands. +By collected Evidences of Relics, Records, History and Musical +Instruments, from Greece, Etruria, Egypt, China, through Assyria and +Babylonia to the Primitive Home, the Land of Akkad and Sumer. By HERMANN +SMITH. With sixty-five full-page Illustrations and Cuts, nearly 400 +pages. Crown 8vo, cloth, 21s. _net_. + +THE GROWTH AND DEVELOPMENT OF MUSIC. Chapters on the Study of Musical +History. By EDWARD DICKINSON. With Annotated Guide to Music Literature. +Over 400 pages. Thick 8vo, cloth, 18s. 6d. _net_. + + ERNEST NEWMAN (_Manchester Guardian_) writes: " ... the extent and + the accuracy of the information conveyed make the book + indispensable to _students_ and to _public libraries_." + +=GENERAL HISTORY OF MUSIC= from the Infancy of the Greek Drama to the +Present. By W. S. ROCKSTRO. Fourth Edition, 535 pages. Thick 8vo, cloth, +21s. _net_. + +=TREATISE ON BYZANTINE MUSIC.= By S. G. HATHERLEY. 208 Musical Examples. +162 pages, 4to, cloth, 25s. _net_. + + There are upwards of 50 unabbreviated musical pieces, ancient and + modern, from Greek, Russian, Turkish and Egyptian sources, given + and fully analysed. + + +ORCHESTRAL. + +=THE CHAMBER AND ORCHESTRAL WORKS OF JOHANNES BRAHMS. FIRST SERIES TO +OP. 67.= Historical, Descriptive and Analytical Account of each Work +treated in the order of the Opus number, and preceded by a Didactic +Section. With Exhaustive Structural, Thematic and Rhythmical Analyses, +and a complete Rhythmical Chart of each Movement. By EDWIN EVANS, +Senior. With 435 music examples and tables. 8vo, cloth, 30s. _net_. + +=THE CHAMBER AND ORCHESTRAL WORKS OF JOHANNES BRAHMS. SECOND SERIES, OP. +68 TO THE END.= By EDWIN EVANS, Senior. Uniform with the above. With 633 +music examples and tables. 8vo, cloth, 30s. _net_. + + The above two volumes are a complete technical account of the + chamber and orchestral music, with the exception of the two piano + concertos. They form a part of the Historical, Descriptive and + Analytical Account of the Entire Works of Brahms advertised on page + 2. + +=ORCHESTRAL AND BAND INSTRUMENTS.= A Short Account of the Instruments +used in the Orchestra, and in Brass and Military Bands. By G. F. +BROADHEAD, Mus.B. Dunelm, L.Mus.T.C.L. With 24 Illustrative Music +Examples. 8vo, cloth, 5s. _net_ (paper, 3s. _net_). + +=CONCISE METHOD OF INSTRUMENTATION.= How to Write for the Orchestra and +Arrange an Orchestral or Band Score. Illustrated with Musical Examples +and various large folding Charts and Index. By EDWIN EVANS, _Senior_, +_author of_ "Beethoven's Nine Symphonies Fully Described and Analysed," +etc. 8vo, cloth. Vol. I, 15s. _net_; Vol. II, 15s. _net_; Vol. I. How to +Write for Strings, Arrangement of Scoring and Preparation of Parts. With +Charts. Vol. II. How to "Write for Wood, Brass and Drums, and Arrange a +Band Score. With large folding Charts." + +=INSTRUMENTS AND ART OF THE ORCHESTRA.= An Introductory Study. With +Table showing Range of each Instrument. By P. W. DE COURCY-SMALE, +_Mus.Bac._ Cloth, 6s. _net_ (paper, 3s, 6d. _net_). + +=ORCHESTRAL WIND INSTRUMENTS=, Ancient and Modern. Being an Account of +the Origin and Evolution of Wind Instruments from the Earliest to the +most Recent Times. Illustrated with Plates specially prepared for this +Work, giving sixty-one Examples of Instruments (or parts) described. By +ULRIC DAUBENY. Important original work fully illustrated with beautiful +Reproductions taken from fine Photographs of the Actual Instruments. +8vo, cloth, 21s. _net_. + +=HANDBOOK ON THE TECHNIQUE OF CONDUCTING.= By SIR ADRIAN BOULT. Seventh +Edition, revised. 5s. _net_. + +=PRACTICAL GUIDE FOR THE CONDUCTOR= and Useful Notes for the Orchestra. +By F. W. DE MASSI-HARDMAN. With Music Examples and Diagrams. 3s. _net_. + +=ART OF THE CONDUCTOR.= A Suggestive Guide to the Theory and Practice. +With 41 Diagrams and Examples. By HECTOR BERLIOZ. Translated by J. +BROADHOUSE. Cloth, 7s. 6d. _net_. + +=A MUSICAL ZOO.= Twenty-four Illustrations displaying the Ornamental +Application of Animal Forms to Musical Instruments (Violins, Viol da +Gambas, Guitars, Pochette, Serpent, etc.) Drawn from the Carved Examples +by HENRY SAINT-GEORGE. Cloth, 6s. _net_ (paper, 3s. 6d. _net_). + +=THE FUTURE OF MUSIC.= Coming Changes Outlined in Regard to Composer, +Conductor and Orchestra. By LOUIS LALOY. Translated by MRS. FRANZ +LIEBICH. 8vo, cloth, 3s. 6d. _net_ (paper, 2s. _net_). + +=HOW TO PLAY FROM SCORE.= Treatise on Accompaniment from Score on the +Organ or Piano. By F. FETIS. Translated by A. WHITTINGHAM. With forty +pages of Examples. Crown 8vo, cloth, 7s. 6d. _net_. + + This popular and useful book might have been entitled "The Art of + Making Arrangements for the Organ or Pianoforte from Full + Orchestral and Other Scores." It contains all that is necessary to + know upon this subject. + +=ON CONDUCTING.= By RICHARD WAGNER. Translated by E. DANNREUTHER. Fourth +Edition. Crown 8vo, cloth, 7s. 6d. _net_. + + WEINGARTNER, speaking of this celebrated work, says: "Wagner's book + laid the foundation for a new understanding of the function of the + conductor, in whom we now recognise, not only the eternal factor + that holds together an orchestral, choral or operatic performance, + but above all the spiritualising internal factor that gives the + performance its very soul." + + _Grove's Dictionary_ says "One of the finest of his minor + publications, and to a professional musician perhaps the most + instructive. A Treatise on _Style_, giving his views as to the true + way of rendering classical music, with minute directions how to do + it and how not to do it, together with many examples in musical + type from the instrumental works of Beethoven, Weber, Mozart, etc." + +=NOTES ON CONDUCTING AND CONDUCTORS.= By T. R. CROGER, _F.R.G.S., +F.Z.S._, also the Organising and Conducting of Amateur Orchestras, with +three full-page Illustrations of the various "Beats" and Plan of the +Orchestra. Fifth Impression, Revised and Enlarged. Crown 8vo, cloth, 6s. +_net_ (paper, 3s. _net_). + + "A mine of good things."--_Musical Opinion._ + + "One of the best guides to conducting."--_Music Trades Review._ + +=ABOUT CONDUCTING.= Practical Advice on Concerts, Rehearsals, the +Orchestra, Players, Scores and Parts, etc. by SIR HENRY WOOD (Conductor +and Organiser of the Promenade Concerts). With two plans, crown 8vo, +cloth, 5s. 6d. _net_. + + +ORGAN. + +=TECHNICS OF THE ORGAN.= An Illuminative Treatise on many Points and +Difficulties connected therewith. Special Treatment of Rhythm, +Minimisation of the Use of Accessories, Extemporisation, Expressive +Regulation of Organ Tone and Accompaniment. By EDWIN EVANS, Senior, +F.R.C.O. With over 100 Music Examples. 4to, cloth, 12s. 6d. _net_. + + A valuable Book to help a Moderate Player to become a Master. + +=NEW ORGAN PRINCIPLES AND THEIR INTERPRETATION.= A Guide to and +Suggestions on Phrasing and Registration with a view to improved Organ +Playing. By TERENCE WHITE. With 54 music examples. Octavo, cloth, 6s. +_net_ (paper covers, 3s. 6d. _net_). + +=ORGAN OF THE ANCIENTS FROM EASTERN SOURCES= (Hebrew, Syriac and +Arabic). By HENRY GEORGE FARMER, M.A., Ph.D., Carnegie Research Fellow. +Foreword by CANON F. W. GALPIN. With numerous Illustrations. Square 8vo, +cloth, 27s. 6d. _net_. + + "An authoritative treatment of the subject."--_Grove's Dictionary._ + +=TECHNICS OF ORGAN TEACHING.= A Handbook which treats of Special Points +in Organ Teaching Examinations, together with Test Questions. By R. A. +JEVONS. 8vo, cloth, 6s. _net_ (paper, 3s. 6d. _net_). + +=ART OF ORGAN ACCOMPANIMENT IN THE CHURCH SERVICES.= What to Do and what +to Avoid: being a Guide to the Organist in the effective rendering of +the Music. By WALTER L. TWINNING, _F.R.C.O._, author of "Examination +Test Questions," etc. Cloth, 6s. _net_ (paper covers, 3s. 6d. _net_). + +=MODERN ORGAN BUILDING.= Being a Practical Explanation and Description +of the Whole Art of Organ Construction, with Especial Regard to +Pneumatic Action. Together with Chapters on Tuning, Voicing, etc. By +WALTER and THOMAS LEWIS (_Organ Builders_). =Third edition=, with +additional matter and Diagrams added, covering the latest developments +in electrical control, unit chest, etc., and organ blowing. 116 +illustrations, including 76 drawn to scale and reproduced from actual +working drawings, together with diagrams, tables, etc. xxix, 247 pages, +4to, cloth. + +=THE ORGAN AS VIEWED FROM WITHIN.= A Practical Handbook on the Mechanism +of the Organ. By JOHN BROADHOUSE. With over fifty Illustrations. Second +Impression. Crown 8vo, cloth, 8s. 6d. _net_. + +=THE PEDAL ORGAN.= Its History, Design and Control. By THOMAS CASSON. +With folding Diagram. Second Impression. 8vo, cloth, 6s. _net_. + +=THE EARLY ENGLISH ORGAN BUILDERS= and their Works, from the Fifteenth +Century to the Period of the Great Rebellion. An Unwritten Chapter on +the History of the Organ. By DR. E. F. RIMBAULT. Well printed, with +Woodcuts. Post 8vo, cloth, 7s. 6d. _net_. + +=THE ORGAN=: A Comprehensive Treatise on its Structure, Capabilities, +History and Bibliography. With Criticisms and Depositories, preceded by +an Analytical Consideration of general Bibliographical and Catalogual +Construction. By J. W. WARMAN, _late Organist of the Anglican Cathedral, +Quebec_. Four parts [A to Nou. (the rest unprinted)], 15s. _net_. + + The parts advertised above are all that have been published, as the + untimely death of Mr. Warman prevented the completion of the work. + The book is a mine of wealth for those interested in organ + subjects. The author devoted the best part of his life in compiling + the work and collecting material for his subject. + +=SOME CONTINENTAL ORGANS= (Ancient and Modern) and their Makers. With +Specifications of many of the fine Examples in Germany and Switzerland. +By JAMES I. WEDGEWOOD. Post 8vo, cloth, 6s. 6d. _net_. + + Contains specification and a brief _critique_ of some of the famous + old Continental organs. Describes also several up-to-date + Continental organs. Amongst others particulars are given of those + at Haarlem, Cologne, Aix-la-Chapelle, Frankfort, Heidelberg, Ulm, + Stuttgart, Einsiedeln, Strassburg and Antwerp. This work forms a + valuable supplement to Hopkins's and Rimbault's great treatise. + +=MODERN ORGAN TUNING=, The How and Why, Clearly Explaining the Nature of +the Organ Pipe and the System of Equal Temperament, together with an +Historic Record of the Evolution of the Diatonic Scale from the Greek +Tetrachord. By HERMANN SMITH. Crown 8vo, cloth, 7s. 6d. _net_. + + "The greatest authority on acoustical matters connected with organ + pipes who has ever lived," says Mr. G. A. Audsley of Hermann Smith + in his "Art of Organ Building." + +=THE TEMPLE EDITION OF ORGAN OVERTURES AND ARRANGEMENTS=, all with Ped. +Obb. 3s. _net_ each. + + See page 25 for list of about sixty works in this series, including + works by Wagner, Tchaïkovsky, Beethoven, Mozart, Handel, Berlioz, + Glinka, Schubert, Gounod, Hérold, Mendelssohn, Meyerbeer, Balfe, + Auber, Rossini, Weber, Wallace, Suppé, Adam, Thomas, Nicolai, + Sterndale-Bennett, Cornelius and Flotow, chiefly arranged by Edwin + Evans. + +=THE INFLUENCE OF THE ORGAN IN HISTORY.= By DUDLEY BUCK. Fresh issue +with Illustrations. Crown 8vo, cloth, 4s. _net_ (or paper, 2s. _net_). + +=ORGANIST'S REPERTOIRE GUIDE.= An International Repertoire Guide +(Historical, Educational and Descriptive) to Foreign, British and +American Works. By HERBERT WESTERBY, B.B.C. Organ Recitalist (_author +of_ "Liszt, Composer, and his Piano Works"). 4to, cloth, 17s. 6d. _net_. + + Describes the best Organ Music of foreign countries as well as of + Britain and America. + + A large and beautifully presented quarto work, fully illustrated by + thirty-six plates on fine art paper, comprising seven English and + sixteen foreign organs, thirty-one portraits, and illustrations of + the houses of Bach and Handel. + +=REFORM IN ORGAN BUILDING.= By THOMAS CASSON. Crown 8vo, sewed, 2s. 6d. +_net_. + +=TUTOR FOR THE AMERICAN ORGAN AND HARMONIUM.= By W. F. TAYLOR. 4to, 2s. +6d. _net_. + +=THE BYRD ORGAN BOOK=, for Piano or Organ. A Collection of 21 Pieces +(Pavans, Galliards, etc.), by William Byrd, 1543-1623, edited from the +Virginal MSS., and now first published in Modern Notation. By M. H. +GLYN, 7s. 6d. + + "A charming collection."--_West Sussex Gazette._ + +=ADVICE TO YOUNG ORGANISTS.= By J. T. FIELD. 6d. _net_. + +=THE ORGAN FIFTY YEARS HENCE.= A Study of its Development in the Light +of its Past History and Present Tendencies. By FRANCIS BURGESS, +_F.S.A._, _Scot._ 8vo, 2s. _net_. + + +THE TEMPLE EDITION OF ORGAN OVERTURES. (3 Staves). + +Arranged from Full Score by Edwin Evans, Senr. (except where other wise +stated). + +Price 3/-_net_ each. + + =ATHALIE= (Mendelssohn). + =BARBER OF BAGDAD= (Peter Cornelius). + =BEATRICE AND BENEDICT= (Berlioz). + =BENVENUTO CELLINI= (Berlioz). + =BOHEMIAN GIRL= (Balfe). + =CALM SEA AND PROSPEROUS VOYAGE= (Mendelssohn). + =CARNAVAL ROMAIN= (Berlioz). + =CORSAIR= (Berlioz). + =CROWN DIAMONDS= (Auber). + =EGMONT= (Beethoven). + =EURYANTHE= (Weber). + =FAUST= (Gounod). + =FAUST= (Wagner). + =FESTIVAL OVERTURE= (Tschaikowsky). + =FIGARO= (Mozart). + =FINALE= (Rubinstein's Sonata, Op. 12). + =FLYING DUTCHMAN= (Wagner). + =FRA DIAVOLO= (Auber). + =FREISCHUTZ= (Weber). A. Whittingham. + =ISABELLA= (Suppé). + =ITALIANA= (Rossini). + =KING LEAR= (Berlioz). + =KING STEPHEN= (Beethoven). P. J. Mansfield. + =LA CLEMENZA DI TITO= (Mozart). P. J. Mansfield. + =L'AFRICAINE= (Meyerbeer). + =LA REINE DE SABA= (Gounod). + =LARGO= from Beethoven's Sonata in E flat. W. A. C. Cruikshank. + =LE SONGE D'UNE NUIT D'ETE= (Thomas). + =LIFE FOR THE CZAR= (Glinka). + =LIGHT CAVALRY= (Suppé). + =LOHENGRIN= (Wagner). + =LURLINE= (Wallace). + =MAGIC FLUTE= (Mozart). + =MARITANA= (Wallace). + =MASANIELLO= (Auber). + =MEISTERSINGERS= (Wagner). + =MERRY WIVES OF WINDSOR= (Nicolai). + =MIDSUMMER NIGHT'S DREAM= (Mendelssohn). + =MIGNON= (A. Thomas). + =NAIADES, THE= (Sterndale Bennett). + =OBERON= (Weber). A. Whittingham. + =OTHO= (Handel). W. A. C. Cruikshank. + =1812 OVERTURE= (Tschaikowsky). + =POET AND PEASANT= (Suppé). + =PARSIFAL= (Wagner). + =RAYMOND= (Thomas). + =RIENZI= (Wagner). + =ROSAMUNDE= (Schubert). + =RUY BLAS= (Mendelssohn). + =SCIPIO= (Handel). + =SEMIRAMIDE= (Rossini). + =SI J'ETAIS ROI= (Adam). + =SIRENE, LA= (Auber). + =SON AND STRANGER= (Mendelssohn). W. A. C. Cruikshank. + =STRADELLA= (Flotow). + =TANCREDI= (Rossini). + =TANNHAUSER= (Wagner). + =TRISTAN AND ISOLDA= (Wagner). + =WAVERLEY= (Berlioz). + =WILLIAM TELL= (Rossini). A. Whittingham. + =ZAMPA= (Hérold). + + +PIANO SOLO OVERTURES. + +Price 2/-_net_ each. + + =BOHEMIAN GIRL= (Balfe). + *=CALIPH OF BAGDAD= (Boieldieu). + =CROWN DIAMONDS= (Auber). + =DER FREYSCHUTZ= (Weber). + =DON GIOVANNI= (Mozart). + =DONNA DEL LAGO= (Rossini). + =FRA DIAVOLO= (Auber). + =GUY MANNERING= (Sir H. R. Bishop). + =IDOMENEO= (Mozart). + =IL BARBIERE= (Rossini). + *=IL TANCREDI= (Rossini). + =LIGHT CAVALRY= (Suppé). + =MAGIC FLUTE= (Zauberflöte), (Mozart). + =MARITANA= (Wallace). + =MASANIELLO= (Auber). + *=MERRY WIVES OF WINDSOR= (Nicolai). + =MIGNON OVERTURE= (A. Thomas). + =NOZZE DE FIGARO= (Mozart). + *=POET AND PEASANT= (Suppé). + =RAYMOND= (Thomas). + =SEMIRAMIDE= (Rossini). + =WILLIAM TELL= (Rossini). + *=ZAMPA= (Hérold). + +* Also arranged as Duet (piano, 4 hands), price 2/6 _net_. + + + +PIANOFORTE. + +=THE PIANO WORKS OF BRAHMS.= By EDWIN EVANS, _Senior_. Historical, +Descriptive and Analytical Account of each Work treated in the Order of +the Opus number, and preceded by a Didactic Section. 8vo, cloth, 30s. +_net_. + + The above volume is a complete technical account of the piano + works. It forms a part of the Historical, Descriptive and + Analytical Account of the Entire Works of Brahms advertised on page + 2. + +=HOW TO PLAY BACH'S 48 PRELUDES AND FUGUES.= A Guide Book for the use of +Piano Students as an aid to the Unravelling and Interpretation of these +Masterpieces, ensuring a more Intelligent Keyboard Rendering. By C. W. +WILKINSON. Crown 8vo, cloth, 10s. _net_. + +=NATURAL TECHNICS IN PIANO MASTERY.= A Complete and Authoritative +Manual, covering every phase of Piano Playing and Study. Many Diagrams +of Hand and Finger Technique and some Music Examples. By JACOB +EISENBERG. Crown 8vo, cloth, 12s. 6d. _net_. + +=PARTHENIA=, or the First Musick ever printed for the Virginals. 21 +Compositions by three Famous 16th and 17th century Masters, William +Byrd, Dr. John Bull and Orlando Gibbons. Arranged for the Piano and +freed from the errors of Dr. Rimbault's edition by accurate comparison +with the original text by MARGARET H. GLYN. Folio, 12s. 6d. _net_. + + This edition of "Parthenia" has been entirely re-engraved. + +=THE APPROACH TO LISZT.= A Course of Modern Tonal-Technique for the +Piano, in the form of Graded Studies from the Moderately Difficult to +the Master Stage. By HERBERT WESTERBY, _Mus.Bac. Lond., F.R.C.O., etc._ +Folio, 5s. 6d. _net_. + + Preliminary Studies in Touch and Phrasing in all Keys. Based on the + Scales and Broken Chords. + + Intermediate Studies in Sequential, Wrist and Preparatory Arpeggio + Work in the Black and White Key Positions. + + Advanced Sequential Studies on the Black Keys, with Sixteen + Excerpts from Liszt's Piano Works. The Master Works: Fifty-eight + Excerpts from Liszt. + +=THE ART OF TUNING THE PIANOFORTE.= A New Comprehensive Treatise to +enable the Musician to Tune his Piano upon the System founded on the +Theory of Equal Temperament. By HERMANN SMITH. New Edition, thoroughly +Revised. Crown 8vo, limp cloth, 6s. _net_. + +=ESSENTIALS IN PIANO-PLAYING=, and other Musical Studies. By J. ALFRED +JOHNSTONE, Hon. L.Mus., T.C.L. Portrait, 243 pages. Crown 8vo, cloth, +10s. _net_. + +=EXTEMPORISING AT THE PIANO MADE EASY.= A Manual for Beginners in +Musical Composition. Hints and Aids for the "From Brain to Keyboard" +Composer. By REV. E. H. MELLING, _F.R.C.O._ 8vo, limp cloth, 3s. 6d. +_net_ (paper 2s. _net_). + +=INDIVIDUALITY IN PIANO TOUCH.= By ALGERNON H. LINDO and J. ALFRED +JOHNSTONE. Crown 8vo, 2s. 6d. _net_. + +=THE ARTIST AT THE PIANO.= Essays on the Art of Musical Interpretation. +By GEORGE WOODHOUSE. New and Revised Edition. Portrait of Paderewski. +8vo, cloth, 5s. 6d. _net_. + + The celebrated pianist, Paderewski, after reading the manuscript of + this stimulating volume, wrote: "The booklet is quite a remarkable + work and a really valuable contribution to the philosophy of + pianistic art." + +=THE STUDENT'S GUIDE TO THE ART OF TEACHING THE PIANOFORTE.= By CYRIL R. +H. HORROCKS, L.R.A.M., L.T.C.L., A.R.C.M. With an Extensive and +Carefully Graded List of Studies and Course of the Great Masters. +Numerous Musical Examples. Second edition, Revised. Crown 8vo, cloth, +10s. _net_. + + Until quite recently it was thought impossible to give practical + instructions on the art of teaching, but the error of this idea has + been proved by the great success of the teachers' class at the + various musical institutions. The author's aim is to supply a + guide-book expressly for beginners and those with limited + experience in the art. + +=PIANOFORTE TEACHER'S GUIDE.= By L. PLAIDY. Translated by FANNY RAYMOND +RITTER. Crown 8vo, boards, 3s. _net_ (paper, 2s. _net_). + + "Some of the finest pianists of the day owe much of their technical + facility to Plaidy's excellent method."--_Bazaar._ + +=CANDIDATE'S SCALE AND ARPEGGIO TESTS= for the Piano. In the Primary, +Elementary and Junior Grades of all Local Examinations in Music, and the +Higher and Lower Divisions of the Associated Board of the R.A.M. and +R.C.M. By WILSON MANHIRE. 1s. _net_. + +=TECHNICAL STUDY IN THE ART OF PIANOFORTE PLAYING= (Deppe's Principles). +By C. A. EHRENFECHTER. With numerous Illustrations. Fourth Edition. +Crown 8vo, cloth, 6s. _net_. + + CONTENTS: Position--Arm--Wrist--Fingers; Touch (Tone Production); + Legato; Equality of Tone; Tension and Contraction; Five Finger + Exercises; Skips; The Scale; Arpeggio Chords; Firm Chords; High + Raising of the Arm; Melody and its Accompaniment; Connection of + Firm Chords; The Tremolo: The Shake (Trill); The Pedal; Fingering. + +=HOW TO ACCOMPANY AT THE PIANO.= By EDWIN EVANS. (Plain Accompaniment, +Figurated Accompaniment, Practical Harmony for Accompanists). 172 Music +Examples which are made Clear by the Explanatory Text. Crown 8vo, cloth, +10s. _net_. + +=GRADUATED SCALE AND ARPEGGIO MANUAL.= Compiled for the various Exams. +By HENRY SAINT-GEORGE. 3s. _net_. + +=A SYSTEM OF STUDY OF SCALES AND CHORDS.= Being Chapters on the Elements +of Pianoforte Technique. By B. VINE WESTBROOK, F.R.C.O. Numerous +Examples. New and Revised edition. 8vo, 3s. _net_. + + The author outlines a scheme which abolishes the drudgery and + inspires the pupil with an enthusiasm for practice and formulates a + method or system in which that practice may be carried out. + +=PIANO CLASSES IN ELEMENTARY SCHOOLS.= By AUDREY KING. With Music +Examples. Crown 8vo, 1s. _net_. + +=HOW TO PLAY 110 FAVOURITE PIANO SOLOS.= Being the 4 Series complete in +1 vol. of "Well-Known Piano Solos: How to Play them with Understanding, +Expression and Effect." By CHARLES W. WILKINSON. Crown 8vo, cloth, 12s. +6d. _net_. + +=WELL-KNOWN PIANO SOLOS.= How to Play them with Understanding, +Expression and Effect. By C. W. WILKINSON. Four Series, 2s. each (each +series containing about 26 articles), or four in one vol. as above. + + Contents of the First Series:--SINDING, Rustle of Spring. + SCARLATTI, Pastorale le Capriccio. PADEREWSKI, Minuet in G. HANDEL, + Harmonious Blacksmith. RUBINSTEIN, Melody in F. SCHARWENKA, Polish + Dance. SCHUMANN, Nachtstücke. GODARD, Mazurka. DELIBES, Pizzicati + from Sylvia. GRIEG, Wedding Day at Troldhangen. ELGAR, Salut + d'Amour. PADEREWSKI, Melodie. RAFF, La Fileuse. TCHAÏKOVSKY, + Troika. GODARD, Berger et Bergères. CHAMINADE, Pierrette. + MOSZKOWSKI, Etincelles. PADEREWSKI, Minuet in A major. GRIEG, + Norwegian Bridal Procession. LISZT, Regata Veneziana. CHAMINADE, + Automne. MOSZKOWSKI, Serenata. LACK, Valse Arabesque. SCHUMANN, + Arabeske. CHOPIN, Etude in G flat. DURAND, First Valse. + + Draws one's attention to the beauties in a piece, explains + difficulties here and there, draws attention to a pedal effect and + any peculiarity of fingering, and generally gives all the + information a professor is expected to give to his pupils. + +=DELIVERY IN THE ART OF PIANOFORTE PLAYING=, On Rhythm, Measure, +Phrasing, Tempo. By C. A. EHRENFECHTER. Second Edition. Crown 8vo, +cloth, 6s. _net_. + + "The section with reference to accent is particularly good. There + are numerous illustrations from the works of the masters."--W. H. + WEBBE in _The Pianist's A. B. C._ + +=PIANO TOUCH, PHRASING AND INTERPRETATION.= By J. Alfred Johnstone. +Crown 8vo, cloth, 7s. 6d. _net_. + +=PRACTICE REGISTER= for Pupil's Daily Practice. A Specimen, 1d. (or 2s. +6d. per 100). + +=REEVES' VAMPING TUTOR.= Art of Extemporaneous Accompaniment, or Playing +by Ear on the Pianoforte, Rapidly Enabling anyone having an Ear for +Music (with or without any Knowledge of Musical Notation) to Accompany +with Equal Facility in any Key. Practical Examples. By FRANCIS TAYLOR. +New Edition, to which is added Instructions for Accompaniment with Equal +Facility in every Key illustrated by Examples. Folio, 2s. _net_. + +=THE DEPPE FINGER EXERCISES= for Rapidly Developing an Artistic Touch in +Pianoforte Playing, Carefully Arranged, Classified and Explained by AMY +FAY (Pupil of Tausig, Kullak, Liszt and Deppe). Folio, English or +Continental Fingering, 2s. _net_. + +=INTRODUCTION TO RUSSIAN PIANO MUSIC.= By HERBERT WESTERBY, +Mus.Bac.Lond., F.R.C.O., L.Mus.T.C.L., 1s. _net_. + +=REEVES' POPULAR PIANOFORTE TUTOR.= Rudiments of Music, Exercises with +Popular Airs, Major and Minor Scales. With Illustration of Fingerboard. +Folio, 2s. 6d. _net_. + + +TECHNICAL AND THEORETICAL. + +=ESSENTIALS IN MUSIC STUDY FOR EXAMINATIONS.= A Helpful Guide both for +the General Student and Candidates for Junior and Intermediate +Examinations. By REV. E. H. MELLING, F.R.C.O. Cloth, 5s. _net_ (paper +covers, 2s. 6d. _net_). + + Rev. E. H. Melling is the author of several popular works which + have been found of great use to music students--"Guide for the + Young Composer," "Extemporising at the Piano made Easy," etc. + +=GUIDE FOR THE YOUNG COMPOSER.= Hints on the Art of Composition, with +Examples of Easy Application. By REV. E. H. MELLING, F.R.C.O. Cloth, 5s. +_net_ (paper covers, 2s. 6d. _net_). + +=EXAMINATION TEST QUESTIONS.= Containing spaces for the Pupils' Written +Answers. By WALTER L. TWINNING, F.R.C.O. No. 1, Musical Notation and +Time; No. 2, Formation of Scales; No. 3, Ornaments; No. 4, Intervals, +9d. _net_ each. + +=THEORY OF MUSIC FOR YOUNG MUSICIANS.= With Answers given to all the +Questions, and a Dictionary of necessary Musical Terms. By MARY SHARP. +Limp cloth, 2s. 6d. _net_ (paper covers, 1s. 6d. _net_). + +=102 TEST QUESTIONS ON THE GENERAL RUDIMENTS OF MUSIC.= In Groups of Six +each Lesson, for Written or Oral Use. By WILSON MANHIRE, L.R.A.M. 6d. +_net_. + +=PRIMARY COURSE IN THE RUDIMENTS OF MUSIC=, With Hints on Answering +Questions (Written Work) for All Examinations in the Primary, Elementary +and Preparatory Grades. By WILSON MANHIRE, L.R.A.M., etc. 2s. _net_. + +=EXAMINATION CANDIDATE'S GUIDE= to Scale and Arpeggio Piano Playing +(with Tests). All that is required for the Various Exams. By WILSON +MANHIRE, L.R.A.M. 3s. _net_. + +=CANDIDATE'S SCALE AND ARPEGGIO TESTS= for the Piano. By WILSON MANHIRE, +L.R.A.M. 1s. _net_. + +=STUDIES IN MODULATION= for Practical and Theoretical Purposes. By PERCY +BAKER, F.R.C.O., etc. Cloth, 5s. 6d. _net_ (paper, 3s. _net_). + +=MUSICAL FORM=, A Handbook to, for Instrumental Players and Vocalists. +By E. VAN DER STRAETEN. With Musical Examples, 205 pages. 8vo, cloth, +6s. 6d. _net_ (paper 4s. _net_). + + The part of the work on Dance Forms gives a history and description + of the Suite or Partita, Allemande, Courante, Sarabande, Gigue, + Gavotte, Musette, Bourrée, Branle, Passepied, Rigaudon, Loure, + Pavane, Galliard, Tambourin, Cebell, Rondo, Menuet, Polonaise, + Mazurka, Bolero, Tarantella, Saltarello, March, Ciaccone and + Passacaglia. + +=STUDIES IN HISTORICAL FACTS AND MUSICAL FORM.= Being a Guide and Note +Book for a more Systematic Preparation of the General Knowledge Papers +now set at the Universities and Colleges of Music. By PERCY BAKER. +Cloth, 5s. 6d. _net_ (paper, 3s. _net_). + +=MOZART AND THE SONATA FORM.= By J. R. TOBIN, Mus.B. _See Pianoforte +Section._ + +=FUGUE.= A Conversational Address delivered to the Incorporated Guild of +Church Musicians. By J. H. LEWIS, Mus.Doc. (Victoria College of Music). +Crown 8vo, limp cloth, 2s. _net_. + +=MUSICAL EXPRESSIONS, PHRASES AND SENTENCES=, with their Corresponding +Equivalents in French, German and Italian. By F. BERGER. 8vo, cloth, 5s. +6d. _net_ (paper, 3s. _net_). + +=RUDIMENTS OF MUSIC=, Set forth in Graded QUESTIONS with ANSWERS, for +Use of Candidates preparing for the Examinations of R.A.M., R.C.M. and +T.C.L. By B. HOWARTH, L.R.A.M. and A.R.C.M. Crown 8vo, 2s. _net_. + + _The Answers are always on the right hand page and can be covered + over if desired, the Questions being on the corresponding left hand + pages._ + +=ELEMENTARY LESSONS ON SIGHT-SINGING.= Combining the Staff and Tonic +Sol-fa Notations. With Music Examples throughout. By J. W. ROSSINGTON, +L.R.A.M. Cloth, 3s. 6d. _net_; paper, 2s. _net_. + + For many singers there is only one method of becoming good + sight-readers, viz., combining the tonic sol-fa with the staff + notation. It is hoped that a perusal of these elementary lessons + will show the principles on which this combination is effected, and + simplify the somewhat difficult task of sight-reading. + +=STEPS IN HARMONY.= With Copious Explanatory Examples and Graded Test +Exercises. A Handbook for Students. By DR. CHURCHILL SIBLEY. With Music +Examples throughout. Crown 8vo, boards, cloth back, 6s. _net_ (paper, +3s. 6d. _net_). + + It is believed that he who thoroughly masters the contents of these + pages will be prepared to study intelligently the harmonic + structure of the works of the great masters, and also to follow + critically the changeful tendencies of the present day. + +=600 QUESTIONS AND 600 EXERCISES IN ELEMENTARY MUSICAL THEORY.= By W. H. +PALMER. Crown 8vo, cloth, 5s. _net_ (paper covers, 3s. _net_). + + Intended as a help to the private student and to the candidate + preparing for the several musical examinations. + +=THE MODAL ACCOMPANIMENT OF PLAIN CHANT.= A Practical Treatise. By EDWIN +EVANS, Senior, F.R.C.O. Part I, Theoretical; Part II, Practical School +of Plain Chant Accompaniment, consisting of 240 Exercises, with an +Appendix of Notes. Crown 8vo, cloth, 8s. 6d. _net_. + +=THE HARMONISING OF MELODIES.= A Text-Book for Students and Beginners. +By H. C. BANISTER. Third Edition, with numerous Musical Examples. Crown +8vo, limp cloth, 5s. _net_. + +=MUSICAL ANALYSIS.= A Handbook for Students. By H. C. BANISTER. With +Musical Illustrations. Crown 8vo, limp cloth, 5s. _net_ (paper covers, +2s. 6d. _net_). + +=THE ART OF MODULATING.= A Series of Papers on Modulating at the +Pianoforte. By HENRY C. BANISTER. With 62 Musical Examples. Crown 8vo, +cloth, 6s. _net_ (paper covers, 3s. 6d. _net_). + +=MODERN CHORDS EXPLAINED.= (The Tonal Scale in Harmony.) By ARTHUR G. +POTTER. Musical Examples from C. Debussy, Richard Strauss and Granville +Bantock. 8vo, cloth, 4s. _net_ (paper covers, 2s. _net_). + +=EXERCISES IN VOCAL SCORE READING.= Collected from the Works of Orlando +di Lasso, Palestrina, Vittoria, Barcroft, Redford, Peter Certon, Byrd, +Gibbons, Croft, Rogers, Boyce, etc. For Students preparing for the +R.C.O. and other Examinations. By JAMES LYON, Mus.Doc. Oxon. 4to, 4s. +6d. _net_. + +=EXERCISES IN FIGURED BASS AND MELODY HARMONIZATION.= By JAMES LYON, +Mus.Doc. 4to, 3s. 6d. _net_. + +=EXAMPLES OF FOUR-PART WRITING FROM FIGURED BASSES AND GIVEN MELODIES.= +By JAMES LYON, Mus.Doc. 4to, 5s. 6d. _net_. + + These exercises are printed in open score so as to be of use in + score reading tests. This volume forms a key to "Exercises in + Figured Bass" by the same author (see above). + +=HOW TO COMPOSE.= A Practical Guide to the Composition of all Works +within the Lyric Form, and which include the Valse, Gavotte, Mazurka, +Polonaise, March, Minuet, and all Ordinary Dance Forms; as also the +Nocturne, Impromptu, Berceuse, Reverie and Similar Characteristic +Pieces. By EDWIN EVANS, Senior, F.R.C.O. With 60 Musical Examples. Crown +8vo, cloth, 7s. 6d. _net_. + +=THE RUDIMENTS OF GREGORIAN MUSIC.= By FRANCIS BURGESS, F.S.A., Scot. +Second Impression. Crown 8vo, limp cloth, 2s. 6d. _net_ (paper, 1s. 6d. +_net_). + +=MUSICAL PRONOUNCING DICTIONARY.= By DR. DUDLEY BUCK. Eighth Edition, +with the Concise Explanation and Pronunciation of each Term. Edited and +Revised by A. WHITTINGHAM. Crown 8vo, cloth, 3s. _net_ (paper, 1s. 6d. +_net_). + + A most valuable and useful little book to all musical people. The + method adopted for giving the pronunciation of each term is most + concise and clear. + +=A FIRST BOOK OF MUSIC FOR BEGINNERS=, Embodying English and Continental +Teaching. By ALFRED WHITTINGHAM. Sixth Thousand. Crown 8vo, sewed, 4d. +_net_. + +=HARMONY, EASILY AND PROGRESSIVELY ARRANGED.= Presenting in a Simple +Manner the Elementary Ideas as well as the Introduction to the Study of +Harmony. With about 300 Musical Examples and Exercises. By PAUL COLBERG. +Crown 8vo, cloth, 7s. 6d. _net_. + + AUGUST WILHELMJ says: "This work is distinguished by brevity and + clearness. I most warmly recommend it." + +=COMPEND OF MUSICAL KNOWLEDGE.= By PERCY BAKER, F.R.C.O., L.Mus. T.C.L. +Being a Guide with Notes, Hints and Articles on the Study of Examination +Questions. Crown 8vo, cloth, 6s. _net_ (paper, 3s. 6d. _net_). + + _Primarily_ to help candidates entering for the R.C.O. and T.C.L. + Diplomas, though containing much information for the amateur + musician and general reader. Indispensable to teachers in guiding + their pupils through a course of study dealing with a large number + of subjects like those set for the F.R.C.O. and A.R.C.O. + +=ELEMENTARY MUSIC.= A Book for Beginners. By DR. WESTBROOK. With +Questions and Vocal Exercises. Fifteenth Thousand. Crown 8vo, cloth, 4s. +_net_ (paper, 2s. _net_). + + CONTENTS: 1. The Staff and its Clefs. 2. Notes and their Rests. 3. + Bars and Time. 4. Accidentals. 5. Keys and Scales. 6. Intervals. 7. + Musical Pitch. 8. Accent. 9. Secondary Signs. 10. Ornaments and + Groups of Notes. 11. Voices and Scores. 12. Church Modes. 13. + Italian and other Directions. 14. Foreign Note-Names. 15. + Questions. 16. Vocal Exercises. + + "His explanations are extremely clear. The questions at the end + will be found very useful."--_Musical Times._ + +=EXERCISES ON GENERAL ELEMENTARY MUSIC.= A Book for Beginners. By K. +PAIGE. Fourth Edition. Part I, 1s. 6d. _net_; Part II, 2s. _net_. Crown +8vo, paper (2 parts complete in cloth, 5s. _net_). + + CONTENTS OF PART I: 1. Pitch. 2. Length of Sounds. 3. Time. 4. Time + and Accent. 5. Intervals. 6. Scales. 7. Transposition. 8. + Syncopation. 9. Signs and Abbreviations. 10. Notation. 11. + Miscellaneous Questions and Exercises. + + CONTENTS OF PART II: 1. Triads. 2. First Inversion of a Triad. 3. + Second Inversion of a Triad. 4. Dissonances. 5. Suspensions. 6. + Sequences. 7. Cadences. 8. Dominant Sevenths, etc. + +=HOW TO MEMORISE MUSIC.= By C. F. KENYON. With numerous Musical +Examples. Fourth Edition. Crown 8vo, cloth, 5s. _net_. + + "Mr. Kenyon proves himself an excellent guide; and indeed we know + of no other work devoted to the subject with which he has dealt so + thoroughly and so successfully."--_Glasgow Herald._ + +=HOW TO HARMONIZE MELODIES.= With Hints on Writing for Strings and +Pianoforte Accompaniments. By J. HENRY BRIDGER, Mus.Bac. With Musical +Examples throughout. Crown 8vo, cloth, 6s. _net_. + +=THE ART OF MODULATION.= A Handbook showing at a Glance the Modulations +from one Key to any other in the Octave, consisting of 1,008 +Modulations. For the Use of Organists and Musical Directors. Edited by +CARLI ZOELLER. Third Edition. Roy. 8vo, cloth, 8s. _net_ (paper, 5s. +_net_). + +=THE STUDENT'S BOOK OF CHORDS.= With an Explanation of their Inversions +and Resolutions. By PASCAL NEEDHAM. Crown 8vo, sewed, 1s. 6d. _net_. + + The chords with their inversions and resolutions are briefly and + clearly explained. + +=TRANSPOSITION AT SIGHT.= For Students of the Organ and Pianoforte. By +H. E. NICHOL. Fourth Edition, with numerous Musical Exercises. Crown +8vo, cloth, 3s. 6d. _net_; paper, 2s. _net_. + + The practice of transposing upon the lines here laid down develops + the "mental ear," quickens the musical perception and gives ease in + sight reading; as it is evident that, if the student can + _transpose_ at sight, he will not have much difficulty in merely + _playing_ at sight. Free use is made of the tonic sol-fa as well as + the standard notation in many musical examples. + +=SCHUMANN'S RULES AND MAXIMS FOR YOUNG MUSICIANS.= Sewed, 6d. + +=THE STUDENT'S HELMHOLTZ.= Musical Acoustics, or the Phenomena of Sound +as Connected with Music. By JOHN BROADHOUSE. With more than 100 +Illustrations. Fifth Impression. Crown 8vo, cloth, 12s. 6d. _net_. + + "In his Preface the author says: 'The object of the present book is + to give, in one volume, a good general view of the subject to those + who can neither spare time to read, nor money to buy a number of + large and expensive works.' A perusal of the book justifies us in + asserting that this design is most satisfactorily carried out; and + it is not too much to say that although the plan of the work + excludes the possibility of minutely dissecting every subject + treated upon, any careful reader may obtain so clear an insight + into the principle of acoustics, as to enable him not only to pass + an examination but to store up a large amount of general knowledge + upon the phenomena of sound."--_Musical Times._ + + +VIOLIN AND STRINGED INSTRUMENTS. + +=VIOLINIST'S MANUAL.= A Treatise on Construction, Choice, Care, +Adjustment, Study and Technique of the Violin. Full of Useful and +Practical Advice regarding the Violin and Bow. By H. F. GOSLING. +Numerous Illustrations and an Index. Crown 8vo, cloth, 15s. _net_. + +=VIOLIN TECHNICS=, or How to Become a Violinist. Exact Instructions, +Step by Step, for its Accomplishment with or without a Teacher. By +"FIRST VIOLIN." 3s. _net_. + +=PLAYING AT SIGHT FOR VIOLINISTS= and Others in an Orchestra. Valuable +Hints and Aids for its Mastery. By SYDNEY TWINN. Post 8vo, 3s. _net_. + +ADVANCED MODERN VIOLIN TECHNICS. + +=TONAL SCALES AND ARPEGGIOS FOR VIOLIN.= Introductory to the Unusual +Intonation and Finger-grouping of Advanced Modern Music. By SYDNEY +TWINN. 4to, 3s. _net_. + + "These scales will be useful to advanced players who find + difficulties in the unusual intonation and technique of modern + music"--_Strad._ + +=SCALES AND ARPEGGIOS.= Indispensable Studies for the Violin. Edited by +ALBERT GRAFF. 1s. 6d. _net_. + +=ARPEGGIOS FOR THE VIOLIN.= By BASIL ALTHAUS. Folio. 3s. _net_. + +=VIOLINIST'S ENCYCLOPÆDIC DICTIONARY.= Containing the Explanation of +about 4,000 Words, Phrases, Signs, References, etc., Foreign, as well as +English, used in the Study of the Violin, and also by String Players +generally, by F. B. EMERY, M.A. New and enlarged edition, doubled in +size. 246 pp., crown 8vo. Cloth 10s. _net_, paper, 7s. 6d. _net_, or on +India paper and bound in red pegamoid rounded corners, 12s. 6d. _net_. +Suitable for student or travel. + +=70 PREPARATORY VIOLIN EXERCISES= for Beginners in the First Position, +carefully Graduated, Supplementary to the First Instruction Book. By +WILSON MANHIRE, L.R.A.M., A.R.C.M., etc. 2s. 6d. _net_. + +=BOW INSTRUMENTS=, their Form and Construction. Practical and Detailed +Investigation and Experiments regarding Vibration, Sound Results, and +Construction. By J. W. GILTAY. Issued into English by the Author in +Co-operation with E. VAN DER STRAETEN. Numerous Diagrams. 8vo, cloth, +16s. _net_. + + "A valuable treatise."--_The Strad._ + +=OLD VIOLINS AND VIOLIN LORE=, Famous Makers of Cremona and Brescia, and +of England, France and Germany (with Biographical Dictionary), Famous +Players, and Chapters on Varnish, Strings and Bows, with 13 full-page +plates. By H. R. HAWEIS. Thick crown 8vo, cloth, 17s. 6d. _net_. + +=YOUNG VIOLINIST'S SCALE AND ARPEGGIO MANUAL.= By WILSON MANHIRE, +L.R.A.M., etc. 2s. _net_. + +=FACTS ABOUT FIDDLES.= Violins Old and New. By J. BROADHOUSE. Fourth +Edition. Crown 8vo, paper. 2s. 6d. _net_. + +=NOTABLE VIOLIN SOLOS=: How to Play Them. Three Series (consisting of 43 +descriptive Articles in all). By E. VAN DER STRAETEN. 2s. 6d. _net_ each +series. Also complete, in cloth, with Portraits, 10s. _net_. + +=VIOLIN MANUFACTURE IN ITALY= and its German Origin. By DR. E. SCHEBEK. +Translated by W. E. LAWSON. Second Edition. Square 12mo, cloth, 6s. +_net_; paper, 3s. 6d. _net_. + +=CHATS WITH VIOLINISTS.= By WALLACE RITCHIE. With four Photographic +Illustrations. Crown 8vo, cloth, 8s. 6d. _net_. + + CHAPTERS: On the Importance of being Accurate; On Various Details; + On the Violin and its Fittings; On Reading from Sight and Playing + from Memory; A Few Violin Secrets; Some valuable Technical + Exercises; Hand Development for Violinists, including Eighteen + Excellent Finger Gymnastics; Sundry Useful Hints. + + I here lay before the public that information and advice which I + have hitherto been content to reserve for the sole use of my own + pupils. During a considerable experience, both as a student and as + a teacher of the violin, I have naturally pieced together quite a + variety of small hints and items of information which, though + modest enough individually, have been found on the whole to be of + no inconsiderable value, not only with regard to my own playing, + but also--and which is of far more importance--in enabling me to + impart a knowledge of the art to others. + +=ADVICE TO VIOLIN STUDENTS.= Containing Information of the Utmost Value +to every Violinist. By WALLACE RITCHIE. Crown 8vo, cloth, 8s. 6d. _net_ +(paper, 5s. _net_). + + CONTENTS: Selecting and Adjusting--Choice of a Teacher--Course of + Study--The Sevcik Method--Practising--Style--Tone + Production--Pronunciation of Terms, Names, etc.--Graded List of + Studies, Pieces, etc. Together with Hints on Common + Faults--Shifting--Reading + Music--Stopping--Harmonics--Vibrato--Tempo--Intonation, Pitch, etc. + +=THE VALUE OF OLD VIOLINS.= By E. POLONASKI. Being a List of the +Principal Violin Makers, British, Italian, French and German. With +Approximate Valuations of their Instruments and Occasional Notes on +their Varnish. Facsimiles of Labels and Violins. Crown 8vo, cloth, 10s. +_net_. + +=INFORMATION FOR PLAYERS=, Owners, Dealers and Makers of Bow +Instruments, also for String Manufacturers. Taken from Personal +Experiences, Studies and Observations. By WILLIAM HEPWORTH. With +Illustrations of Stainer and Guarnerius Violins and Gauge of Millimetres +and Centimetres, etc. Crown 8vo, cloth, 8s. 6d. _net_. + + CONTENTS: The + Pegs--Neck--Fingerboard--Bridge--Tail-piece--Saddle--Violin + Holder--Tail-pin--Bar--Sound-post--On the Stringing of Bow + Instruments in General Use--Strings--Rosin--Cleaning of the + Instrument and the Bridge--Bow--Violin + Case--Repairs--Preservation--Conclusion. + +=SKETCHES OF GREAT VIOLINISTS AND GREAT PIANISTS.= Biographical and +Anecdotal, with Account of the Violin and Early Violinists. Viotti, +Spohr, Paganini, De Beriot, Ole Bull, Clementi, Moscheles, Schumann +(Robert and Clara), Chopin, Thalberg, Gottschalk, Liszt. By G. T. +FERRIS. Third Edition. Crown 8vo, cloth, 8s. 6d. _net_. + +=TREATISE ON THE STRUCTURE AND PRESERVATION OF THE VIOLIN= and all other +Bow Instruments. Together with an Account of the most Celebrated Makers +and of the Genuine Characteristics of their Instruments. By J. A. OTTO, +with Additions by J. BISHOP. With Diagrams and Plates. Fourth Edition, +further Enlarged. Crown 8vo, cloth, 10s. _net_. + + Contains instructions for the repair, preservation and bringing out + the tone of instruments; tracing model for violin, mutes and fiddle + holders; list of classical works for stringed instruments. This + work is especially valuable for makers of violins. + +=HOW TO PLAY THE FIDDLE.= For Beginners on the Violin. By H. W. and G. +GRESSWELL. Eighth Edition. Crown 8vo, cloth, 6s. _net_; or in 2 vols., +paper, 3s. _net_. + + JOACHIM says: "Contains many useful hints about violin playing." + +=BIOGRAPHICAL DICTIONARY OF FIDDLERS.= Including Performers on the +Violoncello and Double Bass, Past and Present. Containing a Sketch of +their Artistic Career, together with Notes of their Compositions. By A. +MASON CLARKE. 9 Portraits. Post 8vo, cloth, 10s. _net_. + + "We may here take the opportunity of recommending a useful book to + all lovers of violins and violinists. Fiddlers, Ancient and Modern, + is practically a little Biographical Dictionary, well arranged with + some excellent portraits."--_Northern Whig._ + +=ART OF HOLDING THE VIOLIN AND BOW AS EXEMPLIFIED BY OLE BULL.= His Pose +and Method proved to be based on true Anatomical Principles. By A. B. +CROSBY, M.D., Professor of Anatomy. Portrait, Diagrams and +Illustrations. 8vo, cloth, 5s. _net_. + + Included in the above are some interesting recollections and + anecdotes of Ole Bull. + +=THE VIOLIN AND OLD VIOLIN MAKERS.= Being a Historical and Biographical +Account of the Violin. By A. MASON CLARKE. With Facsimile of Labels used +by Old Masters and illustrations of a copy of Gasparo da Salo. Crown +8vo, cloth, 10s. _net_. + +=THE VIOLIN, ITS HISTORY AND CONSTRUCTION.= Illustrated and Described +from many Sources. Together with a List of Italian and Tyrolese Makers. +With 28 Illustrations and folding Examples of the First Music issued for +the Lute, Fiddle and Voice. From the German of ABELE and NIEDERHEITMANN. +By J. BROADHOUSE. Fresh issue printed in larger size. Crown 8vo, cloth, +10s. _net_. + + "The learned and instructive treatise of Abele, skilfully rendered + by J. Broadhouse and supplemented by a version of Niederheitmann's + list of Italian and Tyrolese violin makers, a compilation + invaluable to collectors and connoisseurs of rare fiddles ... a + work which forms a noteworthy addition to the small number of + English books upon this interesting subject."--_Scotsman._ + +=HOW TO MAKE A VIOLIN=, Practically Treated. By J. BROADHOUSE. New and +Revised Edition. With 47 Illustrations and Folding Plates and many +Diagrams, Figures, etc. Crown 8vo, cloth, 10s. 6d. _net_. + + CONTENTS: Introduction--The Parts of the Violin--On the Selection + of Wood--The Tools required--The Models--The Mould--The Side-pieces + and Side Linings--The Back--Of the Belly--The Thickness of the Back + and Belly--The Bass Bar--The Purfling--The Neck--The + Fingerboard--The Nut and String Guard--Varnishing and + Polishing--Varnishes and Colouring Matter--The Varnish--A + Mathematical Method of Constructing the Outline--The Remaining + Accessories of the Violin. + + This new edition had the advantage of being revised throughout by a + celebrated violin maker. + +=A MUSICAL ZOO.= Twenty-four Illustrations displaying the Ornamental +Application of Animal Forms to Musical Instruments (Violins, Viol da +Gambas, Guitars, Pochette, Serpent, etc.). Drawn from the Carved +Examples by HENRY SAINT-GEORGE. Cloth, 6s. _net_ (paper, 3s. 6d. _net_). + +=THE HISTORY OF THE VIOLIN= and other Instruments Played on with the Bow +from the Remotest Times to the Present. Also an Account of the Principal +Makers. Coloured Frontispiece and numerous Illustrations and Cuts. By W. +SANDYS, F.S.A., and S. A. FORSTER. Thick 8vo, cloth 27s. 6d. _net_. + +=THE VIOLIN AND BOW.= A Treatise (in Three Languages, English, French +and German), with numerous Copies of Photographs taken from Life, +supplemented by various Examples and Original Studies by I. B. +POZNANSKI. 5s. _net_. + +=TECHNICS OF VIOLIN PLAYING.= By KARL COURVOISIER. With Illustrations. +Eleventh Edition. Cloth, 5s. _net_, paper, 2s. 6d. _net_. + + "It is my opinion that this book will offer material aid to all + violin players."--JOACHIM. + + "As far as words, aided by diagrams, can make clear so practical a + subject as the playing of a musical instrument, this little book + leaves nothing to be desired. The author, who was a pupil of + Joachim, has treated the subject in a most thorough manner, and we + can highly recommend his little book."--_Educational Times._ + +=AN IMPORTANT LESSON TO PERFORMERS ON THE VIOLIN.= By the Celebrated +TARTINI. Portrait. Being the Translation by DR. BURNEY, issued +originally in 1779, together with the original Italian. 8vo, cloth, 6s. +_net_ (paper, 3s. _net_). + +=VIOLONCELLO EXERCISES, SCALES AND ARPEGGIOS.= By E. GILLET. Complete in +one vol., 4s. _net_; or Part I, Exercises, 1s. 6d. _net_, Part II, +Scales, 1s. 6d. _net_, and Part III, Arpeggios, 1s. 6d. _net_. + +=ART OF VIOLONCELLO PLAYING.= Tutor in Three Books. By E. VAN DER +STRAETEN. Text in English and French. 4to. Book I, 3s. 6d. _net_; Book +II, 4s. _net_. + +=WELL-KNOWN VIOLONCELLO SOLOS.= How to Play Them. Three Series. By E. +VAN DER STRAETEN. 2s. 6d. _net_, each series. Also complete in cloth, +with Portraits, 10s. _net_. + +=HOW TO REPAIR VIOLINS= and other Musical Instruments. By ALFRED F. +COMMON. With Diagrams. Crown 8vo, cloth, 7s. 6d. _net_. + +=ROYSTON'S PROGRESSIVE VIOLIN TUTOR= (with Illustrations giving Correct +Position for Hand, Wrist and Fingers). Folio, 3s. _net_. + + +VOCAL. + +=SUCCESS IN AMATEUR OPERA.= Instructions on Auditions, Equipment of the +Society and the Conductor, Allocation of Rôles, Rehearsals, Training of +Soloists, Diction, Conducting, etc. By HUBERT BROWN. Including a Section +on Stage Management, by H. G. TOY. Preface by DEREK OLDHAM. Crown 8vo, +cloth, 7s. 6d. _net_; paper covers, 4s. _net_. + +=SPEECH DISTINCT AND PLEASING=, or Why not Learn to Speak Correctly? A +clear description of the mental and physical qualities on which the art +of good speaking is founded and grounded. By FRANK PHILIP. 162 pages, +Crown 8vo, cloth, 7s. _net_; paper covers, 4s. _net_. + +=VOICE PRODUCTION FOR ELOCUTION AND SINGING.= By REV. E. H. MELLING. +Music Examples. 31 pages, f'cap 8vo, cloth, 4s. 6d. _net_; paper covers, +2s. 6d. _net_. + +=THE VOCAL WORKS OF JOHANNES BRAHMS.= Historical, Descriptive and +Analytical Account of each Work. Original English Translations supplied +to many numbers. By EDWIN EVANS, Senior. Thick 8vo, cloth, 30s. _net_. + + The above volume is a complete technical account of the vocal + works. It forms a part of the Historical, Descriptive and + Analytical Account of the Entire Works of Brahms advertised on page + 2. + +=VOCAL TRAINING AND PREPARATION FOR SONG INTERPRETATION.= With a Section +showing how to Determine Accurately by Pitch and Curve Graphs the +special Suitability of Songs selected for particular Vocal Requirements. +Music Illustrations and Descriptive Diagrams. By FRANK PHILIP. 8vo, +cloth, 15s. _net_. + +=THE AMATEUR VOCALIST.= A Guide to Singing. With Useful Hints on Voice +Production, Song Preparation, etc. By WALTER L. TWINNING, F.R.C.O. Post +8vo, limp cloth, 2s. 6d. _net_. + +=HOW TO TEACH CLASS SINGING=, and a Course of Outline Lessons which +illustrate the psychological principles upon which successful tuition is +based. By GRANVILLE HUMPHREYS, Professor of the Art of Teaching, Voice +Production, etc., at the T.S.-F.C.; late Lecturer in Class Singing at +the Training School for Music Teachers. Numerous Music Illustrations. +Cloth, 10s. _net_. + + Teachers will find this very striking book of great value. The + publishers have no hesitation in strongly recommending it. + +=THE VOICE AND SINGING.= Practically Explained, Condensed but +Comprehensive Treatise, designed principally for Students and Amateurs, +by an Experienced Singer and Teacher (C. W. PALMER). Cloth, 5s. _net_; +paper, 2s. 6d. _net_. + + "I have studied the subject as an enthusiast both theoretically and + practically, both as student and teacher, for over thirty + years."--_Extract from the Preface._ + +=VOCAL SUCCESS=, or Thinking and Feeling in Speech and Song, including a +Chapter on Ideal Breathing for Health. By the REV. CHAS. GIB. Crown 8vo, +cloth, 7s. 6d. _net_; or paper covers, 4s. 6d. _net_. + + The known facts of science in connection with both the structure + and functions of the vocal organs are stated; and have been + supplemented by impressions formed in the course of long experience + and experiment in the training of voices. + +=VOCAL SCIENCE AND ART.= Hints on Production of Musical Tone. By REV. +CHAS. GIB. The Boy's Voice, Muscular Relaxation, Art of Deep Breathing, +Elocution for Ordination Candidates. With Numerous Illustrations, and +Introduction, Notes and Diagrams, by J. F. HALLS DALLY, M.A., M.D., etc. +Dedicated to the Bishop of London. Crown 8vo, cloth, 7s. 6d. _net_. + +=RUDIMENTS OF VOCAL MUSIC.= With 42 Preparatory Exercises, Rounds and +Songs in the Treble Clef. By T. MEE PATTISON. Second Edition. Crown 8vo, +paper, 4d. _net_. + +=PHYSICAL DEVELOPMENT IN RELATION TO PERFECT VOICE PRODUCTION.= By H. +TRAVERS ADAMS, B.A. 8vo, paper, 3s. _net_. + + Intended for students. Treats of Vibration, Breaks and Registers, + The Speaking Voice, Attack, Practical Application, Breathing, + Exercise in Inspiration, Expiration, and so on. + +=SIMPLICITY AND NATURALNESS IN VOICE PRODUCTION.= A Plea and an +Argument. By EDWIN WAREHAM. Crown 8vo, cloth, 3s. 6d. _net_. + +=OBSERVATIONS ON THE FLORID SONG.= Or Sentiments on the Ancient and +Modern Singers. By P. F. TOSI. Translated by Mr. Galliard. With folding +Musical Examples. 184 pages. A Reprint of this Celebrated Book, first +published in 1743. Crown 8vo, boards, with vellum-like back. 21s. _net_. + + Recommended to all students of the Italian method of singing by the + late Charles Lunn. + + "The aged teacher embodies his own experience and that of his + contemporaries at a time when the art was probably more thoroughly + taught than it has ever been since."--_Grove's Dictionary._ + +=ELEMENTARY LESSONS ON SIGHT SINGING.= Combining the Staff and Tonic +Sol-fa Notations. With Music Examples throughout. By J. W. ROSSINGTON, +L.R.A.M. Cloth, 3s. 6d. _net_ (paper, 2s. _net_). + + For many singers there is only one method of becoming good + sight-readers, viz., combining the tonic sol-fa with the staff + notation. + +=THE ART OF VOCAL EXPRESSION.= A Popular Handbook for Speakers, Singers, +Teachers and Elocutionists. By the REV. CHAS. GIB. Crown 8vo, cloth, 5s. +_net_; paper, 2s. 6d. _net_. + +=VOICE PRODUCTION AND VOWEL ENUNCIATION.= By F. F. MEWBURN LEVIEN. +Diagrams by ARTHUR C. BEHREND. Post 8vo, sewed, 2s. _net_. + +=THE THROAT IN ITS RELATION TO SINGING.= A Series of Popular Papers. By +WHITFIELD WARD, A.M., M.D. Illustrations. Second Edition. Crown 8vo, +cloth, 5s. _net_; paper, 3s. _net_. + + CONTENTS: Anatomical Structure of the Throat; What we See with the + Laryngoscope; How we Sing; How we Breathe; How to take Care of the + Voice; Hints to Voice Builders; How the Voice is Destroyed; Common + Throat Affections of Singers, together with their Treatment, etc. + +=HOW TO ATTAIN THE SINGING VOICE=, or Singing Shorn of its Mysteries. A +Popular Handbook for those desirous of winning Success as Singers. By A. +RICHARDS BROAD. Crown 8vo, cloth, 7s. 6d. _net_. + + This is the book which fitted Eva Turner to achieve for her + wonderful successes in the operatic world (in Italy, Germany, + Portugal, etc., as well as in her own country). It should help you + to achieve great things too. + + "An immensely interesting book that has every right to be classed + among those that are genuinely useful, and it should be prized by + all vocalists from the highest to the lowest."--_The Musical + Observer._ + +=TWELVE LESSONS ON BREATHING AND BREATH CONTROL.= For Singers, Speakers +and Teachers. By G. E. THORP. Crown 8vo, paper, 2s. 6d. _net_. + +=TWENTY LESSONS ON THE DEVELOPMENT OF THE VOICE.= For Singers, Speakers +and Teachers. By G. E. THORP. Fourth Edition. Crown 8vo, limp cloth, 2s. +6d. _net_. + + Mr. Thorp's two books have from time to time been recommended by + various eminent vocal specialists as giving practical aid and + advice for the training, care and development of the voice. They + are free from any _biased "system" or "discovery."_ + +=TREATISE ON THE TRAINING OF BOYS' VOICES.= With Examples and Exercises +and Chapters on Choir-Organization. Compiled for the Use of +Choirmasters. By GEORGE T. FLEMING. Second Edition. Crown 8vo, cloth, +5s. _net_; paper, 2s. 6d. _net_. + +=GRADUATED COURSE OF EXERCISES FOR BOY CHORISTERS.= With Piano +Accompaniment. For Use in Conjunction with Above. By G. T. FLEMING. 4to +album, paper, 2s. _net_. + +---- Ditto, Boy's Voice Part only, 1s. _net_. + +=SIX SPIRITUAL SONGS FOR UNACCOMPANIED CHORUS=, with Piano Accomp. (for +Practice). By RUTLAND BOUGHTON. In one vol. Roy. 8vo, 2s. 6d. _net_. + + The songs are also issued separately. + +=VOCAL EXERCISES FOR CHOIRS AND SCHOOLS.= By DR. WESTBROOK. Post 8vo, +paper, 2d. _net_. + +=THE CENTRAL POINT IN BEAUTIFUL VOICE PRODUCTION.= By H. TRAVERS ADAMS, +M.A. Cloth, 2s. 6d. _net_ (paper, 1s. 6d. _net_). + + +THE MUSIC STORY SERIES. + +"The Music Story" Series books are indispensable, authoritative, +interesting and educational. Specially designed cloth, crown 8vo, well +got up, at prices named below. + +=CHAMBER MUSIC AND ITS MASTERS IN THE PAST AND IN THE PRESENT.= By DR. +N. KILBURN. New Edition, revised, and with additional chapters by G. E. +H. ABRAHAM. With Plates and Music Illustrations. Crown 8vo, cloth, 15s. +_net_. + + "Mr. Abraham has brought the work up to date and written several + new chapters and the book now gives us a discussion on the most + important writers and projectors of chamber music"--_Musical + Opinion._ + +=ORGAN.= By C. F. ABDY-WILLIAMS, M.A., Mus.Bac. Told in Nine Chapters. +Thirty-eight Illustrations and Frontispiece. Illustrations of two +Instruments found at Pompeii; F. W. Galpin's Hydraulus; Organ Builders; +Stops; Technical Terms; Bibliography and Chronological List of Organ +Specifications, 21s. _net_. + +=ENGLISH MUSIC= (1604-1904). Seventeen Lectures delivered at the Music +Loan Exhibition of the Worshipful Company of Musicians. By T. L. +SOUTHGATE, W. H. CUMMINGS, H. WATSON, E. MARKHAM LEE, J. FINN, SIR F. +BRIDGE, A. S. ROSE, A. H. D. PRENDERGAST, F. J. SAWYER, G. F. HUNTLY, D. +J. BLAIKLEY, REV. F. W. GALPIN, W. W. COBBETT, J. E. BORLAND, A. H. +LITTLETON and SIR E. CLARKE. Frontispiece and 115 Illustrations +(Portraits, Instruments, Title Pages, etc.). Musical Examples. 16s. +_net_. + +=MINSTRELSY.= By EDMONDSTOUNE DUNCAN. The whole body of Secular Music +that has stood the test of time and which can be called national. Early +Gleemen, the Minstrels (church and social), Troubadours, the Tudor +period, the great Elizabethanists, etc. Pp. xvi, 337, 16s. _net_. + +=MUSICAL FORM.= By C. LUCAS. The General Principles of the Art of +Composition and how they have been arrived at; explaining the +development of the scale, of tonic and dominant, cadences, phrases and +motives, counterpoint, canon and fugue, harmony, style, song form, +variations, sonata form. Pp. xvi, 226, 16s. _net_. + +=BAGPIPE.= By W. H. GRATTAN FLOOD. Its History, Origin of Reed Pipes, +the Pipes of ancient Celtic Ireland and Wales, the Scottish scene and +Scottish melodies, changes from 16th to 19th centuries. 26 +illustrations, glossary, bibliography, list of players, index. Pp. xx, +237, 15s. _net_. + + + + +WILLIAM REEVES + +Bookseller Ltd. + +SPECIALISTS IN MUSIC AND BOOKS ON MUSIC + +In addition to our valuable series of publications listed in this +Catalogue, we hold an extensive stock of secondhand and out-of-print +books on music, especially on the Violin, Organ, and other Musical +Instruments, Lives of Composers and Criticisms of their Works, National, +Oriental and Primitive Music, Orchestration, Composition, and Technique, +etc., Orchestral Scores, Operas, Chamber Music, Miniature Scores, +Librettos, Facsimiles of Composers' MSS, Orchestral Material, Musical +Comedies, etc. + +Librarians and Amateurs are invited to send us their lists of wants, as +we may have in stock just the items required. + +Catalogues regularly issued, and sent on request, post free. + + WILLIAM REEVES BOOKSELLER LTD, + 1a Norbury Crescent, London, S.W.16. + + +MISCELLANEOUS. + +=THE BIRTH OF ARTHUR= (Uther and Igraine), Choral Drama. The Libretto by +R. R. BUCKLEY and RUTLAND BOUGHTON. This work was performed at +Glastonbury, August, 1925, to the Music of RUTLAND BOUGHTON. 1s. 6d. +_net_. + +=JOHN GAY'S "BEGGAR'S OPERA."= Piano Selection arranged by H. R. HOOD +from the original Music by DR. PEPUSCH. Performed at Drury Lane and +Covent Garden. Folio, 1s. _net_. + +Ditto, arranged for Violin and Piano. By H. R. HOOD. 2s. _net_. + +=BLEST BE THAT AGE.= Vocal Trio for Tenor, Baritone and Bass. Words from +Masonic Ritual. Music with Piano Accompaniment. By H. BOND. Folio, 2s. +_net_. + +=MASONIC MUSICAL SERVICE BOOK FOR THE THREE DEGREES OF CRAFT MASONRY.= +The Whole Compiled and Edited by T. J. LINEKAR (_of St. Trillo, 2569_). +Royal 8vo, blue cloth, 7s. 6d. _net_ (or paper covers, 5s. _net_). + + _The Freemason_ says: "It contains all that is necessary for the + degrees in the way of Psalms, Hymns, Kyries, etc." + +=TRIO FOR PF., VN. AND 'CELLO.=--Beethoven's Celebrated Minuet in G, No. +2, Score and Parts. Folio, 2s. _net_. Also arranged for Vn. and Pf., 2s. +_net_, and Pf. Solo, 1s. 6d. _net_. + +=EASY TRIOS.= Arranged from Classical Composers. By S. O. GOLDSMITH, for +Piano, Violin and Violoncello. Score and Parts. Two books, each 3s. +_net_. + + Book I: 1. Minuet (Beethoven); 2. Moment Musical (Schubert); 3. + Largo (Tartini); 4. Chiarina (Schumann); 5. Minuet (Pugnani). Book + II: 6. Bourrée (Martini); 7. Chanson Triste (Tchaïkovsky); 8. + Scherzino (Schumann); 9. Song without Words, No. 3 (Mendelssohn). + +=THE CREATION.= By HAYDN. Performing Edition. Edited by G. A. MACFARREN. +Paper, 3s. _net_, boards, 4s. _net_. + + The edition as conducted by Sir Henry Wood in 1926, etc. + +=CHOIR ATTENDANCE REGISTER.= + + Ruled for a Choir of 60 or less, for One Year, beginning at any + date, 4s. _net_. + + Ruled for a Choir of 20 or less, for One Year, beginning at any + date, 3s. _net_. + +=TWO SETS OF UNACCOMPANIED CHORAL VARIATIONS UPON ENGLISH FOLK SONGS=, +by RUTLAND BOUGHTON (with Piano Acomp. for practice only). 1s. 8d. + + (a) The Barkshire Tragedy. + (b) King Arthur had Three Sons. + +A Second Series by RUTLAND BOUGHTON. 1s. 8d. + + (a) William and Margaret. + (b) Widdecombe Fair. + + King Arthur, separately from the First Set, 9d. + + +=RATIONAL ACCOMPANIMENT TO THE PSALMS.= By F. GILBERT WEBBE. Post 8vo, +1s. _net_. + +=MODEST IDYLLS FOR MUSICAL SETTING.= By ERNEST ALFIERI. Crown 8vo, +sewed, 2s. 6d. _net_. + +=SONGS FROM THE RAVEL.= (Words for Musical Setting.) A Book of +Prose-Lyrics from Life and Nature. By ERNEST AUSTIN. Op. 30. Crown 8vo, +sewed, 2s. 6d. net. + +=PARTHENIA.= 21 Compositions by Three Famous Sixteenth and Seventeenth +Century Masters, William Byrd, Dr. John Bull and Orlando Gibbons, being +Parthenia, or the First Musick ever printed for the Virginals. Arranged +for the Piano and freed from the errors of Dr. Rimbault's edition by +accurate comparison with the original text by MARGARET H. GLYN (_author +of_ "Elizabethan Virginal Music and Composers"). Folio, 12s. 6d. _net_. + + This edition has been entirely re-engraved. The work contains eight + compositions by Byrd, seven by Bull, and six by Gibbons. + +=50 MUSICAL HINTS TO CLERGYMEN.= Management of Breath, Classification of +Male Voices, Management of the Voice, The Service. With Twenty specially +written Exercises. By GEO. F. GROVER. Cr. 8vo, paper, 1s. _net_. + +=HOW TO MANAGE A CHORAL SOCIETY.= By N. KILBURN, Mus.Bac. Third Edition +Revised. Crown 8vo, paper, 1s. _net_. + +=A CHAT WITH CHORAL SINGERS.= By H. W. SPARROW, A.R.C.O. 8vo, paper +cover, 1s. _net_. + + CONTENTS: Reading Music--Tone + Production--Breathing--Phrasing--Expression--Enunciation--Blend of + Voices--Tone, Attack, Release--Care of the Voice--Suggestions. + +=HOW TO SING AN ENGLISH BALLAD.= By E. PHILP. Seventh Edition. Crown +8vo, paper, 1s. _net_. + + "It would be difficult to find a casket of brighter gems than those + which lie within the cover of this little work."--_Illustrated + London News._ + +=NATIONAL NURSERY RHYMES.= Arranged as a School Chorus for Boys and +Girls. By N. B. WOODD SMITH. With Pianoforte Accompaniment. 8vo, 1s. 6d. +_net_. + + +TUTORS AND EXERCISE BOOKS. + +PIANO, ORGAN, HARMONIUM, VIOLIN, VIOLONCELLO, MANDOLINE AND GUITAR. + +=THE POPULAR PIANO TUTOR=, folio, 2s. 6d. _net_. (For description see +Pianoforte Section of Catalogue.) + +=DEPPE FINGER EXERCISES.= By AMY FAY. (See Pianoforte Section of this +Catalogue.) + +=REEVES' VAMPING TUTOR.= By FRANCIS TAYLOR. (See Pianoforte Section of +this Catalogue.) + +CZERNY'S 101 EXERCISES for the Pianoforte. Complete, 4s. _net_; or in 2 +books, 2s. _net_ each. + +=GRADUATED SCALE AND ARPEGGIO MANUAL.= By HENRY SAINT-GEORGE. (See +Pianoforte Section of this Catalogue.) + +=ROYSTON'S PROGRESSIVE VIOLIN TUTOR= (with Illustrations giving Correct +Position for Hand, Wrist and Fingers.) Folio, 3s. _net_. + +=VIOLONCELLO EXERCISES, SCALES AND ARPEGGIOS.= By E. GILLET. Complete in +one vol., 4s. _net_; or Part I, Exercises, 1s. 6d. _net_, Part II, +Scales, 1s. 6d. _net_, and Part III, Arpeggios, 1s. 6d. _net_. + +=ART OF VIOLONCELLO PLAYING, TUTOR.= By E. VAN DER STRAETEN. Text in +French and English. Part I, 3s. 6d. _net_. Part II, 4s. _net_. + +=TUTOR FOR THE AMERICAN ORGAN AND HARMONIUM.= By W. F. TAYLOR. 4to, 2s. +_net_. + +=YOUNG VIOLINIST'S SCALE AND ARPEGGIO MANUAL=, with Directions. By +WILSON MANHIRE. Text and Music. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Influence of the Organ in History + Inaugural Lecture of the Department of the Organ in the + College of Music of Boston University + +Author: Dudley Buck + +Release Date: October 18, 2011 [EBook #37786] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE INFLUENCE OF THE ORGAN *** + + + + +Produced by Chris Curnow, Hunter Monroe, Joseph Cooper and +the Online Distributed Proofreading Team at +http://www.pgdp.net + + + + + + +</pre> + + + + + + + + + +<h1>THE INFLUENCE OF THE ORGAN</h1> +<h1>IN HISTORY.</h1> + + +<div class="figcenter" style="width: 593px;"> +<a name="frontis" id="frontis"></a><img src="images/i_004.png" width="593" height="340" alt="PNEUMATIC ORGAN FROM A MS. PSALTER OF EADWINE IN THE LIBRARY OF +TRINITY COLLEGE CAMBRIDGE." title="" /> +<span class="caption">PNEUMATIC ORGAN FROM A MS. PSALTER OF EADWINE IN THE LIBRARY OF +TRINITY COLLEGE CAMBRIDGE.</span> +</div> + + + + +<p class="center">THE +INFLUENCE OF THE ORGAN +IN HISTORY.</p> + + +<p class="center">Inaugural Lecture of the Department of the +Organ in the College of Music +of Boston University</p> + + +<h3>BY</h3> + +<h2>DUDLEY BUCK.</h2> +<p class="center">PROFESSOR AND LECTURER OF THE DEPARTMENT.</p> + + +<p class="center"><i>New Edition, with Illustrations.</i></p> + + +<p class="center">LONDON:<br /> +W. REEVES, 83, CHARING CROSS ROAD, W.C.<br /> +Office of "The Musical Standard." +</p> + + + +<hr style="width: 65%;" /> +<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS.</h2> + +<div class="center"> +<table border="0" cellpadding="4" cellspacing="0" summary="illus"> +<tr><td align="left">I.—<span class="smcap">Pneumatic-Organ from a MS. Psalter of Eadwine +in the Library of Trinity College, +Cambridge</span> </td><td align="right"> <a href="#frontis">(<i>Frontispiece</i>).</a></td></tr> + +<tr><td align="left">II.—<span class="smcap">Peruvian Pan's Pipes, Double Set. From a +Tomb in Africa</span> </td><td align="right"> <a href="#Page_11">10</a></td></tr> + +<tr><td align="left">III.—<span class="smcap">Early Form of the Regals. From Lucinius' +Musurgia, sen Praxis Musicæ, 1536</span> </td><td align="right"> <a href="#Page_19">19</a></td></tr> + +<tr><td align="left">IV.—<span class="smcap">From Gori's Thesaurus Diptychorum. Said +to be from an Ancient MS. of the Time of +Charlemagne</span> </td><td align="right"> <a href="#Page_22">22</a></td></tr> + +<tr><td align="left">V.—<span class="smcap">A Positive Organ. From Ambrosius Wilphlingseder's +Erotemata, Musices Praticae, +Nuremberg, 1563</span> </td><td align="right"> <a href="#Page_31">31</a></td></tr> + +<tr><td align="left">VI.—<span class="smcap">A Curious Engraving showing an Organist +Performing upon an Instrument with Broad +Keys. From Franchinus Gaffurius' Theorica +Musica, 1492</span> </td><td align="right"> <a href="#Page_34">34</a></td></tr> + +<tr><td align="left">VII.—<span class="smcap">The Ancient Mode of Organ Blowing. From +Praetorius' Theatrum Instrumentorum, +1620</span> </td><td align="right"> <a href="#Page_46">46</a></td></tr> + +<tr><td align="left">VIII.—<span class="smcap">Terra-Cotta Model of Hydraulic Organ. +Cir. 150 a.d. Carthage Museum. From Hermann +Smith's "The Making of Sound in the +Organ and in the Orchestra"</span> </td><td align="right"> <a href="#Page_47">47</a></td></tr> + +<tr><td align="left">IX.—<span class="smcap">Rev. F. W. Galpin's Working Reproduction +of the Roman Hydraulus. From Hermann +Smith's "The Making of Sound in the Organ +and in the Orchestra"</span> </td><td align="right"> <a href="#Page_48">48</a></td></tr> +</table></div> + + + + +<hr style="width: 65%;" /> +<h2><a name="SECTION_I" id="SECTION_I"></a>SECTION I.</h2> + +<div class="figcenter" style="width: 248px;"> +<img src="images/i_010.png" width="248" height="627" alt="PERUVIAN PAN'S PIPES, DOUBLE SET. +FROM A TOMB IN AFRICA." title="" /> +<span class="caption">PERUVIAN PAN'S PIPES, DOUBLE SET. +FROM A TOMB IN AFRICA.</span> +</div><p><span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2>THE INFLUENCE OF THE</h2> +<h2>ORGAN IN HISTORY.</h2> + + +<h3>SECTION I.</h3> + + +<p><span class="smcap">Ladies and Gentlemen:—</span></p> + +<p>It having become my duty to deliver this, the inaugural +lecture of the organ department attached to +this institution, I have found myself considerably embarrassed +as to choice of subjects.</p> + +<p>The trouble lay in the quantity of material at hand, +and not in any lack of it.</p> + +<p>The history of the Organ runs back so far into the +centuries, that no matter what point one might select +for examination, it can scarcely be brought into the +scope of a lecture except in a very empty and skeleton +form. You will bear with me, then, for the superficial +manner in which I shall be forced to treat many +important points. As many of those present do not +propose to make a study of the organ, I shall avoid<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span> +treating of the instrument itself in any technical sense, +and would offer a few thoughts on the subject of</p> + + +<p class="center"><span class="smcap">The Influence Of the Organ in History,</span></p> + +<p>with a glance at the "schools of playing" thus created.</p> + +<p>The Organ is called the "king of instruments."</p> + +<p>This phrase has been used so often that it has become +decidedly well worn and trite. None the less, however, +is the expression full of significance; and to what an +extent (especially in a historical sense) is known to but +comparatively few persons, among whom I fear far too +few organists would be found.</p> + +<p>To bring up some of these neglected facts; to examine +them in their historical and theoretical bearing, as well +as in practice; to thus create a greater love for and +appreciation of the instrument on the part of its students,—to +do this, I say, is, if I apprehend it aright, +one of the principal objects which the Boston University +has had in view in founding this department.</p> + +<p>The organ, then, is called the "king of instruments."</p> + +<p>If we look at the phrase a little closer, it will be +perceived that the simile is a striking one. A king, in +the so-called "good old times of yore," if he were a +man of any force of character, generally possessed, +along with the divine right theoretical, any quantity of +the human power practical. The day of more or less +ornamental constitutional figure-heads had not yet +arrived.</p> + +<p>In other words, the live kings of the past, of the +feudal time, moulded to their own tastes and characters +their age, their people, or only their court, according to +the innate ability they might possess. In turn they +were themselves affected, to a degree, by their surround<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span>ings, +but to a far lesser extent than is the case at this +day, the balance of influence remaining largely in their +favour.</p> + +<p>I will endeavour to show that among musical instruments +this "kingship," as regards the organ, held good +in a parallel way,—that by its own nature as to construction, +by its very faults and weaknesses, by the +mission it was called upon to fulfil, it did, in very fact, +long reign supreme as king of instruments.</p> + +<p>Absolute power, as represented by a monarch, became +narrowed down, in the lapse of centuries, by external +forces working out their own independence, thus checking +and limiting this absolutism. Here, too, I will +endeavour to draw a parallel, and show that as years +rolled on, the influence of the organ upon music in the +abstract diminished. The process became inverted, and +music began to affect the organ, rather than the organ +it. To this we owe the vast improvements in the construction +of the instrument, the many additions of new +qualities of tone, and numberless new inventions of +value still going on in our day, with a rapidity difficult +to keep pace with. To fairly appreciate this past or +present relation of things, it becomes necessary to take +a hasty and necessarily superficial glance backward at +the origin of the organ,—its invention and development.</p> + +<p>All writers attribute the origin of the organ to that +simplest as well as most ancient of musical instruments, +called by the Greeks the "pipes of Pan,"—Pan, in +the ancient mythology, being the god of the woods +and groves. It consisted of a few hollow reeds of +various lengths, securely bound together, and blown +by the lips. We still occasionally see and hear this +instrument in our streets, performed upon by those +nomadic "sons of art," the organ-grinders. The per<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span>former +being obliged to move his head continually from +side to side, an unpleasant and fatiguing operation, +soon led to an attempt to blow these tubes artificially. +From this resulted the placing of the pipes upon a +small wind-chest, and the addition of a primitive +bellows, the whole being easily carried and operated by +one performer. Of particular value in the establishment +of this historical fact was the discovery, in Syria, +among some ancient ruins, of a sculptured figure +playing on such an instrument. Although much mutilated, +all the more important parts were still intact. +This interesting relic was brought to England about +the year 1853.</p> + +<p>It should be mentioned here, that the word "organ," +not unfrequently found in the Bible, should not be +supposed to refer to any such instrument as the name +would suggest to our minds. Both with the Greeks +and Romans the term translated "organ" simply +meant an "instrument,"—and that of any kind, but +with usage apparently favouring its application to +musical instruments.</p> + +<p>Upon the application of the bellows to supply wind, +instead of the human lungs, the fingers were used to +stop the pipes, and thus prevent their sounding all at +once, which it is evident they would have done, standing +on a simple wind-chest, which was filled by the +bellows. As the number of pipes was gradually increased, +the difficulty of managing them by hand of +course became greater and greater. This in time led +to the invention of the pallet, or valve, to control the +admission of wind to each pipe, and by the close of +the eleventh century we find it chronicled that there +existed at Magdeburg an organ with a <i>key-board</i> comprising +sixteen keys. From this time the name of the<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span> +instrument begins to correspond with our modern idea +of the same; its invention was a realized fact, although +but a germ of that development which has since raised +organ-building to its artistic importance. It must be +borne in mind that the pedal organ, with its keys for +the feet, was a much later invention. Meantime, the +first keys made use of measured from three to five +inches and a half wide. Consequently, the title of the +performer on this instrument, in the eleventh century, +was not that of organ-<i>player</i>, but organ-<i>beater</i>, the +keys being struck by the fist, which was protected by a +heavy glove. There was, it must be remembered, but +one rank of pipes, and these could seldom, if ever, have +been in tune, from the fact that they had no means of +regulating the wind pressure; while in organs of later +date, and at the present day, an even wind is secured +principally by weights placed upon the bellows, and the +creation of a reservoir of compressed air. At this early +time the wind supply was furnished by the common +bellows as used by blacksmiths. Thus the supply and +consequent pressure of the wind would necessarily be in +direct proportion to the muscle or activity of the blowers.</p> + +<p>While the various discoveries and improvements in +organs of the twelfth and thirteenth centuries were +slowly progressing, almost the only vocal music the +world knew were the Gregorian tones, or plain song of +the Early Church. Harmony was entirely unknown, and +indeed remained so for many a long year in anything +like our modern significance. It is not my purpose here +to enter into even a partial examination of the parallel +progress of melody and harmony at this age of the +world. You have already heard it treated by an abler +pen than mine; nor does it properly belong to this +department, except in so far as it becomes necessary to<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> +note any decided influence exerted by the one upon the +other. This influence, as exerted by the organ upon +Church music, did not begin as early as might be supposed. +Rimbault, in his work on the "History of the +Organ" (which I shall have occasion frequently to +quote), states that "even in the thirteenth century, the +priests of both the Greek and Roman Churches thought +the use of organs in divine service scandalous and profane. +They preferred rendering divine worship as +simple as possible, in order to distinguish it from that +of the Jews and Pagans. Even to this day the Greek +Church does not tolerate the use of organs in their +public services. Notwithstanding these opinions, the +use of organs, and even other instruments, gradually +became almost universal, not only in great churches, +but in those of monasteries, convents, and small +towns. The historians of this era celebrate several +monks distinguished for the art of playing on the +organ. For some time, however, organs were not +used in the ordinary celebration of the offices, but only +on great feasts and solemn occasions. These first +monastic and conventual organs were very small, being +only used to play the melody of the plain song in unison +with the voices."</p> + +<p>In spite of the disrepute into which the whole monastic +system fell, there is no question but that the monks +and friars were the great conservators and preservers +of all the fine arts, and even mechanics, during the +troubled times of the Middle Ages. As the prejudice +against the employment of instrumental music in the +church services began to disappear, nothing was more +natural than that the monks, having both the leisure +and pecuniary means, and containing among their +number the best educated men of the day, should turn<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> +their attention to organ-building, animated by the same +spirit which led them to decorate and ornament their +churches and monasteries. Thus we find that it is to +them we owe the improvement of the hitherto clumsy +key-board, extending its compass both upward and +downward to the extent of some three octaves, and so +reduced both fall and breadth of the keys that they +could be pressed down by the fingers, instead of struck +by the fist; certainly no small improvement. The first +organ possessing keys to give the chromatic tones or +semitones was built by a priest—Nicholas Faber by +name—about 1360.</p> + +<p>It now behoves us to glance for a moment at the +influence which the organ already began to exert upon +music, or the art composition, and to show how the +instrument became to show proofs of that right to the +title, "king of instruments," in the sense I have +adopted. It must be kept in mind that the veriest +twilight dawn of the knowledge of harmony had +scarcely begun. Yet what can be conceived more +natural, than that the organist of that day, even, +should stumble on the fact that different tones in conjunction +were more agreeable to the ear than the bare +unison, which was at first the only accompaniment of +the choral song? This being noted, the next logical +step was to try and produce the same approved effect +with the voices themselves. In the "<i>History of the +Modern Music of Western Europe</i>," by <i>Kiesewetter</i>, +the following passage occurs. He is not speaking of +the organ, but of the origin and development of the +science of harmony.</p> + +<p>He says: "The union of different human voices +which now occurred to their thoughts (the early harmonists), +was an imitation not altogether happy, per<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span>haps, +of that which in various instances <i>they had +discovered with the organ</i>!" Here the fact that the +organ was even then beginning to assert itself, to mould +the minds of the early writers, in fact, to claim its +royal dues, is pretty conclusively shown.</p> + +<p>Time would altogether fail me in the scope that this +lecture must necessarily occupy, to trace down this +influence, once established, through the long cycle of +years that followed; the theoretic science and practical +application keeping pace with the mechanical development, +until it found its full culmination and glory in +the new-born science of Counterpoint. This science, +which has given polish to the mightiest thoughts of the +greatest masters of our art (and in totally different +departments than mere organ-playing),—a science, +without a satisfactory knowledge of which no man can +call himself a thoroughly educated musician,—sprang +from just this source.</p> + +<p>How often we hear the remark that contrapuntal +treatment is best suited to the organ! True; but how +many reflect that the organ, so to speak, first <i>dictated</i> +counterpoint to the world? An influence, which (the +free forms being derived from the stricter) is carried +clear down into the realm of Italian opera, <i>i.e.</i>, when it +is good of its kind. Is not, then, this influence, which +the organ has indisputably exerted upon not merely its +own literature, but the musical literature at large, an +all-sufficient proof of its right to the royal title? It +must be borne in mind that this absolutism, as in +matters political (to carry out the simile), was possible +at this stage of the world in matters musical, because +not even the harpsichord, clavichord, spinet, or any of +those presentiments of the modern pianoforte, by whatever +name they were called, had as yet made their<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> +appearance. The organ was, for the time, the sole +keyed instrument.</p> + +<p>In view of these facts, it seems to me that it may be +justly claimed that the title "king of instruments" +should be based on far nobler and more historic grounds +than is usually done, and that we should not content +ourselves with explaining this phrase as arising from +the circumstances that it is the instrument which can, +of its own resources, make the loudest noise!</p> + +<div class="figcenter" style="width: 265px;"> +<img src="images/i_019.png" width="265" height="201" alt="EARLY FORM OF THE REGALS. FROM LUCINIUS' +MUSURGIA, SEN PRAXIS MUSICÆ. 1536." title="" /> +<span class="caption">EARLY FORM OF THE REGALS. FROM LUCINIUS' +MUSURGIA, SEN PRAXIS MUSICÆ. 1536.</span> +</div><p><span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> +</p> +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span></p> +<h3>SECTION II.</h3> + +<div class="figcenter" style="width: 320px;"> +<img src="images/i_022.png" width="320" height="217" alt="FROM GORI'S THESAURUS DIPTYCHORUM. + +SAID TO BE FROM AN ANCIENT MS. OF THE TIME OF CHARLEMAGNE." title="" /> +<span class="caption">FROM GORI'S THESAURUS DIPTYCHORUM. + +SAID TO BE FROM AN ANCIENT MS. OF THE TIME OF CHARLEMAGNE.</span> +</div><p> <span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> + + + +<hr style="width: 65%;" /> +<h3><a name="SECTION_II" id="SECTION_II"></a>SECTION II.</h3> + + +<p>The organ nomenclature has, as is the way of the world, +changed somewhat from age to age. In accounts of +the old English organ, we frequently find this and that +church being referred to as possessing a "payre of +organs." This has been variously interpreted, some +supposing it to refer to organs of two manuals, which +explanation seems natural enough; but the best +authorities explain it as meaning an organ which possesses +more than one rank of pipes, or more than one +stop. Rimbault, who takes this view, says the expression +is to be regarded as a phrase of nearly obsolete +English, and to be taken in the same sense as we still +sometimes say "a pair of stairs," instead of a "flight +of stairs." One proof of this interpretation that he +cites is interesting. During the great Cromwellian rebellion, +and the rule of the Roundheads in England, a +great many organs were destroyed by the soldiery, who +considered them a relic of Popery. At this time, a +certain Mr. Pepys, whose diary is still extant, travelled +about considerably and interested himself in the organ, +as well as some other matters, as will be seen from the +following extract from the aforesaid diary. The point +to us (although by no means the only one to him) lies<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> +in the fact that he uses the words "the organ" and the +"pair of organs" as evidently, synonymous. He writes +as follows:—</p> + +<blockquote><p>April 5, 1667. "<i>To Hackney: where good beef tongue, +and things to eat and drink, and very merry, the weather +being mighty pleasant; and here I was told, that at their +church they have a fair <span class="smcap">PAIR OF ORGANS</span>, which play while +the people sing, which I am mighty glad of wishing the like +at our church at London, and would give £50 towards it.</i>"</p> + +<p>April 21, 1667. "<i>To Hackney church, where very full, +and found much difficulty to get pews. I offered the sexton +money, and he could not help me.... That which I +chiefly went to see was the young ladies of the schools, +whereof there is great store, very pretty" (you see how +history repeats itself); "and <span class="smcap">ALSO</span> the <span class="smcap">ORGAN</span>, which is +handsome and tunes the psalms, and plays with the +people; which is mighty pretty, and makes me mighty +earnest to have a pair at our church, I having almost a +mind to give them a pair, if they would settle a maintenance +on them for it.</i>"</p></blockquote> + +<p>Mr. Pepys' heart was evidently in the right place, +and the thought of having the church provide a fund +for the proper tuning and repair of the organ, not only +sensible, but, to quote his own words, "a mighty +pretty" idea.</p> + +<p>The invention of the pedal key-board, that most +important and characteristic part of the organ, seems +to have occurred about the beginning of the fourteenth +century. There is no reliable account of who first made +this addition, it being claimed by various parties. The +sixteenth century was the period when the arts of sculpture, +painting, and architecture had gained what might<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> +almost be termed a modern artistic polish, in not a few +instances, indeed, surpassing all that the moderns have +accomplished. The early school of church painters had +become modified. Grace and relative refinement had +largely taken the place of the early stiffness of design +and execution, and in sculpture and architecture were +witnessed many of the results which are still the wonder +of the world. With this refinement came a taste for +luxury and a love of ornament which in the seventeenth +and early part of the eighteenth century had extended +to and affected organ-building, at least externally.</p> + +<p>Seidel, in his work on the organ, gives this excellent +account of the tendency referred to:—</p> + +<p>"At this time, great industry and expense was bestowed +upon the external decoration of the organ. The +entire case was ornamented with statues, heads of +angels, vases, foliage, and even figures of animals. +Sometimes the front pipes were painted with grotesque +figures, and the lips of the pipes made to resemble lions' +jaws. They went further, and threw away the money, +which might have been expended in a worthier manner, +on the display of the most tasteless and absurd tricks +of art, degrading thereby—doubtless unintentionally—a +noble instrument, intended for sacred purposes, into a +<i>raree-show</i>. Among these ornaments, the figures of +angels played a very conspicuous part; trumpets were +placed in their hands, which by means of mechanism +could be moved to and from the mouth. Carillons +(bells) too, and kettle-drums, were performed upon by +the movable arms of angels." (Think of an angel playing +upon a kettle-drum!). "In the midst of this heavenly +host, sometimes a gigantic angel would be exhibited +hovering in a 'glory' over the organ, beating time with +his bâton as conductor of this super-earthly orchestra!<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span></p> + +<p>"Under such circumstances, the firmament, of course, +could not be dispensed with. So we had wandering +suns and moons, and jingling stars in motion. Even +the animal kingdom was summoned to activity. Cuckoos, +nightingales, and every species of bird, singing, or +rather chirping, glorified the festival of Christmas, and +announced to the assembled congregation the birth of +the Redeemer. Eagles flapped their wings, or flew towards +an artificial sun. The climax, however, of all +these rarities, was the <i>fox-tail</i>. It was intended to +frighten away from the organ all such inquisitive persons +as had no business near it. Thus, when they pulled +out this draw-stop, suddenly a large fox-tail flew into +their faces! It is clear that by such absurd practices, +curiosity was much rather excited than stopped, and +that all this host of moving figures, and their ridiculous +jingling, disturbed meditation, excited the curiosity of +the congregation, and thus disparaged the sublimity +of divine service."</p> + +<p>Of course all this nonsense in due time brought its +own cure with it. The money expended was diverted +towards its worthy and legitimate object, and to-day, +in Europe, but few such relics of the past can be found, +and those generally in out-of-the-way places. I have +myself seen but one organ containing any of these absurdities. +That was in a small town of Camin, on the +Baltic sea-coast of North Prussia, and I was informed +by the old organist (as Seidel says) that these things +were <i>reserved for Christmas and Easter</i>!</p> + +<p>While the power, compass, and variety of organ tone, +as well as the mechanism of the instrument, made +steady progress throughout the fifteenth and sixteenth +centuries, the science of harmony in the largest sense +kept even pace with it, and, perhaps, received even a<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> +greater relative development. Meantime, the orchestral +instruments of the day had received a fair share of +improvement. The harpsichord had been invented, and +sufficiently perfected to be worthy of the powers of such +a master as Sebastian Bach. With the appearance of +this great man the art of counterpoint reached its +culmination, never surpassed, if even equalled in isolated +instances, by any subsequent writer. His organ +compositions cover every resource, both in design and +execution, possible to the organ of his day; and yet, I +do not think it too much to say that, had Bach never +written a single organ piece, his claims for recognition +as a great composer would remain substantially the +same. His greatest works are to be found among his +vocal and orchestral writings. Let us examine for a +moment the reason for this, and of the influence of the +"king of instruments" upon musical composition at +this time.</p> + +<p>We have seen that contrapuntal treatment, so-called, +owed its origin to the nature of the organ. Vocal +music, at the time of which we speak, felt the same +influence and followed the same form. Now, if we open +one of the vocal and orchestral scores of Bach, we shall +see that while he gives the instruments more freedom +than his predecessors, in consequence of their largely +increased powers and the proportional increased ability +of the executants of his day, yet the contrapuntal influence +is everywhere visible. It was the period of strict +form. As we count back such cycles, it was but a relatively +short time since music had been "without form, +and void; and darkness was upon the face of the deep," +artistically speaking. Music was a serious matter. +They revelled in fugue, and even danced contrapuntally. +Although not a direct influence, perhaps,<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> +is not this state of things, after all, a sufficient proof +of the absolutism of the organ in a derived manner,—the +regal sway of the king of instruments at this +period? Bach breathed new life into these dry and +purely scientific forms, and it is his greatest glory that +in many, if not all, of his profoundest works, his genius +enabled him to unite the emotional and æsthetic element +with the purely intellectual and scientific.</p> + +<p>While the improvement of the organ, as respects both +tone, mechanism and general capabilities, continued, +and still continues at the present day, it is noteworthy +that from the time of Bach, of all others, the influence +of the organ upon music at large began to diminish. +From this point we have to consider the decline of this +influence, showing that music began to emancipate +itself, each instrument claiming and receiving its own +especial rights and treatment, long before a similar +dawn of liberty began in the political world. Two +reasons conduced to this change.</p> + +<p>First, the requirements of music, which found no +prototype in the organ of that day. As the instruments +were then built, they possessed but little variety of tone, +the swelling or diminishing of which was an impossibility; +nor had the organist any mechanical assistance +whatever to enable him to vary the combinations of stops.</p> + +<p>Second, the invention of the harpsichord. This instrument, +the <i>avant-courier</i> of the pianoforte, to which +we have already referred, had already become sufficiently +popular to make its own peculiar influence felt. +This consisted in the power of crescendo and diminuendo +according to the force exerted by the player, and +a light touch which offered no impediment to rapid +execution, besides certain other effects through its characteristic +tone impossible upon the organ.<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p> + +<p>The light touch of the harpsichord, as compared with +the heavy and fatiguing action of the organs of that +day, was necessarily a source of great attraction; and +the instrument itself, although far from finding a home +in every household, as the piano has in our time, yet +possessed the merit of being portable.</p> + +<p>It was not long before the transition period began,—that +period in which musicians and composers tested +and decided upon that which was best and most fitting +in the treatment of these respective instruments. +Nowhere can we find more evident signs of this time of +experiment, this gradually leaving old landmarks and +seeking a new form of expression, than in the works of +Bach himself.</p> + +<p>In the "Well-Tempered Clavier" we find preludes +and fugues impossible to properly interpret on any other +instrument except the piano, placed side by side with +those whose real significance can only be developed upon +the organ. In a portion of the pieces written especially +for the organ, we find, on the other hand, passages +which to modern ears are only fit for and tolerable on +the piano. The dividing lines of effect, not to say +possibility, had not as yet been fully marked out. The +organ was no more disposed to give up its long sway, +and be narrowed to its own particular sphere, than +any other sovereign, when the limiting influences of +modern times first began to make themselves felt. Like +them, however, it was obliged to yield. Little by little +the piano emancipated itself from the <i>strict</i> contrapuntal +chain which bound it to the organ, until, in +the sonatas of Mozart and Beethoven, it emerged into +a new life.</p> + +<p>Here it was strengthened by the <i>free</i> contrapuntal +treatment it received, like the fruits of early education<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> +showing themselves in new and original forms,—speaking +a language founded indeed on the past, but new, +fresh, and sparkling; or, when adopting the strict +style, taking it up as a matter of choice, but not of +compulsion. Such results followed the invention of the +harpsichord,—the early piano,—and here we must leave +it. It would, however, be an interesting subject to trace +this development down to Chopin, Liszt, and the modern +Titans of the piano, showing how gradually the mutual +treatment of piano and organ disappeared and what +was substituted in their place. It could, however, only +be satisfactorily done by musical examples.</p> + +<p>Meanwhile the orchestra blossomed into a new +significance. To us moderns who read its history, or +look back into the scores which antedate this time, it +does not seem so much a period to be described, as that +of progress, as that of a veritable new birth itself, a new +creation. And this is, indeed, the fact; for no improvements +in ancient instruments, although they took place, +nor addition of new ones, can account for the change +which now occurred in the orchestra. Here it was +<i>the man</i>, not the instrument; and the name of Joseph +Haydn will always be quoted as "Father of the Modern +Orchestra."</p> + +<p>The organ lost nothing of real value to itself by this +increased significance of other branches of instrumental +music. Its sphere became defined, and in Germany +quite limited, as to this day it is but rarely employed +there in the way of accompaniment beyond supporting +the choral song of the congregation. In France and +England it has been different, the organ having been +employed to accompany many anthems and other +extended pieces of music, which in Germany (at least +in the larger cities) would be given with the orchestra.<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> +It should be noticed that to England we owe one great +improvement, which, especially for the <i>rôle</i> the organ +is called upon to fill in this country, can scarcely be +overrated. I refer to the invention of the swell, and +the great variety of effects we are enabled to achieve by +its means in both accompaniment and solo playing.</p> + +<div class="figcenter" style="width: 320px;"> +<img src="images/i_031.png" width="320" height="201" alt="A POSITIVE ORGAN. FROM AMBROSIUS WELPHLINGSEDER'S +EROTEMATA MUSICES PRACTIÆ. NUREMBERG, 1563." title="" /> +<span class="caption">A POSITIVE ORGAN. FROM AMBROSIUS WELPHLINGSEDER'S +EROTEMATA MUSICES PRACTIÆ. NUREMBERG, 1563.</span> +</div><p><span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> +</p> + + + +<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span></p> +<h2><a name="SECTION_III" id="SECTION_III"></a>SECTION III.</h2> + +<div class="figcenter" style="width: 320px;"> +<img src="images/i_034.png" width="320" height="568" alt="A CURIOUS ENGRAVING SHOWING AN ORGANIST PERFORMING +UPON AN INSTRUMENT WITH BROAD KEYS. FROM FRANCHINUS +GAFFURIUS' THEORICA MUSICA. 1492." title="" /> +<span class="caption">A CURIOUS ENGRAVING SHOWING AN ORGANIST PERFORMING +UPON AN INSTRUMENT WITH BROAD KEYS. FROM FRANCHINUS +GAFFURIUS' THEORICA MUSICA. 1492.</span> +</div><p><span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2>SECTION III.</h2> + + +<p>In the London "Spectator" of Feb. 8, 1712, is the +following announcement:—</p> + +<p>"Whereas, Mr. Abraham Jordan, senior and junior, +have, with their own hands, joynery excepted, made +and erected a very large organ in St. Magnus' church, +at the foot of London bridge, consisting of four sets of +keys, one of which is adapted to the art of emitting the +sounds by swelling the notes, <i>which was never in any +organ before</i>; this instrument will be publicly opened +on Sunday next, the performance by Mr. John +Robinson. The above said Abraham Jordan gives +notice to all masters and performers, that he will +attend every day next week at the said church, to +accommodate all those gentlemen who shall have a +curiosity to hear it."</p> + +<p>Very little is known of this Mr. Jordan, except that +his invention pleased greatly, and was found of such +practical use, that not only were all new organs in +England (virtually from this date) furnished with swells, +but himself and son found much occupation in adapting +and adding their invention to the older London organs. +The lack of a swell is the weakest point of the great +majority of German organs. Even Dr. Burney, fifty<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> +years after swells had become common in England, expresses, +in his famous work entitled <i>The Present +State of Music in Germany, the Netherlands and United +Provinces</i>, two volumes, also <i>The Present State of +Music in France and Italy</i>, his great surprise to find +them utterly unknown upon the Continent. His remarks +would hold true at the present day with but +little modification, as far as Germany is concerned, few +instruments outside the larger ones of recent date possessing +this great improvement. The reason of this is to +be found, partly in the extremely conservative character +of their organ-builders, almost a national trait, and +still more in the fact that but little use would be found +for a swell organ outside solo playing. With us, nearly +the reverse is true, the swell being most indispensable in +accompanying choirs as here constituted. Notwithstanding +this neglect of what seems to us an indispensable +addition to the instrument, the glory of the invention +and perfection of the organ justly belongs to +Germany. Modern organ-building requires the most +profound study of the laws both of mechanics and +acoustics, and the German mind was constitutionally +fitted, by a natural depth and thoroughness of thought, +together with the truly artistic quality of patience, to +be successful in solving this great problem,—the +creation of the most complex instrument known.</p> + +<p>France, too, has produced her great organs and +organ-builders. If often lacking the sublimity and +solidity of tone characteristic of many of the famous +German organs, they interest (particularly the American +taste) by a greater variety of the so-called "fancy," or +solo stops. This difference, too, has grown out of the +nature of the duties demanded of the organ and the +organist in the service of the Roman Catholic church,<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> +and it is these differences of usage which in process of +time, combining with further differences of national +taste, led to that varied style and treatment which we +denominate "Schools of Playing."</p> + +<p>We divide these schools into the German, French, +and English.</p> + +<p>The first of these, the German school, is especially +characterized by the importance given to the use of the +pedals, the feet being called upon to execute passages +of equal melodic value with that assigned to the fingers. +This renders it the school of schools for those who +would really attain a mastery of the instrument, and +gain that independence of foot and finger so difficult to +acquire. In fact, it is only possible by a thorough +study of the great masters in this school of playing, to +destroy that sympathy which exists between the left +hand and the feet. This sympathy lies in the fact that +should a pedal passage <i>ascending</i> occur in conjunction +with a left-hand passage <i>descending</i>, the natural inclination +of the left hand is to follow the pedal, instead +of executing its own independent part. Of course the +same trouble is experienced if the conditions, as just +stated, should be reversed. This is the great difficulty +of the <i>obbligato</i>, or independent mode of treating the +pedals, to conquer which may fairly be termed a life-study. +For this reason the earnest student should +always begin his studies in this school, and not deviate +therefrom until such time as a reasonable degree of +skill has been attained, and the sympathy between +hands and feet, before alluded to, measurably overcome. +And here let me say that far too many of those who +feel themselves drawn towards the study of the organ, +approach such study unprepared. The organ, as a +keyed instrument, has all the main points of technique<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span> +in common with the piano. All the varied forms of +scales, arpeggios, &c., together with the necessary +independence of finger requisite to play in the <i>legato</i> +style, should first be learned upon the piano, where, +by the way, it can be more speedily acquired. Pupils +who, having accomplished this, proceed to the study of +the organ, can at once begin with the peculiarities and +characteristic difficulties of the instrument, and as far +as the pedal is concerned, will make far more rapid +progress if fair manual players. They are thus enabled +to concentrate their attention upon that which is new +and strange to them. Such would undoubtedly be the +testimony of all those who have had experience in this +branch of teaching.</p> + +<p>Without questioning the pre-eminence of the German +school in all matters of technique and pure science, +although educated in that school myself, I would not +claim for it, as do some, that it is the Alpha and +Omega of all true organ playing. Viewed in relation +to the modern organ as it exists to-day, especially +in France, England, and America, it seems to +me that the instrument is in advance of the school, +or that the school is weak in the two following +points:—</p> + +<p>First: It does not make a sufficient employ of +registration within the limits of one and the same +composition. Beauties of contrast, to be obtained by +this means, are too frequently regarded as a matter of +less than secondary importance. This, I am aware, +arises from the fact that the majority of German +organs are incapable of producing such variety, being +built with a single eye to accompanying the congregation. +In the direction of the grand and sublime, +this school is unequalled; but surely there are many<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> +effects possible to-day which lay no claim to profundity, +and yet are pleasing and worthy of employment by a +true artist.</p> + +<p>Second: Ignoring the emotional element in organ +music to a great extent, and substituting the purely +intellectual and technical. In their melodies we recognize +the true inspiration of the great composers. The +scientific setting they may give them, the technical +dress in which they may clothe them, thus often greatly +enhancing their beauty, is, after all, a matter of pure +science acquired through schooling and dignified by +talent. This appeals to the intellect, and is a most +desirable object of study; but the melodic inspiration +itself appeals to the heart, and, as the God-given +quality, is the higher of the two. Now the German +writers for the organ, from Bach to this day, have, as a +rule (to which I am aware there are some marked +exceptions), apparently avoiding giving to the organ +that <i>melodious</i> element which their great composers +have so beautifully done, not only in their symphonic +writings, but also in their smallest works for the piano +or other instruments. The mere lack of means for +expression (by means of the swell or other mechanical +appliances) is hardly a sufficient explanation of this, +nor do I see anything in the character of the organ to +account for it. That the great German writers following +Bach (Mendelssohn excepted), but more especially +the masters of the more recent so-called Romantic +School, have contributed little or nothing towards +the literature of the organ, is really explained by +the following remark of Berlioz, in his treatise on +"Modern Instrumentation." Speaking of writing +properly for the organ, he says: "The special resources +are here so vast and numerous, that the<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> +composer will never be well acquainted with them, +as it appears to me, unless he be himself an accomplished +organist."</p> + +<p>The French school of organ playing is usually light, +sensational, often pleasing, but too often frivolous and +unworthy of the instrument. Yet in a certain direction +they have had their great men. No one who has +had the opportunity of hearing Lefebure Wely extemporize +on that great organ at the church of Saint +Sulpice, in Paris, but must acknowledge that the performance +was masterly, although widely different from +the German school. In fact, these extempore performances +of Wely's were far better than his published +compositions. The prevailing tone of the French organ-playing +is dramatic, and, as before said, too often sensational. +As might be expected from the national +character, it forms a great contrast to the German +style. The use of the pedal for melodic phrases is rare, +it being more generally employed simply to give the +fundamental support of the harmonies and passages +executed upon the manuals. On the other hand, much +attention is paid to registration, and frequently much +talent displayed in this direction; besides, their organs +are built in a manner calculated to assist the player +in this respect. Of course the Romish ceremonial, the +universally dominant religion in France, gives much +opportunity for display of this kind. To judge any +of these varieties of organ-playing, it will be seen that +the standpoint of use to which the instrument is to be +put must be carefully borne in mind. Although this +school is by no means devoid of excellencies, it is not +to be recommended to the American student who is +seeking a solid foundation in organ-playing. Still it +may be employed to advantage, both in the way of<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span> +recreation, general culture, and especially as studies +in registration, after the "weightier matters of the +law" have received due attention.</p> + +<p>The English school, as a <i>distinctive</i> method of treatment, +can hardly be said to exist. It forms a sort +of middle ground between the two schools of which I +have just spoken, and their organs may be described in +the same manner as to characteristics of building. In +America, of late years, we have followed suit, copying +Germany in the voicing of most of our open and +stopped pipes, both metal and wood; copying France +in the main characteristics of their reed voicing (in +which they were long pre-eminent), and copying England +in the general plan of our organs, together +with their conveniences of mechanism and effects of +combination.</p> + +<p>In spite of the fact, then, that England has no distinctive +<i>national</i> school of the instrument, still there +is probably no country where so much interest is taken +in organs and organ-playing as in the England of to-day. +Her prominent organists are solidly founded on +the German school; but while they execute these great +works in a masterly manner, their <i>repertoire</i> extends +over a far wider range and variety of compositions +than the German school alone can supply. This seems +to me to be praiseworthy, for although the practice of +this theory may be carried too far, and it is certain +that <i>everything</i> cannot even approximately be played +upon the organ; yet, in view of the vast improvements +of the last twenty years, all tending to assist the +players in producing effects impossible heretofore, why +should the use of these means be ignored? The English +organists, to this end, have made a vast number +of arrangements and adaptations from works not ori<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span>ginally +composed for the organ. Very many of these +are just as effective as if originally composed for the +instrument, and so far form a welcome addition to +organ literature; inasmuch as they generally embody +the use of the new improvements and facilities referred +to. On the other hand, many of these go too far, and +attempt transcriptions of compositions totally opposed +to the genius of the organ. The careful student will, +however, easily be able to recognize and avoid such, if +he has had the proper foundation laid before attempting +works of this class.</p> + +<p>There are those, however (and their opinions are entitled +to respect), who claim that such free treatment +of the organ is improper. These persons would, with +little or no exception, limit the <i>repertoire</i> to such works +as have been originally written for the organ; and +when they got outside fugue or canon, would still +remain carefully within the limits of purely contrapuntal +orthodoxy. Any other treatment is styled "<i>illegitimate</i>." +I had hoped to avoid this terrible word,—the +great bugbear among conscientious students of the +organ,—nor do I propose to enter into any analysis of +what the "legitimate" may or may not consist in. The +fact is, we should all retain our original opinions very +much according to our early education, natural tastes, +and impressions. There has been much controversy on +this point, and I do not think it necessary to contribute +to that. In any case, where the subject under discussion +cannot be considered as a <i>positive</i> right or +wrong, but largely as a matter of taste or preference, +there will always be a difference of opinion.</p> + +<p>Froude, the historian, says in one of his published +lectures: "Controversy has kept alive a certain quantity +of bitterness; and that, I suspect, is all that it<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> +would accomplish if continued till the day of judgment.... +Each polemic writes for his <i>own partisans</i>, and +makes no impression on his adversary." So it would +be in this case.</p> + +<p>The inference which I draw from this superficial +glance at the main characteristics of these three schools, +is this:—</p> + +<p>The American student who would excel as an organist, +must first be thoroughly educated in the +German school of playing. Here alone can he gain +the solid technique which will fit him for the execution +of any tasks he may propose to himself. Only from +that mine of musical wealth, the German school, especially +as represented by Bach, can the suitable foundation-stones +for the desired structure be derived. But +with this foundation broadly and deeply laid, as the +building progresses upward, the best of architects may, +without fear, add many things that simply please the +eye, but bear no relation whatever to the strength or +durability of the edifice. So with the education of the +organ student; first the broad foundation, and then a +judicious liberalism. His auditors will always remain +the great public, and that public to the end of time +will never be so versed in musical science that it can +appreciate the stricter forms of organ music. But very +many among the public <i>can</i> appreciate, or at least +enjoy; and this number is increasing from year to +year. I am by no means arguing that the organist +should avoid these stricter forms on this account; quite +the contrary; but simply that the judicious liberalism +above referred to should provide as great a variety of +musical food as will suit and satisfy the musical +appetite within the means of the instrument as it now +exists. Nor should the "milk for babes" be despised.<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> +The workings of this principle will surely attract rather +than repel, and maturer musical strength will instinctively +call for heartier food. We have to deal +with men as we find them, and tastes vary. A programme +intended for a miscellaneous audience is, after +all, only a musical bill of fare. Real musical hunger +can only be satisfied with solids; but if we first quiet +the deeper cravings with roast beef, I know of no moral +obligation why we should not finish with ice-cream, if +inclination should point that way. To invert the order +would be manifestly unsound.</p> + +<p>To my mind, then, the duty of the American organist +of to-day is to be eclectic. He has no "call" to tie +himself up exclusively and strictly to any one particular +school; nor, if he pursues the right course, need his +education, technical or æsthetic, suffer on this account. +But he must justify this argument by being thorough +in what he undertakes. The skill with which a thing +is done goes far to justify it, if there is any question at +all about the matter. Not that I suppose that many +can be found, who, with all talent and due diligence, +can equally excel in all styles; still the effect of liberalism +in this respect cannot but have a good effect +upon the general culture, and aid not a little towards +the accomplishment of that great problem, professional +success.</p> + +<p>I cannot close without a congratulatory word respecting +the standing, present and prospective, of the +profession in America to-day. I am proud that we +begin to be able to point to so many musicians (even if +the number is still relatively few) who, both from their +own scientific standpoint, and from that of general +culture, are deemed worthy of being placed side by side +with the other learned professions. Is not the creation<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span> +of this college as a branch of a university course, +proof of this comparatively new but happily increasing +appreciation? Of what importance, then, to keep this +present status intact, to secure it, to increase it, by +upholding the dignity of our profession! Let such as +propose to devote their lives to it, both feel and practise +the idea so beautifully expressed by Schiller in his +"Ode to the Artists"—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"O, Sons of Art! man's dignity to you is given,<br /></span> +<span class="i14">Preserve it, then!<br /></span> +<span class="i0">It falls with you; with you ascends to heaven."<br /></span> +</div><div class="stanza"> +<span class="i0"><br /></span> +</div><div class="stanza"> +<span class="i0">While you her thousand paths are tracing,<br /></span> +<span class="i0">Press onward, keeping truth in sight!<br /></span> +<span class="i0">Come, all together, stand embracing<br /></span> +<span class="i4">Before the throne where paths unite!"<br /></span> +</div></div> + +<p><i>Printed by the New Temple Press, Grant Road, Croydon.</i></p> + +<p><span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span></p> +<div class="figcenter" style="width: 320px;"> +<img src="images/i_046.png" width="320" height="387" alt="THE ANCIENT MODE OF ORGAN BLOWING. FROM PRAETORIUS' +THEATRUM INSTRUMENTORUM. 1620." title="" /> +<span class="caption">THE ANCIENT MODE OF ORGAN BLOWING. FROM PRAETORIUS' +THEATRUM INSTRUMENTORUM. 1620.</span> +</div> +<p><span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span></p> + +<div class="figcenter" style="width: 320px;"> +<img src="images/i_047.png" width="320" height="583" alt="TERRA-COTTA MODEL OF HYDRAULIC ORGAN. CIR. 150 A.D. +CARTHAGE MUSEUM. FROM HERMANN SMITH'S The Making of Sound +in the Organ and in the Orchestra." title="" /> +<span class="caption">TERRA-COTTA MODEL OF HYDRAULIC ORGAN. CIR. 150 A.D. +CARTHAGE MUSEUM. FROM HERMANN SMITH'S The Making of Sound +in the Organ and in the Orchestra.</span> +</div> +<p><span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span></p> + +<div class="figcenter" style="width: 240px;"> +<img src="images/i_048.png" width="240" height="394" alt="REV. F. W. GALPIN'S WORKING REPRODUCTION OF THE +ROMAN HYDRAULUS. FROM HERMANN SMITH'S The Making of Sound +in the Organ and in the Orchestra." title="" /> +<span class="caption">REV. F. W. GALPIN'S WORKING REPRODUCTION OF THE +ROMAN HYDRAULUS. FROM HERMANN SMITH'S The Making of Sound +in the Organ and in the Orchestra.</span> +</div> + + + +<hr style="width: 65%;" /> +<h2><a name="CATALOGUE_B" id="CATALOGUE_B"></a>CATALOGUE B</h2> + +<h3>LIST OF BOOKS ON MUSIC</h3> + + +<blockquote><p>Literature covering every branch of Music, Biographical and Critical +Studies of Composers, Histories of Musical Instruments, also valuable +Textbooks and Tutors for Teachers and Students of the Piano, Organ, +Violin, Cello, Theory, Singing, etc.</p></blockquote> + +<p class="center"><i>All prices are net and postage extra</i></p> + +<p class="center"> +<span style="margin-left: 0.5em;">WILLIAM REEVES Bookseller Limited</span><br /> +1a Norbury Crescent, London, S.W.16<br /> +<br /> +Phone POLlards 2108<br /> +</p> +<hr style="width: 65%;" /> + +<h4>HISTORICAL, DESCRIPTIVE AND ANALYTICAL ACCOUNT OF THE ENTIRE WORKS OF +BRAHMS</h4> + +<h4>BY</h4> + +<h4>EDWIN EVANS (SENIOR)</h4> + +<p>The works are treated in the order of their opus number, and <b>every</b> +single composition is dealt with <b>exhaustively</b>. No other work with such +a wealth of detail exists in any language. The whole, being adequately +indexed, forms a complete reference book for pianist, student and +concert-goer, and may be described as <b>monumental</b>.</p> + +<p>Of the <b>CHAMBER AND ORCHESTRAL</b> music, a minute analysis reaching to the +rhythmical significance of each bar is given.</p> + +<p>The analytical accounts of the <b>PIANO</b> works are each subdivided under +the headings: Key; Time and Extent; Thematic Material; Melody; Harmony; +Rhythm; etc.</p> + +<p>The <b>CHORAL</b> works are dealt with in the fullest detail, and original +English translations have been made to most of the <b>SONGS</b>.</p> + +<p>Each volume is a self-contained unit and a complete textbook on its +particular subject.</p> + +<p><b>WITH 1,500 PAGES AND OVER 1,000 MUSIC EXAMPLES AND TABLES, COMPLETE IN +4 VOLUMES. OCTAVO, CLOTH,</b> £6 <i>net.</i> <b>OR SOLD SEPARATELY AS FOLLOWS:—</b></p> + +<p><b>Chamber and Orchestral Works. First Series to Op. 67.</b> 30s. <i>net.</i></p> + +<p><b>Chamber and Orchestral Works. Second Series. Op. 68 to the end.</b> 30s. +<i>net.</i> </p> + +<p><b>Piano and Organ Works.</b> Comprising the complete Solo Works; Works for +Piano and Orchestra; also Works for Piano Duet and Organ Works as +applicable to Pianoforte Solo. 30s. <i>net.</i></p> + +<p><b>Vocal Works.</b> With portrait. 599 pages. 30s. <i>net.</i></p> + +<blockquote><p>"This treatise is comparable only to the Kochel catalogue of +Mozart. Research and detail could go no further; this book, a +labour of love indeed, will be the standard work of reference on +Brahms for this century, if not longer."—<i>The Library Assistant.</i></p></blockquote> + +<h3>ÆSTHETICS, CRITICISMS, ESSAYS.</h3> + +<p><b>PAN PIPES. THE SPIRIT OF MUSIC</b> in Nature, Art and Legend, from East to +West. Penned in Sixteen Articles for General Reading, with Drawings of +Eastern Musical Instruments By G. P. GREEN (<i>author of</i> "Some Aspects of +Chinese Music"). Crown 8vo, cloth, 7s. 6d. <i>net.</i></p> + +<p><b>HOW TO LISTEN TO GOOD MUSIC</b> and Encourage the Taste in Instrumental +and Vocal Music. With many useful Notes for Listener and Executant. By +K. BROADLEY GREENE. Complete, cloth, 7s. 6d. <i>net</i>; or in two books, +paper, 2s. 6d. <i>net</i> each.</p> + +<p><b>MOZART, WEBER AND WAGNER</b>, with Various other Essays on Musical +Subjects. By HECTOR BERLIOZ. Translated from the French by EDWIN EVANS, +Senior, F.R.C.O. Crown 8vo, cloth, 10s. <i>net.</i></p> + +<p>A charming Book of Musical Essays.</p> + +<p><b>SOME FAMOUS SYMPHONIES</b>, How to Understand Them. With their Story and +Simple Analysis. References also to Gramophone Records; numerous +Portraits. By J. F. Porte. Dealing with Symphonies of Beethoven, +Berlioz, Borodin, Brahms, Chausson, Dvorák, Elgar, César Franck, Haydn, +Mendelssohn, Mozart, Schubert, Stanford and Tchaïkovsky. Complete in +cloth, 8s. <i>net</i>, or in 2 separate parts, paper, 2s. 6d. <i>net</i> each.</p> + +<p>For the general reader and musician alike.</p> + +<p><b>THE DEATH AND RESURRECTION OF THE MUSICAL FESTIVAL.</b> By RUTLAND +BOUGHTON. 8vo, sewed, 1s. <i>net</i>.</p> + +<blockquote><p>The Decay of Triennials—The Rise of Competitions—The Reform of +Competitions—The Festival of the Future.</p></blockquote> + +<p><b>SOME ASPECTS OF CHINESE MUSIC AND SOME THOUGHTS AND IMPRESSIONS ON ART +PRINCIPLES IN MUSIC.</b> By G. P. GREEN. Post 8vo, cloth, 6s. <i>net</i>, paper +covers, 3s. 6d. <i>net</i>.</p> + +<p><b>THE FUTURE OF MUSIC.</b> Coming Changes Outlined in Regard to Composer, +Conductor and Orchestra. By LOUIS LALOY. Translated by MRS. FRANZ +LIEBICH. 8vo, cloth, 3s. 6d. <i>net</i>; paper, 2s. <i>net</i>.</p> + +<p><b>SOME ASPECTS OF GIPSY MUSIC.</b> By D. C. PARKER. Post 8vo, cloth, 6s. +<i>net</i> (or paper covers, 3s. 6d. <i>net</i>).</p> + +<p><b>MUSIC AND MUSICIANS.</b> Essays and Criticisms, by ROBERT SCHUMANN. +Translated, Edited and Annotated by F. R. RITTER. Portrait of Robert +Schumann, photographed from a Crayon by BENDEMANN. First Series, Eighth +Edition. Thick crown 8vo, cloth, 419 pages, 15s. <i>net</i>.</p> + +<p><i>Ditto.</i> Second Series. Fourth Edition, with a Contents-index added. +Thick crown 8vo, cloth, 540 pages, 15s. <i>net</i>.</p> + +<p><b>THE DEEPER SOURCES OF THE BEAUTY AND EXPRESSION OF MUSIC.</b> By <span class="smcap">Joseph +Goddard</span>. With many Musical Examples. Crown 8vo, cloth, 7s. 6d. <i>net</i>.</p> + +<p><b>MUSIC AND THE HIGHER EDUCATION.</b> Art a Necessity in the College World. +The Teacher's Preparation and his Method. By EDWARD DICKINSON. Crown +8vo, cloth, 10s. <i>net</i>.</p> + +<p><b>WOMAN AS A MUSICIAN.</b> An Art Historical Study. By F. R. RITTER, 8vo, +sewed, 3s. <i>net</i>.</p> + +<p><b>MUSICAL DEVELOPMENT</b>, or, Remarks on the Spirit of the Principal +Musical Forms. Being an Æsthetical Investigation, in which an Attempt is +made to show the Action in Music of certain Laws of Human Expression; to +point out what are the Spiritual Aims of the Chief Forms of Composition, +and the Broad Principles upon which they should be Constructed. By +JOSEPH GODDARD. 8vo, cloth, 10s. <i>net</i>.</p> + +<p><b>IN THE SERVICE OF ART.</b> A Plea for Simplicity in Music. By J.-JOACHIM +NIN. Translated by MRS. FRANZ LIEBICH. Post 8vo, 2s. 6d. <i>net</i>.</p> + +<blockquote><p>Translations of this brilliant essay have already appeared in +Spanish, Italian and German.</p></blockquote> + +<p><b>THE PLACE OF SCIENCE IN MUSIC.</b> By H. SAINT-GEORGE. Addressed to +Advanced Students of that branch of Musical Knowledge commonly called +Harmony. With music examples. 8vo, sewed, 2s. 6d. <i>net</i>.</p> + +<p><b>NECESSITY OF MUSIC IN THE SCHOOL CURRICULUM.</b> Address delivered to +Members of the Music Teachers' Association. By A. W. POLLITT, <i>Mus.D., +F.R.C.O.</i> 8vo, sewed, 1s. 6d. <i>net</i>.</p> + +<p><b>ÆSTHETICS OF MUSICAL ART</b>, or, The Beautiful in Music. By DR. FERDINAND +HAND. Translated from the German by WALTER E. LAWSON, Mus. Bac. Cantab, +etc. Second Edition. Crown 8vo, cloth, 10s. <i>net</i>.</p> + +<p><b>NATIONAL SCHOOL OF OPERA FOR ENGLAND.</b> Being the Substance of a Paper +read at Trinity College, London. By FRANK AUSTIN. 1s. <i>net</i>.</p> + +<p><b>MATERIAL OF MELODY</b> and Early Steps in Musical Art. By J. H. LEWIS. 6d. +<i>net</i>.</p> + +<p><b>MUSIC IN THE HIRSCH LIBRARY</b> (Part 53 of the Catalogue of Printed Music +in the British Museum), by A. Hyatt King and C. Humphries, 1951. +Published for the Trustees of the British Museum. This catalogue, +prepared by the Museum staff, lists also a considerable number of works +which were either not included in the original four volume catalogue by +P. Hirsch, or were acquired later. 4to, cloth, £2 2s. <i>net</i>.</p> + + + +<hr style="width: 65%;" /> +<h3>BOOKS ABOUT MUSICIANS AND THEIR WORKS.</h3> + +<h3>I.—COLLECTED.</h3> + + +<p><b>ON RUSSIAN MUSIC.</b> Critical and Historical Studies of Glinka's Operas, +Balakirev's Works, etc. With chapters dealing with Compositions by +Borodin, Rimsky-Korsakov, Tchaïkovsky, Mussorgsky, Glazunov, and various +other Aspects of Russian Music. By GERALD ABRAHAM. With Frontispiece and +Music Examples. 8vo, cloth, 15s. <i>net.</i></p> + +<blockquote><p>Companion to the same author's "Studies in Russian Music."</p></blockquote> + +<p><b>STUDIES IN RUSSIAN MUSIC.</b> Rimsky-Korsakov and his Contemporaries. +Critical Essays on the most important of Rimsky-Korsakov's operas, +Borodin's "Prince Igor," Dargomïzhsky's "Stone Guest," etc.; with +chapters on Glinka, Mussorgsky, Balakirev and Tchaïkovsky. By GERALD +ABRAHAM. Copiously illustrated by music examples. 350 pages, crown 8vo, +cloth, 18s. <i>net.</i></p> + +<p><b>FROM MENDELSSOHN TO WAGNER.</b> Being the Memoirs of J. W. Davison, forty +years Music Critic of "The Times," compiled by his son, HENRY DAVISON, +from Memoranda and Documents. With 52 portraits of Musicians and +Important Letters (previously unpublished) of Mendelssohn, Berlioz, +Gounod, Jullien, Macfarren, Sterndale Bennett, etc. Index, 539 pages, +8vo, cloth, 25s. <i>net.</i></p> + +<p><b>WITH THE GREAT COMPOSERS.</b> A Series of Pen Pictures, exhibiting the +Personal Characteristics as Artists of the World's great Tone Poets in +the form of Interviews. By GERALD CUMBERLAND. Portraits. Cr. 8vo, cloth, +10s. <i>net.</i></p> + +<blockquote><p>Deals with Chopin, Haydn, Mendelssohn, Paganini, Beethoven, Handel, +Rossini, Schubert, Liszt, Berlioz, Mozart, Wagner, Tchaïkovsky, +Cherubini, Wolf, Borodin, Schumann, Sullivan.</p></blockquote> + +<p><b>THE SYMPHONY WRITERS SINCE BEETHOVEN.</b> Critical Essays on Schubert, +Schumann, Götz, Brahms, Tchaïkovsky, Brückner, Berlioz, Liszt, Strauss, +Mahler, Mendelssohn, Saint-Saëns, etc. By FELIX WEINGARTNER. Translated +by A. BLES. Twelve Portraits. <i>Second Impression.</i> With Chapter added by +D. C. PARKER on Weingartner's Symphony No. 5. Crown 8vo, cloth, 12s. 6d. +<i>net.</i></p> + +<p><b>REEVES' DICTIONARY OF MUSICIANS.</b> Biographical Accounts of about 2,500 +Noteworthy Musicians of the Past and Present. Edited by EDMONDSTOUNE +DUNCAN and Others. Crown 8vo, cloth, 7s. 6d. <i>net</i> (paper covers, 4s. +<i>net</i>).</p> + +<p><b>SKETCHES OF GREAT VIOLINISTS AND GREAT PIANISTS.</b> Biographical and +Anecdotal, with Account of the Violin and Early Violinists. Viotti, +Spohr, Paganini, De Beriot, Ole Bull, Clementi, Moscheles, Schumann +(Robert and Clara), Chopin, Thalberg, Gottschalk, Liszt. By G. T. +FERRIS. Third Edition. Crown 8vo, cloth, 8s. 6d. <i>net.</i> Edition with +Portraits to each, 10s. <i>net.</i></p> + +<p><b>SKETCHES OF ENGLISH GLEE COMPOSERS.</b> Historical, Biographical and +Critical. From about 1735-1866. By D. BAPTIE. Post 8vo, cloth 8s. 6d. +<i>net.</i></p> + +<p><b>ENGLISH GLEE AND MADRIGAL WRITERS.</b> By W. A. BARRETT. 8vo, cloth, 6s. +<i>net</i> (paper covers, 3s. 6d. <i>net</i>).</p> + +<p><b>SOME MUSICAL RECOLLECTIONS OF FIFTY YEARS.</b> By RICHARD HOFFMAN. With +Memoir by MRS. HOFFMAN. Illustrated with many Plate Portraits. Crown +8vo, cloth, 10s. <i>net.</i></p> + +<p><b>MUSICAL MEMORIES.</b> By WILLIAM SPARK, <i>Mus.Doc. (late Organist of the +Town Hall, Leeds)</i>. Revised Popular Edition. With sixteen Portraits. +Thick crown 8vo, cloth, 10s. <i>net.</i></p> + +<p><b>BIOGRAPHICAL DICTIONARY OF FIDDLERS.</b> Including Performers on the +Violoncello and Double Bass, Past and Present. Containing a Sketch of +their Artistic Career, together with Notes of their Compositions. By A. +MASON CLARKE. Nine Portraits. Post 8vo, cloth, 10s. <i>net.</i></p> + +<blockquote><p>"We may here take the opportunity of recommending a useful book to +all lovers of violins and violinists. Fiddlers, Ancient and Modern, +is practically a little Biographical Dictionary, well arranged, +with some excellent portraits."—<i>Northern Whig.</i></p></blockquote> + +<p><b>HOW TO STUDY THE PIANOFORTE WORKS OF THE GREAT COMPOSERS.</b> By HERBERT +WESTERBY Mus.Bac. Handel, Bach, Haydn, Scarlatti, Mozart, Clementi, C. +P. E. Bach. With Portraits and Musical Examples throughout. Crown 8vo, +cloth 12s. <i>net.</i></p> + +<p>The following issued singly, paper covers: HANDEL, 1s.; D. SCARLATTI, +1s.; J. S. BACH, 1s. 6d.; C. P. E. BACH AND HAYDN, 1s.; CLEMENTI, 1s.; +MOZART, 1s. 6d.</p> + +<p><b>MAKERS OF MUSIC.</b> Biographical Sketches of the Great Composers. With +Chronological Summaries of their Works and Facsimiles from Musical MSS. +of Bach, Handel, Purcell, Dr. Arne, Gluck, Haydn, Mozart, Beethoven, +Weber, Schubert, Berlioz, Mendelssohn, Chopin, Schumann, Wagner, Verdi, +Gounod, Tchaïkovsky, Brahms and Grieg, with General Chronological Table. +By R. FARQUHARSON SHARP. Numerous Portraits. Fourth Edition, Revised and +Enlarged. Crown 8vo, cloth, 12s. 6d. <i>net</i>.</p> + +<blockquote><p>The author's endeavour throughout this work has been to convey an +impression of the personality of each composer, as well as to +furnish biographical details. At the end of each biography is a +tabulated list of the composer's works and dates of production, +together with a facsimile from one of his original manuscripts. A +useful volume, got up in good style and well adapted for a gift or +prize. Has speedily run into several editions.</p></blockquote> + +<p><b>BRITISH MUSICAL BIOGRAPHY.</b> A Dictionary of Musical Artists, Authors +and Composers born in Britain and its Colonies. By J. D. BROWN and S. S. +STRATTON. 8vo, cloth, 21s. <i>net</i>.</p> + + + +<hr style="width: 65%;" /> +<h3><a name="BOOKS_ABOUT_MUSICIANS_AND_THEIR_WORKS" id="BOOKS_ABOUT_MUSICIANS_AND_THEIR_WORKS"></a>BOOKS ABOUT MUSICIANS AND THEIR WORKS.</h3> + + +<h3>II.—INDIVIDUAL.</h3> + +<p><b>BACH. A DIGEST OF THE ANALYSES OF J. S. BACH'S FORTY-EIGHT CELEBRATED +FUGUES FROM THE WELL-TEMPERED CLAVIER</b> (Das Wohltemperirte Klavier). +With over 1,600 Music Examples and 46 Tables. The five parts in one +thick royal 8vo vol., cloth, 25s. <i>net</i>. Compiled by BROOK SAMPSON, +F.R.C.O.</p> + +<blockquote><p>The following parts can be had separately:—</p> + +<p>Section I, Subject, Answer, Theme. 2s. 6d. <i>net</i>.</p> + +<p>Section II, Exposition, Counter-Exposition, Plan of Construction. 2s. +6d. <i>net</i>.</p> + +<p>Section III, Subject and Counter-Subject, etc. 5s. <i>net</i>.</p> + +<p>Section IV, Codetta and Episodes. 5s. <i>net</i>.</p> + +<p>Section V, Stretti—Summary of Interesting Facts—General Index. 5s. +<i>net</i>.</p></blockquote> + +<p><b>THE FORTY-EIGHT FUGUES IN THE WELL-TEMPERED CLAVIER</b> (Das +Wohltemperirte Klavier). By J. S. BACH. Analysed by BROOK SAMPSON, +Mus.Bac. Oxon., F.R.C.O.</p> + +<blockquote><p>Following obtainable, 1s. 6d. <i>net each</i>.</p> + +<p> +No. 4, in C sharp minor<br /> +No. 9, in E major<br /> +No. 16, in G minor<br /> +No. 18, in G sharp minor<br /> +No. 24, in B minor<br /> +No. 28, in C sharp minor<br /> +No. 29, in D major<br /> +No. 34, in E minor<br /> +No. 36, in F minor<br /> +No. 38, in F sharp minor<br /> +No. 40, in G minor<br /> +</p></blockquote> + +<p><b>OUTLINE ANALYSIS OF BACH'S FORTY-EIGHT FUGUES.</b> By BROOK SAMPSON. 3s. +<i>net</i>.</p> + +<p><b>BALFE: HIS LIFE AND WORK.</b> By WM. ALEXANDER BARRETT. Over 300 pages. +Crown 8vo, cloth, 12s. 6d. <i>net</i>.</p> + +<p><b>A CRITICAL STUDY OF BEETHOVEN'S NINE SYMPHONIES</b>, with a Few Words on +His Trios and Sonatas, a Criticism of "Fidelio" and an Introductory +Essay on Music. By HECTOR BERLIOZ. Translated from the French by EDWIN +EVANS, <i>Senior</i>. Portrait. Crown 8vo, cloth, 21s. <i>net</i>.</p> + +<p><b>BEETHOVEN AND HIS PIANO WORKS</b> (Sonatas, Concertos, Variations, etc.). +Descriptive and Analytic Aid to their Understanding and Rendering. By +HERBERT WESTERBY. With list of Principal Editions and Bibliography. 3 +illustrations, 45 music examples. Crown 8vo, cloth, 10s. <i>net</i>.</p> + + +<p>"THE IMMORTAL NINE."</p> + +<p><b>BEETHOVEN'S NINE SYMPHONIES.</b> Fully Described and Analysed. A Series of +Chapters giving a complete Account of Thematic Material and auxiliary +Motives: an Analytical Chart of each Movement; full Technical +Descriptions of Developments; Particulars of Formal and Rhythmic +Features; Epitomical Tables, etc. Illustrated by 637 Musical Examples. +By EDWIN EVANS (Senior), <i>author of</i> "Handbook to the Vocal Works of +Brahms," etc. Cloth, Vol. I (Nos. 1 to 5), 17s. 6d. <i>net</i>. Vol. II (Nos. +6 to 9), 17s. 6d. <i>net</i>.</p> + +<p><b>BEETHOVEN'S SYMPHONIES</b> in their Ideal Significance, Explained by ERNST +VON ELTERLEIN. Translated by FRANCIS WEBER. With an Account of the Facts +Relating to Beethoven's Tenth Symphony. By L. NOHL. Second Edition, with +Portrait. Crown 8vo, cloth, 10s. <i>net</i>.</p> + +<p><b>BEETHOVEN'S SYMPHONIES</b> Critically Discussed by ALEXANDER TEETGEN. With +Preface by JOHN BROADHOUSE. Second Edition. Post 8vo, cloth, 6s. 6d. +<i>net</i>.</p> + +<p><b>BEETHOVEN'S PIANO SONATAS.</b> A Descriptive Commentary on the Sonatas in +the light of Schnabel's Interpretations; giving an æsthetic Appreciation +of each Sonata, with an Outline of the Development of the Sonata Form in +Beethoven's hands. With a Biographical Sketch of Schnabel and an account +of his activity as an executant, composer and teacher. By RUDOLF +KASTNER. Englished by GERALD ABRAHAM. 55 pages, post 8vo, cloth, 5s. 6d. +NET (paper, 3s. 6d. NET).</p> + +<p><b>BEETHOVEN'S PIANOFORTE SONATAS</b> Explained for the Lovers of the Musical +Art. By ERNST VON ELTERLEIN. Translated by E. HILL, with Preface by +ERNST PAUER. Revised Edition (the Seventh issue). With Portrait, and +View of Beethoven's House. Crown 8vo, cloth, 10s. <i>net</i>.</p> + +<blockquote><p>"He writes with the ripe knowledge and thorough understanding of a +practical musician. Every musical student or amateur can safely +trust him as a competent and agreeable guide."—E. PAUER.</p></blockquote> + +<p><b>NOTES ON THE INTERPRETATION OF 24 FAMOUS PIANO SONATAS OF BEETHOVEN.</b> +By J. ALFRED JOHNSTONE (<i>author of</i> "The Art of Teaching Piano Playing," +"Piano Touch, Phrasing and Interpretation," etc.). Portrait, crown 8vo, +cloth, 12s. 6d. <i>net</i>.</p> + +<p><b>BEETHOVEN.</b> By RICHARD WAGNER. With a Supplement from the Philosophical +Works of Arthur Schopenhauer. Translated by EDWARD DANNREUTHER. Third +Edition. Crown 8vo, cloth, 12s. <i>net</i>.</p> + +<blockquote><p>"It is a plain duty to be familiar and even intimate with the +opinion of one famous man about another. Gladly therefore we +welcome Mr. Dannreuther's translation of the work before us. Mr. +Dannreuther has achieved his task with the conscientiousness of his +nature and with a success due to much tact and patience."—<i>Musical +Times.</i></p> + +<p>"This work contains his contributions towards the metaphysics of +music, if, indeed, such can be said to exist. Apart, however, from +metaphysics, the work is an exposition of Wagner's thoughts on the +significance of Beethoven's music."—<i>Grove's Dictionary.</i></p></blockquote> + +<p><b>BORODIN THE COMPOSER AND HIS MUSIC.</b> A Descriptive and Critical +Analysis of his Works and a Study of his Value as an Art Force. With +many references to the Russian Kouchka Circle of Five—Balakirev, +Moussorgsky, César Cui and Rimsky-Korsakov, with Borodin. By G. E. H. +ABRAHAM. With 5 Portraits. Thick crown 8vo, cloth, 15s. <i>net</i>.</p> + +<p><b>LIFE OF JOHANNES BRAHMS.</b> By FLORENCE MAY. Second Edition. Revised by +the Author, with additional matter and Illustrations, and an +Introduction by Ralph Hill. In 2 vols., 8vo, cloth, 35s. <i>net</i>.</p> + +<p><b>LIFE OF CHOPIN.</b> By FRANZ LISZT. New and very much Enlarged Edition. +Translated in full now for the first time by JOHN BROADHOUSE. Second +Edition, Corrected. Crown 8vo, cloth, 10s. <i>net</i>.</p> + +<blockquote><p>"Franz Liszt has written a charming sketch of Chopin's life and +art."—<i>Encyclopædia Britannica.</i></p> + +<p>"Liszt's criticisms upon his separate works have all the eloquent +mysticisms to be expected from him; and the biography is a book +musicians will always prize."—<i>Sunday Times.</i></p> + +<p>GEORGE SAND describes it as "un peu exuberent en style, mais rempli de +bonnes choses et de très belles pages."</p></blockquote> + +<p><b>CHOPIN, HIS LIFE AND LETTERS.</b> By MORITZ KARASOWSKI. Translated by +EMILY HILL. Third Edition, with additional Letters in Polish with +English translation, Chopin to Grzymala, and extra Illustrations. +Fourteen Illustrations. Crown 8vo, cloth, 21s. <i>net</i>.</p> + +<blockquote><p>Karasowski was a close friend of the family of Chopin and was +intimate with them for several years. He was given access to the +letters, many of which were subsequently destroyed during the +Warsaw insurrection, written by Chopin to his family in Poland +throughout his life abroad. These facts give this work particular +value, and to it we are also indebted for valuable information +regarding Chopin's life.</p></blockquote> + +<p><b>CHOPIN'S GREATER WORKS</b> (Preludes, Ballads, Nocturnes, Polonaises, +Mazurkas). How they should be Understood. By J. KLECZYNSKI. Including +Chopin's Notes for a "Method of Methods." Translated with additions by +N. JANOTHA and Edited by SUTHERLAND EDWARDS. Second Edition. With three +Portraits and a Facsimile. Crown 8vo, cloth, 8s. 6d. <i>net</i>.</p> + +<p><b>FREDERIC CHOPIN</b>, Critical and Appreciative Essay. By J. W. DAVISON, +forty years Music Critic of "The Times." 8vo, 3s. <i>net</i>.</p> + +<p><b>CHOPIN: AS REVEALED BY EXTRACTS FROM HIS DIARY.</b> By COUNT TARNOWSKI. +Translated from the Polish by N. JANOTHA. With eight Portraits. Crown +8vo, cloth, 6s. <i>net</i> (or paper cover, 3s. 6d. <i>net</i>).</p> + +<blockquote><p>In the above notes Chopin alludes to many of his compositions as well as +relating the conditions under which they were written.</p></blockquote> + +<p><b>CHOPIN THE COMPOSER AND HIS MUSIC.</b> An Analytical Critique of Famous +Traditions and Interpretations, as exhibited in the Playing of Great +Pianists, Past and Present. By JOHN F. PORTE. With portrait. 193 pages, +crown 8vo, cloth, 10s. 6d. <i>net</i>.</p> + +<blockquote><p>"Your excellent book gives me supreme pleasure. You judge tradition +so well. I thank you for your artistic sympathy and your wonderful +book."—MORITZ ROSENTHAL.</p></blockquote> + +<p><b>HOW TO PLAY CHOPIN.</b> The Works of Chopin. Their Proper Interpretation. +By J. KLECZYNSKI. Translated by A. WHITTINGHAM. Sixth Edition. Woodcut +and Music Illustrations. Crown 8vo, cloth, 7s. 6d. <i>net</i>.</p> + +<blockquote><p>"Contains the cream of Chopin's instructions to his own pupils. To +admirers of Chopin and players of his music we should say this book +is indispensable."—<i>Bazaar.</i></p></blockquote> + +<p><b>HANDBOOK TO CHOPIN'S WORKS.</b> Detailed Account of all Compositions of +Chopin. Short Analyses for Piano Student and Critical Quotations from +Writings of Well-known Musical Authors. Also a Short Biography, Critical +Bibliography and a Chronological List of Works, etc. By G. C. A. JONSON. +Third edition. Crown 8vo, cloth, 15s. <i>net</i>.</p> + +<blockquote><p>"Here in one compact volume, is all that it is necessary to know +about Chopin and his works except by the leisured +enthusiast."—<i>Daily Chronicle.</i></p></blockquote> + +<p><b>CHERUBINI, LIFE OF.</b> By F. J. CROWEST. Crown 8vo, cloth, 6s. <i>net</i>.</p> + +<p><b>CHERUBINI.</b> Memorials illustrative of his Life. By E. BELLASIS. Thick +crown 8vo, cloth, 12s. 6d. <i>net</i>.</p> + +<blockquote><p>Standard biography of Cherubini.</p></blockquote> + +<p><b>CESAR FRANCK.</b> Personal Reminiscences. By J. W. HINTON, M.A., Mus.D. +Crown 8vo, limp cloth, 5s. <i>net</i>.</p> + +<p><b>GLUCK AND HIS OPERAS.</b> With an Account of their Relation to Musical +Art. By HECTOR BERLIOZ. Translated from the French by EDWIN EVANS, +Senior. Portrait. Crown 8vo, cloth, 10s. <i>net</i>.</p> + +<p><b>HANDEL'S "MESSIAH."</b> The Oratorio and its History. A Handbook of Hints +and Aids to its Public Performance, with useful Notes on each Movement, +as well as Numerous References and much Original Information. By J. +ALLANSON BENSON. Cloth, 6s. <i>net</i> (paper 3s. <i>net</i>).</p> + +<p><b>FRANZ LISZT.</b> By T. CARLAW MARTIN. A Sketch of his Life and +Personality. Post 8vo, 2s. 6d. <i>net</i>.</p> + +<p><b>LISZT, COMPOSER, AND HIS PIANO WORKS.</b> Descriptive Guide and Critical +Analysis, written in a popular and concise style. By HERBERT WESTERBY, +Mus.Bac. Lon., etc. 5 illustrations, 24 music examples. 336 pp., crown +8vo, cloth, 12s. 6d. <i>net</i>.</p> + +<p><b>THE ORGAN PARTS OF MENDELSSOHN'S ORATORIOS AND OTHER CHORAL WORKS.</b> +Analytically Considered. By ORLANDO A. MANSFIELD, <i>Mus.Doc.</i>, <i>F.R.C.O.</i> +Numerous Musical Examples. Crown 8vo, cloth, 10s. <i>net</i>.</p> + +<p><b>HOW TO INTERPRET MENDELSSOHN'S "SONGS WITHOUT WORDS"</b> (the celebrated +"Lieder ohne Worte"). A Readable and Useful Guide for All. Gives the +Piano Student helpful Insight into the first Principles of Form in +Music. By CHARLES W. WILKINSON. With portrait and facsimile of MS. Crown +8vo, cloth, 6s. <i>net</i> (paper, 3s. 6d. <i>net</i>).</p> + +<blockquote><p>These notes on each of the "Lieder" will help the student in +playing these homely and easily intelligible compositions.</p></blockquote> + +<p><b>ANALYSIS OF MENDELSSOHN'S ORGAN WORKS.</b> A Study of their Structural +Features. For the Use of Students. By JOSEPH W. G. HATHAWAY, <i>Mus.B. +Oxon.</i> 127 Musical Examples. Portrait and Facsimiles. Crown 8vo, cloth, +8s. 6d. <i>net</i>.</p> + +<p><b>MOZART</b>: a Commemorative Address read before the Positivist Society. By +V. LUSHINGTON. 8vo, 2s. <i>net</i>.</p> + +<blockquote><p>Mozart and Religion.</p></blockquote> + +<p><b>MOZART AND THE SONATA FORM</b>: A Companion Book to any Volume of the +Sonatas for Piano, including an Analysis of the Form of each Movement, +with Notes upon Treatment and Tonality, by J. R. TOBIN, Mus.B. Crown +8vo, cloth, 10s. <i>net</i>.</p> + +<p><b>THE SONATA</b>: Its Form and Meaning, as Exemplified in the Piano Sonatas +by Mozart. A Descriptive Analysis, with Musical Examples. By F. H. +MARKS. Sq. 8vo, well printed on good paper, cloth, 15s. <i>net</i>; paper, +10s. 6d. <i>net</i>; or in two volumes (Nos. 1 to 9 and 10 to 20), paper, +each 6s. <i>net</i>.</p> + +<p><b>QUESTIONS ON MOZART'S SONATAS</b>, both Educational and Suggestive. By F. +HELENA MARKS. Aid and Companion to the Study of the Author's work, "The +Sonata: Its Form and Meaning as Exemplified in the Piano Sonatas by +Mozart." For Teachers and Students. 2s. 6d. <i>net</i>.</p> + +<p><b>PURCELL.</b> By WILLIAM H. CUMMINGS, <i>Mus. Doc.</i> Crown 8vo, cloth, 6s. +<i>net</i>.</p> + +<p><b>RACHMANINOFF.</b> An Exhilarating Biographical Study of this Genius of the +Keyboard. By WATSON LYLE. With Critical Survey of his Works as recorded +on Gramophone Records, also his Playing of other Composers' Works. +Preface by LEFF POUISHNOFF. Two Portraits and List of Works. Crown 8vo, +cloth, 15s. <i>net</i>.</p> + +<p><b>FRANZ SCHUBERT</b>, Man and Composer. A Vivid Story of a Charming +Personality. By C. WHITAKER-WILSON. With Original Translations into +English of eight Well-known Schubert Songs, together with the Music for +the Voice. Portraits and Illustrations of Schubert and his Friends. +Handsome volume, thick crown 8vo, cloth gilt, 15s. <i>net</i>.</p> + +<blockquote><p>Schubert—the most poetical musician that ever was.—LISZT.</p> + +<p>Schubert—the man with the Divine Spark.—BEETHOVEN.</p></blockquote> + +<p><b>HENRY SMART'S ORGAN COMPOSITIONS ANALYSED.</b> By J. BROADHOUSE. Crown +8vo, cloth, 5s. <i>net</i>.</p> + +<p><b>TEMPLETON AND MALIBRAN.</b> Reminiscences of these Renowned Singers, with +Original Letters and Anecdotes. Three Authentic Portraits by MAYALL. +8vo, cloth, 10s. <i>net</i>.</p> + +<p><b>WAGNER'S TEACHINGS BY ANALOGY.</b> His Views on Absolute Music and of the +Relations of Articulate and Tonal Speech, with Special Reference to +"Opera and Drama." A Series of Papers for the Student. By EDWIN EVANS, +Senior, F.R.C.O. Crown 8vo, cloth, 6s. <i>net</i>; paper, 3s. 6d. <i>net</i>.</p> + +<blockquote><p>The above forms an introduction to Wagner's Prose Writings.</p></blockquote> + +<p><b>WAGNER'S "PARSIFAL."</b> And the Bayreuth Fest-Spielhaus. By N. KILBURN. +Paper, 1s. <i>net</i>.</p> + +<p><b>WAGNER SKETCHES</b>, 1849. A Historical Retrospect in vindication of +Wagner. By WILLIAM ASHTON ELLIS. Cloth, 3s. 6d. <i>net</i> (paper 2s. <i>net</i>).</p> + + +<p><b>OPERA AND DRAMA.</b> By RICHARD WAGNER. Translated by EDWIN EVANS, Senior, +F.R.C.O. Vol. I: Part I. Opera and the Essence of Music. Part II. The +Stage-Play and Dramatical Poetic Art in the Abstract. Vol. II: Part III. +Poetry and Music in the Drama of the Future. The Three Parts in 2 vols. +Portrait. Crown 8vo, cloth, 30s. <i>net</i>.</p> + +<blockquote><p>The value of the study of Wagner's prose writing as an education to +the musical student cannot be over-estimated, and amongst these +prose writings "Opera and Drama" may be considered his principal +critical and theoretical production. Without a study of its +contents no true and lasting understanding of opera can be arrived +at.</p> + +<p>Wagner writing to his friend Uhlig said:</p> + +<p><i>"Here you have my testament; I may as well die now—anything +further that I could do seems to me a useless piece of luxury."</i></p> + +<p>ERNEST NEWMAN in "A Study of Wagner," writes: "Although there +appears here and there in his prose-work something of the vast +synthetic power of his musical imagination—such a work as 'Opera +and Drama,' for instance, finally compelling our admiration for its +tenacity of purpose and the breadth of vision that sweeps so far +before and after."</p></blockquote> + +<p><b>WAGNER'S PROSE WORKS.</b> Translated by WM. ASHTON ELLIS. Vol. I, The +Art-Work of the Future, etc., 21s. <i>net</i>; Vol. II, Opera and Drama, 25s. +<i>net</i>; Vol. III, The Theatre, 21s. <i>net</i>; Vol. IV, Art and Politics, +21s. <i>net</i>; Vol. V., Actors and Singers, <i>out of print</i>; Vol. VI, +Religion and Art, <i>out of print</i>; Vol. VII, In Paris and Dresden, 25s. +<i>net</i>; Vol. VIII, Posthumous, etc., 25s. <i>net</i>. Complete sets are +occasionally available. Apply to the publishers of this list for +particulars.</p> + +<p><b>DIARY OF A PILGRIM IN THE NETHERLANDS.</b> The Holy Grail in Bruges and +Other Impressions of Travel. Bruges, Courtrai, Tournai, Amsterdam, the +Hague, Antwerp. By ROSE KOENIG. Crown 8vo, cloth, 3s. 6d. <i>net</i> (paper +covers, 2s. <i>net</i>).</p> + +<p><b>HOW TO UNDERSTAND WAGNER'S "RING OF THE NIBELUNG."</b> Being the Story and +a Descriptive Analysis of the "Rheingold," the "Valkyr," "Siegfried" and +the "Dusk of the Gods." With Musical Examples of the Leading Motives of +each Drama. By GUSTAVE KOBBE. Together with a Sketch of Wagner's Life. +By N. KILBURN, Mus.Bac. Cantab. Seventh Edition, with Additions, a +Portrait and Facsimile. Post 8vo, cloth, 7s. 6d. <i>net</i>.</p> + +<blockquote><p>"Description and analysis go hand in hand with the narration of the +story. Musical examples are given as aids to the identification of +the leading motives and an index makes it easy for any reader to +turn up any particular motive instantly."—<i>Yorkshire Observer.</i></p></blockquote> + +<p><b>MY RECOLLECTIONS OF RICHARD WAGNER.</b> By AUGUST LESIMPLE. Post 8vo, +cloth, 3s. 6d. <i>net</i> (paper covers, 2s. <i>net</i>).</p> + +<p><b>WAGNER.</b> A Sketch of his Life and Works. By N. KILBURN, Mus.Bac. +Cantab. Paper, 1s. <i>net</i>.</p> + +<p><b>ON CONDUCTING.</b> By RICHARD WAGNER. Translated by EDWARD DANNREUTHER. +Fourth Edition. Crown 8vo, cloth, 7s. 6d. <i>net</i>.</p> + +<blockquote><p>"One of the finest of his minor publications, and to the +professional musician, perhaps the most instructive, giving his +views as to the true way of rendering classical music, with +numerous directions how to do it, and how not to do it, together +with many examples in musical type from the instrumental works of +Beethoven, Weber, Mozart, etc."—<i>Grove's Dictionary.</i></p></blockquote> + +<p><b>WAGNER.</b> "Ring of the Nibelungen." Being the Story concisely told of +"Das Rheingold," "Die Walküre," "Siegfried" and "Götterdämmerung." By N. +KILBURN, Mus.Bac. Cantab. Crown 8vo, paper, 2s. <i>net</i>.</p> + +<p><b>THREE IMPRESSIONS OF BAYREUTH.</b> The 1908 and Previous Wagner Festivals. +By ROSE KOENIG. With Two Facsimile Programmes. Crown 8vo, cloth, 3s. 6d. +<i>net</i> (paper, 2s. <i>net</i>).</p> + +<p><b>LIFE OF WEBER.</b> With List of his Compositions. By SIR J. BENEDICT. +Crown 8vo, cloth, 6s. <i>net</i>.</p> + +<p><b>BERLIOZ AND THE ROMANTIC CENTURY.</b> By J. BARZUN. Two volumes. 18 +illustrations. Demy 8vo, cloth, 42s. <i>net</i>.</p> + +<blockquote><p>This monumental work, on which Professor Barzun has been engaged +for twenty years, is the first comprehensive book on Berlioz in the +English language.</p></blockquote> + + +<h3>HISTORY OF MUSIC, AND OF MUSICAL INSTRUMENTS.</h3> + +<p><b>STRINGED INSTRUMENTS OF THE MIDDLE AGES.</b> Their Evolution and +Development. By HORTENSE PANUM. English edition, revised and edited by +JEFFREY PULVER. A detailed and comprehensive history, with +illustrations, of the evolution of the mediæval stringed musical +instruments from their first appearance in the records of the earliest +civilisations, through their gradual development in the Greek, Roman and +Christian eras down to more recent times. 400 illustrations, 8vo, cloth, +pp. ix, 511, 35s.</p> + +<blockquote><p>Many years of travel and research were necessary to make the +production of this work possible. The author, in addition, has most +painstakingly searched mediæval literature and the records of +contemporary art for references to and descriptions of the +instruments dealt with, and it is believed that the account here +given of them is as complete as it is possible to make it.</p> + +<p>The book is most generously illustrated and carefully indexed by +the editor. No pains have been spared to secure drawings or +photographs of practically every type mentioned.</p></blockquote> + +<p><b>TRIBAL MUSIC AND DANCING IN THE SOUTHERN SUDAN</b>, at Social and +Ceremonial Gatherings. A descriptive account of the music, rhythm, etc., +from personal observation. By DR. A. N. TUCKER. 5 illustrations, 61 +music examples illustrating the dances, songs and rhythm. 57 pages, demy +8vo, 10s. 6d. <i>net</i> (or paper, 6s. 6d. <i>net</i>).</p> + +<p><b>HISTORY OF THE TRUMPET</b> of Bach and Handel. A New Point of View and New +Instruments. Forming a History of the Trumpet and its Music, from its +earliest use as an artistic instrument to the middle of the 18th +century. Special reference given to its employment by Bach and Handel, +and the correct modern performance of old parts; including a description +of the new instrument invented by the author for this purpose. By WERNER +MENKE. Englished by GERALD ABRAHAM. With 5 plates and music supplement. +English and German text. 223 pages, crown 8vo, cloth, 15s. <i>net</i>.</p> + +<p><b>BOWED HARP (THE).</b> A Study showing Fresh Light on the History of Early +Musical Instruments. By OTTO ANDERSSON, Ph.D., President of the Swedish +University at Äbo. From the Original Swedish Edition, revised by the +Author. The Translation Edited with additional footnotes by Kathleen +Schlesinger. 116 Illustrations, Bibliography and Index. 340 pages, 8vo, +cloth, 30s. <i>net</i>.</p> + +<blockquote><p>"A valuable contribution to the literature about early musical +instruments."—<i>The Strad.</i></p></blockquote> + +<p><b>MUSIC IN MEDIÆVAL SCOTLAND.</b> By DR. HENRY G. FARMER. Introduction by +SIR RICHARD R. TERRY, Mus.Doc. 8vo, sewed, 5s. <i>net</i>.</p> + +<p><b>MUSIC OF THE MOST ANCIENT NATIONS</b>, Particularly of the Assyrians, +Egyptians and Hebrews; with special reference to Discoveries in Western +Asia and in Egypt. By CARL ENGEL. This issue has large size +reproductions of Harp unearthed at Ur (1928), and of Silver Military +Trumpet from the Tomb of Tut-Ankh-Amen in the Valley of the Kings +(unearthed 1926). The volume has about 100 illustrations. Thick 8vo, +cloth, 30s. <i>net</i>.</p> + +<p><b>STORY OF INDIAN MUSIC AND ITS INSTRUMENTS.</b> A Study of the Present and +a Record of the Past. Together with Sir William Jones' celebrated +Treatise in full. With 19 Plates, chiefly of Instruments, 7 Music +Illustrations and a Map. By ETHEL ROSENTHAL, <i>A.R.C.M., F.R.G.S.</i> Crown +8vo, cloth, 15s. <i>net</i>.</p> + +<p><b>OPERA STORIES OF TO-DAY AND YESTERDAY</b>, Retold Act by Act (including +Wagner's 5 "The Ring" Operas). By EDMONDSTOUNE DUNCAN. Complete, cloth, +6s. 6d. <i>net</i>.</p> + +<blockquote><p>A racy account of the plots and histories of fifty famous operas, +from Purcell, Gluck and Mozart, to Richard Strauss and Ethel Smyth.</p></blockquote> + +<p><b>OLD ENGLISH PSALMODY.</b> By W. T. BROOKE. First Series: From the +Accession of Edward VI to the Restoration of Charles II, 1547-1660. +Second Series: Psalmists from 1660-1800. Crown 8vo, paper covers, 3s. +6d. <i>net</i> each series.</p> + +<p><b>THE GIPSY IN MUSIC.</b> By FRANZ LISZT. Englished for the first time by +EDWIN EVANS, <i>Senior</i>, and preceded by an Essay on Liszt and his Work.</p> + +<blockquote><p>Gipsy and Jew, Two Wandering Races. Gipsy Life in Relation to Art. +Gipsy Music and Musicians.</p> + +<p>The result of the Author's long Experience and Investigations of the +Gipsies and their Music. With Portraits of the Author, etc. In two +handsome volumes, 8vo, cloth, 30s. <i>net</i>.</p></blockquote> + +<p><b>ARABIC MUSICAL MANUSCRIPTS IN THE BODLEIAN LIBRARY.</b> Plate of two +Musical Instruments from early Arabic Manuscripts. By H. G. FARMER, +<i>M.A., Ph.D.</i> 8vo, sewed, 10s. <i>net</i>.</p> + +<p><b>HISTORY OF THE HARP.</b> From the Earliest Period. By JOHN THOMAS +(<i>Pencerdd Gwalia</i>). 8vo, paper covers, 6s. <i>net</i>.</p> + +<p><b>HISTORY OF RUSSIAN MUSIC.</b> By M. MONTAGU-NATHAN. Being an Account of +the Rise and Progress of the Russian School of Composers. With a Survey +of their Lives and a Description of their Works. Frontispiece. 2nd +Edition, Revised. Thick crown 8vo, cloth, 15s. <i>net</i>.</p> + +<blockquote><p>"Mr. Montagu-Nathan's book breaks new ground; it introduces the +English reader to a number of composers many of whom until recently +were nothing more than names. Mr. Montagu-Nathan presents a vast +amount of new material to the music-loving public of this country +... his book should find many eager readers."—<i>Manchester +Courier.</i></p> + +<p>" ... We want a book packed full of hard stuff. This we get at its +best in ... Mr. Montagu-Nathan's 'History.'"—<i>Saturday Review.</i></p></blockquote> + +<p><b>MUSIC AND MUSICAL INSTRUMENTS OF THE ARAB</b>, with Introduction on How to +Appreciate Arab Music by FRANCESCO SALVADOR-DANIEL (<i>Director, Paris +Conservatoire of Music, 1871</i>). Edited with Notes, Memoir, Bibliography +and thirty Examples and Illustrations, by DR. H. G. FARMER. Crown 8vo, +cloth, 25s. <i>net</i>.</p> + +<p><b>THE STUDENT'S HISTORY OF MUSIC.</b> History of Music, from the Christian +Era to the Present Time. By DR. F. L. RITTER. Third Edition. 478 pages +of Letterpress and 72 Plates of Musical Illustrations. Thick crown 8vo, +cloth, 12s. 6d. <i>net</i>.</p> + +<p><b>IRISH MUSICAL HISTORY</b>, Introductory Sketch of, by W. H. GRATTAN FLOOD. +A compact Record of the Progress of Music in Ireland during 1,000 Years. +Portraits. Crown 8vo, cloth, 5s. 6d. <i>net</i> (paper 3s. <i>net</i>).</p> + +<p><b>RISE AND DEVELOPMENT OF OPERA.</b> Embracing a Comparative View of the Art +in Italy, Germany, France and England. By JOSEPH GODDARD. Showing the +Cause of the Falling Back of the English School in the Modern Period, +and the Compensation which that Involved. Numerous Musical Examples, +Portraits and Facsimiles. Crown 8vo, cloth, 12s. 6d. <i>net</i>.</p> + +<p><b>RISE AND DEVELOPMENT OF MILITARY MUSIC.</b> By DR. H. G. FARMER. With +Illustrations of Early Instruments and Musical Examples, and Short +Biographical Notices of all the Staff Bandmasters. Preface by LIEUT. A. +WILLIAMS, <i>M.V.O., Mus.Doc., Bandmaster of Grenadier Guards</i>. Crown 8vo, +cloth, 15s. <i>net</i>.</p> + +<p><b>CATECHISM OF MUSICAL HISTORY AND BIOGRAPHY</b> By F. J. CROWEST. Revised +and Enlarged Edition. Tenth Thousand. 187 pages. Post 8vo, cloth, 5s. +<i>net</i> (paper, 2s. 6d. <i>net</i>).</p> + +<blockquote><p><i>Musical Education</i> says: "An excellent little book—yet not so +little since it contains an immense amount of +information—historical, biographical and critical—in a very small +compass."</p></blockquote> + +<p><b>THE TROUBADOUR AS MUSICIAN</b>, Past and Present. By C. A. HARRIS. Cloth, +5s. <i>net</i> (paper, 2s. 6d. <i>net</i>).</p> + +<p><b>POLISH MUSIC AND CHOPIN, ITS LAUREATE.</b> A Historical Account from 995 +to the Present Time, including Chopin and his Works. By E. RAYSON. Four +Portraits. Square 8vo, cloth, 5s. <i>net</i> (paper, 3s. 6d. <i>net</i>).</p> + +<p><b>NATIONAL MUSIC OF THE WORLD.</b> By H. F. CHORLEY. Edited by H. G. +HEWLETT. Many Music Examples. New Issue, with Index added. Crown 8vo, +cloth, 10s. 6d. <i>net</i>.</p> + +<blockquote><p>Treats of the national tunes, folk-songs and airs of various races +of the world. The chapters are undoubtedly marked in a high degree +with the critic's acumen, attesting the wide range of Chorley's +learning.</p></blockquote> + +<p><b>CHRONOMETRICAL CHART OF MUSICAL HISTORY.</b> Presenting a Bird's Eye View +from the Pre-Christian Era to the XXth Century. By C. A. HARRIS, +<i>A.R.C.O.</i>, etc. On linen, folded in case, 5s. <i>net</i> (on special paper, +2s. 6d. <i>net</i>).</p> + +<blockquote><p>"Sure to be very useful to students ... excellently arranged and +seems to be very accurate and thorough."—DR. RALPH DUNSTAN.</p></blockquote> + +<p><b>HISTORICAL FACTS FOR THE ARABIAN MUSICAL INFLUENCE ON MUSICAL THEORY.</b> +By HENRY GEORGE FARMER, <i>M.A., Ph.D.</i> Thick crown 8vo, cloth, 27s. 6d. +<i>net</i>.</p> + +<blockquote><p>Dr. Farmer's researches into the MUSIC OF THE ARABS OF THE MIDDLE +AGES, a period when these people led the world's culture, have +universal recognition. He now throws a flood of fresh light on many +obscure corners in the History of Mediæval Music.</p> + +<p>The present work undoubtedly breaks fresh ground in history, and is +from the hands of a scholar.</p></blockquote> + +<p><b>THE PAST AND THE FUTURE.</b> An Inaugural Lecture at Gresham College. By +SIR F. BRIDGE, <i>Mus.Doc.</i> Crown 8vo, sewed, 1s. <i>net</i>.</p> + +<p><b>THE WORLD'S EARLIEST MUSIC.</b> Traced to its Beginnings in Ancient Lands. +By collected Evidences of Relics, Records, History and Musical +Instruments, from Greece, Etruria, Egypt, China, through Assyria and +Babylonia to the Primitive Home, the Land of Akkad and Sumer. By HERMANN +SMITH. With sixty-five full-page Illustrations and Cuts, nearly 400 +pages. Crown 8vo, cloth, 21s. <i>net</i>.</p> + +<p><b>THE GROWTH AND DEVELOPMENT OF MUSIC.</b> Chapters on the Study of Musical +History. By EDWARD DICKINSON. With Annotated Guide to Music Literature. +Over 400 pages. Thick 8vo, cloth, 18s. 6d. <i>net</i>.</p> + +<blockquote><p>ERNEST NEWMAN (<i>Manchester Guardian</i>) writes: " ... the extent and +the accuracy of the information conveyed make the book +indispensable to <i>students</i> and to <i>public libraries</i>."</p></blockquote> + +<p><b>GENERAL HISTORY OF MUSIC</b> from the Infancy of the Greek Drama to the +Present. By W. S. ROCKSTRO. Fourth Edition, 535 pages. Thick 8vo, cloth, +21s. <i>net</i>.</p> + +<p><b>TREATISE ON BYZANTINE MUSIC.</b> By S. G. HATHERLEY. 208 Musical Examples. +162 pages, 4to, cloth, 25s. <i>net</i>.</p> + +<blockquote><p>There are upwards of 50 unabbreviated musical pieces, ancient and +modern, from Greek, Russian, Turkish and Egyptian sources, given +and fully analysed.</p></blockquote> + + +<h3>ORCHESTRAL.</h3> + +<p><b>THE CHAMBER AND ORCHESTRAL WORKS OF JOHANNES BRAHMS. FIRST SERIES TO +OP. 67.</b> Historical, Descriptive and Analytical Account of each Work +treated in the order of the Opus number, and preceded by a Didactic +Section. With Exhaustive Structural, Thematic and Rhythmical Analyses, +and a complete Rhythmical Chart of each Movement. By EDWIN EVANS, +Senior. With 435 music examples and tables. 8vo, cloth, 30s. <i>net</i>.</p> + +<p><b>THE CHAMBER AND ORCHESTRAL WORKS OF JOHANNES BRAHMS. SECOND SERIES, OP. +68 TO THE END.</b> By EDWIN EVANS, Senior. Uniform with the above. With 633 +music examples and tables. 8vo, cloth, 30s. <i>net</i>.</p> + +<blockquote><p>The above two volumes are a complete technical account of the +chamber and orchestral music, with the exception of the two piano +concertos. They form a part of the Historical, Descriptive and +Analytical Account of the Entire Works of Brahms advertised on page +2.</p></blockquote> + +<p><b>ORCHESTRAL AND BAND INSTRUMENTS.</b> A Short Account of the Instruments +used in the Orchestra, and in Brass and Military Bands. By G. F. +BROADHEAD, Mus.B. Dunelm, L.Mus.T.C.L. With 24 Illustrative Music +Examples. 8vo, cloth, 5s. <i>net</i> (paper, 3s. <i>net</i>).</p> + +<p><b>CONCISE METHOD OF INSTRUMENTATION.</b> How to Write for the Orchestra and +Arrange an Orchestral or Band Score. Illustrated with Musical Examples +and various large folding Charts and Index. By EDWIN EVANS, <i>Senior</i>, +<i>author of</i> "Beethoven's Nine Symphonies Fully Described and Analysed," +etc. 8vo, cloth. Vol. I, 15s. <i>net</i>; Vol. II, 15s. <i>net</i>; Vol. I. How to +Write for Strings, Arrangement of Scoring and Preparation of Parts. With +Charts. Vol. II. How to "Write for Wood, Brass and Drums, and Arrange a +Band Score. With large folding Charts.</p> + +<p><b>INSTRUMENTS AND ART OF THE ORCHESTRA.</b> An Introductory Study. With +Table showing Range of each Instrument. By P. W. DE COURCY-SMALE, +<i>Mus.Bac.</i> Cloth, 6s. <i>net</i> (paper, 3s, 6d. <i>net</i>).</p> + +<p><b>ORCHESTRAL WIND INSTRUMENTS</b>, Ancient and Modern. Being an Account of +the Origin and Evolution of Wind Instruments from the Earliest to the +most Recent Times. Illustrated with Plates specially prepared for this +Work, giving sixty-one Examples of Instruments (or parts) described. By +ULRIC DAUBENY. Important original work fully illustrated with beautiful +Reproductions taken from fine Photographs of the Actual Instruments. +8vo, cloth, 21s. <i>net</i>.</p> + +<p><b>HANDBOOK ON THE TECHNIQUE OF CONDUCTING.</b> By SIR ADRIAN BOULT. Seventh +Edition, revised. 5s. <i>net</i>.</p> + +<p><b>PRACTICAL GUIDE FOR THE CONDUCTOR</b> and Useful Notes for the Orchestra. +By F. W. DE MASSI-HARDMAN. With Music Examples and Diagrams. 3s. <i>net</i>.</p> + +<p><b>ART OF THE CONDUCTOR.</b> A Suggestive Guide to the Theory and Practice. +With 41 Diagrams and Examples. By HECTOR BERLIOZ. Translated by J. +BROADHOUSE. Cloth, 7s. 6d. <i>net</i>.</p> + +<p><b>A MUSICAL ZOO.</b> Twenty-four Illustrations displaying the Ornamental +Application of Animal Forms to Musical Instruments (Violins, Viol da +Gambas, Guitars, Pochette, Serpent, etc.) Drawn from the Carved Examples +by HENRY SAINT-GEORGE. Cloth, 6s. <i>net</i> (paper, 3s. 6d. <i>net</i>).</p> + +<p><b>THE FUTURE OF MUSIC.</b> Coming Changes Outlined in Regard to Composer, +Conductor and Orchestra. By LOUIS LALOY. Translated by MRS. FRANZ +LIEBICH. 8vo, cloth, 3s. 6d. <i>net</i> (paper, 2s. <i>net</i>).</p> + +<p><b>HOW TO PLAY FROM SCORE.</b> Treatise on Accompaniment from Score on the +Organ or Piano. By F. FETIS. Translated by A. WHITTINGHAM. With forty +pages of Examples. Crown 8vo, cloth, 7s. 6d. <i>net</i>.</p> + +<blockquote><p>This popular and useful book might have been entitled "The Art of +Making Arrangements for the Organ or Pianoforte from Full +Orchestral and Other Scores." It contains all that is necessary to +know upon this subject.</p></blockquote> + +<p><b>ON CONDUCTING.</b> By RICHARD WAGNER. Translated by E. DANNREUTHER. Fourth +Edition. Crown 8vo, cloth, 7s. 6d. <i>net</i>.</p> + +<blockquote><p>WEINGARTNER, speaking of this celebrated work, says: "Wagner's book +laid the foundation for a new understanding of the function of the +conductor, in whom we now recognise, not only the eternal factor +that holds together an orchestral, choral or operatic performance, +but above all the spiritualising internal factor that gives the +performance its very soul."</p> + +<p><i>Grove's Dictionary</i> says "One of the finest of his minor +publications, and to a professional musician perhaps the most +instructive. A Treatise on <i>Style</i>, giving his views as to the true +way of rendering classical music, with minute directions how to do +it and how not to do it, together with many examples in musical +type from the instrumental works of Beethoven, Weber, Mozart, etc."</p></blockquote> + +<p><b>NOTES ON CONDUCTING AND CONDUCTORS.</b> By T. R. CROGER, <i>F.R.G.S., +F.Z.S.</i>, also the Organising and Conducting of Amateur Orchestras, with +three full-page Illustrations of the various "Beats" and Plan of the +Orchestra. Fifth Impression, Revised and Enlarged. Crown 8vo, cloth, 6s. +<i>net</i> (paper, 3s. <i>net</i>).</p> + +<blockquote><p>"A mine of good things."—<i>Musical Opinion.</i></p> + +<p>"One of the best guides to conducting."—<i>Music Trades Review.</i></p></blockquote> + +<p><b>ABOUT CONDUCTING.</b> Practical Advice on Concerts, Rehearsals, the +Orchestra, Players, Scores and Parts, etc. by SIR HENRY WOOD (Conductor +and Organiser of the Promenade Concerts). With two plans, crown 8vo, +cloth, 5s. 6d. <i>net</i>.</p> + + +<h3>ORGAN.</h3> + +<p><b>TECHNICS OF THE ORGAN.</b> An Illuminative Treatise on many Points and +Difficulties connected therewith. Special Treatment of Rhythm, +Minimisation of the Use of Accessories, Extemporisation, Expressive +Regulation of Organ Tone and Accompaniment. By EDWIN EVANS, Senior, +F.R.C.O. With over 100 Music Examples. 4to, cloth, 12s. 6d. <i>net</i>.</p> + +<blockquote><p>A valuable Book to help a Moderate Player to become a Master.</p></blockquote> + +<p><b>NEW ORGAN PRINCIPLES AND THEIR INTERPRETATION.</b> A Guide to and +Suggestions on Phrasing and Registration with a view to improved Organ +Playing. By TERENCE WHITE. With 54 music examples. Octavo, cloth, 6s. +<i>net</i> (paper covers, 3s. 6d. <i>net</i>).</p> + +<p><b>ORGAN OF THE ANCIENTS FROM EASTERN SOURCES</b> (Hebrew, Syriac and +Arabic). By HENRY GEORGE FARMER, M.A., Ph.D., Carnegie Research Fellow. +Foreword by CANON F. W. GALPIN. With numerous Illustrations. Square 8vo, +cloth, 27s. 6d. <i>net</i>.</p> + +<blockquote><p>"An authoritative treatment of the subject."—<i>Grove's Dictionary.</i></p></blockquote> + +<p><b>TECHNICS OF ORGAN TEACHING.</b> A Handbook which treats of Special Points +in Organ Teaching Examinations, together with Test Questions. By R. A. +JEVONS. 8vo, cloth, 6s. <i>net</i> (paper, 3s. 6d. <i>net</i>).</p> + +<p><b>ART OF ORGAN ACCOMPANIMENT IN THE CHURCH SERVICES.</b> What to Do and what +to Avoid: being a Guide to the Organist in the effective rendering of +the Music. By WALTER L. TWINNING, <i>F.R.C.O.</i>, author of "Examination +Test Questions," etc. Cloth, 6s. <i>net</i> (paper covers, 3s. 6d. <i>net</i>).</p> + +<p><b>MODERN ORGAN BUILDING.</b> Being a Practical Explanation and Description +of the Whole Art of Organ Construction, with Especial Regard to +Pneumatic Action. Together with Chapters on Tuning, Voicing, etc. By +WALTER and THOMAS LEWIS (<i>Organ Builders</i>). <b>Third edition</b>, with +additional matter and Diagrams added, covering the latest developments +in electrical control, unit chest, etc., and organ blowing. 116 +illustrations, including 76 drawn to scale and reproduced from actual +working drawings, together with diagrams, tables, etc. xxix, 247 pages, +4to, cloth.</p> + +<p><b>THE ORGAN AS VIEWED FROM WITHIN.</b> A Practical Handbook on the Mechanism +of the Organ. By JOHN BROADHOUSE. With over fifty Illustrations. Second +Impression. Crown 8vo, cloth, 8s. 6d. <i>net</i>.</p> + +<p><b>THE PEDAL ORGAN.</b> Its History, Design and Control. By THOMAS CASSON. +With folding Diagram. Second Impression. 8vo, cloth, 6s. <i>net</i>.</p> + +<p><b>THE EARLY ENGLISH ORGAN BUILDERS</b> and their Works, from the Fifteenth +Century to the Period of the Great Rebellion. An Unwritten Chapter on +the History of the Organ. By DR. E. F. RIMBAULT. Well printed, with +Woodcuts. Post 8vo, cloth, 7s. 6d. <i>net</i>.</p> + +<p><b>THE ORGAN</b>: A Comprehensive Treatise on its Structure, Capabilities, +History and Bibliography. With Criticisms and Depositories, preceded by +an Analytical Consideration of general Bibliographical and Catalogual +Construction. By J. W. WARMAN, <i>late Organist of the Anglican Cathedral, +Quebec</i>. Four parts [A to Nou. (the rest unprinted)], 15s. <i>net</i>.</p> + +<blockquote><p>The parts advertised above are all that have been published, as the +untimely death of Mr. Warman prevented the completion of the work. +The book is a mine of wealth for those interested in organ +subjects. The author devoted the best part of his life in compiling +the work and collecting material for his subject.</p></blockquote> + +<p><b>SOME CONTINENTAL ORGANS</b> (Ancient and Modern) and their Makers. With +Specifications of many of the fine Examples in Germany and Switzerland. +By JAMES I. WEDGEWOOD. Post 8vo, cloth, 6s. 6d. <i>net</i>.</p> + +<blockquote><p>Contains specification and a brief <i>critique</i> of some of the famous +old Continental organs. Describes also several up-to-date +Continental organs. Amongst others particulars are given of those +at Haarlem, Cologne, Aix-la-Chapelle, Frankfort, Heidelberg, Ulm, +Stuttgart, Einsiedeln, Strassburg and Antwerp. This work forms a +valuable supplement to Hopkins's and Rimbault's great treatise.</p></blockquote> + +<p><b>MODERN ORGAN TUNING</b>, The How and Why, Clearly Explaining the Nature of +the Organ Pipe and the System of Equal Temperament, together with an +Historic Record of the Evolution of the Diatonic Scale from the Greek +Tetrachord. By HERMANN SMITH. Crown 8vo, cloth, 7s. 6d. <i>net</i>.</p> + +<blockquote><p>"The greatest authority on acoustical matters connected with organ +pipes who has ever lived," says Mr. G. A. Audsley of Hermann Smith +in his "Art of Organ Building."</p></blockquote> + +<p><b>THE TEMPLE EDITION OF ORGAN OVERTURES AND ARRANGEMENTS</b>, all with Ped. +Obb. 3s. <i>net</i> each.</p> + +<blockquote><p>See page 25 for list of about sixty works in this series, including +works by Wagner, Tchaïkovsky, Beethoven, Mozart, Handel, Berlioz, +Glinka, Schubert, Gounod, Hérold, Mendelssohn, Meyerbeer, Balfe, +Auber, Rossini, Weber, Wallace, Suppé, Adam, Thomas, Nicolai, +Sterndale-Bennett, Cornelius and Flotow, chiefly arranged by Edwin +Evans.</p></blockquote> + +<p><b>THE INFLUENCE OF THE ORGAN IN HISTORY.</b> By DUDLEY BUCK. Fresh issue +with Illustrations. Crown 8vo, cloth, 4s. <i>net</i> (or paper, 2s. <i>net</i>).</p> + +<p><b>ORGANIST'S REPERTOIRE GUIDE.</b> An International Repertoire Guide +(Historical, Educational and Descriptive) to Foreign, British and +American Works. By HERBERT WESTERBY, B.B.C. Organ Recitalist (<i>author +of</i> "Liszt, Composer, and his Piano Works"). 4to, cloth, 17s. 6d. <i>net</i>.</p> + +<blockquote><p>Describes the best Organ Music of foreign countries as well as of +Britain and America.</p> + +<p>A large and beautifully presented quarto work, fully illustrated by +thirty-six plates on fine art paper, comprising seven English and +sixteen foreign organs, thirty-one portraits, and illustrations of +the houses of Bach and Handel.</p></blockquote> + +<p><b>REFORM IN ORGAN BUILDING.</b> By THOMAS CASSON. Crown 8vo, sewed, 2s. 6d. +<i>net</i>.</p> + +<p><b>TUTOR FOR THE AMERICAN ORGAN AND HARMONIUM.</b> By W. F. TAYLOR. 4to, 2s. +6d. <i>net</i>.</p> + +<p><b>THE BYRD ORGAN BOOK</b>, for Piano or Organ. A Collection of 21 Pieces +(Pavans, Galliards, etc.), by William Byrd, 1543-1623, edited from the +Virginal MSS., and now first published in Modern Notation. By M. H. +GLYN, 7s. 6d.</p> + +<blockquote><p>"A charming collection."—<i>West Sussex Gazette.</i></p></blockquote> + +<p><b>ADVICE TO YOUNG ORGANISTS.</b> By J. T. FIELD. 6d. <i>net</i>.</p> + +<p><b>THE ORGAN FIFTY YEARS HENCE.</b> A Study of its Development in the Light +of its Past History and Present Tendencies. By FRANCIS BURGESS, +<i>F.S.A.</i>, <i>Scot.</i> 8vo, 2s. <i>net</i>.</p> + +<hr style="width: 65%;" /> + +<h3>THE TEMPLE EDITION OF ORGAN OVERTURES. (3 Staves).</h3> + +<p>Arranged from Full Score by Edwin Evans, Senr. (except where other wise +stated).</p> + +<p>Price 3/-<i>net</i> each.</p> + +<p> +<b>ATHALIE</b> (Mendelssohn).<br /> +<b>BARBER OF BAGDAD</b> (Peter Cornelius).<br /> +<b>BEATRICE AND BENEDICT</b> (Berlioz).<br /> +<b>BENVENUTO CELLINI</b> (Berlioz).<br /> +<b>BOHEMIAN GIRL</b> (Balfe).<br /> +<b>CALM SEA AND PROSPEROUS VOYAGE</b> (Mendelssohn).<br /> +<b>CARNAVAL ROMAIN</b> (Berlioz).<br /> +<b>CORSAIR</b> (Berlioz).<br /> +<b>CROWN DIAMONDS</b> (Auber).<br /> +<b>EGMONT</b> (Beethoven).<br /> +<b>EURYANTHE</b> (Weber).<br /> +<b>FAUST</b> (Gounod).<br /> +<b>FAUST</b> (Wagner).<br /> +<b>FESTIVAL OVERTURE</b> (Tschaikowsky).<br /> +<b>FIGARO</b> (Mozart).<br /> +<b>FINALE</b> (Rubinstein's Sonata, Op. 12).<br /> +<b>FLYING DUTCHMAN</b> (Wagner).<br /> +<b>FRA DIAVOLO</b> (Auber).<br /> +<b>FREISCHUTZ</b> (Weber). A. Whittingham.<br /> +<b>ISABELLA</b> (Suppé).<br /> +<b>ITALIANA</b> (Rossini).<br /> +<b>KING LEAR</b> (Berlioz).<br /> +<b>KING STEPHEN</b> (Beethoven). P. J. Mansfield.<br /> +<b>LA CLEMENZA DI TITO</b> (Mozart). P. J. Mansfield.<br /> +<b>L'AFRICAINE</b> (Meyerbeer).<br /> +<b>LA REINE DE SABA</b> (Gounod).<br /> +<b>LARGO</b> from Beethoven's Sonata in E flat. W. A. C. Cruikshank.<br /> +<b>LE SONGE D'UNE NUIT D'ETE</b> (Thomas).<br /> +<b>LIFE FOR THE CZAR</b> (Glinka).<br /> +<b>LIGHT CAVALRY</b> (Suppé).<br /> +<b>LOHENGRIN</b> (Wagner).<br /> +<b>LURLINE</b> (Wallace).<br /> +<b>MAGIC FLUTE</b> (Mozart).<br /> +<b>MARITANA</b> (Wallace).<br /> +<b>MASANIELLO</b> (Auber).<br /> +<b>MEISTERSINGERS</b> (Wagner).<br /> +<b>MERRY WIVES OF WINDSOR</b> (Nicolai).<br /> +<b>MIDSUMMER NIGHT'S DREAM</b> (Mendelssohn).<br /> +<b>MIGNON</b> (A. Thomas).<br /> +<b>NAIADES, THE</b> (Sterndale Bennett).<br /> +<b>OBERON</b> (Weber). A. Whittingham.<br /> +<b>OTHO</b> (Handel). W. A. C. Cruikshank.<br /> +<b>1812 OVERTURE</b> (Tschaikowsky).<br /> +<b>POET AND PEASANT</b> (Suppé).<br /> +<b>PARSIFAL</b> (Wagner).<br /> +<b>RAYMOND</b> (Thomas).<br /> +<b>RIENZI</b> (Wagner).<br /> +<b>ROSAMUNDE</b> (Schubert).<br /> +<b>RUY BLAS</b> (Mendelssohn).<br /> +<b>SCIPIO</b> (Handel).<br /> +<b>SEMIRAMIDE</b> (Rossini).<br /> +<b>SI J'ETAIS ROI</b> (Adam).<br /> +<b>SIRENE, LA</b> (Auber).<br /> +<b>SON AND STRANGER</b> (Mendelssohn). W. A. C. Cruikshank.<br /> +<b>STRADELLA</b> (Flotow).<br /> +<b>TANCREDI</b> (Rossini).<br /> +<b>TANNHAUSER</b> (Wagner).<br /> +<b>TRISTAN AND ISOLDA</b> (Wagner).<br /> +<b>WAVERLEY</b> (Berlioz).<br /> +<b>WILLIAM TELL</b> (Rossini). A. Whittingham.<br /> +<b>ZAMPA</b> (Hérold).<br /> +</p> + + +<h3>PIANO SOLO OVERTURES.</h3> + +<p>Price 2/-<i>net</i> each.</p> + +<p> +<b>BOHEMIAN GIRL</b> (Balfe).<br /> +*<b>CALIPH OF BAGDAD</b> (Boieldieu).<br /> +<b>CROWN DIAMONDS</b> (Auber).<br /> +<b>DER FREYSCHUTZ</b> (Weber).<br /> +<b>DON GIOVANNI</b> (Mozart).<br /> +<b>DONNA DEL LAGO</b> (Rossini).<br /> +<b>FRA DIAVOLO</b> (Auber).<br /> +<b>GUY MANNERING</b> (Sir H. R. Bishop).<br /> +<b>IDOMENEO</b> (Mozart).<br /> +<b>IL BARBIERE</b> (Rossini).<br /> +*<b>IL TANCREDI</b> (Rossini).<br /> +<b>LIGHT CAVALRY</b> (Suppé).<br /> +<b>MAGIC FLUTE</b> (Zauberflöte), (Mozart).<br /> +<b>MARITANA</b> (Wallace).<br /> +<b>MASANIELLO</b> (Auber).<br /> +*<b>MERRY WIVES OF WINDSOR</b> (Nicolai).<br /> +<b>MIGNON OVERTURE</b> (A. Thomas).<br /> +<b>NOZZE DE FIGARO</b> (Mozart).<br /> +*<b>POET AND PEASANT</b> (Suppé).<br /> +<b>RAYMOND</b> (Thomas).<br /> +<b>SEMIRAMIDE</b> (Rossini).<br /> +<b>WILLIAM TELL</b> (Rossini).<br /> +*<b>ZAMPA</b> (Hérold).<br /> +</p> + +<p>* Also arranged as Duet (piano, 4 hands), price 2/6 <i>net</i>.</p> + + + +<h3>PIANOFORTE.</h3> + +<p><b>THE PIANO WORKS OF BRAHMS.</b> By EDWIN EVANS, <i>Senior</i>. Historical, +Descriptive and Analytical Account of each Work treated in the Order of +the Opus number, and preceded by a Didactic Section. 8vo, cloth, 30s. +<i>net</i>.</p> + +<blockquote><p>The above volume is a complete technical account of the piano +works. It forms a part of the Historical, Descriptive and +Analytical Account of the Entire Works of Brahms advertised on page +2.</p></blockquote> + +<p><b>HOW TO PLAY BACH'S 48 PRELUDES AND FUGUES.</b> A Guide Book for the use of +Piano Students as an aid to the Unravelling and Interpretation of these +Masterpieces, ensuring a more Intelligent Keyboard Rendering. By C. W. +WILKINSON. Crown 8vo, cloth, 10s. <i>net</i>.</p> + +<p><b>NATURAL TECHNICS IN PIANO MASTERY.</b> A Complete and Authoritative +Manual, covering every phase of Piano Playing and Study. Many Diagrams +of Hand and Finger Technique and some Music Examples. By JACOB +EISENBERG. Crown 8vo, cloth, 12s. 6d. <i>net</i>.</p> + +<p><b>PARTHENIA</b>, or the First Musick ever printed for the Virginals. 21 +Compositions by three Famous 16th and 17th century Masters, William +Byrd, Dr. John Bull and Orlando Gibbons. Arranged for the Piano and +freed from the errors of Dr. Rimbault's edition by accurate comparison +with the original text by MARGARET H. GLYN. Folio, 12s. 6d. <i>net</i>.</p> + +<blockquote><p>This edition of "Parthenia" has been entirely re-engraved.</p></blockquote> + +<p><b>THE APPROACH TO LISZT.</b> A Course of Modern Tonal-Technique for the +Piano, in the form of Graded Studies from the Moderately Difficult to +the Master Stage. By HERBERT WESTERBY, <i>Mus.Bac. Lond., F.R.C.O., etc.</i> +Folio, 5s. 6d. <i>net</i>.</p> + +<blockquote><p>Preliminary Studies in Touch and Phrasing in all Keys. Based on the +Scales and Broken Chords.</p> + +<p>Intermediate Studies in Sequential, Wrist and Preparatory Arpeggio +Work in the Black and White Key Positions.</p> + +<p>Advanced Sequential Studies on the Black Keys, with Sixteen +Excerpts from Liszt's Piano Works. The Master Works: Fifty-eight +Excerpts from Liszt.</p></blockquote> + +<p><b>THE ART OF TUNING THE PIANOFORTE.</b> A New Comprehensive Treatise to +enable the Musician to Tune his Piano upon the System founded on the +Theory of Equal Temperament. By HERMANN SMITH. New Edition, thoroughly +Revised. Crown 8vo, limp cloth, 6s. <i>net</i>.</p> + +<p><b>ESSENTIALS IN PIANO-PLAYING</b>, and other Musical Studies. By J. ALFRED +JOHNSTONE, Hon. L.Mus., T.C.L. Portrait, 243 pages. Crown 8vo, cloth, +10s. <i>net</i>.</p> + +<p><b>EXTEMPORISING AT THE PIANO MADE EASY.</b> A Manual for Beginners in +Musical Composition. Hints and Aids for the "From Brain to Keyboard" +Composer. By REV. E. H. MELLING, <i>F.R.C.O.</i> 8vo, limp cloth, 3s. 6d. +<i>net</i> (paper 2s. <i>net</i>).</p> + +<p><b>INDIVIDUALITY IN PIANO TOUCH.</b> By ALGERNON H. LINDO and J. ALFRED +JOHNSTONE. Crown 8vo, 2s. 6d. <i>net</i>.</p> + +<p><b>THE ARTIST AT THE PIANO.</b> Essays on the Art of Musical Interpretation. +By GEORGE WOODHOUSE. New and Revised Edition. Portrait of Paderewski. +8vo, cloth, 5s. 6d. <i>net</i>.</p> + +<blockquote><p>The celebrated pianist, Paderewski, after reading the manuscript of +this stimulating volume, wrote: "The booklet is quite a remarkable +work and a really valuable contribution to the philosophy of +pianistic art."</p></blockquote> + +<p><b>THE STUDENT'S GUIDE TO THE ART OF TEACHING THE PIANOFORTE.</b> By CYRIL R. +H. HORROCKS, L.R.A.M., L.T.C.L., A.R.C.M. With an Extensive and +Carefully Graded List of Studies and Course of the Great Masters. +Numerous Musical Examples. Second edition, Revised. Crown 8vo, cloth, +10s. <i>net</i>.</p> + +<blockquote><p>Until quite recently it was thought impossible to give practical +instructions on the art of teaching, but the error of this idea has +been proved by the great success of the teachers' class at the +various musical institutions. The author's aim is to supply a +guide-book expressly for beginners and those with limited +experience in the art.</p></blockquote> + +<p><b>PIANOFORTE TEACHER'S GUIDE.</b> By L. PLAIDY. Translated by FANNY RAYMOND +RITTER. Crown 8vo, boards, 3s. <i>net</i> (paper, 2s. <i>net</i>).</p> + +<blockquote><p>"Some of the finest pianists of the day owe much of their technical +facility to Plaidy's excellent method."—<i>Bazaar.</i></p></blockquote> + +<p><b>CANDIDATE'S SCALE AND ARPEGGIO TESTS</b> for the Piano. In the Primary, +Elementary and Junior Grades of all Local Examinations in Music, and the +Higher and Lower Divisions of the Associated Board of the R.A.M. and +R.C.M. By WILSON MANHIRE. 1s. <i>net</i>.</p> + +<p><b>TECHNICAL STUDY IN THE ART OF PIANOFORTE PLAYING</b> (Deppe's Principles). +By C. A. EHRENFECHTER. With numerous Illustrations. Fourth Edition. +Crown 8vo, cloth, 6s. <i>net</i>.</p> + +<blockquote><p>CONTENTS: Position—Arm—Wrist—Fingers; Touch (Tone Production); +Legato; Equality of Tone; Tension and Contraction; Five Finger +Exercises; Skips; The Scale; Arpeggio Chords; Firm Chords; High +Raising of the Arm; Melody and its Accompaniment; Connection of +Firm Chords; The Tremolo: The Shake (Trill); The Pedal; Fingering.</p></blockquote> + +<p><b>HOW TO ACCOMPANY AT THE PIANO.</b> By EDWIN EVANS. (Plain Accompaniment, +Figurated Accompaniment, Practical Harmony for Accompanists). 172 Music +Examples which are made Clear by the Explanatory Text. Crown 8vo, cloth, +10s. <i>net</i>.</p> + +<p><b>GRADUATED SCALE AND ARPEGGIO MANUAL.</b> Compiled for the various Exams. +By HENRY SAINT-GEORGE. 3s. <i>net</i>.</p> + +<p><b>A SYSTEM OF STUDY OF SCALES AND CHORDS.</b> Being Chapters on the Elements +of Pianoforte Technique. By B. VINE WESTBROOK, F.R.C.O. Numerous +Examples. New and Revised edition. 8vo, 3s. <i>net</i>.</p> + +<blockquote><p>The author outlines a scheme which abolishes the drudgery and +inspires the pupil with an enthusiasm for practice and formulates a +method or system in which that practice may be carried out.</p></blockquote> + +<p><b>PIANO CLASSES IN ELEMENTARY SCHOOLS.</b> By AUDREY KING. With Music +Examples. Crown 8vo, 1s. <i>net</i>.</p> + +<p><b>HOW TO PLAY 110 FAVOURITE PIANO SOLOS.</b> Being the 4 Series complete in +1 vol. of "Well-Known Piano Solos: How to Play them with Understanding, +Expression and Effect." By CHARLES W. WILKINSON. Crown 8vo, cloth, 12s. +6d. <i>net</i>.</p> + +<p><b>WELL-KNOWN PIANO SOLOS.</b> How to Play them with Understanding, +Expression and Effect. By C. W. WILKINSON. Four Series, 2s. each (each +series containing about 26 articles), or four in one vol. as above.</p> + +<blockquote><p>Contents of the First Series:—SINDING, Rustle of Spring. +SCARLATTI, Pastorale le Capriccio. PADEREWSKI, Minuet in G. HANDEL, +Harmonious Blacksmith. RUBINSTEIN, Melody in F. SCHARWENKA, Polish +Dance. SCHUMANN, Nachtstücke. GODARD, Mazurka. DELIBES, Pizzicati +from Sylvia. GRIEG, Wedding Day at Troldhangen. ELGAR, Salut +d'Amour. PADEREWSKI, Melodie. RAFF, La Fileuse. TCHAÏKOVSKY, +Troika. GODARD, Berger et Bergères. CHAMINADE, Pierrette. +MOSZKOWSKI, Etincelles. PADEREWSKI, Minuet in A major. GRIEG, +Norwegian Bridal Procession. LISZT, Regata Veneziana. CHAMINADE, +Automne. MOSZKOWSKI, Serenata. LACK, Valse Arabesque. SCHUMANN, +Arabeske. CHOPIN, Etude in G flat. DURAND, First Valse.</p> + +<p>Draws one's attention to the beauties in a piece, explains +difficulties here and there, draws attention to a pedal effect and +any peculiarity of fingering, and generally gives all the +information a professor is expected to give to his pupils.</p></blockquote> + +<p><b>DELIVERY IN THE ART OF PIANOFORTE PLAYING</b>, On Rhythm, Measure, +Phrasing, Tempo. By C. A. EHRENFECHTER. Second Edition. Crown 8vo, +cloth, 6s. <i>net</i>.</p> + +<blockquote><p>"The section with reference to accent is particularly good. There +are numerous illustrations from the works of the masters."—W. H. +WEBBE in <i>The Pianist's A. B. C.</i></p></blockquote> + +<p><b>PIANO TOUCH, PHRASING AND INTERPRETATION.</b> By J. Alfred Johnstone. +Crown 8vo, cloth, 7s. 6d. <i>net</i>.</p> + +<p><b>PRACTICE REGISTER</b> for Pupil's Daily Practice. A Specimen, 1d. (or 2s. +6d. per 100).</p> + +<p><b>REEVES' VAMPING TUTOR.</b> Art of Extemporaneous Accompaniment, or Playing +by Ear on the Pianoforte, Rapidly Enabling anyone having an Ear for +Music (with or without any Knowledge of Musical Notation) to Accompany +with Equal Facility in any Key. Practical Examples. By FRANCIS TAYLOR. +New Edition, to which is added Instructions for Accompaniment with Equal +Facility in every Key illustrated by Examples. Folio, 2s. <i>net</i>.</p> + +<p><b>THE DEPPE FINGER EXERCISES</b> for Rapidly Developing an Artistic Touch in +Pianoforte Playing, Carefully Arranged, Classified and Explained by AMY +FAY (Pupil of Tausig, Kullak, Liszt and Deppe). Folio, English or +Continental Fingering, 2s. <i>net</i>.</p> + +<p><b>INTRODUCTION TO RUSSIAN PIANO MUSIC.</b> By HERBERT WESTERBY, +Mus.Bac.Lond., F.R.C.O., L.Mus.T.C.L., 1s. <i>net</i>.</p> + +<p><b>REEVES' POPULAR PIANOFORTE TUTOR.</b> Rudiments of Music, Exercises with +Popular Airs, Major and Minor Scales. With Illustration of Fingerboard. +Folio, 2s. 6d. <i>net</i>.</p> + + +<h3>TECHNICAL AND THEORETICAL.</h3> + +<p><b>ESSENTIALS IN MUSIC STUDY FOR EXAMINATIONS.</b> A Helpful Guide both for +the General Student and Candidates for Junior and Intermediate +Examinations. By REV. E. H. MELLING, F.R.C.O. Cloth, 5s. <i>net</i> (paper +covers, 2s. 6d. <i>net</i>).</p> + +<blockquote><p>Rev. E. H. Melling is the author of several popular works which +have been found of great use to music students—"Guide for the +Young Composer," "Extemporising at the Piano made Easy," etc.</p></blockquote> + +<p><b>GUIDE FOR THE YOUNG COMPOSER.</b> Hints on the Art of Composition, with +Examples of Easy Application. By REV. E. H. MELLING, F.R.C.O. Cloth, 5s. +<i>net</i> (paper covers, 2s. 6d. <i>net</i>).</p> + +<p><b>EXAMINATION TEST QUESTIONS.</b> Containing spaces for the Pupils' Written +Answers. By WALTER L. TWINNING, F.R.C.O. No. 1, Musical Notation and +Time; No. 2, Formation of Scales; No. 3, Ornaments; No. 4, Intervals, +9d. <i>net</i> each.</p> + +<p><b>THEORY OF MUSIC FOR YOUNG MUSICIANS.</b> With Answers given to all the +Questions, and a Dictionary of necessary Musical Terms. By MARY SHARP. +Limp cloth, 2s. 6d. <i>net</i> (paper covers, 1s. 6d. <i>net</i>).</p> + +<p><b>102 TEST QUESTIONS ON THE GENERAL RUDIMENTS OF MUSIC.</b> In Groups of Six +each Lesson, for Written or Oral Use. By WILSON MANHIRE, L.R.A.M. 6d. +<i>net</i>.</p> + +<p><b>PRIMARY COURSE IN THE RUDIMENTS OF MUSIC</b>, With Hints on Answering +Questions (Written Work) for All Examinations in the Primary, Elementary +and Preparatory Grades. By WILSON MANHIRE, L.R.A.M., etc. 2s. <i>net</i>.</p> + +<p><b>EXAMINATION CANDIDATE'S GUIDE</b> to Scale and Arpeggio Piano Playing +(with Tests). All that is required for the Various Exams. By WILSON +MANHIRE, L.R.A.M. 3s. <i>net</i>.</p> + +<p><b>CANDIDATE'S SCALE AND ARPEGGIO TESTS</b> for the Piano. By WILSON MANHIRE, +L.R.A.M. 1s. <i>net</i>.</p> + +<p><b>STUDIES IN MODULATION</b> for Practical and Theoretical Purposes. By PERCY +BAKER, F.R.C.O., etc. Cloth, 5s. 6d. <i>net</i> (paper, 3s. <i>net</i>).</p> + +<p><b>MUSICAL FORM</b>, A Handbook to, for Instrumental Players and Vocalists. +By E. VAN DER STRAETEN. With Musical Examples, 205 pages. 8vo, cloth, +6s. 6d. <i>net</i> (paper 4s. <i>net</i>).</p> + +<blockquote><p>The part of the work on Dance Forms gives a history and description +of the Suite or Partita, Allemande, Courante, Sarabande, Gigue, +Gavotte, Musette, Bourrée, Branle, Passepied, Rigaudon, Loure, +Pavane, Galliard, Tambourin, Cebell, Rondo, Menuet, Polonaise, +Mazurka, Bolero, Tarantella, Saltarello, March, Ciaccone and +Passacaglia.</p></blockquote> + +<p><b>STUDIES IN HISTORICAL FACTS AND MUSICAL FORM.</b> Being a Guide and Note +Book for a more Systematic Preparation of the General Knowledge Papers +now set at the Universities and Colleges of Music. By PERCY BAKER. +Cloth, 5s. 6d. <i>net</i> (paper, 3s. <i>net</i>).</p> + +<p><b>MOZART AND THE SONATA FORM.</b> By J. R. TOBIN, Mus.B. <i>See Pianoforte +Section.</i></p> + +<p><b>FUGUE.</b> A Conversational Address delivered to the Incorporated Guild of +Church Musicians. By J. H. LEWIS, Mus.Doc. (Victoria College of Music). +Crown 8vo, limp cloth, 2s. <i>net</i>.</p> + +<p><b>MUSICAL EXPRESSIONS, PHRASES AND SENTENCES</b>, with their Corresponding +Equivalents in French, German and Italian. By F. BERGER. 8vo, cloth, 5s. +6d. <i>net</i> (paper, 3s. <i>net</i>).</p> + +<p><b>RUDIMENTS OF MUSIC</b>, Set forth in Graded QUESTIONS with ANSWERS, for +Use of Candidates preparing for the Examinations of R.A.M., R.C.M. and +T.C.L. By B. HOWARTH, L.R.A.M. and A.R.C.M. Crown 8vo, 2s. <i>net</i>.</p> + +<blockquote><p><i>The Answers are always on the right hand page and can be covered +over if desired, the Questions being on the corresponding left hand +pages.</i></p></blockquote> + +<p><b>ELEMENTARY LESSONS ON SIGHT-SINGING.</b> Combining the Staff and Tonic +Sol-fa Notations. With Music Examples throughout. By J. W. ROSSINGTON, +L.R.A.M. Cloth, 3s. 6d. <i>net</i>; paper, 2s. <i>net</i>.</p> + +<blockquote><p>For many singers there is only one method of becoming good +sight-readers, viz., combining the tonic sol-fa with the staff +notation. It is hoped that a perusal of these elementary lessons +will show the principles on which this combination is effected, and +simplify the somewhat difficult task of sight-reading.</p></blockquote> + +<p><b>STEPS IN HARMONY.</b> With Copious Explanatory Examples and Graded Test +Exercises. A Handbook for Students. By DR. CHURCHILL SIBLEY. With Music +Examples throughout. Crown 8vo, boards, cloth back, 6s. <i>net</i> (paper, +3s. 6d. <i>net</i>).</p> + +<blockquote><p>It is believed that he who thoroughly masters the contents of these +pages will be prepared to study intelligently the harmonic +structure of the works of the great masters, and also to follow +critically the changeful tendencies of the present day.</p></blockquote> + +<p><b>600 QUESTIONS AND 600 EXERCISES IN ELEMENTARY MUSICAL THEORY.</b> By W. H. +PALMER. Crown 8vo, cloth, 5s. <i>net</i> (paper covers, 3s. <i>net</i>).</p> + +<blockquote><p>Intended as a help to the private student and to the candidate +preparing for the several musical examinations.</p></blockquote> + +<p><b>THE MODAL ACCOMPANIMENT OF PLAIN CHANT.</b> A Practical Treatise. By EDWIN +EVANS, Senior, F.R.C.O. Part I, Theoretical; Part II, Practical School +of Plain Chant Accompaniment, consisting of 240 Exercises, with an +Appendix of Notes. Crown 8vo, cloth, 8s. 6d. <i>net</i>.</p> + +<p><b>THE HARMONISING OF MELODIES.</b> A Text-Book for Students and Beginners. +By H. C. BANISTER. Third Edition, with numerous Musical Examples. Crown +8vo, limp cloth, 5s. <i>net</i>.</p> + +<p><b>MUSICAL ANALYSIS.</b> A Handbook for Students. By H. C. BANISTER. With +Musical Illustrations. Crown 8vo, limp cloth, 5s. <i>net</i> (paper covers, +2s. 6d. <i>net</i>).</p> + +<p><b>THE ART OF MODULATING.</b> A Series of Papers on Modulating at the +Pianoforte. By HENRY C. BANISTER. With 62 Musical Examples. Crown 8vo, +cloth, 6s. <i>net</i> (paper covers, 3s. 6d. <i>net</i>).</p> + +<p><b>MODERN CHORDS EXPLAINED.</b> (The Tonal Scale in Harmony.) By ARTHUR G. +POTTER. Musical Examples from C. Debussy, Richard Strauss and Granville +Bantock. 8vo, cloth, 4s. <i>net</i> (paper covers, 2s. <i>net</i>).</p> + +<p><b>EXERCISES IN VOCAL SCORE READING.</b> Collected from the Works of Orlando +di Lasso, Palestrina, Vittoria, Barcroft, Redford, Peter Certon, Byrd, +Gibbons, Croft, Rogers, Boyce, etc. For Students preparing for the +R.C.O. and other Examinations. By JAMES LYON, Mus.Doc. Oxon. 4to, 4s. +6d. <i>net</i>.</p> + +<p><b>EXERCISES IN FIGURED BASS AND MELODY HARMONIZATION.</b> By JAMES LYON, +Mus.Doc. 4to, 3s. 6d. <i>net</i>.</p> + +<p><b>EXAMPLES OF FOUR-PART WRITING FROM FIGURED BASSES AND GIVEN MELODIES.</b> +By JAMES LYON, Mus.Doc. 4to, 5s. 6d. <i>net</i>.</p> + +<blockquote><p>These exercises are printed in open score so as to be of use in +score reading tests. This volume forms a key to "Exercises in +Figured Bass" by the same author (see above).</p></blockquote> + +<p><b>HOW TO COMPOSE.</b> A Practical Guide to the Composition of all Works +within the Lyric Form, and which include the Valse, Gavotte, Mazurka, +Polonaise, March, Minuet, and all Ordinary Dance Forms; as also the +Nocturne, Impromptu, Berceuse, Reverie and Similar Characteristic +Pieces. By EDWIN EVANS, Senior, F.R.C.O. With 60 Musical Examples. Crown +8vo, cloth, 7s. 6d. <i>net</i>.</p> + +<p><b>THE RUDIMENTS OF GREGORIAN MUSIC.</b> By FRANCIS BURGESS, F.S.A., Scot. +Second Impression. Crown 8vo, limp cloth, 2s. 6d. <i>net</i> (paper, 1s. 6d. +<i>net</i>).</p> + +<p><b>MUSICAL PRONOUNCING DICTIONARY.</b> By DR. DUDLEY BUCK. Eighth Edition, +with the Concise Explanation and Pronunciation of each Term. Edited and +Revised by A. WHITTINGHAM. Crown 8vo, cloth, 3s. <i>net</i> (paper, 1s. 6d. +<i>net</i>).</p> + +<blockquote><p>A most valuable and useful little book to all musical people. The +method adopted for giving the pronunciation of each term is most +concise and clear.</p></blockquote> + +<p><b>A FIRST BOOK OF MUSIC FOR BEGINNERS</b>, Embodying English and Continental +Teaching. By ALFRED WHITTINGHAM. Sixth Thousand. Crown 8vo, sewed, 4d. +<i>net</i>.</p> + +<p><b>HARMONY, EASILY AND PROGRESSIVELY ARRANGED.</b> Presenting in a Simple +Manner the Elementary Ideas as well as the Introduction to the Study of +Harmony. With about 300 Musical Examples and Exercises. By PAUL COLBERG. +Crown 8vo, cloth, 7s. 6d. <i>net</i>.</p> + +<blockquote><p>AUGUST WILHELMJ says: "This work is distinguished by brevity and +clearness. I most warmly recommend it."</p></blockquote> + +<p><b>COMPEND OF MUSICAL KNOWLEDGE.</b> By PERCY BAKER, F.R.C.O., L.Mus. T.C.L. +Being a Guide with Notes, Hints and Articles on the Study of Examination +Questions. Crown 8vo, cloth, 6s. <i>net</i> (paper, 3s. 6d. <i>net</i>).</p> + +<blockquote><p><i>Primarily</i> to help candidates entering for the R.C.O. and T.C.L. +Diplomas, though containing much information for the amateur +musician and general reader. Indispensable to teachers in guiding +their pupils through a course of study dealing with a large number +of subjects like those set for the F.R.C.O. and A.R.C.O.</p></blockquote> + +<p><b>ELEMENTARY MUSIC.</b> A Book for Beginners. By DR. WESTBROOK. With +Questions and Vocal Exercises. Fifteenth Thousand. Crown 8vo, cloth, 4s. +<i>net</i> (paper, 2s. <i>net</i>).</p> + +<blockquote><p>CONTENTS: 1. The Staff and its Clefs. 2. Notes and their Rests. 3. +Bars and Time. 4. Accidentals. 5. Keys and Scales. 6. Intervals. 7. +Musical Pitch. 8. Accent. 9. Secondary Signs. 10. Ornaments and +Groups of Notes. 11. Voices and Scores. 12. Church Modes. 13. +Italian and other Directions. 14. Foreign Note-Names. 15. +Questions. 16. Vocal Exercises.</p> + +<p>"His explanations are extremely clear. The questions at the end +will be found very useful."—<i>Musical Times.</i></p></blockquote> + +<p><b>EXERCISES ON GENERAL ELEMENTARY MUSIC.</b> A Book for Beginners. By K. +PAIGE. Fourth Edition. Part I, 1s. 6d. <i>net</i>; Part II, 2s. <i>net</i>. Crown +8vo, paper (2 parts complete in cloth, 5s. <i>net</i>).</p> + +<blockquote><p>CONTENTS OF PART I: 1. Pitch. 2. Length of Sounds. 3. Time. 4. Time +and Accent. 5. Intervals. 6. Scales. 7. Transposition. 8. +Syncopation. 9. Signs and Abbreviations. 10. Notation. 11. +Miscellaneous Questions and Exercises.</p> + +<p>CONTENTS OF PART II: 1. Triads. 2. First Inversion of a Triad. 3. +Second Inversion of a Triad. 4. Dissonances. 5. Suspensions. 6. +Sequences. 7. Cadences. 8. Dominant Sevenths, etc.</p></blockquote> + +<p><b>HOW TO MEMORISE MUSIC.</b> By C. F. KENYON. With numerous Musical +Examples. Fourth Edition. Crown 8vo, cloth, 5s. <i>net</i>.</p> + +<blockquote><p>"Mr. Kenyon proves himself an excellent guide; and indeed we know +of no other work devoted to the subject with which he has dealt so +thoroughly and so successfully."—<i>Glasgow Herald.</i></p></blockquote> + +<p><b>HOW TO HARMONIZE MELODIES.</b> With Hints on Writing for Strings and +Pianoforte Accompaniments. By J. HENRY BRIDGER, Mus.Bac. With Musical +Examples throughout. Crown 8vo, cloth, 6s. <i>net</i>.</p> + +<p><b>THE ART OF MODULATION.</b> A Handbook showing at a Glance the Modulations +from one Key to any other in the Octave, consisting of 1,008 +Modulations. For the Use of Organists and Musical Directors. Edited by +CARLI ZOELLER. Third Edition. Roy. 8vo, cloth, 8s. <i>net</i> (paper, 5s. +<i>net</i>).</p> + +<p><b>THE STUDENT'S BOOK OF CHORDS.</b> With an Explanation of their Inversions +and Resolutions. By PASCAL NEEDHAM. Crown 8vo, sewed, 1s. 6d. <i>net</i>.</p> + +<blockquote><p>The chords with their inversions and resolutions are briefly and +clearly explained.</p></blockquote> + +<p><b>TRANSPOSITION AT SIGHT.</b> For Students of the Organ and Pianoforte. By +H. E. NICHOL. Fourth Edition, with numerous Musical Exercises. Crown +8vo, cloth, 3s. 6d. <i>net</i>; paper, 2s. <i>net</i>.</p> + +<blockquote><p>The practice of transposing upon the lines here laid down develops +the "mental ear," quickens the musical perception and gives ease in +sight reading; as it is evident that, if the student can +<i>transpose</i> at sight, he will not have much difficulty in merely +<i>playing</i> at sight. Free use is made of the tonic sol-fa as well as +the standard notation in many musical examples.</p></blockquote> + +<p><b>SCHUMANN'S RULES AND MAXIMS FOR YOUNG MUSICIANS.</b> Sewed, 6d.</p> + +<p><b>THE STUDENT'S HELMHOLTZ.</b> Musical Acoustics, or the Phenomena of Sound +as Connected with Music. By JOHN BROADHOUSE. With more than 100 +Illustrations. Fifth Impression. Crown 8vo, cloth, 12s. 6d. <i>net</i>.</p> + +<blockquote><p>"In his Preface the author says: 'The object of the present book is +to give, in one volume, a good general view of the subject to those +who can neither spare time to read, nor money to buy a number of +large and expensive works.' A perusal of the book justifies us in +asserting that this design is most satisfactorily carried out; and +it is not too much to say that although the plan of the work +excludes the possibility of minutely dissecting every subject +treated upon, any careful reader may obtain so clear an insight +into the principle of acoustics, as to enable him not only to pass +an examination but to store up a large amount of general knowledge +upon the phenomena of sound."—<i>Musical Times.</i></p></blockquote> + + +<h3>VIOLIN AND STRINGED INSTRUMENTS.</h3> + +<p><b>VIOLINIST'S MANUAL.</b> A Treatise on Construction, Choice, Care, +Adjustment, Study and Technique of the Violin. Full of Useful and +Practical Advice regarding the Violin and Bow. By H. F. GOSLING. +Numerous Illustrations and an Index. Crown 8vo, cloth, 15s. <i>net</i>.</p> + +<p><b>VIOLIN TECHNICS</b>, or How to Become a Violinist. Exact Instructions, +Step by Step, for its Accomplishment with or without a Teacher. By +"FIRST VIOLIN." 3s. <i>net</i>.</p> + +<p><b>PLAYING AT SIGHT FOR VIOLINISTS</b> and Others in an Orchestra. Valuable +Hints and Aids for its Mastery. By SYDNEY TWINN. Post 8vo, 3s. <i>net</i>.</p> + +<p>ADVANCED MODERN VIOLIN TECHNICS.</p> + +<p><b>TONAL SCALES AND ARPEGGIOS FOR VIOLIN.</b> Introductory to the Unusual +Intonation and Finger-grouping of Advanced Modern Music. By SYDNEY +TWINN. 4to, 3s. <i>net</i>.</p> + +<blockquote><p>"These scales will be useful to advanced players who find +difficulties in the unusual intonation and technique of modern +music"—<i>Strad.</i></p></blockquote> + +<p><b>SCALES AND ARPEGGIOS.</b> Indispensable Studies for the Violin. Edited by +ALBERT GRAFF. 1s. 6d. <i>net</i>.</p> + +<p><b>ARPEGGIOS FOR THE VIOLIN.</b> By BASIL ALTHAUS. Folio. 3s. <i>net</i>.</p> + +<p><b>VIOLINIST'S ENCYCLOPÆDIC DICTIONARY.</b> Containing the Explanation of +about 4,000 Words, Phrases, Signs, References, etc., Foreign, as well as +English, used in the Study of the Violin, and also by String Players +generally, by F. B. EMERY, M.A. New and enlarged edition, doubled in +size. 246 pp., crown 8vo. Cloth 10s. <i>net</i>, paper, 7s. 6d. <i>net</i>, or on +India paper and bound in red pegamoid rounded corners, 12s. 6d. <i>net</i>. +Suitable for student or travel.</p> + +<p><b>70 PREPARATORY VIOLIN EXERCISES</b> for Beginners in the First Position, +carefully Graduated, Supplementary to the First Instruction Book. By +WILSON MANHIRE, L.R.A.M., A.R.C.M., etc. 2s. 6d. <i>net</i>.</p> + +<p><b>BOW INSTRUMENTS</b>, their Form and Construction. Practical and Detailed +Investigation and Experiments regarding Vibration, Sound Results, and +Construction. By J. W. GILTAY. Issued into English by the Author in +Co-operation with E. VAN DER STRAETEN. Numerous Diagrams. 8vo, cloth, +16s. <i>net</i>.</p> + +<blockquote><p>"A valuable treatise."—<i>The Strad.</i></p></blockquote> + +<p><b>OLD VIOLINS AND VIOLIN LORE</b>, Famous Makers of Cremona and Brescia, and +of England, France and Germany (with Biographical Dictionary), Famous +Players, and Chapters on Varnish, Strings and Bows, with 13 full-page +plates. By H. R. HAWEIS. Thick crown 8vo, cloth, 17s. 6d. <i>net</i>.</p> + +<p><b>YOUNG VIOLINIST'S SCALE AND ARPEGGIO MANUAL.</b> By WILSON MANHIRE, +L.R.A.M., etc. 2s. <i>net</i>.</p> + +<p><b>FACTS ABOUT FIDDLES.</b> Violins Old and New. By J. BROADHOUSE. Fourth +Edition. Crown 8vo, paper. 2s. 6d. <i>net</i>.</p> + +<p><b>NOTABLE VIOLIN SOLOS</b>: How to Play Them. Three Series (consisting of 43 +descriptive Articles in all). By E. VAN DER STRAETEN. 2s. 6d. <i>net</i> each +series. Also complete, in cloth, with Portraits, 10s. <i>net</i>.</p> + +<p><b>VIOLIN MANUFACTURE IN ITALY</b> and its German Origin. By DR. E. SCHEBEK. +Translated by W. E. LAWSON. Second Edition. Square 12mo, cloth, 6s. +<i>net</i>; paper, 3s. 6d. <i>net</i>.</p> + +<p><b>CHATS WITH VIOLINISTS.</b> By WALLACE RITCHIE. With four Photographic +Illustrations. Crown 8vo, cloth, 8s. 6d. <i>net</i>.</p> + +<blockquote><p>CHAPTERS: On the Importance of being Accurate; On Various Details; +On the Violin and its Fittings; On Reading from Sight and Playing +from Memory; A Few Violin Secrets; Some valuable Technical +Exercises; Hand Development for Violinists, including Eighteen +Excellent Finger Gymnastics; Sundry Useful Hints.</p> + +<p>I here lay before the public that information and advice which I +have hitherto been content to reserve for the sole use of my own +pupils. During a considerable experience, both as a student and as +a teacher of the violin, I have naturally pieced together quite a +variety of small hints and items of information which, though +modest enough individually, have been found on the whole to be of +no inconsiderable value, not only with regard to my own playing, +but also—and which is of far more importance—in enabling me to +impart a knowledge of the art to others.</p></blockquote> + +<p><b>ADVICE TO VIOLIN STUDENTS.</b> Containing Information of the Utmost Value +to every Violinist. By WALLACE RITCHIE. Crown 8vo, cloth, 8s. 6d. <i>net</i> +(paper, 5s. <i>net</i>).</p> + +<blockquote><p>CONTENTS: Selecting and Adjusting—Choice of a Teacher—Course of +Study—The Sevcik Method—Practising—Style—Tone +Production—Pronunciation of Terms, Names, etc.—Graded List of +Studies, Pieces, etc. Together with Hints on Common +Faults—Shifting—Reading +Music—Stopping—Harmonics—Vibrato—Tempo—Intonation, Pitch, etc.</p></blockquote> + +<p><b>THE VALUE OF OLD VIOLINS.</b> By E. POLONASKI. Being a List of the +Principal Violin Makers, British, Italian, French and German. With +Approximate Valuations of their Instruments and Occasional Notes on +their Varnish. Facsimiles of Labels and Violins. Crown 8vo, cloth, 10s. +<i>net</i>.</p> + +<p><b>INFORMATION FOR PLAYERS</b>, Owners, Dealers and Makers of Bow +Instruments, also for String Manufacturers. Taken from Personal +Experiences, Studies and Observations. By WILLIAM HEPWORTH. With +Illustrations of Stainer and Guarnerius Violins and Gauge of Millimetres +and Centimetres, etc. Crown 8vo, cloth, 8s. 6d. <i>net</i>.</p> + +<blockquote><p>CONTENTS: The +Pegs—Neck—Fingerboard—Bridge—Tail-piece—Saddle—Violin +Holder—Tail-pin—Bar—Sound-post—On the Stringing of Bow +Instruments in General Use—Strings—Rosin—Cleaning of the +Instrument and the Bridge—Bow—Violin +Case—Repairs—Preservation—Conclusion.</p></blockquote> + +<p><b>SKETCHES OF GREAT VIOLINISTS AND GREAT PIANISTS.</b> Biographical and +Anecdotal, with Account of the Violin and Early Violinists. Viotti, +Spohr, Paganini, De Beriot, Ole Bull, Clementi, Moscheles, Schumann +(Robert and Clara), Chopin, Thalberg, Gottschalk, Liszt. By G. T. +FERRIS. Third Edition. Crown 8vo, cloth, 8s. 6d. <i>net</i>.</p> + +<p><b>TREATISE ON THE STRUCTURE AND PRESERVATION OF THE VIOLIN</b> and all other +Bow Instruments. Together with an Account of the most Celebrated Makers +and of the Genuine Characteristics of their Instruments. By J. A. OTTO, +with Additions by J. BISHOP. With Diagrams and Plates. Fourth Edition, +further Enlarged. Crown 8vo, cloth, 10s. <i>net</i>.</p> + +<blockquote><p>Contains instructions for the repair, preservation and bringing out +the tone of instruments; tracing model for violin, mutes and fiddle +holders; list of classical works for stringed instruments. This +work is especially valuable for makers of violins.</p></blockquote> + +<p><b>HOW TO PLAY THE FIDDLE.</b> For Beginners on the Violin. By H. W. and G. +GRESSWELL. Eighth Edition. Crown 8vo, cloth, 6s. <i>net</i>; or in 2 vols., +paper, 3s. <i>net</i>.</p> + +<blockquote><p>JOACHIM says: "Contains many useful hints about violin playing."</p></blockquote> + +<p><b>BIOGRAPHICAL DICTIONARY OF FIDDLERS.</b> Including Performers on the +Violoncello and Double Bass, Past and Present. Containing a Sketch of +their Artistic Career, together with Notes of their Compositions. By A. +MASON CLARKE. 9 Portraits. Post 8vo, cloth, 10s. <i>net</i>.</p> + +<blockquote><p>"We may here take the opportunity of recommending a useful book to +all lovers of violins and violinists. Fiddlers, Ancient and Modern, +is practically a little Biographical Dictionary, well arranged with +some excellent portraits."—<i>Northern Whig.</i></p></blockquote> + +<p><b>ART OF HOLDING THE VIOLIN AND BOW AS EXEMPLIFIED BY OLE BULL.</b> His Pose +and Method proved to be based on true Anatomical Principles. By A. B. +CROSBY, M.D., Professor of Anatomy. Portrait, Diagrams and +Illustrations. 8vo, cloth, 5s. <i>net</i>.</p> + +<blockquote><p>Included in the above are some interesting recollections and +anecdotes of Ole Bull.</p></blockquote> + +<p><b>THE VIOLIN AND OLD VIOLIN MAKERS.</b> Being a Historical and Biographical +Account of the Violin. By A. MASON CLARKE. With Facsimile of Labels used +by Old Masters and illustrations of a copy of Gasparo da Salo. Crown +8vo, cloth, 10s. <i>net</i>.</p> + +<p><b>THE VIOLIN, ITS HISTORY AND CONSTRUCTION.</b> Illustrated and Described +from many Sources. Together with a List of Italian and Tyrolese Makers. +With 28 Illustrations and folding Examples of the First Music issued for +the Lute, Fiddle and Voice. From the German of ABELE and NIEDERHEITMANN. +By J. BROADHOUSE. Fresh issue printed in larger size. Crown 8vo, cloth, +10s. <i>net</i>.</p> + +<blockquote><p>"The learned and instructive treatise of Abele, skilfully rendered +by J. Broadhouse and supplemented by a version of Niederheitmann's +list of Italian and Tyrolese violin makers, a compilation +invaluable to collectors and connoisseurs of rare fiddles ... a +work which forms a noteworthy addition to the small number of +English books upon this interesting subject."—<i>Scotsman.</i></p></blockquote> + +<p><b>HOW TO MAKE A VIOLIN</b>, Practically Treated. By J. BROADHOUSE. New and +Revised Edition. With 47 Illustrations and Folding Plates and many +Diagrams, Figures, etc. Crown 8vo, cloth, 10s. 6d. <i>net</i>.</p> + +<blockquote><p>CONTENTS: Introduction—The Parts of the Violin—On the Selection +of Wood—The Tools required—The Models—The Mould—The Side-pieces +and Side Linings—The Back—Of the Belly—The Thickness of the Back +and Belly—The Bass Bar—The Purfling—The Neck—The +Fingerboard—The Nut and String Guard—Varnishing and +Polishing—Varnishes and Colouring Matter—The Varnish—A +Mathematical Method of Constructing the Outline—The Remaining +Accessories of the Violin.</p> + +<p>This new edition had the advantage of being revised throughout by a +celebrated violin maker.</p></blockquote> + +<p><b>A MUSICAL ZOO.</b> Twenty-four Illustrations displaying the Ornamental +Application of Animal Forms to Musical Instruments (Violins, Viol da +Gambas, Guitars, Pochette, Serpent, etc.). Drawn from the Carved +Examples by HENRY SAINT-GEORGE. Cloth, 6s. <i>net</i> (paper, 3s. 6d. <i>net</i>).</p> + +<p><b>THE HISTORY OF THE VIOLIN</b> and other Instruments Played on with the Bow +from the Remotest Times to the Present. Also an Account of the Principal +Makers. Coloured Frontispiece and numerous Illustrations and Cuts. By W. +SANDYS, F.S.A., and S. A. FORSTER. Thick 8vo, cloth 27s. 6d. <i>net</i>.</p> + +<p><b>THE VIOLIN AND BOW.</b> A Treatise (in Three Languages, English, French +and German), with numerous Copies of Photographs taken from Life, +supplemented by various Examples and Original Studies by I. B. +POZNANSKI. 5s. <i>net</i>.</p> + +<p><b>TECHNICS OF VIOLIN PLAYING.</b> By KARL COURVOISIER. With Illustrations. +Eleventh Edition. Cloth, 5s. <i>net</i>, paper, 2s. 6d. <i>net</i>.</p> + +<blockquote><p>"It is my opinion that this book will offer material aid to all +violin players."—JOACHIM.</p> + +<p>"As far as words, aided by diagrams, can make clear so practical a +subject as the playing of a musical instrument, this little book +leaves nothing to be desired. The author, who was a pupil of +Joachim, has treated the subject in a most thorough manner, and we +can highly recommend his little book."—<i>Educational Times.</i></p></blockquote> + +<p><b>AN IMPORTANT LESSON TO PERFORMERS ON THE VIOLIN.</b> By the Celebrated +TARTINI. Portrait. Being the Translation by DR. BURNEY, issued +originally in 1779, together with the original Italian. 8vo, cloth, 6s. +<i>net</i> (paper, 3s. <i>net</i>).</p> + +<p><b>VIOLONCELLO EXERCISES, SCALES AND ARPEGGIOS.</b> By E. GILLET. Complete in +one vol., 4s. <i>net</i>; or Part I, Exercises, 1s. 6d. <i>net</i>, Part II, +Scales, 1s. 6d. <i>net</i>, and Part III, Arpeggios, 1s. 6d. <i>net</i>.</p> + +<p><b>ART OF VIOLONCELLO PLAYING.</b> Tutor in Three Books. By E. VAN DER +STRAETEN. Text in English and French. 4to. Book I, 3s. 6d. <i>net</i>; Book +II, 4s. <i>net</i>.</p> + +<p><b>WELL-KNOWN VIOLONCELLO SOLOS.</b> How to Play Them. Three Series. By E. +VAN DER STRAETEN. 2s. 6d. <i>net</i>, each series. Also complete in cloth, +with Portraits, 10s. <i>net</i>.</p> + +<p><b>HOW TO REPAIR VIOLINS</b> and other Musical Instruments. By ALFRED F. +COMMON. With Diagrams. Crown 8vo, cloth, 7s. 6d. <i>net</i>.</p> + +<p><b>ROYSTON'S PROGRESSIVE VIOLIN TUTOR</b> (with Illustrations giving Correct +Position for Hand, Wrist and Fingers). Folio, 3s. <i>net</i>.</p> + + +<h3>VOCAL.</h3> + +<p><b>SUCCESS IN AMATEUR OPERA.</b> Instructions on Auditions, Equipment of the +Society and the Conductor, Allocation of Rôles, Rehearsals, Training of +Soloists, Diction, Conducting, etc. By HUBERT BROWN. Including a Section +on Stage Management, by H. G. TOY. Preface by DEREK OLDHAM. Crown 8vo, +cloth, 7s. 6d. <i>net</i>; paper covers, 4s. <i>net</i>.</p> + +<p><b>SPEECH DISTINCT AND PLEASING</b>, or Why not Learn to Speak Correctly? A +clear description of the mental and physical qualities on which the art +of good speaking is founded and grounded. By FRANK PHILIP. 162 pages, +Crown 8vo, cloth, 7s. <i>net</i>; paper covers, 4s. <i>net</i>.</p> + +<p><b>VOICE PRODUCTION FOR ELOCUTION AND SINGING.</b> By REV. E. H. MELLING. +Music Examples. 31 pages, f'cap 8vo, cloth, 4s. 6d. <i>net</i>; paper covers, +2s. 6d. <i>net</i>.</p> + +<p><b>THE VOCAL WORKS OF JOHANNES BRAHMS.</b> Historical, Descriptive and +Analytical Account of each Work. Original English Translations supplied +to many numbers. By EDWIN EVANS, Senior. Thick 8vo, cloth, 30s. <i>net</i>.</p> + +<blockquote><p>The above volume is a complete technical account of the vocal +works. It forms a part of the Historical, Descriptive and +Analytical Account of the Entire Works of Brahms advertised on page +2.</p></blockquote> + +<p><b>VOCAL TRAINING AND PREPARATION FOR SONG INTERPRETATION.</b> With a Section +showing how to Determine Accurately by Pitch and Curve Graphs the +special Suitability of Songs selected for particular Vocal Requirements. +Music Illustrations and Descriptive Diagrams. By FRANK PHILIP. 8vo, +cloth, 15s. <i>net</i>.</p> + +<p><b>THE AMATEUR VOCALIST.</b> A Guide to Singing. With Useful Hints on Voice +Production, Song Preparation, etc. By WALTER L. TWINNING, F.R.C.O. Post +8vo, limp cloth, 2s. 6d. <i>net</i>.</p> + +<p><b>HOW TO TEACH CLASS SINGING</b>, and a Course of Outline Lessons which +illustrate the psychological principles upon which successful tuition is +based. By GRANVILLE HUMPHREYS, Professor of the Art of Teaching, Voice +Production, etc., at the T.S.-F.C.; late Lecturer in Class Singing at +the Training School for Music Teachers. Numerous Music Illustrations. +Cloth, 10s. <i>net</i>.</p> + +<blockquote><p>Teachers will find this very striking book of great value. The +publishers have no hesitation in strongly recommending it.</p></blockquote> + +<p><b>THE VOICE AND SINGING.</b> Practically Explained, Condensed but +Comprehensive Treatise, designed principally for Students and Amateurs, +by an Experienced Singer and Teacher (C. W. PALMER). Cloth, 5s. <i>net</i>; +paper, 2s. 6d. <i>net</i>.</p> + +<blockquote><p>"I have studied the subject as an enthusiast both theoretically and +practically, both as student and teacher, for over thirty +years."—<i>Extract from the Preface.</i></p></blockquote> + +<p><b>VOCAL SUCCESS</b>, or Thinking and Feeling in Speech and Song, including a +Chapter on Ideal Breathing for Health. By the REV. CHAS. GIB. Crown 8vo, +cloth, 7s. 6d. <i>net</i>; or paper covers, 4s. 6d. <i>net</i>.</p> + +<blockquote><p>The known facts of science in connection with both the structure +and functions of the vocal organs are stated; and have been +supplemented by impressions formed in the course of long experience +and experiment in the training of voices.</p></blockquote> + +<p><b>VOCAL SCIENCE AND ART.</b> Hints on Production of Musical Tone. By REV. +CHAS. GIB. The Boy's Voice, Muscular Relaxation, Art of Deep Breathing, +Elocution for Ordination Candidates. With Numerous Illustrations, and +Introduction, Notes and Diagrams, by J. F. HALLS DALLY, M.A., M.D., etc. +Dedicated to the Bishop of London. Crown 8vo, cloth, 7s. 6d. <i>net</i>.</p> + +<p><b>RUDIMENTS OF VOCAL MUSIC.</b> With 42 Preparatory Exercises, Rounds and +Songs in the Treble Clef. By T. MEE PATTISON. Second Edition. Crown 8vo, +paper, 4d. <i>net</i>.</p> + +<p><b>PHYSICAL DEVELOPMENT IN RELATION TO PERFECT VOICE PRODUCTION.</b> By H. +TRAVERS ADAMS, B.A. 8vo, paper, 3s. <i>net</i>.</p> + +<blockquote><p>Intended for students. Treats of Vibration, Breaks and Registers, +The Speaking Voice, Attack, Practical Application, Breathing, +Exercise in Inspiration, Expiration, and so on.</p></blockquote> + +<p><b>SIMPLICITY AND NATURALNESS IN VOICE PRODUCTION.</b> A Plea and an +Argument. By EDWIN WAREHAM. Crown 8vo, cloth, 3s. 6d. <i>net</i>.</p> + +<p><b>OBSERVATIONS ON THE FLORID SONG.</b> Or Sentiments on the Ancient and +Modern Singers. By P. F. TOSI. Translated by Mr. Galliard. With folding +Musical Examples. 184 pages. A Reprint of this Celebrated Book, first +published in 1743. Crown 8vo, boards, with vellum-like back. 21s. <i>net</i>.</p> + +<blockquote><p>Recommended to all students of the Italian method of singing by the +late Charles Lunn.</p> + +<p>"The aged teacher embodies his own experience and that of his +contemporaries at a time when the art was probably more thoroughly +taught than it has ever been since."—<i>Grove's Dictionary.</i></p></blockquote> + +<p><b>ELEMENTARY LESSONS ON SIGHT SINGING.</b> Combining the Staff and Tonic +Sol-fa Notations. With Music Examples throughout. By J. W. ROSSINGTON, +L.R.A.M. Cloth, 3s. 6d. <i>net</i> (paper, 2s. <i>net</i>).</p> + +<blockquote><p>For many singers there is only one method of becoming good +sight-readers, viz., combining the tonic sol-fa with the staff +notation.</p></blockquote> + +<p><b>THE ART OF VOCAL EXPRESSION.</b> A Popular Handbook for Speakers, Singers, +Teachers and Elocutionists. By the REV. CHAS. GIB. Crown 8vo, cloth, 5s. +<i>net</i>; paper, 2s. 6d. <i>net</i>.</p> + +<p><b>VOICE PRODUCTION AND VOWEL ENUNCIATION.</b> By F. F. MEWBURN LEVIEN. +Diagrams by ARTHUR C. BEHREND. Post 8vo, sewed, 2s. <i>net</i>.</p> + +<p><b>THE THROAT IN ITS RELATION TO SINGING.</b> A Series of Popular Papers. By +WHITFIELD WARD, A.M., M.D. Illustrations. Second Edition. Crown 8vo, +cloth, 5s. <i>net</i>; paper, 3s. <i>net</i>.</p> + +<blockquote><p>CONTENTS: Anatomical Structure of the Throat; What we See with the +Laryngoscope; How we Sing; How we Breathe; How to take Care of the +Voice; Hints to Voice Builders; How the Voice is Destroyed; Common +Throat Affections of Singers, together with their Treatment, etc.</p></blockquote> + +<p><b>HOW TO ATTAIN THE SINGING VOICE</b>, or Singing Shorn of its Mysteries. A +Popular Handbook for those desirous of winning Success as Singers. By A. +RICHARDS BROAD. Crown 8vo, cloth, 7s. 6d. <i>net</i>.</p> + +<blockquote><p>This is the book which fitted Eva Turner to achieve for her +wonderful successes in the operatic world (in Italy, Germany, +Portugal, etc., as well as in her own country). It should help you +to achieve great things too.</p> + +<p>"An immensely interesting book that has every right to be classed +among those that are genuinely useful, and it should be prized by +all vocalists from the highest to the lowest."—<i>The Musical +Observer.</i></p></blockquote> + +<p><b>TWELVE LESSONS ON BREATHING AND BREATH CONTROL.</b> For Singers, Speakers +and Teachers. By G. E. THORP. Crown 8vo, paper, 2s. 6d. <i>net</i>.</p> + +<p><b>TWENTY LESSONS ON THE DEVELOPMENT OF THE VOICE.</b> For Singers, Speakers +and Teachers. By G. E. THORP. Fourth Edition. Crown 8vo, limp cloth, 2s. +6d. <i>net</i>.</p> + +<blockquote><p>Mr. Thorp's two books have from time to time been recommended by +various eminent vocal specialists as giving practical aid and +advice for the training, care and development of the voice. They +are free from any <i>biased "system" or "discovery."</i></p></blockquote> + +<p><b>TREATISE ON THE TRAINING OF BOYS' VOICES.</b> With Examples and Exercises +and Chapters on Choir-Organization. Compiled for the Use of +Choirmasters. By GEORGE T. FLEMING. Second Edition. Crown 8vo, cloth, +5s. <i>net</i>; paper, 2s. 6d. <i>net</i>.</p> + +<p><b>GRADUATED COURSE OF EXERCISES FOR BOY CHORISTERS.</b> With Piano +Accompaniment. For Use in Conjunction with Above. By G. T. FLEMING. 4to +album, paper, 2s. <i>net</i>.</p> + +<p>---- Ditto, Boy's Voice Part only, 1s. <i>net</i>.</p> + +<p><b>SIX SPIRITUAL SONGS FOR UNACCOMPANIED CHORUS</b>, with Piano Accomp. (for +Practice). By RUTLAND BOUGHTON. In one vol. Roy. 8vo, 2s. 6d. <i>net</i>.</p> + +<blockquote><p>The songs are also issued separately.</p></blockquote> + +<p><b>VOCAL EXERCISES FOR CHOIRS AND SCHOOLS.</b> By DR. WESTBROOK. Post 8vo, +paper, 2d. <i>net</i>.</p> + +<p><b>THE CENTRAL POINT IN BEAUTIFUL VOICE PRODUCTION.</b> By H. TRAVERS ADAMS, +M.A. Cloth, 2s. 6d. <i>net</i> (paper, 1s. 6d. <i>net</i>).</p> + + +<h3>THE MUSIC STORY SERIES.</h3> + +<p>"The Music Story" Series books are indispensable, authoritative, +interesting and educational. Specially designed cloth, crown 8vo, well +got up, at prices named below.</p> + +<p><b>CHAMBER MUSIC AND ITS MASTERS IN THE PAST AND IN THE PRESENT.</b> By DR. +N. KILBURN. New Edition, revised, and with additional chapters by G. E. +H. ABRAHAM. With Plates and Music Illustrations. Crown 8vo, cloth, 15s. +<i>net</i>.</p> + +<blockquote><p>"Mr. Abraham has brought the work up to date and written several +new chapters and the book now gives us a discussion on the most +important writers and projectors of chamber music"—<i>Musical +Opinion.</i></p></blockquote> + +<p><b>ORGAN.</b> By C. F. ABDY-WILLIAMS, M.A., Mus.Bac. Told in Nine Chapters. +Thirty-eight Illustrations and Frontispiece. Illustrations of two +Instruments found at Pompeii; F. W. Galpin's Hydraulus; Organ Builders; +Stops; Technical Terms; Bibliography and Chronological List of Organ +Specifications, 21s. <i>net</i>.</p> + +<p><b>ENGLISH MUSIC</b> (1604-1904). Seventeen Lectures delivered at the Music +Loan Exhibition of the Worshipful Company of Musicians. By T. L. +SOUTHGATE, W. H. CUMMINGS, H. WATSON, E. MARKHAM LEE, J. FINN, SIR F. +BRIDGE, A. S. ROSE, A. H. D. PRENDERGAST, F. J. SAWYER, G. F. HUNTLY, D. +J. BLAIKLEY, REV. F. W. GALPIN, W. W. COBBETT, J. E. BORLAND, A. H. +LITTLETON and SIR E. 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Its History, Origin of Reed Pipes, +the Pipes of ancient Celtic Ireland and Wales, the Scottish scene and +Scottish melodies, changes from 16th to 19th centuries. 26 +illustrations, glossary, bibliography, list of players, index. 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Performing Edition. Edited by G. A. MACFARREN. +Paper, 3s. <i>net</i>, boards, 4s. <i>net</i>.</p> + +<blockquote><p>The edition as conducted by Sir Henry Wood in 1926, etc.</p></blockquote> + +<p><b>CHOIR ATTENDANCE REGISTER.</b></p> + +<blockquote><p>Ruled for a Choir of 60 or less, for One Year, beginning at any +date, 4s. <i>net</i>.</p> + +<p>Ruled for a Choir of 20 or less, for One Year, beginning at any +date, 3s. <i>net</i>.</p></blockquote> + +<p><b>TWO SETS OF UNACCOMPANIED CHORAL VARIATIONS UPON ENGLISH FOLK SONGS</b>, +by RUTLAND BOUGHTON (with Piano Acomp. for practice only). 1s. 8d.</p> + +<p> +(a) The Barkshire Tragedy.<br /> +(b) King Arthur had Three Sons.<br /> +</p> + +<p>A Second Series by RUTLAND BOUGHTON. 1s. 8d.</p> + +<p> +(a) William and Margaret.<br /> +(b) Widdecombe Fair.<br /> +</p> + +<blockquote><p>King Arthur, separately from the First Set, 9d.</p></blockquote> + + +<p><b>RATIONAL ACCOMPANIMENT TO THE PSALMS.</b> By F. GILBERT WEBBE. 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The work contains eight +compositions by Byrd, seven by Bull, and six by Gibbons.</p></blockquote> + +<p><b>50 MUSICAL HINTS TO CLERGYMEN.</b> Management of Breath, Classification of +Male Voices, Management of the Voice, The Service. With Twenty specially +written Exercises. By GEO. F. GROVER. Cr. 8vo, paper, 1s. <i>net</i>.</p> + +<p><b>HOW TO MANAGE A CHORAL SOCIETY.</b> By N. KILBURN, Mus.Bac. Third Edition +Revised. Crown 8vo, paper, 1s. <i>net</i>.</p> + +<p><b>A CHAT WITH CHORAL SINGERS.</b> By H. W. SPARROW, A.R.C.O. 8vo, paper +cover, 1s. <i>net</i>.</p> + +<blockquote><p>CONTENTS: Reading Music—Tone +Production—Breathing—Phrasing—Expression—Enunciation—Blend of +Voices—Tone, Attack, Release—Care of the Voice—Suggestions.</p></blockquote> + +<p><b>HOW TO SING AN ENGLISH BALLAD.</b> By E. PHILP. Seventh Edition. Crown +8vo, paper, 1s. <i>net</i>.</p> + +<blockquote><p>"It would be difficult to find a casket of brighter gems than those +which lie within the cover of this little work."—<i>Illustrated +London News.</i></p></blockquote> + +<p><b>NATIONAL NURSERY RHYMES.</b> Arranged as a School Chorus for Boys and +Girls. By N. B. WOODD SMITH. With Pianoforte Accompaniment. 8vo, 1s. 6d. +<i>net</i>.</p> + + +<h3>TUTORS AND EXERCISE BOOKS.</h3> + +<p>PIANO, ORGAN, HARMONIUM, VIOLIN, VIOLONCELLO, MANDOLINE AND GUITAR.</p> + +<p><b>THE POPULAR PIANO TUTOR</b>, folio, 2s. 6d. <i>net</i>. (For description see +Pianoforte Section of Catalogue.)</p> + +<p><b>DEPPE FINGER EXERCISES.</b> By AMY FAY. (See Pianoforte Section of this +Catalogue.)</p> + +<p><b>REEVES' VAMPING TUTOR.</b> By FRANCIS TAYLOR. (See Pianoforte Section of +this Catalogue.)</p> + +<p>CZERNY'S 101 EXERCISES for the Pianoforte. Complete, 4s. <i>net</i>; or in 2 +books, 2s. <i>net</i> each.</p> + +<p><b>GRADUATED SCALE AND ARPEGGIO MANUAL.</b> By HENRY SAINT-GEORGE. (See +Pianoforte Section of this Catalogue.)</p> + +<p><b>ROYSTON'S PROGRESSIVE VIOLIN TUTOR</b> (with Illustrations giving Correct +Position for Hand, Wrist and Fingers.) Folio, 3s. <i>net</i>.</p> + +<p><b>VIOLONCELLO EXERCISES, SCALES AND ARPEGGIOS.</b> By E. GILLET. Complete in +one vol., 4s. <i>net</i>; or Part I, Exercises, 1s. 6d. <i>net</i>, Part II, +Scales, 1s. 6d. <i>net</i>, and Part III, Arpeggios, 1s. 6d. <i>net</i>.</p> + +<p><b>ART OF VIOLONCELLO PLAYING, TUTOR.</b> By E. VAN DER STRAETEN. Text in +French and English. Part I, 3s. 6d. <i>net</i>. Part II, 4s. <i>net</i>.</p> + +<p><b>TUTOR FOR THE AMERICAN ORGAN AND HARMONIUM.</b> By W. F. TAYLOR. 4to, 2s. +<i>net</i>.</p> + +<p><b>YOUNG VIOLINIST'S SCALE AND ARPEGGIO MANUAL</b>, with Directions. By +WILSON MANHIRE. Text and Music. 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(or paper, ls. 6d. net) Postage, 2d.</p> + +<p class="center"><i>This Work is a Store of the Most Valuable and Practical Musical +Knowledge, so Condensed as to be of Immense Utility for its Purpose.</i></p> + +<p class="center">HOW TO COMPOSE.</p> + +<p class="center">A PRACTICAL GUIDE TO THE COMPOSITION OF ALL WORKS WITHIN THE LYRIC FORM</p> + +<p class="center">and which include the Valse, Gavotte, Mazurka, Polonaise, March, Minuet +and all Ordinary Dance Forms; as also the Nocturne, Impromptu, Berceuse, +Reverie and Similar Characteristic Pieces.</p> + +<p class="center">BY</p> + +<p class="center">EDWIN EVANS, Senr., F.R.C.O.</p> + +<p class="center">Author of "The Relation of Tchaïkovsky to Art Questions of the Day," "A +Handbook to Brahms' Works," "The Modal Accompaniment to Plain Chant," +etc.</p> + +<p class="center"><i>With 60 Musical Examples.</i></p> + +<p class="center">W. REEVES, 83, CHARING CROSS ROAD, W.C.</p> + + +<p class="center">THREE SERIES. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Influence of the Organ in History + Inaugural Lecture of the Department of the Organ in the + College of Music of Boston University + +Author: Dudley Buck + +Release Date: October 18, 2011 [EBook #37786] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE INFLUENCE OF THE ORGAN *** + + + + +Produced by Chris Curnow, Hunter Monroe, Joseph Cooper and +the Online Distributed Proofreading Team at +http://www.pgdp.net + + + + + + + + + + + + THE INFLUENCE OF THE ORGAN + IN HISTORY. + + [Illustration: PNEUMATIC ORGAN FROM A MS. PSALTER OF EADWINE IN THE + LIBRARY OF TRINITY COLLEGE CAMBRIDGE.] + + + + + THE + INFLUENCE OF THE ORGAN + IN HISTORY. + + + Inaugural Lecture of the Department of the + Organ in the College of Music + of Boston University + + + BY + + DUDLEY BUCK. + PROFESSOR AND LECTURER OF THE DEPARTMENT. + + + _New Edition, with Illustrations._ + + + LONDON: + W. REEVES, 83, CHARING CROSS ROAD, W.C. + Office of "The Musical Standard." + + + + + LIST OF ILLUSTRATIONS. + + I.--PNEUMATIC-ORGAN FROM A MS. PSALTER OF EADWINE + IN THE LIBRARY OF TRINITY COLLEGE, + CAMBRIDGE (_Frontispiece_). + + II.--PERUVIAN PAN'S PIPES, DOUBLE SET. FROM A + TOMB IN AFRICA 10 + + III.--EARLY FORM OF THE REGALS. FROM LUCINIUS' + MUSURGIA, SEN PRAXIS MUSICAE, 1536 19 + + IV.--FROM GORI'S THESAURUS DIPTYCHORUM. SAID + TO BE FROM AN ANCIENT MS. OF THE TIME OF + CHARLEMAGNE 22 + + V.--A POSITIVE ORGAN. FROM AMBROSIUS WILPHLINGSEDER'S + EROTEMATA, MUSICES PRATICAE, + NUREMBERG, 1563 31 + + VI.--A CURIOUS ENGRAVING SHOWING AN ORGANIST + PERFORMING UPON AN INSTRUMENT WITH BROAD + KEYS. FROM FRANCHINUS GAFFURIUS' THEORICA + MUSICA, 1492 34 + + VII.--THE ANCIENT MODE OF ORGAN BLOWING. FROM + PRAETORIUS' THEATRUM INSTRUMENTORUM, + 1620 46 + +VIII.--TERRA-COTTA MODEL OF HYDRAULIC ORGAN. + CIR. 150 A.D. CARTHAGE MUSEUM. FROM HERMANN + SMITH'S "THE MAKING OF SOUND IN THE + ORGAN AND IN THE ORCHESTRA" 47 + + IX.--REV. F. W. GALPIN'S WORKING REPRODUCTION + OF THE ROMAN HYDRAULUS. FROM HERMANN + SMITH'S "THE MAKING OF SOUND IN THE ORGAN + AND IN THE ORCHESTRA" 48 + + + + +SECTION I. + +[Illustration: PERUVIAN PAN'S PIPES, DOUBLE SET. FROM A TOMB IN +AFRICA.] + + + + +THE INFLUENCE OF THE ORGAN IN HISTORY. + + +SECTION I. + + +Ladies and Gentlemen:-- + +It having become my duty to deliver this, the inaugural lecture of the +organ department attached to this institution, I have found myself +considerably embarrassed as to choice of subjects. + +The trouble lay in the quantity of material at hand, and not in any lack +of it. + +The history of the Organ runs back so far into the centuries, that no +matter what point one might select for examination, it can scarcely be +brought into the scope of a lecture except in a very empty and skeleton +form. You will bear with me, then, for the superficial manner in which I +shall be forced to treat many important points. As many of those present +do not propose to make a study of the organ, I shall avoid treating of +the instrument itself in any technical sense, and would offer a few +thoughts on the subject of + + +THE INFLUENCE OF THE ORGAN IN HISTORY, + +with a glance at the "schools of playing" thus created. + +The Organ is called the "king of instruments." + +This phrase has been used so often that it has become decidedly well +worn and trite. None the less, however, is the expression full of +significance; and to what an extent (especially in a historical sense) +is known to but comparatively few persons, among whom I fear far too few +organists would be found. + +To bring up some of these neglected facts; to examine them in their +historical and theoretical bearing, as well as in practice; to thus +create a greater love for and appreciation of the instrument on the part +of its students,--to do this, I say, is, if I apprehend it aright, one +of the principal objects which the Boston University has had in view in +founding this department. + +The organ, then, is called the "king of instruments." + +If we look at the phrase a little closer, it will be perceived that the +simile is a striking one. A king, in the so-called "good old times of +yore," if he were a man of any force of character, generally possessed, +along with the divine right theoretical, any quantity of the human power +practical. The day of more or less ornamental constitutional +figure-heads had not yet arrived. + +In other words, the live kings of the past, of the feudal time, moulded +to their own tastes and characters their age, their people, or only +their court, according to the innate ability they might possess. In turn +they were themselves affected, to a degree, by their surroundings, but +to a far lesser extent than is the case at this day, the balance of +influence remaining largely in their favour. + +I will endeavour to show that among musical instruments this "kingship," +as regards the organ, held good in a parallel way,--that by its own +nature as to construction, by its very faults and weaknesses, by the +mission it was called upon to fulfil, it did, in very fact, long reign +supreme as king of instruments. + +Absolute power, as represented by a monarch, became narrowed down, in +the lapse of centuries, by external forces working out their own +independence, thus checking and limiting this absolutism. Here, too, I +will endeavour to draw a parallel, and show that as years rolled on, the +influence of the organ upon music in the abstract diminished. The +process became inverted, and music began to affect the organ, rather +than the organ it. To this we owe the vast improvements in the +construction of the instrument, the many additions of new qualities of +tone, and numberless new inventions of value still going on in our day, +with a rapidity difficult to keep pace with. To fairly appreciate this +past or present relation of things, it becomes necessary to take a hasty +and necessarily superficial glance backward at the origin of the +organ,--its invention and development. + +All writers attribute the origin of the organ to that simplest as well +as most ancient of musical instruments, called by the Greeks the "pipes +of Pan,"--Pan, in the ancient mythology, being the god of the woods and +groves. It consisted of a few hollow reeds of various lengths, securely +bound together, and blown by the lips. We still occasionally see and +hear this instrument in our streets, performed upon by those nomadic +"sons of art," the organ-grinders. The performer being obliged to move +his head continually from side to side, an unpleasant and fatiguing +operation, soon led to an attempt to blow these tubes artificially. From +this resulted the placing of the pipes upon a small wind-chest, and the +addition of a primitive bellows, the whole being easily carried and +operated by one performer. Of particular value in the establishment of +this historical fact was the discovery, in Syria, among some ancient +ruins, of a sculptured figure playing on such an instrument. Although +much mutilated, all the more important parts were still intact. This +interesting relic was brought to England about the year 1853. + +It should be mentioned here, that the word "organ," not unfrequently +found in the Bible, should not be supposed to refer to any such +instrument as the name would suggest to our minds. Both with +the Greeks and Romans the term translated "organ" simply meant an +"instrument,"--and that of any kind, but with usage apparently favouring +its application to musical instruments. + +Upon the application of the bellows to supply wind, instead of the human +lungs, the fingers were used to stop the pipes, and thus prevent their +sounding all at once, which it is evident they would have done, standing +on a simple wind-chest, which was filled by the bellows. As the number +of pipes was gradually increased, the difficulty of managing them by +hand of course became greater and greater. This in time led to the +invention of the pallet, or valve, to control the admission of wind to +each pipe, and by the close of the eleventh century we find it +chronicled that there existed at Magdeburg an organ with a _key-board_ +comprising sixteen keys. From this time the name of the instrument +begins to correspond with our modern idea of the same; its invention was +a realized fact, although but a germ of that development which has since +raised organ-building to its artistic importance. It must be borne in +mind that the pedal organ, with its keys for the feet, was a much later +invention. Meantime, the first keys made use of measured from three to +five inches and a half wide. Consequently, the title of the performer on +this instrument, in the eleventh century, was not that of +organ-_player_, but organ-_beater_, the keys being struck by the fist, +which was protected by a heavy glove. There was, it must be remembered, +but one rank of pipes, and these could seldom, if ever, have been in +tune, from the fact that they had no means of regulating the wind +pressure; while in organs of later date, and at the present day, an even +wind is secured principally by weights placed upon the bellows, and the +creation of a reservoir of compressed air. At this early time the wind +supply was furnished by the common bellows as used by blacksmiths. Thus +the supply and consequent pressure of the wind would necessarily be in +direct proportion to the muscle or activity of the blowers. + +While the various discoveries and improvements in organs of the twelfth +and thirteenth centuries were slowly progressing, almost the only vocal +music the world knew were the Gregorian tones, or plain song of the +Early Church. Harmony was entirely unknown, and indeed remained so for +many a long year in anything like our modern significance. It is not my +purpose here to enter into even a partial examination of the parallel +progress of melody and harmony at this age of the world. You have +already heard it treated by an abler pen than mine; nor does it properly +belong to this department, except in so far as it becomes necessary to +note any decided influence exerted by the one upon the other. This +influence, as exerted by the organ upon Church music, did not begin as +early as might be supposed. Rimbault, in his work on the "History of the +Organ" (which I shall have occasion frequently to quote), states that +"even in the thirteenth century, the priests of both the Greek and Roman +Churches thought the use of organs in divine service scandalous and +profane. They preferred rendering divine worship as simple as possible, +in order to distinguish it from that of the Jews and Pagans. Even to +this day the Greek Church does not tolerate the use of organs in their +public services. Notwithstanding these opinions, the use of organs, and +even other instruments, gradually became almost universal, not only in +great churches, but in those of monasteries, convents, and small towns. +The historians of this era celebrate several monks distinguished for the +art of playing on the organ. For some time, however, organs were not +used in the ordinary celebration of the offices, but only on great +feasts and solemn occasions. These first monastic and conventual organs +were very small, being only used to play the melody of the plain song in +unison with the voices." + +In spite of the disrepute into which the whole monastic system fell, +there is no question but that the monks and friars were the great +conservators and preservers of all the fine arts, and even mechanics, +during the troubled times of the Middle Ages. As the prejudice against +the employment of instrumental music in the church services began to +disappear, nothing was more natural than that the monks, having both the +leisure and pecuniary means, and containing among their number the best +educated men of the day, should turn their attention to organ-building, +animated by the same spirit which led them to decorate and ornament +their churches and monasteries. Thus we find that it is to them we owe +the improvement of the hitherto clumsy key-board, extending its compass +both upward and downward to the extent of some three octaves, and so +reduced both fall and breadth of the keys that they could be pressed +down by the fingers, instead of struck by the fist; certainly no small +improvement. The first organ possessing keys to give the chromatic tones +or semitones was built by a priest--Nicholas Faber by name--about 1360. + +It now behoves us to glance for a moment at the influence which the +organ already began to exert upon music, or the art composition, and to +show how the instrument became to show proofs of that right to the +title, "king of instruments," in the sense I have adopted. It must be +kept in mind that the veriest twilight dawn of the knowledge of harmony +had scarcely begun. Yet what can be conceived more natural, than that +the organist of that day, even, should stumble on the fact that +different tones in conjunction were more agreeable to the ear than the +bare unison, which was at first the only accompaniment of the choral +song? This being noted, the next logical step was to try and produce the +same approved effect with the voices themselves. In the "_History of the +Modern Music of Western Europe_," by _Kiesewetter_, the following +passage occurs. He is not speaking of the organ, but of the origin and +development of the science of harmony. + +He says: "The union of different human voices which now occurred to +their thoughts (the early harmonists), was an imitation not altogether +happy, perhaps, of that which in various instances _they had discovered +with the organ_!" Here the fact that the organ was even then beginning +to assert itself, to mould the minds of the early writers, in fact, to +claim its royal dues, is pretty conclusively shown. + +Time would altogether fail me in the scope that this lecture must +necessarily occupy, to trace down this influence, once established, +through the long cycle of years that followed; the theoretic science and +practical application keeping pace with the mechanical development, +until it found its full culmination and glory in the new-born science of +Counterpoint. This science, which has given polish to the mightiest +thoughts of the greatest masters of our art (and in totally different +departments than mere organ-playing),--a science, without a satisfactory +knowledge of which no man can call himself a thoroughly educated +musician,--sprang from just this source. + +How often we hear the remark that contrapuntal treatment is best suited +to the organ! True; but how many reflect that the organ, so to speak, +first _dictated_ counterpoint to the world? An influence, which (the +free forms being derived from the stricter) is carried clear down into +the realm of Italian opera, _i.e._, when it is good of its kind. Is not, +then, this influence, which the organ has indisputably exerted upon not +merely its own literature, but the musical literature at large, an +all-sufficient proof of its right to the royal title? It must be borne +in mind that this absolutism, as in matters political (to carry out the +simile), was possible at this stage of the world in matters musical, +because not even the harpsichord, clavichord, spinet, or any of those +presentiments of the modern pianoforte, by whatever name they were +called, had as yet made their appearance. The organ was, for the time, +the sole keyed instrument. + +In view of these facts, it seems to me that it may be justly claimed +that the title "king of instruments" should be based on far nobler and +more historic grounds than is usually done, and that we should not +content ourselves with explaining this phrase as arising from the +circumstances that it is the instrument which can, of its own resources, +make the loudest noise! + +[Illustration: EARLY FORM OF THE REGALS. FROM LUCINIUS' MUSURGIA, SEN +PRAXIS MUSICAE. 1536.] + + + + +SECTION II. + +[Illustration: FROM GORI'S THESAURUS DIPTYCHORUM. + +SAID TO BE FROM AN ANCIENT MS. OF THE TIME OF CHARLEMAGNE.] + + + + +SECTION II. + + +The organ nomenclature has, as is the way of the world, changed somewhat +from age to age. In accounts of the old English organ, we frequently +find this and that church being referred to as possessing a "payre of +organs." This has been variously interpreted, some supposing it to refer +to organs of two manuals, which explanation seems natural enough; but +the best authorities explain it as meaning an organ which possesses more +than one rank of pipes, or more than one stop. Rimbault, who takes this +view, says the expression is to be regarded as a phrase of nearly +obsolete English, and to be taken in the same sense as we still +sometimes say "a pair of stairs," instead of a "flight of stairs." One +proof of this interpretation that he cites is interesting. During the +great Cromwellian rebellion, and the rule of the Roundheads in England, +a great many organs were destroyed by the soldiery, who considered them +a relic of Popery. At this time, a certain Mr. Pepys, whose diary is +still extant, travelled about considerably and interested himself in the +organ, as well as some other matters, as will be seen from the following +extract from the aforesaid diary. The point to us (although by no means +the only one to him) lies in the fact that he uses the words "the +organ" and the "pair of organs" as evidently, synonymous. He writes as +follows:-- + + April 5, 1667. "_To Hackney: where good beef tongue, and things to + eat and drink, and very merry, the weather being mighty pleasant; + and here I was told, that at their church they have a fair PAIR OF + ORGANS, which play while the people sing, which I am mighty glad of + wishing the like at our church at London, and would give L50 + towards it._" + + April 21, 1667. "_To Hackney church, where very full, and found + much difficulty to get pews. I offered the sexton money, and he + could not help me.... That which I chiefly went to see was the + young ladies of the schools, whereof there is great store, very + pretty" (you see how history repeats itself); "and ALSO the ORGAN, + which is handsome and tunes the psalms, and plays with the people; + which is mighty pretty, and makes me mighty earnest to have a pair + at our church, I having almost a mind to give them a pair, if they + would settle a maintenance on them for it._" + +Mr. Pepys' heart was evidently in the right place, and the thought of +having the church provide a fund for the proper tuning and repair of the +organ, not only sensible, but, to quote his own words, "a mighty pretty" +idea. + +The invention of the pedal key-board, that most important and +characteristic part of the organ, seems to have occurred about the +beginning of the fourteenth century. There is no reliable account of who +first made this addition, it being claimed by various parties. The +sixteenth century was the period when the arts of sculpture, painting, +and architecture had gained what might almost be termed a modern +artistic polish, in not a few instances, indeed, surpassing all that the +moderns have accomplished. The early school of church painters had +become modified. Grace and relative refinement had largely taken the +place of the early stiffness of design and execution, and in sculpture +and architecture were witnessed many of the results which are still the +wonder of the world. With this refinement came a taste for luxury and a +love of ornament which in the seventeenth and early part of the +eighteenth century had extended to and affected organ-building, at least +externally. + +Seidel, in his work on the organ, gives this excellent account of the +tendency referred to:-- + +"At this time, great industry and expense was bestowed upon the external +decoration of the organ. The entire case was ornamented with statues, +heads of angels, vases, foliage, and even figures of animals. Sometimes +the front pipes were painted with grotesque figures, and the lips of the +pipes made to resemble lions' jaws. They went further, and threw away +the money, which might have been expended in a worthier manner, on the +display of the most tasteless and absurd tricks of art, degrading +thereby--doubtless unintentionally--a noble instrument, intended for +sacred purposes, into a _raree-show_. Among these ornaments, the figures +of angels played a very conspicuous part; trumpets were placed in their +hands, which by means of mechanism could be moved to and from the mouth. +Carillons (bells) too, and kettle-drums, were performed upon by the +movable arms of angels." (Think of an angel playing upon a +kettle-drum!). "In the midst of this heavenly host, sometimes a gigantic +angel would be exhibited hovering in a 'glory' over the organ, beating +time with his baton as conductor of this super-earthly orchestra! + +"Under such circumstances, the firmament, of course, could not be +dispensed with. So we had wandering suns and moons, and jingling stars +in motion. Even the animal kingdom was summoned to activity. Cuckoos, +nightingales, and every species of bird, singing, or rather chirping, +glorified the festival of Christmas, and announced to the assembled +congregation the birth of the Redeemer. Eagles flapped their wings, or +flew towards an artificial sun. The climax, however, of all these +rarities, was the _fox-tail_. It was intended to frighten away from the +organ all such inquisitive persons as had no business near it. Thus, +when they pulled out this draw-stop, suddenly a large fox-tail flew into +their faces! It is clear that by such absurd practices, curiosity was +much rather excited than stopped, and that all this host of moving +figures, and their ridiculous jingling, disturbed meditation, excited +the curiosity of the congregation, and thus disparaged the sublimity of +divine service." + +Of course all this nonsense in due time brought its own cure with it. +The money expended was diverted towards its worthy and legitimate +object, and to-day, in Europe, but few such relics of the past can be +found, and those generally in out-of-the-way places. I have myself seen +but one organ containing any of these absurdities. That was in a small +town of Camin, on the Baltic sea-coast of North Prussia, and I was +informed by the old organist (as Seidel says) that these things were +_reserved for Christmas and Easter_! + +While the power, compass, and variety of organ tone, as well as the +mechanism of the instrument, made steady progress throughout the +fifteenth and sixteenth centuries, the science of harmony in the largest +sense kept even pace with it, and, perhaps, received even a greater +relative development. Meantime, the orchestral instruments of the day +had received a fair share of improvement. The harpsichord had been +invented, and sufficiently perfected to be worthy of the powers of such +a master as Sebastian Bach. With the appearance of this great man the +art of counterpoint reached its culmination, never surpassed, if even +equalled in isolated instances, by any subsequent writer. His organ +compositions cover every resource, both in design and execution, +possible to the organ of his day; and yet, I do not think it too much to +say that, had Bach never written a single organ piece, his claims for +recognition as a great composer would remain substantially the same. His +greatest works are to be found among his vocal and orchestral writings. +Let us examine for a moment the reason for this, and of the influence of +the "king of instruments" upon musical composition at this time. + +We have seen that contrapuntal treatment, so-called, owed its origin to +the nature of the organ. Vocal music, at the time of which we speak, +felt the same influence and followed the same form. Now, if we open one +of the vocal and orchestral scores of Bach, we shall see that while he +gives the instruments more freedom than his predecessors, in consequence +of their largely increased powers and the proportional increased ability +of the executants of his day, yet the contrapuntal influence is +everywhere visible. It was the period of strict form. As we count back +such cycles, it was but a relatively short time since music had been +"without form, and void; and darkness was upon the face of the deep," +artistically speaking. Music was a serious matter. They revelled in +fugue, and even danced contrapuntally. Although not a direct influence, +perhaps, is not this state of things, after all, a sufficient proof of +the absolutism of the organ in a derived manner,--the regal sway of the +king of instruments at this period? Bach breathed new life into these +dry and purely scientific forms, and it is his greatest glory that in +many, if not all, of his profoundest works, his genius enabled him to +unite the emotional and aesthetic element with the purely intellectual +and scientific. + +While the improvement of the organ, as respects both tone, mechanism and +general capabilities, continued, and still continues at the present day, +it is noteworthy that from the time of Bach, of all others, the +influence of the organ upon music at large began to diminish. From this +point we have to consider the decline of this influence, showing that +music began to emancipate itself, each instrument claiming and receiving +its own especial rights and treatment, long before a similar dawn of +liberty began in the political world. Two reasons conduced to this +change. + +First, the requirements of music, which found no prototype in the organ +of that day. As the instruments were then built, they possessed but +little variety of tone, the swelling or diminishing of which was an +impossibility; nor had the organist any mechanical assistance whatever +to enable him to vary the combinations of stops. + +Second, the invention of the harpsichord. This instrument, the +_avant-courier_ of the pianoforte, to which we have already referred, +had already become sufficiently popular to make its own peculiar +influence felt. This consisted in the power of crescendo and diminuendo +according to the force exerted by the player, and a light touch which +offered no impediment to rapid execution, besides certain other effects +through its characteristic tone impossible upon the organ. + +The light touch of the harpsichord, as compared with the heavy and +fatiguing action of the organs of that day, was necessarily a source of +great attraction; and the instrument itself, although far from finding a +home in every household, as the piano has in our time, yet possessed the +merit of being portable. + +It was not long before the transition period began,--that period in +which musicians and composers tested and decided upon that which was +best and most fitting in the treatment of these respective instruments. +Nowhere can we find more evident signs of this time of experiment, this +gradually leaving old landmarks and seeking a new form of expression, +than in the works of Bach himself. + +In the "Well-Tempered Clavier" we find preludes and fugues impossible to +properly interpret on any other instrument except the piano, placed side +by side with those whose real significance can only be developed upon +the organ. In a portion of the pieces written especially for the organ, +we find, on the other hand, passages which to modern ears are only fit +for and tolerable on the piano. The dividing lines of effect, not to say +possibility, had not as yet been fully marked out. The organ was no more +disposed to give up its long sway, and be narrowed to its own particular +sphere, than any other sovereign, when the limiting influences of modern +times first began to make themselves felt. Like them, however, it was +obliged to yield. Little by little the piano emancipated itself from the +_strict_ contrapuntal chain which bound it to the organ, until, in the +sonatas of Mozart and Beethoven, it emerged into a new life. + +Here it was strengthened by the _free_ contrapuntal treatment it +received, like the fruits of early education showing themselves in new +and original forms,--speaking a language founded indeed on the past, but +new, fresh, and sparkling; or, when adopting the strict style, taking it +up as a matter of choice, but not of compulsion. Such results followed +the invention of the harpsichord,--the early piano,--and here we must +leave it. It would, however, be an interesting subject to trace this +development down to Chopin, Liszt, and the modern Titans of the piano, +showing how gradually the mutual treatment of piano and organ +disappeared and what was substituted in their place. It could, however, +only be satisfactorily done by musical examples. + +Meanwhile the orchestra blossomed into a new significance. To us moderns +who read its history, or look back into the scores which antedate this +time, it does not seem so much a period to be described, as that of +progress, as that of a veritable new birth itself, a new creation. And +this is, indeed, the fact; for no improvements in ancient instruments, +although they took place, nor addition of new ones, can account for the +change which now occurred in the orchestra. Here it was _the man_, not +the instrument; and the name of Joseph Haydn will always be quoted as +"Father of the Modern Orchestra." + +The organ lost nothing of real value to itself by this increased +significance of other branches of instrumental music. Its sphere became +defined, and in Germany quite limited, as to this day it is but rarely +employed there in the way of accompaniment beyond supporting the choral +song of the congregation. In France and England it has been different, +the organ having been employed to accompany many anthems and other +extended pieces of music, which in Germany (at least in the larger +cities) would be given with the orchestra. It should be noticed that to +England we owe one great improvement, which, especially for the _role_ +the organ is called upon to fill in this country, can scarcely be +overrated. I refer to the invention of the swell, and the great variety +of effects we are enabled to achieve by its means in both accompaniment +and solo playing. + +[Illustration: A POSITIVE ORGAN. FROM AMBROSIUS WELPHLINGSEDER'S +EROTEMATA MUSICES PRACTIAE. NUREMBERG, 1563.] + + + + +SECTION III. + +[Illustration: A CURIOUS ENGRAVING SHOWING AN ORGANIST PERFORMING UPON +AN INSTRUMENT WITH BROAD KEYS. FROM FRANCHINUS GAFFURIUS' THEORICA +MUSICA. 1492.] + + + + +SECTION III. + + +In the London "Spectator" of Feb. 8, 1712, is the following +announcement:-- + +"Whereas, Mr. Abraham Jordan, senior and junior, have, with their own +hands, joynery excepted, made and erected a very large organ in St. +Magnus' church, at the foot of London bridge, consisting of four sets of +keys, one of which is adapted to the art of emitting the sounds by +swelling the notes, _which was never in any organ before_; this +instrument will be publicly opened on Sunday next, the performance by +Mr. John Robinson. The above said Abraham Jordan gives notice to all +masters and performers, that he will attend every day next week at the +said church, to accommodate all those gentlemen who shall have a +curiosity to hear it." + +Very little is known of this Mr. Jordan, except that his invention +pleased greatly, and was found of such practical use, that not only were +all new organs in England (virtually from this date) furnished with +swells, but himself and son found much occupation in adapting and adding +their invention to the older London organs. The lack of a swell is the +weakest point of the great majority of German organs. Even Dr. Burney, +fifty years after swells had become common in England, expresses, in +his famous work entitled _The Present State of Music in Germany, the +Netherlands and United Provinces_, two volumes, also _The Present State +of Music in France and Italy_, his great surprise to find them utterly +unknown upon the Continent. His remarks would hold true at the present +day with but little modification, as far as Germany is concerned, few +instruments outside the larger ones of recent date possessing this great +improvement. The reason of this is to be found, partly in the extremely +conservative character of their organ-builders, almost a national trait, +and still more in the fact that but little use would be found for a +swell organ outside solo playing. With us, nearly the reverse is true, +the swell being most indispensable in accompanying choirs as here +constituted. Notwithstanding this neglect of what seems to us an +indispensable addition to the instrument, the glory of the invention and +perfection of the organ justly belongs to Germany. Modern organ-building +requires the most profound study of the laws both of mechanics and +acoustics, and the German mind was constitutionally fitted, by a natural +depth and thoroughness of thought, together with the truly artistic +quality of patience, to be successful in solving this great +problem,--the creation of the most complex instrument known. + +France, too, has produced her great organs and organ-builders. If often +lacking the sublimity and solidity of tone characteristic of many of the +famous German organs, they interest (particularly the American taste) by +a greater variety of the so-called "fancy," or solo stops. This +difference, too, has grown out of the nature of the duties demanded of +the organ and the organist in the service of the Roman Catholic church, +and it is these differences of usage which in process of time, combining +with further differences of national taste, led to that varied style and +treatment which we denominate "Schools of Playing." + +We divide these schools into the German, French, and English. + +The first of these, the German school, is especially characterized by +the importance given to the use of the pedals, the feet being called +upon to execute passages of equal melodic value with that assigned to +the fingers. This renders it the school of schools for those who would +really attain a mastery of the instrument, and gain that independence of +foot and finger so difficult to acquire. In fact, it is only possible by +a thorough study of the great masters in this school of playing, to +destroy that sympathy which exists between the left hand and the feet. +This sympathy lies in the fact that should a pedal passage _ascending_ +occur in conjunction with a left-hand passage _descending_, the natural +inclination of the left hand is to follow the pedal, instead of +executing its own independent part. Of course the same trouble is +experienced if the conditions, as just stated, should be reversed. This +is the great difficulty of the _obbligato_, or independent mode of +treating the pedals, to conquer which may fairly be termed a life-study. +For this reason the earnest student should always begin his studies in +this school, and not deviate therefrom until such time as a reasonable +degree of skill has been attained, and the sympathy between hands and +feet, before alluded to, measurably overcome. And here let me say that +far too many of those who feel themselves drawn towards the study of the +organ, approach such study unprepared. The organ, as a keyed instrument, +has all the main points of technique in common with the piano. All the +varied forms of scales, arpeggios, &c., together with the necessary +independence of finger requisite to play in the _legato_ style, should +first be learned upon the piano, where, by the way, it can be more +speedily acquired. Pupils who, having accomplished this, proceed to the +study of the organ, can at once begin with the peculiarities and +characteristic difficulties of the instrument, and as far as the pedal +is concerned, will make far more rapid progress if fair manual players. +They are thus enabled to concentrate their attention upon that which is +new and strange to them. Such would undoubtedly be the testimony of all +those who have had experience in this branch of teaching. + +Without questioning the pre-eminence of the German school in all matters +of technique and pure science, although educated in that school myself, +I would not claim for it, as do some, that it is the Alpha and Omega of +all true organ playing. Viewed in relation to the modern organ as it +exists to-day, especially in France, England, and America, it seems to +me that the instrument is in advance of the school, or that the school +is weak in the two following points:-- + +First: It does not make a sufficient employ of registration within the +limits of one and the same composition. Beauties of contrast, to be +obtained by this means, are too frequently regarded as a matter of less +than secondary importance. This, I am aware, arises from the fact that +the majority of German organs are incapable of producing such variety, +being built with a single eye to accompanying the congregation. In the +direction of the grand and sublime, this school is unequalled; but +surely there are many effects possible to-day which lay no claim to +profundity, and yet are pleasing and worthy of employment by a true +artist. + +Second: Ignoring the emotional element in organ music to a great extent, +and substituting the purely intellectual and technical. In their +melodies we recognize the true inspiration of the great composers. The +scientific setting they may give them, the technical dress in which they +may clothe them, thus often greatly enhancing their beauty, is, after +all, a matter of pure science acquired through schooling and dignified +by talent. This appeals to the intellect, and is a most desirable object +of study; but the melodic inspiration itself appeals to the heart, and, +as the God-given quality, is the higher of the two. Now the German +writers for the organ, from Bach to this day, have, as a rule (to which +I am aware there are some marked exceptions), apparently avoiding giving +to the organ that _melodious_ element which their great composers have +so beautifully done, not only in their symphonic writings, but also in +their smallest works for the piano or other instruments. The mere lack +of means for expression (by means of the swell or other mechanical +appliances) is hardly a sufficient explanation of this, nor do I see +anything in the character of the organ to account for it. That the great +German writers following Bach (Mendelssohn excepted), but more +especially the masters of the more recent so-called Romantic School, +have contributed little or nothing towards the literature of the organ, +is really explained by the following remark of Berlioz, in his treatise +on "Modern Instrumentation." Speaking of writing properly for the organ, +he says: "The special resources are here so vast and numerous, that the +composer will never be well acquainted with them, as it appears to me, +unless he be himself an accomplished organist." + +The French school of organ playing is usually light, sensational, often +pleasing, but too often frivolous and unworthy of the instrument. Yet in +a certain direction they have had their great men. No one who has had +the opportunity of hearing Lefebure Wely extemporize on that great organ +at the church of Saint Sulpice, in Paris, but must acknowledge that the +performance was masterly, although widely different from the German +school. In fact, these extempore performances of Wely's were far better +than his published compositions. The prevailing tone of the French +organ-playing is dramatic, and, as before said, too often sensational. +As might be expected from the national character, it forms a great +contrast to the German style. The use of the pedal for melodic phrases +is rare, it being more generally employed simply to give the fundamental +support of the harmonies and passages executed upon the manuals. On the +other hand, much attention is paid to registration, and frequently much +talent displayed in this direction; besides, their organs are built in a +manner calculated to assist the player in this respect. Of course the +Romish ceremonial, the universally dominant religion in France, gives +much opportunity for display of this kind. To judge any of these +varieties of organ-playing, it will be seen that the standpoint of use +to which the instrument is to be put must be carefully borne in mind. +Although this school is by no means devoid of excellencies, it is not to +be recommended to the American student who is seeking a solid foundation +in organ-playing. Still it may be employed to advantage, both in the way +of recreation, general culture, and especially as studies in +registration, after the "weightier matters of the law" have received due +attention. + +The English school, as a _distinctive_ method of treatment, can hardly +be said to exist. It forms a sort of middle ground between the two +schools of which I have just spoken, and their organs may be described +in the same manner as to characteristics of building. In America, of +late years, we have followed suit, copying Germany in the voicing of +most of our open and stopped pipes, both metal and wood; copying France +in the main characteristics of their reed voicing (in which they were +long pre-eminent), and copying England in the general plan of our +organs, together with their conveniences of mechanism and effects of +combination. + +In spite of the fact, then, that England has no distinctive _national_ +school of the instrument, still there is probably no country where so +much interest is taken in organs and organ-playing as in the England of +to-day. Her prominent organists are solidly founded on the German +school; but while they execute these great works in a masterly manner, +their _repertoire_ extends over a far wider range and variety of +compositions than the German school alone can supply. This seems to me +to be praiseworthy, for although the practice of this theory may be +carried too far, and it is certain that _everything_ cannot even +approximately be played upon the organ; yet, in view of the vast +improvements of the last twenty years, all tending to assist the players +in producing effects impossible heretofore, why should the use of these +means be ignored? The English organists, to this end, have made a vast +number of arrangements and adaptations from works not originally +composed for the organ. Very many of these are just as effective as if +originally composed for the instrument, and so far form a welcome +addition to organ literature; inasmuch as they generally embody the use +of the new improvements and facilities referred to. On the other hand, +many of these go too far, and attempt transcriptions of compositions +totally opposed to the genius of the organ. The careful student will, +however, easily be able to recognize and avoid such, if he has had the +proper foundation laid before attempting works of this class. + +There are those, however (and their opinions are entitled to respect), +who claim that such free treatment of the organ is improper. These +persons would, with little or no exception, limit the _repertoire_ to +such works as have been originally written for the organ; and when they +got outside fugue or canon, would still remain carefully within the +limits of purely contrapuntal orthodoxy. Any other treatment is styled +"_illegitimate_." I had hoped to avoid this terrible word,--the great +bugbear among conscientious students of the organ,--nor do I propose to +enter into any analysis of what the "legitimate" may or may not consist +in. The fact is, we should all retain our original opinions very much +according to our early education, natural tastes, and impressions. There +has been much controversy on this point, and I do not think it necessary +to contribute to that. In any case, where the subject under discussion +cannot be considered as a _positive_ right or wrong, but largely as a +matter of taste or preference, there will always be a difference of +opinion. + +Froude, the historian, says in one of his published lectures: +"Controversy has kept alive a certain quantity of bitterness; and that, +I suspect, is all that it would accomplish if continued till the day of +judgment.... Each polemic writes for his _own partisans_, and makes no +impression on his adversary." So it would be in this case. + +The inference which I draw from this superficial glance at the main +characteristics of these three schools, is this:-- + +The American student who would excel as an organist, must first be +thoroughly educated in the German school of playing. Here alone can he +gain the solid technique which will fit him for the execution of any +tasks he may propose to himself. Only from that mine of musical wealth, +the German school, especially as represented by Bach, can the suitable +foundation-stones for the desired structure be derived. But with this +foundation broadly and deeply laid, as the building progresses upward, +the best of architects may, without fear, add many things that simply +please the eye, but bear no relation whatever to the strength or +durability of the edifice. So with the education of the organ student; +first the broad foundation, and then a judicious liberalism. His +auditors will always remain the great public, and that public to the end +of time will never be so versed in musical science that it can +appreciate the stricter forms of organ music. But very many among the +public _can_ appreciate, or at least enjoy; and this number is +increasing from year to year. I am by no means arguing that the organist +should avoid these stricter forms on this account; quite the contrary; +but simply that the judicious liberalism above referred to should +provide as great a variety of musical food as will suit and satisfy the +musical appetite within the means of the instrument as it now exists. +Nor should the "milk for babes" be despised. The workings of this +principle will surely attract rather than repel, and maturer musical +strength will instinctively call for heartier food. We have to deal with +men as we find them, and tastes vary. A programme intended for a +miscellaneous audience is, after all, only a musical bill of fare. Real +musical hunger can only be satisfied with solids; but if we first quiet +the deeper cravings with roast beef, I know of no moral obligation why +we should not finish with ice-cream, if inclination should point that +way. To invert the order would be manifestly unsound. + +To my mind, then, the duty of the American organist of to-day is to be +eclectic. He has no "call" to tie himself up exclusively and strictly to +any one particular school; nor, if he pursues the right course, need his +education, technical or aesthetic, suffer on this account. But he must +justify this argument by being thorough in what he undertakes. The skill +with which a thing is done goes far to justify it, if there is any +question at all about the matter. Not that I suppose that many can be +found, who, with all talent and due diligence, can equally excel in all +styles; still the effect of liberalism in this respect cannot but have a +good effect upon the general culture, and aid not a little towards the +accomplishment of that great problem, professional success. + +I cannot close without a congratulatory word respecting the standing, +present and prospective, of the profession in America to-day. I am proud +that we begin to be able to point to so many musicians (even if the +number is still relatively few) who, both from their own scientific +standpoint, and from that of general culture, are deemed worthy of being +placed side by side with the other learned professions. Is not the +creation of this college as a branch of a university course, proof of +this comparatively new but happily increasing appreciation? Of what +importance, then, to keep this present status intact, to secure it, to +increase it, by upholding the dignity of our profession! Let such as +propose to devote their lives to it, both feel and practise the idea so +beautifully expressed by Schiller in his "Ode to the Artists"-- + + "O, Sons of Art! man's dignity to you is given, + Preserve it, then! + It falls with you; with you ascends to heaven." + + * * * * * + + "While you her thousand paths are tracing, + Press onward, keeping truth in sight! + Come, all together, stand embracing + Before the throne where paths unite!" + +_Printed by the New Temple Press, Grant Road, Croydon._ + +[Illustration: THE ANCIENT MODE OF ORGAN BLOWING. FROM PRAETORIUS' +THEATRUM INSTRUMENTORUM. 1620.] + +[Illustration: TERRA-COTTA MODEL OF HYDRAULIC ORGAN. CIR. 150 A.D. +CARTHAGE MUSEUM. FROM HERMANN SMITH'S _The Making of Sound in the Organ +and in the Orchestra._] + +[Illustration: REV. F. W. GALPIN'S WORKING REPRODUCTION OF THE ROMAN +HYDRAULUS. FROM HERMANN SMITH'S _The Making of Sound in the Organ and in +the Orchestra._] + + + + +CATALOGUE B + +LIST OF BOOKS ON MUSIC + + +Literature covering every branch of Music, Biographical and Critical +Studies of Composers, Histories of Musical Instruments, also valuable +Textbooks and Tutors for Teachers and Students of the Piano, Organ, +Violin, Cello, Theory, Singing, etc. + +_All prices are net and postage extra_ + + WILLIAM REEVES Bookseller Limited + 1a Norbury Crescent, London, S.W.16 + + Phone POLlards 2108 + +HISTORICAL, DESCRIPTIVE AND ANALYTICAL ACCOUNT OF THE ENTIRE WORKS OF +BRAHMS + +BY + +EDWIN EVANS (SENIOR) + +The works are treated in the order of their opus number, and =every= +single composition is dealt with =exhaustively=. No other work with such +a wealth of detail exists in any language. The whole, being adequately +indexed, forms a complete reference book for pianist, student and +concert-goer, and may be described as =monumental=. + +Of the =CHAMBER AND ORCHESTRAL= music, a minute analysis reaching to the +rhythmical significance of each bar is given. + +The analytical accounts of the =PIANO= works are each subdivided under +the headings: Key; Time and Extent; Thematic Material; Melody; Harmony; +Rhythm; etc. + +The =CHORAL= works are dealt with in the fullest detail, and original +English translations have been made to most of the =SONGS=. + +Each volume is a self-contained unit and a complete textbook on its +particular subject. + +=WITH 1,500 PAGES AND OVER 1,000 MUSIC EXAMPLES AND TABLES, COMPLETE IN +4 VOLUMES. OCTAVO, CLOTH,= L6 _net._ =OR SOLD SEPARATELY AS FOLLOWS:--= + +=Chamber and Orchestral Works. First Series to Op. 67.= 30s. _net._ + +=Chamber and Orchestral Works. Second Series. Op. 68 to the end.= 30s. +_net._ + +=Piano and Organ Works.= Comprising the complete Solo Works; Works for +Piano and Orchestra; also Works for Piano Duet and Organ Works as +applicable to Pianoforte Solo. 30s. _net._ + +=Vocal Works.= With portrait. 599 pages. 30s. _net._ + + "This treatise is comparable only to the Kochel catalogue of + Mozart. Research and detail could go no further; this book, a + labour of love indeed, will be the standard work of reference on + Brahms for this century, if not longer."--_The Library Assistant._ + +AESTHETICS, CRITICISMS, ESSAYS. + +=PAN PIPES. THE SPIRIT OF MUSIC= in Nature, Art and Legend, from East to +West. Penned in Sixteen Articles for General Reading, with Drawings of +Eastern Musical Instruments By G. P. GREEN (_author of_ "Some Aspects of +Chinese Music"). Crown 8vo, cloth, 7s. 6d. _net._ + +=HOW TO LISTEN TO GOOD MUSIC= and Encourage the Taste in Instrumental +and Vocal Music. With many useful Notes for Listener and Executant. By +K. BROADLEY GREENE. Complete, cloth, 7s. 6d. _net_; or in two books, +paper, 2s. 6d. _net_ each. + +=MOZART, WEBER AND WAGNER=, with Various other Essays on Musical +Subjects. By HECTOR BERLIOZ. Translated from the French by EDWIN EVANS, +Senior, F.R.C.O. Crown 8vo, cloth, 10s. _net._ + +A charming Book of Musical Essays. + +=SOME FAMOUS SYMPHONIES=, How to Understand Them. With their Story and +Simple Analysis. References also to Gramophone Records; numerous +Portraits. By J. F. Porte. Dealing with Symphonies of Beethoven, +Berlioz, Borodin, Brahms, Chausson, Dvorak, Elgar, Cesar Franck, Haydn, +Mendelssohn, Mozart, Schubert, Stanford and Tchaikovsky. Complete in +cloth, 8s. _net_, or in 2 separate parts, paper, 2s. 6d. _net_ each. + +For the general reader and musician alike. + +=THE DEATH AND RESURRECTION OF THE MUSICAL FESTIVAL.= By RUTLAND +BOUGHTON. 8vo, sewed, 1s. _net_. + + The Decay of Triennials--The Rise of Competitions--The Reform of + Competitions--The Festival of the Future. + +=SOME ASPECTS OF CHINESE MUSIC AND SOME THOUGHTS AND IMPRESSIONS ON ART +PRINCIPLES IN MUSIC.= By G. P. GREEN. Post 8vo, cloth, 6s. _net_, paper +covers, 3s. 6d. _net_. + +=THE FUTURE OF MUSIC.= Coming Changes Outlined in Regard to Composer, +Conductor and Orchestra. By LOUIS LALOY. Translated by MRS. FRANZ +LIEBICH. 8vo, cloth, 3s. 6d. _net_; paper, 2s. _net_. + +=SOME ASPECTS OF GIPSY MUSIC.= By D. C. PARKER. Post 8vo, cloth, 6s. +_net_ (or paper covers, 3s. 6d. _net_). + +=MUSIC AND MUSICIANS.= Essays and Criticisms, by ROBERT SCHUMANN. +Translated, Edited and Annotated by F. R. RITTER. Portrait of Robert +Schumann, photographed from a Crayon by BENDEMANN. First Series, Eighth +Edition. Thick crown 8vo, cloth, 419 pages, 15s. _net_. + +_Ditto._ Second Series. Fourth Edition, with a Contents-index added. +Thick crown 8vo, cloth, 540 pages, 15s. _net_. + +=THE DEEPER SOURCES OF THE BEAUTY AND EXPRESSION OF MUSIC.= By JOSEPH +GODDARD. With many Musical Examples. Crown 8vo, cloth, 7s. 6d. _net_. + +=MUSIC AND THE HIGHER EDUCATION.= Art a Necessity in the College World. +The Teacher's Preparation and his Method. By EDWARD DICKINSON. Crown +8vo, cloth, 10s. _net_. + +=WOMAN AS A MUSICIAN.= An Art Historical Study. By F. R. RITTER, 8vo, +sewed, 3s. _net_. + +=MUSICAL DEVELOPMENT=, or, Remarks on the Spirit of the Principal +Musical Forms. Being an AEsthetical Investigation, in which an Attempt is +made to show the Action in Music of certain Laws of Human Expression; to +point out what are the Spiritual Aims of the Chief Forms of Composition, +and the Broad Principles upon which they should be Constructed. By +JOSEPH GODDARD. 8vo, cloth, 10s. _net_. + +=IN THE SERVICE OF ART.= A Plea for Simplicity in Music. By J.-JOACHIM +NIN. Translated by MRS. FRANZ LIEBICH. Post 8vo, 2s. 6d. _net_. + + Translations of this brilliant essay have already appeared in + Spanish, Italian and German. + +=THE PLACE OF SCIENCE IN MUSIC.= By H. SAINT-GEORGE. Addressed to +Advanced Students of that branch of Musical Knowledge commonly called +Harmony. With music examples. 8vo, sewed, 2s. 6d. _net_. + +=NECESSITY OF MUSIC IN THE SCHOOL CURRICULUM.= Address delivered to +Members of the Music Teachers' Association. By A. W. POLLITT, _Mus.D., +F.R.C.O._ 8vo, sewed, 1s. 6d. _net_. + +=AESTHETICS OF MUSICAL ART=, or, The Beautiful in Music. By DR. FERDINAND +HAND. Translated from the German by WALTER E. LAWSON, Mus. Bac. Cantab, +etc. Second Edition. Crown 8vo, cloth, 10s. _net_. + +=NATIONAL SCHOOL OF OPERA FOR ENGLAND.= Being the Substance of a Paper +read at Trinity College, London. By FRANK AUSTIN. 1s. _net_. + +=MATERIAL OF MELODY= and Early Steps in Musical Art. By J. H. LEWIS. 6d. +_net_. + +=MUSIC IN THE HIRSCH LIBRARY= (Part 53 of the Catalogue of Printed Music +in the British Museum), by A. Hyatt King and C. Humphries, 1951. +Published for the Trustees of the British Museum. This catalogue, +prepared by the Museum staff, lists also a considerable number of works +which were either not included in the original four volume catalogue by +P. Hirsch, or were acquired later. 4to, cloth, L2 2s. _net_. + + + + +BOOKS ABOUT MUSICIANS AND THEIR WORKS. + +I.--COLLECTED. + + +=ON RUSSIAN MUSIC.= Critical and Historical Studies of Glinka's Operas, +Balakirev's Works, etc. With chapters dealing with Compositions by +Borodin, Rimsky-Korsakov, Tchaikovsky, Mussorgsky, Glazunov, and various +other Aspects of Russian Music. By GERALD ABRAHAM. With Frontispiece and +Music Examples. 8vo, cloth, 15s. _net._ + + Companion to the same author's "Studies in Russian Music." + +=STUDIES IN RUSSIAN MUSIC.= Rimsky-Korsakov and his Contemporaries. +Critical Essays on the most important of Rimsky-Korsakov's operas, +Borodin's "Prince Igor," Dargomizhsky's "Stone Guest," etc.; with +chapters on Glinka, Mussorgsky, Balakirev and Tchaikovsky. By GERALD +ABRAHAM. Copiously illustrated by music examples. 350 pages, crown 8vo, +cloth, 18s. _net._ + +=FROM MENDELSSOHN TO WAGNER.= Being the Memoirs of J. W. Davison, forty +years Music Critic of "The Times," compiled by his son, HENRY DAVISON, +from Memoranda and Documents. With 52 portraits of Musicians and +Important Letters (previously unpublished) of Mendelssohn, Berlioz, +Gounod, Jullien, Macfarren, Sterndale Bennett, etc. Index, 539 pages, +8vo, cloth, 25s. _net._ + +=WITH THE GREAT COMPOSERS.= A Series of Pen Pictures, exhibiting the +Personal Characteristics as Artists of the World's great Tone Poets in +the form of Interviews. By GERALD CUMBERLAND. Portraits. Cr. 8vo, cloth, +10s. _net._ + + Deals with Chopin, Haydn, Mendelssohn, Paganini, Beethoven, Handel, + Rossini, Schubert, Liszt, Berlioz, Mozart, Wagner, Tchaikovsky, + Cherubini, Wolf, Borodin, Schumann, Sullivan. + +=THE SYMPHONY WRITERS SINCE BEETHOVEN.= Critical Essays on Schubert, +Schumann, Goetz, Brahms, Tchaikovsky, Brueckner, Berlioz, Liszt, Strauss, +Mahler, Mendelssohn, Saint-Saens, etc. By FELIX WEINGARTNER. Translated +by A. BLES. Twelve Portraits. _Second Impression._ With Chapter added by +D. C. PARKER on Weingartner's Symphony No. 5. Crown 8vo, cloth, 12s. 6d. +_net._ + +=REEVES' DICTIONARY OF MUSICIANS.= Biographical Accounts of about 2,500 +Noteworthy Musicians of the Past and Present. Edited by EDMONDSTOUNE +DUNCAN and Others. Crown 8vo, cloth, 7s. 6d. _net_ (paper covers, 4s. +_net_). + +=SKETCHES OF GREAT VIOLINISTS AND GREAT PIANISTS.= Biographical and +Anecdotal, with Account of the Violin and Early Violinists. Viotti, +Spohr, Paganini, De Beriot, Ole Bull, Clementi, Moscheles, Schumann +(Robert and Clara), Chopin, Thalberg, Gottschalk, Liszt. By G. T. +FERRIS. Third Edition. Crown 8vo, cloth, 8s. 6d. _net._ Edition with +Portraits to each, 10s. _net._ + +=SKETCHES OF ENGLISH GLEE COMPOSERS.= Historical, Biographical and +Critical. From about 1735-1866. By D. BAPTIE. Post 8vo, cloth 8s. 6d. +_net._ + +=ENGLISH GLEE AND MADRIGAL WRITERS.= By W. A. BARRETT. 8vo, cloth, 6s. +_net_ (paper covers, 3s. 6d. _net_). + +=SOME MUSICAL RECOLLECTIONS OF FIFTY YEARS.= By RICHARD HOFFMAN. With +Memoir by MRS. HOFFMAN. Illustrated with many Plate Portraits. Crown +8vo, cloth, 10s. _net._ + +=MUSICAL MEMORIES.= By WILLIAM SPARK, _Mus.Doc. (late Organist of the +Town Hall, Leeds)_. Revised Popular Edition. With sixteen Portraits. +Thick crown 8vo, cloth, 10s. _net._ + +=BIOGRAPHICAL DICTIONARY OF FIDDLERS.= Including Performers on the +Violoncello and Double Bass, Past and Present. Containing a Sketch of +their Artistic Career, together with Notes of their Compositions. By A. +MASON CLARKE. Nine Portraits. Post 8vo, cloth, 10s. _net._ + + "We may here take the opportunity of recommending a useful book to + all lovers of violins and violinists. Fiddlers, Ancient and Modern, + is practically a little Biographical Dictionary, well arranged, + with some excellent portraits."--_Northern Whig._ + +=HOW TO STUDY THE PIANOFORTE WORKS OF THE GREAT COMPOSERS.= By HERBERT +WESTERBY Mus.Bac. Handel, Bach, Haydn, Scarlatti, Mozart, Clementi, C. +P. E. Bach. With Portraits and Musical Examples throughout. Crown 8vo, +cloth 12s. _net._ + +The following issued singly, paper covers: HANDEL, 1s.; D. SCARLATTI, +1s.; J. S. BACH, 1s. 6d.; C. P. E. BACH AND HAYDN, 1s.; CLEMENTI, 1s.; +MOZART, 1s. 6d. + +=MAKERS OF MUSIC.= Biographical Sketches of the Great Composers. With +Chronological Summaries of their Works and Facsimiles from Musical MSS. +of Bach, Handel, Purcell, Dr. Arne, Gluck, Haydn, Mozart, Beethoven, +Weber, Schubert, Berlioz, Mendelssohn, Chopin, Schumann, Wagner, Verdi, +Gounod, Tchaikovsky, Brahms and Grieg, with General Chronological Table. +By R. FARQUHARSON SHARP. Numerous Portraits. Fourth Edition, Revised and +Enlarged. Crown 8vo, cloth, 12s. 6d. _net_. + + The author's endeavour throughout this work has been to convey an + impression of the personality of each composer, as well as to + furnish biographical details. At the end of each biography is a + tabulated list of the composer's works and dates of production, + together with a facsimile from one of his original manuscripts. A + useful volume, got up in good style and well adapted for a gift or + prize. Has speedily run into several editions. + +=BRITISH MUSICAL BIOGRAPHY.= A Dictionary of Musical Artists, Authors +and Composers born in Britain and its Colonies. By J. D. BROWN and S. S. +STRATTON. 8vo, cloth, 21s. _net_. + + + + +BOOKS ABOUT MUSICIANS AND THEIR WORKS. + + +II.--INDIVIDUAL. + +=BACH. A DIGEST OF THE ANALYSES OF J. S. BACH'S FORTY-EIGHT CELEBRATED +FUGUES FROM THE WELL-TEMPERED CLAVIER= (Das Wohltemperirte Klavier). +With over 1,600 Music Examples and 46 Tables. The five parts in one +thick royal 8vo vol., cloth, 25s. _net_. Compiled by BROOK SAMPSON, +F.R.C.O. + +The following parts can be had separately:-- + +Section I, Subject, Answer, Theme. 2s. 6d. _net_. + +Section II, Exposition, Counter-Exposition, Plan of Construction. 2s. +6d. _net_. + +Section III, Subject and Counter-Subject, etc. 5s. _net_. + +Section IV, Codetta and Episodes. 5s. _net_. + +Section V, Stretti--Summary of Interesting Facts--General Index. 5s. +_net_. + +=THE FORTY-EIGHT FUGUES IN THE WELL-TEMPERED CLAVIER= (Das +Wohltemperirte Klavier). By J. S. BACH. Analysed by BROOK SAMPSON, +Mus.Bac. Oxon., F.R.C.O. + +Following obtainable, 1s. 6d. _net each_. + + No. 4, in C sharp minor + No. 9, in E major + No. 16, in G minor + No. 18, in G sharp minor + No. 24, in B minor + No. 28, in C sharp minor + No. 29, in D major + No. 34, in E minor + No. 36, in F minor + No. 38, in F sharp minor + No. 40, in G minor + +=OUTLINE ANALYSIS OF BACH'S FORTY-EIGHT FUGUES.= By BROOK SAMPSON. 3s. +_net_. + +=BALFE: HIS LIFE AND WORK.= By WM. ALEXANDER BARRETT. Over 300 pages. +Crown 8vo, cloth, 12s. 6d. _net_. + +=A CRITICAL STUDY OF BEETHOVEN'S NINE SYMPHONIES=, with a Few Words on +His Trios and Sonatas, a Criticism of "Fidelio" and an Introductory +Essay on Music. By HECTOR BERLIOZ. Translated from the French by EDWIN +EVANS, _Senior_. Portrait. Crown 8vo, cloth, 21s. _net_. + +=BEETHOVEN AND HIS PIANO WORKS= (Sonatas, Concertos, Variations, etc.). +Descriptive and Analytic Aid to their Understanding and Rendering. By +HERBERT WESTERBY. With list of Principal Editions and Bibliography. 3 +illustrations, 45 music examples. Crown 8vo, cloth, 10s. _net_. + + +"THE IMMORTAL NINE." + +=BEETHOVEN'S NINE SYMPHONIES.= Fully Described and Analysed. A Series of +Chapters giving a complete Account of Thematic Material and auxiliary +Motives: an Analytical Chart of each Movement; full Technical +Descriptions of Developments; Particulars of Formal and Rhythmic +Features; Epitomical Tables, etc. Illustrated by 637 Musical Examples. +By EDWIN EVANS (Senior), _author of_ "Handbook to the Vocal Works of +Brahms," etc. Cloth, Vol. I (Nos. 1 to 5), 17s. 6d. _net_. Vol. II (Nos. +6 to 9), 17s. 6d. _net_. + +=BEETHOVEN'S SYMPHONIES= in their Ideal Significance, Explained by ERNST +VON ELTERLEIN. Translated by FRANCIS WEBER. With an Account of the Facts +Relating to Beethoven's Tenth Symphony. By L. NOHL. Second Edition, with +Portrait. Crown 8vo, cloth, 10s. _net_. + +=BEETHOVEN'S SYMPHONIES= Critically Discussed by ALEXANDER TEETGEN. With +Preface by JOHN BROADHOUSE. Second Edition. Post 8vo, cloth, 6s. 6d. +_net_. + +=BEETHOVEN'S PIANO SONATAS.= A Descriptive Commentary on the Sonatas in +the light of Schnabel's Interpretations; giving an aesthetic Appreciation +of each Sonata, with an Outline of the Development of the Sonata Form in +Beethoven's hands. With a Biographical Sketch of Schnabel and an account +of his activity as an executant, composer and teacher. By RUDOLF +KASTNER. Englished by GERALD ABRAHAM. 55 pages, post 8vo, cloth, 5s. 6d. +NET (paper, 3s. 6d. NET). + +=BEETHOVEN'S PIANOFORTE SONATAS= Explained for the Lovers of the Musical +Art. By ERNST VON ELTERLEIN. Translated by E. HILL, with Preface by +ERNST PAUER. Revised Edition (the Seventh issue). With Portrait, and +View of Beethoven's House. Crown 8vo, cloth, 10s. _net_. + + "He writes with the ripe knowledge and thorough understanding of a + practical musician. Every musical student or amateur can safely + trust him as a competent and agreeable guide."--E. PAUER. + +=NOTES ON THE INTERPRETATION OF 24 FAMOUS PIANO SONATAS OF BEETHOVEN.= +By J. ALFRED JOHNSTONE (_author of_ "The Art of Teaching Piano Playing," +"Piano Touch, Phrasing and Interpretation," etc.). Portrait, crown 8vo, +cloth, 12s. 6d. _net_. + +=BEETHOVEN.= By RICHARD WAGNER. With a Supplement from the Philosophical +Works of Arthur Schopenhauer. Translated by EDWARD DANNREUTHER. Third +Edition. Crown 8vo, cloth, 12s. _net_. + + "It is a plain duty to be familiar and even intimate with the + opinion of one famous man about another. Gladly therefore we + welcome Mr. Dannreuther's translation of the work before us. Mr. + Dannreuther has achieved his task with the conscientiousness of his + nature and with a success due to much tact and patience."--_Musical + Times._ + + "This work contains his contributions towards the metaphysics of + music, if, indeed, such can be said to exist. Apart, however, from + metaphysics, the work is an exposition of Wagner's thoughts on the + significance of Beethoven's music."--_Grove's Dictionary._ + +=BORODIN THE COMPOSER AND HIS MUSIC.= A Descriptive and Critical +Analysis of his Works and a Study of his Value as an Art Force. With +many references to the Russian Kouchka Circle of Five--Balakirev, +Moussorgsky, Cesar Cui and Rimsky-Korsakov, with Borodin. By G. E. H. +ABRAHAM. With 5 Portraits. Thick crown 8vo, cloth, 15s. _net_. + +=LIFE OF JOHANNES BRAHMS.= By FLORENCE MAY. Second Edition. Revised by +the Author, with additional matter and Illustrations, and an +Introduction by Ralph Hill. In 2 vols., 8vo, cloth, 35s. _net_. + +=LIFE OF CHOPIN. By FRANZ LISZT.= New and very much Enlarged Edition. +Translated in full now for the first time by JOHN BROADHOUSE. Second +Edition, Corrected. Crown 8vo, cloth, 10s. _net_. + + "Franz Liszt has written a charming sketch of Chopin's life and + art."--_Encyclopaedia Britannica._ + + "Liszt's criticisms upon his separate works have all the eloquent + mysticisms to be expected from him; and the biography is a book + musicians will always prize."--_Sunday Times._ + +GEORGE SAND describes it as "un peu exuberent en style, mais rempli de +bonnes choses et de tres belles pages." + +=CHOPIN, HIS LIFE AND LETTERS.= By MORITZ KARASOWSKI. Translated by +EMILY HILL. Third Edition, with additional Letters in Polish with +English translation, Chopin to Grzymala, and extra Illustrations. +Fourteen Illustrations. Crown 8vo, cloth, 21s. _net_. + + Karasowski was a close friend of the family of Chopin and was + intimate with them for several years. He was given access to the + letters, many of which were subsequently destroyed during the + Warsaw insurrection, written by Chopin to his family in Poland + throughout his life abroad. These facts give this work particular + value, and to it we are also indebted for valuable information + regarding Chopin's life. + +=CHOPIN'S GREATER WORKS= (Preludes, Ballads, Nocturnes, Polonaises, +Mazurkas). How they should be Understood. By J. KLECZYNSKI. Including +Chopin's Notes for a "Method of Methods." Translated with additions by +N. JANOTHA and Edited by SUTHERLAND EDWARDS. Second Edition. With three +Portraits and a Facsimile. Crown 8vo, cloth, 8s. 6d. _net_. + +=FREDERIC CHOPIN=, Critical and Appreciative Essay. By J. W. DAVISON, +forty years Music Critic of "The Times." 8vo, 3s. _net_. + +=CHOPIN: AS REVEALED BY EXTRACTS FROM HIS DIARY.= By COUNT TARNOWSKI. +Translated from the Polish by N. JANOTHA. With eight Portraits. Crown +8vo, cloth, 6s. _net_ (or paper cover, 3s. 6d. _net_). + +In the above notes Chopin alludes to many of his compositions as well as +relating the conditions under which they were written. + +=CHOPIN THE COMPOSER AND HIS MUSIC.= An Analytical Critique of Famous +Traditions and Interpretations, as exhibited in the Playing of Great +Pianists, Past and Present. By JOHN F. PORTE. With portrait. 193 pages, +crown 8vo, cloth, 10s. 6d. _net_. + + "Your excellent book gives me supreme pleasure. You judge tradition + so well. I thank you for your artistic sympathy and your wonderful + book."--MORITZ ROSENTHAL. + +=HOW TO PLAY CHOPIN.= The Works of Chopin. Their Proper Interpretation. +By J. KLECZYNSKI. Translated by A. WHITTINGHAM. Sixth Edition. Woodcut +and Music Illustrations. Crown 8vo, cloth, 7s. 6d. _net_. + + "Contains the cream of Chopin's instructions to his own pupils. To + admirers of Chopin and players of his music we should say this book + is indispensable."--_Bazaar._ + +=HANDBOOK TO CHOPIN'S WORKS.= Detailed Account of all Compositions of +Chopin. Short Analyses for Piano Student and Critical Quotations from +Writings of Well-known Musical Authors. Also a Short Biography, Critical +Bibliography and a Chronological List of Works, etc. By G. C. A. JONSON. +Third edition. Crown 8vo, cloth, 15s. _net_. + + "Here in one compact volume, is all that it is necessary to know + about Chopin and his works except by the leisured + enthusiast."--_Daily Chronicle._ + +=CHERUBINI, LIFE OF.= By F. J. CROWEST. Crown 8vo, cloth, 6s. _net_. + +=CHERUBINI.= Memorials illustrative of his Life. By E. BELLASIS. Thick +crown 8vo, cloth, 12s. 6d. _net_. + + Standard biography of Cherubini. + +=CESAR FRANCK.= Personal Reminiscences. By J. W. HINTON, M.A., Mus.D. +Crown 8vo, limp cloth, 5s. _net_. + +=GLUCK AND HIS OPERAS.= With an Account of their Relation to Musical +Art. By HECTOR BERLIOZ. Translated from the French by EDWIN EVANS, +Senior. Portrait. Crown 8vo, cloth, 10s. _net_. + +=HANDEL'S "MESSIAH."= The Oratorio and its History. A Handbook of Hints +and Aids to its Public Performance, with useful Notes on each Movement, +as well as Numerous References and much Original Information. By J. +ALLANSON BENSON. Cloth, 6s. _net_ (paper 3s. _net_). + +=FRANZ LISZT.= By T. CARLAW MARTIN. A Sketch of his Life and +Personality. Post 8vo, 2s. 6d. _net_. + +=LISZT, COMPOSER, AND HIS PIANO WORKS.= Descriptive Guide and Critical +Analysis, written in a popular and concise style. By HERBERT WESTERBY, +Mus.Bac. Lon., etc. 5 illustrations, 24 music examples. 336 pp., crown +8vo, cloth, 12s. 6d. _net_. + +=THE ORGAN PARTS OF MENDELSSOHN'S ORATORIOS AND OTHER CHORAL WORKS.= +Analytically Considered. By ORLANDO A. MANSFIELD, _Mus.Doc._, _F.R.C.O._ +Numerous Musical Examples. Crown 8vo, cloth, 10s. _net_. + +=HOW TO INTERPRET MENDELSSOHN'S "SONGS WITHOUT WORDS"= (the celebrated +"Lieder ohne Worte"). A Readable and Useful Guide for All. Gives the +Piano Student helpful Insight into the first Principles of Form in +Music. By CHARLES W. WILKINSON. With portrait and facsimile of MS. Crown +8vo, cloth, 6s. _net_ (paper, 3s. 6d. _net_). + + These notes on each of the "Lieder" will help the student in + playing these homely and easily intelligible compositions. + +=ANALYSIS OF MENDELSSOHN'S ORGAN WORKS.= A Study of their Structural +Features. For the Use of Students. By JOSEPH W. G. HATHAWAY, _Mus.B. +Oxon._ 127 Musical Examples. Portrait and Facsimiles. Crown 8vo, cloth, +8s. 6d. _net_. + +=MOZART=: a Commemorative Address read before the Positivist Society. By +V. LUSHINGTON. 8vo, 2s. _net_. + + Mozart and Religion. + +=MOZART AND THE SONATA FORM=: A Companion Book to any Volume of the +Sonatas for Piano, including an Analysis of the Form of each Movement, +with Notes upon Treatment and Tonality, by J. R. TOBIN, Mus.B. Crown +8vo, cloth, 10s. _net_. + +=THE SONATA=: Its Form and Meaning, as Exemplified in the Piano Sonatas +by Mozart. A Descriptive Analysis, with Musical Examples. By F. H. +MARKS. Sq. 8vo, well printed on good paper, cloth, 15s. _net_; paper, +10s. 6d. _net_; or in two volumes (Nos. 1 to 9 and 10 to 20), paper, +each 6s. _net_. + +=QUESTIONS ON MOZART'S SONATAS=, both Educational and Suggestive. By F. +HELENA MARKS. Aid and Companion to the Study of the Author's work, "The +Sonata: Its Form and Meaning as Exemplified in the Piano Sonatas by +Mozart." For Teachers and Students. 2s. 6d. _net_. + +=PURCELL.= By WILLIAM H. CUMMINGS, _Mus. Doc._ Crown 8vo, cloth, 6s. +_net_. + +=RACHMANINOFF.= An Exhilarating Biographical Study of this Genius of the +Keyboard. By WATSON LYLE. With Critical Survey of his Works as recorded +on Gramophone Records, also his Playing of other Composers' Works. +Preface by LEFF POUISHNOFF. Two Portraits and List of Works. Crown 8vo, +cloth, 15s. _net_. + +=FRANZ SCHUBERT=, Man and Composer. A Vivid Story of a Charming +Personality. By C. WHITAKER-WILSON. With Original Translations into +English of eight Well-known Schubert Songs, together with the Music for +the Voice. Portraits and Illustrations of Schubert and his Friends. +Handsome volume, thick crown 8vo, cloth gilt, 15s. _net_. + + Schubert--the most poetical musician that ever was.--LISZT. + + Schubert--the man with the Divine Spark.--BEETHOVEN. + +=HENRY SMART'S ORGAN COMPOSITIONS ANALYSED.= By J. BROADHOUSE. Crown +8vo, cloth, 5s. _net_. + +=TEMPLETON AND MALIBRAN.= Reminiscences of these Renowned Singers, with +Original Letters and Anecdotes. Three Authentic Portraits by MAYALL. +8vo, cloth, 10s. _net_. + +=WAGNER'S TEACHINGS BY ANALOGY.= His Views on Absolute Music and of the +Relations of Articulate and Tonal Speech, with Special Reference to +"Opera and Drama." A Series of Papers for the Student. By EDWIN EVANS, +Senior, F.R.C.O. Crown 8vo, cloth, 6s. _net_; paper, 3s. 6d. _net_. + + The above forms an introduction to Wagner's Prose Writings. + +=WAGNER'S "PARSIFAL."= And the Bayreuth Fest-Spielhaus. By N. KILBURN. +Paper, 1s. _net_. + +=WAGNER SKETCHES=, 1849. A Historical Retrospect in vindication of +Wagner. By WILLIAM ASHTON ELLIS. Cloth, 3s. 6d. _net_ (paper 2s. _net_). + + +=OPERA AND DRAMA.= By RICHARD WAGNER. Translated by EDWIN EVANS, Senior, +F.R.C.O. Vol. I: Part I. Opera and the Essence of Music. Part II. The +Stage-Play and Dramatical Poetic Art in the Abstract. Vol. II: Part III. +Poetry and Music in the Drama of the Future. The Three Parts in 2 vols. +Portrait. Crown 8vo, cloth, 30s. _net_. + + The value of the study of Wagner's prose writing as an education to + the musical student cannot be over-estimated, and amongst these + prose writings "Opera and Drama" may be considered his principal + critical and theoretical production. Without a study of its + contents no true and lasting understanding of opera can be arrived + at. + + Wagner writing to his friend Uhlig said: + + _"Here you have my testament; I may as well die now--anything + further that I could do seems to me a useless piece of luxury."_ + + ERNEST NEWMAN in "A Study of Wagner," writes: "Although there + appears here and there in his prose-work something of the vast + synthetic power of his musical imagination--such a work as 'Opera + and Drama,' for instance, finally compelling our admiration for its + tenacity of purpose and the breadth of vision that sweeps so far + before and after." + +=WAGNER'S PROSE WORKS.= Translated by WM. ASHTON ELLIS. Vol. I, The +Art-Work of the Future, etc., 21s. _net_; Vol. II, Opera and Drama, 25s. +_net_; Vol. III, The Theatre, 21s. _net_; Vol. IV, Art and Politics, +21s. _net_; Vol. V., Actors and Singers, _out of print_; Vol. VI, +Religion and Art, _out of print_; Vol. VII, In Paris and Dresden, 25s. +_net_; Vol. VIII, Posthumous, etc., 25s. _net_. Complete sets are +occasionally available. Apply to the publishers of this list for +particulars. + +=DIARY OF A PILGRIM IN THE NETHERLANDS.= The Holy Grail in Bruges and +Other Impressions of Travel. Bruges, Courtrai, Tournai, Amsterdam, the +Hague, Antwerp. By ROSE KOENIG. Crown 8vo, cloth, 3s. 6d. _net_ (paper +covers, 2s. _net_). + +=HOW TO UNDERSTAND WAGNER'S "RING OF THE NIBELUNG."= Being the Story and +a Descriptive Analysis of the "Rheingold," the "Valkyr," "Siegfried" and +the "Dusk of the Gods." With Musical Examples of the Leading Motives of +each Drama. By GUSTAVE KOBBE. Together with a Sketch of Wagner's Life. +By N. KILBURN, Mus.Bac. Cantab. Seventh Edition, with Additions, a +Portrait and Facsimile. Post 8vo, cloth, 7s. 6d. _net_. + + "Description and analysis go hand in hand with the narration of the + story. Musical examples are given as aids to the identification of + the leading motives and an index makes it easy for any reader to + turn up any particular motive instantly."--_Yorkshire Observer._ + +=MY RECOLLECTIONS OF RICHARD WAGNER.= By AUGUST LESIMPLE. Post 8vo, +cloth, 3s. 6d. _net_ (paper covers, 2s. _net_). + +=WAGNER.= A Sketch of his Life and Works. By N. KILBURN, Mus.Bac. +Cantab. Paper, 1s. _net_. + +=ON CONDUCTING.= By RICHARD WAGNER. Translated by EDWARD DANNREUTHER. +Fourth Edition. Crown 8vo, cloth, 7s. 6d. _net_. + + "One of the finest of his minor publications, and to the + professional musician, perhaps the most instructive, giving his + views as to the true way of rendering classical music, with + numerous directions how to do it, and how not to do it, together + with many examples in musical type from the instrumental works of + Beethoven, Weber, Mozart, etc."--_Grove's Dictionary._ + +=WAGNER.= "Ring of the Nibelungen." Being the Story concisely told of +"Das Rheingold," "Die Walkuere," "Siegfried" and "Goetterdaemmerung." By N. +KILBURN, Mus.Bac. Cantab. Crown 8vo, paper, 2s. _net_. + +=THREE IMPRESSIONS OF BAYREUTH.= The 1908 and Previous Wagner Festivals. +By ROSE KOENIG. With Two Facsimile Programmes. Crown 8vo, cloth, 3s. 6d. +_net_ (paper, 2s. _net_). + +=LIFE OF WEBER.= With List of his Compositions. By SIR J. BENEDICT. +Crown 8vo, cloth, 6s. _net_. + +=BERLIOZ AND THE ROMANTIC CENTURY.= By J. BARZUN. Two volumes. 18 +illustrations. Demy 8vo, cloth, 42s. _net_. + + This monumental work, on which Professor Barzun has been engaged + for twenty years, is the first comprehensive book on Berlioz in the + English language. + + +HISTORY OF MUSIC, AND OF MUSICAL INSTRUMENTS. + +=STRINGED INSTRUMENTS OF THE MIDDLE AGES.= Their Evolution and +Development. By HORTENSE PANUM. English edition, revised and edited by +JEFFREY PULVER. A detailed and comprehensive history, with +illustrations, of the evolution of the mediaeval stringed musical +instruments from their first appearance in the records of the earliest +civilisations, through their gradual development in the Greek, Roman and +Christian eras down to more recent times. 400 illustrations, 8vo, cloth, +pp. ix, 511, 35s. + + Many years of travel and research were necessary to make the + production of this work possible. The author, in addition, has most + painstakingly searched mediaeval literature and the records of + contemporary art for references to and descriptions of the + instruments dealt with, and it is believed that the account here + given of them is as complete as it is possible to make it. + + The book is most generously illustrated and carefully indexed by + the editor. No pains have been spared to secure drawings or + photographs of practically every type mentioned. + +=TRIBAL MUSIC AND DANCING IN THE SOUTHERN SUDAN=, at Social and +Ceremonial Gatherings. A descriptive account of the music, rhythm, etc., +from personal observation. By DR. A. N. TUCKER. 5 illustrations, 61 +music examples illustrating the dances, songs and rhythm. 57 pages, demy +8vo, 10s. 6d. _net_ (or paper, 6s. 6d. _net_). + +=HISTORY OF THE TRUMPET= of Bach and Handel. A New Point of View and New +Instruments. Forming a History of the Trumpet and its Music, from its +earliest use as an artistic instrument to the middle of the 18th +century. Special reference given to its employment by Bach and Handel, +and the correct modern performance of old parts; including a description +of the new instrument invented by the author for this purpose. By WERNER +MENKE. Englished by GERALD ABRAHAM. With 5 plates and music supplement. +English and German text. 223 pages, crown 8vo, cloth, 15s. _net_. + +=BOWED HARP (THE).= A Study showing Fresh Light on the History of Early +Musical Instruments. By OTTO ANDERSSON, Ph.D., President of the Swedish +University at Aebo. From the Original Swedish Edition, revised by the +Author. The Translation Edited with additional footnotes by Kathleen +Schlesinger. 116 Illustrations, Bibliography and Index. 340 pages, 8vo, +cloth, 30s. _net_. + + "A valuable contribution to the literature about early musical + instruments."--_The Strad._ + +=MUSIC IN MEDIAEVAL SCOTLAND.= By DR. HENRY G. FARMER. Introduction by +SIR RICHARD R. TERRY, Mus.Doc. 8vo, sewed, 5s. _net_. + +=MUSIC OF THE MOST ANCIENT NATIONS=, Particularly of the Assyrians, +Egyptians and Hebrews; with special reference to Discoveries in Western +Asia and in Egypt. By CARL ENGEL. This issue has large size +reproductions of Harp unearthed at Ur (1928), and of Silver Military +Trumpet from the Tomb of Tut-Ankh-Amen in the Valley of the Kings +(unearthed 1926). The volume has about 100 illustrations. Thick 8vo, +cloth, 30s. _net_. + +=STORY OF INDIAN MUSIC AND ITS INSTRUMENTS.= A Study of the Present and +a Record of the Past. Together with Sir William Jones' celebrated +Treatise in full. With 19 Plates, chiefly of Instruments, 7 Music +Illustrations and a Map. By ETHEL ROSENTHAL, _A.R.C.M., F.R.G.S._ Crown +8vo, cloth, 15s. _net_. + +=OPERA STORIES OF TO-DAY AND YESTERDAY=, Retold Act by Act (including +Wagner's 5 "The Ring" Operas). By EDMONDSTOUNE DUNCAN. Complete, cloth, +6s. 6d. _net_. + + A racy account of the plots and histories of fifty famous operas, + from Purcell, Gluck and Mozart, to Richard Strauss and Ethel Smyth. + +=OLD ENGLISH PSALMODY.= By W. T. BROOKE. First Series: From the +Accession of Edward VI to the Restoration of Charles II, 1547-1660. +Second Series: Psalmists from 1660-1800. Crown 8vo, paper covers, 3s. +6d. _net_ each series. + +=THE GIPSY IN MUSIC.= By FRANZ LISZT. Englished for the first time by +EDWIN EVANS, _Senior_, and preceded by an Essay on Liszt and his Work. + + Gipsy and Jew, Two Wandering Races. Gipsy Life in Relation to Art. + Gipsy Music and Musicians. + +The result of the Author's long Experience and Investigations of the +Gipsies and their Music. With Portraits of the Author, etc. In two +handsome volumes, 8vo, cloth, 30s. _net_. + +=ARABIC MUSICAL MANUSCRIPTS IN THE BODLEIAN LIBRARY.= Plate of two +Musical Instruments from early Arabic Manuscripts. By H. G. FARMER, +_M.A., Ph.D._ 8vo, sewed, 10s. _net_. + +=HISTORY OF THE HARP.= From the Earliest Period. By JOHN THOMAS +(_Pencerdd Gwalia_). 8vo, paper covers, 6s. _net_. + +=HISTORY OF RUSSIAN MUSIC.= By M. MONTAGU-NATHAN. Being an Account of +the Rise and Progress of the Russian School of Composers. With a Survey +of their Lives and a Description of their Works. Frontispiece. 2nd +Edition, Revised. Thick crown 8vo, cloth, 15s. _net_. + + "Mr. Montagu-Nathan's book breaks new ground; it introduces the + English reader to a number of composers many of whom until recently + were nothing more than names. Mr. Montagu-Nathan presents a vast + amount of new material to the music-loving public of this country + ... his book should find many eager readers."--_Manchester + Courier._ + + "... We want a book packed full of hard stuff. This we get at its + best in ... Mr. Montagu-Nathan's 'History.'"--_Saturday Review._ + +=MUSIC AND MUSICAL INSTRUMENTS OF THE ARAB=, with Introduction on How to +Appreciate Arab Music by FRANCESCO SALVADOR-DANIEL (_Director, Paris +Conservatoire of Music, 1871_). Edited with Notes, Memoir, Bibliography +and thirty Examples and Illustrations, by DR. H. G. FARMER. Crown 8vo, +cloth, 25s. _net_. + +=THE STUDENT'S HISTORY OF MUSIC.= History of Music, from the Christian +Era to the Present Time. By DR. F. L. RITTER. Third Edition. 478 pages +of Letterpress and 72 Plates of Musical Illustrations. Thick crown 8vo, +cloth, 12s. 6d. _net_. + +=IRISH MUSICAL HISTORY=, Introductory Sketch of, by W. H. GRATTAN FLOOD. +A compact Record of the Progress of Music in Ireland during 1,000 Years. +Portraits. Crown 8vo, cloth, 5s. 6d. _net_ (paper 3s. _net_). + +=RISE AND DEVELOPMENT OF OPERA.= Embracing a Comparative View of the Art +in Italy, Germany, France and England. By JOSEPH GODDARD. Showing the +Cause of the Falling Back of the English School in the Modern Period, +and the Compensation which that Involved. Numerous Musical Examples, +Portraits and Facsimiles. Crown 8vo, cloth, 12s. 6d. _net_. + +=RISE AND DEVELOPMENT OF MILITARY MUSIC.= By DR. H. G. FARMER. With +Illustrations of Early Instruments and Musical Examples, and Short +Biographical Notices of all the Staff Bandmasters. Preface by LIEUT. A. +WILLIAMS, _M.V.O., Mus.Doc., Bandmaster of Grenadier Guards_. Crown 8vo, +cloth, 15s. _net_. + +=CATECHISM OF MUSICAL HISTORY AND BIOGRAPHY= By F. J. CROWEST. Revised +and Enlarged Edition. Tenth Thousand. 187 pages. Post 8vo, cloth, 5s. +_net_ (paper, 2s. 6d. _net_). + + _Musical Education_ says: "An excellent little book--yet not so + little since it contains an immense amount of + information--historical, biographical and critical--in a very small + compass." + +=THE TROUBADOUR AS MUSICIAN=, Past and Present. By C. A. HARRIS. Cloth, +5s. _net_ (paper, 2s. 6d. _net_). + +=POLISH MUSIC AND CHOPIN, ITS LAUREATE.= A Historical Account from 995 +to the Present Time, including Chopin and his Works. By E. RAYSON. Four +Portraits. Square 8vo, cloth, 5s. _net_ (paper, 3s. 6d. _net_). + +=NATIONAL MUSIC OF THE WORLD.= By H. F. CHORLEY. Edited by H. G. +HEWLETT. Many Music Examples. New Issue, with Index added. Crown 8vo, +cloth, 10s. 6d. _net_. + + Treats of the national tunes, folk-songs and airs of various races + of the world. The chapters are undoubtedly marked in a high degree + with the critic's acumen, attesting the wide range of Chorley's + learning. + +=CHRONOMETRICAL CHART OF MUSICAL HISTORY.= Presenting a Bird's Eye View +from the Pre-Christian Era to the XXth Century. By C. A. HARRIS, +_A.R.C.O._, etc. On linen, folded in case, 5s. _net_ (on special paper, +2s. 6d. _net_). + + "Sure to be very useful to students ... excellently arranged and + seems to be very accurate and thorough."--DR. RALPH DUNSTAN. + +=HISTORICAL FACTS FOR THE ARABIAN MUSICAL INFLUENCE ON MUSICAL THEORY.= +By HENRY GEORGE FARMER, _M.A., Ph.D._ Thick crown 8vo, cloth, 27s. 6d. +_net_. + + Dr. Farmer's researches into the MUSIC OF THE ARABS OF THE MIDDLE + AGES, a period when these people led the world's culture, have + universal recognition. He now throws a flood of fresh light on many + obscure corners in the History of Mediaeval Music. + + The present work undoubtedly breaks fresh ground in history, and is + from the hands of a scholar. + +=THE PAST AND THE FUTURE.= An Inaugural Lecture at Gresham College. By +SIR F. BRIDGE, _Mus.Doc._ Crown 8vo, sewed, 1s. _net_. + +=THE WORLD'S EARLIEST MUSIC.= Traced to its Beginnings in Ancient Lands. +By collected Evidences of Relics, Records, History and Musical +Instruments, from Greece, Etruria, Egypt, China, through Assyria and +Babylonia to the Primitive Home, the Land of Akkad and Sumer. By HERMANN +SMITH. With sixty-five full-page Illustrations and Cuts, nearly 400 +pages. Crown 8vo, cloth, 21s. _net_. + +THE GROWTH AND DEVELOPMENT OF MUSIC. Chapters on the Study of Musical +History. By EDWARD DICKINSON. With Annotated Guide to Music Literature. +Over 400 pages. Thick 8vo, cloth, 18s. 6d. _net_. + + ERNEST NEWMAN (_Manchester Guardian_) writes: " ... the extent and + the accuracy of the information conveyed make the book + indispensable to _students_ and to _public libraries_." + +=GENERAL HISTORY OF MUSIC= from the Infancy of the Greek Drama to the +Present. By W. S. ROCKSTRO. Fourth Edition, 535 pages. Thick 8vo, cloth, +21s. _net_. + +=TREATISE ON BYZANTINE MUSIC.= By S. G. HATHERLEY. 208 Musical Examples. +162 pages, 4to, cloth, 25s. _net_. + + There are upwards of 50 unabbreviated musical pieces, ancient and + modern, from Greek, Russian, Turkish and Egyptian sources, given + and fully analysed. + + +ORCHESTRAL. + +=THE CHAMBER AND ORCHESTRAL WORKS OF JOHANNES BRAHMS. FIRST SERIES TO +OP. 67.= Historical, Descriptive and Analytical Account of each Work +treated in the order of the Opus number, and preceded by a Didactic +Section. With Exhaustive Structural, Thematic and Rhythmical Analyses, +and a complete Rhythmical Chart of each Movement. By EDWIN EVANS, +Senior. With 435 music examples and tables. 8vo, cloth, 30s. _net_. + +=THE CHAMBER AND ORCHESTRAL WORKS OF JOHANNES BRAHMS. SECOND SERIES, OP. +68 TO THE END.= By EDWIN EVANS, Senior. Uniform with the above. With 633 +music examples and tables. 8vo, cloth, 30s. _net_. + + The above two volumes are a complete technical account of the + chamber and orchestral music, with the exception of the two piano + concertos. They form a part of the Historical, Descriptive and + Analytical Account of the Entire Works of Brahms advertised on page + 2. + +=ORCHESTRAL AND BAND INSTRUMENTS.= A Short Account of the Instruments +used in the Orchestra, and in Brass and Military Bands. By G. F. +BROADHEAD, Mus.B. Dunelm, L.Mus.T.C.L. With 24 Illustrative Music +Examples. 8vo, cloth, 5s. _net_ (paper, 3s. _net_). + +=CONCISE METHOD OF INSTRUMENTATION.= How to Write for the Orchestra and +Arrange an Orchestral or Band Score. Illustrated with Musical Examples +and various large folding Charts and Index. By EDWIN EVANS, _Senior_, +_author of_ "Beethoven's Nine Symphonies Fully Described and Analysed," +etc. 8vo, cloth. Vol. I, 15s. _net_; Vol. II, 15s. _net_; Vol. I. How to +Write for Strings, Arrangement of Scoring and Preparation of Parts. With +Charts. Vol. II. How to "Write for Wood, Brass and Drums, and Arrange a +Band Score. With large folding Charts." + +=INSTRUMENTS AND ART OF THE ORCHESTRA.= An Introductory Study. With +Table showing Range of each Instrument. By P. W. DE COURCY-SMALE, +_Mus.Bac._ Cloth, 6s. _net_ (paper, 3s, 6d. _net_). + +=ORCHESTRAL WIND INSTRUMENTS=, Ancient and Modern. Being an Account of +the Origin and Evolution of Wind Instruments from the Earliest to the +most Recent Times. Illustrated with Plates specially prepared for this +Work, giving sixty-one Examples of Instruments (or parts) described. By +ULRIC DAUBENY. Important original work fully illustrated with beautiful +Reproductions taken from fine Photographs of the Actual Instruments. +8vo, cloth, 21s. _net_. + +=HANDBOOK ON THE TECHNIQUE OF CONDUCTING.= By SIR ADRIAN BOULT. Seventh +Edition, revised. 5s. _net_. + +=PRACTICAL GUIDE FOR THE CONDUCTOR= and Useful Notes for the Orchestra. +By F. W. DE MASSI-HARDMAN. With Music Examples and Diagrams. 3s. _net_. + +=ART OF THE CONDUCTOR.= A Suggestive Guide to the Theory and Practice. +With 41 Diagrams and Examples. By HECTOR BERLIOZ. Translated by J. +BROADHOUSE. Cloth, 7s. 6d. _net_. + +=A MUSICAL ZOO.= Twenty-four Illustrations displaying the Ornamental +Application of Animal Forms to Musical Instruments (Violins, Viol da +Gambas, Guitars, Pochette, Serpent, etc.) Drawn from the Carved Examples +by HENRY SAINT-GEORGE. Cloth, 6s. _net_ (paper, 3s. 6d. _net_). + +=THE FUTURE OF MUSIC.= Coming Changes Outlined in Regard to Composer, +Conductor and Orchestra. By LOUIS LALOY. Translated by MRS. FRANZ +LIEBICH. 8vo, cloth, 3s. 6d. _net_ (paper, 2s. _net_). + +=HOW TO PLAY FROM SCORE.= Treatise on Accompaniment from Score on the +Organ or Piano. By F. FETIS. Translated by A. WHITTINGHAM. With forty +pages of Examples. Crown 8vo, cloth, 7s. 6d. _net_. + + This popular and useful book might have been entitled "The Art of + Making Arrangements for the Organ or Pianoforte from Full + Orchestral and Other Scores." It contains all that is necessary to + know upon this subject. + +=ON CONDUCTING.= By RICHARD WAGNER. Translated by E. DANNREUTHER. Fourth +Edition. Crown 8vo, cloth, 7s. 6d. _net_. + + WEINGARTNER, speaking of this celebrated work, says: "Wagner's book + laid the foundation for a new understanding of the function of the + conductor, in whom we now recognise, not only the eternal factor + that holds together an orchestral, choral or operatic performance, + but above all the spiritualising internal factor that gives the + performance its very soul." + + _Grove's Dictionary_ says "One of the finest of his minor + publications, and to a professional musician perhaps the most + instructive. A Treatise on _Style_, giving his views as to the true + way of rendering classical music, with minute directions how to do + it and how not to do it, together with many examples in musical + type from the instrumental works of Beethoven, Weber, Mozart, etc." + +=NOTES ON CONDUCTING AND CONDUCTORS.= By T. R. CROGER, _F.R.G.S., +F.Z.S._, also the Organising and Conducting of Amateur Orchestras, with +three full-page Illustrations of the various "Beats" and Plan of the +Orchestra. Fifth Impression, Revised and Enlarged. Crown 8vo, cloth, 6s. +_net_ (paper, 3s. _net_). + + "A mine of good things."--_Musical Opinion._ + + "One of the best guides to conducting."--_Music Trades Review._ + +=ABOUT CONDUCTING.= Practical Advice on Concerts, Rehearsals, the +Orchestra, Players, Scores and Parts, etc. by SIR HENRY WOOD (Conductor +and Organiser of the Promenade Concerts). With two plans, crown 8vo, +cloth, 5s. 6d. _net_. + + +ORGAN. + +=TECHNICS OF THE ORGAN.= An Illuminative Treatise on many Points and +Difficulties connected therewith. Special Treatment of Rhythm, +Minimisation of the Use of Accessories, Extemporisation, Expressive +Regulation of Organ Tone and Accompaniment. By EDWIN EVANS, Senior, +F.R.C.O. With over 100 Music Examples. 4to, cloth, 12s. 6d. _net_. + + A valuable Book to help a Moderate Player to become a Master. + +=NEW ORGAN PRINCIPLES AND THEIR INTERPRETATION.= A Guide to and +Suggestions on Phrasing and Registration with a view to improved Organ +Playing. By TERENCE WHITE. With 54 music examples. Octavo, cloth, 6s. +_net_ (paper covers, 3s. 6d. _net_). + +=ORGAN OF THE ANCIENTS FROM EASTERN SOURCES= (Hebrew, Syriac and +Arabic). By HENRY GEORGE FARMER, M.A., Ph.D., Carnegie Research Fellow. +Foreword by CANON F. W. GALPIN. With numerous Illustrations. Square 8vo, +cloth, 27s. 6d. _net_. + + "An authoritative treatment of the subject."--_Grove's Dictionary._ + +=TECHNICS OF ORGAN TEACHING.= A Handbook which treats of Special Points +in Organ Teaching Examinations, together with Test Questions. By R. A. +JEVONS. 8vo, cloth, 6s. _net_ (paper, 3s. 6d. _net_). + +=ART OF ORGAN ACCOMPANIMENT IN THE CHURCH SERVICES.= What to Do and what +to Avoid: being a Guide to the Organist in the effective rendering of +the Music. By WALTER L. TWINNING, _F.R.C.O._, author of "Examination +Test Questions," etc. Cloth, 6s. _net_ (paper covers, 3s. 6d. _net_). + +=MODERN ORGAN BUILDING.= Being a Practical Explanation and Description +of the Whole Art of Organ Construction, with Especial Regard to +Pneumatic Action. Together with Chapters on Tuning, Voicing, etc. By +WALTER and THOMAS LEWIS (_Organ Builders_). =Third edition=, with +additional matter and Diagrams added, covering the latest developments +in electrical control, unit chest, etc., and organ blowing. 116 +illustrations, including 76 drawn to scale and reproduced from actual +working drawings, together with diagrams, tables, etc. xxix, 247 pages, +4to, cloth. + +=THE ORGAN AS VIEWED FROM WITHIN.= A Practical Handbook on the Mechanism +of the Organ. By JOHN BROADHOUSE. With over fifty Illustrations. Second +Impression. Crown 8vo, cloth, 8s. 6d. _net_. + +=THE PEDAL ORGAN.= Its History, Design and Control. By THOMAS CASSON. +With folding Diagram. Second Impression. 8vo, cloth, 6s. _net_. + +=THE EARLY ENGLISH ORGAN BUILDERS= and their Works, from the Fifteenth +Century to the Period of the Great Rebellion. An Unwritten Chapter on +the History of the Organ. By DR. E. F. RIMBAULT. Well printed, with +Woodcuts. Post 8vo, cloth, 7s. 6d. _net_. + +=THE ORGAN=: A Comprehensive Treatise on its Structure, Capabilities, +History and Bibliography. With Criticisms and Depositories, preceded by +an Analytical Consideration of general Bibliographical and Catalogual +Construction. By J. W. WARMAN, _late Organist of the Anglican Cathedral, +Quebec_. Four parts [A to Nou. (the rest unprinted)], 15s. _net_. + + The parts advertised above are all that have been published, as the + untimely death of Mr. Warman prevented the completion of the work. + The book is a mine of wealth for those interested in organ + subjects. The author devoted the best part of his life in compiling + the work and collecting material for his subject. + +=SOME CONTINENTAL ORGANS= (Ancient and Modern) and their Makers. With +Specifications of many of the fine Examples in Germany and Switzerland. +By JAMES I. WEDGEWOOD. Post 8vo, cloth, 6s. 6d. _net_. + + Contains specification and a brief _critique_ of some of the famous + old Continental organs. Describes also several up-to-date + Continental organs. Amongst others particulars are given of those + at Haarlem, Cologne, Aix-la-Chapelle, Frankfort, Heidelberg, Ulm, + Stuttgart, Einsiedeln, Strassburg and Antwerp. This work forms a + valuable supplement to Hopkins's and Rimbault's great treatise. + +=MODERN ORGAN TUNING=, The How and Why, Clearly Explaining the Nature of +the Organ Pipe and the System of Equal Temperament, together with an +Historic Record of the Evolution of the Diatonic Scale from the Greek +Tetrachord. By HERMANN SMITH. Crown 8vo, cloth, 7s. 6d. _net_. + + "The greatest authority on acoustical matters connected with organ + pipes who has ever lived," says Mr. G. A. Audsley of Hermann Smith + in his "Art of Organ Building." + +=THE TEMPLE EDITION OF ORGAN OVERTURES AND ARRANGEMENTS=, all with Ped. +Obb. 3s. _net_ each. + + See page 25 for list of about sixty works in this series, including + works by Wagner, Tchaikovsky, Beethoven, Mozart, Handel, Berlioz, + Glinka, Schubert, Gounod, Herold, Mendelssohn, Meyerbeer, Balfe, + Auber, Rossini, Weber, Wallace, Suppe, Adam, Thomas, Nicolai, + Sterndale-Bennett, Cornelius and Flotow, chiefly arranged by Edwin + Evans. + +=THE INFLUENCE OF THE ORGAN IN HISTORY.= By DUDLEY BUCK. Fresh issue +with Illustrations. Crown 8vo, cloth, 4s. _net_ (or paper, 2s. _net_). + +=ORGANIST'S REPERTOIRE GUIDE.= An International Repertoire Guide +(Historical, Educational and Descriptive) to Foreign, British and +American Works. By HERBERT WESTERBY, B.B.C. Organ Recitalist (_author +of_ "Liszt, Composer, and his Piano Works"). 4to, cloth, 17s. 6d. _net_. + + Describes the best Organ Music of foreign countries as well as of + Britain and America. + + A large and beautifully presented quarto work, fully illustrated by + thirty-six plates on fine art paper, comprising seven English and + sixteen foreign organs, thirty-one portraits, and illustrations of + the houses of Bach and Handel. + +=REFORM IN ORGAN BUILDING.= By THOMAS CASSON. Crown 8vo, sewed, 2s. 6d. +_net_. + +=TUTOR FOR THE AMERICAN ORGAN AND HARMONIUM.= By W. F. TAYLOR. 4to, 2s. +6d. _net_. + +=THE BYRD ORGAN BOOK=, for Piano or Organ. A Collection of 21 Pieces +(Pavans, Galliards, etc.), by William Byrd, 1543-1623, edited from the +Virginal MSS., and now first published in Modern Notation. By M. H. +GLYN, 7s. 6d. + + "A charming collection."--_West Sussex Gazette._ + +=ADVICE TO YOUNG ORGANISTS.= By J. T. FIELD. 6d. _net_. + +=THE ORGAN FIFTY YEARS HENCE.= A Study of its Development in the Light +of its Past History and Present Tendencies. By FRANCIS BURGESS, +_F.S.A._, _Scot._ 8vo, 2s. _net_. + + +THE TEMPLE EDITION OF ORGAN OVERTURES. (3 Staves). + +Arranged from Full Score by Edwin Evans, Senr. (except where other wise +stated). + +Price 3/-_net_ each. + + =ATHALIE= (Mendelssohn). + =BARBER OF BAGDAD= (Peter Cornelius). + =BEATRICE AND BENEDICT= (Berlioz). + =BENVENUTO CELLINI= (Berlioz). + =BOHEMIAN GIRL= (Balfe). + =CALM SEA AND PROSPEROUS VOYAGE= (Mendelssohn). + =CARNAVAL ROMAIN= (Berlioz). + =CORSAIR= (Berlioz). + =CROWN DIAMONDS= (Auber). + =EGMONT= (Beethoven). + =EURYANTHE= (Weber). + =FAUST= (Gounod). + =FAUST= (Wagner). + =FESTIVAL OVERTURE= (Tschaikowsky). + =FIGARO= (Mozart). + =FINALE= (Rubinstein's Sonata, Op. 12). + =FLYING DUTCHMAN= (Wagner). + =FRA DIAVOLO= (Auber). + =FREISCHUTZ= (Weber). A. Whittingham. + =ISABELLA= (Suppe). + =ITALIANA= (Rossini). + =KING LEAR= (Berlioz). + =KING STEPHEN= (Beethoven). P. J. Mansfield. + =LA CLEMENZA DI TITO= (Mozart). P. J. Mansfield. + =L'AFRICAINE= (Meyerbeer). + =LA REINE DE SABA= (Gounod). + =LARGO= from Beethoven's Sonata in E flat. W. A. C. Cruikshank. + =LE SONGE D'UNE NUIT D'ETE= (Thomas). + =LIFE FOR THE CZAR= (Glinka). + =LIGHT CAVALRY= (Suppe). + =LOHENGRIN= (Wagner). + =LURLINE= (Wallace). + =MAGIC FLUTE= (Mozart). + =MARITANA= (Wallace). + =MASANIELLO= (Auber). + =MEISTERSINGERS= (Wagner). + =MERRY WIVES OF WINDSOR= (Nicolai). + =MIDSUMMER NIGHT'S DREAM= (Mendelssohn). + =MIGNON= (A. Thomas). + =NAIADES, THE= (Sterndale Bennett). + =OBERON= (Weber). A. Whittingham. + =OTHO= (Handel). W. A. C. Cruikshank. + =1812 OVERTURE= (Tschaikowsky). + =POET AND PEASANT= (Suppe). + =PARSIFAL= (Wagner). + =RAYMOND= (Thomas). + =RIENZI= (Wagner). + =ROSAMUNDE= (Schubert). + =RUY BLAS= (Mendelssohn). + =SCIPIO= (Handel). + =SEMIRAMIDE= (Rossini). + =SI J'ETAIS ROI= (Adam). + =SIRENE, LA= (Auber). + =SON AND STRANGER= (Mendelssohn). W. A. C. Cruikshank. + =STRADELLA= (Flotow). + =TANCREDI= (Rossini). + =TANNHAUSER= (Wagner). + =TRISTAN AND ISOLDA= (Wagner). + =WAVERLEY= (Berlioz). + =WILLIAM TELL= (Rossini). A. Whittingham. + =ZAMPA= (Herold). + + +PIANO SOLO OVERTURES. + +Price 2/-_net_ each. + + =BOHEMIAN GIRL= (Balfe). + *=CALIPH OF BAGDAD= (Boieldieu). + =CROWN DIAMONDS= (Auber). + =DER FREYSCHUTZ= (Weber). + =DON GIOVANNI= (Mozart). + =DONNA DEL LAGO= (Rossini). + =FRA DIAVOLO= (Auber). + =GUY MANNERING= (Sir H. R. Bishop). + =IDOMENEO= (Mozart). + =IL BARBIERE= (Rossini). + *=IL TANCREDI= (Rossini). + =LIGHT CAVALRY= (Suppe). + =MAGIC FLUTE= (Zauberfloete), (Mozart). + =MARITANA= (Wallace). + =MASANIELLO= (Auber). + *=MERRY WIVES OF WINDSOR= (Nicolai). + =MIGNON OVERTURE= (A. Thomas). + =NOZZE DE FIGARO= (Mozart). + *=POET AND PEASANT= (Suppe). + =RAYMOND= (Thomas). + =SEMIRAMIDE= (Rossini). + =WILLIAM TELL= (Rossini). + *=ZAMPA= (Herold). + +* Also arranged as Duet (piano, 4 hands), price 2/6 _net_. + + + +PIANOFORTE. + +=THE PIANO WORKS OF BRAHMS.= By EDWIN EVANS, _Senior_. Historical, +Descriptive and Analytical Account of each Work treated in the Order of +the Opus number, and preceded by a Didactic Section. 8vo, cloth, 30s. +_net_. + + The above volume is a complete technical account of the piano + works. It forms a part of the Historical, Descriptive and + Analytical Account of the Entire Works of Brahms advertised on page + 2. + +=HOW TO PLAY BACH'S 48 PRELUDES AND FUGUES.= A Guide Book for the use of +Piano Students as an aid to the Unravelling and Interpretation of these +Masterpieces, ensuring a more Intelligent Keyboard Rendering. By C. W. +WILKINSON. Crown 8vo, cloth, 10s. _net_. + +=NATURAL TECHNICS IN PIANO MASTERY.= A Complete and Authoritative +Manual, covering every phase of Piano Playing and Study. Many Diagrams +of Hand and Finger Technique and some Music Examples. By JACOB +EISENBERG. Crown 8vo, cloth, 12s. 6d. _net_. + +=PARTHENIA=, or the First Musick ever printed for the Virginals. 21 +Compositions by three Famous 16th and 17th century Masters, William +Byrd, Dr. John Bull and Orlando Gibbons. Arranged for the Piano and +freed from the errors of Dr. Rimbault's edition by accurate comparison +with the original text by MARGARET H. GLYN. Folio, 12s. 6d. _net_. + + This edition of "Parthenia" has been entirely re-engraved. + +=THE APPROACH TO LISZT.= A Course of Modern Tonal-Technique for the +Piano, in the form of Graded Studies from the Moderately Difficult to +the Master Stage. By HERBERT WESTERBY, _Mus.Bac. Lond., F.R.C.O., etc._ +Folio, 5s. 6d. _net_. + + Preliminary Studies in Touch and Phrasing in all Keys. Based on the + Scales and Broken Chords. + + Intermediate Studies in Sequential, Wrist and Preparatory Arpeggio + Work in the Black and White Key Positions. + + Advanced Sequential Studies on the Black Keys, with Sixteen + Excerpts from Liszt's Piano Works. The Master Works: Fifty-eight + Excerpts from Liszt. + +=THE ART OF TUNING THE PIANOFORTE.= A New Comprehensive Treatise to +enable the Musician to Tune his Piano upon the System founded on the +Theory of Equal Temperament. By HERMANN SMITH. New Edition, thoroughly +Revised. Crown 8vo, limp cloth, 6s. _net_. + +=ESSENTIALS IN PIANO-PLAYING=, and other Musical Studies. By J. ALFRED +JOHNSTONE, Hon. L.Mus., T.C.L. Portrait, 243 pages. Crown 8vo, cloth, +10s. _net_. + +=EXTEMPORISING AT THE PIANO MADE EASY.= A Manual for Beginners in +Musical Composition. Hints and Aids for the "From Brain to Keyboard" +Composer. By REV. E. H. MELLING, _F.R.C.O._ 8vo, limp cloth, 3s. 6d. +_net_ (paper 2s. _net_). + +=INDIVIDUALITY IN PIANO TOUCH.= By ALGERNON H. LINDO and J. ALFRED +JOHNSTONE. Crown 8vo, 2s. 6d. _net_. + +=THE ARTIST AT THE PIANO.= Essays on the Art of Musical Interpretation. +By GEORGE WOODHOUSE. New and Revised Edition. Portrait of Paderewski. +8vo, cloth, 5s. 6d. _net_. + + The celebrated pianist, Paderewski, after reading the manuscript of + this stimulating volume, wrote: "The booklet is quite a remarkable + work and a really valuable contribution to the philosophy of + pianistic art." + +=THE STUDENT'S GUIDE TO THE ART OF TEACHING THE PIANOFORTE.= By CYRIL R. +H. HORROCKS, L.R.A.M., L.T.C.L., A.R.C.M. With an Extensive and +Carefully Graded List of Studies and Course of the Great Masters. +Numerous Musical Examples. Second edition, Revised. Crown 8vo, cloth, +10s. _net_. + + Until quite recently it was thought impossible to give practical + instructions on the art of teaching, but the error of this idea has + been proved by the great success of the teachers' class at the + various musical institutions. The author's aim is to supply a + guide-book expressly for beginners and those with limited + experience in the art. + +=PIANOFORTE TEACHER'S GUIDE.= By L. PLAIDY. Translated by FANNY RAYMOND +RITTER. Crown 8vo, boards, 3s. _net_ (paper, 2s. _net_). + + "Some of the finest pianists of the day owe much of their technical + facility to Plaidy's excellent method."--_Bazaar._ + +=CANDIDATE'S SCALE AND ARPEGGIO TESTS= for the Piano. In the Primary, +Elementary and Junior Grades of all Local Examinations in Music, and the +Higher and Lower Divisions of the Associated Board of the R.A.M. and +R.C.M. By WILSON MANHIRE. 1s. _net_. + +=TECHNICAL STUDY IN THE ART OF PIANOFORTE PLAYING= (Deppe's Principles). +By C. A. EHRENFECHTER. With numerous Illustrations. Fourth Edition. +Crown 8vo, cloth, 6s. _net_. + + CONTENTS: Position--Arm--Wrist--Fingers; Touch (Tone Production); + Legato; Equality of Tone; Tension and Contraction; Five Finger + Exercises; Skips; The Scale; Arpeggio Chords; Firm Chords; High + Raising of the Arm; Melody and its Accompaniment; Connection of + Firm Chords; The Tremolo: The Shake (Trill); The Pedal; Fingering. + +=HOW TO ACCOMPANY AT THE PIANO.= By EDWIN EVANS. (Plain Accompaniment, +Figurated Accompaniment, Practical Harmony for Accompanists). 172 Music +Examples which are made Clear by the Explanatory Text. Crown 8vo, cloth, +10s. _net_. + +=GRADUATED SCALE AND ARPEGGIO MANUAL.= Compiled for the various Exams. +By HENRY SAINT-GEORGE. 3s. _net_. + +=A SYSTEM OF STUDY OF SCALES AND CHORDS.= Being Chapters on the Elements +of Pianoforte Technique. By B. VINE WESTBROOK, F.R.C.O. Numerous +Examples. New and Revised edition. 8vo, 3s. _net_. + + The author outlines a scheme which abolishes the drudgery and + inspires the pupil with an enthusiasm for practice and formulates a + method or system in which that practice may be carried out. + +=PIANO CLASSES IN ELEMENTARY SCHOOLS.= By AUDREY KING. With Music +Examples. Crown 8vo, 1s. _net_. + +=HOW TO PLAY 110 FAVOURITE PIANO SOLOS.= Being the 4 Series complete in +1 vol. of "Well-Known Piano Solos: How to Play them with Understanding, +Expression and Effect." By CHARLES W. WILKINSON. Crown 8vo, cloth, 12s. +6d. _net_. + +=WELL-KNOWN PIANO SOLOS.= How to Play them with Understanding, +Expression and Effect. By C. W. WILKINSON. Four Series, 2s. each (each +series containing about 26 articles), or four in one vol. as above. + + Contents of the First Series:--SINDING, Rustle of Spring. + SCARLATTI, Pastorale le Capriccio. PADEREWSKI, Minuet in G. HANDEL, + Harmonious Blacksmith. RUBINSTEIN, Melody in F. SCHARWENKA, Polish + Dance. SCHUMANN, Nachtstuecke. GODARD, Mazurka. DELIBES, Pizzicati + from Sylvia. GRIEG, Wedding Day at Troldhangen. ELGAR, Salut + d'Amour. PADEREWSKI, Melodie. RAFF, La Fileuse. TCHAIKOVSKY, + Troika. GODARD, Berger et Bergeres. CHAMINADE, Pierrette. + MOSZKOWSKI, Etincelles. PADEREWSKI, Minuet in A major. GRIEG, + Norwegian Bridal Procession. LISZT, Regata Veneziana. CHAMINADE, + Automne. MOSZKOWSKI, Serenata. LACK, Valse Arabesque. SCHUMANN, + Arabeske. CHOPIN, Etude in G flat. DURAND, First Valse. + + Draws one's attention to the beauties in a piece, explains + difficulties here and there, draws attention to a pedal effect and + any peculiarity of fingering, and generally gives all the + information a professor is expected to give to his pupils. + +=DELIVERY IN THE ART OF PIANOFORTE PLAYING=, On Rhythm, Measure, +Phrasing, Tempo. By C. A. EHRENFECHTER. Second Edition. Crown 8vo, +cloth, 6s. _net_. + + "The section with reference to accent is particularly good. There + are numerous illustrations from the works of the masters."--W. H. + WEBBE in _The Pianist's A. B. C._ + +=PIANO TOUCH, PHRASING AND INTERPRETATION.= By J. Alfred Johnstone. +Crown 8vo, cloth, 7s. 6d. _net_. + +=PRACTICE REGISTER= for Pupil's Daily Practice. A Specimen, 1d. (or 2s. +6d. per 100). + +=REEVES' VAMPING TUTOR.= Art of Extemporaneous Accompaniment, or Playing +by Ear on the Pianoforte, Rapidly Enabling anyone having an Ear for +Music (with or without any Knowledge of Musical Notation) to Accompany +with Equal Facility in any Key. Practical Examples. By FRANCIS TAYLOR. +New Edition, to which is added Instructions for Accompaniment with Equal +Facility in every Key illustrated by Examples. Folio, 2s. _net_. + +=THE DEPPE FINGER EXERCISES= for Rapidly Developing an Artistic Touch in +Pianoforte Playing, Carefully Arranged, Classified and Explained by AMY +FAY (Pupil of Tausig, Kullak, Liszt and Deppe). Folio, English or +Continental Fingering, 2s. _net_. + +=INTRODUCTION TO RUSSIAN PIANO MUSIC.= By HERBERT WESTERBY, +Mus.Bac.Lond., F.R.C.O., L.Mus.T.C.L., 1s. _net_. + +=REEVES' POPULAR PIANOFORTE TUTOR.= Rudiments of Music, Exercises with +Popular Airs, Major and Minor Scales. With Illustration of Fingerboard. +Folio, 2s. 6d. _net_. + + +TECHNICAL AND THEORETICAL. + +=ESSENTIALS IN MUSIC STUDY FOR EXAMINATIONS.= A Helpful Guide both for +the General Student and Candidates for Junior and Intermediate +Examinations. By REV. E. H. MELLING, F.R.C.O. Cloth, 5s. _net_ (paper +covers, 2s. 6d. _net_). + + Rev. E. H. Melling is the author of several popular works which + have been found of great use to music students--"Guide for the + Young Composer," "Extemporising at the Piano made Easy," etc. + +=GUIDE FOR THE YOUNG COMPOSER.= Hints on the Art of Composition, with +Examples of Easy Application. By REV. E. H. MELLING, F.R.C.O. Cloth, 5s. +_net_ (paper covers, 2s. 6d. _net_). + +=EXAMINATION TEST QUESTIONS.= Containing spaces for the Pupils' Written +Answers. By WALTER L. TWINNING, F.R.C.O. No. 1, Musical Notation and +Time; No. 2, Formation of Scales; No. 3, Ornaments; No. 4, Intervals, +9d. _net_ each. + +=THEORY OF MUSIC FOR YOUNG MUSICIANS.= With Answers given to all the +Questions, and a Dictionary of necessary Musical Terms. By MARY SHARP. +Limp cloth, 2s. 6d. _net_ (paper covers, 1s. 6d. _net_). + +=102 TEST QUESTIONS ON THE GENERAL RUDIMENTS OF MUSIC.= In Groups of Six +each Lesson, for Written or Oral Use. By WILSON MANHIRE, L.R.A.M. 6d. +_net_. + +=PRIMARY COURSE IN THE RUDIMENTS OF MUSIC=, With Hints on Answering +Questions (Written Work) for All Examinations in the Primary, Elementary +and Preparatory Grades. By WILSON MANHIRE, L.R.A.M., etc. 2s. _net_. + +=EXAMINATION CANDIDATE'S GUIDE= to Scale and Arpeggio Piano Playing +(with Tests). All that is required for the Various Exams. By WILSON +MANHIRE, L.R.A.M. 3s. _net_. + +=CANDIDATE'S SCALE AND ARPEGGIO TESTS= for the Piano. By WILSON MANHIRE, +L.R.A.M. 1s. _net_. + +=STUDIES IN MODULATION= for Practical and Theoretical Purposes. By PERCY +BAKER, F.R.C.O., etc. Cloth, 5s. 6d. _net_ (paper, 3s. _net_). + +=MUSICAL FORM=, A Handbook to, for Instrumental Players and Vocalists. +By E. VAN DER STRAETEN. With Musical Examples, 205 pages. 8vo, cloth, +6s. 6d. _net_ (paper 4s. _net_). + + The part of the work on Dance Forms gives a history and description + of the Suite or Partita, Allemande, Courante, Sarabande, Gigue, + Gavotte, Musette, Bourree, Branle, Passepied, Rigaudon, Loure, + Pavane, Galliard, Tambourin, Cebell, Rondo, Menuet, Polonaise, + Mazurka, Bolero, Tarantella, Saltarello, March, Ciaccone and + Passacaglia. + +=STUDIES IN HISTORICAL FACTS AND MUSICAL FORM.= Being a Guide and Note +Book for a more Systematic Preparation of the General Knowledge Papers +now set at the Universities and Colleges of Music. By PERCY BAKER. +Cloth, 5s. 6d. _net_ (paper, 3s. _net_). + +=MOZART AND THE SONATA FORM.= By J. R. TOBIN, Mus.B. _See Pianoforte +Section._ + +=FUGUE.= A Conversational Address delivered to the Incorporated Guild of +Church Musicians. By J. H. LEWIS, Mus.Doc. (Victoria College of Music). +Crown 8vo, limp cloth, 2s. _net_. + +=MUSICAL EXPRESSIONS, PHRASES AND SENTENCES=, with their Corresponding +Equivalents in French, German and Italian. By F. BERGER. 8vo, cloth, 5s. +6d. _net_ (paper, 3s. _net_). + +=RUDIMENTS OF MUSIC=, Set forth in Graded QUESTIONS with ANSWERS, for +Use of Candidates preparing for the Examinations of R.A.M., R.C.M. and +T.C.L. By B. HOWARTH, L.R.A.M. and A.R.C.M. Crown 8vo, 2s. _net_. + + _The Answers are always on the right hand page and can be covered + over if desired, the Questions being on the corresponding left hand + pages._ + +=ELEMENTARY LESSONS ON SIGHT-SINGING.= Combining the Staff and Tonic +Sol-fa Notations. With Music Examples throughout. By J. W. ROSSINGTON, +L.R.A.M. Cloth, 3s. 6d. _net_; paper, 2s. _net_. + + For many singers there is only one method of becoming good + sight-readers, viz., combining the tonic sol-fa with the staff + notation. It is hoped that a perusal of these elementary lessons + will show the principles on which this combination is effected, and + simplify the somewhat difficult task of sight-reading. + +=STEPS IN HARMONY.= With Copious Explanatory Examples and Graded Test +Exercises. A Handbook for Students. By DR. CHURCHILL SIBLEY. With Music +Examples throughout. Crown 8vo, boards, cloth back, 6s. _net_ (paper, +3s. 6d. _net_). + + It is believed that he who thoroughly masters the contents of these + pages will be prepared to study intelligently the harmonic + structure of the works of the great masters, and also to follow + critically the changeful tendencies of the present day. + +=600 QUESTIONS AND 600 EXERCISES IN ELEMENTARY MUSICAL THEORY.= By W. H. +PALMER. Crown 8vo, cloth, 5s. _net_ (paper covers, 3s. _net_). + + Intended as a help to the private student and to the candidate + preparing for the several musical examinations. + +=THE MODAL ACCOMPANIMENT OF PLAIN CHANT.= A Practical Treatise. By EDWIN +EVANS, Senior, F.R.C.O. Part I, Theoretical; Part II, Practical School +of Plain Chant Accompaniment, consisting of 240 Exercises, with an +Appendix of Notes. Crown 8vo, cloth, 8s. 6d. _net_. + +=THE HARMONISING OF MELODIES.= A Text-Book for Students and Beginners. +By H. C. BANISTER. Third Edition, with numerous Musical Examples. Crown +8vo, limp cloth, 5s. _net_. + +=MUSICAL ANALYSIS.= A Handbook for Students. By H. C. BANISTER. With +Musical Illustrations. Crown 8vo, limp cloth, 5s. _net_ (paper covers, +2s. 6d. _net_). + +=THE ART OF MODULATING.= A Series of Papers on Modulating at the +Pianoforte. By HENRY C. BANISTER. With 62 Musical Examples. Crown 8vo, +cloth, 6s. _net_ (paper covers, 3s. 6d. _net_). + +=MODERN CHORDS EXPLAINED.= (The Tonal Scale in Harmony.) By ARTHUR G. +POTTER. Musical Examples from C. Debussy, Richard Strauss and Granville +Bantock. 8vo, cloth, 4s. _net_ (paper covers, 2s. _net_). + +=EXERCISES IN VOCAL SCORE READING.= Collected from the Works of Orlando +di Lasso, Palestrina, Vittoria, Barcroft, Redford, Peter Certon, Byrd, +Gibbons, Croft, Rogers, Boyce, etc. For Students preparing for the +R.C.O. and other Examinations. By JAMES LYON, Mus.Doc. Oxon. 4to, 4s. +6d. _net_. + +=EXERCISES IN FIGURED BASS AND MELODY HARMONIZATION.= By JAMES LYON, +Mus.Doc. 4to, 3s. 6d. _net_. + +=EXAMPLES OF FOUR-PART WRITING FROM FIGURED BASSES AND GIVEN MELODIES.= +By JAMES LYON, Mus.Doc. 4to, 5s. 6d. _net_. + + These exercises are printed in open score so as to be of use in + score reading tests. This volume forms a key to "Exercises in + Figured Bass" by the same author (see above). + +=HOW TO COMPOSE.= A Practical Guide to the Composition of all Works +within the Lyric Form, and which include the Valse, Gavotte, Mazurka, +Polonaise, March, Minuet, and all Ordinary Dance Forms; as also the +Nocturne, Impromptu, Berceuse, Reverie and Similar Characteristic +Pieces. By EDWIN EVANS, Senior, F.R.C.O. With 60 Musical Examples. Crown +8vo, cloth, 7s. 6d. _net_. + +=THE RUDIMENTS OF GREGORIAN MUSIC.= By FRANCIS BURGESS, F.S.A., Scot. +Second Impression. Crown 8vo, limp cloth, 2s. 6d. _net_ (paper, 1s. 6d. +_net_). + +=MUSICAL PRONOUNCING DICTIONARY.= By DR. DUDLEY BUCK. Eighth Edition, +with the Concise Explanation and Pronunciation of each Term. Edited and +Revised by A. WHITTINGHAM. Crown 8vo, cloth, 3s. _net_ (paper, 1s. 6d. +_net_). + + A most valuable and useful little book to all musical people. The + method adopted for giving the pronunciation of each term is most + concise and clear. + +=A FIRST BOOK OF MUSIC FOR BEGINNERS=, Embodying English and Continental +Teaching. By ALFRED WHITTINGHAM. Sixth Thousand. Crown 8vo, sewed, 4d. +_net_. + +=HARMONY, EASILY AND PROGRESSIVELY ARRANGED.= Presenting in a Simple +Manner the Elementary Ideas as well as the Introduction to the Study of +Harmony. With about 300 Musical Examples and Exercises. By PAUL COLBERG. +Crown 8vo, cloth, 7s. 6d. _net_. + + AUGUST WILHELMJ says: "This work is distinguished by brevity and + clearness. I most warmly recommend it." + +=COMPEND OF MUSICAL KNOWLEDGE.= By PERCY BAKER, F.R.C.O., L.Mus. T.C.L. +Being a Guide with Notes, Hints and Articles on the Study of Examination +Questions. Crown 8vo, cloth, 6s. _net_ (paper, 3s. 6d. _net_). + + _Primarily_ to help candidates entering for the R.C.O. and T.C.L. + Diplomas, though containing much information for the amateur + musician and general reader. Indispensable to teachers in guiding + their pupils through a course of study dealing with a large number + of subjects like those set for the F.R.C.O. and A.R.C.O. + +=ELEMENTARY MUSIC.= A Book for Beginners. By DR. WESTBROOK. With +Questions and Vocal Exercises. Fifteenth Thousand. Crown 8vo, cloth, 4s. +_net_ (paper, 2s. _net_). + + CONTENTS: 1. The Staff and its Clefs. 2. Notes and their Rests. 3. + Bars and Time. 4. Accidentals. 5. Keys and Scales. 6. Intervals. 7. + Musical Pitch. 8. Accent. 9. Secondary Signs. 10. Ornaments and + Groups of Notes. 11. Voices and Scores. 12. Church Modes. 13. + Italian and other Directions. 14. Foreign Note-Names. 15. + Questions. 16. Vocal Exercises. + + "His explanations are extremely clear. The questions at the end + will be found very useful."--_Musical Times._ + +=EXERCISES ON GENERAL ELEMENTARY MUSIC.= A Book for Beginners. By K. +PAIGE. Fourth Edition. Part I, 1s. 6d. _net_; Part II, 2s. _net_. Crown +8vo, paper (2 parts complete in cloth, 5s. _net_). + + CONTENTS OF PART I: 1. Pitch. 2. Length of Sounds. 3. Time. 4. Time + and Accent. 5. Intervals. 6. Scales. 7. Transposition. 8. + Syncopation. 9. Signs and Abbreviations. 10. Notation. 11. + Miscellaneous Questions and Exercises. + + CONTENTS OF PART II: 1. Triads. 2. First Inversion of a Triad. 3. + Second Inversion of a Triad. 4. Dissonances. 5. Suspensions. 6. + Sequences. 7. Cadences. 8. Dominant Sevenths, etc. + +=HOW TO MEMORISE MUSIC.= By C. F. KENYON. With numerous Musical +Examples. Fourth Edition. Crown 8vo, cloth, 5s. _net_. + + "Mr. Kenyon proves himself an excellent guide; and indeed we know + of no other work devoted to the subject with which he has dealt so + thoroughly and so successfully."--_Glasgow Herald._ + +=HOW TO HARMONIZE MELODIES.= With Hints on Writing for Strings and +Pianoforte Accompaniments. By J. HENRY BRIDGER, Mus.Bac. With Musical +Examples throughout. Crown 8vo, cloth, 6s. _net_. + +=THE ART OF MODULATION.= A Handbook showing at a Glance the Modulations +from one Key to any other in the Octave, consisting of 1,008 +Modulations. For the Use of Organists and Musical Directors. Edited by +CARLI ZOELLER. Third Edition. Roy. 8vo, cloth, 8s. _net_ (paper, 5s. +_net_). + +=THE STUDENT'S BOOK OF CHORDS.= With an Explanation of their Inversions +and Resolutions. By PASCAL NEEDHAM. Crown 8vo, sewed, 1s. 6d. _net_. + + The chords with their inversions and resolutions are briefly and + clearly explained. + +=TRANSPOSITION AT SIGHT.= For Students of the Organ and Pianoforte. By +H. E. NICHOL. Fourth Edition, with numerous Musical Exercises. Crown +8vo, cloth, 3s. 6d. _net_; paper, 2s. _net_. + + The practice of transposing upon the lines here laid down develops + the "mental ear," quickens the musical perception and gives ease in + sight reading; as it is evident that, if the student can + _transpose_ at sight, he will not have much difficulty in merely + _playing_ at sight. Free use is made of the tonic sol-fa as well as + the standard notation in many musical examples. + +=SCHUMANN'S RULES AND MAXIMS FOR YOUNG MUSICIANS.= Sewed, 6d. + +=THE STUDENT'S HELMHOLTZ.= Musical Acoustics, or the Phenomena of Sound +as Connected with Music. By JOHN BROADHOUSE. With more than 100 +Illustrations. Fifth Impression. Crown 8vo, cloth, 12s. 6d. _net_. + + "In his Preface the author says: 'The object of the present book is + to give, in one volume, a good general view of the subject to those + who can neither spare time to read, nor money to buy a number of + large and expensive works.' A perusal of the book justifies us in + asserting that this design is most satisfactorily carried out; and + it is not too much to say that although the plan of the work + excludes the possibility of minutely dissecting every subject + treated upon, any careful reader may obtain so clear an insight + into the principle of acoustics, as to enable him not only to pass + an examination but to store up a large amount of general knowledge + upon the phenomena of sound."--_Musical Times._ + + +VIOLIN AND STRINGED INSTRUMENTS. + +=VIOLINIST'S MANUAL.= A Treatise on Construction, Choice, Care, +Adjustment, Study and Technique of the Violin. Full of Useful and +Practical Advice regarding the Violin and Bow. By H. F. GOSLING. +Numerous Illustrations and an Index. Crown 8vo, cloth, 15s. _net_. + +=VIOLIN TECHNICS=, or How to Become a Violinist. Exact Instructions, +Step by Step, for its Accomplishment with or without a Teacher. By +"FIRST VIOLIN." 3s. _net_. + +=PLAYING AT SIGHT FOR VIOLINISTS= and Others in an Orchestra. Valuable +Hints and Aids for its Mastery. By SYDNEY TWINN. Post 8vo, 3s. _net_. + +ADVANCED MODERN VIOLIN TECHNICS. + +=TONAL SCALES AND ARPEGGIOS FOR VIOLIN.= Introductory to the Unusual +Intonation and Finger-grouping of Advanced Modern Music. By SYDNEY +TWINN. 4to, 3s. _net_. + + "These scales will be useful to advanced players who find + difficulties in the unusual intonation and technique of modern + music"--_Strad._ + +=SCALES AND ARPEGGIOS.= Indispensable Studies for the Violin. Edited by +ALBERT GRAFF. 1s. 6d. _net_. + +=ARPEGGIOS FOR THE VIOLIN.= By BASIL ALTHAUS. Folio. 3s. _net_. + +=VIOLINIST'S ENCYCLOPAEDIC DICTIONARY.= Containing the Explanation of +about 4,000 Words, Phrases, Signs, References, etc., Foreign, as well as +English, used in the Study of the Violin, and also by String Players +generally, by F. B. EMERY, M.A. New and enlarged edition, doubled in +size. 246 pp., crown 8vo. Cloth 10s. _net_, paper, 7s. 6d. _net_, or on +India paper and bound in red pegamoid rounded corners, 12s. 6d. _net_. +Suitable for student or travel. + +=70 PREPARATORY VIOLIN EXERCISES= for Beginners in the First Position, +carefully Graduated, Supplementary to the First Instruction Book. By +WILSON MANHIRE, L.R.A.M., A.R.C.M., etc. 2s. 6d. _net_. + +=BOW INSTRUMENTS=, their Form and Construction. Practical and Detailed +Investigation and Experiments regarding Vibration, Sound Results, and +Construction. By J. W. GILTAY. Issued into English by the Author in +Co-operation with E. VAN DER STRAETEN. Numerous Diagrams. 8vo, cloth, +16s. _net_. + + "A valuable treatise."--_The Strad._ + +=OLD VIOLINS AND VIOLIN LORE=, Famous Makers of Cremona and Brescia, and +of England, France and Germany (with Biographical Dictionary), Famous +Players, and Chapters on Varnish, Strings and Bows, with 13 full-page +plates. By H. R. HAWEIS. Thick crown 8vo, cloth, 17s. 6d. _net_. + +=YOUNG VIOLINIST'S SCALE AND ARPEGGIO MANUAL.= By WILSON MANHIRE, +L.R.A.M., etc. 2s. _net_. + +=FACTS ABOUT FIDDLES.= Violins Old and New. By J. BROADHOUSE. Fourth +Edition. Crown 8vo, paper. 2s. 6d. _net_. + +=NOTABLE VIOLIN SOLOS=: How to Play Them. Three Series (consisting of 43 +descriptive Articles in all). By E. VAN DER STRAETEN. 2s. 6d. _net_ each +series. Also complete, in cloth, with Portraits, 10s. _net_. + +=VIOLIN MANUFACTURE IN ITALY= and its German Origin. By DR. E. SCHEBEK. +Translated by W. E. LAWSON. Second Edition. Square 12mo, cloth, 6s. +_net_; paper, 3s. 6d. _net_. + +=CHATS WITH VIOLINISTS.= By WALLACE RITCHIE. With four Photographic +Illustrations. Crown 8vo, cloth, 8s. 6d. _net_. + + CHAPTERS: On the Importance of being Accurate; On Various Details; + On the Violin and its Fittings; On Reading from Sight and Playing + from Memory; A Few Violin Secrets; Some valuable Technical + Exercises; Hand Development for Violinists, including Eighteen + Excellent Finger Gymnastics; Sundry Useful Hints. + + I here lay before the public that information and advice which I + have hitherto been content to reserve for the sole use of my own + pupils. During a considerable experience, both as a student and as + a teacher of the violin, I have naturally pieced together quite a + variety of small hints and items of information which, though + modest enough individually, have been found on the whole to be of + no inconsiderable value, not only with regard to my own playing, + but also--and which is of far more importance--in enabling me to + impart a knowledge of the art to others. + +=ADVICE TO VIOLIN STUDENTS.= Containing Information of the Utmost Value +to every Violinist. By WALLACE RITCHIE. Crown 8vo, cloth, 8s. 6d. _net_ +(paper, 5s. _net_). + + CONTENTS: Selecting and Adjusting--Choice of a Teacher--Course of + Study--The Sevcik Method--Practising--Style--Tone + Production--Pronunciation of Terms, Names, etc.--Graded List of + Studies, Pieces, etc. Together with Hints on Common + Faults--Shifting--Reading + Music--Stopping--Harmonics--Vibrato--Tempo--Intonation, Pitch, etc. + +=THE VALUE OF OLD VIOLINS.= By E. POLONASKI. Being a List of the +Principal Violin Makers, British, Italian, French and German. With +Approximate Valuations of their Instruments and Occasional Notes on +their Varnish. Facsimiles of Labels and Violins. Crown 8vo, cloth, 10s. +_net_. + +=INFORMATION FOR PLAYERS=, Owners, Dealers and Makers of Bow +Instruments, also for String Manufacturers. Taken from Personal +Experiences, Studies and Observations. By WILLIAM HEPWORTH. With +Illustrations of Stainer and Guarnerius Violins and Gauge of Millimetres +and Centimetres, etc. Crown 8vo, cloth, 8s. 6d. _net_. + + CONTENTS: The + Pegs--Neck--Fingerboard--Bridge--Tail-piece--Saddle--Violin + Holder--Tail-pin--Bar--Sound-post--On the Stringing of Bow + Instruments in General Use--Strings--Rosin--Cleaning of the + Instrument and the Bridge--Bow--Violin + Case--Repairs--Preservation--Conclusion. + +=SKETCHES OF GREAT VIOLINISTS AND GREAT PIANISTS.= Biographical and +Anecdotal, with Account of the Violin and Early Violinists. Viotti, +Spohr, Paganini, De Beriot, Ole Bull, Clementi, Moscheles, Schumann +(Robert and Clara), Chopin, Thalberg, Gottschalk, Liszt. By G. T. +FERRIS. Third Edition. Crown 8vo, cloth, 8s. 6d. _net_. + +=TREATISE ON THE STRUCTURE AND PRESERVATION OF THE VIOLIN= and all other +Bow Instruments. Together with an Account of the most Celebrated Makers +and of the Genuine Characteristics of their Instruments. By J. A. OTTO, +with Additions by J. BISHOP. With Diagrams and Plates. Fourth Edition, +further Enlarged. Crown 8vo, cloth, 10s. _net_. + + Contains instructions for the repair, preservation and bringing out + the tone of instruments; tracing model for violin, mutes and fiddle + holders; list of classical works for stringed instruments. This + work is especially valuable for makers of violins. + +=HOW TO PLAY THE FIDDLE.= For Beginners on the Violin. By H. W. and G. +GRESSWELL. Eighth Edition. Crown 8vo, cloth, 6s. _net_; or in 2 vols., +paper, 3s. _net_. + + JOACHIM says: "Contains many useful hints about violin playing." + +=BIOGRAPHICAL DICTIONARY OF FIDDLERS.= Including Performers on the +Violoncello and Double Bass, Past and Present. Containing a Sketch of +their Artistic Career, together with Notes of their Compositions. By A. +MASON CLARKE. 9 Portraits. Post 8vo, cloth, 10s. _net_. + + "We may here take the opportunity of recommending a useful book to + all lovers of violins and violinists. Fiddlers, Ancient and Modern, + is practically a little Biographical Dictionary, well arranged with + some excellent portraits."--_Northern Whig._ + +=ART OF HOLDING THE VIOLIN AND BOW AS EXEMPLIFIED BY OLE BULL.= His Pose +and Method proved to be based on true Anatomical Principles. By A. B. +CROSBY, M.D., Professor of Anatomy. Portrait, Diagrams and +Illustrations. 8vo, cloth, 5s. _net_. + + Included in the above are some interesting recollections and + anecdotes of Ole Bull. + +=THE VIOLIN AND OLD VIOLIN MAKERS.= Being a Historical and Biographical +Account of the Violin. By A. MASON CLARKE. With Facsimile of Labels used +by Old Masters and illustrations of a copy of Gasparo da Salo. Crown +8vo, cloth, 10s. _net_. + +=THE VIOLIN, ITS HISTORY AND CONSTRUCTION.= Illustrated and Described +from many Sources. Together with a List of Italian and Tyrolese Makers. +With 28 Illustrations and folding Examples of the First Music issued for +the Lute, Fiddle and Voice. From the German of ABELE and NIEDERHEITMANN. +By J. BROADHOUSE. Fresh issue printed in larger size. Crown 8vo, cloth, +10s. _net_. + + "The learned and instructive treatise of Abele, skilfully rendered + by J. Broadhouse and supplemented by a version of Niederheitmann's + list of Italian and Tyrolese violin makers, a compilation + invaluable to collectors and connoisseurs of rare fiddles ... a + work which forms a noteworthy addition to the small number of + English books upon this interesting subject."--_Scotsman._ + +=HOW TO MAKE A VIOLIN=, Practically Treated. By J. BROADHOUSE. New and +Revised Edition. With 47 Illustrations and Folding Plates and many +Diagrams, Figures, etc. Crown 8vo, cloth, 10s. 6d. _net_. + + CONTENTS: Introduction--The Parts of the Violin--On the Selection + of Wood--The Tools required--The Models--The Mould--The Side-pieces + and Side Linings--The Back--Of the Belly--The Thickness of the Back + and Belly--The Bass Bar--The Purfling--The Neck--The + Fingerboard--The Nut and String Guard--Varnishing and + Polishing--Varnishes and Colouring Matter--The Varnish--A + Mathematical Method of Constructing the Outline--The Remaining + Accessories of the Violin. + + This new edition had the advantage of being revised throughout by a + celebrated violin maker. + +=A MUSICAL ZOO.= Twenty-four Illustrations displaying the Ornamental +Application of Animal Forms to Musical Instruments (Violins, Viol da +Gambas, Guitars, Pochette, Serpent, etc.). Drawn from the Carved +Examples by HENRY SAINT-GEORGE. Cloth, 6s. _net_ (paper, 3s. 6d. _net_). + +=THE HISTORY OF THE VIOLIN= and other Instruments Played on with the Bow +from the Remotest Times to the Present. Also an Account of the Principal +Makers. Coloured Frontispiece and numerous Illustrations and Cuts. By W. +SANDYS, F.S.A., and S. A. FORSTER. Thick 8vo, cloth 27s. 6d. _net_. + +=THE VIOLIN AND BOW.= A Treatise (in Three Languages, English, French +and German), with numerous Copies of Photographs taken from Life, +supplemented by various Examples and Original Studies by I. B. +POZNANSKI. 5s. _net_. + +=TECHNICS OF VIOLIN PLAYING.= By KARL COURVOISIER. With Illustrations. +Eleventh Edition. Cloth, 5s. _net_, paper, 2s. 6d. _net_. + + "It is my opinion that this book will offer material aid to all + violin players."--JOACHIM. + + "As far as words, aided by diagrams, can make clear so practical a + subject as the playing of a musical instrument, this little book + leaves nothing to be desired. The author, who was a pupil of + Joachim, has treated the subject in a most thorough manner, and we + can highly recommend his little book."--_Educational Times._ + +=AN IMPORTANT LESSON TO PERFORMERS ON THE VIOLIN.= By the Celebrated +TARTINI. Portrait. Being the Translation by DR. BURNEY, issued +originally in 1779, together with the original Italian. 8vo, cloth, 6s. +_net_ (paper, 3s. _net_). + +=VIOLONCELLO EXERCISES, SCALES AND ARPEGGIOS.= By E. GILLET. Complete in +one vol., 4s. _net_; or Part I, Exercises, 1s. 6d. _net_, Part II, +Scales, 1s. 6d. _net_, and Part III, Arpeggios, 1s. 6d. _net_. + +=ART OF VIOLONCELLO PLAYING.= Tutor in Three Books. By E. VAN DER +STRAETEN. Text in English and French. 4to. Book I, 3s. 6d. _net_; Book +II, 4s. _net_. + +=WELL-KNOWN VIOLONCELLO SOLOS.= How to Play Them. Three Series. By E. +VAN DER STRAETEN. 2s. 6d. _net_, each series. Also complete in cloth, +with Portraits, 10s. _net_. + +=HOW TO REPAIR VIOLINS= and other Musical Instruments. By ALFRED F. +COMMON. With Diagrams. Crown 8vo, cloth, 7s. 6d. _net_. + +=ROYSTON'S PROGRESSIVE VIOLIN TUTOR= (with Illustrations giving Correct +Position for Hand, Wrist and Fingers). Folio, 3s. _net_. + + +VOCAL. + +=SUCCESS IN AMATEUR OPERA.= Instructions on Auditions, Equipment of the +Society and the Conductor, Allocation of Roles, Rehearsals, Training of +Soloists, Diction, Conducting, etc. By HUBERT BROWN. Including a Section +on Stage Management, by H. G. TOY. Preface by DEREK OLDHAM. Crown 8vo, +cloth, 7s. 6d. _net_; paper covers, 4s. _net_. + +=SPEECH DISTINCT AND PLEASING=, or Why not Learn to Speak Correctly? A +clear description of the mental and physical qualities on which the art +of good speaking is founded and grounded. By FRANK PHILIP. 162 pages, +Crown 8vo, cloth, 7s. _net_; paper covers, 4s. _net_. + +=VOICE PRODUCTION FOR ELOCUTION AND SINGING.= By REV. E. H. MELLING. +Music Examples. 31 pages, f'cap 8vo, cloth, 4s. 6d. _net_; paper covers, +2s. 6d. _net_. + +=THE VOCAL WORKS OF JOHANNES BRAHMS.= Historical, Descriptive and +Analytical Account of each Work. Original English Translations supplied +to many numbers. By EDWIN EVANS, Senior. Thick 8vo, cloth, 30s. _net_. + + The above volume is a complete technical account of the vocal + works. It forms a part of the Historical, Descriptive and + Analytical Account of the Entire Works of Brahms advertised on page + 2. + +=VOCAL TRAINING AND PREPARATION FOR SONG INTERPRETATION.= With a Section +showing how to Determine Accurately by Pitch and Curve Graphs the +special Suitability of Songs selected for particular Vocal Requirements. +Music Illustrations and Descriptive Diagrams. By FRANK PHILIP. 8vo, +cloth, 15s. _net_. + +=THE AMATEUR VOCALIST.= A Guide to Singing. With Useful Hints on Voice +Production, Song Preparation, etc. By WALTER L. TWINNING, F.R.C.O. Post +8vo, limp cloth, 2s. 6d. _net_. + +=HOW TO TEACH CLASS SINGING=, and a Course of Outline Lessons which +illustrate the psychological principles upon which successful tuition is +based. By GRANVILLE HUMPHREYS, Professor of the Art of Teaching, Voice +Production, etc., at the T.S.-F.C.; late Lecturer in Class Singing at +the Training School for Music Teachers. Numerous Music Illustrations. +Cloth, 10s. _net_. + + Teachers will find this very striking book of great value. The + publishers have no hesitation in strongly recommending it. + +=THE VOICE AND SINGING.= Practically Explained, Condensed but +Comprehensive Treatise, designed principally for Students and Amateurs, +by an Experienced Singer and Teacher (C. W. PALMER). Cloth, 5s. _net_; +paper, 2s. 6d. _net_. + + "I have studied the subject as an enthusiast both theoretically and + practically, both as student and teacher, for over thirty + years."--_Extract from the Preface._ + +=VOCAL SUCCESS=, or Thinking and Feeling in Speech and Song, including a +Chapter on Ideal Breathing for Health. By the REV. CHAS. GIB. Crown 8vo, +cloth, 7s. 6d. _net_; or paper covers, 4s. 6d. _net_. + + The known facts of science in connection with both the structure + and functions of the vocal organs are stated; and have been + supplemented by impressions formed in the course of long experience + and experiment in the training of voices. + +=VOCAL SCIENCE AND ART.= Hints on Production of Musical Tone. By REV. +CHAS. GIB. The Boy's Voice, Muscular Relaxation, Art of Deep Breathing, +Elocution for Ordination Candidates. With Numerous Illustrations, and +Introduction, Notes and Diagrams, by J. F. HALLS DALLY, M.A., M.D., etc. +Dedicated to the Bishop of London. Crown 8vo, cloth, 7s. 6d. _net_. + +=RUDIMENTS OF VOCAL MUSIC.= With 42 Preparatory Exercises, Rounds and +Songs in the Treble Clef. By T. MEE PATTISON. Second Edition. Crown 8vo, +paper, 4d. _net_. + +=PHYSICAL DEVELOPMENT IN RELATION TO PERFECT VOICE PRODUCTION.= By H. +TRAVERS ADAMS, B.A. 8vo, paper, 3s. _net_. + + Intended for students. Treats of Vibration, Breaks and Registers, + The Speaking Voice, Attack, Practical Application, Breathing, + Exercise in Inspiration, Expiration, and so on. + +=SIMPLICITY AND NATURALNESS IN VOICE PRODUCTION.= A Plea and an +Argument. By EDWIN WAREHAM. Crown 8vo, cloth, 3s. 6d. _net_. + +=OBSERVATIONS ON THE FLORID SONG.= Or Sentiments on the Ancient and +Modern Singers. By P. F. TOSI. Translated by Mr. Galliard. With folding +Musical Examples. 184 pages. A Reprint of this Celebrated Book, first +published in 1743. Crown 8vo, boards, with vellum-like back. 21s. _net_. + + Recommended to all students of the Italian method of singing by the + late Charles Lunn. + + "The aged teacher embodies his own experience and that of his + contemporaries at a time when the art was probably more thoroughly + taught than it has ever been since."--_Grove's Dictionary._ + +=ELEMENTARY LESSONS ON SIGHT SINGING.= Combining the Staff and Tonic +Sol-fa Notations. With Music Examples throughout. By J. W. ROSSINGTON, +L.R.A.M. Cloth, 3s. 6d. _net_ (paper, 2s. _net_). + + For many singers there is only one method of becoming good + sight-readers, viz., combining the tonic sol-fa with the staff + notation. + +=THE ART OF VOCAL EXPRESSION.= A Popular Handbook for Speakers, Singers, +Teachers and Elocutionists. By the REV. CHAS. GIB. Crown 8vo, cloth, 5s. +_net_; paper, 2s. 6d. _net_. + +=VOICE PRODUCTION AND VOWEL ENUNCIATION.= By F. F. MEWBURN LEVIEN. +Diagrams by ARTHUR C. BEHREND. Post 8vo, sewed, 2s. _net_. + +=THE THROAT IN ITS RELATION TO SINGING.= A Series of Popular Papers. By +WHITFIELD WARD, A.M., M.D. Illustrations. Second Edition. Crown 8vo, +cloth, 5s. _net_; paper, 3s. _net_. + + CONTENTS: Anatomical Structure of the Throat; What we See with the + Laryngoscope; How we Sing; How we Breathe; How to take Care of the + Voice; Hints to Voice Builders; How the Voice is Destroyed; Common + Throat Affections of Singers, together with their Treatment, etc. + +=HOW TO ATTAIN THE SINGING VOICE=, or Singing Shorn of its Mysteries. A +Popular Handbook for those desirous of winning Success as Singers. By A. +RICHARDS BROAD. Crown 8vo, cloth, 7s. 6d. _net_. + + This is the book which fitted Eva Turner to achieve for her + wonderful successes in the operatic world (in Italy, Germany, + Portugal, etc., as well as in her own country). It should help you + to achieve great things too. + + "An immensely interesting book that has every right to be classed + among those that are genuinely useful, and it should be prized by + all vocalists from the highest to the lowest."--_The Musical + Observer._ + +=TWELVE LESSONS ON BREATHING AND BREATH CONTROL.= For Singers, Speakers +and Teachers. By G. E. THORP. Crown 8vo, paper, 2s. 6d. _net_. + +=TWENTY LESSONS ON THE DEVELOPMENT OF THE VOICE.= For Singers, Speakers +and Teachers. By G. E. THORP. Fourth Edition. Crown 8vo, limp cloth, 2s. +6d. _net_. + + Mr. Thorp's two books have from time to time been recommended by + various eminent vocal specialists as giving practical aid and + advice for the training, care and development of the voice. They + are free from any _biased "system" or "discovery."_ + +=TREATISE ON THE TRAINING OF BOYS' VOICES.= With Examples and Exercises +and Chapters on Choir-Organization. Compiled for the Use of +Choirmasters. By GEORGE T. FLEMING. Second Edition. Crown 8vo, cloth, +5s. _net_; paper, 2s. 6d. _net_. + +=GRADUATED COURSE OF EXERCISES FOR BOY CHORISTERS.= With Piano +Accompaniment. For Use in Conjunction with Above. By G. T. FLEMING. 4to +album, paper, 2s. _net_. + +---- Ditto, Boy's Voice Part only, 1s. _net_. + +=SIX SPIRITUAL SONGS FOR UNACCOMPANIED CHORUS=, with Piano Accomp. (for +Practice). By RUTLAND BOUGHTON. In one vol. Roy. 8vo, 2s. 6d. _net_. + + The songs are also issued separately. + +=VOCAL EXERCISES FOR CHOIRS AND SCHOOLS.= By DR. WESTBROOK. Post 8vo, +paper, 2d. _net_. + +=THE CENTRAL POINT IN BEAUTIFUL VOICE PRODUCTION.= By H. TRAVERS ADAMS, +M.A. Cloth, 2s. 6d. _net_ (paper, 1s. 6d. _net_). + + +THE MUSIC STORY SERIES. + +"The Music Story" Series books are indispensable, authoritative, +interesting and educational. Specially designed cloth, crown 8vo, well +got up, at prices named below. + +=CHAMBER MUSIC AND ITS MASTERS IN THE PAST AND IN THE PRESENT.= By DR. +N. KILBURN. New Edition, revised, and with additional chapters by G. E. +H. ABRAHAM. With Plates and Music Illustrations. Crown 8vo, cloth, 15s. +_net_. + + "Mr. Abraham has brought the work up to date and written several + new chapters and the book now gives us a discussion on the most + important writers and projectors of chamber music"--_Musical + Opinion._ + +=ORGAN.= By C. F. ABDY-WILLIAMS, M.A., Mus.Bac. Told in Nine Chapters. +Thirty-eight Illustrations and Frontispiece. Illustrations of two +Instruments found at Pompeii; F. W. Galpin's Hydraulus; Organ Builders; +Stops; Technical Terms; Bibliography and Chronological List of Organ +Specifications, 21s. _net_. + +=ENGLISH MUSIC= (1604-1904). Seventeen Lectures delivered at the Music +Loan Exhibition of the Worshipful Company of Musicians. By T. L. +SOUTHGATE, W. H. CUMMINGS, H. WATSON, E. MARKHAM LEE, J. FINN, SIR F. +BRIDGE, A. S. ROSE, A. H. D. PRENDERGAST, F. J. SAWYER, G. F. HUNTLY, D. +J. BLAIKLEY, REV. F. W. GALPIN, W. W. COBBETT, J. E. BORLAND, A. H. +LITTLETON and SIR E. CLARKE. Frontispiece and 115 Illustrations +(Portraits, Instruments, Title Pages, etc.). Musical Examples. 16s. +_net_. + +=MINSTRELSY.= By EDMONDSTOUNE DUNCAN. The whole body of Secular Music +that has stood the test of time and which can be called national. Early +Gleemen, the Minstrels (church and social), Troubadours, the Tudor +period, the great Elizabethanists, etc. Pp. xvi, 337, 16s. _net_. + +=MUSICAL FORM.= By C. LUCAS. The General Principles of the Art of +Composition and how they have been arrived at; explaining the +development of the scale, of tonic and dominant, cadences, phrases and +motives, counterpoint, canon and fugue, harmony, style, song form, +variations, sonata form. Pp. xvi, 226, 16s. _net_. + +=BAGPIPE.= By W. H. GRATTAN FLOOD. Its History, Origin of Reed Pipes, +the Pipes of ancient Celtic Ireland and Wales, the Scottish scene and +Scottish melodies, changes from 16th to 19th centuries. 26 +illustrations, glossary, bibliography, list of players, index. Pp. xx, +237, 15s. _net_. + + + + +WILLIAM REEVES + +Bookseller Ltd. + +SPECIALISTS IN MUSIC AND BOOKS ON MUSIC + +In addition to our valuable series of publications listed in this +Catalogue, we hold an extensive stock of secondhand and out-of-print +books on music, especially on the Violin, Organ, and other Musical +Instruments, Lives of Composers and Criticisms of their Works, National, +Oriental and Primitive Music, Orchestration, Composition, and Technique, +etc., Orchestral Scores, Operas, Chamber Music, Miniature Scores, +Librettos, Facsimiles of Composers' MSS, Orchestral Material, Musical +Comedies, etc. + +Librarians and Amateurs are invited to send us their lists of wants, as +we may have in stock just the items required. + +Catalogues regularly issued, and sent on request, post free. + + WILLIAM REEVES BOOKSELLER LTD, + 1a Norbury Crescent, London, S.W.16. + + +MISCELLANEOUS. + +=THE BIRTH OF ARTHUR= (Uther and Igraine), Choral Drama. The Libretto by +R. R. 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Also arranged for Vn. and Pf., 2s. +_net_, and Pf. Solo, 1s. 6d. _net_. + +=EASY TRIOS.= Arranged from Classical Composers. By S. O. GOLDSMITH, for +Piano, Violin and Violoncello. Score and Parts. Two books, each 3s. +_net_. + + Book I: 1. Minuet (Beethoven); 2. Moment Musical (Schubert); 3. + Largo (Tartini); 4. Chiarina (Schumann); 5. Minuet (Pugnani). Book + II: 6. Bourree (Martini); 7. Chanson Triste (Tchaikovsky); 8. + Scherzino (Schumann); 9. Song without Words, No. 3 (Mendelssohn). + +=THE CREATION.= By HAYDN. Performing Edition. Edited by G. A. 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Crown 8vo, +sewed, 2s. 6d. net. + +=PARTHENIA.= 21 Compositions by Three Famous Sixteenth and Seventeenth +Century Masters, William Byrd, Dr. John Bull and Orlando Gibbons, being +Parthenia, or the First Musick ever printed for the Virginals. Arranged +for the Piano and freed from the errors of Dr. Rimbault's edition by +accurate comparison with the original text by MARGARET H. GLYN (_author +of_ "Elizabethan Virginal Music and Composers"). Folio, 12s. 6d. _net_. + + This edition has been entirely re-engraved. The work contains eight + compositions by Byrd, seven by Bull, and six by Gibbons. + +=50 MUSICAL HINTS TO CLERGYMEN.= Management of Breath, Classification of +Male Voices, Management of the Voice, The Service. With Twenty specially +written Exercises. By GEO. F. GROVER. Cr. 8vo, paper, 1s. _net_. + +=HOW TO MANAGE A CHORAL SOCIETY.= By N. KILBURN, Mus.Bac. Third Edition +Revised. Crown 8vo, paper, 1s. _net_. + +=A CHAT WITH CHORAL SINGERS.= By H. W. SPARROW, A.R.C.O. 8vo, paper +cover, 1s. _net_. + + CONTENTS: Reading Music--Tone + Production--Breathing--Phrasing--Expression--Enunciation--Blend of + Voices--Tone, Attack, Release--Care of the Voice--Suggestions. + +=HOW TO SING AN ENGLISH BALLAD.= By E. PHILP. Seventh Edition. Crown +8vo, paper, 1s. _net_. + + "It would be difficult to find a casket of brighter gems than those + which lie within the cover of this little work."--_Illustrated + London News._ + +=NATIONAL NURSERY RHYMES.= Arranged as a School Chorus for Boys and +Girls. By N. B. WOODD SMITH. With Pianoforte Accompaniment. 8vo, 1s. 6d. +_net_. + + +TUTORS AND EXERCISE BOOKS. + +PIANO, ORGAN, HARMONIUM, VIOLIN, VIOLONCELLO, MANDOLINE AND GUITAR. + +=THE POPULAR PIANO TUTOR=, folio, 2s. 6d. _net_. (For description see +Pianoforte Section of Catalogue.) + +=DEPPE FINGER EXERCISES.= By AMY FAY. (See Pianoforte Section of this +Catalogue.) + +=REEVES' VAMPING TUTOR.= By FRANCIS TAYLOR. 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Two-page music size, 1s. _net_. + +=GUITAR TUTOR.= By H. JOURNET. A Simple and Easy Method to Attain +Proficiency Rapidly without a Master. Folio, 3s. _net_. + +Also =GUITAR SCALE=. By H. JOURNET. Two-page music size, 1s. _net_. + +=THE VIOLIN AND BOW.= A Treatise (in English, French and German), with +numerous Photographic Illustrations, supplemented by various Examples +and Original Studies, by I. B. POZNANSKI. 5s. _net_. + +=REEVES' CATALOGUE OF MUSIC AND MUSICAL LITERATURE.= Ancient and Modern, +Second-hand and New; containing the Contents of Libraries recently +purchased, often with a large quantity of Curious, Scarce and Useful +Music, such as Full Scores, Organ Music, Duets, Trios, Quartets, +Quintets, etc.; Tutors, Historical, Theoretical and Biographical Works +in various languages; including rare and out-of-print works. This +Catalogue sent post free on request. + + + + +NOW READY. + +Cr. 8vo, cloth, 2s. 6d. (or paper, ls. 6d. net) Postage, 2d. + +_This Work is a Store of the Most Valuable and Practical Musical +Knowledge, so Condensed as to be of Immense Utility for its Purpose._ + +HOW TO COMPOSE. + +A PRACTICAL GUIDE TO THE COMPOSITION OF ALL WORKS WITHIN THE LYRIC FORM + +and which include the Valse, Gavotte, Mazurka, Polonaise, March, Minuet +and all Ordinary Dance Forms; as also the Nocturne, Impromptu, Berceuse, +Reverie and Similar Characteristic Pieces. + +BY + +EDWIN EVANS, Senr., F.R.C.O. + +Author of "The Relation of Tchaikovsky to Art Questions of the Day," "A +Handbook to Brahms' Works," "The Modal Accompaniment to Plain Chant," +etc. + +_With 60 Musical Examples._ + +W. REEVES, 83, CHARING CROSS ROAD, W.C. + + +THREE SERIES. Crown 8vo, 1s. each. + +WELL-KNOWN PIANO SOLOS. + +HOW TO PLAY THEM WITH UNDERSTANDING EXPRESSION & EFFECT + +BY + +CHARLES W. 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