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BIOGRAPHICAL SKETCHES-OF-

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ABT, Franz, was born at Eilenburg in Prus-

sian Saxony, December 22, 1819. His father

was a clergyman, and Franz, though destined

to the same profession, received a soundmusical education, and was allowed to pursue

both objects at the Thomas-School and Uni-

versity o'f Leipsic. On his father's death herelinquished the church as a profession andadopted music entirely. His first residence

was at Zurich (1841), where he acted as

capellmeister, occupying himself more espe-

cially with men's voices, both as composerand conductor of several societies. In 1852

he entered the staff of the Hof-Theatre at

Brunswick, where since 1855 he has filled the

post of leading capellmeister. The list of

Abt's compositions is enormous, and contains

more than 400 works, consisting chiefly of" Lieder " of the most various kinds, for one,

two or three solo voices, as well as for chorus,

both female and mixed, and, as already men-tioned, especially for men's voices. The part

songs are to be found in many collections.

In the early part of his life Abt composedmuch for the piano-forte, chiefly pieces of

the light sa/on character. These have neverhad the same popularity with his vocal works,and are now virtually forgotten.

ALBANI, the stage-name of the favorite

soprano, Miss Marie Euna Lajeunnesse,born near Montreal, 1851. Her parents wereFrench Canadians, and in 1864 removed to

Albany, whence she derived her pseudonymand where she went upon the stage. Sheafterwards studied at Milan, and made herdebut in 1870. In 1878 she married Mr.Ernest Gye.

BERLIOZ, Hector, a great French composer,critic and litterateur. Born December 11,

1803; died March 9, 1869. Composer of

many overtures, symphonic poems, etc., of

the " programme " order, in which all the re-

sources ofthe modern orchestra are employedwith consummate mastery for the portrayal

of poetic, bizarre, piquant or profound senti-

ment. Berlioz seems like a genius of greatpower, in whom a vivid imagination is notrestrained by good judgment. As a writer

about music he is one of the most gifted of

the present century. His place as a com-poser is not yet settled. His greatest dra-

matic "work, "The Damnation of Faust,"

1846, is only just receiving its due recognition.

BIZET, Georges, born at Paris, October 25,

1838, was a brilliant pupil and laureate at

the Conservatoire from 1848 to 1857. Hestudied composition under Hal^vy, whose

daughter he afterwards married. Beforewinning his " prix de Rome," he gave aninsignificant operetta, " Docteur Miracle"(Bouffes Parisiens, April, 1857), and after his

return from Italy, composed " Vasco deGama," 1863, which did not gain him muchcredit. He wrote many other operas whichmet with varied success, his last effort being" Carmen," a four-act opera. This highlygifted composer and very talented pianist

died almost suddenly on June 3, 1875.

BLUMENTHAL, Jacob, a fashionable pianoteacher in London, and composer of pianopieces and popular songs. Born at Ham-burg, 1829.

BOITO, Signor Arrigo, composer, poet andmusical critic, was born in February, 1842.

His father was a Venetian, and his motherPolish. He entered the Conservatory of

Milan in 1853, and spent nine years there.

His debut as a composer was made at LaScala, 1868, with " Mefistofele," which wasa complete failure at Milan, but in other

places received with much favor. Boito

claims the attention of the musical world,

and is recognized by eminent critics as a

genius.

BUCK, Dudley, born at Hartford, Conn., 1837.

His studies in composition were mainly madewith Julius Rietz at Leipsic and Dresden,where also he was an organ pupil of Schnei-

.der. His first " Motette Collection" waspublished in 1867, and marks an epoch in

American church music ; his second in 1871

.

Buck has also written very much churchmusic for Episcopal choirs, and three import-

ant choral works :" Don Munio," the " 46th

Psalm," and last " Scenes from the GoldenLegend," which gained the $1000 prize at

Cincinnati in 1880. He has also written

several chamber compositions, overtures andtwo symphonies. Buck must be regarded as

one of the most distinguished Americancomposers. In 1871 he became organist at

the Boston Music Hall. In 1875 he removedto Brooklyn, where he still resides.

CAMPANINI, Signor Italo. The popular tenor

was born in Parma, in 1846. His early life

afforded but few indications of his subsequentartistic career. He was a wild unmanageableboy, and in his fifteenth yearjoined the armyof Garibaldi as a volunteer, still bearing anhonorable scar on his cheek, received at

Capua, which proves that he was no " feather-

bed soldier." Abandoning his military career,

he returned to Parrr.a, and was apprenticedto a blacksmith, and it is owing to this acci-

(4)

dental circumstance that his vocal qualifica-

tions were discovered and utilized, affording

another proof of the adage, that "great re-

sults often spring from little causes." He wasin the habit of spending his evenings, withhis friends of the forge, at a little wine-shopin the neighborhood, their chief amusementbeing a good song with a rattling chorus at

the end of it. On one occasion a musicianhappened to drop in just as Campanini wastrolling a ditty, and was immediately struckwith the sympathetic quality of his voice.

He entered into conversation with him, andpersuaded him to obtain some instruction

from a local teacher. He devoted himselfwith such assiduity to his new studies, that

some two years afterwards he obtained anengagement with a strolling operatic com-pany, and remained with it, gaining experi-

ence, until it collapsed for lack of funds to

continueoperations. The manager decampedand many of his victims were left actually

destitute. Campanini nobly came to the

rescue, and devoted some of his savings to

the good work of extricating them from their

unfortunate position. His next proceedingwas to seek the services of an eminent master,and in 1869 he went to Madrid and becamea pupil of Chevalier Francesco Lamperti.In the following year he made his first

appearance as Faust, at La Scala, Milan,and speedily roused the house to enthusiasm.In 187 1 he created the part of Lohengrin in

Italian, at Bologna. He was engaged byMapleson, and came to London during the

following season, where he made his bow as

Gcnnaro, in " Lucrezia." His success since

that time is a matter of history.

CANDIDUS, Herr Wilhelm. About the yeari860 a young man working in his father's

piano-keyboard factory in Philadelphia, hav-ing arooted objection to the business, enlisted

and served with considerable distinction in

the Army of the Potomac. This young manwas none other than Wilhelm Candidus.When "tired of war's alarms," he came to

New York and joined the more peaceableranksof the Arion and Liederkranz Societies,

when he became conscious that he was the

possessor of a fine tenor voice. The fact

becoming public, he was asked to undertakethe role of Max, on the occasion of a per-

formance of " Der Freischiitz," given by the

Arion at the Academy of Music in 1867. Hemade an emphatic "hit," and resolved to

adopt the vocal profession, going to Europefor the purpose, lie fulfilled engagementsat Weimar, Munich, Berlin and Hamburg,

BIOGRAPHICAL SKETCHES OF POPULAR COMPOSERS AND SINGERS.

and a year later sang in Her Majesty's OperaHouse in London. Afterwards he was prin-

cipal tenor at the Opera House Franlcfort-

on-the-Main.

GARY, Miss Annie Louise. Miss Gary, whosename is as familiar to every music lover in

America as a " household word," was bornm Wayne, Kennebec Gounty, Maine, in

1842. Her father, shortly after her birth,

removed to Gorham, in the same State, andas her childhood ripened into girlhood, she

exhibited so much natural aptitude that Dr.

Gary sent his daughter to Boston in order

that she might receive thorough musical in

struction, his determination being justified bythe opinion of several prominent musiciansin that city. She proved a most enthusiastic

student, and shortly after commencing her

studies, became a member of Dr. Bartol's

church choir. She exhibited so much promisethat her friends organized a concert for her

benefit, and the result enabled her to leave

for Europe in 1866. She studied with Gorsi

in Milan, Viardot Garcia in Baden-Baden,and, finally, with Henry G. Deacon in Lon-don, concerning whose qualifications as a

teacher she speaks in the most enthusiastic

terms of commendation. Feeling conscious

that her voice would fit her for the lyric stage,

she diligently pursued her dramatic studies,

and made a most successful debut in Gopen-hagen in the year 1867, 3.s Azucena in "IITrovatore." Her services were at oncesought by Ferdinand Strakosch, under whosemanagement she fulfilled a round of engage-ments in Sweden and Norway. She after-

wards appeared in Hamburg, and created so

favorable an impression that her continental

reputation may be said to have been estab-

lished from this time. Her subsequent careerin Stockholm, Berlin and London was a series

of triumphs, and she was rapturously receivedhere on her return in 1870, when she appearedin conjunction with Nilsson and other cele-

brated artists. She is emphatically the repre-

sentative American contralto, and is univer-

sally popular, both on account of exceptionalgifts as a vocalist, and her admirable quali-

ties as a woman.

CLAY, Frederic, son of James Glay, M. P. for

Hull. Born August 3, 1840, in the RueGhaillot, Paris ; educated in music entirely

by Molique, with the exception of a short

period of instruction at Leipzig under Haupt-mann. Mr. Glay's compositions have beenwholly for the stage. In all his works Mr.Clay shows a natural gift of graceful melodyand a feeling for rich harmonic coloring.

Although highly successful in the treatmentof dramatic music, it is probable that his

songs will give him the most lasting fame."She wandered down the mountain side,"

"Long ago," and "The sands of Dee,"among others, are poems of great tendernessand beauty, and not likely to be soon for-

gotten.

COWEN, Frederic Hymen, was born January29, 1852, at Kingston, Jamaica; exhibitedearly an extraordinary love of music, wastaken to England by his parents when fouryears old, and placed under the tuition ofSir J. Benedict and Sir J. Goss, whose pupilhe remained until the winter of 1865. Hethen studied at the Conservatories of Leipzigand Berlin, returning to London in 1868.

Amongst his early works are an operettaentitled "Garibaldi," a fantasie-sonata, a

trio, quartette, piano-forte concerto, and asymphony in G minor, besides several can-

tatas. On November 22, 1876, his opera of" Pauline " was brought out by the Carl Rosacompany, at the Lyceum Theatre, with great

success. Mr. Gowen is also the author of

many popular songs.

GROUCH, F. Nicholls, a composer of songsand ballads during the second quarter of the

present century, was the author of many pro-

ductions which gained great popularity, andone—" Kathleen Mavourneen "—which still

retains its place in public favor. He left

England about 1845 and came to America,where he is still living.

DAMROSCH, Leopold, a distinguished violin-

ist and musical director, was born in Posen,in 1832, where his musical studies werebegun ; was educated in medicine at Berlin,

and in 1854 was a practicing physician in his

native town. In 1855 and 1856 he appearedat Magdeburg and Berlin as solo violinist

with great success. He presently becameconductor at the Stadt Theatre in Posen. In

1 87 1 he came to New York as conductor of

the Arion Society, and has since resided

there. Is at present (1881) conductor of the

Oratorio Society, of symphony concerts, etc.

As a conductor, Damrosch is distinguished

for energy and vigor of conception. He is awarm advocate of the Liszt-Wagner "Musicof the Future," although a successful expo-nent of the classic ; is also a composer ofviolin and orchestral works.

FAURE, Jean Baptiste. Son of a singer in the

church at Moulins, where he was born Jan.

15, 1830. When he was three years old thefamily removed to Paris, and when he wasseven his father died. In 1843 he enteredthe solfeggio class in the Conservatoire, andsoon after the maitrise of the Madeleine,where he was under Trevaux, an excellent

teacher, to whom he owes his sound knowl-edge of music. After the breaking of his

voice he took up the piano and double bass,

and was for some time a member of the bandat the Odeon Theatre. When his voice hadrecovered he joined the chorus of the

Theatre Italien, and in November, 1850 againentered the Conservatoire, and in 1852 ob-tained the first prizes for singing and for

opera comique. Pie made his debut October20, 1852, at the Opera Comique, in Masse's"Galathee," after which headvanced steadily

through various roles until his creation of

the parts of O-07/^(r<z'«r in Gevasrt's "OuentinDumard" (March, 1858), and iYc^/in'Meyer-beer's "Pardon de Ploermel" (April, 1859),placed him in the first rank. In the winterof 1 86 1 he made his first appearance at theGrand Opera, since which time he has beenregularly retained there. In London he first

appeared at Govent Garden, April 10, i860,

as Hoel in " Dinorah," and has since thattime been a regular visitor at one or other of

the Italian opera houses. At Brussels, also,

he is often heard, and in 1874, during thewar, he undertook the first class of singingin the Brussels Conservatoire. In 1861 heappeared in Berlin at Meyerbeer's request,

but the tremolo in his voice did not pleasethe Germans, and he has not revisited

that country. Faure is a^ good musician anda fine actor. He is also a collector of pictures

and a man of great culture. Plis voice is abaritone of great extent and of very fine

equality. His characters comprise Alephisto-

pJieles, Hamlet, Nelusco (" Africaine "), PoS(t

(" Don Carlos "), Do7t Giovanni, and manymore. In 1857 he was for a short time pro-fessor of singing at the Paris Conservatoire,and in 1857 he married Mile. Lefevre (bornDecember 21, 1828), the chief actress of

Dugazon" roles at the Opera Comique. Hehas published two books of songs (Heugel).

FLOTOW, Friedrich, a German opera compo-ser, born April 27, 1812, at Mecklenburg;resides at present in the neighborhood of

Vienna. Flotow is the author of no less thanfourteen or fifteen operas, of which " Stra-

della," "Martha," and " L'Ombre " havebeen extremely successful. Flotow is a pleas-

ing melodist and a genial musician.

FORMES, Karl, bass singer ; son of the sextonat Miihlheim on the Rhine ; born August 7,

1 8 10. What musical instruction he had, heseems to have obtained in the church choir;but he first attracted attention at the concertsfor the benefit of the Cathedral fund at

Cologne, in 1841. So obvious was his talent

that he was urged to go on the stage, andmade his debut at Cologne as Sarastro in the" Zscuberflote," January 6, 1842, with the mostmarked success, ending in an engagementfor three years. In 1849 ^e came to London,and sang first at Drury Lane, in a Germancompany, as Sarastro, on May 30. He madehis appearance on the Italian stage at GoventGarden, March 16, 1850, as Caspar in "IIFranco Arciero " (" Der Freischiitz"). AtthePhilharmonic he sang first on the followingMonday, March 18. From that time for someyears he was a regular visitor to London, andfilled the parts of Bertratn, Alairel, Rocco,Leporello, Beltramo, etc. In 1857 he wentto America, and has resided in San Franciscosince 1874.

FR.>,^Z, Robert, the most distinguished song-wi*fter, and one of the foremost musicians of

the present time. Born June 28, 181 5, at

Halle, Handel's birthplace. Franz studiedmusic against his parents' wishes ; when his

first set of twelve songs (1843) were pub-lished, they attracted the favorable notice of

Schumann, and afterwards of Gade, Men-delssohn, etc., after which heliad apleasantertime. His hearing becoming affected, hewas obliged to relinquish (in 1868) his em-ployment as organist and lecturer on musicat the University of Halle. Franz is the

author of very many songs and of manyother compositions, besides which he hasadded missing parts to several of the scores

of Bach and Handel, thereby rendering themavailable for modern use.

GABRIEL, Mary Ann Virginia, o'f Irish par-

entage, born at Banstead, Surrey, February

7, 1825, learned the piano from Pizis,

Dohler, and Thalberg, and harmony andconstruction from Molique. Her principal

work was a cantata named "Evangeline,"founded on Longfellow's poem ; she wrotemany operettas, one of which, "Widowsbewitched," was performed by Mr. GermanReed's company, in 1867, and had a longrun. Her cantatas, "Dreamland" and"Evangeline," were performed at GoventGarden in 1870 and 1873. Many of hersongs were very popular. Miss Gabriel

married Mr. George E. March (author of

most of her librettos) in November, 1874,and died from the effects of an accident onAugust 7, 1877.

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8 BIOGRAPHICAL SKETCHES OF POPULAR COMPOSERS AND SINGERS.

GALASSI, Signer Antonio Faentini. This emi-nent baritone, one of the greatest lyric artists

of which the contemporary stage can boast,

was born in Loreto, in 1845, and in his twelfth

year received a paternal blessing, and waspatted on the head by His Holiness, PopeEius IX, who was so struck by the beauty of

his voice, that he designated him a '' contral-

tuccio diprima sforza," and presented himwith a medal. His first vocal instructor wasBenedetto Taddei, and he frequently tookpart in his church services. On the outbreakof hostilities in connection with the strugglefor liberty, he joined the Garibaldian army,where his genial character and manly naturegained for him the hearty good will of his

comrades in arms. At the termination of the

war he rejoined his family and renewed his

musical studies under Ferroni. Pecuniarytroubles threatened to deprive him of themeans to continue his lessons, when his

master announced a public concert, and,fortunately for Galassi, a Signor Nessoli, whohappened to be present, was much struck bythe beauty of his voice and energetic style.

Learning of his trouble, he provided him withmeans, and he shortly afterwards proceededto Bologna for the purpose of profiting bythe instructions of Angelo Bianchi. A yearlater he made his first appearance at the Lodiin " La Straniera." He was next heard of in

the Brazils, where he was intrusted with sub-ordinate parts, but his talent soon asserted

itself, and he scored a brilliant success asCarh in Verdi's " Ernani." The destructionof the opera house at Pernambuco, by fire,

broke up the company and he returned to

Milan. In 1874 his services were securedby Mr. Mapleson, and he has since delightedAmerican audiences by his admirable per-formances. Although really a dramatic artist,

his rendering of classical concert works is

also in all respects excellent.

GEIBEL, Adam, was born in the little village

of Neienheim, near Frankfort-on-the-Main,Germany, on September 15, 1855. Hebe-came blind in early childhood. In 1862, his

parents removed to America, settling in

Philadelphia. Two years later, Adam, thenbut nine years of age, was admitted to the

Pennsylvania Institution for the Blind, wherehe remained eight years as a pupil, and after-

wards was appointed an assistant teacher of

the violin and organ. He resigned this po-sition in 1875. While at this institution, hestudied harmony and composition with theable organist and director of St. Stephen'sChurch, Mr. D. D. Wood. His first compo-sition was written and published in March,1874; this was followed by others, until his

works at present number more than twohundred, both vocal and instrumental. Mr.Geibel is still a resident of Philadelphia andis organist of one of the largest churches in

that city. Among his more recent composi-tions, which are eliciting marked attention,

are his famous waltz-song, "Orange Blos-

soms," "The Fisherman's Bride,""

'Tis

better thus to part," " Bring me a Letter fromHome," "Angels are watching above,"

^ "What could I wish for.?"—vocal; and" Song of the Lilac,"—instrumental. Thereis no writer in America who gives promise ofa more brilliant musical future than AdamGeil)el.

GERSTER, Etelka. " Etelka " is the femininediminutive of "Attila," a name characteristic

of Hungary ; and Etelka Gerster was born at

Kassa (Kaschau), the capital of Upper Hun-gary, in 1855. Her father, a merchant,brought up his family to refined tastes. Hewas fond of music, and the family circle often

made entertainment of an evening out of the

songs of Schubert and other German compo-sers. Nobody in the family seemed to think

of special musical study until a visiting friend

of the family from Vienna spoke of the prom-ise which he thought lay in Etelka's voice.

He asked permission to bring his friend

Hellmesberger to hear her, and some timelater the veteran musician came. He en-

dorsed his friend's good opinion of the voice,

but contended that there was but one judgeof such matters in Vienna, and that wasMadame Marchesi. Etelka was brought to

Vienna and sang for Marchesi. The great

teacher expressed a willingness to accept heras a pupil ; and, Frau Hellmesberger havingkindly opened her home to the little Hunga-rian, she began her studies in perhaps the

most delightfully, and thoroughly musical

atmosphere in Europe. Madame Marchesiwas at that time connected with the ViennaConservatory ; its first prize fell to Gerster at

the examination in 1875. Among the musi-

cians present at that examination were Signor

Verdi and Signor Gardini, the latter a con-

ductor of an opera troupe. He offered Etelka

an engagement, and she accepted. For twoseasons she sang in Spanish and Italian

towns, and finally, in March, 1877, began in

Berlin. For three weeks the company, com-posed of singers all unknown to fame, sangto empty houses. Then came whispers of

the fact that the walls of the despised Kroll's

were echoing the voice of an extraordinary

singer ; and Etelka Gerster had reached the

turning-point in her career. The nobility

flocked to hear her, and the emperor and the

court were constant attendants at her repre-

sentations. In the midst of her triumphs she

married Dr. Gardini, and left Kroll's to accept

an engagement at Her Majesty's in London.Compared with the lives of the famous singers

of the last and early part of this century,

Etelka Gerster's life has been uneventful

;

but she is a general favorite, loved andadmired.

GILCHRIST, William Wallace, was born in

Jersey City, January 8, 1846. His parents

removed to Philadelphia when he was nine

years of age. Here he received his musicaleducation, and has always been identified

with its musical interests except for one year

(1871-1872), when he resided in Cincinnati.

He is the director of several vocal societies,

and has a local reputation as a vocalist, pos-

sessing an excellent and flexible baritone

voice. As a composer he has universal fame,having achieved the Cincinnati Festival prize

of 1882, the judges being Carl Reinicke(Leipsic), Camille Saint-Saens (Paris), andTheo. Thomas. In 1881, Mr. Gilchrist wonthe three prizes offered by the MendelssohnClub ofNew York for compositions of various

styles for male voices.

GOUNOD, Charles Francois. Born in Paris,

June 17, 1818. He received his early musicaleducation from his mother, a distinguished

pianist, and, having finished his classical

studies at the Lycce St. Louis, and taken his

degree as Bachelicr-desletters, in 1 836 enteredthe Conservatoire, where he was in Flalevy's

class for counterpoint, and learned compo-sition from Pacr and Lesueur. Gounod is a

great musician and a thorough master of the

orchestra. Of too refined a nature to write

really comic music, his dramatic compositionsseem the work of one hovering betweenmysticism and voluptuousness. This contrastbetween two opposing principles may betraced in all his works, sacred or dramatic,and gives them an immense interest, bothfrom a musical and psychological point of

view. In the chords of his orchestra, majesticas those of a cathedral organ, we recognizethe mystic ; in his soft and original melodies,the man of pleasure. In a word, the lyric

element predominates in his work, too often

at the expense of variety and dramatic truth.

HATTON, John Liphot, born in Liverpool,

1809, is one of the foremost composers in

England at the present time. Has composedmusic for several of Shakespeare's plays,

anthems, part-songs, operas, and last the

sacred drama " Hezekiah," produced at theCrystal Palace in 1877. Hatton is a fine

accompanist, and visited this country in that

capacity in 1848, and again with Parepa in

1867.

HAUCK, Minnie, born (of a German father)

at New York, November 16, 1852, made herfirst appearance, at a concert in New Orleans,about 1865. She was then placed under thecare of Signor Enani in New York, and madeher debut on the stage of that city, as Amina,in 1 868. After a successful tour in the States,

with a large repertoi>-e of characters, she cameto London, and appeared at Covent Gardenas Amina (October 26, 1868) and Mar-ghe7'ita. In 1869 she was engaged by theGrand Opera, Vienna, and sang there and at

Moscow, Berlin, Paris and Brussels, withgreat success, for several years, in a large

range of parts. On April 27, 1878, shereappeared at Her Majesty's, as Violctta, in

the " Traviata." She sustained the part of

Cannen, in Bizet's opera of that name, at

Brussels, and on its production in London byMr. Mapleson, at Her Majesty's, on June 22,

thus making the success of the piece, whichhad not pleased in Paris, and showing herself

to be not only a high-class singer, but also

possessed of no ordinary dramatic power.Her voice is a mezzo-soprano, of great force

and richness, and she is said to sing Italian,

German, French and Hungarian with equalfacility.

HULLAH, John, LL.D., a distinguished teacher

of singing and musical educator in England.Born at Worcester, 181 2 ;

came early to Lon-don, where he has lived ever since. In 1838,

after composing several small operas, Mr.Hullah turned his attention to the popularinstruction in vocal music, in which he hasever since been engaged. He advocates the" fixed do," as distinguished from the " mov-able do " of the tonic sol-fa schools. He is

the author of many text-books of music, lec-

turer and professor of vocal music in Queen'sCollege, London, and inspector of training-

schools for the United Kingdom. His lectures

on musical history are very interesting. (2

vols.)

KELLOGG, Clara Louise, though born in

Sumtcrville, South Carolina, in July, 1842, is

of northern extraction. Her mother hadconsiderable talent as a musician, and Clara

was her only child. In 1856 they removedto New York, where she received the wholeof her musical education. She made her

first appearance there at the Academy of

Music (opera), as Gilda in " Rigoletto," in

BIOGRAPHICAL SKETCHES OF POPULAR COMPOSERS AND SINGERS.

1861, and sang that season ten or twelvetimes. In 1867 (November 2) she made herdebut in London, at Her Majesty's, as J\Iar-

ghcrita, sang constantly, and was re-engagedfor the next year. From 1868 to 1872 shewas touring in the United States. On May 1 1,

1872, she reappeared in London, at DruryLane, Her Majesty's Opera, as Lhida, andsang during that season also as Gilda. Onher return to the United States she continuedto sing in Italian Opera, till 1874, when sheorganized an English Troupe, herself super-

intending the translation of the words, the7nise en scctte, the training of the singers

and the rehearsals of tlic chorus. Such washer devotion to the project, that in the winterof 1874-75 she sang no fewer than 125 nights.

It is satisfactory to know that the schemewas successful. Miss Kellogg's musical gifts

are great. She is said to be familiar withthirty-five operas. She has great conscien-tiousness as an artist, ardent enthusiasm, anda voice of great compass and purity; in

addition to which she has a remarkable talent

for business, and is never so happy as whenshe is doing a good or benevolent action.

KUCKEN, Friedrich Wilhelm, the melodiousand distinguished song-writer, was born at

Blackede, Hanover, 1810. He studiedcoun-terpoint at Berlin, and with Scchter in Vi-

enna, and orchestration with Halevy in Paris.

Kiicken was a prolific composer of operas,

sonatas, etc., as well as the songs and duetson which his fame rests ; lives in Schwerin

LECOCQ, Charles, the popular composer ofcomic operas, operettas, etc., was born in

Paris in 1832; entered the Conservatoire in

1849, and distinguished himself. His first

successful opera was " Le Docteur Miracle,"

in 1857. Among his most popular pieces are" La Fille de Mme. Angot," 1873, which ranfor five hundred nights consecutively. Hisworks are distinguished for life, brio and easygayety.

LIND, Jenny, the great soprano, was born at

Stockholm in 1820; studied singing there,

and afterward with Manuel Garcia in Paris.

Her debut took place in 1842, but her repu-tation was not fully established until 1847.Her American tour under Barnum's management was in 1850 and 1851. In 1852 shemarried Mr. Otto Goldschmidt, the pianist.

She still lives in London.

LITTA, Marie, born June i, 1856, in Bloom-ington. III. Her parents were natural musi-cians, and, when very young, Litta gaveconcerts under the management of her father.

She went to Europe in 1874 to complete herstudies, and filled many successful engage-ments while there. Returned after an absenceof four years, and made her debut in operaat Chicago.

LUCCA, Pauline, one of the most brilliant

operatic artists of a brilliant epoch, is anative of Vienna. Her high musical gifts

showed themselves early. When a merechild she sang in the choir of the Karls-kirche, in 1856. One Sunday the principal

singer was missing, and the young chorister,

put forward to supply her place in the solo

of a mass of Mozart's, revealed a beauty ofvoice and charm of style that startled all

present. She studied under Uschmann andLevy, and her parents being in straitened

circumstances, entered the chorus of the

opera, at Vienna, which she quitted in 1859,to come out at Olmiitz. Just before leaving,

it fell to her to lead the Bridemaids' Chorusin the " Freischiitz," her performance cre-

ating a sensation that made Vienna eager to

retain her ; but it was too late. On September 4,

1859, she made her debutm Olmiitz as Elvirain " Ernani," and there became a favorite at

once. At Berlin she was engaged as Courtsinger for life. In 1872 she severed her con-

nection with Berlin, and went to America,where she remained two years on an operatic

tour through the States. She returned to

Europe in 1874, and sang at all the chief

cities of Germany, except Berlin. At Vienna,where she now resides, she has remainedone of the chief attractions of each season.

Besides starring engagements in Germany,she appeared in Brussels in 1876, St. Peters-

burg and Moscow in 1877, and Madrid in 1878.

At Vienna she recently added Donna Anna,Carmen, z.nd Madeleijie m " Le Postilion," to

her list of successful parts. In 1865 she

married Baron Rahder.

MATERNA, Frau Amalia Friedrich. AmaliaMaterna was born in 1847, in St. George,a small market town in Styria ; her father

was a schoolmaster, passionately devotedto music. As is, or perhaps was, customaryin the remoter German provinces, he playedseveral instruments, some of them with

virtuosity. Naturally his children were soonconversant with things musical. The little

Amalia, in her ninth year, sang in the

musical masses in the little church of St.

George, and soon became known and wel-

comed as a soloist in the neighborhood. Herfather died while her talent was only in the

first stage of its development. She had nowonly to look to herself for further culture.

An attempt to obtain instruction from the

Vienna professor, Gentiluomo, failed, becausehe demanded such a fee as the poor school-

master's family could not afford to pay. Shewas thus compelled to prosecute her studies

by herself. She found a second home with

her brother, who was a schoolmaster in St.

Peter's, in Upper Styria. Here, while keep-

ing house for her brother, she took part in

the services of the church, and her singing

won for her the affc;tions of the townsfolk.

At Gratz the pupil of nature came into contact

with circles artistically cultivated and in-

spired;professional judges then thought that

Amalia had a genuine contralto voice, while

she herself preferred to appear as a sopranoin churches, concerts and private societies.

The present compass of her voice shows suf-

ficiently how correctly she judged herself.

The nerve she displayed in these perform-

ances induced Czernitz, the director of the

Thalia Theatre, of Gratz, to engage her for

operetta at his house, at a salary which, com-mencing at thirty-five florins per month, soonrose to eighty. Her first role was in Suppe's

opera, " Flotte Bursche." Her success wasso great that her salary was raised to onehundred florins. At Gratz, while singing in

all possible and impossible operas, she metKarl Friedrich, the actor, whom she married,

and with him she went to Vienna, whereTVeumann, of the Carl Theatre, engaged her

at a salary which enabled her to prosecute

her studies seriously. While still singing in

light French and German operettas, she

studied assiduously under Professor Proch.

In 1868 she sang before Kapellmeister Esser

the grand air of Etvira. from " Don Giovan-

ni." Esser arranged for another hearing of

the aspirant in the presence of Dinglestedt,

the director of the Opera House at which she

sang the part of the Fury in "Armida." Anengagement for the theatre was the result,

and she made her debut April 2, 1869, in the

old Karntnerthor Theatre, as Selika, in" L'Africaine." The grand singing, thestrong acting, the majestic form of the debu-tante, gained a brilliant success. She nextassumed the part o( Amelia, in the " Ballo in

Maschera," and of Leonora in " Fidelio."

The enthusiasm which she aroused led the

manager to engage her for three years. Butthese performances, superb as they were,were surpassed by her rendering of Ortrud,in "Lohengrin." In this role the excellenceof her dramatic talent was first placed in its

true light. Since that period she has beenretained, we may say, permanently, at the

Vienna Opera House. She attracted the

notice of Richard Wagner, and during his

visit to Vienna, in May, 1872, he formed theresolution to have her as the Walki'ire, parexcellence, for Beyreuth. In 1876 she crea-

ted Briinnhilde, the central character of theTrilogy. In 1S77 she was the leading attrac-

tion at the Wagner Concerts given in London.After her appearance and triumph at theBeyreuth Festival, Frau Materna has had thebenefit cf the artistic advice of Wagner, whohas chosen her to be the Kundry of his newwork, "Parrifal," to be produced this sum-mer. As Bri'mnhilde, as Valentine, as Don-na Anita, as Leonora, as Aida and Medea,Frau Materna is incomparable. The breadthand grandeur of her style render her pecu-liarly well adapted for the exacting roles of

the " Prophet of the Future," a circumstanceof which he is obviously cognizant. It is

stated that when he heard Materna sing for

the first time, he ejaculated :" Gott set ge-

danki ! L'h habe Bri'mnhilde gcfunden."(Thank God! I have found my Briinnhilde)

;

and her subsequent embodiment of the partat Beyreuth in 1S76 was the perfect realiza-

tion of his most exalted hopes. Apart fromher intimate acquaintance with Wagneriantradition, she stands alone as the grandestdramatic soprano of the classical school nowliving.

MENDELSSOHN, Felix, born in Hamburg,February 3, 1809, was the son of AbrahamMendelssohn, a banker, a man of refinedtastes, and grandson of Moses Mendelssohn,the eminent rabbi and philosopher. Felix

was the second of four children, of whomFanny, the eldest, manifested the most re-

markable talents in music. When Felix wasfour years old the family moved to Berlin.

The theorist Zelter was his teacher in com-position, and Berger in piano-playing. Atthe age of twelve he was pronounced byZelter his best scholar. In the year 1829Mendelssohn became the piano-pupil of

Moschclcs, with whom there sprang up avery intimate friendship. In 1829 he started

to visit London, but made a long tour throughmany places of interest, especially in Italy,

before he reached England, where he wasrapturously received. In 1835 Mendelssohnwent to Lcipsic, and remained there, all butone year, for the rest of his life. He assumed*the direction of the Gewandhaus concerts,which reached a delicacy unknown to thembefore. In 1836 he wrote the oratorio of" St. Paul," which excited the highest enthu-siasm. In 1846 the Leipsic Conservatorywas opened with about sixty pupils. Theteachers were Mendelssohn, •Schumann

"C

f

^a-' c^^^/

12 BIOGRAPHICAL SKETCHES OF POPULAR COMPOSERS AND SINGERS.

(piano), David (violin) and Becker (organ).

This renowned scliool was chiefly the ci eation

of Mendelssohn's brain, and owes to him its

character. In 1846 he brought out his

"Elijah." Some of his other works are:

Overtures to the "Midsummer Night's

Dream," "Songs Without Words," "Oh,Rest in the Lord," " Spring Song," and the

vveil-known duet for soprano and alto,

"Would That My Love." His life was full

of activity and it is no wonder that his

delicate frame wore out. He died in Leipsic,

November 4, 1847.

MURSKA, lima di, the brilliant singer, was

born about 1843 in Croatia; studied singing

with Marchesi in Vienna, and made her

dedi/^ in 1862. Her voice is a soprano of

about three octaves' compass and great exe-

cution.

NILSSON, Christine, was born August 20,

1843, nearWe.xio in the district of Wederslof,

Sweden, where her father was a small farmer

on the estate of Count Hamilton. From an

early date she showed great aptitude for

music, and her voice proved the means of

her introduction to Baroness Lenhusen, fte^

Valerino, herself formerly a singer, from

whom the young vocalist received some les-

sons. She was afterwards instructed by Franz

Berwald, of Stockholm, and in six monthssang at Court. Miss Nilsson accompanied

the Baroness Lenhusen to Paris, and studied

singing under M. Wartel. She made her

debut at the Theatre Lyrique, October 27,

1864, as Violetta, in a French version of " LaTraviata." Her voice is of moderate power,

great sweetness, briUiancy, and evenness in

all the register, the compass being about two

and a half octaves, from G natural to D in

alt. Her style is especially suited to the morepathetic parts of opera, being peculiarly ex-

cellent as Elsa, Margaret, and JSlignon ; for

Valentine, while looking the part to perfec-

tion, she lacks the necessary physique.

During her carher seasons her success was

helped by a certain naivete of look andmanner, which was very charming.

OFFENBACH, Jacque^, the famous composerof opera-buffo, was born at Cologne, 1819,

of Jewish parents ; studied music;became

orchestral conductor, and appeared as com-poser in 1853. Offenbach composed si.xty-

nine pieces and one hundred and forty-three

acts within twenty-five years. Died 1880.

OSGOOD, Mrs. E. Ahne. This favorite soprano

is a Bostonian. As a girl she exhibited

unusual fondness for music, and never tired

of singing ballads, etc., which she rendered

in a charmingly unassuming and attractive

manner. Her parents were somewhat un-

willing that she should adopt a public career,

but, finally yielding, she appeared for two

years in connection with the concerts of the

Beethoven Quintet Club. In 1874 Mrs. Osgoodwent to London, where she pursued her stud-

ies under Randcgger, and in 1875 was allot-

ted a share in the soli work at the HandelFestival at the Crystal Palace. Her success

was speedily established, and during the past

few years she has occupied the position of

the leading oratorio soprano in England,taking a prominent part in nearly all import-

ant performances of the kind. She is also in

great rec|uest as a ballad singer.

PAPPENHEIM, Eugenie. A soprano singer

who excited some attention in London for a

couple of years. She is an Austrian by birth,

and was first heard of at Mannheim, and then

at Hamburg, where she was one of the operatroupe in 1872-75, and in 1874 gave some" Gastspiele " at Kroll's Theatre, Berlin, with

great success, especially as Leonora in " Fi-

delio." She next went to America as a

member of a German company under Wach-tel, and remained there till 1878, when onJune 15, she made a successful debut in Lon-don, at Her Majesty's Theatre, as Valentine

in "The Huguenots." Madame Pappen-lieim is thoroughly good and careful both as

a singer and actress. Her parts are alwaysstudied with care and conscientiousness, andshe is capable of considerable dramaticintensity. She is now a member of the Ger-man Theatre at Pesth.

PATTI, Adelina (Adela or Adcle Juaiia Maria),

born February 19, 1843, '^^ Madrid, was the

youngest daughter of Salvatore Patti, anItalian singer, who died in 1869, and a Span-ish mother, also a singer, well known in Spainand Italy, before her marriage with Patti, as

Signora Barili. The parents of Adelina wentto America, and she was taken there as achild. Having shown great aptitude for

music, Mile. Patti received instruction in

singing from Maurice Strakosch, who marriedher elder sister, Amelia ; she appeared in

public in America at a very early age, and waswell received, but was wisely withdrawn for

some years for the purpose of further study.

She reappeared November 24, 1859, at NewYork as Liicia, andplayedotherparts, in all of

which she was highly successful. Mile. Patti

made her debut \w. England, May 14, 1861, at

the Royal Italian Opera, as Ainina, with

wonderful success, and from that time becamefamous, though c|uite unknown before. Sherepeated that part no less than eight times,

and confirmed her success by her perform-ance of Lucia, Violetta, Zerlina ("DonGiovanni "), Martha and Rosina. She sangthat autumn at the Birmingham Festival, in

opera at Liverpool, Manchester, etc., andafterwards was engaged at Berlin, Brussels

and Paris. From 1861 to the present timeMme. Patti has sung at Covent Garden everyyear and has maintained her position as per-

haps the most popular operatic artist of the

time. Mme. Patti made an operatic tour in

the provinces in 1862, sang at the Birming-ham of 1864, notably as Adah on the pro-

duction of " Naaman ;

" at the HandelFestivals of 1865, 1S77 and 1880 ;

atthe Liver-

pool Festival of 1874, '^s well as in several

brilliant provincial concert tours. She hasenjoyed the same popularity on the conti-

nent, having fullilled several engagementsat Paris, Vienna, St. Petersburg, Moscow,etc., and in various cities of Germany, Italy,

Spain, etc. Her voice is of moderate powerbut great compass, reaching to F in alt; herexecution is brilliant and finished, and she

has considerable charm both of person andmanner. Ller repertoire is extensive, up-

wards of thirty characters, chiefly of the

Italian school, many ofwhich, such as Alaria,

Norina, Adina, Li?ida, Litisa Miller, Des-dexiona, Ninctta, Seiniramide, etc., wererevived for her ; she is also quite at home in

the works of Meyerbeer and Gounod. Thenew parts which she has created in England,Annetta ("Crispino e la Comare "), July 14,

1866; Esmeralda, June 14, 1870; Gelinina,

June 4, 1872; ^«//<r/, July 11, 1867; Za Ca-

tarina [" Diamans d* la Couronne "), July 3,

1872; Aida, June 22, 1876, and Esiella,

("Les Bluets'") of Jules Cohen (Covent

Garden, under the title of " Estella," July 3,

1880), perhaps with a little more success than

when Mme. Nilsson played the part in Paris.

Of the other parts, only as Jjtliet and Aidahas she obtained any permanent popularity.

The Zerlina of Mozart is the only character

she has played in classical opera. Mme.Patti married July 29, 1868, Flenri Marquis

de Caux, Equerry to Napoleon III.

PHILLIPS, Adelaide, was born in Bristol,

England, where her father was a druggist

and chemist, and her mother a professor of

dancing. Adelaide gave promise of having

a fine contralto voice at a very early age.

When she was seven years old her father

came to America and settled at Boston,

where Adelaide received her first instruction

from Thomas Conner. She filled many suc-

cessful engagements in Boston, and in 1852

set out for Europe to continue her studies.

She spent a year and a half in London, andthen visited Italy, where she sang with good

success. In 1855 she returned home, arid

has had an uninterrupted career of success in

her concert-tours through the United States.

PINSUTI, Ciro (II cavaliere), native of Sina-

lunga, Siena, where he was born May 9,

1829. He was grounded in music and the

piano by his father; at ten he played in

public ; at eleven, being in Rome, he wasmade honorary member of the AccademicaFilarmonica, and was taken to England byMr. Henry Drummond, M. P., in whosehouse he resided until 1845, studyi'ng the

piano-forte and composition under Cipriani

Potter, and the violm under H. Blagrove.

In 1845 he returned home, and entered the

Conservatorio at Bologna, where he attracted

the notice of Rossini and became his private

pupil. In 1847 he took his degree at Bologna,

and remained there another year under

Rossini's eye. In 1848 he went back to Eng-land, and started as a teacher of singing,

dividing his time between London and New-castle, where he founded a musical society,

which still exists. Since that time Mr. Pin-

suti's headquarters have been in London,

where he is well and widely known. Since

1855 he has been professor of singing at the

Royal Academy of Music. In addition to a

large circle of pupils of all ranks, manyeminent artists have profited by his counsel,

as Grisi, Bosio, Patti, Ronconi, Graziani,

Mario, etc. His works are largely diffused,

and his charming part-songs, full of melodyand spirit, are great favorites with the singing

societies of England. The list of his pub-

lished compositions comprise more than 230

songs, Enghsh and Italian; 35 duets; 14

trios; 45 part-songs and choruses, and 30 P,

F. pieces; the Te Deum and the opera " II

Mercante di Venezia."

PLANOUETTE. Robert. Born in Paris, July

31, 1850, and passed rapidly through the

Conservatoire, and first appeared as a com-poser of songs and chansonettas for the

Cafes-concerts. Encouraged by the popu-

larity accorded to the bold rhythm andslightly vulgar melody of these songs he

rose to operettas, "Valet de cour," " LeServent de Mme. Gregoire," and "Faille

d'avoine." The decided progress evinced

by this last piece was confirmed by " LeCloches de Corneville," a three act operetta

produced with immense success atthe Folies

dramatiques, on April 19, 1877, adapted to

BIOGRAPHICAL SKETCHES OF POPULAR COMPOSERS AND SINGERS. 13

the English stage by Farnie and Reese, andbrought out at the Folly Theatre, London,February 23, 1878, with equally extraordinary

good fortune. Planquette has since com-posed and published " Le Chevalier Gaston,"one act (Monte Carlo, February 8, 1879) and" Les Voltigeurs de la 32me," three acts

(Theatre de la Renaissance, January 7, 1880).

RANDEGGER, Alberto, composer, conductorand singing-master, was born at Trieste,

April 13, 1832. He began the study of

music at the age of 13, under Lafont, for the

piano-forte, and L. Ricci for composition;

soon began to write, and by the year 1852was known as the composer of several massesand smaller pieces of church music, and of

two ballets, " La Fidanzata di Castellomore"

and " La Sposa d' Appenzello," both pro-

duced at the Teatro Grande of his native

town. In the winter of 1854 he brought out

a tragic opera in four acts, called " BiancaCapello," at the chief theatre of Brescia. In

1864 he produced at the Theatre Royal,Leeds, " The Rival Beauties," a comic oper-

etta in two acts, which was successful. Mr.Randegger's published works are numerousand important, including operettas, songs,

concerted vocal music for voice and orchestra

or piano-forte ; he is also the author of the

Primer of Singing, in Dr. Steiner's series

(Novello). A large number of Mr. Ran-degger's pupils are now before the Englishpublic as popular singers.

REEVES, Sims, the great tenor, was born at

Woolwich, 1821 ; made his (/ii^?// about 1840,

after serious studies in London and Italy, andhas since held highest rank among operatic

and oratorio tenors. His son, in 1880, madea promising debut as tenor.

•

ROECKEL, Joseph Leopold, youngest son of

Professor Joseph Augustus Roeckel, was bornin London in the year 1838. He studiedcomposition at Wiirzburg, under Eisenhofer,

and orchestration under Gotze, at Weimar.He is well known as a teacher and a volu-

minous composer of songs. His orchestral

and instrumental compositions are less well

known, but his cantatas, " Fair Rosamond,""Ruth," "The Sea Maidens," "WestwardHo," and " Mary Stuart," have been receivedwith much favor. The first of these wasperformed at the Crystal Palace in 1871.

ROZE, Marie Mapleson, born in Paris, March 4,

1850, received her first instruction of Auber,and appeared with marked success in the

chief roles of several operas composed ex-

pressly for her by Auber. She filled a five-

years' engagement under Colonel Mapleson,director of " Her Majesty's Opera," London,and, in 1877, Max Strakosch engaged Mme.Roze for an opera season in the UnitedStates ; which engagement she filled with

great success. In 1878 she was married to

Henry Mapleson,

SAINTON-DOLBY, Charlotte Helen, was bornin London in 1 82 1 , and gave signs of possess-

ing decided musical talent when still young.Her earliest instructress was a Mrs. Montague,from whom she received piano-forte lessons.

On the death of her father Miss Dolby deter-

mined to adopt the musical profession, and,in 1832, entered the Royal Academy of Music,where she first studied under Mr. J. Bennettand Mr. Elliott, -and then under SignorCrivelli. In 1837, so great was her promisethat she was elected a King's Scholar, al-

though her voice was still weak and not fully

developed. She remained at the Academyfor five years, and after leaving was elected

an honorary member of the institution.

Almost from the date of her first appearancein public until her retirement in 1870, MissDolby remained unrivaled as a singer of

oratorio and English ballads. The admirableskill with which she controlled a powerfulcontralto voice, the exquisite intonation, per-

fect enunciation, and noble declamation,which distinguished her singing, caused herto take a very high place, not only amongEnglish, but among European artists of the

present century. Madame Sainton haswritten many ballads and songs.

SAINT-SAENS, Camille. Born 1835 ; one of

the most noteworthy French composers ; haswritten symphonies, operas, and much else

;

is best known in this country by his "Phaeton"and his " Danse Macabre." The former is a

fine specimen of legitimate programme music,

i. ^., music which seeks to express a series of

emotions connected with a definite series of

incidents. He is also an excellent organist

and pianist.

SANTLEY, Charles, born at Liverpool, Feb-ruary 28, 1834, is the possessor of a baritone

voice of fine quality, extensive compass andgreat power. He quitted England for Italy,

1855, and studied at Milan under GaetanoNava; returned October, 1857, and tooklessons from Manuel Garcia. He appearedat St. Martin's Hall as Adam in Haydn's"Creation,'.' November 16, 1857, and onJanuary 8, 1858, sang the two parts of

Raphael and Adam in the same work at the

Sacred Harmonic Society. He first appearedat the Covent Garden, in the Pyne and Har-rison Company, as Hoel in " Dinorah," in

September, 1859, and sang in " Zampa," the" Waterman," and " Peter, the Shipwright,"

at the Gaiety, in 1870. His first essay in

Italian opera was at Covent Garden in 1862,

but later in the same season he transferred

his services to Her Majesty's Theatre. Hefirst sang at the meetings of the Three Choirs,

at Worcester, in 1863, at the BirminghamFestival in 1864, and at the Handel Festival,

at the Crystal Palace, in 1862, and has since

maintained his position as the first Englishsinger of his class ; and during a tour in the

United States, in 1871, reaped substantial

honors here also. Mr. Stanley's accomplish-ments are not confined to music. He hasadapted " Jaconde " to the English stage

and is an enthusiastic amateur painter. OnApril 9, 1859, he married Miss GertrudeKemble, daughter of John Mitchell Kemble,the eminent Anglo-Saxon scholar, and grand-daughter of Charles Kemble. She appearedas a soprano singer at St. Martin's Hall, in

the "Messiah," in December, 1857, but onher marriage retired from public life.

SCHIRA, Francisco, long resident and es-

teemed in London as composer, conductorand professor of singing, was born at Malta,

September 19, 181 5, received his early edu-cation at Milan, and was placed at the ageof nine (1824) in the Conservatorio, wherehe learned counterpoint under Basily, prin-

cipal of that institution. At 17, having com-pleted his studies, Francisco was commis-sioned to write an opera for the Scala, whichwas produced November 17, 1832. He thenwent to Lisbon, anS" after achieving musicalsuccess, left the Portuguese capital in Jan-

uary, 1842, and located in Paris; while at

the latter place he accepted the position of

director of music and orchestral chief at the

Princess Theatre, London. Francisco Schirais a composer of the genuine Italian type

;

as an instructor in singing he has alwaysmaintained a high position, many a public

vocalist having profited by his counsels.

STRAUSS, Johann. 1804-1849. Lived in

Vienna, and is known the world over by his

beautiful dance music. His sons, John, Jo-seph and Edward, are hardly less renownedfor their productions in the same field. John,indeed, has also written comic operettas.

His waltz, " On the Beautiful Blue Danube,"is the best known of his works.

SUDDS, W. F., born in London, England,1843 ; came to this country atthe age of seven;was a pupil of Eugene Thayer in organ-playing, and of Julius Eichburg in harmony,composition and violin playing. He is aprolific and talented composer, with greatfertility of invention. Sudds is the author of

many excellent songs ; a valuable organinstructor, entitled " National Guide to ReedOrgan Playing; " the largest and most com-plete piano instructor ever published in this

country, entitled "National School for thePiano-forte," which has secured flattering

testimonials from the most prominent mu-sicians in America ; also two very successful

collections of anthems. He is widely knownby his remarkably graceful and melodiouspiano pieces, in which class of compositionhe is said to be the most successful in Amer-ica, at least, since Gottschalk.

SULLIVAN, Arthur Seymour. Born 1842.

He was a pupil of the Leipsic Conservatory,and is a talented and accomplished musicianand composer. He has written works of con-siderable importance, including one or twooratorios, but is best known in this countryby his comic operas, " H. M. S. Pinafore,"" Patience," " Pirates of Penzance," etc.,

which have had most extraordinary runs.

SUPPE, Franz von, was born in Dalmatia in

1820. He is a conductor in Vienna, and hascomposed operas, symphonies, quartettes,

etc. He isbest known by his comic operettas,

of which "Fatinitza" and "The Beautiful

Galatea" have been given in this country.

THOMAS, Theodore. Born in East Frisia in

1835 ; has been a violinist and conductor in

New York since 1847. He developed andtrained the finest orchestra yet seen in Amer-ica, with which he made extended concert-

tours for many years. At the establishment

of the Cincinnati College of Music, in 1877.

he was called to be its director, but resigned

early in 1880 and returned to New York.

THURSBY, Miss Emma C, is a native of

Brooklyn, N. Y., and although still youthful,

holds a place in the affections of the Ameri-can people, stronger, perhaps, than is enjoyedby any other singer in the country. She is

a pupil of Mme. Rudersdorff and SignorErrani. Her voice is a pure, sweet, fresh

soprano, and her compass is from G in alt,

to A below the staff. For Sunday services in

the Tabernacle Church of New York, shereceived a salary of $3000. Strakosch agreedto give her ^100,000 for three years' singing

in concert and oratorio. She made her debutin Boston, in 1870, since which time she hasung in all parts of America and Europe

S .'

"i :

mma

i' V.

16 BIOGRAPHICAL SKETCHES OF POPULAR COMPOSERS AND SINGERS.

with great success. She is of petite figure,

with a very expressive face, and a mostcharming and modest bearing. She abso-lutely refuses to appear upon the stage in

opera. Her recent successes abroad havebeen all that her earlier career promised.

VERDI, Giuseppe, was born in Busseto, Italy,

in 1813. He is a prolific composer of Italian

operas, of which the best known in his earlier

style is "11 Trovatore," a work popular onaccount of its pleasing and effective melodies,

but poor in harmonic and contrapuntal treat-

ment and lacking in truth of dramatic char-acterization. In these points he has greatly

improved in his later opera, ''Aida," in which,as in his great Requiem Mass, he shows the

influence of the modern German School.

VICKERS, George M., was born in Philadel-

phia, Pa., January 8th, 1841. As a writer of

song-poems, this gentleman has no superior,

either in this country or in Europe. Hispoems possess a degree of grace and origi-

nality that not only gives them a peculiar

beauty, but also insures their almost imme-diate-popularity. He is a perfect master of

the art of versification, and few, if any, of

his writings fail to give evidence of his rare

poetical talent. Among his more notedpoems which have been set to music by pop-ular writers, may be mentioned " The Fish-

erman's Bride," "Six o'Clock," "Twilighton the Sea," "Orange Blossoms," " By the

Old Cathedral," "The Robber's Dream,"besides " The Proudest Ships," "Why, Why,O Sea?" in his libretto of "The Lightkeeper'sDaughter," and "Ah, Love's a Rose," " NowThat We've Met Again," and "SweetestBlossoms of the Spring," in the libretto of" Nora," of which he is also the author. Mr.Vickers has written considerably more thantwo hundred poems, upon subjects rangingfrom the most humorous to those embodyingthe most touching patlios. His descriptive

pieces are universally admired.

WESTENDORF, Thomas P. Among thepromising composers of the United States is

Mr.Westendorf. He began his musical studies

in 1857, under Louis Staab, Professor of thePiano, and Henry Declerq, Professor of theViolin, with whom he made rapid progress as

a performer on both instruments, at the sametime acquiring considerable knowledge ofwind instruments. Later he was appointedteacher of the brass band and of singing in

the Reform School of Chicago. Here his

efforts were crowned with success, the band,of which he was the leader, becoming famousthroughout Illinois. As a composer, Mr.Westendorf might have dated back muchfurther than the time of his first publishedproduction, had it not been for his modesty,a quite natural trait with true genius. As asuccessful and versatile writer, he is equaledby few in this country. His songs and in-

strumental compositions have an exceedinglylarge sale, and seem to strike the popularfancy in an extraordinary degree.

WHITNEY, Mr. Myron W. The magnificentvoice and cultured style of Mr. Whitneyrender him a tower of strength on all import-ant musical occasions. As an oratorio singerhe has but few rivals and no superiors. Hislegitimate rendering of anything intrusted to

him is worthy of special eulogy, especiallyin an age when tradition is decried as beingunworthy of consideration in this age ofmusical progress. Mr. Whitney is a New

Englander, hailing from Ashley, Mass.,where, in 1 836, he first saw the light. He wasfirst heard at a Christmas performance of the" Messiah," given by the Handel and HaydnSociety in Boston. Since that time he hasassisted at almost every important oratorio

performance in this country, and enjoys awidely extended popularity, which he hasworthily earned. In 187 1 he visited England,and achieved a notable success in London,particularly at the concerts of the SacredHarmonic Society. He was also intrusted

with the part of Elijah at the BirminghamFestival in 1871, and "won golden opinionsfrom all sorts of people."

WINANT, Miss Emily. This young and rising

contralto is the fortunate possessor of a con-tralto voice of great beauty, and, thanks to

the careful training she received from the late

Mme. Rudersdorff, her method is all that

could be wished. She holds a position in thechoir of St. Thomas' Church, in New York,where her services are highly valued. She first

courted public opinion at one of Remenyi'sconcerts, in November, 1878, and has sincebeen frequently heard at the New YorkPhilharmonic and Symphony concerts andelsewhere, with tolerable frequency. Herengagement by the New York Festival Com-mittee was a graceful compliment to the youngartist.

HOW MUSIC IS MADE." The way to cook a rabbit is to first catch a

rabbit," etc., applies forcibly to the initial pro-cess of producing a musical composition in

sheet form; and it may be further added, thatmanuscripts worth publishing are as hard to

procure as the traditional rabbit. As all largemusic publishing concerns are constantly in

receipt of manuscripts sent for examinationand sale, it becomes necessary to inspect eachcomposition as soon as possible, otherwise theywould accumulate to such an extent that aseparate examination would be next to impos-sible. Forthis purpose is employed athoroughlyeducated and practical musician, one who notonly performs at sight, but who is also a masterof harmony and composition. After carefully

trying over each piece, and noting his opinionthereon, the result may be the selection of oneor two manuscripts out of perhaps fifty, tlie

balance being returned to their respectiveauthors marked "rejected." We will supposethat one of the pieces recommended by theinspector is a song. The publisher now holdsa manuscript which in the opinion of his

inspector is worth publishing, that is, it hassome point of excellence tliat might result in

the piece becoming populai'. The next step is

to read the letter sent by the writer of the song,and if the author's demands are deemed reason-able his terms are accepted and the song is

" put in hand," not, however, before the pub-lisher has first satisfied himself that the wordsare correct and suitable, and that the title is

not already in use. The manuscript is thentaken by the engraver, who, seated at his table,

begins the work of transferring to metal plates

the " copy " before him. Forthis purpose heemploys a hammer and a multitude of smallsteel dies, each one of which represents acharacter of music, in fact everything from abrace to a double bar, and from a grace noteto a "sixty-fourth," besides rests, slurs, cres-

cendos and a full set of the alphabet in various

sizes, such as agate, nonpareil, primer, etc.

Upon the table before him rests a slab of iron

about two feet square by two inches thickThis is the anvil (?) on which is laid the metalplate aforementioned. The latter is composedof white metal and is one-sixteenth of an inchin thickness ; the surface is highly polished andresembles burnished silver. With the aid oi

compasses, rules, and other peculiar tools, the

lines, bars, etc., are laid out, after which the

engraver proceeds to fill in the music andwords, and thus each plate is treated until the

song is finished.

While the music engraver is busy with his

manuscript and dies, the title engraver is notidle. By a process exactly similar to bank-noteor steel engraving this individual prepares thetitle, which, as an obvious necessity, must beentirely original in design, both in lettering andornamentation. The metal plates used for titles

are the same as those used for music.The music plates and title being finished,

proofs are taken from them and submitted to

the music inspector, who carefully examineseach page and makes the necessary correc-

tions, after which they are returned to the

engraver. The latter individual having madethe designated changes or additions, passes theplates to the superintendent of the press-room,where they are in turn given to a pressman.The press used is the same as employed in

steel-plate printing, and can, l:herefore, only beworked by hand. This process is necessarily^

slow and tedious, but it is the only method bywhich first-class sheet-music can be made.After the music is printed, the music sheets,

which are still wet, are hung upon racks to dry. ,

The drying process consumes about two or

three hours, when they are taken down, folded,

and put in a press, where they are usually left

over night. In the morning they are takenout, and we have before us a pile of elegantplate music, "the latest song of the season.""Plate" editions will always be preferred byall who appreciate music that can be easily

read; in fact to those accustomed to plate

work, "type music" seems like no music.

PROOF-READING.None but an author can appreciate the import-

ance of correct proof-reading ; and many's the

writer who has had occasion to regret the typo-graphical blunder that distorted or made vaguehis otherwise meritorious effusion. It is doubtful

if a writer lives, or ever did live, who has not

had such experience. No matter how careful

the professional proof-reader may be, he is boundto overlook errors in his proof-sheets. It maynot be in a misspelled word, which is the least

objectionable mistake that occurs, for the sense

is generally preserved; nor may it be a mis-

placed cap or lower-case letter, nor even a

"wrong font," for any and all of these will beinstantly detected by any proof-reader. Thegreat difficulty comes when a wrong word is

introduced, either by the incorrect reading of

copy by the type-setter, or by the omission or

addition of a letter, thus: the word band, byleavingoutthe^, becomes ««(/, a properly spelled

word ; and ba7Td with the d omitted makes ban;while band with the n wanting conveys a badidea of the author's intention. Now, fev/ proof-

readers would note an error of this latter de-

scription, as not one in a hundred reads his

proof to get the sense of the matter before him,

but merely runs over the column mechanically,

and passes over the mistake because it is arightly spelled word. Of course some copy is

hard to read, but as a rule any manuscript is

liable to meet with the same trouble.

HUGH CONWAY.THAT TRAITOR, LOVE.

17

JOSEPH L. ROECKEL.

3: =^

Allegretto con spirito.

1. Singing a las - sie

2. Singing the las- sie

-*^ • -4-S-* -4^' -4-<*- Si*i»- : f marcato. leggiero.

^m i^fei 311^ "^fy 1-t^-H-t^ •My 1^=5 -=!-»=*

-f-Kd^ E^^J-4^ ^ -|T-MH^- ^ 5-^_^_- ¥ ¥ -¥-»-¥-<^ ^ t^ ' ^

fair, . . . "He who my love would claim, Shall have red,red gold to spare, And bear a no - ble name ! On a gallant steed he shall

fair, . And still her song the same. When a woo-er bold to dare, One mer-ry springtime came; Love look'd out of his

-m>—¥—m- -m—

^

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3^ •t

raZZ. -<ii»i. pp naively.

proudly ride With trappings bright and gay;

steadfast eyes. Love in his deep voice lay;

His lands shall be broad and wide Who steals my heart away !" Be - ware ! Be"O maid-en mine, a - rise, a-rise, And follow me far a -way !" Be - ware ! Be

ff^fH^II-

^^^cres. ed allargando. ritf

'^^^^^m^k-.a tempo.[r,2

=P=iR=^ ^¥ Ij-^- ¥. ¥-

ware ! Beware when soft eyes smile ! That traitor,Love,has ma-ny a wile, has ma-ny, ma-ny a wile. wile! He

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fedife^colla parte.

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f a tempo.

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3a littlefaster. /=

raZZ. espresM.

^^^^^^^B :^s^=ts ^?ff^ g^¥ ¥ \-¥ ¥ 9¥- ¥^j—;w

held no gol-den store. He rode no gallant roan, The on - ly gift he bore Was Love,and Love a - lone !

=^^ 3t£E -^'Slgg^^^^i^:=?^

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a ^ ^ mcoZZa parte.

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3; 3;

18 THAT TRAITOR, LOVE.

a tempo. f con anima. -^allargando.roll.

Nev-er a farm or field had lie.Wealtli and a name to make!Yet hand in hand, o'er land and sea.He led her for Love's sweet sake

!

pa^^^io^Be

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Tempo Imo cre».

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m^ *=» ^==w^=n

ware ! Be - ware ! Be-ware when soft eyei smile ! that traitor,Love,has ma-ny a wile, has ma - ny a wile !

Tempo Imo. ^

Be - ware ! Be •

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trai-tor, Love, has ma - ny a wile, has ma - ny, ma - ny a

rit. ^

h?* P J^IZI^ S S=C2 :^=it-^-id

-f^ t^ware! Beware whensofteyes smile, that trait-or,Love,has ma-ny a wile, has ma-ny, ma-ny a wile! . . .

_8

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A SUMMER SHOWER.P

THEO. MARZIALS.

^fe^ie-J

—

. ^ *=« i^ 5s*L=:^

1. " Oh, 'tis noth -ing but a show'r, but a quar-ter of an hour, Don't you2. Now that lit - tie sum-mershow'r,mu8t have lasted quite an hour. As I've

3. Now that lit - tie sum-mer show'r,mu8t have ceas'd for quite an hour,A8 I've

P^~^

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s? ^

A SUMMER SHO^A^ER. 19

3^ ?*=^ ^ ^S&^ ^5^ 5^ lES»^^- -J^zi^ r=?±t^

think you'd better shel-ter by the chest- nut tree, For the wind is blowing sweet, and you've daisies for your feet, Andheard a sliower can do in tlie Nortli Countree, And she'd got a pret- ty shoe, slie lik'd to show it too, But sheheard a shower can do in tlie North Coun-tree, But if you're in the shade, with a ver - y pret - ty maid, It

M -4 1^^^Efc:^ SS

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^ J^=^ it

2nd & 3rd verse.^ ^ £^S5^5^^^should you care to dance, I can pipe," said he. She was go- ing to the town in afresh print gown, And a dain-ty col - or flies thecould not dance for ev - er, tho'light wasshe, So she sat her down to rest, and the rose from her breast She gave it him so pretti - ly andcannot mat-ter much what the weathermay be ; And he must have said his say, for in his her fingers lay, As he took a thread of meadow grass and

daintier it be.And the piper's eyes are blue,and he looks'her thro'and thro'And the parson's pipingbullfinch cannot pipe as sweet and true,And there'soh ! so fair was she. That the piper blush 'd and sigh'd, and he stutter'd when hetried To say sometliing about roses, and I dont know what beside, For she

meas-ur'd for the ring, And she look'd him thro' and thro', while he vow'd he'd lov'd her true. Since tlie day he shar'd her book at church and heard her sweetly sing, And not

^i ^ ^ ^ t-JW=Sr—^

i^ W^mma 3

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i

not a bird in June, knows such a mer-ry tune, As "Mer -ry, mer-ry, mer-ry, in the North Coun-tree, With a hey, my lad, and atoss'd her dain-ty head, and start-ed up and said, "Mer -ry, mer-ry, mer -ry, in the North Coun-tree, But it's nay, my lad] and it'

an - y one that June, sang such a mer-ry tune. As "Mer -ry, mer-ry, mer -ry, in the North Coun-tree, With a - way, my lad' and a/ I

•

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S1st & 2nd verses. Last verse.

gy • aa^^^^JS-i^i

32=>:^=1-

7Tplay, my lad,And mer -ri - ly I'll dance to thee

!

" stay my lad,And I'll live and I'll die for thee, for thee.I'll live and I'll die for thee."play, my lad,And mer -ri - ly I'll dance to thee

!

"

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23 3.CJ ^

d

so

THE LAST ROSE OF SUMMER.

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'Tis the last rose of summer, Left bloom-ing a - lone ; All her

t^:i:

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fm P-^^^ s—a:

#^^^ H*—J-n P^S=g^^ ^ a piacere. P^ ^ a ^miptf.

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i^tz: ^^love - \y com - panions Are fad - ed and gone ; No flow - er of her kindred. No rose - bud is nigh, To re-

3/^ ^

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- fleet back her blush - es, Or give sigh for sigh

!

I'll not leave thee, thou lone one, To

^5=i ^^^sp^ s^^^ y ^' gfea9:s:^ ^^^ :i^-^- s!±it i^=|g

pine on the stem ; Since the love - ly are sleep - ing, Go sleep thou with them. Thus kind ly I

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:flf

ad lib. ^'Z,.^ a tempo.

lH^iB^^f==^ :b^^^ii=^ ^^^m 5=

scat - ter. Thy leaves o'er the bed, . . Where thy mates of the ... . gar - den, Lie scent less and

^^^^^^^^^^^^-4- m:ii=^

-e=^

THE LAST ROSE OF SUMMER. M

FLORENCE L. CARTER.WEARY.

^iP a tempo.

VIRGmiA GABRIEL.

g5

It^tzjr^tztsf-Np^-a^-^-^-a^-

Andante non troppo.

1. Weary of liv -ing, so wea-ry, Longing to lie down and2. Weary, so wea-ry of waiting, Waiting for sympa - thy3. Tir-ed, so tir - ed of drifting, Adown tlie dark stream of

die, .

sweet,

life,

To find for the sad heart and dreary, The end of the pil grimage nigh;

For something to love,and to love me, And pleasures that are not so fleet,

Tir- ed of breasting the bil-low, The bil -lows of toil and strife.

Weary, so weary ofFor a hand to be held on my

Wishing and waiting so

dim.

a?gi=S ^^^^^p^^ :)'=& M^^^^Bittqn

rgwishing,

forehead,sad-ly.

For a form that has gone from my sight, For a voice that is hush'd to me ev - er. For eyes that to me were so

A glimpse of the gold en brown hair, For a step that to me was sweet music. And a brow that was noble andFor love that was sweetest and best, Willing to die. Oh ! so gladly. If that would bring quiet and

colla voce.

ffii ^"^y ^9:

s±i^ Ibright,

fair,

rest. V^5^-r-^-^£^g3E3=!3S=B=u^g'=E=:gb=E

22

WE'D BETTER BIDE A WEE.CLARIBEL.^ ^jL^"[gXJ-Z^^JP=B^^^g^w

1. The puir auld folk at hame.ye mind,Are frail and failing sair,And weel I ken they'd2. When first we told our story,lad,Their blessing fell sae free,They gave no tho't to

3. I fear me sair.they're failing baith,For when I sit apart, They'll talk •'Heav'n sae

^^^Sf^^ M ^pj^^ F ^1* 1

i ^ £E ^l¥ -f-r itz=^ ^^ S ^p=s= 5^smiss me, lad. Gin I came hame nae niair

;

self at all, They did but think of me;

earn - est -ly, It well nigh breaks my heart

;

The grist is out, the times are hard,The kin are on - ly three, I canna leave theBut, lad-die, that's a time a - wa. And mither's like t» dee, I canna leave theSo, lad-die, din - na urge me mair. It sure - ly win - na be, I canna leave tht

^fci?:

-1^ -^ ii=ir=s

^^ffi ^'|g'|g'. m 4m

^XA

=^^^x^=m ^--<tSJn:^^^i-i^S ^^auld folk now,We'd better bide a wee, I canna leave the auld folk now,We'd better bide a wee.

I^eTWO'S COMPANY, THREE'S NONE

!

FRED. E. WEATHERLY. JOSEPH L. ROECKEL.Allegretto.

;g: Semplice.^e l^T ^—>y ^^r ^ SA * M.

1. Down the zig - zag one bo - dy went, On a se - cret sweet was one bo - dy bent. And one bo - dy else must have2. One bo - dy muttered, and one bo - dy sigh'd,And that third bo-dy talk'd 'till ev - en - tide, 'Till one bo - dy whis - pered

^=Cz

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TWO'S COMPANY, THREE'S NONE!rail.

23

^: W^=H ^^^^ fcJ^ :t5=1^^ s::=S=n=|: W ^—a^

known the same, For up the zig - zag one bo - dy came, And side by side those two bodies stand. One bo-dy hold - ing

sau - ci - ly "Can you tell me what is good com-pa - ny 1 Then a twinkle rose in that third body's eye8,And that third body was for a

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np espress.

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rail.

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rail. 1st. verse. More slowly, and sadly.

Tjit: S ^ i-\- V s- :t2=t2:

one body's hand,And time is sweet where the shad-ows fall, 'Till a third bo-dy came and spoilt it all. And gloomi - ly, silent - ly

moment wise. He did what third bo-dies aye should do. Took the op -po -site way and

'^ More slowly.

te m.-SI- 5 :X.^^ Srail. colla paiie.

S P=H ?^ ^-^^ -^- :£

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^^ rail.

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Satjit

wandered they on. Two is compa-ny three is none ! Gloom-i - ly, si - lently wandered they on, Two is compa-ny, Three is

it^^=^#=^ S^^^N^^Nihm y Ij1^=2^2^r-•—

s

marcato.

^^^mcollaparte. f

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it^

Tempo Into. :S: I

2»d verse.

I«^left the two!

ISi^ml-i^^—^^3g-FJ=r ^r f

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P^^r->

Joyously.

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y largamente. ff~

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^ iS'-

And happily,happily wander'd they on.Two is company.Three is none ! Happily.happily wander'd they on.Two is company,Three is none !

^^-

f • • marcato. ' ' f c^f

fe/ colla parte, ff

=±rt= ai i'

n^^^T^^

24 THE WAY THRO' THE WOOD.F. E. WEATHERLY. MADAME SAINTON-DOLBY.

Allegro con spirito.>r--.. tr-- /f,un poco piu lenifk

p grazioso.

^^=^^^^^^^^^m ^^ i^t^*=t^

-^—te

fl*^-Some-bo- dy walk-ing one morning in May, one morn - ing in May, Chanc'd to meet some-bo-dy on the same

3t =: J

con grazia. ^K^^^^

"^ ^ ^^^ feit:i^=tg=i^_L^gi-^ 1 ^ U" U

way, on the same way

:

"Shall I go with you ?" somebody said, some - bo - dy said; Some-body

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SJs

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f^ ^

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g'^'U^^^^^^oco raZZ dim. a tempo, poco rit.

"^^^^^^ma tempo.

7 msau - ci-Iy tossed her sweet head,tossed her sweet head

;

asSo some-bo-dy turn'd on his heel where he stood, where he stood,

^^^^

5 :J5=^^^ W^;^^ atjt*

. And gloom-i-ly walk'd down the way thro' the wood, thro' the wood.

'-i^-a^ ^^rfp^g :^=^ :4=^ :^=^ T~^"p

THE AVAY THRO' THE W^OOD. 2d

Andantino, ma non troppo lento.

a&^g-e-r^4^a^ irits t fe^:^S ^q:^W :fl«b!^=:^=itt^*i5i^, -^

—

Dreary and sad grew the voice of the breeze; Somebody's watching with anxious eyes bent, Watching the way that some-bo- dy went

;

rf / dim.

g:p-g=rftf—r~f- ttg= J J *^ ^^^ g^^^^^^fejl=g £Saj=r^.4J^-:^-^

Somebody's weeping where somebody stood,And thinking how dark is the way thro' the wood; Somebody's weeping where somebody stood,And

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thinking how dark is the way thro' the wood.

Jja pi3^

1^^^^^

J, Allegro con spirix

5d53mT555niES?!B!5]spirito.^^y^ =1^=

raZZ. alfine.

^^ -S"-

a tempo.

a*-fi^= ^^ .^L^

^«^^1»3= ^

» THE WAY THRO' THE ^A/^OOD.

congrazia.

^^Spoco rit.

J=U^,X^^f^A ilfe*n=:Ta tempo.

E ^?Sit^

now.love?" somebody said, some - bo-dy said. Low- er and low-er droop 'd somebody's head, some - bo - dy's head, Till

(Jii-r=^=r^>-U-lp-

g'dim.

i feS^i

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^

-^=1—=1- -=i—=1-

C? t^

J30C0 nY. a temp6.

i^^^y^a^ ^-iS^tb^ztt*;

some-bo- dy sooth'd her.as some-bo- dy could, as some - bo-dy could. And hap-py once more is the way thro' the wood, thro'

.,"*' ^ a iemvo. I J, ."*"§•- "* » "»

I >a tempo. poco rit. ^a tempo, i i

S ^^=^-^—n- -=(—4- -=!—=1-

5^=t—=1- -=1—

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r-

fAnimato.

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PtM animate.

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te^ -=i-nU=52±tc:==tz±^

the wood. And hap-py once more is the way . . thro' .... the wood, And hap-py once more is the way

-9- -9- -9- -B--W--W- -»-: -w-w-w-

Animato.

s^ ^^-s il—#1—•!•^

^ J^lJ^ sf sf sf ^«—''^ *

f^ m -0- ^

^^^^eeS^•^-=1-=U^^ m ^^^- 1—"^ ^r^

W. M. HADINGE.YES, SIR!

at

i

m/A. M. WAKEFIELD.

i^^ S ^4:^—J^ y^-rj

Allegretto con spirito.—

^

—

1. When the ship went o'er the wa -ters, Ah ! but then my heart wag3. Quoth the Squire in an- ger,"Tru- \y ! So you mock me tlien.you

rail. > |S! N S ^ tempo. ^sad

;

I was one of ma-ny daughters, And I lov'd a sai - lor lad. Said my mother to me af - ter, " If the

do V And I spoke my answer du - ly, Say - ing on - ly, "Yes sir," too. " Would you dis - o - bey your moth-er?""Yes," I

ipiu mosso.

^i?^^^Si ^m ~W^J?

=p-=*

Squire his suit should press. Dry your eyes and call up laughter, And be sure to an-swer Yes ! Dry your eyes and call upsaid, nor laugh'd the less. "Tell me, do you love an - oth-er ?" "Yes sir, yes sir, yes sir, yes !" "Tell me, do you love an

:^^S^^S^

iritard. ^^^ »*/

lOi-r y X N* . >* W^ZZM.

Vlaughter. And be sure to answer yes !

oth - er !" "Yes sir, yes sir, yes sir.

2. Came the Squire so shy and

a tempo.

1^^^^ ^—5^^=^ :g_ ^ ElJl ^m. -ml' 9>-

sur - ly, Came one morn - ing to the strand, And the birds sang blithe and ear - ly. Sang o'er sea and sang o'er land. Said the

!i=lt± g-4-~h~n ^^=^

* 5^ m^-«1 Nf

-j— u ^^5r^—^- = 1 -^-^-

28 YES, SIR!

i^^ *=:;^ m^^i=j^^if^ ^3^^3~^m^^^Squire.in awkward fashion? "Would it vex you,now confess, If i should declare my passion?" And I laugh'd and answer'd "Yes," "If I

should declare my passion?" And I laugh'd and an8wer'd,"Ye8." yes ! And the birds sang lea-fy

a tempo. rit. m gs^ sy y - i:^ :|= :*-

^^J^EgEE^ggga tempo.

g^^:-it^

fi^--^S: =^^'-iS^-::9i

liidden, Sang o'er field and morning sea, And I laugh'd the answer bidden,And was true,sweet heart,to thee !

E5Si?Eii=lEfcres - cew

*«««i^gfe^^^

ADA LESTER.Moderato.

THE UNFORGOTTEN SONG.ODOARDO BARRI.

^:^ ^ H—f»

ittt*E^ gL^eL r. ti=tr^^-^ i=tm

1. Sing me the songs you us'd to sing me, Sweet.sim - pie strains of long a - go

;

2. Be - lov - ed forms and fa- ces meet me, Of those I ne'er shall see a - gain, Fa

pii^ifp^Si ^S^^Ettfe g g i :=2=^JS?^

THE UNFORGOTTEN SONG. 29

=F^-MV-7ir g^^Fg nt^£ S N^_^^=^tz^z

'» 7Z) zst

Oh ! not the richest strain would charm me, As one of those old ballads now ; .

mil - iar, gen- tie voic-es greet me, I oft have sigh'd to hear in vain ; .

. . They bring back vis ions fond, endearing, Of. . One guardian spir-it watches o'er me, As

'^, JIXXE^;P=*1!

'w (9—m-0^^wL±^z ^^--

gen -tler,brighter,happier days,

in my happy.youthful days.And nought to me could sound so cheer - ing, As those old lays,those sweet old lays

Long vanished scenes rise fresh before nie, To hear one tone of tliose old lays.

^ffff^^^^^m^^ ^Bs«i -•(^•f

^ m m mm^ m

^•s?P

—

&f^ ^^S^^fjl»-^

^:s::s:^1^

i^i222: t?^

30II

A. C. SWINBURNE.IF."

CIRO PmSUTT.con dolcezza.

rose is, And I were like the leaf, Our lives would grow to-geth-er, In sad or sing-ing weather.Blown fields or flowerful

m ^m. fe^ss.1111

--^1^^

H^J^^^^^^F^^^ S r^^p^^t^-^^^ S- g^g^^

i=

-ft

9

-.->-unjioco rail.

rail.

'Ujcon passione.

P a tempo.

^^m ^m y.k;t=t>

&?-r-^-*- >:^ ^t2=Ji^^: JfZJ^

a^

clo - ses, Green pleas- ure or grey grief If love were what the rose is, And I were like the leaf,

a tempo

If love were what the

-.S^^=f==iWi?W P

^ im /)oco raZZ. rail.

^—«-^=3^

^:^i3il^^^,-i=rS;:,ff|ffeJj,fcS.i -S- S-

f^^—

^

m___!___ cres. _/ segua ii canto.^'^

3'

P con grazia dolce.

Mlove was like the tune, With dou - ble sound and sin -gle. De-light our lips would mingle.With kisses glad as birds are,That

—)—^t:^

^#"?^Sfg ^^^^i—I ha "^ ^^ ••^^fct -=^^

-tti-

ip**i*3? wTm

IF.'

rah.

£fc=i^:t=;

1^=^^-*—*—»--

p a tempo.

n* -^-s^z

eon peustone.

^B^g^g81

)0 COM

get sweet rain at noon

;

If 1 were what the words are, And love were like the tune,

a tempo.

If I were what the worda are,And

5: I ^^>> '.-L-Lj \ri^fsegua il canto

-,-og^-ga-s.^

^^cres.

=*^ --f:^i^tf

love were like the tune.

coZ canto.

If you were April's la dy, And

dZ:]»^^ ^

leggiero.

day like niglit were shady, And night were bright as day;

rail.f^If you were A-pril's la - - dy, And

p a tempo.

t;tttmm m m—m «-^^4?q^=^ mwwwwww^

mimd 1111

fcfemm :=t

, __ n ^

^^ ^^Sfeti^^^?2I

r=^=»=

COM passione.

£^3£-^-•-

^^ S//

con forza.

:^=f:r^-r

*&,<^i*i V^^^

I were Lord in May, If you were A-pril's la - dy, And I were lord in May.

^^::rF-^^-ll

j=^g*gi^:

wsf »f 'f

rr-'ss^WaiS S

32

EDWARD OXENFORD.Allegro moderato.

I FEAR NO FOE.

Marcato.

GIRO PmSUTI.

-^ t ^I fear no foe in shining armour, Tho' his lance be swift and

Leggiero. • • • *'•*"•' • • • • • • • •rl§^M

<*-«-^Molto Marcato.

cres. -^ I diwj." — molto cres. un poco rit.-^=:^ f rail.

tt

keen, But I fear and love the gla-mour Thro' tliy drooping lashes seen!

:^?—mmm~m z^-- 1iU^M^^^»SS8^ Im i=i

But I fear and love the gla- mour Thro' thy

=ti-5M:=fef=

**=

r-

diwi. I =- cres. molto un jioco rit.

:?3Pt

/

=S tfe

:S^ £s> ^

:p: eS333e^^raZZ

g^^^^i7nolto. a tempo. marcaio.

w 5^*1^^^^^t^^^-^_^ *=^=^^^5^5'5''=i^:passes, To the heart that's hid- den there. I fear no foe in shining armour, Tho' his lance be swift and keen

;

But I

-^^ mr.Un.nll^"*" a tempO. ... _==

'S-^

S-^r^ 3t^^

molto marcato.^ --=t

r^l^

ires.

h^ ^^^^^I FEAR NO FOE.

molto cres. un poco rit.-=z=rz f rail.

88

?^^ Ife^ :t -^v^ M r

rail.

'^-

fear and love tho gla-mour Tliro' tliy drooping lashes seen

!

--^Z'-m^»^m-

But I fear and love the gla - mour Thro thy drooping lash-es

2^:

z?'-

cres. molto un poco rit. f

i^^g^ ^-^--

^H 1^=

f ?2- ^^^-^—f—3^

\all\ Y *•"

^^ I

coZ canto.

t^~^^- ^

a tempo.

g^EEEi^ FE^^glEE^EpzEEp *==*: iMllMl^IZ* =S=P=:t=

t=±^=f^stay. Tho' my heart in twain be riv - en, And I per- ish in the fray. Tho' my heart in tveain be riv- en, And I

r^^^J== S=ig^

molto rail Tempo primo. con spirito

.^ molto m,arcato.anirnando.

j^^^^^g^^gji^^a-^:^—1-^ ^ :f^

per-ish in the fray

^ -»- -^ -m-^I fear no foe ex-ceptthe glamour Of the eyes I long to see

;

I am here, love without

con spirtto.

34I DREAMT THAT I DWELT IN MARBLE HALLS.

"BOHEMIAN GIRL."

Andantino. 'C.^^

M. W. BALFE.

-=t—=1- ^^^ ik ' Li*

1. I dreamt that I dwelt in mar - ble halls, With2. I dreamt that suit - ors sought my hand; That

^.i Im^^-iisU: 3^^

rM=^^-m

^^^^^^^^^-=1 4- ^ 11" *l 1 i -

5-=l

—

^ '^ 1 1— H 1 ^^

fe=f5=:^

^^b;?=§#=3^•3Z* f^=^

Sf^^^ ^^ fefefe^-^^^fe

vassals and serfs at my side, . . . And of all who as-sembled with - in those walls That I was the hope and the pride.

knights up- on bend - ed knees, . . And with vows no maid - en heart could withstand,They pledg'd their faith to me,

^I

S=I

:tfc

f^-^ ^^- j^—=1—=1—- ^-=^—-n 4—q— *l 1 4

S'I—=1- :^=4=^

i^^f: i^i^S^^=f^ :^=t2::2^^U_k^^ tl« ^=m -f:=W-

ife^^tr

. I had riches too great to count ; could boast Of a high an- ces - tral name; . . . But I al - so dream t,whichAnd I dreamt that one of that no - ble host Came forth my hand to claim ; . . . But I al - so dreamt,which

8va.

-MI

" r ' ' '

"^

fc=#. ^^ *=fe^^=1 ^*S=P ^ ^=P- &,^^C^*1&^^ ^- ^Et^EEfelS^Fn'q w=t

\yL^Z

pleas'd me most. That you lov'd me still the sanie.that you lov'd me,you lov'd me still thesamcThatyou lov'dme,youlov'd mecharm'd me most. That you lov'd me still the same.that you lov'd me,you lov'd me still the same.That you lov'd me,you lov'd me

:^=^ =M=q= -f^^T^r -=!—=1- a^=^=4= :^=^=^ -=i—n-

I DREAMT THAT I DWELT IN MARBLE HALLS.I1st. -

.-grY 2nd.

3d

L. L. B.THE GOLDEN SHORE.

A. S. GATTY.

^§fciztrz^ ^tr

Andante con espress.

i.Ai i^. J J±eEi

i>s=|* ^^r*-J J<

j^^^^ :£B^J^fffi*.,

^ ^m i

1. I remem - ber, I re -

2. I remem - ber, I re -

3. For - ev - er, Ah ! for -

?^P Fed. * Fed. *

^^^^

i

mem - ber,

mem - ber,

ev - er,

In years long pass'd a - way,A sail - or bold to be.

Those days have flown a - way,

A lit - tie maid and I would meet Be - side the stream toI left the lit - tie maid behind, And crossed the dis -tantAnd now, no more be - side the stream,As children shall we

l±=5i

y gi^1^

-j I

I— 1-M =S=5i s;S S

t^V^- m ?^ s:i;^ :;^iit

play;sea;

play;

We used to watch the sun go down Up -on the gold - en tide

;

But when the ship came back a - gain. And touched the gold - en shore

;

But still I know in fu - ture days. When life's dark jour - ney's o'er.

And count the ships thatI found the lit - tie

That lit - tie maid and

glid - ed by To reach the o - cean wide

;

maid and I Would meet on earth no more;

I shall meet. Up -on the gold -en shore;

And count the ships that glid -ed by. To reach the o -. cean wide.I found the lit - tie maid and I Would meet on earth no more.

That lit - tie maid and I shall meet Up - on that gold -en shore.

^^^^m$- m P^^^lF^fc±

mf

mmrn ^H ^n i~n />

I

^-^ H =^3=iE r^

36

'TIS BUT A LITTLE FADED FLOWER.J. R. THOMAS.

2 ?-=^ r. ^^ ^3*^=^5=?s:

*±^ ^3fc

Andante semplice.

'Tis but a lit - tie fad-ed flower, But oh ! how fond - ly

^mm^- »-r«-

r • t7iS^x-

1^—^ a^^^^SmEz

ft-p- 'f~^-

^ :Jt^=t

fe^=3S^^^sespress.^

ZJ^ ^3=S fc=P=4^r=i ^ ^t^

^H-'-L^-dear, 'Twill bring me back one golden hour, Through many, thro' many a wea-ry year. I may not to the world ir

m^^^^^^^^^^^m^^5 j'T

1 J J J

1

-^ii

125 ^^^^i^E^P

«f

cres.-

f^dim.

tEE^=zi^^^f 3^ }^ %=^=it :S=3t: :ft*=iS?=^P-

=^part, The secret, the se-cret of its pow'r. But treasured in my in - most heart. I keep my fa - ded

-^^-9>- -^-mi-mt- 3^ 9 ^i

+—tpi—i=t=i-V^—^—=1-

Wf^- i^ s«=iii.t=«5^

itard.

^ poco ritard. ^

J=I£=s=^ =^=F sl s^ -«>

1^^ *|it_

dear, 'Twill bring me back one golden hour. Thro' many,thro' many a weary year.

mtr^-

^' =s=^gfSfr^Tr^-•- -c=^

E?^ ^ M

^^'TIS BUT A LITTLE FADED FLOWER. 37

^- S

Where is the heart that doth not keep.

PWith - in its in - most core,

^S

r#yO'

""g*-" -*zit^-

Some fond remembrance,hidden deep, Of

^E ^"3

P^^:c^i

:=l:^3= =flat

:i

espress.

-^^ P m ^eeS ::#Ps!i=^^f=**t-J:

days, of days that are no more. Who hath not sav'd some trifling thing More priz'd,morepriz'd than jewels rare?

4 ^^i^=i :=^' Sj?-=f—^

—

F—^^-ntti^

-s-ti=^

tempo. ritard.

=^ifegEE^

Jt^ 122 :g:^^^=.*::

fad-ed fiow'r, a bro-ken ring, A tress of gold - en hair, a tress of gold en hair

"^^"S^W^^^^To Refrain..

^zJtH-

^i=i

:^=fl*:-^

—

m-^r ^mcolla voce.

-J-

S—gS*3=s=

w

WHAT A LITTLE BIRD SAID.HELEN MARION BURNSIDE. JOSEPH L. ROECKEL.

S5: ws—=^^-

Allegretto leggiero.^H*-

AThen I

to-H-/iir::^ P

:;^=^ SeSSeS:

P leggiero.

i*z:p»^?: to:=4^-=l-*±*t=atat=a^i

^_^^^^ i^e

=p=-"« i^gigy-^ S^^i^ *,—ii—*». ^^= stzfz. ^mi^—g-g -^r^

lit- tie bird told me a tale one day, As he sat and swung on a lin - den spray ; A wonder - ful sto -ry he told to me, How he'd

kissed the letters with cheeks of flame, For only one hand would have carv'd that name;And I quite forgot that the tell - tale bird In his

88 ^TVHAT A LITTLE BIRD SAID.

5g t^^S^ m

made a nest in the old oak tree,How he'd made a nest in the old oak tree,

nest above-might have seen or heard, In his nest above might have seen or heard,"Last night," he sang,"in the

'Till thro' the silence of

'J>^^.

IS:-4—^- S^^fe^S^-g^i^gB^:

-^1—j^ ^a tempo.

s^^^

^^colla paiie.

- ig- m—1 '"^mktd

^.Jl ~± ij: sclierzando.

i.#: ^^^^^^- ^-*

^^^^ b^-

EE^EE^-^ -^I* ^: ^=^

P

=P=F^ -^=1—S- -=1—^-

-t^t S-^ 1^=^ ^ ^EE^ s—'I-*- -^^. %^ ^- 93: ^3 ifzatza^

twi- light hush,"twi - light June,

He heard a foot on the a - corns crush, And some one in - to the gar - den came,AndSome one soft - ly whistled a tune.And, oh ! ray heart beat fast and high.For I

te==1>i:=tti:^naively. rail.

^-^-^-r- ^^^JZ^ ^m^-^^^^^.s^deep in the oak tree carv'd a name ; Some one in - to the gar - den came. And deep in the oak tree carv'd a name

!

knew that some one was stand -ing by, Oh ! my heart beat fast and high, For I knew that some one was stand - ing by.

—=1—4&=3: -=^-^

P^ -=1-S-

rall.^ P^=1^mim s^^ ±£ -=^-s- -=i-s-

b=t: Hit

sempre rail. P a tempo.

^^^^^^.E^^^^^^E^E^^S^^^^^^S^E^^^: ^=ilQp^

Some one

!

Some one ! Some . . . one

!

So as soon as the sun had gone to bed, As fleet as a deer to the

Someone! Someone! Some . . . one! A lit-tle bird told me a tale he said As he clos - er came.and

^t^-^-ttJ"-*-*-'iti^^

fkkiN^,^ 2^8va.

cantando e sempre.dgj-all.

PP rit. colla parte.

m.1=1^=^=^ s—=t- fSSm PP

:»-! ^*^'A"m ^-=^-

-1 y^ P ^^g^^^'^=1=*

^fc^=^=iEP^^^^^^^^^I^^^S= ^^=^--—*-^-4

oak I sped. To trace the name on the rougli old bark,With my trembling fingers in the dark, With my trembling fingers in the dark,

stoop'd his head And then he whis - per'd in -to mine ear. Words too sweet for a bird to hear, Far too sweet for a bird to hear!

^A. . —

^

W^Mi^ 3^

rail.

^^ggi^E^^l^a tempo. f colla parte.

r=rr i^ ~»I~T~1^i

THE HOUR OF REST. 89

FREDERICK E. WEATHERLY.Allegretto placido.

JOSEPH L. ROECKEL.

;tt _=i ^_^

ffc£I* 48: i

£ raW. a tempo.

1. At2. Sleep

^jO sempre legato.

^i^^^)::^fi:

IzfeS:y^-=g-M.

idt± ^=FF te ^^^^-i* ^^ ^ ^ 1?t5=

eve a-lone a mong the trees, Be- side the stream I pass,

soon, O world ! thy rest is brief, Sink soon, thou west'-ring beam,I hear the bird up - on the breeze.The

The stream is sing - ing to the leaf, The

^^^^^^ espress.

g^^f^^^i^?±i

breeze up- onleaf sings to

the grass, .

the stream.

aa^^^aga-BJggE^i

The breeze up - on the grass. . . Whatisyoursong,Obreeze? Obird?0 sweet bird,flying

The leaf sings to the stream. . .What is your song,0 leaf^Ostream^O gray stream.flowing

=1-=^iSS --^- ^^ ~W^-

Mi

J-- 4=p4-jp^nJ^^ «-•- f

rait.

b^ '^atif^ g^ 31p= ^ J3«

«?t»i. Andante religioso.~^ S rjE:-(S'-

to your nest ? What is your song 1 What is your song, sweet bird, fly- ing to your nest ?

to the west? What isyour song? What is your song, O gray 8tream,flowing to the west ?

Eest to the wea-ry world!

a-J-p^^m ':^-iz=t^.

m «ores.

Mi

^^^mraZZ. e dim.

a^*=^itf?-

B=

colla parte.

T=fr=

sostenuto.

Bii? 2^=

-t<S^i^EEEi§:

roZZ.

j^ " J y -

«<—•»

Rest! Heat! Best to the wea-ry world! Restl

^ SSI ^2^J Ijg d^ :^

raZZ.

;;s2=:

:tpi12=^^

^

WILL HE COME?ADELAIDE A. PROCTER.

Moderato e tranquillo. »/ARTHUR S. SULLIVAN.

p^^feS^^i »ttr±i:" I can scarcely hear," she murmur'd/'For my heart beats loud and fast,But sure-ly, in the

''I crps. '

] — ' I ^

ig tA=!t!»:a*- s=i=±r=i

iS ^-^-^-^

mp-^-fs'-

-^r "S^^

?2I=pC :»«:

:^=^ tranquillo.

^=?==]^^=£^^^E^E^^B^^^SE^EFj^^=iI^ZHtI^ZZi^

:^=

^#4far, far distance, I can hear a sound at last." It is on - ly thereap-ers sing - ing As they car-ry home their sheaves, And the

2E3J^^^^ ^^^^m,-«-

f i^iC"~r"^ -^*s- •s^^f^^-^r^-^'^^ =hf--?

S^-

^=I

-<s-

i f^

evening breeze has risen And rustles the dy-ing leaves, The dy- ing leaves

dAm.^^^^^^ :S2= S^?^ rfin g

^^Si5 =3-^

25

Listen ! there are voices talking,'

^, ^pE^£a^.

Tf^-(S-

^E^^^Eg ^ =»:^i^ ^ a tempo tranquillo

^i^§^^"E^^^EWz s. s »|—gi-

Calm - ly still she strove to speak, Yet her voice grew faint and trembling. And the red flush'd in her cheek. It is on - ly the children

^^^f^l^ ^*=EJ—s-

gS- -5: cy

!!^FTP

=F=5=22 £«*=*: ^ '^'"W

^^^^sK—

K

dim.

^^^^^^S^ig*=.i:

play - ing. Be - low, now their work is done; And they laugh that their eyes are daz - zled By the rays of the set-ting sun, Of tlie

'-3^^.

WILL HE COME?P

41

^ m^=p=

set- ting sun

'»'Vd~-^-»~W-

Faint-er grew her voice and weaker,As with anxious eyes she cried.

i:-5» S>

?-• * -m^1 ores. ^.^ ^^^ -•" ^S^

accel.

i^^. 3:S-

5^^^:

iJ!si=ts=:^:iv^

-1^^-^—^---^^fsrn^

^ J—^

—

^-^'W-

A^-=^^

appassionato.

:^=«t«tit=g^3 Down tlie av - e - nue of chest - nuts, 1 can hear a horse-man ride." It was on - ly the deer that were

3 3 3 3

cres. f ^__^^_3 3 3 3

I^I**:i^:;f?5^:^^^:^^^^^^

agitato.

^1=^3^ g^^^g^^^:^g^^feed - ing In a herd on the clo - ver grass

;

They were startled and fled to the thicket As they saw the reapers pass.

R^ Sg: Sg= \^^

S^^i^^iiS;^P§dim.

:^_Lrf—

a

?^ 5»^i::t4 f-^-r—

^

tin :22:

Quasi recit.

^^^^§Eg-^^^^g^^ ^E^=Now the night a-rose in si-lence. Birds lay in their leaf • y nests, And the deercrouch'din the

:J^=

:^:; fe«=^:

Ped. * S:=^^

I

-^-I

f--?=?- T^"

-Mh 1221 'C?" Zt2L 3-^Si-

"2:7" i?=^i:

±^P^

^'^m-m-^-f-m- ^Silent, pp tranquillo, un poco piu lento.

calando.m^ iPi »i-gj- 5^^^^^=F

S-c^-^—

i

^J^Gg

for-est, And the chil-dren were at rest ; There was on • ly a sound of weep-ing From watchers around a bed, Butrest to the wea-ry

^ iS"-

=s-fe^- T^^

:^==j=

Silent, pp"g?" •4-^-

I calando.

^M^-^—m- -^- -M^=J^

I5^ 27'" ^^ -~r2~

1—1_^_| 1_

42 ^?VILL HE COME?:t=ftJ!!: It^=^ -s-»-s- i X -

i^i 22: L-S?- latt^s

spir - it,

:^:=^—:^:

Peace to the qui - et dead ! Peace to the qui - et dead.

s-- rr^- I

-•- •^^i -»H -•- ^- I* -»

--^a^: 22;i<S>-

I

1-^p

i#^#P^:^:

=1iS:s2i Z2I

":3r-ritS^- :22r 327" :z2: rzz:

LIONEL H. LEWm.GOLDEN DAYS.

ARTHUR S. SULUVAN.

Days that were al - ways fair,

Clouds in the hap-py skies,

Love was tlie w^orld we walked togeth-er — Oh ! what a love was there

!

Care on the lips that curled with laughter,Tears in the ra-diant eyes;

t-=^

^

Fresh as a flower whenPart-ed a- sun- der,

n"ni :g=pi=ng--^-p:=wri=g=t:4

ife- TJ±Z=3t=Ml f^-

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rains are fall - ing. Pure as a child that prays, Once in the days be -yondre - call-ing, Once in the gold -en days,

worn with griev-ing, Wea -ri - ly each one prays, Ah '.for the days be -yond re -trieving, Ah! for the gold - en days,

icolla voce.

?= 12^:m^^ 3==i=

I22I--1—^-

i?==t

largamente.

±3rz^=M'W-i^zqai

=t2=^

#v-2:

Once in the days be-yond re - call

Ah ! for the days be-yond re - triev

ing,Once in the gold -en days.

ing.Ah ! for the gold - en days.

THE WATER MILL. 43

Allegretto.

LOUIS DIEHL.

5? I > S -

-<z2z.-^-

Ife

1. Lis - ten to the wa - ter mill,

2. Take the leg - son to your - self,

All the live-long day,Lev - ing heart and true,

^0 fesi£ SM=t ^rf: ^nnf P mf

-^^^ ^-fe^g=g ±t:?z5:

ms^i ^ -&>

-teHk^ ^ii! i -iS'- ^'M f^gjagssffl^2wd «J. ritard. r

I

a tempo.

tt^

iSt=*: -S"- y^ wt

How the click - ing of the wheel,Gol - den years are fleet - ing by.

Wears theYouth is

hours apass - ing

way

;

too.

Lan - guid - ly theStrive to make the

Au- tumn windmost of life.

^=^

Stirs the green - wood leaves

Lose no hap - py day,

From the field the reap - ers sing.

Time will nev - er bring you backBind-ingChanc-es

^>1- =^S: t^ =fe^_ _q_:*^-^t^^fr^^SJ:

%=^

Vif: ,1^,^Si-

1--^-: jfc. T*; l-^-rf: |:ff:*:^ \-^0-F- 1-^---^- '-^ .fi&.£ ^&;Ft:

^:O 2nd verse qraduaJlv slower to the end.

^^^: jtzzjt It^2:2:

-»! »!: h^ a^

up the sheaves

;

swept a - way ; .

And a mem - 'ry o'er my mind. As a spell is cast ; .

Leave no ten - der word un - said. Love, while love shall last

;

The mill will

The mill will

igg^g^M^^^^pi

44

HELEN M. BURNSIDE.Moderato.

-s±.

WAITING.J. BLUMENTHAL.

l^:4^=t^ m^^^m

^f */I wait - ed for my liopes to bloom, In youtli's impas-sion'd

legato.

ifeS:

rit. p

^-"^^^^ -^

pf^=r=-g^^^r^^p»i

•-gfe^IS i=S:3?»;

1 ./-

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^r i

:H: :jv:a temjyo. mf

=P=S=5=5^l4-^r^H^ji-.^r

•I

—

^-^-^time, And for tlie dear er joys to come,

:4

::^:

latjifcfffe3 -^=^-

5E^^^^EP¥^?—^-s

In life's more rest- ful prime;

I've seen full many a blooming spring, And

-^ r>—I—

I

\-r-\— i^'^m^m

-\r-.

rit. f a tempo.

^^ ^to/

"f^^ii

blooming sum mer, pass, And heard the bird's sad requiem sing, The sweet death of the grass. And heard the birds sad re- quiem

F>i.

~j=^T^,-^-A-

-*^«ai(R-d-h^-d—td-W|«=F^~fed

^^&

=fs= -^

a tempo, f f f!:r- *

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^-

11 1^ -^^—1-4:[5=g=

:^^- ^-tS*-

£ H*-^^^|5=F^=!S ^=1•itard. piu agitato.

wait - ed till my life was fill'd witli love so full and warm. My hap py heart seem'd rapt and still'd In some deep peace- ful

^i^Z—^-—^-^ ' ' ^ "^ ^

mf ^

z: 'cres - - cen - - do. f rit. ;'

'^^\y^-=Bii 3E3E^

\>^--=1:rm 2::^fes

5"

E^

a tempo, mf poco a poco ritenuto.

^VAITING.^=^^ AA A

13—1—P^^^l^[^gs=~~y i~^ j ~ —^^^^^-f tempo primo

45

f^^^m.5=s^ T^^=^^'^t

calm; And when at last my Father's hand struck down the brini-niiiig cup, I bow'd me at His stern coniniiuid And

J ipi-^ ijp^ -•--*- ^

—

^^ -*^-Cj3pi- -S- -*--•'- f -s-- p "^ _^_ -^:^*5^a tempo. -^=:;^ :^ =- ~^^^— —^^^~ -=^:il ?"t<. y z:==- tempo prima.

^dlEt^ 3=

^—^- g ^=SE—s- :f:^i

39:-S—

^ ^

^zfc:i s*^:/ n - tor - cZ«w - do. pp^^fE^p-''i^ir^'=?^p^

i^dit

a tempo.

:^:r^=:^i:t:^=^

meek -ly gave it up.

tfc

I bow'd me at his stern command, And meekly,nieek-ly gave it up.

a tempo.

ksi::a:=a*i^^i^F=r^*^s^^fi

-=i-^-

y ri - tar - dan - do. pp

-TSi--^I N I

PP-^ T

—

^

ii 3 ^i=:5i.^3=3^ -iS^

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h;/" contabile.

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i

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Pec?. *

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EE -S=i-)i :]?f3^ JJ ^iI wait- ed till my last fair child went back to God to keep, She look'd into my eyes and

i 1 r ^ -!•—»—W !•-

rit. :z==- p piu lento, ppp legato.

?:^t: '

S P:^..-M-j.%.-.--.^t=

i ^=^=

ritard.

Fed. *

sempre. p poco a poco rallentando. f grandioso.

dim. c nY.

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:^3i^

cres. sempre slargando. P^

U* 9-^—>-

ipdgiz*:

ri^.

=#1221 iS'-'-i^-

=:)

blow And wait forHis sweet will,I love the hand that struck the blow, And wait,and wait for His sweet will.

T T

46

EDWIN THOMAS.A WARRIOR BOLD.

STEPHEN ADAMS.

«-s- ef1. In days of old, when2. So this brave knightjin

Con spirito.

iw>--•-.-

-4i :J^ F"-^fe^

4^.-1^,

pii:i2*^'^fe

// ^ i **SPf g

kniglits were bold,And barons held tlieir sway,A warrior bold,with spurs of gold,Sang mer-ri -ly his lay, . Sang mer-ri - ly his lay:

ar-inor bright,Went gay ly to the fray ; He fought tlie flght,but ere the night,His soulhadpass'da- way, . His soul had pass'd a - way. The

^^^^^^^^^"My

1^

—

-Z^^ ^ =^ ^i=S « 3^F-:5:^"i* at—1»'-

^i3P

"^ y > ^ ^^m;JK

:f*=^^^ i ^ ^^^=p^=^5fe :«=^

love is young and fair. My love hath gold - en hair,

pligiit-ed ring he wore Was cruslied and wet with gore.

And eyes so blue, and heart so true, That none with her com-Yet ere he died, he brave - ly cried, "I've kept the vow I

pare. So what care I, tho' death be nigh, I'll live for love or die. So what care I, tho' death be nigh, I'll live for love or

swore. So what ciare I, tho' death be nigh, I've fought for love and die, So what care I, tho'

^MM^^^^^^^Ei^E^E^E^^-i

** colla voce.

^^g

/

i '^^:8:V2. adlib. molto.

rallentando e dim.

:-"?=" 1^^^^^ m—#^—m> ^

—

^-—--^-•'i-:Jt«t ^^^

t7

die." death be nigh,I've fought for love,I've fought for love.I've fought for love,For love, for love I die."

FRED. E. WEATHERLY.Scherzando.

TURNHAM TOLL. 41

MILTON WELLINGS.3rd verse a little slower.

-=1-S- W^^^m^^m^sW^=-l-

^I

1. " Now where are you go - ing so ear - ly, this iiiorning,Now wliere are you going so early?" said lie ; He2. There's rid - ing and driv -ing to market,this morning,There's riding and driving from near and from far.But

3. The day's growing la- ter, the cool shadows thieken,The lit- tie cart stands in the grass bj' the way; And

:!£:i amf

-^:r =^^-

-t-S- -«-

---tr-.t :^

'-^ii: 't-r*

«=r=p -4^-P

S =|^^S^:=^

:^:=1= :^-i& -^—tw

riten. a tempo.V ^-

,-5-^-

1^^^^^^^3=*|l :=1=

^;3tt^:

peep'd at her lit - tie face un - der the awn-ing, "I'mlit -tie face looks from un - der the awn ing, Andder the tilt are the but - ter and chick-en, But

go - ing to mar-ket, to market," said

no - bo -dy stands to take toll at theoh ! 'tis too late for the market to -

-^ a^^^she, "But toll you must pay forbar ; The door's o - pen wide, butday. But two happy souls each tlie

:^^i

i=^ HI

1^I

P

t=:^-

S^ '--^-^ g^SHS

m ::^= :i-tWi=^^. «:1*=

^^P '-^^ ^C:^^"EE^ty—^MJ^ :g=?

5=ffing this way." "And what is the toll, mas - ter Toll -keep- er, pray?" "O, twopence to pay, two-pence to pay,

no one's ir" side, And the dog finds it lone - ly at home to be tied; The deck ticks a - way, what does it say''oth - er con - _ '?s. That life's something bet - ter than markets and tolls ! 0, hap - py are they roam - ing a - way.

twopence the toll is for pass • ing"not man - y two- pen - ces tak - enTho' ne'er a two- pence is tak - en

(i

this way

!

twopence to pay,to - day," The clock ticks a - way,to - day ! Hap - py are they

twopence to pay,what does it say?roam - ing a- way.

twopence the toll is, for" not man - y two -pen - cesTho' ne'er a two-pence is

w r^ ^ S3 '9s :i-m—m-

-raanitm ^ ^gi s

[^^ i s^ ^. ^ :i:

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--g J ta—t^—ba—h—1*—^ -* . g^a

—

-^tz=^-;?: e^^=^3^ ^«=*

pass - ing this way."tak - en to day."

a tempo.

tak - en to-day ! Tho' ne'er a twopence is tak - en to - day

!

48

MISS HELEN BURNSIDE.TIRED.

MISS LINDSAY.

^ffiE*=iiti^s^^i^^^^

Andante.

^

-V-fc=:N=

mf

^

-f=t:

a-

1. "Tir-ed!" oh,yes.' so tir - ed dear i Tlie2. It has seemed so long since morn ingtide And3- Sing once a • gain, "A - bide with me," That

tSm gSE^^ppsi

m r=^ ^^ t^

ms2z—9- -S i

-iS"-

atd.iin:^^^

=5?—=^-^

I

~day has been ver - y long,

I have been left so lone,

sweet - est eve - ning hymn.

f^3^^ ^ ij^s:'»—^- 3tT|^I 5^

^-w

But shad - ovv- y gloam ing drawr - eth near Tis time for the e - ven •

Young smil - ing fac - es throng'd my side When the ear - ly sun - light

And now, "Good - night!" I can - not see, The light has grown so

^^ ^: ^"^^^^^Sl=^^ffl=^^Wr. 12^ i ^^is:^?2i

pp poco pin lento.

^^ =^

S ^-^—

n

•'•gi S ~m -^-=1-^32

song

;

I'm read - y to go to rest

shone; But they grew tir - ed longdim, "Tir - ed!"ah, yes, so tir

at last, Head - y to say "Good - night,"a - go, And I saw them sink to rest,

ed, dear! I shall sound - ly sleep to - n' .,

TheWithWith

sunfold

nev

- set glo - ry dark - ens fast. To - mor-row will bring me light.

- ed hands and brows of snow, On the green earth's moth- er breast,

er a dream, and nev - er a fear To

^i^s^^fe^"«=|; p^^=Jg^=g5^gBi^^

-3=:5it

W,"^\ rPi n"^9—v»—m-\ •^

—

35^-jd~Y»- M—f. SB

P F rp'S'^—m-^—

V rail. .3d v.

Sf g^£ _^_..

wake in the morn - ing's light.

B=SP^-9

D.C.

—5=r-r^r^i ^^^^'^^^ ^"•^^"^"^^'I

^

I I I' -»_y ^ _ 1 1 ==-PP

LIGHTS FAR OUT AT SEA. 49

REA. A. S. GATTY.

i^ ^—-»^-^ "—^ ^^?f

1. The sun - set gates were o - pen'd wide.Far, far in the crimson2. They glimmer as the far off days, Tliat came long years a -

U m3^H A\i^ -^- -^ -4r- ^ #^aJ^'

^-J^-•^^-

P

Sez:^ -fzr 1C7

te ^ S ^i ftl=qs-^ J*

?5^ ^^^; 3

In rud-dy clouds to rest. NowI would not see or know. Oh

!

west,

go.

And thro' them pass'd the wea - ried day In rud-dy clouds to rest.

All joy -ous with the light of love I would not see or know.

J M FT-

I

I

L^^—

I

i ^^M' ^ J 1 ^^^ 1^ ^^M ^^1 ^\ \ \ IH mi^

d \d 1-^ s-a^ -C7

Ei it ^ E3 3=^^^li^

And si - lent - ly, and one by one, TheThe old sweet love of long a - go. The

in the gloara - ing and the hush, All nat - ure seems to dream ;

hap - py days, half dimm'd by years. Long years that stretch be - tween;

m ^^ ^'E^t 53mt% i

PP rail.

22 liM ? :4f*=*:

r5^^ ^=t=m. 14=}*

w--^-»H ^ *:;j*:

::m!±* =#*soft lights flit and gleam. I sit and watch them from the shore, Half lost in rev - e - rie. Till dark-nesslife that might have been. So far! yet thro' the dark'ning past. Their brightness gleams to nie, As o'er the

hides thedark and

P^^^m i^1*=::^ w-it^ir^' H^

.atemTpo. rcantaUl^.

^feE^EH^^^3 ^=3:^ -^3^ g Si^ =&)=

C7 -^^^

m^^^h^^y-:

3=^^-J:22

waves be - tween.The lights far out at sea, The lights far out at sea.

si- lent waves The lights far out at sea, The lights far out at sea.

6dMRS. ERIC BAKER.

Andante moderato.UNREQUITED.

*CIRO PINSUTI.

^^:^^

^raK. assai.

^:

^1P*=:p=^=ltt?2i

3:^ ^1. Oh ! say, was there no des - ert2. Say,was there no sor - row, no3. Yet think not 1 blame thee, nor

dolcemente.

-^7r«-S- ^@:1^

-i(S^+-i-*^

tempo. r -!*- i

spot in thy heart, Where mine might have rest-ed in si - lenee a - parf? " A'spot.whichjtho' wither'd and bliglited by pain, Mybur - den of care, That I might have lighten'd, or help'd thee to bear? No grief to be les - sen'd ere reaching thy heart. Bydeem I re-pine. Thy love was a treas - ure too rare to be mine. But I think,that in heav- en the links of a chain, When

love like a sun-beam had bright-en'd a - gain

passing thro' mine, and there leav - ing its smart

!

sev-er'd on earth, are u - nit - ed a - gain.

had bright - en'd a -

And there leav - ing its

are u - nit - ed a -

gam!smart

!

gain.

Was it well, with a touch that wasWith a love, passing love, my

Should for - tune be- tray thee, or

is &

%ti^ ^tf^s^g)^ "»*" "»'"^»' "^ Jfa*" '^ ~^ '^

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=f^ti:f=}-L P P

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]/ y»'-f: £^£^ =^s=-^

all but divine. Tospirit had sought Tosor - row as-sail ; And

tune my weak heartmin - gle with thine,

life worn and wea -

to the mu - sic of thine? Till its chords broke in discord of pas -sion and pain, Thenand to think thy heart's tho't. Lives a thousand.to spare thee a tear, I Imdgiv'n, Andry, thy spir - it grow pale, When gaz- ing aroimdthee, thou see not a friend,Say," the

^^Pp^i^ftl3^^3|molto marc.

-g—gl- i -^-^-

r <s^

1. & 2. rail assai.

5Pe& Te7n2^o lo.

^-iJOI..

—

. 9

—

1wail'd in -to si - lence,in si - lence re-main. Thenlost for thy sake,e'en the glo - ryofHeav'n, And

love that I scorn'd.liad been true to the end !" " The

^^

wail'd in - to si-lence,in si - lence re

lost for thy sake e'en the glo - ry oflove that I

mam.Heav'n.

PE:>rm-m-—»>r

SfelE|§g54^^

1.^ ^ I ^

.-^

riten. assai. -_!_«-•» ~„ 7 „„ 4„J? jr 1 ^^T? • col canto,f if \ n rall.assai. ^

dolcemente.

M

UNREQUITED. 51

«:V 3 ralL assai, rit cres., » ^ V ttAiVtf uoou

--^»i^

eIi

scom'd had been true to the end !"

rail.

H*=:^Cfe ^itr^r'-

I I

-•- -0>- -9-

m ~-M^^^=^-

HENRY HERSEE.Andante.

TWILIGHT TIME.

K allargando.

FABIO CAMPANA.

^lf£ S=^ ^ ^^E^=t=^

=S=;j!:^^^ ::^§t^ 'Twas twi - light time a year a - go, Wlien.'neath yon spreading wil - low We

?^E^ -^ r^g=:^:^=1- :^3==1 T^ P=^- i^^:a=r-5- -iT

^-:5r-:r i:*

m ^3-=

:d"-

»>—t?—^" 1 >-^-^-»-:t^=r ^^^^^^^^^P3 s? ?^Si

-fci?-—»> ^^marked the sun's ex-pir- ing glow Up - on the dis-tant bil-low; And ere on high, in glitt'ringthrong,The stars of night as

XT^^^^^m^msem-bled, The words were spo - ken which so long Up -on our lips had trem -bled. Ah, though night and morn may be sublime, Yet

•8:-

-5— at-

if^53^=a

w3f=:3^

J-

Eli^

-5- i

*=¥ |g

"B» ^ =-2==^»=i«:

5=Ld

Js=ltU

5F=N ff^=^^^ev - er- more will be, love, The twi - light time, the twi-light time! More dear to you and me, love!

^^^ rail. rail.a tempo.

ir--¥ W^ ^^s^l^ -y-r^^-*"

3lt k4

:/=

/^

3^=ng=g

52 T\VIL1GHT TIME.

fs=F^ ^-°g:^ 1s=g^

-^tar i#> j^- =*=Ci 3t=*r

S^^= firJ i^^Prima tempo.

We lin - gered till the moon on high Shone out in re gal

«» m t sSftat ^ ' ^:raZZ. L^

-m —w w-

^ ^T^ W^-

a SEa

HS^;»—

f

^ grK^^ ^£5fc^fct^ ^^—

^

fe^=t2=:^=3^ tJ=^ =t^t*= 3^tsplen-dor ; And o'er us from the sparkling sky, The stars rained glan- ces ten - der ; But all the glo - ries of the night By

3f=^ 1^^^ t :^==^

^^ ^ rf^ -^^ "*^col canto.

m ^ ^3 3

^i^ ^ -

# 2

M :^-^: f» I* 0-

-^-^-^--

=P=H*:b^=t? S _^_^__.

us were quite un - heed-ed, For twi-light time gives all the light By youthful lov - ers need-ed. Ah ! though me.love

!

^^^^^F^^^F^H m :^=t

tfrail.

ff

iit=m^

IT

Not too quick.

TWICKENHAM FERRY.THEO. MARZIALS.

pe? ^^ ^i^v-"^-^^^ ^=il i=S EEE=^^

O - hoi - ye - ho, Ho - ye - ho Who's for the fer - ry (The bri - ars in bud, theO - hoi - ye - ho, Ho - ye - ho "I'm for the fer - ry,"(The bri - ars in bud, theO - hoi - ye - ho, Ho! you're too late for the fer - ry (The bri - ars in bud, the

sun go - ing down,)And I'll

sun go - ing down,)And it's

sun go - ing down,)And he's

$ ^ w p=w^

w±^ -«-

?

^

TWICKENHAM FERRY. 53

^fe ^^^ B^^^^=::fs: -Szz^.

row ye so quick and I'll row ye so stead - y, And 'tis but a pen - ny to Twick - en - ham Town; Thelate as it is, and I haven't a pen -ny, And how shall I get me to Twick - en - ham Town; She'd anot row-ing quick and he's not row -ing stead - y. You'd think t'was a jour - ney to Twick - en - ham Town. "O^ P^^:fc=:«: ^^ mwf

-ju.3±: ^

^ „_.<£»_ C•^^±^B ? m^-^tl^jEi ^ :^^=t2: S^ 7—^-

fer - ry-man's slim and the fer - ryman's young,And he's just a soft twang, in the turn of his tongue. And he's

rose in her bon net, and Oh! she look'd sweet As the lit - tie pink flo-w - er that grows in the wheat; With herhoi, and O, ho," you may call as you will, The moon is a ris - ing on Pe - tersham Hill, And with

m 1 i^m^ =*=^ -m—mr=ss

pJ:M ^~rj ^ u#F t=^ J~32

EEfc t=

iVr-gir^^^=ig^^^^ =^;r,^^t^.g^^t^^=;=^^:fcts

fresh as a pip - pin and brown as a ber-ry. And 'tis but a pen - ny to Twick - en-ham Town,cheeks like a rose and her lips like a cherry, "And sure and you're welcome to Twick - en-ham Town."Love like a rose in the stern of the wherry, There's dan - ger in cross - ing to Twick - enham Town.

fe-^^-m ^^m ^^^^^^^

:^=^-*^ -^ I m

S J==^^fcS:i^ T ^

S==s=^-=^=^=^

O - hoi - ye -ho. Ho - ye-ho. Ho - ye - ho Ho

!

I SI N k. N

•8:

K -^ 1 y :S--5--:S-

F. E. WEATHERLY.TWO LITTLE LIVES.

J. L. MOLLOY.

^^^^te ifndi^ a

Moderato.

1. Out in the country close to the road-side

2. It was a lark that sang in the Heaven,

54 TWO LITTLE LIVES.

i^ ^r-^ ^^^^^^^^221^ at ^-r<&—

—

One lit - tie daisy there clianc'd to grow, It was so hap-py there in the sun-shine, No one the dai - sy's joy could know,While all the world stood still to hear. Ma - ny a maid-en look'd from her knit-ting. And in her heart there crept a tear.

?^=ttP

^i ^^SEBa 'Mz^ it S -^'-li=iz

Watching the white clouds hear-ing a song there List'ning in won-der all day long. "Ah !" said the dai - sy, " had I a song-ToiceDown came the lark and sang to the dai - sy. Sang to it on - ly songs of lore. 'Till in the twilight slumber'd the dai - sy

ritard.

a^^^^gi^jE#;^^^^J^^^vj J4^^^jui^Yon - der for - ev - er I'd send my song." 3. Ah ! for the mor-row bringeth such sor - row Captur'd the lark was and life grew dim,Turn-ing its sweet face to heav'n above.

s ^w^^i^^;^j^^^^^^*"^f^-^3^^:

S ^^ iM^ g I^3—=s %-

±spoco piu lento aljine. PPP ritard.

ftm^f^^-. m Wi^-. 'g^^&j^:^El =»^ fia f^^f=f ^ u^-ei:W:

"WThere too the dai - sy torn from the wayside. Prisoned and dy - ing wept for him. Once more the lark sang; fainter his voice grew;

sempre piu ritard.

t^ ^^^?^ :?2= m 4l>ft ^l^^p^ ?^ \^ istit^ a^s^

Her lit-tle song was hush'd and o'er ; Two little lives gone out of the s\mshine,Out of this bright world forevermore.

GOOD-BYE, SWEETHEART, GOOD-BYE.55

JOHN L. HATTON.

eE£ ^s (* ife

J^Z.^^1. The bright stars fade, the morn is breaking.Tlu-2. The sun is up, the lark is soaring.Loud

Icgaio.

iAndante con moto.

^—f-^f^jj^ww :S=i=it ^ 2:^ ^ -*

P

geEii ffi^ n:

-BJ^-^TT

a ^^J s?i:i* -pi^

itaMW

dim.S^ ^w=m^ -^ ati^it1^=t2S^

dew-drops pearl each bud and leaf, And I from thee my leave am taking,With bliss to brief, with bliss, .

swells the song of chan • ticleer; The lev - ret bounds o'er earth's soft flowing. Yet I am here, yetwith

iw-

9»^ --ez

^^ PHHBB^H HHHHHIH ^IHBIHHIi BH^^BHBEB BBBS^B^^BO fWBSHHHI ^"F*^A

e^ -^P-

r 22.:

arf //&.

3q& *!*=4=

5^3= ±StHow sinks my heart with fond alarms, The tear is hid - ing in mine eye. ForFor since nights gems from heav'n did fade. And morn to flo - ral lips doth hie, I

bliss,

I .

icalla parte.

too brief,

am here.

mm Hi rli^Jd^ m -!q- -^^^J^^mM^MM 3

Pfee t'-f^^r=r 22:

:iiit

rcon moto.

:S=F r^ ^ciiw ]^ • J-J—

^

-^ ^^ :^time doth thrust me from thine arms; Good-bye, sweetheart, good - bye!could not leave thee, tho' I said Good-bye, sweetheart, good - bye!

Good - bye, sweetheart, good - bye

!

Good - bye, sweetheart, good - bye

!

For

cres tnoUo.

1^ -r—

^

m^-i—V-

time doth thrust me from thine arms, Good-bye, sweetheart, good-byetcould not leave thee, tho' I said Good-bye, sweetheart, good-bye! ^^ J j-~ri" I ,

"1 "^

II ^ ':& •

—

m "-d *-:- ^m m-f^

56

AT THE FERRY.WORDS BY F. E. WEATHERLY.

Allegretto.

MUSIC BY MILTON WELLINGS.Mod&rato.

S ^^^I can hearthemo'er the meadows..The

^£g^ P^ -iS-

zz:-^ "ST"

S ^ ^ ^P:r:^=P= «==* ^-7zi- ^ #-^

-Stold church-bells a-chirae. O'er the twilight misty mea- dows. In the sweet spring-time; Across the stream we float,In the old, old fer-ry -

m-•I- -•' -* -•' -»- -^ - ^iii^j-'^ '

,j ^^^ FT1©-

g 3 ^ j i ;/" J]

'' d -fc=SS -rr

[22:

P '^ ^'' '

Pv^'^'^F'r 7^"

?=;>

/>

Fefkain..^; caminando.

^t=p g It^?^ P -jE__^

boat. And talk of all the days to come. In the sweet spring-time. Kow! rowl un-der the stars, flow, stream,by thy

i anz;ffi ^S *^

fee:E^ e: ^f^ s

san - dy bars! Rowl rowl from shore to shore. Love willlast, love will last. Love will last, . . for-ev - • er-more.

'-^^^^'ii'ii I - JMi^ii^ iiJ^-j^^^Wf

m i i m^^ n*f st=rst. :g:,

^ S?^^i^^^Ml^ezMZM r^ I* * ^ • ^ * [* 221^r=*t »H#-

^^ We are driftingdown the stream.By the darkening willow shore, In a happy golden dream.Andmy lover rows nc-

2= Ui^iiM^m*^ -7"7~ Z2= ^a J g^=^

Hrz:Z7"

r<S^

t22I

Jl2^ l4#^J-J^J

Fed.

i ?^

-I—I-

-&—*-

7

AT THE FERRY.raff.

^-^^i^tif.

?=z=p:^^^fe^=^^^ P • F J I

1ir:_^iffi:

•ar-^fl J ti

more: He lets the old boat glide, He is sit- ting at my side, And saying that his heart is miue for ever, ev-er- more.

To Refrain. :Q:

i.^ ^ ^£i^rrrr

-^- t^.

(ij H+g-j-gJi^^-^g^J i

i^rr ^$:g: f=^^-^ ^^'f^^^

'p^jsi s^^ HB

2 Con. lentezza.

^: ^ ^ig . KlsH2*btJ=i r=p: •^HtjI—ar^^

(I^^ rrfJ^^JJJ4^

But 'tis long and long ago, And he is here no more ; I do but sit and dreamand dream Be

^l

^.^ =P

is^a -d^^f^-ir^^

flf- Y-roW. ^^ ^1

-p-^=^ »^fi^ ^ *I=lllI E^ ::^I L^-

V^ legato. ^ •rn*- ^s ^^ g^=^S =B3 f^ ^~y^—#-

side the qui- et shore; The old boat still floats on. As in the years agone. And thy words are inmy heart,my love,for ev-er, ev-er

,UU:'h=B i^s :s ^^ isi: ^T^ ^E-a«*"C?

mI

I u ^^"""^

^iz:

r r

iptw animato.

S=: ^^^g at^H-H«*^ i# *. ^nt^^E*^ i^-»

more. Row I row I un-der the stars. Flow, stream, by thy sand - y bars! Row! rowl from shore to shore,

JIBBj-

^. I^:^=22i -;g C^Bra/?. ad ii6,

ilJ^

Love will last, love will last. Love will last for- ev • er-more.

,m Andante.

E ir±zir±.I22I 22:

* *

i mh-^ —

—

dim. PP

i•<t«d Ji-1- M- S. -2=!^ 2=^ CPed.

122:

58

WHEN THE SWALLOW COIHIES.WORDS BY FREDERIC ENOCH.

Andantino Moderato. •p sempliee.Sj:^^J\

MUSIC BY CIRO PINSUTI.

-S -KJ-J^U- ^^rail

Wheu the swallow comes With the brightest days.When the shining day Fades to ev - en close.

When the wild bee hums In the warm sun rays, When the flow'rs as well, Spar-kle o'er the plain,

'Till the young moon's ray In the streamlet glows, Witli a full de- light, Fill-ing all the vale.

Then the song-birdsTo the list-'ning

tell ! . Summer's come a- gain,

night . . Sings the nightin- gale.

Then the song-birds tell

Flow'rs are in the dells.

Summer's come a - gain.

Flow'rs are on the plain.

Flow's are in the <Jells,

Flow'rs are on the plain. And a sweet song tells Summer's come again 1 Flow'rs are in the dells, Flow'rs are on the

And a sweet song tells . Sum- mer's come a- gain I

^

J ^^^^^ riiard col canto. a tempo. fe^ j ^ • *wa tempo.

-=f^ i 1 -^'

THE BLUE ALSATIAN (HIOUNTAINS.59

WORDS BY CLARIBEL. MUSIC BY STEPHEN ADAMS.

^ #^^m is^EEEi i?2=

^--^

m ±z=^ S=* :^ 1^=^:*=^1. By the blue Al - sa - tian mount - ains, Dwelt a maid - en young and fair; .

2. By the blue Al - sa - tian mount - ains, Came a stran - ger in the Spring;_

Like the careAnd he lin

less

ger'd

i i^ ^ ^z -r--=^=fi:i=J^=5«: it^t le ^-:t=±

flowby

ing fountthe fount

ains, Were the rip

ains. Just to hearpies of her hair,

the maid - en sing,

fcr

^^^

. Were the rip

. Just to hearpies of her liair;

the maid - en sing;

fe£i.=~-%r

-5-'-^ • qa» :*"rt]38:

^--*—S-

-^ -^ ^ iW ~s—s=ra=^=

iq.--i=§? ^- & H«- -m-

J2Z2I

0M 1^_

^

-^--

t^^ -^s—-:^ 5 -s—

^

iJ2-*l;

i::^-S^

p-1 ,

I I

'

l l I J^= ^^fcz^-: Qatifei: ^== Zt!^; tls^=4^:

An - gel mild, her eyes so winJust to whis - per in the moon

ning, An - gel bright her hap - py smile, When be - neath the

light, Words the sweet - est slie had known. Just to charm a -

i ?=2=W=^- —\ 1

i— -= —H \ ^ -^ -^ -m-

fount- ains spin - ning,You could hear her song the while,way the hours, . . . Till her heart was all his own,

A-d6,A-d6.

A - d6,

A - de.

AA

^. i m

d6,

d6,

^fc:#^ m?—*-

p.

^ ^i^"ST-

-r

m^ $2: :fel£ fg:

(_:^ >• .

"•s: ^

60 THE BLUE ALSATIAN MOUNTAINS.

i^tt

Z2I r J <^ ^Such songs will pass a - way, . . . Though the blue Al - sa - tian moun - tains Seem to watch andSuch dreams must pass a - way, . . . But the blue Al - sa - tian moun - tains Seem to watch and

^Ei^ r

j=g=^gj:g=glpjj:g^^

-•^^—^--l-*—

»

- ~K K-5& >/

-^—

^

i^

^ T-r.- ' -mi-

TP. Km

wait al

wait al

^^ : B^-^?—«-

t/colla voce. f

IeI*5^^^ m w^m^^m^l^-m^

-*rjrU: f_^ ^r =^^^ :s:

i•8:

& ^—^-p =g= ^3. By the blue Al - sa - tian moun

t m 1i¥ P ^ :»=»=»»/

-t^- -9^

£P^

^ -*-^-

't- iP^

5t=* ^ J • g* Q^=itmtains, Ma - ny Spring-times bloom'd and pass'd ; . . And the maid - en by the foun - tains,Saw she lost her

: =^Lg4^^^#gg_g_ gzng t:^

^fc=¥:

w- -ft- -9- -w

. r^" :|^-*—J^ -^^-^ -^—«- N* N* -S-^-

3=t S

—

-

tfcMeno.

^»i^1^—

r

fS^

^221 >* N» N*

"^ ZZ «=:^± % >< "TFT

hopes at last. She lost her hopes at last; And she with - er'd like a flow'r.

rs> • Pm %=$—±z 1 g—r—

r

-ai»-^

^ rail.

=g=^—S—

PP

-^-^- m:^

THE BLUE ALSATIAN MOUNTAINS. 61

I I

:-^—J—J-W —it -=^. That is wait - ing lor the rain

J J ^-hJ kEJ-lJ-^

£_•

i ftfc

rail.

^ ^fflF?=^ ^ ^m—-& -'00-±^

pass'd a - way, .... But the blue Al - sa - tian moun - tains Ev - er watch and wait a\ -^m m^^ES: «a=±t^ --^ 1X^ ^=51*= ^ '^ ':»- ^ ^

pzfc ^ 3^3 ^^S^f

-^ *-

r=(= ^^ gg •

3E£ Z2I =P2=

f^=r* ?^ ^ *

way. A - d6,

1^

A - d6, A - d6, The years have pass'd a - way, . . . But the

i^ ^"zr

%-^ S-

-2^

cres.

/

ei:^®i ^=Rff PJi^JT

isaIP :*-=*fe:-^3 3

:& ^ i-u

^i^i

-^—

r

ill

-c? •-

±blue Al - sa - tian moun - tains Seem to watch and wait al - way!

Bn -«—*- -

coUa voce.ff

a ^^—

^

§E=^—

^

^ S3iin^fcrS-^^ r^-"^^ -2=*^

THE BEND OF THE RIVER.WORDS BY FRED. E. WEATHERLY.

Allegretto.

MUSIC BY JACQUES BLUMENTHAL

m:^ S 11^ ^^S:

There's a bend of the riv-er, tlie

i:f: t

fe#=^

J-r-^-i

-Tp-^ai 1—-i^-^——^r-

fe

^rr

2^^ |F^*^-E5^=^^g^-^=hJ—

-

/ nf'I ri<.

1^^ gS &p leggia-issimo e staccato.

=g=« ^^S=

i?^ =P= ^ ^1 I

I

J 1 I

'f: f^ l^poco riten. Zirr mf a tempo.

IS s ^ ^ '

-^*-b*-1^"'

S5^ ?±1*3F^^-U ^-U= i^;;iihJ-v—

^

:«a i^-h>—

^

j^-- H 1^ \^^ 1»" 1^^ » >^ ^ -^ +t— .

" ^ pM^trees bending o'er, And an old boat is moor'd to the green shady shore,And an old boat is moor'd to the green shady shore. And

NJ L i h-f^fn=P=h- M— h I

—

=t^=\ ^f-^^EE^Eji^ -OK S^-^- rrf >gk? ^-S^tT -»^--«? :^ ;

-»^ -spf-

•-=

—

wtt«- ?¥poco mew. ^

poco rit. a tempo. Zm ^S=P= ^ ?=i -b^ qP5: ^ 9f=^ i2=«^:;^

some - body is flsli-ing the long summer da}', By the bend of the riv-er, so the folks say,

-i=^ ^N^ ^=FS ifeg: IM 1 ''11 ^l^!^—1 Sl-!1-

p a tempo.

—4-«=tf=^5

N 1 r !

'^ ^s ^ I 1 1 J2«I5V«I«U4_=1_ =4=^:K

Rir"/

-=l-^ ^-t^^ J"

-=1-n-

riUird. ritard.

^ f piu w'v rit. ftm=e:: p=e^ -i?~^tz=^ -^

jg ^ i?-v-^

long summer day? So the folks say, so the folks say. But what has he caught thro' the long summer day?

BS=mt^ ;—

F

-=i—=^-^-

i1 1 X—

^

^IS

^ i// -«-

1 1 y 1 ^ -5» -^ h 1 1.^-

^ •I ^

t^^

THE BEND OF THE RIVER. 63

P Tempo Imo.

IEj. 1 1 fa—

j

: :p=P= m^ ^=t

:i^^H 1^< -=M^

TUere's a path - way

H—that leads from the

^m^^^^m X*5=ft/ Tempo Imo. p leggiero.

m --e=w -m—im HPS

e^

-q—

^

-=i—51- -n-n- ^=3^

JUf^^-^im-^ ^ ritord. Jii/* o tempo.

:r;p: ^^ f*=PEV=*=k tZ=^=t2=

^?=t=^old village hill. To the bend of the riv - er, cool, sha - dy and still,To the bend of the riv - er, cool, sha - dy and still. And

m ^ mEaemm "*jdi I ^3-^ ^ ^ ^=^

(ii^=^

-tt^ritard.

E^S^E?S=tE 3^1 1

f-y-ti»- ^riten

5^?e5£i^a tempo.

=P=P=¥ S=l^P=PE =^=PE ^E±5^-*—

?

^^-some - one sits painting the long . summer day.

^^^^^^3 ig

By the bend of the riv - er,

J^ Ik

80 the folks say,

-=l-n-

3-^~

—

S=^-a tempo.

-m^ I2f

(l^^g^^^^^^^^^^^^ t* /

-=;-^— ?•

^•=i-^

TiT

n<. J^J'--

^^-^^g-fnf-:, giocoso. riten.^ ^1 3?±|!ti:«fS?=: 221

^ \

'^ » L^*—»^-

so the folks say. so the folks say, so the folks say. But what has she painted the

^ ^5^«=S==5K

s/" p giocoso. sf p

^:I ri«. /3'=^

aecel. riten.

m 1»w^e * g^3[

_^ pwt vivo. "<• / />

—t^—«—1#-

=5.-*^ S=Hw-r- =p—

F

-»^ g ^: -S—n-

t^ jgz^long summer day? so the folks say.

^^J-^J ^I P L^ ^

so the folks say, Bui what has she painted the long summer day, day. ten.

m^SSr-^m

If piu vivo.

i=a-^^i-^=irg=^^=^ =^-=1—5]—^:

^H-=i

—

1 y—n-

P:p=P:

H- ^-/j

i£

"^^i^^^ffS.1 -: .l:': a- -1 1 S 1 I

muace.-

64 THE BEND OF THE RIVER.mf Tempo Imo. riiard.

A A

^^^ -g^^ttg- :

^1^ 1^ -

But what ... if they sit . . . side by side . . . in a

dream, And his fish - ing rod's floating a -way down the stream,And his fishing rod's floating away down the stream.Theyhave

^W-K-K

-=1—=4-

-P*^^

-J-J-»^3 mw^m^ 1 1 -

W=it ^ --^riten. ra tempo. P

-:^^:=^. o tempo.

-=M= -=1—=1- ^—=»-* L^ ^ -SI-

^^ Titen.-~7^ ^^—

2^*5^a tempo.

m i# i» ^e« feat^£ ^found . . what they wanted, . . . the long . . summer day .... By the side of the riv-er, so the folks say,

^^^^^^^ g-1 1 ^J 1 1 --1 1!1_

^^ r«/ •

•

Sik-

srwri' p riten.

f=f^ s=sa tempo.

iN^ bJ 1 n^ J 1 n^! 1

^ 1 =1- 1 1 ^1-si- ^1-=1- w-y-i^ S '

t^ u^ ^ t^ t^

lunga.

f^ ffiocoso.

^f^==f^ -r-r^^-+—r-^*5

—

so the folks say, So the folks say, so the folks say, Their hearts are as bright as the

—^ ninonsct. J " _ —=^-

—

'^^-^^

^M 3-j—j=MS m—^—• -=^

ffpiu two.^. ^^=^-ff. ^r- g r^ P ^ *-V—hjp

long sum-mer day. So the folks say, so the folks say. Their hearts are as bright as the long sum - mer day.

-=i—=1—-

^

-^—=^ i-=— f piumvo.

mf

1 1 i? 1 S 1

Ped.

THE BROKEN FLOWER. 65

Andante sostenulo. semplice.

J. BLUMENTHAL.

TH^^ r^m EE3i :i}^, ^z^ :«t^ t:

-9- _oil 1 wear it on thy lieart,my love! Still, still a /it- tie

±e^ ti"rVi 1 ,

I |-<-§l

—

',—^—I . N -<g

rit.

m^g^H-

P?==|g: ^PP

«^*^

-^=Hi -^-^Zif:^--.

^--7

^= tS imf

^ ^ "l^*T"

122 ^3i-^ ZjZ -^ a ^-(S^ =3?=-8^ J ,p^^ ' 1^

while! For sweetness is ling-'ring in its leaves, The' fad - ed be their smile. Yet for the sake of what has been, Oh!

S ^mffiES 3=^==^ ^ -e--»-

>

S:1E isg:

4,=2-

^^ 221 1^-^1 tfi-

Al A A

St=*(S-

--s-^-a tempo. delicatissimo e sostenuto.

:w

W:T-^- g

msr:5= j

'

i^W^ i9 ^.

-4*^-

^1;^): Z2 ^:i^

cast it not a -way! 'Twasborn to grace a sum - mer scene, A long bright golden day, My love!

>

• My

=1= :f T:SEdiE ^^3^

:z2: ::^=

r r^-T f w-3 -«—

=

91—«-

mfr

SMfcd--^— :^r=

rj=

^- r'fF'"

:^ ^r—T -^

-j®—-^

=s:f-•—«pi- L=^=:

"ST"

3i

marcato. rit.

A A A AAAg ?2: "f*^

" ^:

^-*»^ 3t=^ 3 r—g^

:Jz

love! . A long bright gold - en day, My love! My love! ... A long bright golden day. My^1 w I >

i w^—^-^i.

My love[

>

A lit - tie while a- round thee, love! Its

s £^5^Hg^J^^ :

I*

I^-^

EiE^Mli-0'-

^

JP«d.

rit.

C22

i

<g r^ T^'

i-

^^-

V <^ rit.patisa.

P a tempo

-*^-

t^ -wm g 3^1^

66 THE BROKEN FLOWER.

^ *=s^la^^^

==- ^^f^-

^br==i:

fra - grance yet shall cling, To tell that on thy heart has lain A fair tho' fad - ed

^=-<rt&- I«t=il -g^ i^ -ir

;^--*^ -^

•<-®

»/

g afci^=

ii=:#a^

B*''

l^ _ ^ —-p:^P yc;?

3^ &= [v *^ stt=^

thina But not e'en that warm heart has pow'r Torit.

win it oack from fate, Oh,

P 3-^^4s>-

PW

P

ggW^z ^E^=e: -<si- -=1-

r ^ -.S'-

fij-rtK

ilento.

^iiW^ m -9 J . ^^«/

:?=^:^ ^ «t£=ip^ ^ IsTn—

:

:^=it2: ^ —0r 4^ L

I am like thy brok - en flow'r, That's cherish'd, a - las

!

hnto.

too late! My love! My love

!

Ahl

ppp,

'

, Tt^ "'/

p5i :^ 3^

f—r—

r

:^r

^=^- --^-

#.

1^^^^g^ g

P >

^^ffyii- A AAA

^P^l=^:*=:^:iz::^!

My love

!

Cher - ish'd, a -las! too late! My love! .... Cherish'd, a - las! too late! My

THE BROOK. 67

WORDS BY TENNYSONVivace.

MUSIC BY DOLORES.

^===i=^=g^^i^-^-^r^-r^^^^^^i^i^^^--r^-r^^^ p-

^^ Jq M-^!^^^==^^ ^^ 1=^ ^H3^^a^f?

S=tc-^ —

^

-^^-al ^^1/ma - nywindsteal

a curvea - bout,by lawns

my banks I fret,

and in and out,

and gras - sy plots,

n

By manWith here

I slide

aa

field and fal - low,bios - som sail-ing,

ha - zel cov - ers,

AndAnd

I

i—f-^=g=^=g^g^ g ^ F^-g ^-g-M^=i^==g^::=^^^^=r^r^=g^^^m-.

F-^=^^=^^^=:^=:^^^^^^^3^'=^^=^^=^^^^^^-

-9 &i=^-M

ma -

heremove

ny a fai - ry foreand there a his

the sweet for - get

land set Withty trout, Andme - nots That

wil - low.heregrow

weedand there

for hap

and mal - low

;

a gray - ling,

py lov - ers,

IAndI

--%--^_^A %^^^-MM^^^^M-^-^y^^i=^^i^=§^g^i^^^i^g^^==i=M=g=g=^^^=^-|=^=r^^=^^^

s^= ^1=5)'^= ^= =^-^-3^—4^:^^5==1^ W^- :&

-M. 3^=t2:slip, I slide, I gleam, I glancehere and there a snow - y flake

mur - mur un - der moon and stars.

Sua.

A - moiig myUp - on meIn balm - y

skimmingas Iwil - der

swallows,trav - el,

ness - es,

I

WithI

68 THE BROOK.

5?=^ !« y^ |^r ^4> V_^—-s-^1^ '^ :^=z=fi^

makema - nylin -

8ra

the net - ted

a sil - verger by my

Sim - beams dancewa - ter - break

sliing - ly bars,

A - gainst my sanA - bove the goldI loi - ter round

dy shal- lows, 1

en gra - vel. Andmy cres . ses, And

fc^ 5^^-^ q

^~q^:fc=t=g==l=^=:|=r

^3e:t=fc=t

^^.^-^- ^^=§^=^

=1=lfeit^ 1

P rail. fz

=^=^SfEEgEE^fc H^q teg j^^-^^: ::^^ ^teT=J^

^g-^—

»

"i gl I^ ^fafc

chat - ter,

drawout a

:^

chatter, as I flow.

them all a - long and flow.

gain I curve and flow.

To join

:j:^^

the brimming riv - er, For

s

—

g-^^^=^"^ ^ g rg'^=g =1 g T~=g-^-^^^ rg~rg=-^^jEgEt

Sr=ii

^ 3^ ,^^=^i^^=?^=^=3^-^i-J--g-j^=^^==t^=^s::i:

:S= ^&z^=: i^g—= i»—1»>- g :^ ^:

may come and men, may go, But I go on for - ev - er,

^_,^^^^^_^_^^_J1 ^ ^ ^^^_^^^. ^ffi==^—g---^=F^=g=^=g=Fg=f=g=?^^i:|=M^i=g==F^

^^^^^^^^^^^^S^ 3:^-3- :^_5=^ -«^:^

N N ' ^^Jf=P= EgE

go on for - ev - er, ev - er, m on for - ev - er.

^ ^ ^ ^ ^^_^ 4] ^ ,

^^,^^_.^_^^1^^-.^^af—g—K" ^-g-^-g-^-g-g=g=El=^=g^—g-q=^^^^^=^g^^g^i^i^ =^-

—

^—^> > ^

:^L_q^^I=^-^q=^=^^ 7 ^ JJ

%

W^ g ^ g t=|-q-g-q=g=i^^i^=^-g-q g q g ^=g=F^=^i^^End.

sTjq-Jij;^t^g:^=^t=3if4^^— q jT~?a—t^—fi=i ja^-J^

BY THE SAD SEA WAVES.Andanle.

J. BENEDICT.

F^:^ =^-i=Si?=* "-S^L ^-»—

^

^^=J^ S—i!r T^——It iti:;^ a&=^1. By the sad sea waves, I lis - teu while thej^ moan,A la - ment o'er graves of hope and pleas-ure sione. I wasS.Frommy care last night by ho- ly sleep beguiled, lu the fair dream light my home up -on mesmil'd. Oh.how

/.

'^^^^ ^^^4-^^^ ^:^=^ ^liS^* m ?^ -V-C;:

young, I

sweet 'midwas fair, I had once not a care.Frorathe ris-ing of the morn to the setting of the sun ; Yet I pine like a slave By the

the dew, Ev-'ry flow'r that I kuew,Breath'd a gentle welcome back, to the worn and weary child. I a - wake in my grave by the

^^^^^^^^^^^^^^ ^^-^w^_t« :^^g,J=S|#^iI7a^:

3 -b^-

@/• • ^. ^T" "^ dim.-

'

:ees ^^^=^5

ad ii6-

m M—

K

»—sr ati=i!s: :i!E:*

:5s=:ei:^

sad sea

sad seawave, Come awave,Come a

gain, bright days ofgain, dear dream so

hope and pleas-ure gone.Come a - gain,bright days.Come a - gain, come a

peace-ful-ly that smil'd, Come a - gain, dear dream, Come a - gain, come a

UNWORDS BY EDWARD OXENFORD.

Andantino.

MUSIC BY JOSEPH ROECKEL.

thoughts to cher-ish ev - er-more, More precious far than shin -ing gold Are sceneswe loved in days of old! Forchased the gold-en but-ter-fly; The brooklet where the lil - ies white De - fled our reach as tho' in spite, Thesprin - kled o'er the snow-y rime, Our ear - ly loves the plighted vow All, all we would rc-nicm-ber now! For

oh, full sweet in ma- ny ways Are un - for-got-ten days!thoughts of these sad care al- lays Sweet un - for-got-ten days!

oh, how soothing are the rays Of un - for-got-ten days!

Un - for-got

Un - for-got

Un - for-got

ten days

!

ten days

!

ten days!

Un - for-got - tenUn - for-got - tenUn - forgot - ten

days!days!days'

Full sweet ih ma- ny, ma - ny ways Are unThe thoughts of these sad care al-lays Sweet un

How soft - - ly soothing are the rays Of un

for-got-ten days!for-got-ten days!for-got-ten days!

SweetSweetSweet

s

Ist. and 2nd. time.

^=^?==f:

'3rd. time,

iiolto rit. I ^ ^ j ^1^^

e= B 1^1un - for - gotun - for - got

ten days!ten days!

-i•8:

un - for - got ten days'.

fcr ^^ -^-^3: 1^- -^?—=^ m£S 1 ^

molto rit. I izrr--£0"

PPP.

(mI

I

rail.

-<J '— r £^ -U -s—^-^m9=-m- W -^—=1-

3-~C '^j^

r'^

7=^-^

STRANDED. 71

WORDS BY EDWARD OXENFORD.Moderato.

±nf

MUSIC BY HUMPHREY J. STARK.

± . N* *1 _N*_

^^^ ::??=^S ^There's nought,my lads, to live for now,

know not why she treats me so,

MyFor

words are plain and canI have not de - serv'd

did, For she I love my life a - bove,

it! She gave her heart some years a - go.

HasAnd

left me lone andI have since pre-^ ^

EE w=f-r-r- ^^r^—^»~]i^^ IS

^.rit.

^ ^I came ashore but yes - ter-night, With fond- est hopes a - glow - ing.

It may bethere'ssome wealthy chap Who's spoilt the boat-swain's bil - let.

strandserv'd

ed!it!

. When. My

P^^B=BjEE^g^g^E^g=g^^g^gi^ -•I •—

1^rit.

^^^a tempo.

£ i fe#rit. mitf itf ig ^^ >—

k

9— <P

^ fcSp?^

H—=V m f=J^=y ff:

ing!

it!

she, my all, raised up a squall, And set the gales a blowheart beats high, it asks to die. And she will help to kill

^^P^^^ ^O,O,

A 1-

:i=--i=8=S ^^J^g-l^j'^tempo.

mm m 5^*—

r

-4-s—=^-==3

rit.

^ P tempo.

^ /S^5 ^^ i^^EE^E^^^ip^S

sail-ors' hearts go down with ships That they have once command - ed ; So mine must sink, for on - ly think, She's left me lone and

m^: 4ir r- ^ f

&=ii^

r-

72 STRANDED,

/ P53^ ^^W^^^f^^^=^^ -^—

*

strand - - ed! O sail - ors' hearts go down with ships That they have once com-mand - ed; So mine m«sl sink,for

sa^ ^^dW^ ^=^ mW

mm^z -s—»i

^^ [^

:^- -^:^ ^ .^ -«^

/ P

1 ?^^3Ei ^^^f^r r- r-

iA fit. I o "»/

F i^ :^=M::^=±at ii

-^—=1- y 1 ??

ly think, She's left me lone and strand - ed.

lempo.2. I

^^^^^^(pIN^B^^^^^^y—f- J=Z=J r (^ 1 "If

i=iv=Sbi r^^ 'r~r^

ii»—I-

-^_.,_^_-^__^ i^ --^

Who's that^ Why 'tis my dar - ling lass. Who

~2 ~S" 1^• «- —^— -g|—*- «-—I »— —m«» 0' ^-^rg^^

1^'t^i i z^. ^ :^= 5^£ if: S-J->

—

^—^^fzmi—jg-

sA ^ /

1 :|?=P= ^^ :C»=f= S^ -S =!—^- =g-^l-^—g= gJ=F

whis pers words so cheer -iug;

S 1-

She asks-

,J

here lads, let's pledge a

^3 ^-l^f^^^ ^=^ f=f 5 :J=^

g& H* ^ jpi_:^u^^^^

^- s:S=

s-^s—^ mm- s=i=sCT=t:f=b: -^»-^

fe*.P*^/

I:iS=

She

:s±

ing!glass

!

Which way this craft steer

df^^*^ffet=|:4:^^^

?=^^f=3^&*

r-r-r-5jg—ip^=t

y-_g^^g_-g_gg- -r-r -r-rti^ .

ft*^

^ 4,-U^ ^—h-r^: ^#

git . p5* _^ ^!^E{

STRANDED.

^%rit.^

73

tempo.

Tag-

m J*: -^ ^ ~^ ^~

her. So, lads, you see, it

k=^53

says she has a tale to tell Of fibs that some have told

i it -^ s 5i»:IS-

^^q^^^^^^^^^gi^^=^=f=4^^FP^^^i ^^=lg=|=

^ tempo.

i>t=i

^ ri(.

jl tf' ^ J^ #1 gzriz^ ^ ig: =3=3=-?well would be to live a tri - fle old

^^^PP^^ ^- i ^z^==^.

rU. -W- Tl?~

3SES

(e^^ Qi'c :g—r-j*- -J-- i -=5 S =1-

rf P tempo.

^ Sh^^^^^e^tfcq^ ^J:

5 s?»!—•'- li-

t ^sail - ors' hearts aye float with ships That they have once commanded ; So mine shall swim, it was herwhim To leave me lone and

=^i= m A K

^ ^W^^W^^^^^^^i J=2z -^—^ -^ si^-

p tempo.

'-^ ^-^ f»—I*i»=^ ?S=p=p=^^ E :?=a^iqs.:&—=- ^

—

-:^=S=P?

r- '^* r* "* r- ^' r/

ff/^^ 1^^=*:

strand - ed, . . O sail - ors' hearts aye float with ships That they have once com- mand - ed; So mine shall swim, it

bfcfi,m-M-t 3=i

3'l=?-^t^3^^=?i=^-^^^es

"/ / /»

s :(?=pr

# Fp^I— i——=1--^

fcSi

ad lib.

r- r f^

^ « ai- grn^^-J -S—=1-

B^=i:

was her whim To leave me lone and strand

r-rr

?t

WORDS BY JEAN INGELOW.Allegro moderato.

f

MUSIC BY ALFRED S. GATTY..^g; a tempo, p

S: :=qv: :S=^

:fcf4-^ •

^

1. Me - thought the stars were2. My true love fares on

\mf

Z4. -*~—X^^E*"^rall.

^ ^—g—^ tflq—gl—^^

P€>- 5^ -«1-

5E 5=^5-2=^ s^

-!1_^P--=1-

^^^ ^a~^-^: r;^ :i=^ 33

5^3t=:Ji

blink - ing bright,And the old brig - sails un - furled;

this great hill, Feed - ing his sheep for aye;I said I will sail to my love this night. At theI look'd in his hut, but all was still, My

'^^^Z ^ E^^^^.t=^- -=i—«-n

--i=r=-r :f:

g^^F^^ -r-^r-^i=g= ^^^^ >-^H^-^-b» L^ 1»>-

^1^==F-«__«

?1 1^-1

~K^-^^^ =i^ :^:

oth - er side of the world,love was gone a - way.

N K f*"-

I stepp'd a - board, we sail'd so fast, The sun shot up from theI went to gaze in the for - est creek, And the dove mourn'd on a -

-K.

i^^^fej^^ ^r- ^S1=1-=^-» =^ =1-

^—%r ^—t -pfp^cres.

g——r- =N=m J-=l—«L-=1—J-4—J- -=l-*=4 ^ 2z:i$=fc=:±=fc:3; E^^g^ j^-2J>^L-j^- -<S'

nf

-^-^—^—J-T—

J

—=^Poco Zento con molto espress.

g^ -=r-i^-^ =^^3=Ji • ai-

=fTC"bourne; But a dove thatperch'dup - on the mast, Did mourn, and mourn,and mourn. O fair dove! Opace, No tlame did flash, nor fair blue reek, Rose up to shew me his place. O last love 1 O

"Tf"¥ dim e rail..

poco lento.

m^ ^3m=^ --^- =i»

2=^ ^ tf«^

espress.

i ^K—K- ^

m r r

^--

m-' -m- -m-11^. :t?i

t/fond dove! And dove with the white, white breast! Let me a -lone, the dream is my owruAnd the heart is full of rest,

first love I My love with the true, true heart! To think I have come to this your home, And yet we are a -part.^^ r^=^0.:^^_f-|':

fP ralU mf

^=^=3-^

O FAIR DOVE! FOND DOVE•8: '"/

75

»—.—sai-ler: ~i^: •gg"^ «* gji ^~

a tempo.

3. My love, he stood at my right hand, His

^m 3=^=F -^ s^

S®''

::q=^

raW.\

,^2:1:= „^_^_^ft?"

rn/* a tempo.

=iE,si

—

"is

feEEEElgfe^Wife: :^==^^ '•3——gg- 'IZt^HZZZ^ '^1^ • nij:^:

dim.

?^-=]^ -N-pHy-!—--4-

. K-^=-^ i^i is^ • <a^ ~gl- :2:i::^: :t=t

eyes were gi'ave and sweet, Me-tliouglit he said In this far land, Oh, is it thus we meet? Ah!

-S-

«/

(p^-=^===g=I

I

dim.

IS -St-iri:

iz:ii ^-- -^--^~ -^-

mf /,

-^—i jEjl—;-—ad—r)_^_^_._g: 11=^=1^:^=9^: ;?=^^i ^ f^H i=F=^

maid, most dear, I am not here

;

I have no place, no part,

A \1

No dwelling more, by sea or shore. But

EE^ g^: :=!=

n:

mf f-^-

3^ HS1IZ2

fi^:^

(^im e rail. PP^-~ -^=i^^-^-- -^ ^— :e

-S- -tS'- 1 \ fe>»

—

\^

on - ly in thy heart. O fair dove! fond dove! till night rose ov - er the bourne The

I^^^ :^0±Egz=i:=gri=ai -^-_

dim e rail.

:ii=ic£d=t

-g^-

?$^:

9-—

n

=^:

r:p:

-^•^:

-iS^"

(?to e ra?^

mr~—^^^^tr

-4^ :g g::fts =f -^- -^- --^--

dove on the mast, as we sail'd fast. Did mourn, and mourn, and mourn.

ii^^^. ^^

i^: 1^=^i^ 1^=^ ^ZMZ

:m--1^-

^^ ^^ 1^ . : -^^^~—^ dim e rail. I

^^"to" ^i "fe>-

2:^ s ^s fS^ :i:s2ii

^^ 5 ' ^———

1

K^ — -

3 ^: t^ ^,

76

WORDS BY F. F. WEATHERLYAllegretto

MUSIC BY J. L. MOLLOY.

ii ^^^^ m:«t§:^:

^.«i»

i^ -Jir.:^=qv=3t^i^

ttHe was a Pun - clii - nel - lo, Sweet Col - um - bine was she, He loved the ground she danced on, She laughed his love to see,

Blight was the day she mar- ried, And there, a - mongthe rest, Came poor old Pun-chi - nel - lo. He was the blith-est guist

EgE1^t=-^-=^ :^=^ i it -^- ^w. mm :a^ «5l Ig:

^

W-r—m:. '^ ^^ «=^=^2nd. Verse. Poco piu lento. 2nd. Verse, a tempo.

J=^ -P»-M£ i^^^^^i^^^^^ r^—J—

j

» • gi' =F K S-m 3^^--^ :*i^ :^^=^ S**^

'Till he laughed himself as gai - ly, Danc-ing, joking ev -'ry night, " He's the maddest, merri'st fellow !" Cried the people with de- light.

Had they seen his tears at midnight, In his gar-ret nearthesky, Hc'sthemaddest.quaintest fellow, That wouldstillhave been theircry.

K-^-^-=?* =

5^ feS-"^ gfT" J::|r^'

^t-nt ir^

e^ ^^-^^ -tfi- -W- -tfL -cl- -^

2nd. Verso, pause, rail. rail.

i^'\. A.

J N J ^ ^J-^ ^^5=^»^ !<*-

:^ ^- ^J?I ^^f"

'Bra vo! Bra-vof Bra-vo! Bra-vo! Bra-vo, Pnn-cbi-nel-lo! Bravo, Punchi-nc4 - lo!

/TV

2 P ?7)f»o mnsso.

S—

*

ME ~^- ^ 5^g^ * ^

One winter morn they told him. Sweet Columbine was dead, He nev- ercT

lo!

(Pi ^^s-ip^^f-

i

F „ im- (*—

^

W^p^l^ i^P 3t

^

PUNCHINELLO. 77

poco accel.

-K-^v- /.

1^=^: -J—J- jv=^ §5E5:i^» 1^ ^= 1^=^ -^*—«*-

joked so gai - ly As that night, the peo-ple said, Nev - er sang and laughed so madly. Ah! for his heart that night! "He's the wildest,

^^M ^-s«-

=fe-5—=1- 4*.-^-

'i=^^=S.-^- -IM—=^

i^»-pp:\ ®i«- "e>i*-

*^ 4tP=/is

^^Jf=i= ^- 3 ?^ s*-=iH- -^^-gT :

i3r B*'- -«l- -•L

^^ ^^^ ^-—N~j ns S^=^-J=#^^J^^^raW.

b^.=^^:^S

brightest fel- low, "Cried the people with de-light.Bra-vo!Bra- vo! Bra vol Bra- vo! Bra-vo! Pun-chi-nel-lo, Bra-vo Punchi-nel

^ -|v-=l-

S P^^ P?5 L

^: :t£^

-©-

m '

>i» ^ m-^—©i-^4- -^ «-^

^^= ? =^

P Lenta ritardando.

i g-^^j^ i?=^=it:^?=t2: -^—i?^

lo.

s; m(^

^:-/5 ^.>

But, when the play was o- ver,Forth to her grave he crept, Laid one white rose up-on it,

4^3ta:

-' ^jj

:d^

P

mpp > ^g_Jr

if :E:

:±^:feJ=fJ:

i^^

.^ ^ ^

J^^^=^

ra??.

:?J=45 ^ ^^—IS " 1 IS KT i^ziq^-r-ig ^^^^^^^^^j-f—

^

Then sat him down and wept. But the peo-ple, had they seen him Gaze to the moon-fit sky, "He's themerriest, mad-dest fel-low,"I^ ^-^9=^- I^^_

^=col canto.

3^

r5feS=^^—Srrs^

^OT-F

:^=:^ i 74=^=:^P^r^=^ ^-i=lit r^t-

^ h5;=S^^^^/?

.^ ^«L i^

ritard ad lib.^q= -a^-:^

Still yoii would have heard them cry :

' 'Bravo ! Bravo ! Bravo ! Bravo ! Bra- vo ! Pun-chi-nel - lo, Bra-vo ! Punchi-nel - lo.

"

&3^^7—Jr-^

^—^-rt:i ^Pi^-—

K

-=^^

rfi^

^:itP

-^j ^H ^ ri

;9/?;9

-^ ULIlit ^ -«l-

1 tfl 1l^

*^^r=^" 3'? i?Fed.

OUR CREW. 78

WORDS BY M. M. LEMON.

Marcnto assai.

MUSIC BY F. CAMPANA.

^^^ES^

m :f5=Si ^ ^-- r-^-^^rj^=^^^^

iJtii: i=^=i= -«?-<:P5=S=

^:S=^ :*=itt-^

at^:ir«^

1. Our good sliip was bound for the"West,

2. Our good sliip came home from the West,The harbor was fading from view; Our skipper was trusty andGlad faces were thronging in quay, And I knew that the dearest of

zfc :l!s=s qv=f!!l^^ 2ff=±M=p: -^ ^\)JJ^ =^-^:z^^^=^

:

N;S=«t

brave, And fear - less and tough was our crew,all Was pa - tient - ly wait - ing for me.

Our 'Mid - dy climb'd high on the mast, ToA mother press'd down to the shore. We

:gi P=P= ze=Mzt=

p ^^-

a tempo. dim. a poco.

catch the last glimpse of the shore, To watch the last wave of a hand, And a face that might greet him no more. Heigh-ho ! heigh-

paused in the midst of our glee. And thought of the vacant mast, And our Middy a - sleep in the sea. Sing, heigh-

— a tempo, sf \d

^^i'^

^t^'_

^ ^^: a tempo, sf \

dim.] apoco

!E m zz±. tf

"-s^-—.

rail.

^r^tz^ -=^-=1- -r—r- 9=i=! S- ^- F--

holho!

heigh-ho! heigh - ho!

heigh-ho! heigh - ho!

^fe^a tempo.

But North, Sout,h,East,or "West,

ButNorth,South,East,or West,WhereWhere

?k^ '^^- 3 ;^j^^s^- m m i ^

^

r f i I I ^ p.

p^^=f^v-^1 ^'-'V5*3 -=n-s|-^1 =^-=1-

?•-=- 111^3^ ^± T 1^

is^"^- -=!—=)—-

OUR CREW. 79

j:^j^,_^^^ :^:^ ist ^j==5=S:—t^-i

e'er a sail - or roves,

e'er a Tar may roamHis heart should still be true

No sound seems half so dear,

To her at home, he loves;

As one good cheer from home,

te m i^-

But when he rides aNo grasp seems half so

&^=? ? 3 m ^^^^ ^:

^ jr r

^^i ^=^^F=Fi fi f:

g^1-=!- ^^1-=!- -=1-=l- -=}-=l i 1 1J 1 1 — -^n-^ i- -=1-!1- -q-1 ^^ q-/ ^-

^^ -^^^^TiJ—ar^^ 3 -^—

^

S^ L^float His watch-word then should be,

firm As na - five hand to hand.Tho' hearts be left on shore,

No fa - ces half so fair,

l^d=^^=

Our du - ty lies at sea. HeighAs those up - on the strand. Heigh

#: :^s ^^ ¥ M s^^

m f ^-^™—frj-.^E H-aJ ~^9—I

-J"

i ^ ^-.-i i^It :t2=SJ=tz: ?^

fc=^Ee

:ps=:P a!=:p: P=q^^^g= ~r r^PES

-=1—*-± —i

—

We drink our toast with you, heigh - ho 1 heighhoi heigh - ho!

±=xfi' i^ 5: iS: #::g:-I 1 1 ri 1 1

—

=1 Jl t^-

^

ho! Our skip - per and our

U9^= ^1 :fer:

(^ hffjiy—

=i^f^

m -=1-^—=1- -

crew. a tempo.

fL* ^- .^^'^ f-.^f^^:^^^^ :e £ f=f: .e ^

^=iit=brF^fet -n-^ t*-=i--: -jg—jg-^—|a- ^^±=^ 1^ =^=^

i-/

-!1--

f F r 1 I

2 a tempo.±^?^

9—=-

crew. Heigh -hoi heigh - ho! heigh - hoi heigh - ho! .

(

a:^- ^

^ :r= 1*:=^ -=M-

o lempo- ff

^-^T

^f

ji^ -^—*s^^- j^ k r^EjE 1^13^=^

80 ON THE ROCKS BY ABERDEEN.WORDS BY JEAN INGELOW.

Andante e con nwto.

MUSIC BY A. SCOTT GATTY.

EEl^ ==1: ^-

'/~J^-

-g-:-^-^ ^ -^ ^ -g^ -1*-"3=i i ^ -P*^-

-j»-*zn ^ L-£-

P

mmk -^ Jj j^ J

i ^—r:

,#

j=J=..M s>. [^ w=^-^-!SZl^ -^Kd wi ^

1. On the rocks of A-ber - deen. Where the whist- lin' wave had been, A I wander'd and at e'en was2. Then I busk'd mysel' wi' speed, And the neighbors cried, "What need?" 'Tis a - las in a - ny wee Aye

w * i^^^^^^ iumiimiiuS .

-^- :it= -4 h-

SJrp r

inffi- -fiL J

^—•!- -=! «

*^ 5^ SSz^gg^ J. jU-j:^^ Il£ :*=3^

eer - ie; There 1 saw the sail - ing west, And I ran with joy op - prest, Ay, and took out all mybon - nie!" Yet, my heart, my heart is sair. What's the good tho' I be fair, For thou'lt nev - er see me

-r^—(=

s:

^5 :£=

—& 0?-s [ffjflrnW

^-^f\^^=i

t^s^r^ -!?:

-^

3^= ;S=S--

^ J.colla voce. era.

W=f^- w- ^-^-

rail.

^^tt/-:j-=g=p :5t==»! :St

nie. Per Thou'lt nev -er see me mair, Man John

( ^—^gF K ^2Z:^—-S*

?^/9/9

coHa voce.m^^ :z=t

OH, HOW DELIGHTFUL! 81

WORDS BY A. SKETCHLEY.Tempo di Fafce.

Vivace.

^^^^ i^^MUSIC BY J. L MOLLOY.

^_g^ 3S

?-^_.III^^~~-^'

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f—*^^ :^122:

Oh, how de - light - ful, oh, how en - tninc - ing. From this drear thral-domOft wlien dark shad - ows are o'er us creep - iug. And check the throb-bing

soon to beof youth - ful

free!

hearts,

fe-^--It

-IP^ -l»^- % wm-^ -^

iJ

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TT ^^ :«=it:5^5^

m -^—

^

-^—

^

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It =^ ^ ^^^^ qe=e: =^ :^ g N« S*

With wild - est joy, then, my heart is

Hope, like a sun - beam, watch near usdanc - ing, Dane - ing so gai - ly now with glee,

keep - ing. Breaks thro' the gloom and joy im - parts.

^t^ ^=s -^-=3^ m w -^—^-

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m—•!-

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--^ (S^ittat

From morn till nightNo long - er shall

^^2=^

im - pris

we droopon'd here,

and pine.

Pass'd weIn area

our dayshoui-s,

in gloom andour lives a -

i 3li "^^rl-^-

^ S* ^~4-^ -gr^ t ^

[mp

i ^¥t3=^ -^—^-

J!*^M

^& i^ IE2^2^^=^^ -^ ^fear;

way.No joys to cheerWhen clouds are dark

us,

est,

nooft

de - light,

doth shine,

AllSoft

Si

eg X X

^^S X -

:^=Q^I

j=x x~

was dreaand bright

?S^^^

ry,

ly-

B2 OH! HOW DELIGHTFUL! CONCLUDED.rail.

m ^^i^S -isr

I& « ^_-'J

i l»=tt*: 32 sJ J^*noth - ing bright;

hope's cheer - ing ray.

Now, how de - light

Yes, how de - tight

ful, now, how en - tianc - - ing, Fi'om this drearfill, yes, how en - tranc - - ing, From, this drear

S i i^: P^5^=S=i:

^—

^

rail.T^. -^ -#

[mSk ^1^ -wt

ffi^ -S ^- N* Ni-K- !^- _^ «.*; p^ -at li*

•^ SKT

-& ^ S ^---^ W=it:p=P= s=^ ^ ti

thral - dom to be free! With wild - est joy, then, my heart is danc mg,^ tfkH—^=

'^ S- tt -5^ f-^ s- TSs^ r ^^f^ ^^

tv •^^_:^ji VL.-^ «^ -^—

^

_>* i»"«^ "iFT"\* N*_jj^ _j_-

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_Ni V»_ ^^^^m -r—

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^Danc- ing so gai - ly now with glee. Ah! ah!

±=^g£i ^^-S: * P legguro.

{m N* \*•N **r^ -c^-

f=^^

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my heart is danc - ing now with glee, Ah!

^ J: f f^6#—^-^p #

i!Iturff;5^ ^^"=r=i^'^

ifei=±3t*=P=C:

rd.

^ ^"fefe^ -«-^Q^

ah! my heart is danc ing with glee,

I pssp ^.^ ii^^ 7!=^rji.

^^ ^ r F^^ -<s>-

r i-^—s-

NANCY LEE. 83

WORDS BY FRED. E. WEATHERLY. M. A. MUSIC BY STEPHEN ADAMS-With xpirit.

±^£ •«••:.:ff^

S:fe^"-

tr- wmm -^.-r^-

=t2=-b2i=:3=:fc

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^^^ip^^^wii *3r

:lfc=^- -=i—=1- Ei

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1. Of all

2. The har3. The boil'

k=t: —i»i—-j-

the wives as e'er you know,hour's past, the bieez - es blow,s'n pipes the watch be - low;

YeoYeoYeo

ho!ho!ho!

lads!

lads!

lads!

W —I^a

-^-:-^-:^-

-^—-s- I^I ^ -I—•' L

ho! Yeo ho!ho! Yeo ho!ho

!

Yeo ho

!

yeo lio!

yeo ho

!

voe ho!

There's none like Nan - cy Lee I

'Tis long e'er we comeback I

Then here's a health be fore we

trow,

know,go, .

:^=|:mn -^iEEi^-5^ •^ -^

:ff:P=P= ^=t2^ £EeE^==.^ ^-

:5:=t± ?"^=gE^E|^g^S53^^ -==1—S-

h tri»—

See there she stands an'

But true an' bright fromA long, long lift; to

Yeo ho!Yeo ho

!

Yeo ho

!

yeo ho

!

yeo ho

!

yeo ho

!

yeoj'eo

yeo

ho!ho!ho!

waves her hand up - onmorn till night my homemy sweet wife and mates

S^=5

the quay,will be,

at sea,

—I

—

An' ev - 'ry daj' when I'm a - way, she'll

An' all so neat an' snug an' sweet, forAn' keep my bones from Dav « - y Jones wher-

#^W P^g^9 ^ :^

T»—

t

±W-ii ^^^ ? =rr^r-^tiii^J L—r' K ^

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hmmmmmi

r

84 NANCY LEE. CONCLUDED.

-^BE =?i=i^^=t=g -1 1:it

watchJacke'er

for

at

we

me,sea,

be.

An' whis - per low wheu tern - pests blow, for JackAn' Nan - cy's face to bless the place, an' welAn' may you meet a mate as sweet as Nan

i^ i^at

come

^ ^;Sr=* 3i=P:B^-<^

g^^^^

^ ^1^

^^rati.

wzB=.Ji

:^=^ ^ ^-S-tempo.

sea;

me;Lee;

YeoYeoYeo

ho!ho!ho!

lads! ho!lads! ho!lads! ho

yeo ho!yeo ho!yeo ho!

TheTheThe

sail

sail

sail

orsor's

or's

±=:P=r-^=iit ^:^-

wife, the sail - or's star shall be, Yeo ho! go the

j=^J=^^^ ^e_e- :P: -^^ '^Mt=^ -S =4-

I

1

^± ±The sail - or's wife, the sail - or's star shall shall be. The sail - or's wife his

t^^^ -X—4- ^S- • '-S

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i-^—^=

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:?==

iosi time.

1 -^ =1- S =1 -fc—-=1 ^-

star shall be. star shall be.

^^=^coila voce. coIIm voce.

^ ff m ii^=l£ i^^ -"s=^ 1 1 f^ T

MISTRESS PRUE. «6

WO.<DS BY F. E. WEATHERLY.Moderato.

MUSIC BY J. L MOLLOY.

tK

±El^ ^3^ f ^ ^ ^ 3=3=f=-"

fa-^EE^fe^^^^^#^

-S>-

=^ :^=

I22I

"S?"^

rii :«gi:ii ^ ^=i s± ^ 3^tress Piue,and neat.

My poor heart is

You are far too1. I'm iu

2. When I

lovesee

sweetJ'ou,

Misflue

Sooth I can't con - ceal

In the church on Sunit,

day.

S: * Pf^a#^3EgEEg^^@S

--S

r f:=^ -r- tr# El^

g^g^ =N-n- :?2= =^"S2~

=1:: ^ q* *^i^ a^tr:^: ^ ^J-J-V-122

broke in two, On - ly you can healgrand and sweet, And I long for Mon

it; You've a farm with stacks and mows,day, Mon - day when you're not so grand,

1 3d—=^-vL

im

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m s—

rm ^^s:^=-W ^-^z

zjp=j. =j^ =g^ ^ S -&m

A - ci'es three times twen - - ty,

When I some - times touch vour handSheep and hor - ses, ducks and cows, Men and maid - enAs I count the eggs with you. With you sweet Mis - tress

i^ =s; ^S ^^¥J= aj=^H—^ 1—

^

1—=1- :±W-=^'^-^—^=^ -f =3=^ v=^

m E?; i ?=£^ -»—

g

^_-p:i__^p:*!=:S= ^^ ^=

izi:

two,two.

^=-^ r^^ _pkn - ty. My poor heart is broke in

Prue. . . My poor heart is broke in

AllAll

for

for

love,

love,

for

forlovelove

P^=

of you.of you.

i im =?2:~^2Z ^-E3 %-=!-

[mr

'Trr

T"^ ^^' :s:

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is:

»6 MISTRESS PRUE CONCLUDED.

After 1st Verse only.

P^~

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imlir^r-z-

1/^ ^^

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=f

1^:p2= ^

^ ^-IC2I

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5

P Ie^^^ :p=:i:^ ::J=^ -^ ^= :i=^=^-

—

Fare you well, sweet Mis - tress Prue, You'll be mar-ried one day, 'Tis ja vaiu to dream of you

^ :g=^=^^ SSE£ ^^==^^= -^ir-^t= Bi^S=

^^g: i^^^

ti5=i^=^=^ S ^rzr :t:Z2I

#^ ^E 5=15?

feE=dz=?: :r^

Count ing eggs on Mon

=P=^^=±i: E=t?EE3

All the week you'll be too grand,

Pday. I shall nev

^- ^.ii ? =^ & :5^

5^-^-^-

—

-fe»»- PSe:32;;z^ ^ ^: ^|gzci:

~Z2~

~-^'-

-^=f^ m*=s= 12^ ^=«t :i=^

touch your hand, No more count the eggs with you, With you, sweet Mis - tress Prue.

t=S::=^ ^ =d^E!?^

rEi

&«—

^

^^—t!^

i=S=^ i^E^EE^EEE^ETrl?

1» --i*^^^

j^

ggIE I22I i?

Pi?t lento al fine,.

ip*:

g^ -d * Q—S^^EE^a^g:^= f=^ 2=±:

, *—t^—My poor heart is broke in two. All for love, for love of J'OU.

/^ A A

1^^ :r^ ^i-= =5*=3= "^ ^^ d= ^ ^;.^ li^

s? * "-^ •

r f::»

S *it

ritard.

4- B-W-

THE LOVER AND THE BIRD. 87

Allegretto non tr(^)po. i^isn^ms^m^^^mP. D. GUGLIELMO

Sva

ad lib.

'tn--53PPP

-!«- H«-

Sfcam^.

f*^^j:^^^-^^:=^.^^ -I*- -^

^ :*ti^a^ ^£»' _L«w* =^

;§: dolciss.

Sua..

;^=^= ^3^ -tt*^^tz§i-S.tt "W—arP-

tt*

^|±^^^^^^^

8wx 8ya

a tempo. s I^ I^j?"^!^ Sea ra/Z. —

1. Oh! sing, slug on3. Oh I sing, sing on

rail." 5tr*^ ^@=^^-^= 2^.

_q_5

^ ^T^3f=5t ^3Bird,

Bird,

muvis

sic, sol - ace, will bring,

ions glit - t'ring and vain.

Thou wilt

Vain flat

S^^^l ^E^^. g^g^^E^3^^not fly

!

t'ring hopes!Why shouldst thou fear

Oh, do not leave

me? Singme! Sing

8i<a

of love,

of love.

of love, onof love, on

Ij sing,

ly sing.

«3=ii=* pF^ ^m^1—*—«'

¥~^ 3^

^=-^ -^

\z-f=^F=Ttm^-^-

^v=P *-5E=^S=^J

—

li^ cta ^^ H^=ic=:=i- :iE^t=s^ 3= S

rail.

MlThose hon - led notes of thine thro* me are thrill

Soon from my dreams shall I wak - en to sor

ing; This heart long de - spond • ing, with pleas - - urerow ; To - day, give me rap - ture, I'll weep to

^s^

THE LOVER AND THE BIRD.roll. ^ a tempo.

^^;=ts:

^ ^i^=g^ -w—J- r—r—r-?^^ ^

-t^

—

\^—^-

fill - - ing, Ob! sing, sing oumor - - row, Oli! sing, sing on

sweet - ly, to cheer ^ me, Slug of love, of

e'en to de - ceive me. Sing of loye^ of

^^t=^ S ^ 1^ ^-^ :£.f^-

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:S V-m «•-

taastt

^^ -r*^ ?^ ^^^»/

?i=^=f;

^afZ /(6.

i=S te^ S it=t2:

love, on - ly sing, sing.

K5 ^—^^J*^4t—P- h-

8ra.

sing, ahl all!

rtjt^i*-_

8wi. 8va.

FF=^gi:

a ^S^-rf- feJa«d ^i6.

P a # :

Larghetto sostenuto.

con forzn passione.

J-^:^ g • ^-:5e^r=ezs^^—7"'=^ ^^-

:r=i^

portando.

pit

-It.

y me ! Why can 1 nev er sing a song

^tf4^ ^ m-^^^-M^- S^^=s^

of rap - ture like

H* <•-

IR> ^ ^g-j;. ^5= :=4i^:

^^ sempre.

p:P:p=:P3E: iffnitzff -ffr-rfrri,£fefef£gife^1^^M j^ et==^ ^-F=i*5^FF^^^t^^^

, . r^' ' -,, ..' ;• •.\.,A_ «:'^*v:^;-.s'" V»iiii**,«&ii«ii^i'j>i«ii'ii!S

THE LONGEST WAY ROUND. 8^

WORDS BY FRED. E. WEATHERLY.AUegreUo grazioso-

MUSIC BY JOSEPH L. ROECKEL.

±-zz^-IteEE -f^ g

Lit-tlc Pa - tieiice to mar - ket at Mil - ton has been, And

LEe=f:'^e^ H^:ft*--

^^^ S&^,i^tipi

-I r

:S=i:-:n 1 1 H=S=S=^ -*•—«<-

Leggiuro-

iEES ^~-^f^i=^^=^—-^—~p^=* ^^^^=^i^^3^f =1*

::p=P=iBz^c^^§

9- ^^J ^-hM

:J=i=^-I* 1

^it^rts:

:iv=Sli^iiii:

^=P=(^ -r-^-r ^rcJz:!>—^^r-j"!^ :e:p:EPlJ2=t^ atjt™: -g>-lii»- -^f=3t=x.

now she stamls doubting on Westbury gi'een, There are two roads to choose from, And which shall it be ? The road thro' the valley, or round by the sea?

3^=rj^=^:

:i=S=i=^2== 2^-j~rS ^ MP »—!•—» 9—tM • ^

i h

i:$St :itft^=

:^

r T:?"

egj-«iis^ ^=^1^1^

-tizr

^:?

t?^coZto parte.

mpp dolce. rail.

5^ =SPC PS=W ^ :SP=^—i i^i^-r—J:

:P=:e --r=m-- -^:^=i=^: -ti»—6»>- :i=J: 5- ^=:i?=W=t^: ^-t

Which shall it be? Which shall it be? She nev - er has been round the path by the sea, Which shall it be? Which shall it be? She

~^ i^ mi ^=s=B^

(^-

f^ i^=i ^ ^i^-:^:

J-;

1

—

rail.

i 1 \m-£=S^s=tei 1 :^

q=t |B=:^-= Pm^-

aUargando.

3= ^

a^BiE^ ^S-£^ P ^P_^

never has been rouud the path by the sea. There is somebody watching the doubt in her face, And

St

1^ ^

f=f=

^E^pE*

te^E^^ete :i=^Ies^^^-^i^n^i^-z^

f-f m) \^

\mmSM^SE ±1=ipzfi

3^I^^H^^^^^^

ml^^i^^f^^a¥-'^=i=ff

^ roll.

^^f-r.'t^jS=K :=^: w=w~m-

^p-^E^E^ g=i^¥=t!-r-rT£ 1^-Wf-\10. -^^-^^ -v-g^- =^^=t2=

somebody's bound for the very same place,And somebody softly makes bold to suggest That the way thro' the valley, though longest is best. Wher-

I ^-^ *I I

:—-J—J=s^=2;

fH»^ as: J:,^i2tezto:

tl#-

^ 9 ar~ra«. j*

^Sli1«=1«

90 THE LONGEST WAY ROUND. CONCLUDED.PP dolce.

S^= :isi=P- P=^ =pii=S: 1^==1^g^=g=:^=|;g :f=S=t2: U=^ -^~M.

ii=it^i:^zzai. ^=S=P=^:S=tc ^->—

^

:t;

ev - er you roam, wliei-ev_- er you roam, Tlu^ lougest way round is the shortest way home. Wher-ev - er you roam, Wher

--^ £: ±::

-^H=i:i=J=:i=:i:

--^=W- 5^=a(= ^= =^(l/ilcc.

y» S=fc5S^:S£ET: * Ilifc

q=± ^ 5= -I 1 :

iife

uUarymvlo. A little slower.

:Ps=?^ ;?=3»=:f=P=

^v=fs s s~r^^ =p=^j^=i2: :J=:^ -p-^.

^—IB,^^ J- Mzim. ± *=iJi:*=S=

ev - er you roam, The longest wa^' round is the shortest way home. She can- not help tliinkiug how sweet it would be T(

^^--I h

^E^^=ft*=

E^E

m'^ 5t=t^

uUurgando.

^=4 ^>--

2«r

P A little slotve

^^mr~g?~ i effi

f^ r-*>-

l-t=5^ ^=f: iS^ 1^5=11^ ^ ^atzf: :^=f?= 3S=M=^ ^ =P=-b^—bp<^-

climb the strange pathway, and sit by the sea ; But when she and somebod - y part at the door Her heart's singing somebody's

W--

p

£.^.

,^i-^t^r-r~w s;

-f—

roll.

Tempo \mo.

PP dolce.

t:2z :g=it3i*:

:is=P=:ff=i;z=c^; ^

:s=P=:i=tr

P=P=J2=^: :P=^±:

-K K l h-fc:i=ii 1*1=^

song o'er and o'er, "Wher - ev - er you roam, Wher-ev - er you roam the long-est way round is the sweetest way home, Wher-

Tempo.lmo.

!&^-g=«^S^g=^g=g:S=fl*--

rail.

^ ^.

i ^^^'PP^olce.

tis^

if=^=£

li

^-r=^=-^i-L i ^^

ra^/.

mi^: ^^ /-

r-fg- Shsm-r—w i»=pItzP:

=*^ii==iJ=«

ii*—ti*

ev - er you roam, Wher-ev - er you roam, The long-est way round is the sweetest way home."

pt^i --m--#=a ^f:

Sva.

mt*^

Ji

1e.fc=^^

' > >J" colla parte.

-s—X--

#.

^E ^ -s—

^

BIRDS IN THE NIGHT. 91

WRITTEN BY LIONEL H. LEWIN.

ife

Andante, ma non troppo lento.

MUSIC BY ARTHUR S. SULLIVAN.

¥E\

,MM^ = m1. Birds ia the night that2. Life may be sad for

—» -«-^-«Jti:,

nf dolce.

P^Pl?

5 m—M—\—^-m —I—— J I—H—

I

1

1

—

\—h- 1—I

—

v- H—

—

—\— —\—

_J [ p^ ^—^ ^-^—

" p^^ ^ "^

—

yJSz

n-r r Tf f

j=^^=^ i=p: ^^E^=S=qs-"

=;i==^-qs* ^^ ^iJZMtZMt.-^Jr-^

soft - ly call, Winds in the night that strangely sigh,

us that wake, Sleep lit - tie bird, and dream not w hyCome to me, help me, oneSoon is the sleep but God

and all,

can break When

And murmur, murmur, murmur, murmur ba - by's lul - la - by, Lul-la - by,

an - gels' whisper, whisper, an-gels' whis - per lul - la - by, Lul-la - by.

Lul-la - by,

Lul-la - by.Lul - la

Lul - la

^3^^.^l1^^ i ^,

-q—~"S 1 a^-^-5i^ --e=e=-^.*,-=!_

|=g^^ttr:f^=^^

iP

m N*-^-^->-r-i^ -s*- s a^ ^ ^s \^ s i^izafci-tiabi: ^ti

lul- la lul la lul - la lul - la - by. Lul- la -by ba - by. While the hours run,

yt

Fair may the day be.

P rail.

PP^fc :^= ^

r r "r r "r=^1"^

Y^ T~^l^=qsf 3^^^ f r^ r~ ^^ :^ ^k=i* ^

sWhen night is done, Lul -la -by ba - by. While the hours nan, Lul-la - by, Lul-la - by, Lul-la

-^ ^- ^ ^ -^ ;^i m

m :=±

r r -^r

3:* 5:-^

r

•- ^-

1^:*=:«:^

fe-

§2 BIRDS IN THE NIGHT. CONCLUDED.

8: 2

m

mS=^^z-J:^^ ^^- ?^=it^=P3 ^^-=^

«/

S£i^-r- <«kW ^ r^

s^f r

THE CLANG OF THE WOODEN SHOON.J. L. MOLLOY.

Scherzando. •8:

& ^^;3^S s=J^ ^ «t=^1. Oh, the clan^ of the wood - ea shooa, Oh, the dance and the

2,"Now, mjMads,witha mer - rj^ will, Up with hatch and the

I^ J-A53J-A5^^ J .J-^^^^'- ^=^ :^=n: S^^ ;P:^:p:

KS ^21 Z2I

ss -=t-«—=1-

s 1 . -I>*:x^^ ^ ^^^^^ S^!*±a W-JlL-^^V ^

nier - ry tuue, Hap - py sound of a by - gone day, It rings in my heart for aye. When the boats camehas -kets fill, Win- some lassies a- hove ye stand, Rea-dywitli ea - ger hand." Then the sails came

in With the

down. And

& ^—^^^ ^m i^^E^E 't^^^m^ 5

Fzzz ®

THE CLANG OF THE WOODEN SHOON. CONTINUED.

^=^^^^^S^tS =^=iti^ :^N=:S

=}:

sail - ors all a - glow,all was taut and clear.

:^ -^s=^-

Aud the moon shoneAnd a wild glad

down on the glistening tide be - low,dance lit up the wooden pier,

Oh, the clang of the

Oh, the rush of the

E^l=^t^ -«- ^^-^-4-^- i

-^ -«

^

:^lt^:

^ -•I-<i

—<_l c

fczfc:^ *^ S S3 :^=:nl

^^ ^^ r

i ^ffi &^=1? -N—fij—Js ^i=?t ^^:-•'-^^ ^iir-^

Hap - py sounds of a by - gone day, It rings in my heart forWild and sweet the mer - ry tune and the clang of the wood - en

^ ^-^ -^

wood en shoon, Oh, the dance and mer - ry tune,

tripping feet, Oh, the light - some hearts that beat,

i^ ^44^ -=}—

-

r=1^

V Tm ^ 2

^^%t3--t-'-J^;^.J^ ^•

n^-^-•^

aye.

shoon.

& J^J^J-

:^j'Jl^#.^

Pn-^ 5fc= fc±^iz!ri ; =K±^=z± ;^

riy

tsl ^m3 i

:^=^ 1 ^ ^ 1^1 ^fe-t:. f-'t- --I ^ r^PtM feftto. ^^ ^r^—j^But they are gone wea - ry while, Ah mel And he, my own, came

^ i^ S ^^^^

{m £B=^P^ :Jtat:

4:^ S=S^ ^i= ig^3==^^ 3*=S

home no more from sea; The sea looks black, The waves have all a rnoan. And I

rif^^^p^^^^^'JJ'Jl^M ^ ^^:S

^1 N» »

:z:;: 3z:

t^J^-«^ -^

2:^

^ ^- -^ fe5- -4^-

H

94 THE CLANG OF THE WOODEN SHOON. CONCLUDED.

irit. rail- morendo.

t=^-iatn 3t=^

.^ * i^"ir =<it=S= S = atr:«t -^—^'Hg—

^

left to sit and dreiim a - lone, To sit and dream a- lone.

4 i_.^rs:,j / j-g;.:i(i3t^!zi:

i_J.fc

^=^ s=-=1-s—

^

rj^-^_-^_^-

:^= ^ ^=P: ^fit.

PP colla , poco cres.

m ^ #i i

dim.

'.—1»-

;^-S—n--S—=1- -s—"^-^ 1 g 1

P/J/> Tempo I'rimo.^ iStill I see them on the pier,

1

^^^^^^^J JiJ!'

All the kind - ly fa - ces near, Hoar the wikl and mer - ry tune, And the

nm 1

—

m^<^^^g'—gi

ppp

:=s ii 5*=*i= i^2g^3

(^ ?2- ?2=

/ ^ ss =§=]S^ ^^5 ^—

^

i^ J ^

=i;i^-^

with the sail -ors all a - glow, And the moon shoneclang of the wooden shooii. Wlien Ihe l)oats came

-^! N-

rW-H- i^ f^^j^"^^^^r#r^?%5i^*iS=^ sa ffi; a< ag^s^

E^ 5^ *±it iF^ri?5

:=5t=«#^i. H^: :ib-#

down on the rip- pling tide be - low.

iPf^^ tt^ipi

s^

rif^^=^-

Oh, the clang of the wood - en shoon. Oh, the dance and the mer- ry tune,

^l§S

i

:^t>^ ^ -^=1=?

1 ia-tS

f Ffiocf> ratt. a tempo.

±=ir- ^ ^ :M:=^ ?2i

2^^5FS^i—-J: * -^- *Hap - py sound ofa by- gone day, It rings in my heart for aye,

<

For aye.

15 m-^—I ^t^r ftf«-

^^^#i#^colla voce-

5»-

r«-i-g

/'

r— k- fc r1

r r- r » r

l£Ped- *

WORDS BY F. E. WEATHERLY.LONDON BRIDGE.

i•«:m ^~j—j-^

MUSIC BY J. L. MOLLOY

in* =1:=E

MinhratiK

Proud and low - ly, beg - gar and lord, O - ver tlie bridge theyDain - ty, paint - ed, pow-der'd and gay, Roll-etli my la - dy

^^1mB&i-f^

cres. r^F^ i'^

-pr

^TT^^^^^^'-mi^liM at=i^

i *=?tJe—

^

^^ ^f S«j

go;by;

S^ E^ ?stS!=

Rags" and vel - vet, fet - ter and sword,Rags and tat - ters o - ver the way,

pov - er -ty, pomp and woe.Un- der the op - en sky.

Laugh-ing, weeping, linr-ry-ing ev - er,

Flow're and dreams from eounlrv mea-dows,

^^mw ^S :^ fSm -J^^—N-J^3te:5t=E ?^ ^ r ^•^ sEJIZJI^m^ggg H !tt=

raU.

^i^S^i eE^^tt

*=^

Hour by hour they crowd a -long, While below the might -y riv-er Sings them all a mock - ing song. Hur-ry a-long,

Dust and din thro' ci - ty skies ; Old men creeping with their shadows, Children with their sun - ny eyes. Hnr-ry a-long.

lE^^g?^^ ffS*"=^ tJiif^T «: *: 5: ^- W- 1W- 551 m

l-k^ ' ^-—^-^—s—s—«^—'

—

^ si 1- s3^ ^i^-1 1 *-4^

^1—jiji—^ ^ ^—

^

^^^ rr^-a^ ^^ ^^esaCzfet:^ ii^:2=^

so the world wags, Until the riv - er no more shall run, Un-so the world wags. Until the riv - er no more shall run, Un-

sor-row and song, All is van - i - ty 'neath the sun ; Vel - vet and rags,

sor-row and song, All is van - i - ty 'neath the sun ; Vel - vet and rags,

^^^^^^s^ r^^m 1^0 N i\« '^ ^£^^fe^-n—=1- =l-=l-

g^^^^^Sp ad lib.

22 :M=±til the riv - er no more shall run. #

-^^ ^Iw sw -4^-^-

snsr^P' a tempo. a tempo

ism.X^ SJt4^

Pec2.S

-=^—^^-n-

"W

96

LONDON BRIDGE.—Concluded.P ^

W^e:^^^^ ^^ ^ii=^s=s£itat

V —s^-

Storm and sun-shine, peace and strife, O - ver tlie bridge they go

;

til the riv - er no more shall run.

:=1= -^---S«-^~r^^tr -^rr-n- f-:T7-

1«</?. p

eee:fifiatz:^r::^=^

:^ri: P^-Et^

t^6 ^ r=pe ^^ i J 1 ^- =g'g' vzizm. 5^ 22 :S=iSWho will miss them there to-mor-row ?Float - ing on in the tide of life, Whither no man shall know.

P^mp^^'^^^^^^^^^^mzr

m J=i-^-

rrail.

fti ^=^ =P=^=ff #J^»^^^y^ ^ ^ji^.

g^ :*z=^ -^ ^ 1^=;^ -w-g^-^^Waifs that drift to the shade or sun! Gone a - way with their songs and sor - row ; On - ly the riv - er still flows on.

^-m If-a^. Js: wr-w: ^S ^ m

-F

iW ~^mtz*'. ^ ss; ?^t^i^^^i^ss -^S ^-^^^^J^y^J ^ ^ ^

9ifczfe^

Hur-ry a-long, sor-row and song, All is van - i - tv 'neath the sun. Vel - vet and rags, so the world wags, Un-

m^^^^^^1=^— sT :St-f

-=4-^

^^^^^^^^^^^^^^^gg

PP

(^E t5=4W

^g^^ Mt^r^^p^

iruU.

ir—r- i^ t^- --m-^ :z:i:=P2-

f'-^ J ^» »— -w^

til the riv - er no more shall run, Un - til the riv - er no more shall run.t7\^

1^--^ ^

f-- lis^ p^ i :^

^E"•Ped.

CLEANSING FIRES.»7

lATORDS BY ADELAIDE PROCTER.

Moderato.

MUSIC BY VIRGINIA GABRIEL.

mf rwoluto.

w- ri s :

:i=* -^-^gE^SE

•8:

1. Let thy gold be cast in the furnace, Thy red2. In the cru - - el fire of sor-row Cast thy3. I shall know by the gleam and glitter Of the

Hl.& -^-^=1- -^l^SE z^zJfzftzEzj^

S::jwpjjj 1 jj ij]: I

mf -ii~^

^S JE^ -*=5:ta:-r^2f^r^2rr^^^

i r*^ N ^^^^^^ :J-J-J-l*LJ_^F'^S

gold pre-cious and

tt^-

bright

;

heart ; do not faint or wail

;

golden chain , . . . you wear,

Do not fear

Let thy handBy your heart's

. the hun - gry fire . .

. be firm and steady, .

. calm strength in lov-ing.

With its cav-erns of burn-ingDo not let thyspir-itOf the fire they have had to

^^ ^S iE^ -r—^-

•m'- ^ih •'' ^ ^^0 M ^—T—^—»i-

m ^K iiijii:^ r p ^-1 ^ r" -r ^ r r~FP=^5-fc

^r

•pvk cantcibiJe. cres.

1=T- Qi/

Eb m::f!=s:-=^-^-^ —I IH-" 1»- :*=* J-^—

J

1^ ^--light, And the

quail

;

Butbear Beat

-^Is IS—^

gold .... shall return more pre - cious,

wait .... till the trial is o - ver,

on, true heart, for ev - er

!

Free from ev' - ry spot and stain,

And take thy heart a - gain.

Shine bright, strong golden chain

!

ForFor as

And

^fe^^^fe^ w^^tt^^

.^ |i

—

ai^tr^m^tr m tr^%-%^fcrj-=j:

^t^=S-" n -=1—^1 =t-

^W=mB™^^^iazfc=r5= s^

sempre cres.

± Hit

goldgold .

must be tried by fire,

. . is tried by fire,

. . the cleans-ing fire^

For .... goldFor as gold

And bless

must be tried by fire,

. . is tried by fire,

. . the cleans- ing fire,

For , , .

For as

And

98

/- ^^CLEANSING FIRES.—Concluded.

con dolore appassionato, a a ^

N N K^1& 2. #

=J-^:S=iT ^ -=!-S? =1-4^^

gold . . . must be tried by fire,

gold .... is tried by fire,

bless .... the cleans - ing fire,

As a heart must be tried

So a heart must be tried

And the furnace ofby

pain,

pain.

THE COTTAGE ON THE MOORLAND.WORDS BY GORDON CAMPBELL, ESQ.

Andantino.

%

MUSIC BY MADAME SAINTON DOLBY.

p Tempo primo.

*#=»: -^

1. There's a cot - tage on the2. There's a church up - on the

m ^^#^^ii^^E^z 3^=^*> ^- ^ ^- f trrcLr

p Tempo primo.

wp Sf-

j5^j-^j^'^r

^

rdim.

^±S^ f^^=T^ ^ ±i-

^5- =P=^:

s ib^ zz

moormoor

land, Aland. And

gar - den trim as well

;

there the path runs by

;

The sweet-est flow'r that growsWe'll wan -der there to - geth

^ ^-there Is

er, My

^i ^B -V—iS=^.

n.'^^^^

^ W=0-m^3^

idim.

THE COTTAGE ON THE MOORLAND.—Concluded./

99

it=^ ^!^=^ S "M ^-Mzzatt)

zz

my own lit - tie Nell,

own sweet Nell and I. .

There's a path - way on the moorThere's a church-yard on the moor

land, And where it leads I

land, And when the years go

^^^ ^^i ^^m!=*:

dim.zis-

ares.

r-w- E^P^ ij=d=fl^

^t=a ?s ?= ?=?: 22

/^

dim.-^- :^ &-

:2:± J=it; rstJ ^

tf!-

know

;

by. .

W=-

There I walk'd . . first with NelThere, when onr work is o

lie, Just one short year a - go,

ver, We'll sleep, my Nell and I,

There I

There,

^^^i^l^TOaY ?^stH

W~ i^r fr^^irmnUl Cxlr Cr^

dim.

r Wt=^""C?

22t

^=«^ r=rlie, Just one short year a - go.

ver, We'll sleep, my Nell and 1.

walk'd first withwhen our work is

Nelo

im^^ m^ ^ =^i""^ii m i

MS 3t

f-frr^r-P-:^^^ ^i?-^-:^

^i§= iS^S:^P ?= # ^21!icS: ::«!:

/ P^»=^^

1^ ?S r±Just one short

We'll sleep, myyear a - go

;

Nell and 1;

There I walk'd first with Nel - - - lie, JustThere, when our work is o - - - ver. We'll

^m ^^.^t)H^

m

air^w^g^g—

<

e

Ps=«^

cj_r:P:4?i &• ^-f^

^ ^ml ii ii|L?=2=

7V,Z/. rft. il^ :8: 42^-=]=^: :*=:=:1:

one short year a - go.

sleep, my Nell and tempo. I.

lit —ij—•'—* » K^—*—*——•-

:*=§=

tempo.

^^ ^ ijlj *5 ES;

^ /r frail. coTla voce.

r

i ^*:S- 3= ^ 3

100

WORDS BY LONGFELLOW.ij Moderate vwlto.

THE DAY IS DONEMUSIC BY M. W. BALFE.

P

3 5^^&E ^--ZSUti -JtlJ-^ tS*

^^The day is done, and the dark - ness Falls from the wings of night

m 4-Zji ^^ A [^-

'2?"

PP T s>-"^=^ r

^- ^•^^ # ^^^--2=r r -p?5"^"^i

:^=^,

r r f -p-

Wi^rW- -fi—p^=FF^ f^—p= 15=

iii^ :2i

fe=

=P^21

i&fts^ E?3^

c/ ^=3^^p e/:

^S==S:a=^ :2^=±^

As a feath - er is waft-ed downward From an ea - gle in his flight, From an ea - gle in his flight.

m i

* itfi*^ ^i* i».

Ss pp"^--

rST" -ZSr

PP^S^ ^= SE221 221

"2=?^ 7C

5^PP^=s"-=t^

J=*= 3t—^— -^=^—

I

P—

^

^ L-^iJ-:N* N* =s=s

5^k-v

fe^ji2- ^

I see the lights of the vil - lage Gleam through the rain and the mist, And a feel-ing of sadness comes

I I I r T^

g^^^^ p

PP animando un poco.^^-^ col canto.

o'er me That my soul cannot re - sist ;— A feel - ing of sad - ness and longing That is not a - kin to

>

13^ 122:

i Ep s^^ /T^> > PSt PP

^.^-=1

^^ J^_is:

^Etf^

slower. smorz.

S:^^=;J: *• J^ l '~JAnd re - sem-bles sor - row on - ly As the mist re - sem - bles

:st S5-c?- r^f-

"tt*'"^PP

"P-

=&r

THE DAY IS DONE.—Continued.101

i-Mi& ^^^^ I^r^

:S=S:litji is

Come read to me some po - em, some sira - pie and heart - felt

'm ^^r=^E^^^ qBi=5= K- ' N ' ^ 1 1.1^ ' S '-fs ii si - 1 N"! IV^=^— N"! IS

•fl:^ -•F -•[- -•I- ^if ^if^ -•!- tfi

PPfP^ ^a ipl # f f f ^ •> m ml tt

I1 I P 1 _ 1

. r:^ fq P 1 ^ T~r r 1 , i'~r~=i 1 1

1

» 1 1 -i^-q ^=trt^T^rrr ^ t*4 ^^^^^-^^-^^^^^53

g^s=s :3§= > ^y

That shall soothe this rest - less feeling Andlay, ban - ish the thoughts of day.

ff 1 1^1 =1 sr^

- ^ ^ -•!- ^ -S ^if -«-

r^ ^ S==S=l=S=t=R

Ife f f t=^k'&- at=:^=_-^ g w M M wi

^T^"^ c"^^ r^c"^ ^-^"^r^r-f^T^^Mj

I ^53! N~~U""^ 5=^ s s-^iiir

1*Not from the grand old mas - ters, Not from the bards sub - lime Whose dis - tantfoot - steps

i&&: ^^P= -=1 r-=!- |s--nsr:^=S^—

K

•- -•- -9- -m-

-n-

SNi N— S K

1 1 1 1— 1^ E f

h» fS S !>!>

*»— ^—^—

t^^=^ t^ *> f^^=;— S^—f 1 ^1 =—^-

P^

maccelerando.&

f ^^:s±:

For, like strains of mar - tial mu - sic. Theircho through the cor - ri-dors of time

;

i tf -^—P»-q ~h 1 ns^—=^^ f^--N^ -q L.1 f*^ H^—M4 S^5 ^*—*-—B*

^ ^31 I

'

f=i=g=fP:^

-=1—•-=!—=^=1—^^^»! ar ^-p-^p=^=^^^?^^

^1 1^1 1 i^i —=1—.b-=i 1 L.n

r""riM cres. string.

i i& c=l= ^^^=W-^- *=i= :^-»i *^-Lg ^ 3Bt

might - y thoughts sug - gest

string.

Life's end - less toil and en-deav - or, And to - night I long for

(J -m- -^- -m- -•V- •««- -«- -•h -•- ^t ;g|; ^ ;«;

-fS >- S K

i=^=^ q—^-n—

g

^ hi j^3F^y rail.^ *l *! »^-

gr^_^z^_H:z'^^'"r3:^ iN ir 1 Ki- 1 Fi tviFi— ^—M hi~^"i ^1

r ci^'^'.^>

3 35

102

:MA

THE DAY IS DONE.—Continued.riten. ^ ^ Tempo primo. sotto voce.

TpE^^- ^^-

:t5=fs=^tf

long for rest.rest, To-night

'

r^=\ j^_j^;__|^_-,^

Tempo primo.Read from some humbler

^^ ^ ^ r^-^ 3 ^ f-^-^

rifen.

13 =!=?J ^

rp^3^^=t f^nrr r -f

--~ X

>«J:,Sfe55 idoke.

g:^:JB=g ^^ ^^=i^at:^fct^ 1^=^tt

""^-^a-

po - et Whose songs gusli'd from his heart, from his heart, As showers from tlie clouds of sum - mer. Or

sj&w :^

ST" rmM^=§ e ^

P s- s: P& ?;=|s

m^ =^ ^3=^tears from the eye - lids start, Or tears from the eye - lids start,

^ 4=2- 4=^.

s»—*^S?"a«imando un poco.

&if=^- iIZ2I isx: "g7~

::^=^

=1=1p

:^^^ 3t=:ii:^^=Js= ES i=i^:^ m

i .3—j^_

Who thro' long days of la - bor, And nights de - void of ease. Still heard in his soul the

Sa i I* p I* g 22: S.|g_l<p p^^

s t£j-c-CXr*5—"S"

^\ct^

E^&S "C?"

briEi ]S=K:poco meno mosso.

—1^— ==—I-5^ M-K H:1I^ tl^ ^ ^^oL- S -

:J-y-_y

mu - SIC

^aOf won - der-ful mel - - o - dies. Such songs have pow - er to qui - et The• >

£W=f^ *=p:^^^ w~rw. mr^^-r r r r-rr-r^ ^M^ it-±»-^

^^= :^S2Z

pp staccato.

=y^-=t-J^ ^—i^ S ^i5

—

^

103

bgJ

THE DAY IS DONE.—Concluded.-. Solemn and slow. smorz.m =^ f*=¥^^= ^=

-t-

pulse of care,

0-~^-^- 3fe^

rest - And come like the ben - e - die - tion That fol - lows af ter

^Jr^ P ±^W-

s;J J. \J.5= ^-

^3^pp coUa parte.

f V -cr ^^^

Z2I•

j^g ^ -^ ^--=i—

^

-«-=i—

^

:^-

=F-(S^^—^

nten.^ -IS-K^tS: -r^sr- >. y p= g,* I*. ff-

y y J_ r;iJ=:J:^^The po - em of thy choice,prayer. Then read from the treasur'd volume And lend to the rhyme of the

^^i^j^.^jEj^^mtQm-.pr- ^^Sr^

pp riten.

^Msnten. poco animato.

^^- =F=rq= i :^

3tt^: 3^1jx) - et The beau - ty of thy voice

;

And the night shall be fill'd with mu - sic, And the

nten

'in" ^m i,_J_J=:i^«iJ»g=S=*1 N» -=1—5- -^1—5- -=1—

^

1 i;

f-9t-^

M^^nten.& =P^^ r=f--=e:l*~t7^ i!^ =5^

cares that in-fest the day Shall fold their tents like the Arabs, And as si - lent-ly,(Imitating the voice.)

'>MiP

't^^.i:=^--g:pp adagio assat. ppp perdendosi.

:s=s =?2=

lent - ly

Psi - lent-ly,

/7\

And as si steal

i

way.

j=|=«:1= ^ -.s>-

ppfppj ^jOp

^Ef

:z2=

104

WORDS BY MISS MULOCK.DOUGLAS

MUSIC BY LADY JOHN SCOTT.

3^?^ ^ -r-^-^ mm dse-.

-f:SA£E^£yg-^ r^m-

soave.

mfczfi: SH 4 J J J

=K!^r-^

j^

rail.

^f4itS:

fi^-^3^J-^-*^-—

?f=S: ^&fc F=^ J=i=^i^ :fi*:^=J=

55=1^ l^=fs=iij=it

1. Could ye come back tome, Doug-las! Doug-las! In the old like - ness that I knew, I would be so faithful, so

2. Nev - er a scorn - ful word should pain you ; I'd smile as sweet as an - gels do,

—

Sweet as your smile on3. Oh, to callback the days that are not! Mine eyes were blinded, your words are few. .Do you know the truth now

^^ iltqi'^- -M--^

V ^. ^:-^^

^m^-r ^ ^=

m i i^ ^- ^- '^-5.

^^ ^^^^:tr

^=i= ^^^»>—*»—^—^-

lov - inn;, Douglas ! Doug - las ! Doug - las ! ten-der and true,

me shone ev - er, Doug - las ! Doug - las ! ten-der and true,

up in Heaven ? Doug - las ! Doug - las I ten-der and true.

^^^m s -^—^-^f

1^5^ -¥^-^- ^^ i i

^ dim.

1f^ --^ ^ -^^^

m^^^md=^=H-r^~W-^^r'^-^Sra f J ^^^^^ ^

4. I was not half worthy of you, Douglas, Not half worthy the like of you ; Now all men beside are to

5. Stretch out your hand to me, Douglas! Douglas! Drop for - giveness from heaven like dew, As I lay my heart on your

^m i* -J- -J- ^ -i: ^'ir1

p-^

IP

^i»±

3.

i E^^^^^=f==t=f=

-J—j-^ me like shadows, Doug - las ! Doug - las ! ten - der and true,

dead heart, Douglas

!

Doug - las ! Doug - las ! ten - der and true.

W^'-faf:£r-r^^H££p=g

^1 j i jr-b^yiS^s ^^-^* * ty

dvm.

^ w^m t

ESMERALDA.106

WRITTEN BY ANDREW HALLIDAY, ESQ.

Tempo di Bolero.

COMPOSED BY W. C. LEVEY.

m=,-^^:^1^

/

^m ^Ifes—JiI

f-SyS^ f" I ^f'

f

«-_jfj£LJ^l

S!* Eia i^=^ :p*

1=E :p=d:

Where is the lit - tie Gip-sy's home? Un - der the spreading

:Q: Oh, leave her like the bird to sing, To sing on ev' - ry

:^ai:

:S:S:** :«:-m-m--m- -«- -<B--^- -»- -0-

m^. :*g f r

fcs=qs ^ c7o7.

^ g^^=^ ::i=ii!-?= r^ ;^^^_j_^_.p£

greenwood tree, Where-ev - er she may roam. Where - e'er

tree and bow'r

;

Oh, leave her like the bee To flit

that tree may be. . .

from flow'rto flow'r. .

Roam- ingRoam- ing

thethe

^ Ui I1-^—r^

SP^T-

±- Fed.p doJ.

»SES: 3^^ ePB -q—^—

s

9" -^

m^^^S 23 ifecres.

i=F:ft

zi:li

wide world o'er. Cross - - ing the deep blue sea. She finds on ev' - ry shore A home among the

106ESMERALDA.—Continued.

/ dot.

-m-\-^ M m ~t=P=^=^ 5=^=?: :tz-5: =n=F2 W^^SJm- f^t^=^

la La Gi-ta

i -!•-=; \m-. im-

na,

>

s=^=^

5^p=^-

Voi - la La, Gi -ta Es - meral - da, Es - meral - . da,

I^Z^^ZH^^H

^^=^-nS-S-i

=ST

iSr"

—

^^h^-i^ff grande.

err^ ^^^m*w^w~:^w- -*-w-«-B-

p (7o?.

^i^eJ.^ * PefZ. 7!5 7^ * Ped f

^T \^ 1 g-

Es- meral -da, Es- meral- da, Es- meral -da, Zin-ga - ra. .

8va.

'$^-^-

-MM^ -^J-J-^ ^ff^ :£=£

^^-r=r=r

^==*.(«. ^^Hit

ti*—!•——»—

^=1-^-^1—s-

3r f -^ j—

r

Ped iiST

^ f^ft'^e^-^^ ^crr gj^s

k^ -=i-=i-

^ i £1^decres.

, ifi: * igig: :«:m^^ £ ^-f-ji;*-

:^^^

Ped'18:

Grrazt'oao. dol. ^^ J2F=^^=fs^ ^^—J^J-. z^-±^

The Gip - sy

Grazinso.

18 like the bird, A bird .... that sings in tree andbow'r; The

^=n:

=iig «i^^F^^p 'W'

ip«^ H^ ^ ^:^=*

s= vE^ ^Pec?. * Fed.^

-wi-' \^* Ped.^

ESMERALDA—Continued.107

:ltiit^-

The bee tliat flits from flow'r to flow'r,Gip sy like tlie bee, She

1a^^ S^^iH^-^- -^ -^ J " -gi-

^-a^v

Ped Ped.-^\

^:Pec?, * PeJ.

"C?" ;b^-

cori a.more.

108ESMERALDA.—Concluded.

FAR AWAY.Moderato.

MUSIC BY MRS. J. W. BLTSS.MISS M. LINDSAY.

J. Where is now the mer-ry par-ty I remem-bei- long a - go, Laughing2. Some have gone to lands far distant And with strangers made their home, Some up-

3. There are still some few re-main-ing Who remind us of the past, But they

—ta—i»- -^-— I1

—

\m- -t: •-! r La y' 1—

round the Christmas fires, Brighten'd by its rud-dy glow, Or in summer's balmy evenings, In the field upon the hay ? They haveon the world of waters All their lives are fore'd to roam ; Some are gone from us for ev - er. Longer here they might not stay ; They have

cliange as all things change here, Nothing in this world can last : Years roll on and pass for ev-er ; What is coming, who can say ? Ere this

:P-P i 3^=r=p:JHZiigz

3tr=J=J zi:V —

1

t,^-t^-

all dispers'd and wander'd Far a - way, far a - way,reach'd a fair-er re - gion Far a - way, far a - way,clo - ses, ma-ny may be Far a - way, far a - way.

They have all dispers'd and wander'd Far a - way.They have reach'd a fair-er re - gion Far a - way.Ere this clo - ses, ma -ny may be Far a - way,

far a - way.far a - way.far a - way.

-<»-(• ^f^ :fij^^ft£fea-=?=^ 5='^ =I*=P:t»^ list ^ T'

r-^a*:-

if=f= i^W^p*i=feF EF^ESEl^:

-!»—*-

THE FARMER AND THE PIGEONS.

iVivo grnzwxo.

109

W. TAUBERT.

^^IS.

1. A pig - eon-house the

2. The farm - er thinks : Oh,3. Oh farm - er, home - ward

leggiero.

=i«B=^P= ^^^ ^ 9 ^W^ eEM-^-- 3c :^^ztiiiiiiiiiiiiiiiii

p^—

*

Sb —V- N 1—

h

s^—

'

S IN S Iw 1 ^— -1r-

> r • » M r * >j __ . s r M m .. -. 1* 1 _r% 1 , 5 ^ Li " m s . J^ ^ 'J __J 'J i

\ v-

\s\l W >* > ^ M > ^ 1

nJfarm - e

they wbend tl

r had,

ill wait I

ly staff;

Out of it twenBut oft' they flew,

'J'he . 11 g - eons at

II IIIIMI ^ ^^

-tyhe

thee

pig -

cameon

eons fled

;

too late;

ly laugh.

HowTheyAnd

will

will

will

he evnot let

not let

'himthee

^ ^

catch

catch

catch

1 !i»n^

A — •1 • =^=r -. s

—

V-m-q

—

"1 • —^—

T

^""^ —51 —T^^ -^=i^ -^ -A

—5^

—

-^^+l?K «^—J— 9 ^ m. m ^ •P 0i —o 01 >^_i — 9—S

\— ^

^ 9 9—• --S %^%^—o 1

P

—^ +fg;—

'

^9) S «^^^L

•

<i^• 1 1 h.

(?J' N* v» ^ •^ ^ >i ^VS- m a^ ^ K S^ •^ M '

_ ! '

r1

w •

^ ^:

^

i ==rfi^

=f5==N=^ ->.—

K

^them ? How gets he o'er the hill,

them. The farm - er pants ex - haustthem. At home they're calmly stop

sir ? Noed. Soping, And

-^^^^^wings has he, nor quill, sir; How will he ev - er catch them? How will he, how will he, howwild - ly had he post - ed. And yet he can - not catch them. He can - not, he can - not, hewith their wings they're flop - ping. While on a long pole hop - ping And flop-ping, they're hop - ping, they're

^ d—P¥ ^ ^ 3<=n:^s-=1-=- ^^i i3f :g=

i* ^w^ s—^

-^f.

^will he ev - er catch them ?

can - not, can - not catch them,flop - ping, flop-ping, hop - ping.

-^ -

Ha, ha

!

Ha, ha 1

Ha, ha

!

H« ^-=1 ^ =! « ^S EgEtg-g—

^

:|^B^i4S

/

&i=: =fSi=n:H*-==-P=P^F^S^% rA S)_

lie

WORDS BY F. E. WEATHERLY.THE FIRST LETTER.

MUSIC BY J. L. MOLLOY.

-K—&}-EEE^-J-==Mi JJ ^

1.U »A let - ter I've had from mv

AUegro moderatn.

^:^^U-M-^::jLj2. 'Tis the first that I've had from my

^^FfFr-r-^^z^:^ :ff=f3 =S^—h-=i—^-'

d —Mi -=i—

f

i&E^ ^w0k-r-\-

:^^-i linat-H 1 1- ±rrd^=:^J=^P

J—J—J—

J

:

i^_

P

^f=

-|g-q-^^ g i^^P^q-

:^!^=^:^=S=:^=J= 3^=J= i^ ^=^=^

own true lad ; He's a - way on the fro-zen Arctic osail - or lad ; There are no fine words of ten-der pas

§^p^ =K-=^

^ # :S-

^-

cean, And it must be the cold that has made him bold Tosion, But it's all just expressed as I like it best, In his

V^I-=1^ :^S:^=^ =M^^-

M :tE=qs:n^J=^==^4=^a*_^ =M^- -S M

itlat i=^ 1 ~>>q- -f^±t=i-^-n-

^fc=»: ^ ^ ^9B ~|*~~»'

^==^22 ^^^5 Ses^se^e^: S

write to me all his heart's de-voown sim- pie, loving, lion -est fash

tlon ; He talk'd of his ship when lie last was on shore. Of the cap - tain and crew, of theion: "My dear lit - tie girl, I'm so hard and so rough. And you're sweet and gooil, andi'm

^m3S^Si-n-- i ^i --pr-^9 nw f ^ If^^^ S: ^ :|f :^5 ^"^

(ffi P^^ ?»=^:!^ ^«i •*- -»i *

W=W=^- :g=g-rTg -^^fi :P=i:

*=r^^^ :tt^: i^tig^ r::p=^=P=

i^zis:-i^g?-

i^ctst

weath-er and war. Then said he must go, and nothing, nothing more, Tlio' I knew that he loved me, O so dearnot good e-nough, But my heart it is true, and my love it is tough, And I love you for ev - er and for ev

ly, And I

er." I mav

^ ^|^^^|e^=PI=|=^ :W:tJ 3: n:

m =t

colla voce.

^ ^jiT-J g:

»i! fN N ^^^i^^ -.^—

r- i^nii1 h

knew that my lad was so sad, so sad, As the ship sailed a-way so gay and cheer ly-

J:

iJW: ^ ^ S

^^^^-3-f

IllTHE FIRST LETTER.—Concluded.

i m qirfi^^^=^

p --r=^ r-^-jj ^=3=^3^ =i=itu=^^have many let - ters in days to come, But there's one that will be for-got-ten nev - er ; It's the first that I've had from my

5'A 1 I I

=^^ M s?i.—1^^m=A- *=i=T^ :t^ ^* i. t |r * 3: •*

H?::]^ ^y^;=p-=i=p=^=p=n- is^ g^^JLJ §^±=^: ^ :«*: ±1^

poco lentando. raU. ad lib.

f^fe ?^^ 5^ r—^—j i:*i! S^ Sown true lad, And 'tis writ in my lev - ing heart for ev - - - er.

/TV

I i^; ^ ?Tco7?ffl voce. Fed.Fed.

^^ tt =«»H=

^ "5"^

FOR EVER AND FOR EVER.

-^

WORDS BY VIOLET FANE. MUSIC BY F. PAOLO TOSTLpp e assai legato.

S^ 5=^1. I think of

2. Perchance if

iAssai moderato. h«lm p P m-

=P=FF

% rTivr\s^5—^^

P «:__^_ #

rrg

pp

p e^/a

h h s^-1?—r^ S=S:^^f

-^—p"—

p

5=^sall ... . thou art to me, .... I dream of what .... thou canst not be, My life is cursed . . . with thoughts ofwe ... . had nev - er met, .... I had been spared . . . this mad re - gret, This end-less striv - - ing to for-

^^g m1 mm 1 J

§ "-S^^* "-j" irr«—

«

w?z:

^^ ^ ^ -:^:^

112

^^FOR EVER AND FOR EVER.—Concluded.

P p pill am'matn. ores- cen - do.^ ^]^=q^l:^i.=^ i^~~A~n^

5 ^ =g^ i^=«>t^

:t^ 4N=

thee, . .

get, . . .

For evFor ev

er

er

and for ev -

and for ev -

er.

er!

My heart is full

Perchance if tliou

of grief and woe

;

wert far a - way.I see thyDid I not

±=5=J= ±^z j^ I-

^i^--^—»ii=s*^

"ftT--^--^^=1

ft^-^-^ -IT

P. p

^=g ::^ :^-^=1—

^

-:^

^ 2ttit5*-

a tempo, pp p rit.

m-r=w-i^^t

-5^=k

^—^—pnEflW: i^=r= ?s=?n: :at=:S'

face . . . where'er I go ; . . . I would, a - las ! . . . it were not so, . . . For ev-er and for evsee . . . thee day by day, ... I might a - gain ... be blithe and gay, . . For ev - er and for ev-

- er!

^—

«

=W=^^H«-<^.

=^-H7J-J- i 1-5=^E&

-#-*^

pp CO? canto. ~^

gfee ite;

H-p

^?S ^^-fc± :^ =^"CJ

affrctt.

gEgEj^^i._fe;^gg,^

rfo. ^± gE^E&ija^: f^fe^-r

Ah, no

!

^^z^--^

«-««-«—«--=^—«-

I could not bear the pain Of nev-er see-ing thee a - gain

;

I cling . to thee with might and

t^ialrat—-I \

1 P™^—

I

M 1

r

-^-«rCO? canto.

\

S tes: :^ J2^ =^^it^riV. f7/Vn. lento. PPP

^iP32^^=G?t

r- ^^?-q=lv:??: r—r^^

•Ia» b» 1^

For ev - er and for ev - er ! Ah, leave me not

!

;^-+-

I love but thee

!

Bless - ing or

i^ f-»-

|S_i«.

t^CO?

ffi=fe'

lento.pppleggcrissi'iPP.

'

byz?-

=^

~|^^'

:r=fe^

^:^

cres. . f fferit.;

SeSss:^ H^" 1—|g-

-^—»^ =F^i

^£s^££3e3 i

curse, . . . whiche'er thou be, Oh, be as thou . . . hast been to me.

^F^g-=l-&»t t^M- I

For ev - er and for ev - - - - - er I

^^:^=^1

^££

/"rr_ f&'~W-

ffcol canto.

CT

:f-r=^CO? canto.

t=t -^- ^ :J— :

FORGET ME NOT.113

WORDS BY MISS L. B. COURTENY,Andantino con moto.

MUSIC BY W. GANZ.

ajgto £=;«=i

•8.- ^^=S M^ J_Ln^^^ ^gj^v-K-m- -P-H*-j^ Esei? =ts=^

1. By rippling brook or stilly pool, From shady banks, from meadows cool,

2. By rippling brooks, in meadows green, A gentle maid I oft had seenA little flow'r looks out and laughs While early

With cheek as fresh as morning dew. And laughing

Ir, / JSN HJV^ -r^w^-Se^^e?^ ^=F==^ ~-^=W-

s^-i>-u

morn - ing dew it quaffs,

eye of heav'n's own hue.

And gaz-es on the sky so blue

In tones that fell upon the ear,

Till it gives back the heav'n's own hue. ThisLike purling waters bright and clear, A

poco n't. semplice.

^ :fs=FW=^-

w \ic^lit-tle flower threw me, though, A blessing onsimple mel-o-dy, un-taught, She caroU'd as

my lone-ly way,she pass'd a - long,

With wistful glance that seem'd to say, WithAnd this the burden of her song, And

-m- -9- -»- ^ ^«: ^^ :?2i ^ W=i' -^ ^m:e :p=^

calnndo.

^^ 1=^

vuui.auAj. ir\

S^-sl-r-«

cres. f rail.> > >

> con espress. rail.

^^^faj!^^ ?2= ^I^ ^fefe^ ^^wistful glance that seem'd to say,

this the burden of her song,

For - get me not, for - get me not, for - get me not, for-get me not.

For - get me not, for - get me not, for - get me not, for-get me not»

/^

cres. f colla voce.

£rail. a tempo. j

fegX^"^ z;:

W-

ll-r

i

FORGET ME NOT.—Concluded.

ifi; Risoluto. mfm ^=¥J^^^ i^ ?si±f= g^:i^^

i*=i^££3. P'ar, far from home 'tis mine to roam, 'neatli

5=i!£E5='^=F *a^B^ ^ :^

g lM=i*=l=^^ »^

mf

i^

:^-J2^.

^ ^P^ :P=:^: e£^Cr^p

^-zfe»^^^iE^ :^ i2^ g^ ^rrtsg)-*^- t2=p: ^£S-

|?—li^

S=^

sultry suns, 'neath stars unknown ; But wlien my burning eyes I close. And wea-ry limbs at length re - pose. And wea-ry

fe^s ^s^s*^g»-

=r^5= :^^^ —: i,i^^ —1~

S^

S E^-^-r:^ .^^ Bg- -f=^

:p=tt

molto rail. (I tempo.

isn^ ^F^=w= «t:i: >l—

^

limbs at length re-pose,

i :wi—tiz =^=P=

That lit- tie flow'r so brightly blue, That laughing eye of heav'n's own hue, Be-

rall.

sempre rft.

5^cres. />

-^-f-j:^^ ^ ^Phb: -E^- ?2= :^=^

-h-

fore my dreaming sense are brought, And still that voice of melo - dy

^=gt:^J=^=^

Is echoing through my memory,

r

Is echoing thro' my memo-

I

nt.

221:^:

poco meno mosso.

t?=>-h

>

;^=^""•^

iry, Forget me not, /or - get me not. For - get me not, for - get me not.

«J

m

-^—m—m- _

.

-0^—<w.—w—^.—*

—

-I—4-—l-n=f^H—^=5—^-

^ :^z

poco oneno mosso.-^-

—feS---S3^^rail. P rail.

^-i -g^

-Sl-r-

-=;-^-^S-

-^ -^

PP

=y^-^^-

THE THREE SAILOR BOYS.115

Merrily. :S'-

THEO. MARZIALS.

u u usail - or boys, And we're new-ly home from South Amer - i - kee , With our hearts still tingling with the salt,

Portsmouth town, And each one was like a po - sy on the tree ; There was great - eyed Margaret, and trim -

sail - or boys. All arm in arm so jol - ly for to see, " There are girls beside the wa-ter, at Ja - nei-ro

salt windset Sal,

or Gib-ral-

And the

And sweettar, Who can

^=P^-« M-3; 3 i^^a ^=i|i=^

igh ^t -ftr lYr^'* E®*-

^EEg

-«1 -G©!-

=1^1^:t^-

--=1- ^ ^ -=r

ite 4J^-JjL^M =^=J^: -J^^ isiiq^

5-^—^- zdzz^. -?=^

feL—[^:g_^_a^=^ "^~gi

_^.

^t^:

^turn -ble and the toss-ing of the sea.

Kit - ty from the north coun - tree,

dance right mer - ri - ly as ye ;"

1

Oh, hon-ey, we've our pockets full of mon-ey; AVill you trip, trip, trip, will youNo, hon-ey, tho' your pocket's full of mon-ey, We won't trip, trip, trip, we won't

So, hon-ey, while our pocket's full of mon-ey, Come and trip, trip, trip, come andII I I IIIm i^^—^ y

-Jr-*-

ftfe -W- -a^—^- :M: :tW:^ sD-

-l^-V

T«^

t^poco rail. a tempo.

4t=^=Jt i:ff=P= ^ sti^i 5 ^- zfz :^^S :kL=t^

:?=a^i :^ :*=i^i P=i^ :^ -g^^-

trip it on the Quay? For the wind's in the sail, and the thun-der in the gale, And our good ship plung-ing to betrip it on the Quay Till you've set the clerk a-singing, and the wedding bells a-ring-ing, And the par - son has pock-et-ed thetrip it on the Quay, Fcr we sail-ors love the o-cean, and the change and the commotion. And the good ship plung-ing on the

-^.

IIG

THE BABY AND THE FLY

WORDS BY THEODORE TILTON. MUSIC BY J. L. MOLLOY.

Allegretto. ^r8va

i^'f' ^«—^—.»—I

—

\—t—^S

pcz^

»"/

fe^-a: w-r-w-^^^=m ^^^

^^^^^t.,_*-:r^-^^„_:!?_-pi:feii=iist m ^^ 1^ e:f:

n^

=ii^ e1

poco ?-a7?.

Ba -by Bye, Here's a fly ; Let us watch him, you and I ; How he crawls Up the walla, Yet he nev - er, nev - er falls I

a tempo. rit.

P=?«==P=^ 1^^^=^ ^ ^_P_ z^ K—fi

r tz=t2=tZ :;z=:*tz^ :J=S=atat

:t^=J= ^I be-lieve with six such legs You and I could walk on eggs. There he goes On his toes. Tickling, tickling Ba-by's nose.

i i ^ :1^=^ :s=^S ^ j=tf=^:^=^"^- :g: 5*P» "!•- -* ^^.•-tS: -S- V '-^ :5t

rt tempo. rit.

g=^^gjgi^|^»: S si^= ^

J!E=llS?i=^ ^^=S= mi)=i=J:: «^=*= It

li^Black and brown Is his gown

;

P^He can wear it up-side-down : It is laced Bound his waist ; I admire his taste, I ad-

A A ^s^^ 1 li^::iiitt=S m=:^^=^-

i

'^^ ** r r ^z

^:sii ^^:^=«!=«l=:n1 1 1 1—at- =S:^ ?^ Jt*^=^^ 1 ^^ 1 T ^-^ 3 3

^^^ ::^=:«t

S ;? 1^ 1^ I U *~»^

mire his taste. I can show you, if you choose. Where to look to find his shoes— Three small pairs Made of hairs

;

:i& ^S^5=* ^ ^ jtf^ZJ^

rit.rit. a tempo.

g^SE =P—1 F q=

117

rit.

-^-^-^

THE BABY AND THE FLY.—Continued.Mm

:fs=1^

These he always, al-ways wears.

:mHe can

8va.

—t^ 1^

eat Bread and meat ; There's his

i a 3^—Y& ip^ ^p—*}*- --*p-^^'~*i»~*}ip^^^s?i^ =^ ?5f *~T ^r*^

ffl tempo.

#f"F^ PS^^= ^ 1 y

-:=r

?i=^ :S=^g5^ =S=» 5^^^

S'mouth between his feet ; That small speck Is his neck ;—See him, see him nod and beck ! All wet flies With their thighs Thus they

i*j»—N

—

r™ i . N—rn . ^

—

rn . s—?»>—,

—

n— ^i , n r-n-

^E

j-i-r 1 -r"^

sSfe^Ei^3-=

^—

^

3(=±zS: -^—

^

dr-^-m m «-

M -JK—K- ^&«—dr

?N=^ 1 S Ni^

=V=fs^

^: 5^ If: .J_^_^J-J_;iJ=^^^J J-wipe their heads and eyes ; Cats, you know. Wash just so, Then, oh then their whiskers grow. Flies have hairs too short to comb, So they

-^^H 1-

s * -s^

^e j^^—.

—

•

—

^—i*—SrS S!—•!—*—•< •—•—Sf*! «—

*

l^l

iH^-^ IW ^=5F

=3f^ 5 V§^ "^

i g=^^,a^y^^^y=^r,,gEagN—

k

s:«^=*

fly barehead-ed home ; But the gnat Wears a hat ; Now do you be - lieve in that ? Now do you be-lieve in that ?

#=S=1*s=^:

-^ -9- 7^ :Ja 7^ ^?5b ^

iAi^ ^^ !? 7^

i^ licip:-^?:|t £ ^ 2S &m&JW= :^=a -^-a^=:r^ St

^- ^ -=^ ^-V" 3=

r-Kr?^.

Ps^lt ]ii=h=^ ?S=^^m iitntui: :p=f=t^-t^-p-v^-^= :^=:*=S= :^=^ :^=J:

Flies can see More than we. So how bright their eyes must be! Lit-tle fly. Ope your eye. Spiders, spiders are near by:

J-l-5 ^—^-si— I l'^™"i^—I—

^

^^^^^-1 ^^™T^—I ! I^^-M—^—*»h -—i—I—— 1—

^

PNffi-*—

5

i^>

J_J-J-^*^^^^=r tffi

rj^.

i i^—

y

-^^^

? j»=*? 3^=i;r r

^t=-

r r w- tK-

118

THE BABY AND THE FLY.—Concluded.pp a tempo. n't.

S :H:=t- ^ :P=fi^ :^z=Mz_p_^_^_ ^^ :m. -^—

^

=t^=i=For a se- cret I can tell, Spiders nev - er use flies well. Then a-way! Do not stay ! Lit-tle fly, good day, good day

!

5Ei-^ (*

r |-^^ _, 0^-a^—^ &f—s-

j--J-

-1^.—^ K

—

;^ ;^;F-

-« L-17 t^w*

pp a tempo. A-'-iJ^j.

I=?^S -^ ^—a- S: s3=?=^-I*-

5 gg- 4f^

cf tempo. sempre n't. alfine.

W- ^^^^^ =^:^=it S:

-:T :iv=1^

Then a-way ! Do not stay I Little fly, good day, good day ! Then a-way ! ah, do not stay ! Good day, good day !

3 ^-S^ 8va.

W-^~!^"T~^- -q—

l"'

V,

S If?:

: a temp>o.=e

S -4»—1^—---*! =1-

»)/-2=^

^ 3^=1^

5^^

1 ?2- 221

:3^- P^ 1a=±=S=

il'cZ. :^. * PecZ. 7^1 ^ Fed. Z^. * Fed. Z^. ^ Fed. * '^Fed. *

ELCOME, PRETTY PRIMROSEAllegretto modei-ato

GIRO PINSUTI.

1. Welcome, pretty primrose flow'r

2. Gaz-ing on thee, ear-ly flow'r,

That comes when sun-shine comes,

I seem to hear the spring

WhenThat

rainbows arch the silver show'rcalls the sunshine ev'ry hour,

Of ev' - ry cloud that roams.And tells the bird to sing,

Of ev' - ry cloud that roams.

And tells the bird to sing;

119

i5

M^ELCOME, PRETTY PRIMROSE.—Concluded.a tempo. ^

—

=

^±sl =i=^ —^-^ w=i

I

Andjoyas

is

-^_^_^-

to see thy prom - ise bloom That tells of spring's new day, And in my thoughts a-

I dream, my dream is rife With thoughts a - kin to thee, Of glad spring life, a

-P 1* r- 51 1 .^ f^ w^

-^3;

Tit. a tempo.

.

@E^: '^~ =15c=^--^—^ =M—

^

-•i—=1-

/3

ifc^^- ^- ^^^q^

far I roam O'er sun - ny haunts a - way.sweet spring-life That's ve - ry dear to me.

WeiWei

Wel-come ! Wei - come, prim - rose

Wel-come

!

Wei - come, prim - rose

i^2

Allegretto moderato.

p elegante.-^

:}t^z=pi

Wflow'r!

flow'r

!

^S (t=ff=e:

Wel-come, pret - ty prim - rose flow'r ; To me thy com - ing seemsWel-come, pret - ty prim - rose flow'r ; To me thy com - ing seems

To wake a - gain the

To wake a - gain the

spring-time hour With sun - shine in the dreams,spring-time hour With sun - shine in its dreams.

Ah!Ahl

Ah! . . .

Ahl . . .

=^^

Welcome, pretty, pret-ty, pret-ty, pret-ty primrose flow'rWith sun - shine in its dreams.

^m -e~s^1^^_#-^^I

EC=3^-r=r ir=f^^ ^/^ i=

p staccato e leggere.

:S^lit. f rit. col canto. a tempo.

j»l SE^it

120

T YOU TELL ME WHY, ROBIN?WORDS AND MUSIC BY CLARIBEL.^ s ^s ^ :J—J-J-fJ:J

iS#:^^

^^^S^EE^^i^'r f i*—^g-

1. You are not what you were, Rob-in;2. On Sun - day af - ter church, Eob-in, I3. The oth - er night we danc'd, Rob-in, Be-

^^^^- ^=1=

wW '^mp

^^«=^:i

s itS:3=

^ ^S :g ^^^-t>

—

^- ts=^l^=^-^ J J -i^-

=1^=1-

yj^- t^=^=^E= li^ i?Why so sad and strange?

look'd a - round for you

;

neath the liawthorn tree.

You once were blithe and gay,

I thought you'd see me home,I tliought you'd sure - ly come,

Robin;

What has made you change ?

Robin, As once you used to do

;

Robin, If but to dance with me

;

i

YouButBut

m^^3 f#—Tj^—^ ^t^ ^pm^-0-- ^^

^l&h: ^3^ :^=P=&. •»—•' « 4^=t

^Efc J=t^ zMziJz :?-Ni:

nev - er come to see me now, As once you used to do ; I miss you at the wick - et gate Younow you seem a - fraid to come. And al - most ev' - ry day I meet you in the mead - ows. And youAl - Ian ask'd me first, and so I join'd the reel with him;. . . . But I was heav -y heart - ed, And my

^ :S =S=]=& :^!si^m—01 01—« «—01 0-"^~*rS S: *

13=3i^^ It -^-# —I1 d--0— —^-

-jpil—ji^—

^2: =8^^=^: -=l-^

g""="=?'3 -•-f:;3^-^-gl ^ :J=:tIit |;^{=^iJ^

^

ji^t:

tr^al - ways let me through ; It's ver - y hard to o - pen. But you nev - er come and try.

look the f)th - er way. You nev - er bring me ]io - sies now ; The last is dead and dry.

eyes with tears were dim. And oh, how ver - y grave you look'd, As once we pass'd you by !

Won't you tell meWon't you tell meWon't you tell me

§^ ^ ^:

fl *1 ti*=& -^

rr^£i=t=*i=i=f-»^: fti:: J: ^-—01—

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why, Rob-in ? Won't you tell me why ? Won't you telT me why. Rob-in ? Oh, won't you tell me why ?

->t--r

—

K I Kl I- SI

IvPT1^ =it lit --^

-0 0— I^Zlt

l±E:a»iiii: -'^-^ _S1 s*_ :* *- -S-=l-

121

HOME, SWEET HOME.Moderato.

H. R. BISHOP.

i ^ 'W--mT-

1. 'Mid pleas

2. An ex- ures and pal - a - ces

- ile from home, splendor

though we maydaz - zles in

IY-.^^=£^ B^S^ =1=^T^^

9:^1^. * Sf.

m—(* ^m sF-:::^=

^.^

i ^& ^J=r ^'=^m9 ^^Be it ev -

Oh, giveso hum - ble, there's nomy low - ly thatched cot

place like home. A charm from theThe birds sing - ing

F^^gg i5^=^^m ^

:^ -=i

$ ^iSES £skies seems to hal - low us there,

gay - ly that came at my call,

—

Which seekGive me them

throughwith

the world,

that peaceis not met withof mind, dear - er

else-

than

^=W-^: -^-^-

k

122 HOME, 5V/EET HOME. CONCLUDED.

ad lib.

^9--=^-

Whome,

ZStL 221

There's no place like home.

WORDS BY R. A. GATTYAllegro moderate.

THE TRYSTING TREE.MUSIC BY ALFRED SCOTT GATTY.

When spring was \oung andau - tumn winds blew

i ^m piu lento.

iS=^ ^- -^=^I^ *_

leaves were green, And birds sang in thewild and cold. And si - lent was the

glades,

glade.

MyMy

love to melove to me

a prom - ise gave, Anda prom - ise gave. And

^-^^3Eig^^^-^=^Eg M -^-^^^H- i i f^:^^^E^-<^ -1

a tempo.

St-0 g= ^—r

—

g==^

an - nothan - noth

er made,er made,

That when the crim - son sun had gone To rest be - y^d tlie

That when our youth had pass'd a - way In years that wel-e topass way

^coUa voce. +f— "^

^j temvo. r '*"

m^ --(^

a tempo.

Zjif^- =^-^—S- -m ^ » —— -»-

•w- -5- -J-tm

Va .

THE TRYSTING TREE.—Concluded.rail.

I.^s=f;

/

S =1=^i=:^ :*=zS: :^z±i

Down in the dell, love,

^By the tryst-ing tree, Wait ing for thee,

-CT

—

S^r—tS^EES9—

f

12^ is:^:

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:^=-g^-^-g^jf^^

s -.S"-

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&—9—^--I®—»—®—k»-

:«st=r«:

=}:* "S?"3=

tree, Watch ing a - lone, I wait, my

IS-^- ^^ ®"^-i^-

love, for thee.

J.:»t»tS=»t-«Pl—«—«—«- -^—

F

^E 1^1*-*^-fajH—I—ffl*—is»—»>—

a

fcwiMwl <xassi_ 1 rtnnm

-^=W-

ff colla voce.

a tempo.

ZkZ ^ ffljj

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-^- -»- -»- -»-

i24

THE TORPEDO AND THE WHALE.FROM THE NEW COMIC OPERA, OLIVETTE.

^ SOLO.

1^=15: ^-ezCHO.

I3^:=Bt s =w=p::^k-V-

1. In tlie North sea liv'd a wliale, In the North sea

2. All went well un - til one day, All went well un-3. " Just you make tracks," cried the whale, " Just you make tracks,'

iSOLO.

>-f^f QUO.«u_*_*._p;

PP Ihininihiff.

6= ^w:1*s=S 3t=*I :M^r=^^ q^^

. .

'^'

liv'd a whale. In the North sea liv'd a whale Big in bone and large in tail, Big in bone and large in tail, Oh !

til one day. All went well un - til one day Came a strange fish in the bay, Came a strange fish in the bay, Oh !

cried the whale. " Just you make tracks," cried the whale, Then he lashed oat with his tail, Then he lashed out with his tail, Oh !

iJi^

S 3E3ES«_-z±

/-^ 3FS

p

gj—

L

[:^^=i=^gr:i=g;

^^5^|^4^ff^^P^Vf=^PP

i ^ CHO.

B:s—I ^- :ft=P= rr^-- -fL-zMl

^ *du - ly To swagger and bul - ly. And oh ! . .

deed, oh ! A Woolwich tor - pe - do

;

But oh ! . .

load -ed, Then and tliere ex - plod-ed. And oh ! . .

and oh ! . .

but oh! . .

and oh ! . .

>

The ladies lov'd him so! This whale used un-

The big whale did not know. This fish was in-

That whale was seen no mo'. The fish le - ing

du - ly to swaggerdeed, oh

!

A Woolwichload - ed. Then and there

andtor

ex

bul-ly,

pe-do

;

l)loded.

AndButAnd

oh! .

oh I.

oh! .

and oh ! . .

but oh! . .

and oh ! . .

The ladies lov'd him so

!

The big whale did not kno\\

That whale was seen no mo'.

THEN YOU'LL REMEMBER ME.125

M. W. BALFE.

Andante cantaiile.

-

|

g- -*- -|^-. ^ fO^#^^—iB—la.-rb«B— I—I—I-

P dol.f

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:iis=rq=z:jz:3t-.^:

-Jlzd^fz" :^ ran.

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—

pfg-w-l

—

1. When oth - er lips and oth - er hearts Their tales of love shall

2. When cold - ness or de - ceit shall slight The beau- ty now they

?=ip=i=3gl^^J Ja a^1

-^&-- ^ ^i:PP

--^

^^^^^ ]^-=»-S—,^-S--=i-S isiiEl:^^

^r=^=T=zzt-

:t==t=t^^-L^: *=ti=^±3nnzz!z=:*=.tE=::=^*r^-*:=;Etell, In lan-guage whose ex - cess im - parts The pow'r they feel so well,

prize, And deem it but a fad - ed light Which beams with -in your eyes;There may, per-haps, in

When bol - low hearts shall

:^=^^5gg?Ep

it-3^

suchwear

-^-

:i^-:; ^^—'-

:=siz:-I—I

—

m—m4-f^~-^:iz=*: tEtUi^

fe:

a scene Some rec - ol - lee

a mask 'Twill break your owntion

to

be Of days that have as hap- py been. And you'll re- mem - ber

see

:

In such a mo - ment I but ask That you'll re - mem - ber

-^- ±3^^.

s 1

=^-j^:^ ^- :|s^i=i:^iiiqiiS=iJ=q= -^=4

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z^^-d?^: -f^-W^-

i^U: »»-^- ISsrq^ffl^-

And you'll remember,you'll remember me.That you'll remember,you'll remember me.

P:z:«=^:tj

me,me,

126

F. C. BURNAND.

Moderato con energia.

=s=*

—"1—

I

— MMM

—

_zn

^=:^=f~|

/

^=FPz^ =^^:

:=t

STEPHEN ADAMS^-«-

-«-^ rrl ks»

—

^g<-|-fg--^-|--

fcl^=P=^g^z^z^m.

Sit :t?=^=

•s-

;^ft=^i|:S=izi^^-i=i^:t=

-*- I =5=aL:?--fesw—tecsl"

When forc'd to bid fare - well to Loo, Pull a - way, my boys, pull a - way,But then if false should prove my fair. Pull a - way, my boys, pull a - way,

I did not know what I should do. Pull a

-

I'd burn this lit - tie lock of hair, Pull a -

—-Id-*'%

Z^ S-L-L- C1

—

m pn^

way,-way,

pull a - way,pull a - way,

:^—fesi

:=1=q^=|«^:

I left her weep- ing on the quay. She said she would be true to me, As weIf she be false and I be free, I'll sail a - gain to the South - eru sea, ^

d^:^:

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:^=l^

sail'd a -way to the Southern sea; Pull a- way, my boys, pull a - way.Where there are plenty as good as she, Pull a - way, my boys, pull a - way,

pull a - way, pull a - way, pull a -

pull a - way, pull a • way, pull a -

^ cantabile.

S=g: IffI--,±

THE TAR'S FAREWELL. Concluded.--I

—

127

-I

souls must part

;

-j;^-z:z.jsi

:t:^=

But the ship will tack, and the Tar come back, To the first love of

--zlrn^ir—

:

his heart.

^r-^ -^- -^ -^ -at -w^ -9^- ^ -9- TP*- -c^ -*- -•- * -1- Eg: ^- -#-

P^3 ?2= ::?2Z3:j^z ii^l c^-T-

eon spirito.

T Ht5—*: ^—*>- is:^: 1^=;^=^: r^i :^::t?i^:

:?2:

t=:gi -g=± is=?»-

i==tFor the wind must blow, and the ship must go, And lov - ing souls must part. But the

-\-

1—

I

[

-I

I-. 1-I

)—(—]-—' 1—r-^ 1

]—

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1 ^—r-^—-I—--I -I——_-__

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^" "?^—;^=:z«=^-i: -s—^-F

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ship will tack, and the Tar comeback, To the first love of his heart.

^fe-3:

'J^^Lm-^^=^1

'^-S-^ :2d:

--S--^ :S:

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:J:-SI--

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To the first love of his

Sr-«—^—

^

/

-S-S- -

s-s- :p=:: -Wzrrz^^zziz

-W-^ ""^^^-V

^=^^-heart.

g.1^:-^

3^—*—s- 1 ^te-r-S-—^—:^:

:^: :^-* h

/

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rail.

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1 1 \r

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EE^=:lEi;E3=lEgEg--\^zz\^-i

-^1 -e-zf^j~m-V^^:t=:t^:1 -«—^-

To the first love of his heart..

=^r=g::e 5::^:

••H:

^-*- ;EE3ESEiEifl53=l:=|:

1 _^s-s-

:^cr:=l:

;^frifcij.

te^—^^--4.

_/ colla voce.

-«!-

^, ^- S-Mt 1—s> *-~^-- ti

*//

ig^.EH=^B£BE^ElEiaESEiE^^g^E^f:^^!

-^-*- -^—s- '-F=^-W -«—^- s^==-SI—

1—0^

128

TAKE BACK THE HEART.CLARIBEL.

--r r- -T-

r—

r

^—m~

=F=-f=-w^~^~^- r£=

:t==t:

--ff^-r-—^-^ m^SEEE^e-

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mf

s?^ 5-t -^jy-^jg-

f:t:zzit:=

5: 5:zt:

5: 5:-» !•—r-^^^^^M^g^:=l=:^:

:=!= _-|^: :3=

Take back the heart that thou gavThen when at last o - ver tak

est,

en.

What is , niy an - guish to thee?.Time flings its fet - ters o'er thee, ..

*E3: -*-

l^f -S- -m-

:=1-F——iq=zmz

Pti^

=i-F—I

—

-^ .^_..izi:

:zr^:=^ zz^z 1^1

:=i: :r]- m=r- -*—

-

-^~

Take back the free - dom thou cravCome with a trust still un - shak

est,

en.

PLeav - ing the fet - ters to

Come back a cap - tive to

s^^^=p3=i^li:=pp,^^i^i=i -s-

-kSiz

:P2=

^f dim.

mm?t-^^^-^--«- 1^?= nt

zi^z

r^=1=-jziz

me ;.

me:.

:t=rz^ti; ZJZ^Zr^-^;: —^—s~ T==i^:

Take back the vows thou hast spoCome back in sad - ness or sor

ken,row,

Fling them a-Once more my

p^^=ii^^^^^^^^±^^^^$^^M^^^i^=^==1:

c^If: :^ zm~-

'--t—

:^=-_-^^:t=:

stringendo.

-JZt

:J=d:

side and bedar - ling to

free,.

be,...,

:S-5: izi::^:

rri-ii-51-

-

Smile o'er each pi - ti - ful

Come aa of old, love, to

to

borken,,

row.

^-^-^^m

m

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^=^^=1=^ 3^ :«==» i^i

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TAKE BACK THE HEART. Concludedf^ ^ ^^^ a tempo.

:ff=:tz?2:

I.eav - ing

Glimp - st'S

the sor - row for

of sun - light from

1 _l r-

^Zr-

rall.—I—^- m:

me, Drink deep of life's fond il - lu

me, Love shall re - sume her do - min1

ii=^pi=|^^3=|^il^ii=^|-I-

=k=M.rail.

m. :?2:

CSi^zm ^^1 izii :^r=:=ZT:::^;

f-^::^=n^- ^Siia^ki i

-=1=F:i-:

sion,.,

ion...

Gaze on the storm-cloud and flee,.

Striv - ing no more to be free,..

~1-

-m- -9- -9- -m- ^ -€>-

:=i:

Swift - ly through strife and con -

"When on her world -wea - ry

1 1-

5*- -*-

3=: ^^mm:*:-j=Lz :pzz5

t---^--

TT":t=:

-fupin

rit.

=?="-= E^^^=^|a^i z^z-^—*-

ZJ!=t.

sion

ionLeav- ing the bur- den to

Flies back my lost love to

pi^=JI?:iilgi=|Mil^^iprit.

I i^i

=3—^—^^-

i^^^iiii

^-^--

1—3dzz: S il=t qi:r^=^=:i

S. M. SAMUEL. SWEET LOVE OF MINE. FRED. H. COWEN.

=-^# I IAz

Molto andante.

r-^=^^=:|K-ff--**-

'—±z=!stiz.ifiz^.:W~S:

1. Sweet2. Sweet

zMr=:Mz

-— i—^—1 r i !—I —I—I—a 1— i i i

-m—m J \1 1—

J

i—a 1 ^ 1—a^ 1—a|-

"/,

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dim. P

S -I 1—I—

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?^-^-:*—-!:

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2^:^love

loveof mine,of mine.

my soul and thinemy soul did pine

Are linked by hidIn lone - li - ness

denun

chains,,

blest, ...

31^-

jii-=iz

9J -ir^

MyThis

M--^-^-"^—m^^ izi: i

SWEET LOVE OF MINE. Concluded. 130

E^'z '^mm^^^^^: '-^

life with thine

love of thinewill in - ter - twine,

on me did shiue,

While life it - self

Aud brought me peacere

andmains,rest.

TheThe

-^-z-^-.

:^=-sr^zzzi— --m-

lim^.qii=:t

S-^- :i=g: ^- -^—^ -J^z=^

ros - es rare

swal-low flies

that scent the air,

to kind - er skies,

In win - ter fadeWhen ear - ly fades

a - way,the day,

But joy or care with thee I'll

My sum-mer lies with -in thine

ii^cres.

:t=: 1^^^^ =st

m^-w

dim

?=1=£eII=^^^^JP

=It

ttz:-t^—I—

-=^-.

share,

eyes.

My heart, my heartMy heart, my heart

is thine al

is thine al

way.way.

But joy or care

My sum-mer lies

with thee I'll share, Mywith - in thine eyes, My

P^^53^.^Pis-1^ i^iM^^^iMil^igi

dim.

^-rtgzgzrgzg

:q:

rit. P

—\—I-

zMzzm-^zzjM:-^S:—

P

z^z3^zM-Mz :^=?^\—I—I

—

mtzMzMiiM:iij:

Prail, e dim. •^•1 2

::^=1==: i :=l:

:=1=

=:ij=: r^i :^--

heart is thineheart is thine

al

al

way.

i?,#

way. My heart. my heart is thine.

-^-=|:

raZZ. e dm.

;:^ :|«=^:

m/

^^ '-=i-- --zt-

^j^ -rz

"T-

n---A-7P=-^C^ .

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colla voce. P

bzi2^: di -^=F=l=

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I

ici:

-way.

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gP

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:*:=:*: g; :p=:s::ta=5l=*

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1

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:^

THE DANUBE RIVER.131

*Tempo di mazurka.-, w

-V''=i»-i ^^^^ 1 f^-

HAMILTON AIDE.

J=-W=W-

t^-

-^-^^^i^gi^E^^"if

-#-

li=-£

u 3-= m 3^S :^-

r-t:

—I

—

:ff=::

=fe.^^=:-=^ :(: :^z:

1. Do2. Our

youboat

re - call

kept measthat

^j^mm:=l=-M-

It:-J-

-^^-:{f=S=

ii^# * :zi=z):

=(:

J=

in June,its oars,

It*:

UpThe

onmu

-ti* •

—

—I-

:-ir=rS:

thesic

Dan - ube riv - er?rose in snatch - es

WeProm

list - en'd to

peas - ants danc

:t:=t:--: 1==t:^fETf^

• hi

-^---.

::-g"--^- —I-

^

ma little slower.

1t)

^Lrnd - ler tune,

the shore,

:P: Iff:

We watch'd the moon-beams quiv - er.

With boist' - rous songs and catch - es.

I oft since thenI know not, why

:t: *

havethat

b:l: -^:!; :ti

=x

li--^

original time.

I--m^=--:^- --^

watch'd the moon. But nev - er, love.Land - ler rang, Through all my soul.

oh,

butnev - er,

nev - er,

nev - er

nev - er

CanCan

-I

—

for- getfor- get

thatthe

—i--m m-

ir^ * jtr

:!?: :t=P:#=

±1=&--t=:

j5=q:f^=i: Hg-I—

—

~l-:^:

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A- izt zrt -&- . -^

To be played in moderate time but with great variation according to the sentiment of the words.

132 THE DANUBE RIVER. Concluded.

iW'nightsongs

BIeS

?::=^-

^~~"rs^—^" i^t=iz=i-r=z:

:i=:

the Dan - ube riv - er,

the Dan - iibe riv - er,

CanCan

for

for

getget

thatthe

.-A—4—4-4-

zMz:zm~M-Mz

_-r ^.—*-

ben marc.

^^^^^^m^^^mnight In June,songs they sang

-*—«—«—«—«—«—*—F-i

Up - on the DanUp - on the Dan

ube riv - er,

ube riv - er,

CanCan

for - getfor - get

thatnigh't in June, Up-the songs thej'^ sang Up-

1_-

^=S-g=Sr_g »r—\—r—r—r-l

Iff:

5=:S:=^-=

N=q-S=i= -J^—

the Dan - ube riv - er.

•-si- •!'

—1-

:=1-

$.Li

^E1^=qrz=.-=r.-=r=::*z=i:

the Dan - uhe riv - er.

_j i_j_j_

BRIDE BELLS.FRED. E. WEATHERLY, B. A.

Allegretto. ; ^^1-

^:

mf marcato.

^^--=:t?zfc zd-zz: EEB^EE^EEEEEErM^

133

JOSEPH L. ROECKEL.

-It**- 3-J^

:cii

^=•8:

:=j: :=ls^=l- 11:?2=

1 Maid El - sie roams by lane and lea, Her heart beats low and sad,

3 A year by seas, a year by lands, A year since then has died,

^*

:t:: :t: ili^

Sei=

K&i

Her thot's are far a •

And El - sie at the

n:qz=zq:r:-

--g-- -<=^- -»»~:J*^-i

:=1= :=1:-*-

-^-

rA^izi: K^: :^-

:i^:

.-J ^-^: J:

i^nbusi:

(S- ^«e=:-;=:?=^=FW^ *—

-

i^- :^==i::ii=it

-^' —I-

=5= —^;

way , at sea. With her bon - nie sail - or lad,

al - tar stands. Her . sail - or at her side,

^

i^H^ii^-iWith her bon -nieHer sail - or

sail

at

or lad. Buther side ! While

:s:d=3=3~S=|:=*^*-iSr-Bg: g=s|:

ri=&•-"-=•-

"Bit"""

fefe ^ Hi dE

I

3^-i

fe.*S 2S :ci: ::2i=^:t== ±:=E :zc± is;^! -g?-

Kling,Kling,

lang,

lang,

ling,

ling,

She seems to hear her bride bells ring, Kling, lang.

Their bon - nie bride bells gai - ly ring ! Kling, lang,

ling,

ling,

t^==ts M=iz:^=iq:.M=Jz

'-^-1 !-

:^=^= £=^=i zMzziJz1—

r

3i=S: #^353^=^-it =F=r=3=* =^^==5^-<s>-

"p"marcato. r

S^==1=F:?=n[!: :t=

:«-~i1: :^: Is :p=^: m :=t

^:PjD

::1:

I^ /i5.I- I

fa 122:=1:

:t::P2= :e^

Kling, lang,

Kling, lang,

ling,,

ling,

.

She seems to hear her bride bells ring, her bride bells

Their bon - nie bride bells gai - ly ring! Their

^^\f=Mz :t:

!—h-P+- ^^^=-Jii =\- -^--m=mz

PP ima corda.:J-- lit

tre corde. ores.-

-m>—jjz

^.^-=\—W=.-=\z^±z=M—izz=Mz It—

'Xr..

-^J-^-

%^^^^^

134 BRIDE BELLS Continued.Piu lento.

—^- ^I -^-:t: S

:rzx

ring! That night her lov - - er's

=^==

marcaio.

E&.E^^ izi::g::^^Z3:

—l-i1 -4 al hr-'Si-r n—I-

J. jjm lento.S- •'C

^^1?^=:^ :^= :^= :=i:

-c^-

good ship rode The fur

&=:

Bis - cay foam, And

-I-i LJ

ii=3j^E^=i :^: :?=: ^m

espressivo.

^-=\:-^ rz)---

molfo rit.

::fa=dim.

-^-^ ihome. He thought of her

molto rit colla parte.

at home

;

While

^^--

^.

:=^=q ^^ :|-

P

^ 1=2-m. -fep--

~^t^

to:

0 Tempo io.

IC^ ze::^: lii:=|:

»=z=r=t::

Kling.^ :s=^i :c^:

lang, ling, He seem'd to hear his home bells ring

!

Kling, lang,

&^^ ^^^^m^^^Tempo lo.

r T^ J-

:i=fli^-tS:

fe^-:4^=*i=::=:=I=p: :=!:

b=ii=:t:t:=z=1=:zz:p=z:z:^=p— :==t=p: :=]=p:

:t:=*==t:

^--pp

BRIDE BELLS. Concluded. .[35

:ci:

lUlff, KJing, Inng, linn,. He seem'd to hear his

JOJD awg corde. tre corde.

^fe=*:

:p--—

4

:^^E=t

-^=EE::p==??:

•g:

ti=t=: ig==^^^^lilhome bells ring, his home bells ring

!

marcato.

^^-:f*_5p_

EE^i i -J—^—

^

=_i 1 1-

:^=:zPzi:P=:P:^^^^

1.2

:.2=2: 1bride bells gai - ly ring!

FIVE O'CLOCK IN THE MORNING.Moderato con espress. CLARIBEL.

£~fE^=rSp--=!?:^_4^^rr___^_f:_-p-__p.:p=p:

:t2=:^=^=1=

L'f=4^^_=t=F:p==.i-5=fci=tc-=1—»-

ijiJ=S:

i 5^^; ^ ::^-H^=S=

1^dew lay

Bes - sie, theover the

glitt' - ringmilk - maidmeadows the

o'er themer - ri - ly

mow - ers

A mistThe meadAnd mer

layowstheir

over thewere fresh and

voic - es

m^^. !q_-^-

186 FIVE O'CLOCK IN THE MORNING. Concluded.

^:=P--p=g^L-=g—

g

gr^ ^Sbrook,fair.

At the earAnd the breezeAnd one

liest beam of

of moma - mong

the gold - - en suning kiss'd her brow,vbem wended his way.

:-S=i= E^The swallow herAnd play'd with herTo where the

nest

nut •

milk

for -

brownmaid

sook;hair;

sang;

The snow -

But oft

And as

y blooms ofshe turnedhe lin

the haw - thorn tree

and look'd a - roundger'd by her side

Lay thick-ly theAs if theDes - pite his

ground a -

si - - lence

com - - rades

:S=::1^t==i:

- dornscornwarn

ing,

ing,

frThe birds' were sing - ing in ev'

'Twas time for the mow - er to whetThe old, old sto - ry was told

±

ry bush,his scythe,

a - gain,

mommornmom

ing, The birds were sing - ing in

ing, 'Twas time for the mow - er toing. The old^^ old sto - ry was

ev -

whettold

ry bush, At five

his scythe. At five

a - gain, At five0^

o' - clock

o' - clock

o' - clock

MAt five o' - clock in theAt five o' - clock in theAt five o' - clock in the

in thein thein the

ii: ?:-L.

mf

-4^-^=F=t:

-=i—tti«—«!: tdim.

m

SWEETHEARTS.137

W. S. GILBERT

Allegretto.

ARTHUR SULLIVAN.

%•

^-^-U—. —I*— I

—

^^^H^^i ?^Us'^.

^g:&=^Fed. * Fed.

Lit:

fti^:

P=^=^^E«^ =S?G^:

«^&f =t:^

1^=S:

" Oh, take this flow'r, dear love,".

"Give me a flow'r, dear love,".,

said

said

zM---

p > r

:jiE:^^-ps::^ip=b^iqip=p=^—3i=bpzqip=ipz^pib=pz^pzipi^p~iibrpzMipzipiaipzt

^E^==t :s::^:i=S=J:

]s=qs=--g ::^=q: ^E^^^^ihe,

he.

He spake vrith a tear- ful sigh,

—

She threw the flower he craved,

—

That night he was go - ing a- cross the sea. And this was his last good-" Now by the love that I have for thee. My break-ing heart is

'^giE^mi i I^

f ^=!—!=;—P-=i— =1:

. ...tz t: t t=-»- -»- -!•- -<•-

> > > '^

^&^^t:\lz

ipc^n^ip::k: iE5—

^

^=rt^::^=5^iJ^-Fg: g -^i iffrrip:

:ff=Pz:^—^nt^fcrr^-tgp--ic-^-r— n=^

- bye, Andsaved, My

this was his last good-bye.break - ing heart is savedJ

is:i

She took the gift with a mocking smile. In the flush of her maidenHe kissed it once with a ten - der sigh, And treasured it near his

:^==S=iq:

::^=

IJ-_±5d^^=:

fo-^^-g

^-:^=^ -=1

—

g^

:p_q_q_ -=1-=1-

g: si-p—1^=^^-- =^ ^ 1^

=t^:

-4=

r- V Fy-^---^—F- E^^: :P=P=:P:

=1^-J-

q^-^=t:=1»^

-ti»—b«'—t^

pride, With heart - less guile she dallied a - while. Then threw the flow'r a - side, Thenheart,

—" Tho' years roll by this flow - er and I shall nev - er, nev - er part. Shall

^^^^^threw the flow'r a -

nev - er, nev - er

=fe—=:'-^~

^ SM; 'm: -^i

=1=-!^_-^,

j.--^.•^-

teSlt!-^ ^* ^ ^ *

"t*=i 1 — -

=^=d=-Rs^-

I

«/

:=l=

:R4;-m- \—m—m—m m \-&r-

3--i-—i^-^ i

138 SWEETHEARTS. Continued.P a tempo.

for a year, a week.

Ha day, But a-

V 9

:i^=zizriri_!i_qs3nqz:^pi^r:pc3|iEErpzz:

-^^•;Efe±

las for the love that loves al - - way

;

Oh, love, for a year,

N l^:g: :g::t3«. :g::-I 1 w—I— I

—

~

ii^i 1—•l-t;—rr«(—ai—al-T '

—

«—<*

:a^:-Jm^-^-

Ji±J:=t2=:t:-±^ :N:

:t:

TP^ i;^

H'—=^—=1^-

=tii

=^—=^_-?]—i—=i-=i-

--=r-l-:3'»=riz:L£^=3ip=t=t==tzit=:Eip-t=t=l=t==t

1=1: 'ii-J

=^^^^=^^^^-^^JIFp±=zzif?zS?i=ffE-^—i^—^- t^£EE I

:=1-

•8:

=t:E^E^EEta=«=^=^=^l^=

week, a day, But a - las for the love that loves al - way..

I

^-

cres. J

%-!1-!1- q^=5=|^: ~-^'^—^—^'=^

^ ^ ?^'cSj-zSJ 'pj^-

L-q=>f-gi :=1: =^5=Srt

=t,-=t- --li-

i^^EEElEEPz EiM—a^—M—mL

¥4=

1^

-^- =!—^-EE^E^^^EEE

^fe^=?

ws Et^g^iEW=:f=»: F=^=

They met a -gain in the aft - er years, In

if dim.

^^^^EpEp=|g^|p-^EE=p ^ r

Ciu-

fcr^E^Et^TE^5ES^=SEFS^5^E^E5EFS^?ES^E^:?t.i,^t=Li^i=Eip=^:p^pi^ip:i:brpi^zp-piz^izp=:Erp=^p=:p=:^p:

:^E^=ii^

:=^I^^^P:t2=t2:=1?=*: S ife^t?: :={=:

life's sad sorrow - ful time

;

J^-M-

Their heads were heavy with age and tears, And white with the win - ter rime.

:5t

He

* ** *I J I

I

] Tj

! i

I

I

-I*

=EEEE=z^i=E^^=i^E*Ei^3"*^=z*?f*=EE'^=^^^^^^S

iq:_q:

—

|^-^_4:i:E_z>>»i -- -^

-tt^~^^\

=^—=i—^=1-^: iiis=&5 i

.:i:N..,v;k:^:.t*«:jiri(>afywiysi(^

=^=P'i^~r--t=:r^:

-e—m '-m

SWEETHEARTS. Concluded.P slower.

13d

F ~b^— 1#- -I ha

-k k ^^—^- :t=t2:^^: -P=n: =*=i: 3«lMzi=MtM. =t==i^-."B*"—

*

found the flow'r she scorn'd in play, At her faith - ful heart did dwell

;

His flow'r, they say, he had cast a - way Be -

-^ • is:•

^

*/

t=W-n=r^^^^

=1—

-

dim.

SES: m-=i

:q: I ^ S2*

•1-

3^

:^=::

rail. a tempo.

=?=^"=t^=^:

:^P=n:^v:t2=3=t

=p^rff=5: :^fore its pe - tals fell Oh, love, for a year,. week... a day, But a

—S— -'l

/'~~'v I- •-_ i

rail.

-n^:

-^-^-

^^^=W-z%^2

f-tr.-

-^-

=PE:^--r--i ^-^- l~ ^ 1 a -a-^l -L^g1=

TT8

"P 1"

n4=

IT

:^,^: =1:

P" £ '5' t 'f8 r 8 r 8

gr ^ —^m :*=P:

==riS^^:* Sttit

:pz^-p=z|s:

- las for the love that loves al way,, Oh, love,, for a year,.

^-bg

m—m ^—«-!- J^^:t:^-^-^^ ~^r^-~lgrtP fi-'i'-—I—I

—

^ ^*-=t—!i- ip=^~N:

fe^c^-63t=33— -"^4-

P-51—=1 ^--=1-—=)- -SJ-—q- d^=i=frqi^: .^_,

liiJ tw^-^-

con slancio.

2Ete=e=B1 :t=:-V—t^

—

^week. a day, But a - las,.

;i^: -.m=^==:^iSz±r

a - las.

:=i?s:

for the love that loves..

^—*?- S-

^^ coHa voce. s^^

S1S

--1 1 -s=:^

tftr^=^^£?=^Ei li^ =^=^ ^ '^^^^ i!^—^.—^—qJ^—^:= =

:=!:

c

;i^pg^^=^ iz:^: Ial - - way.

:=::*:1^=^; —

II I

:^=:^:^=i^=^:lE^^Fjfi

//

te^^^=^ :P=^=^z=p- ^n: :pitB=p=pzP:i^:-I \—w—^

—

w—^

—

^- —t-

140

STRANGERS YET.

ad lib. a tempo.CLARIBEL.

THE DUSTMAN.141

F. E. WEATHERLY. J. L. MOLLOY.

d~">iii M. - ^

—

Wheu the

Modcrato e tranquillo. |_;^_ I r'^^"t I^ i im^^m , I /^ /r

j^Jti_ fi g 1^- __:^^ ^-_ m._ -^- ^- <s _'^

^ ^—1-

toys grow - ing w.aii^^= =?r mm —=S-

:ft*:=r=p=:H:3^I——I—

(

ry and the twi light gath - ers

&:^—^,^-i!=i-

=J^i:-c^- -W-

-^-

fet=:^2ziS :Mz —P^ :^

[g^^g^

ii^When the

-^- i=^

fe=i3zz=z=q—_z=i:^»^=^fP±^, :Cti^: m 1^ :^

ry still re ech to the chil - dren's mer ry din:

^^l^^gi^Then un

^---^-^

-t: :tt?c m&E^1

:t2i± il^—I-

^^heard, un - seen, un - no - ticed, comes an old man up the stairs, Light - ly to the chil - dren

S^=Z^Wm^z^

w ^=z-—:t-

:tl*:

--r

—

k

:=l: i^:

:BP: 3p: :?2:

i :^:

irfe

9^=J= :(•=«:

:^r=t?=t :=^=^pass - es, Lays his hand up - on their hair.

E±=z^=r:5?

:tW:i_-.=: :i-l=:=5--*^ =|:

t=^:

=^=d?3

i^ E-^rEEtlli

-^zr

142 THE DUSTMAN. Concluded.

--1-

L?J?: > ^—

:

-I

—

Soft - 1,7 smiles the good oW Dust

:^---S

their eyes

il

^—^-.^^p^

?'=i=F=^EE?^^gEE;

^the dust he throws.

:=1=

:ft*=-^-

^

z^-i

Till their

:«3^=

^- :=tt^=:t:=

lit tie heads are

It:'m- -r-

1^-

fall

-±1I

and their mer ry eyes must close ; Then

r igi^^is:

the

I^I

g=bi=--=f=l

:tjp=r=:pz=z

:

^4r—J^-^ f—-J-

:^

Dust - man, ver - y gen - tly, takes each lit

:=]:

4=r'i5*: i^i^E^S^

J ^

:t2^-:J=:

tie dim - pled hand, Leads them through the sweet green

Cgr

=T_^= :ttp:±z-b±

=^: W- :*=:= HfSznziCtpi -/&-

:=!=

-^

:tJP-:

a=f:for

i:-«g--

:t:

:^s,=::^=]vZe«to al fine.

ests, far way slum ber land. far

'-W-

:b!f!5i'—<SI-

-a-

way in slum - ber -

t?P-

:PEfep=^^—^==z=z: ^

tt^=r:

- land,

±=^-.

W^

:r^i =3p:

far a - way in slum - ber - land.

ii^ ^--=\—Id:

PP

-y-1 1 -t—t:

Lg /r /r __^___:^:

^

=q=s=

'-^^^^

DARBY AND JOAN.143

F. E. WEATHERLYAndante con moto. ^ ^^,

WE^ =P2- mm a^^^J^ 1^ <^_m r:C-J-.

J. L. MOLLOY.

mf cres.

-(=2.

^i^i^^iiiiiieig^lH==ii ^mm\-\=.- ^Ms^W

-M-e.i

PP

'^m^^^^s^^^^^^^^ £^Dar tay, dear, we are old

-m S,

and gray, Fif ty years since^our wed - ding day,

^dim, e rail. P

:t::^:

-=i- i^-^^

p-W- §i^?=^^:iiii^ zj:—^!

Shad - ow and sun for

=^=S-

&^T

cres.

ry one as the years roll on ; Dar - by, dear, when the world went wry,

•-J—•. \1 ^—r—

-^1 1——:H—; «|—;

i . I---:=t:

^ e^i

g^i^gj lit: ^L^iiilil-r±F

^=.=i-«*=

si= ^=^=^-^=pEE|=^—^=ii-.-i-^-q3:j=

^^=^-

rail.

:=S=:rs-q=

Hard and sor - row-ful then was I,— Ah! lad, how you cheer"d me then : "Things will be bet - ter, sweet wife,

:«^:

@^Is "''Ie

.-:q=qi=i:

a - gain

!

::^=

C?s=''•

isii

»'oZ/.

i^-Tzzzrzir^:: iiii^ inJWi:p=

iJ0 Meno mosso. ad Zt6.

¥ ^^^ z^Jr-ftz =:1: fE==SE3=s;^=^ =ftz=l:

Al - ways the same, Dar - by, my own, Al - ways the same to your old wife,Joan, Al - ways the same to your old wife, Joan.

^-^-%=% »L-^-9.—. *-^rX

A-

%

Meno mosso.

:i=«|: ZZ^i :di rz^qizF:s^=t:

^g: 5«^- -•-• :g: :

co?Za ijoce.

^=^—d=::"ES:=zzra^rz^E

1^arf-: .

'=t=:^E&z\m 1 1r

144 DARBY AND JOAN. Continued.

»/

=EH=^===lil^fe?^ :^=:Mz:z:Mz

ra-i

Dar - by, dear, but my heart was wild

r.^3?.-l-^*-S^=*

mf tempo.

^-it:

1^-:^1

(?:;r*±r*ii::sz:- -^- :=t S=*:

-/

fc2==^-: =t=:B=t=: 'm^^P=)s::S=*:

Isp=Pun poco raW.

:=t::^==^: ^Ei^i^i^E^;^:

When we bur - ied our ba by child, Ua - til you whis- per'd: "Heav'n knows best! "and my heart found

:=|:

i1^zij^=z:z^^.

^ ^ ^-C-J

« -j—l ^ 1 «-L ._^ P_ SES35I2E

co??a t'oce.

i^.(^-^.

i^.

MM jpoco rail.

mP a tempo. cres

'-^^^^mm^mmm^^^^^^rest; Dar - by, dear, 'twas your lov

_j— I

ing hand. Show'd the way to the bet - ter land-

:=S^q=qs;:t=--=:m^ :^ :=J:

T.=\=l

P a tempo.

.«=

^:^=2=^:

r-

:i: ^- :S:crfs.

m tK

-^-

rail. P Meno mosso.

Ah! lad, as you kiss'd each tear. Life grew bet - ter and Heav'n more near: Al - ways the same,

I^ElElEI^:"J"

rail.

-1-

Meno mosso.

^-—1-

:t::«*:

-I !»—

^

It: i

0(7 lib^^ ^^3^=^^ ==q^

Dar - by, my own,

^ '-'H'-—•*"

Al - ways the same to your old wife, Joan, Al- ways the same to your old wife, Joan,

1 irf 1 1—I

—

colla voce.

:t: --W -z^zzzz

^ St

tr=:^=ri=$::

-.1

DARBY AND JOAN. Concluded.

P

145

W-:-:^.-^—-^-

q^==1^

=^3t±:=!= :J— ]&^

:i^=i:=f=j^zzzzzSziriziT:

.^—f^.Hand in hand when our life was May, Hand in hand when our hair is gray,

* Fed. * Fed. * Fed.

r^:=:qv ^^^w

ui=«^=~i:

Shad - ow and sun for

=S=^-

1:=

Z^ZZ^Z-19-

:^:zm

:=^= =1-

mp

-^^ry one

!_

:^:

as the years roll Hand in hand when the

zat.a:-si-j-

=S=^=^ H =1-

->--

^¥=i: i2=^= :^=±igi^ l?-zrr=fc=?fz±

^

:^=~t It:-5^—=1--

:1fc=q:=^= :^ '^'^-

:tf:

long nigh - tide

-=i—=1—^i{l»-=i-=;-

-|^-

Gen - tly cov - ers us side by side,

—

Ah

!

lad, tho' we know not when,

i2::—=^=1—^=1—tti-^: li -=i—=1--

(g

W=5=^=^ :^:

-^.^2gi

^S:i=|s -n-=!- -«—5^-

s^——«—=1—

n

-^—=p3^

Ped. *PeS,

Fed. *

m/ ral?.

=r ^^^ —»—

^

:>.—=]=

P ifeno TOOSSO.

itali:5^=i^:

^=:^r::i82: :*±=J:

Love will be with us for - ev - er then : Al - ways the same, Dar - by, my own, Al - ways the same to your

mf

Z^^:ct^-

:^ =^-=^=^-^^:;-J—

^ «:=1-

zmz --Jr-

rail. Meno mosso.tt^

--mz

J^effil-bitz

-n—-

t=\--

ad lib.

i--it—i^—«—^ ^

old wife, Joan, Al - ways the same to your old wife, Joan.

146

SOMETIMES.LADY LINDSAY.

Andante tranquiUo.

ARTHUR SULLIVAN.

-^r=nEE:

-^--

Z^MZzti

P

u-=^mE3E :^z "g?~ 1221

Ped. *

^ .-!?-_ i^jrrr^sr—[•—*-

±Mz

dim.

PiS^:,

:22i ^-Fed. «

:^==rjv::*=-—S=i: z^zizzi^-^iz ~p:

t^:t2==^fc

:?=: :^B=rc

1. Some - times, . when I'm sit - ting a - lone, Dream - ing a - lone in the gloom. There2. Some - times, when I'm sit - ting a - lone, Sob - bing a - lone in the night. There

i^^=|E^3=i=iE^Ei?iEEi=i=3: ::1^^:—^d^—

--e—iSm-=5_=i^

=Js=^~;

comes, on the wingsfloats, with the scent

ofof

the twi - light,

the flow - ers,

Sweet mu - sic that fills the room.On moon - beams weird and white

—

I

The

i^=^^^^ .zm:zzzm=rwC^Ji-<^z-V 9 th- It^^w^mn-^z^.

-?-! I

=1—FF—1 V- I I

^-1—r-I I I

-it:g I

--1 ha—=1 ha—

=

,_^_-

-w=iir=r :=1:-^|S^z^z

-^--^ifc=p=^:

knowthrill

not from whithof a well

er it comes,known voice

I know not what mes - sage it brings,

That I thought was si - lent for aye.

Though myWith the

.=)_.. -(—=)- ^^-V^ r=t H—^-

:2=r=Ei:^z ^-:?2^

-!-I ! I m :p===PE: ^ -^—•*—"*-

SOMETIMES. Continued. 147

ii

dim-

:t:

:g: 11^=:^ W^--^- -j=t.

soul of its bur - den is

ca - dence I lov'd to

light - en'dhear

By the sweet voice that plain - tive - ly sings,

In years that have roll'd a - "way,

ThatIn

=1=^—^::ii^=--"=l

-^;1= * ^m.

-^^- 1^^=^«= s H-=i-

St

g=c=g=s=:^=e=^=e: rJft-

l^ziz=^—q—jg^—U-'i—U—q—

-

^-z±r5^3E!E*E^£^: il^P:

^_ggi _^_^,^__^

:i-:Jt=^==

:^= i^: :5=air=p: &=:

plain - tive - ly sings,

years roll'd a - way,And all

And all

a - round is

a - round is

still,

still,

While the mu - sic faints and"While the mu - sic faints and

P PP

:=^= d&i^1221

:g=:=!v:m -^-=w- =P=^=S:-a. zl

!-

-i^t3zL=S:

}/;f-±=z=t

falls,

falls,

But my heartBut my heart

:5=d=

-^:p=n

leaps loud with the ten - der joyleaps loud with the passion - ate joy

ThatThat

old.

-•I- :=15;: :(?:

old song

I

;prrs= -|.

Pziar^iE

cres. f

1^2= ::«^::=l=

-ffi- :=i^:

ieres. molto.

-^-

^^=$

/ #:j: ipzz:

:g-h-h-i :t==t I^i =flP=r:±=:^-^—^- -*

But my heart leaps loud with the ten - der joy That

1re - calls.

stringendo.

12/^ -^

#-"^ :^=

--^^-

-=F:fl^:=^zz

:^::^=

:^:

But my heart leaps loud with the pas - sion - That

Ub SOMETMIES. Concluded.ad lib.

loud with the pas - sion-ate joy That old, old song re - calls.

J.:^: :^ t—^-SEF

«r

1221

^-J^

-as-G>-

~C^g S :^ :1^

:^2: --W-

s?-:S:. i^:

HUGH CONWAY. MILTON WELLINGS.

3 1^

:z^::i=rst -ff^gg*-

day shall be, I know not when our eyes may meet,.,

far or near, Or are you dead, or that you live ;..

What wel-come you may give to me, OrI know not who the blame should bear, Or

^^ '«1^= i

:^

rt7. acccl. P rit.

-m---^- :i^

:^i=S=:i=zil=ii El^ li^: izi:

qv=:^^=r&u=Jt

:

:i=Jr=St=J=Citwill your words be sad or sweet : It may not be 'till

who should plead or who for - give ; But when we meet someyears have pass'd, 'Till eyes are dim and tress - es

day, some day, Eyes clear - er grown the truth may

; f tempo.

SOME DAY. Concluded. 149rit.

i:^__>__^=?r:

=^^ :J=ri:rt^^-

m- ^-gray; The world is wide, but, love, at last,

see, And ev' - ry cloud shall roll a - wayOur hands, our hearts, must meet some day.That dark - ens, love, 'twixt you and me.

4^=1:^- ^ fr#

rit.

%=f=^i n^ ^ 5

g= ^ -s

—

^^ :^ ^ -Si-

^L'istesso tempo,^=^ :^=

Some day. day,

-^S—-HI, =^ -ci:

qs=:1t

day shall meet you, Love, I know not

3l g=/

g= ^.

—1^—--j ( P

-<a- ^ ^ 1—i-'—i-j^:~^- -si-

^

a<? ft'6. rit.

=S^ :^=(?:::i=^

I love yonthis, that once you loved

I "C-ff" f rme, On - ly this, I love you now, I love you now,

:?i=:^:

iii^iji

=5= ^ -s^^r-

colla voce.

4-*?=:2=

-^- 1^-

-^—J^-

3^=

^-=4:

•8:1 2

-^now.

^m$

a tempo. rit.

-Ai^:^

:?2-j

—

—

=^:

I

'^-

-^% rSI-

^^-i

-t-Si-

150

AULD LANG SYNE.ROBERT BURNS "SCOTCH.

Dolce.

J.^<^Jfe£j_

^=ps::^—

y

-j^-=z: -^. :=M;i

1. Should auld2. We twa3. We twa

ac-quaint- ance beha'e ruu a - boutha'e paid - let i'

for - got, And nev - er brought tothe braes, And pued the gow - ensthe burn, Frae morn - ing sun till

—=1— —H^—

:i

:=^=iv::r=ff=

-b ^±i:s*:i^:^ ^=

isal:=^

::iv:;-.??=:

mind?fine;

dine

;

Should auldAnd we'veBut seas

ac-quaint - ance bewandered mony abe- tween us braid

for - got, And days langweary foot. Sin' auld langha'e roar'd Siu' auld lang

syne?synesyne,:}

For

i :qs==Jt

kind - ness yet, For auld lang syne.

^--

-^^^ S^^

4 And there's a hand, my trusty frien',

And gie's a hand o' thine

;

And we'll tak' a right gude willie-waught,

For auld lang syne.

For auld lang syne, &c.

I

5 And surely you'll be your pint-stoup,

And surely I'll be mine;

And we'll tak' a cup o' kindness yet,

For auld lang syne.

For auld lang syne, &c.

THE FAIRY JANE.151

J. STEWART.

tb:

Moderato.THEO. MARZIALS.

sIes;—=1- :qi==S:-^_i-

1. I'm skip - per of the Fair - - y2. When tack - ing off the York - - shire

3. I've rode the ty - phoou's dead - - ly

Jane,coast,

blast

1AndOn

a tight

a mist -

And scour'd

-^:ffiE^

lit - tie craft

- y winthe Span

-I-

is she,

ter's morn,ish main,

1 '^

With her sails close

The Bo'- sen's cheeryBut I ne'er can for

:il^=^ =^:

reef'd

voice- get

\-

H-

for

wasthe

—I—

the

8=

:^ -SI-

SEii r^- ^:-friz.

-s?- CfaH-IS: :ir

^--=tfcfe=:d: :^s=qv:

- — I

—

-j^-

1 ^gale, She can weathheard A - hovescene On board

^-:^i== '.z^iW

::^:

:t==

er the rough - est

the weird fogthe Fair - y

eea....

- horn..

Jane.,

Shiv - er

Hul - lo

!

The Bo'sen

my tim - bers!

my lads, hardhe has

^-^--

Z?=1-

-w^-123--gr IS

@?s i~i-

/

:^= IS

=-3= ^ '-^^:g=.:

-ftzj=ii :=1:-^ -^-

:«=i: :?2==-^e

care I How wild the wavesthe helm, A sail'? onyot>^ star

a loft. While I still lin

may- board- get

roar,.,

tack,

.

here,..

Or break - - ers

She flies the signal

But the bless - - ings

Bqrrr.

i=3^=i ^1m-^e:ee:e:^i

dash withof dis -

of that

I

-I 1-

/-^-

=-S^:^:

:=^=//

=!=*:-^-

tremolo.

^^^ -tm- 1^ r^?r^ :?=3:

:t2:

sul - len crash- tress,

res - cued crew

On the dis - - tant rock - yHer tat - - ter'd Un - ion

Have follow'd me year by

-!-m ^53^=r

shore,

Jack,.,

year,..,*-• -^- -i0-

On the dis - tant rock - yHer tat - ter'd Un - ion

Have follow'd me year by

-«- 1 --^^

ffm^ i£i mS!-

:^. "cy

=^=^ ^^^ --^ -•! 5

152 THE FAIRY JANE. Concluded.

^^^^^-! 1st & 2d verse.

?±?=^=:-$^Z

ifiizr^:

ii=:^::=]= gp^^ *:

shore ?

Jack.year.

TheuThenThen

slack

slack

the line,

the luie,

HeaveHeave

ho!ho!

let

let

go,

go,

herthe

head to the roll - inggale its fierc - est

fe^=^:

%j f^- ii: '-m==ir-

rM-=M--«

—

m-'-^=-W~- :w ^-

-'^—•.»—•a

#i^c^Ee'

--^

\jk. f±:: :^

-B»^-

;^-=:=1:

-^=^H-

--^^:^: G^ ^

^ :-pg!i»^

—

1^

-!-•-*.ifil2=:(?=z:

-t

brine,

blew,

-» —^— -j^z=r^-^zIt;

From TyneWith ba

to Nore I

ted breath fromhugcer -

-^—t

—

the shore,

tain death

B^|=ii^iir :*±::

In this tight lit - tie brig o'

We sav - ed that ship - wreck'd

±zi:di

•8: 3a! verse.

:&:-JTz

--^^--

mine.,

crew..

slack the line, Heave yo! let go, the dar - - ing deed well

-^--#

^=i^: ^--iEBzza3E^i :i^=:^i

:Ji=ii; ^ -m~M~H-.

^—«»—w^—=1—

I

J^ES? 5^Pe^b

l^^SEE^E=_55B_-.a 3-^

,q—^L EEE^:>!—

-

^-e^ ^=^^=--=11*=^* iS^zzg:

Will fol - low poor Jack a

=i^-C

3:--S

=1^:zE?^

:t=: I. y^-

:=1: IHHii^':^'M:!?=r==l=

^^^to=:^

F

::*

The ha - ven a - bove

-^kgj-

i ^* 'm^m=j=^^1

-<s>-

FAIRLY CAUGHT.158

FRED. RAWKINS.:Q: Allegretto.

LOUIS DIEHL.

iE=t!: ^ ^l^Ti^g-Jr-:i^i uaiz

1. A vil - lage cu - rate lov'd a maid, A lit - tie gay co - quette

;

2. A let - ter to her par - ents came, And this is what it said:

3. But soon a - gain his wont - ed place, That art - ful cu - rate sought

;

:S=^==1=

-|!S^

5

Who with hip heart at" Since Cla - ra would notHe saw the pret - ty

::^r -J-

-^- ^:-m— Btfi—

L

r—

f

Sr i:^

^ -^

m1^=^—«— I

—

E ^t^- :=i:^

poco rail. a tempo."C-i^C^

:i::?i:

z^=^.^ -J-

=^:f?=:^:

:^ -^~

foot - ball play'd, And oft - en made him fret,

change her name, A wi- dew I have wed."pen - sive face, And whis-per'd " fair- Ij caught!

The more he wooed her daySad heart - ed turn'd the maidBe mine, there's nothing to

-|S-- i -M-

-H-:^=i:

:^=rs

day. The more she teas'd himside. And then her grief waster,— For - give my sim - pie

W-zst

too:such,plan :

Un - til at length he went a - way. To see what that would do, " Ah I

That all day long she cry - ing, cried, " I lov'd him ver - y much.'' " Ah

!

'Tis true, my dear, I mar - ried her, But to an - oth - er man." " Ah

!

me.me,me,

then siph'd

then sobb'dthen sang

she,

she,

she,

" I am lone - ly as can be ; Well," I am wretch- ed as can be ; Woe,"I am hap- py as can be; Say,

well, maid- ens tell, Lov - ers

woe, maid- ens know, Lov - ers

say,— maid- ens aye, Lov - ers

sometimes break the spell,

oft - en serve us so."

al - ways find a way

!

^•w-m—^- ^:=z.^-:±at

1S*^

=1=5K:

*^ -*—JiJ::t^ -s^-

^ -^1

154, SWEET BIRD.

WORDS BY L. M. THORNTON.Modcrato.

MUSICJY WILHELM GANZ.

%V-K-

Sg'poeo ritenuto.

53 i^r-r-wS=^-=^=t2: r r ^^ -]sr~r ^ Lft

i=^=fct^±i^=p::^=S::S:t2=:iS

1. Sing, sweet bird,and chase my sorrow, Let me listen to thy strain : From thy warblings I can borrow That which bidsme hope again2. Morn and noon,and dewy e- ven, Anxiously for thee I'll wait ; Come, thou chorister of heaven, Cheer a soul disconsolate

;

^ 1 N

1

- 35=<«s :^Mq hin S^I

Iff

ffM.

:r^v-q--^t-

PfT=f g-i>-

:^-=4- ^ ^-a-=:^=>:

^—ft_|

t^t

i^S^-J^^

dolce.

^^g^^JEgEsE^i^i^t :^^:^

4-*'^^=g=Iv:^ IvT:

•t^- '1:3- a"—^1 *^—

^

-IfJ ^^ Iff: ^ -y-ff-lg;i=i-^ iff;

:t2=^-t2: :t^ t^-t-j^ii-^''—

W

y^Hover still around my dwelling. There is pleasure where thou art ;While thy tale of love thou'rt telling. Say,who can be sad at heart. While thy tale ofSo shall time fond thoughts awaken,Joy once more skall live and reign.And the harp so long forsaken, Yield its dulcet notes again,And the harp so

5^ --^^§-*5

> V r3

sSitrallentando. giojoso.

:lN=F Nh*-*-r—w JlA-J—^^:i=^-=tz: i=t2 jg # g-^ ^

love thou't telling. Say.who can be sad at heart? Sing, sweet bird. Sing, sweet bird. Let me lis -ten to thy strain; Sing,sweet bird,

long for-sak- en, Yield its dul- cet notes a -gain.

MIP

^—•?colla voce.

&P

^^-i ^ti^ W^tm^w=^ #-N* ^t 1 |i=

3 ^rallent- a tempo.

K'~\ ^ p

Refrain. Zdstesso tempo.

f '^ Grazioso.

S fim rrM-^^mw^s^ ^ fi: 3: S^^=^ MlSing,sweet bird. Let me lis- ten to thy strain. Ah I

tsta-*

sing, sweet bird. Ahl . . . sing, sweet bird,

^P^ fc=:

5=^ ^ ^—I

iIII

^^Jrccdando.

m^/ /

[| ?2=

H* ,^

SING, SWEET BIRD. CONCLUDED.

dolce. -p

155

^m^ ^^ :^^t^

V=l—=1- i^ =E

. sing, sweet bird, Ah I . , . . sing, sweet bird, Ah

!

poco rallent. a tempo.

[! I ^ H 1 1-

BA -J_«

« « J22Z ?2=

f'

^^:f]

sing, sweet bird, Ah! sing, sweet bird, Ah I sing, Ah! sing, sweet bird.

=^ =i—=1-

^ ^ -J- -w>-

fi m '/

:^2 ?^=^-gi S^ -=i—=1-

P= F "r" ^r ' ^}X^

^^ ! > fMv;^^D^ Pl-at

£te-^^- U ^-

im®--p.. _^ .•8:

XI-jo^lff—

^ Fr f»^|—

^

p=g=p=H**-

^ffl. ^.=et:^=:^

/

Ej^jej^^ ^i:^

^l^^p^W :W eH=t:f: :fc KmmrWwmin

:(?&T 1 1 1 1 1—

I I I 1-\—

H

~^^Z r^1^-

Zl'^ Lento.

^2 h F«rlS:3^ s^ li^Sufr

5ti 'Sa^

Sing, sweet bird. Sing, . sweet bird,

fe^

Let me lis - ten,

e—

^

feM-^ ^S2I a^p Lento. ^/3

§gF

=ge ^^^g^

y aced.

IlJ'J'fjD. C. Rejrain.

^ ^g=J- 5:3^^

^^^P^:ifts

Let me lis - ten, to thy strain. Ah!-m-

to thy

li^

&'^tr

mf

—on •ufV- '-^^^

m ta \f»

rr

f-

^

156 ROBIN ADAIR.

=T: m^m^^f=a'^r^T=f

^^S :^ •«; -pT--4-s ^^i: f

=t=ttS=it 1^5=^^ ^^ Ei =^=P=

:t2=t

town to me? Rosem - bly shine? Rofar from me, Ro

bin's notbin Abin A

near;dair;

dair;

He whom I

What made theBut now I

wish'dball

nev

to see,

so fine?

er see

-aJ ffi~« J— fES# ^

± :^= :^-fS*-

-b ffl^-

5^=^^^^^^^^^-^ ^m :^=;i

Wish'dRoRo

for

binbin

to

wasA

hear,

there,

dair.

Where's all the joy and mirth, Made life

What when the play was o'er, What madeYet him I lov'd so well, Still in

amymy

^ ^-- ^--

^ -^ q?^^^fe^^=f==^ =i:iisi-

S^st

heav'ti on earth, OhI they're all fled

heart so sore? Ohl it was partheart shall dwell. Oh! I can ne'er

with thee, Ro - bin Aing with Ro - bin Afor -get Ro - bin A

dair.

dair.

dair.

^pq$=^^y^=fel^ T

§#m !^—s-

a ?» 157

WORDS BY EDWARD OXENFORD.

Allegretto Moderaio.

MUSIC BY GIRO PiNSUlI.Sua.

con graz^a.

^^^=^1*

ijV:^:

-a^- ^ .__J ^_=«?=:iL: :i=

1. Would you that I sing a bal - lad, Tell - ing of the knights of old, How they wooed and won fair maidens by their

2. Do you choose I should be mer-ry. And the air with laughter fill? Or shall tears of sad - ness gath - er, Fall - ing

~^S .-J^

p-N-

^fe^=^ ^ ^ ;i=n^:f?= :pg,|g=^4tat i^tti i=t2:

lance in tour - ney bold? Shall I sing of grief or sor- row, Tell the sto - ry of a sigh, Sing of hearts for ev - er

swift - ly? As jouwill; All I ask is that you love me With the love of years gone by : Be it laughter, song, or

un poco rail.

i--»-

con anima. f f

:S=^ ^=1^ -^-^ :tr=^

/^

bro - ken? As you wish it, so will I,

sor - row. As you wish it, so will I, rail,

un poco rail. PI "^.J3

As you wish it,

As you wish it.

So will

So will

19 I ^ - ^=M rn n -q F

li :^=i::st=3^i^±=|a ^p-g* <^^

w^-iSi^-. "-**5^ -5»i»^^-*-

^ -** m SJ=S4* * —=

fi^j^-

=^^ i*^ii^^y^ >1 -1—*|d>*]* ^m^^-=^ 1 1 -1 1 -n-=1- -H-n^ ^"^St :^

con molto grazia.

--f q= ^^t^ ^i*js— -P^=a

fet:

^:^*zMt r—^^-^

SingBe

of heartsit laugh

un poco rit. rail.^

for ev - ver bro - ken, As you wish it, so will I.

ter, song, or sor - row. As you wish it, so will I.

158 PRINCE CHARMING.WORDS BY HUGH CONWAY.

Moderato-

£^-^ n-rvr

' ^. fc :^ ^I

MUSIC BY JOSEPH L. ROECKEL

4-^fe|=^-^'|J_J 4

III'. -^ -•'

£b:=F ^mf

leggiero. ,

@;t?^~^ Pii«

:|=

^3 -4- =^^ &^i

:st=P 5 3tS=J.

^ 3F 3=^=^ =&«- -|0— I h-H«= 1

—

\^^—^—-«-•'

fe s^ ^=p=:f= :<^: '^~ ^-~

:t== iT:^ :^ :^3B ^ it*=«: :5^

1. Where the li - lacs threw theii' shade, Sat a dain-ty lit - tie maid; Closed the book up - on her knee,3. Tall and wise the maid -en grew. Came at last a youth to woo; Not the prince of fair - yj lore:

ilm^^- zj:

-is-^ s^ ^

s>-lSfe2= .^^^

«t^ rJ, J_j^ ^ ^ J J__J \J^AA_J_ -^g^ ^

r1*=^

rail.

ta tempo, dolce. f ]^

r- ^m-m-^^^ liW^ g :^z=i^=r—r- M=i^Deep in fair- y dreams was she. Soft-ly sang, "when I grow old,

Rank in love a - lone he bore ! Not with ma - gic gold, for-sooth.

One shall come with curls of gold;On - ly rich in faith and truth;

Blue his eyes mustYet she whis-pered,

con anvma.

rail.

&P roll. con omma-

^ i^ S ^^--r=^

be, and bright, and ids hands so li - ly white; Sweet 'Prince charming' it must be. He a - lone shall mar-ry me I

" Love, with you. Sweet old fair-y dreams come true. O 'Prince charming' it is he, Come at last to mar - ry me!

^^^^,-^^p J2^: =^=

roll.

gg:g |5.=

iP coUa parte}

Ia J.

g^rzz T.con anima.\P

^^=^^^^ i# \ji$-.

i ^^S". i*£

1 i^^ iSe?^='=Pf'

g4^4MiJjj]irjSweet 'Prince charming' it must be. He a - lone shall maiTy me!O 'Prince charming' it is he. Come at last to marry me I

:&\r—fi-^ Pif ,^. marcato. I —=rrr , i—^^^i

cres.

?21

I ^ #S^T^-|^^==^li^ f=^=f^

PRIMROSE FARM 159

WORDS BY F. E. WEATHERLEY.iloderato.

MUSIC BY MILTON WELLINGS-P

=^T^j^= '^~ ^ ^-^=i:

1. She sat at qui - et2. He has nev-er come; he

SE 1^=?2= ^- 1^^/J. gi J. ff««!.-^ -J ^=.^

imt^- ^

^K=HV :^=s: =^=F3= F^ 1^^i=s=s= ^- -^ :i=S= :^=^=:^

7rPrim - rose farm, In the old oak par - lor dim,nev - er will; And we both are old folks now;

And out of the window one lit - tie arm Leant down the flow'rs toShe waits for him, and I love her still.With the sil - ver on her

:S^' ^^^f^^ftt'fWW^t' ^l t|fl:-^-£i^-P^4 \-

risz^3=^ 22 :!J«t 1^^^ :2:±

cJr22

"?:?"

^ ^=§^ sS^ «c^—

^

:^:*t

trim. I o - pen'd the wicket, I lov'd her so, I ask'd her my wife to be:brow. So near we were, yet so a-part;Her dream, like mine, is o'er;

There was some one else," sheBut I pray God bless her

^^^^flF^-f^^^^^^i^^^^^^^SgS=t: ^ ?^-^

i-it. L'istesso tempo.

=Efr ^^iJ J—

J

=it= &whis - per'dlow. And her tears fell qui -

faith - ful heart. For ever and evet - ly.

er - more.For hearts must love,

For hearts must love.

but some must wait. Andbut some must wait. But

E£

Irit.

T•-»i»- ^•-S*-

Bz »—a'*l~

^. \^»- fe

g 4^- P ^122^ » «J-

te ^ F"^oc? Zji6.

gP J=^ ^=^ =^^-

some will find their love too late; For hearts must love, but some must wait, And some will find their love too late,

ah I for the love that comes too late; For hearts must love, but some must wait. But ah I for the love that love too late.

ii^--=l-

-5*3*- ^5»S«-:»^ ^ ^^^ ^^ a=is:

R^ :# ^i^ -^^:i^ V :^

3 3^3*' i%: ^ =5=^

160 ETRANSLATED BY E. W. M.

Andante maestoso. .^lA(LES RAMEAUX.) MUSIC BY J. FAURE.

1. Palm trees and flow'rs unite up - on our3. His gen - tie voice pervades tlie iiv - ing

3. Re - joice a-loud, Je - ru - sa - lem tlie

way,throng,lio - ly

Greet - ings tliey bring to us of joy'Tis He wlio brings life.joyand lib

Now let ttiy notes, joyous in praise

and glad - ness.

er - ty,

as - cend - jug,

Lol Je - sus comes, all bail au - spi - cious day;'Tis He who gives the dark-est night a song;God, by his grace of Beth - le - hem the low - ly,

He comes to ban -isb gloom and sadLight, though the way be gloomy. Lord,Shall hear in grate-ful song our voic

ness,

from Thee.es blend - iug.

W- J^=i^:?^ssr;

^^a^

J" "JI

c*^-

\ss=p =P2I

^=^^ES: ^^=t2

Peo - pie and tongues shall chant his praise. Tune ev-'iy voice, His name be glad - ly sing- ing Ho san

Glo - ry to God! Glo - ry to Him who comes bringing salva

tempo,

lion. tion.

Oop^ght, 1877, by W. F. SHAW^

HE GIVETH HIS BELOVED SLEEP. 161

WORDS BY T. C. TILDESLEY. MUSIC BY FRANZ ABT.

fcModerato vwlto. ^^¥=1^

^Z£Z|ij5=ii

i£ ^1*-^—^.izrzg

a^E^

1. Soi- - row and care may meet, , , , Thedin of war may roll, . . , Withchild - hood's win - some page, ... In

^:=!=

=iiS=^ :^P.

JT'S^—J—Jim t^- -3z tfl3=?^=^=i^ifa^molto legato.

zx

i/ dim. PPmj ii^^=^

SZii=^ =i^

tern - pest cloud may low'r,

all her rag -.ing flight,

man - hood's Joy - ous bloom,

The surge of SinGrief may op - press

In fee - ble - ness

may beatthe soul,

and age,

I

^Up • on earth's troub - led

Throughout the wea - ryIn death's dark gath • 'ring

sostenuto.

^ ;5=s= :p=r= ^. ^^sZZ2.

safe - ty keep,safe - ty keep,safe - ty keep.

^^:

shore

;

God doth His ownnight; God doth His owngloom: God will His own

3

in

in

He giv eth His be - lov

He giv - eth His be - lov

He giv - eth His be - lov

ed sleep,

ed sleep,

ed sleep.

P sostenuto.

«P= # ^ :a|=i

r-

r=r=^ l^i=^p

'-e=rzStt^s: 1^mf

-r—f-dim.

155 azilm^

He giv - eth HisHe giv - eth HisHe giv - eth His

be - lovbe - lovbe - lov

ed sleep,

ed sleep,

ed sleep.m2. The8. Id

#'S^W

M MAdim.dim. P

-W—.«-

t=^^F^^=^^^^

^=fT

(62IN THE GOLDEN EVENTIDE.

WORDS BY MARY MARK-LEMON MUSIC BY GIRO PINSUTLdolce.

gold - en days When the mill stream's song was still. And clouds were floating to gild the West, Where the sun set o - ver theaf - ter days When the stream of life flow'd on, And dreams were floating to gild our path, As they shone o'er mem - o-ries

cres - cen - do. i

1^=+^

crescendo.

m. i1- <^J-ri^^.

^=;eS=: i=2I -S2==;—

^

:2S

Animando. do. y dim-in-u-en-do. p con espress

fzrw^E^ :p=ft-»H^- ^3t=|J= 9—m—^

=k^hill. And it spoke the words I fain had said.And it told her all my dream,gone. Audit spoke the love she knew so well.And it woke the old sweet dream.

Once in the goldenOnce in the golden

-*:jy:d: ^ ' ^-— "~- ^, \ r

\r <f^ -^ p dolcemente.

^-^Z. *I w I

cres cen _ do. ^^" . r ' ^ ^

^ 4tf^-UP ^ ^: g

y dim-in-u-en-do.

:$=^: -n-s- l^= :=zz

Con anima.Affrettando.

dim-in-u-en-do. jO^

. a temmo. i

IN THE GOLDEN EVENTIDE. CONCLUDED. 163

diminuendo.

n

—

F ^rfim - in - u - en - do.

^^ :i=^ ir~g:=^= ^=^ -S—

^

irfzz^

oer,cres - cen - do.

Aud an - gels float - ed to gild her path, Near - er the heav'nly shore

;

t=T-

$

PNo long - or need the

w se-^-St- ^F=iS B f=T IS =?;^=tSg: zs:

lz=t=:

{ dimimiendo.

cres rfo.

*=-

^^pO^=g^le rfm - in - %i - en' - do.

<^- m p

p ts=: -*^s

JS2 IZZ

fc^poco crefi - cen - c?o. dim - in - u - en - do. p con espress.

--r=p:p ^ ^=jMT ^ ^jq*—^^^^ 5^= :p=P= lit^: ^ St=*

rose's voice awake the old sweet dream.

^ mDreamt in the golden e - ventide, On the banks of the sil - ver

iiS tt^^=:p :p=P= :S=q=

IE tzis t^tzz :J_J_-,^:z*i;:it=i

^^Doco cres - cen - do. dim - in - u - en - do.^— ^trr:> .-f^

It:

/»

dolcemente.

0P=<^- ^C^ f r-f- ^ef:^3=fp; 5tii Sit# ggj

/Con dim.

ONLY COME!WORDS BY R. REECE.

Allegro ma non troppo.

MUSIC BY B. TOURS.

164 ONLY COME! CONCLUDED.PP ri tar - dan - do. p a tempo.

ZSt mdecres.

q?::^=?=it^—-^ ^3=

rills .

lowei

Show day mustOn joys be

die; . .

neath ; .

Come, wheathe last . . . faint eve - ningCome, tlio' tlie world . . should cast thee

chimeout;

decrci.

^^f>^n-n^-^- -=1 ,

—

=^^=^ 5^Fed.

PP^ IN

# Fed.

P aecel.

:tS^ ^*

molto. m=i^hush'd and

is thydumb;home!

hush'dthy .

aud dumb;home

!

Come, or in spring, or in

Fear not a frown, ... awinword,

ter

a

^ Ig rs

accd. molto. cres - cen\pp

@S- Fj*ni:—n^

p accd.

m^ :^=JS-5i-=t =1-=^ ^:?-=i-5 ^I Fed.Ped. Perf.

Fed.

^-

f a tempo, con jms.

uOH MOTHER! TAKE THE WHEEL AWAY. 166

CLARIBEL.

i^ ^§

-s- :^ =P=P:!»<•—W^—bs»-V-

q^^1. Oh, moth-er,takethe wlieel a -way, and put it out of sight, For2. But Ma- bel came a - mong us, and her face was lair to see, What

^^M ^^^^ fi=-^r->, N _K5^^^ ^^J-^-

9=112=^ -J <^ J:

I am hea - vy heart - ed, andwon -del" was it, moth-er, that

I cannot spin to-niglit: Come near -er, near- er j'et, I have a sto - ry for yourhe tiiouglit no more of me? When first he said fair words to her, I know she would not

P mM m^ ^ ^

ear, So come and sit behear. But in tlie end she

side me, come,and lis - ten, moth - er dear; You heard the vil - lage bells, to-night, hislist -en"d, could she help it, moth-er dear? And af - ter-wards we met, and we were

rit.

w^i^ "^^^w^^^'t^t{m m

f&

i ^ f a tempo.

-r=f^ ± ^ g^ f=^-

wed- ding bells they were

;

Andfriend - ly all the same : For

Ma - bel is his hap - py wife, and I am lone - ly bere ; A year a - go tone'er a word I said to them of an - ger, or of blame, 'Till both be - liev'd I^ iE3 3:

--^-

'"^Jtf- ?t^^ d-d^^ ^^—-.g—

^

^Epesante- ^mZZ -&

-m M—^e=p: 3^ ^^^t^ -r—r-S ^=«night, I mind, he sought me for his bride,

did not care, and may be they were right.

And who so glad at heart as I, that hap - py Eas ter night?But moth - er, take the wheel a - way, I can - not sp n to - night.

fc

^^-i^^^ ^^^^^"^^ ^ 5t^

e^ =*; * t

166 NO SIR!

WORDS AND MUSIC ARR. BY#

A. M. WAKEFIELD.

i ^5=?=^

Allegretto con spirito.

^m ^s •8:

1. Tell me one thing, tell me2. My fath - er was a Span - ish

3. If when walking m the

4. If when walking in the

^=^ -m-r-3-^-"^i.

s-^ -^f^^- ^

^?^^ ^21

^a :ii=:^ it nil ^S^you scorn me so,

he went to sea,

all wet with clew,

you to be mine,

tru - ly, Tell me whymer - chant. And be - fore

gar • den. Pluck- ing flow'rs

gar - den, I should ask

1/ U 1/

Tell me why,He told me to

Tell me will

And should tell

whenask'd a ques-tion. You will

be sure and an - swer No

!

to

you be of - fend - ed. If I

you that. I love you. Would you.

i^^^^^^ ^ m ^m1^^ --*^

rj-

^IS2^-

pm mosso.

mSzM=^ ^al-ways an - swer no?all you said to me

—

walk and talk with you?then my heart de - cline?

No sir! no sir! no sirl sir I

I ^^& 22: i =^1—«-

w m^^-^ mir^j

KATEY'S LETTER. 167

Andante con espressiorie.

LADY DUFFERIN.

^^3±JQi^.zg=ir:i=^ :!^=^^—^. ^^Och girls dear did you ev - er

My heart was full, but when I

I wrote it, and I foldedNow girls would you be - lieve - it,

hear, I wrote my love awrote I dar'd not put the

it, and put a seal upthat post - man so con

let - ter. And al - tho' he can - not I'ead, sure Ihalf in. The neighbors know I love him, and they'reon it, 'Twas a seal al - most as big, as thesalt - ed, No an - swer will he bring me, so

i 3E3 + ^ E^ \^^s-i= i^

P -^ :^^i

-=i—j^

^^^ ^ Ir^:=P=^ a&i J ^ ^^^:, ^:^-k—tg=

thought 'twas all the bet - ter, For why should he be puzmight - y fond of chaff -ing. So I dar'd not write his namecrown of my best bon - net, For I would not have the Postlong as I have wait - ed. But may be there may'nt be

zled with hard spell

out - side, for fear

mas - ter make his

one, for the ra

ing in the mat - ter. When thethey would be laugh - ing. So Iremarks up - on it. As Ison that I stat - ed. That my

^ —r= \—

I

^:^=^ 3^ 3=^iSr*- 3: -*-

gB-

I-fe-

:S=P: ^^^ JBW: m Si==ij=i=t2: 5

maneing was so plain that I love him faith - ful - ly,

wrote, "from lit -tie Kate to one whom she loves faith - ful - ly,

"

said in - side the let - ter, that I lov'd him faith - ful - ly,

love can neith - er read nor write but he loves me faith - ful - ly.

I love him faithful

I love him faithful

I love him faithfulHe loves me faithful

^^ mm^ "i^

@= m FFiri

-J—

^

j^^ ^ly. And he knows it, oh! he knows it,

ly, And he knows it, oh ! he knows it,

ly. And he knows it, oh ! he knows it,

ly, And I know where e'er my love is,

with - out one word from me.with - out one word from me.with - out one word from me.that he is true to me.

1^ ^ s if

r

m IT WAS A DREAM.WORDS BY R. E. FRANCILLON

ATidarUino.

MUSIC BY FRED. H. COWEN.

^ MmPP espress. a tempo.

Yj^Jp^zz^~rD-

stream.

beam.It

It

waswas

dream,dream.

5=St^=t=4^

in^fe^fete ^fe^^^^^-^PP a tempo.

,e3= fiw. m-R-

iJEiIT WAS A DREAM. CONCLUDED.

cres.

led

:S=ii atit m 4*= =PhkSE ^.^

-I

—

A-gain I look'd on tlieold, old place, A - gain I saw 'mydar - ling's

Again I lis - ten'd to breeze and bird, A - gain my dar • ling's voice Idream,dream,

dream,dream.

A - gainWe kiss'd

"We wan - der'd by the stream,be - neath the moon's soft beam;

It was aIt was a

&*&

g©3:nb I g^—=1- c) =— I k —• _

—

—J I gz —Jf2=

—

fa tempo.

MS ^-

J=t^

^dream, it was a dream.

lim ^^^ E^^

a tempo.

^=^-^ej3|i^ira

170

WORDS BY META ORRED.

IN THE GLOAMING.MUSIC BY ANNIE FORTESCUE HARRISON.

w -JTzqm.

:g: Andante.

1. In2. In

thegloam-ing,the gloam - iug,

"^^^^^^S

r

:=t: g 2:

3"

^=P=PI

> m ^=^22 f^oh, my dar - ling, when the lights are dim and low;oh, my dar - ling, think not bit - ter - ly of me I

And the qui - et shaThough I pass'd a - way

dows fall - ing,

in si - lence.

(

soft - ly come, and soft - ly go;left you lone - ly, set you free.

When the winds are sob - bing faint - ly, with a gen - tie

For my heart was crush'd with long - ing, what had been could

Sifcs-=5£ =»^^^r^^6p^.^^^^%^{^m ^E^^^ F W

::f?=r=3^

con anima. 1 %g=:p=J= =F

^ J-

un - known woe,nev - er be.

Will you think of me, and love me, as you did once long a - go?It was best to leave you thus, dear, best for you and best for

W^tS^ Sit

roll. colla voce.

i^S==i'«=i=^=S=fe; ^*t=Si -:gr^w^me; It was best to leave you thus; . . Best for you and best for me.

s-^£5^^ m?2I u ^ ^ IS 3:;

'^Z,'. i^i

B^ -s^

I CANNOT SING THE OLD SONGS. 171

CLARIBEL.

^ ^EE

Slowly.

^ ^e^^e^

i^*^Ji

1. I can - not sing the old2. I can - not sing the old3. I can - not sing the old

songs I

songs, Theirsongs. For

'f^-^-m--

mmp

gtfg"-

^^^=Su^SS I2Z2

^ -^1^-1^-p^

sung long years a - go,

charm is sad and deep;vi - sions come a - gain.

For heart and voice would fail

Their mel - o - dies would wakOf gold - en dreams de - part

me. And fool - ish

en, Old sor - rowsed, And years of

tears wouldfrom the'r

wea - ry

flow;sleep;

pain;

ForAndPer-

:i ^^ ^zr-r~*

^^S3E3

ts=:it

by - gone hours come o'er my heart, With each fa - mil - iar strain,

tlio' all un - for - got - ten still. And sad - ly sweet they be,

haps when earth - ly let - ters shall Have set my spir - it free,

I can - not sing the old songs. OrI can - not sing the old songs, They

My voice may know the old songs. Fors 5=^ ^^--^ ^m ^:«*:

r-^dream those dreams a - gain,

are to dear . to me,all e - ter - ni - ty.

I can - not sing the

I can - not sing theMy voice may know the

I-U»^hS

^ ^

old songs. Or dream those dreams a - gain,old songs, They are too dear to me.old songs. For all e - ter - ni - ty. .

^EEES

Pmm

-^ ^T^—

^

172 THE KING'S CHAIfUPION.

WRITTEN BY EDWARD OXENFORD.Moderato. > —*«*1*^ .

I

I^ ^ -m-^mzsz

JCOMPOSED BY MICHAEL WATSON.

3^gfT*^ ^ ^^

/

^ffi.-- ,^

ffi/

fff:e*

^E^EEr

p-/

i^^ 'J^4. &J

:^

.-^^ff^

h-U&*^^

^^ i£

1. The trumpet's blare bids all - pre -pare To2. In pomp and pride the no - bles ride Be-

j^ i ^

—

^

m -m=^^^-^ 1^

!/ sfff

nfH=^^

-i«- m:^

f» "^^-^9- Sip £:^^^ ^^^-^

P ^^^F#=^ ^Essa ^ H-J *^ ^ N—**— >^

^^=^ «l *^ g<^-

-fi^^ * . t^?

don their best ar - ray,

side their sovereign lorcl,

For squire and knight,

And one and all

in armour dight,

would fight and fall

At - tend the kingEre he, ere he

to-

shouldrisk the

^h^

rday.

sword.InNo

er-min'dgown he waits the crown That soon shall press his brow; And who shallneed, no need to court the deed Whilst I am rid - ing by; For me a-

mt=mz:^-m\z^=il *| *| \-*-m-—

•

^li^i^ii: i^: i^J 9- -a>-»-0>-

m^ ^Hrx^

foco rit.

irsL

^l^-.^ 122J. . J- tf^

•^-I wait the an - swer now,I spoil fhe foe or die.

wait the an - sw?.'

spoil the foe orsay . . . the wear -ing nay?lone . . . the gaunt-let s thrown

%—'A-»—«—•h* Pi i %E^^S^-w *

;«^ -*

—

smf

eolla voce. 7'

^^ ^^^^S teE^s/

Z^

THE KING'S CHAMPION. CONCLUDED. 173

ad lib.

S-H^^^^n ^-==^

o tempo.

^ ^ ^al ^ m)

^2ri

now ! . . . . So-ho ! so - ho

!

I wait the foe.

die! . . . . So-ho! so-ho! I wait the foe.

tt* 1

So-ho! so-ho! 1 wait the foe whoSo-ho! so-ho! I wait the foe who

=1—S-:5^

M^-.

sf fa tempo.'*^'

^^ E

colla voce.

^r^3^^t;^

^^'^-l^ ik 1 »* Bai_ -^—B<:gr=^=± ^"-^^"B?

i^i^

/

:^ g^=^ :^EE^-.s*-

dares de - fl - ance fling; Who - e'er he be, he'll find ia me The Cham-pion of the

r^:s:=i-^: =i-S-

W-^& ^ is-/H 1 ^-

'/

iz:; 1 ^1=^^-^-

enerffieo.

m ad lib. -> mH.!

-tSi- e:^==r 3t

be, he'll find in me, in me The Cham - pion of the King.> > ^ >

^ ^J ^ r ±

s A-jt ^v colla

^U «/j^ a tempo.

w^^

174 THE KERRY DANCE.

Vivace.

m^=^4^ -^ r^rlLJ

J. L. MOLLOY

P- m ^'W-^ -m--<S:

'^'^^^^^^^^-f

^bS ^f&^gM^gf^ g^?^

K^ f^=f«= i^^J—

^

,-^-^^: :*=i=if

Oh, the days of the Ker -

Was there ev - er a sweet -

ly danc - ing! Oh, the ring of the pi - per'stune! Oh,er col - leeu In the dance than Ei - ly Morel Or

for one of thosea proud - er

b : h^^—^- 1^=^=

f-=1—=1 f^=^ =L--^—1- =1—=1- -=1 s?-

1=

il== ^I

1 -t-4—=1- 1- 1^

^-4—^- -=1—=1 4 -4—=1- -4—=1- 4—=1- ^^—=t-

m i=r=H«i£t^

hours of glad - iiess. Gone-lad thanTha - dy, As

a - las!—like our youth, too soon! When the boys be - ganhe bold - ly took the floor !" Lads and lass - es, to

to gath - eryour pla - ces,

b hi—=1—=1^-4—=1- :^=^

^^=t: SE-^1 =1- _1 =]_ :^=^i=^^ i ^-4—=1- -4—

^

^ 11 ^ 11 -4

—

^ :^=^

g i^ SSEE^ S^^S feS it=ta:

in

upthe glen of a sura

the mid - die and downmer night, And the Ker - ry pi - per's tun - ing made us long witha -gain," Ah! the mer - ry heart - ed laugh - ter ring - ing through the

=^_Ji—1-P^ :tt^1 1 ^r 1 -4—=^ -^—4- '^=^^ t^ :t;*£

1 1 1^ ~i "'I - t»i 1 n -4

—

1 U* 1 -1-1 1 -4—=1-

rit.^=r=fe «=P= N 1*i5 rtz

wildhap

de - light:

py glen!

Oh,Oh,

to

to

thinkthink

of it,

of it,

Oh,Oh,

to dream of it, fills

to dream of it, fills

my heart

my heartwith tears!

with tears!

^^^m ^M ^ =! • =5 =4 -^—n- _=)—1_ -=i—=1--fs ^ >

i

^ ^ -jtr

S I N--1—=1- :^=4= a -4—1- ^ -4—1- -=)—1-

1

KERRY DANCE. CONTINUED. 175

^^ qs=:*-f—w ^:i=M^Oh, the days of the Ker - ly danc - ing! Oh, the ring of the pi - per'stune! Oh, for one of those

(^lE=^EE5E:i^5E==pEE^^^ ^-« =1-Vs- ^—

^

:?£=^:i

5*^ *^

g ^fe^

r=J^-=;—=t- -51—=1- _51_51_ -=!—

^

1—-=i- -=i—'^i

—

^ 1 q- :^=r= ~i T

rail.

^^^ii^r—

P

=:*=:it

hours of glad - ness, Gone— a - lasl— like our youth, too soonl

^^ ^n—4-

ii^t I:! 't^ '^-- '''^^T^

iI—

^

¥^^^-^ ^-=f—q- -=i—=1- g^EEEfez^feP^

^-^ ^--'s^ ^25»"r=

i2 piM lento.

?¥^=^^

=P==*rv- -,^1

Time goes on, and the hap - py years are dead, And one by one

J* fe^the

T ^^ =1 a-ig.: ' j:y

£=^ ti^ Up:

±s ^ w==w^=^-^^ f—g—r=^-»—t^ —t^

—

» t>»

is the wild and lone - ly glen, Where the bright gladmer - ry hearts are fled; Si - lent now

ifcr t ^^fe^ =^ *=5:^ ^: -tJ^ •^«H

1^ ^?EE^» -=1 =1-

^^==:

??^IE </ ^^ i^ iEi^: S J . S iffriii i^

[^

r—flaugh will ech - o ne'er a - gain, On - ly dreaming of days gone by, in rny heart I hear.

^ ms

zr2z^ i-f=2-

3i=

^2-

^:: ffl

176 THE KERRY DANCE. CONCLUDED.P Icnle sempre.^ ^E^g :Si=1^ m^- ^:i=«-=if wj—y :*=*= ^lov - ing voi - ces of old corn-pan- ions, steal - ing out of the past once more, And the sound of the dear old mu - sic.

mizi;

Rg: : fe^:

»^^—

d

U— r,-"r^

—

T^ F" r

ll

—

^—.—-V

poco accel.

^^^ w—

r

P=P: ;^=p:-^ ^^-^ ^; Se:Sz3^ -^^z^

Soft and sweet as in days of yore. When the boys - be to gath - er in the glen of a sum - mer night,

ifcr=p:s=-^^ J -. 1- -4-^ 5:^=^ -=;—=4- '1 1 r^i-n

$% '-S «9

rTT#*=: 5 -=i-^^ 1 11^ --=^-^ -n-=i- -=;—=1- -4-=i- -=^-=1-

sempre cres.

^^ =P=P-r-^—r-p=^ p=r=?^ '*^ i**-

?=p= ^r^±=^- ifc=^ ?=^And the Ker - ry pi - per's tun - ing made us long with wild de-light ; Oh, to think of it, Oh, to dream of it

i^=^=^^=^ ri=^=: =f*E4Z^=fe=j ^=^ * ^—A— "J^l 1 ^ 1 1

s

^;;^-["*^^^"^ '^ 1^^ ' I ^ V i -^ ^=—=1

—

"J^ 1 J 1 1

5—

5

in'f.

^ ^^^=ff= -r—wi^=f= :*—

#

l^B. -^ »

fills my heart with tears 1 Oh, the days of the Ker - ry danc - ing! Oh! the ring of the pi - per's tune!

^=^^-E^ i ^ 1^^=1-=1- -S =) ^i =1 =1 1 11W^^m

^ =1- -^ ^-^ tK

g ^^-1 i' ti^^ -^i-=i- 2:; H=*-^ -^=^-=1- =^=^ -=i—=1- -'^~^^- :^=^

pin lento al fine-

^- --m-- g=P=F ^^p=EEJ=Miz=iJ. 1 1 y 1

Oh, for one of those hours of glad - ness, gone, a - las! like our youth, too soon!

^^S'-.Ctsr^r^ -U 1 1 ^ i=

m ~^'-

V • 3 .

i^1 1 it q-

^ * ^' Fed. *

ADELAIDE A. PROCTOR.Andante moderato.

{

~

<

i^zzrlq

:^=«^i

THE LOST CHORD.

J

177

ARTHUR SULLIVAN.

cr9s.

te:^-<£3-t—

-^- ^ J J.

dim. p' T r-r

tz: -<S4:ff=^:

-ri)-^

,c^. J. Jri

p-C^-^-=g:* Ped. *

.jaLJ f-

^ i:zt=p=P8=

25^

:iqr^=!v::::s:iq-~zs=s:

:*=i=i)-S---J=iJ::q: :=!= :i^^=S:

:S=i)=:S=«:^: :i=J= PC

'^-^—W-->-t^=^-

^= :e2—

:

Seat - ed one day at the or - gan, I was wea - ry and ill

P

'r^=^^^^^ f

at ease, And my fin - gers wan-der'd id - ly

--& SI-

~c:r

r<^r--iS-

s>-:c2:: fe- 1©.-

•c?"

.(^_

:^i W :g=::-_^^_.

?=:: :p: ;^i

re(i. * Ped. *

J=q: :=1—q:

ri: ^=^: :q=:rq:

S^i=:*—S:^\—^-d=*

cres.

:^ ^=C*:ni: tf' tH^^—^- ^-^'-

s

O - ver the noi - sy keys;

i=^-

I know not what I was play - ing,

I

-^^-r—z^J^-zmz^

XJ r—

r

f ~p'J^«—§« p—

Or what I was dreaming then,III III But I

if II \ \ f f \ fI

dim.

rSI-

:^=1= -|—

:«^—5^=?!::=:!!=.^_^_^__^SJ- -«^-

i-I '-I F ^

1^

Jr

-t:Iff: ^=^=

:1=

is:

cres.

-M=^zf^

poeo rail.

:^:^=i^=*-:|

-4-dim.

:?=:

:t:::

:S'=*=ii: -«'-aJW*??:5::z2i I

struck one chord of mn - sic. Like the sound of a great A - men,

J—-J-

Like the sound of great. A -

:^--=

p

^=^—

1

11

1—I—

I

1"^^1

40 « ^ «—A «—01

—

m ^--^'~

--m=i%II:=1=

-?zi- ^/

^3--Ssr

dim.

--m-t:

iffl!:::^= ^

^i=

2^- :S:

-ft*-

-<w-

S—

^

-e=^

:^- H :S=d=r :5=ii=i=3= :^EIt flood - ed the crim - son

-^ ^- -^^-

f'-T=^

iL-t --1-*.

-P2-1:?=^=:^:

dim.

^ St.-^P

rS

'-S'-

:=|: ]^3^"When accomBanied by the Harmonium, the Piano-forte is silent from this mark * to the corresponding one on the next Baae.

m

im THE LOST CHORD. Continued.cres. dim.

Like the close of an An - gel's Psalm, And it lay on my fev - er'd spir

I j:

it, With a

^^^=#iE5i^--=='=touch of

8vain - fi-nite calm.

.ir

—

m ^^

-=mm^^-^-1»:

It qui- et - ed pain and sor - row,

"-A^^zzr

dim.

gE^^^^J^gET-EE^TjlLike love o - ver-com- ing strife,

jZXrTIt

dim.

:4

I T~ %i=1=

:^EE:slS=^3?:

-I-

^^3=i==3=feEEJ=Ei^«ir^=--^«tF*

^^

-a—S.—

^

trnnquillo sempre.

=t=I:iJ: :^^ztf: ^^EEE^_.'=.gJ^^i^^iii^li^^^^"l^"e^

seem'd the har - mo - nious ech -

11 V-

From our

t: :t:

dis - cord - ant life,

I I*—

TmmIt link'd all per- plex - ed

^f2- :t==t== mp P tranquiUo.

::^-=--

f1=^=:=1=F:^:^===n= PBZZH—

-a- -I— t- -r-

poco rt poco piu animato.

y agitato.

-S- :ff=p:-b'-b*'- :tz—t^=t: -t~

it were loth to cease

:

:=1:

P f agitato.

1 I

=^—J—F=^

— I 1—

I

I have sought but, I seek

' ^ I -' -J . -* J.d- -4-

_ . -m—m~ \f^=^

;t2=tt=:

it vain - ly,

I

If:-I—

:tt<^:

:=t:^^:

That one lost chord di-II II

i- -I-t^-t

::T i.*l=--5:

-:^-

:p3i

^^E^SEPS2.

^ ^

THE LOST CHORD. Concluded. 179

Pedrs^- * Perf. * Fed. Ped.-^ *

EEEEEg:

that on - ly

Ig^l^^^i^llli^^in Heav'n

==g=:r1= :ff=(?zz::

I shall hear that grand A - men. It may be that Death's bright

EEEEEEE^pj--^-

:g=

^ tg= 1«/ «/

:t==t=: :d= ±:-B==::ag:

tri::W: •Si- s»-

:f: Ped. * Pefi. * Ped.

- gel, will speak in that chord a - gain,

nJiTF

* =4:"^

Ped.-^ * Pe(£.

_^ ritard.

^^ ^f^

-Jj-

=^con (/ran forza-

-t:It may be that on - ly in Heav'n, I shall

i!—S< :M==r=i!=i=::»!:

I t

fff ritard.

^^coJlu voce con gran forza.

ei^ :^H=:t=:

f-i-^

?2:

:^: :^= :s:^: ^:

hear that grand

I

A -

-si.- iCtsi^

'-^^'-

i « «1 .SI

=il=g:

a tempo.

'«5*=-"^i.=S=8—^-

rall.

I—I-

:t:

1

—

* Ped.

^ =a=ts

>

:q=:rt:

>

<si-it: •S'-

•.<s>-

* Pcaf.p«j; * Fed. * Pe<?. "P" *

180

THE KING'S HIGHWAY.f . E. WEATHERLY.

^^ K'^

3^=E^^^-^- --^

J. L. MOLLOY.

l^^lT-:

rit.

^=W-

Ped. ;{: ^erf.

g=^=t2-=?B^---1-^—-s—>^-ipiff:

Fed. *

^=^:^li-s—

-Si :t^w-

Pfd. *'i^. *^

:3^-:^E^---K-^—^:

-»-jp(-

-:^zs^ziM:

li?:^.>=p: ^^^—I-

;s^1. Who rides yon - der, proud and gay,2. Hug thy - self in wealth of state,

Spurning the dust on the King's Highway ? Lord ofthou-sand a - cres -widejWhile

Emp - ty purse has a care - less gait, Thou must watch thy chests and bags, 7

-*'- -5- -^- -^ -«!- -«(- ^- -^. -^- -^u -^- -^- -^- -«- -0lr -«- -«- -*- -»!- -«i- -«1- -«P-^- -#l- -&- -m- -0- -ff- -m- -9- -9- -»- -«f- -9- -9- -9- -9- -9- -9- -9- -9- -9- -9- -9-

~-^-

poco ri tar

=1:

dan

;i=25l=J= ;3

—I—

do. a tempo.

;q=|^=^*r^^F=-^==p=3==F^r==^^=j5zt^===^":3=ifi*«aa^;8*±::^bz^==t^z=5_==tt=i-_j^=5zi^«^=&==*=

=U:;i^:

^p=p-Er^"==—-[2=^Ttt=r_^:F^.^

I, the beg-gar, must stand a - side : Go thy way, let meNone would steal the beg - gar's rags: Wine for thee, for me

I ^go mine, I to beg, and thon to dine;

a crust. King and beggar they both are dust. And

--^jig '»

===1v=j=£i:^:Fz:j==z|^=jz=j£r^==-^—|--==jyE==j===^=t:==3V{^

-9- -9- -9- -9- -9- -9- -9- » " » •" Jt_h -a»l- -J- -J-

Scatter the dust on the King's High-way, But room for the beg - gar, room I say. Fair and free. Night and day,dust to dust will be borne one day, *\ High and low on the King's highway-

±iS^=z=ra|3=;bzS=

n.-«- :=l: E^=5EE^EE^=fE-

-i^^-rt,-^^---A

W—

^

^ ^9^S 9: :S:

:=i:

-Jt=q==1^

.^ i^

=^-=^:J=3-Sz^

=t^-

i :_^ N» :*«-=!- -q_.

S«^ f M * P^-d.

l8< I'erse. ^ ^

^^^ii^^^^^^lFair and free is the King's Highway, Fair and free

A ANight and day,

A />

Fair and free is the King's Highway.

* Fed.

THE KING'S HIGHWAY. Concluded. 181

2d Verse. ^ ^

i^^^^7^^

^-A A A A •8:

Fair and free is the King's Highway.

:^EE^

^=*:

"ii!^--t^-

^p5=^i:^i —q_

^3._>_

'tf=!lz:M=r :^-JW; :5=^ -^f =1-

P e poco piu lento.

9- -»r -^-- -9- -»-

^

$s^-^z^;

^-5-

:^:

==irrz?_

3^5S::^-

TV

,.-i_.

*

ii^=

S-•i-=i-

.-z^.:=1:

n z=t=:

=3:

:=^ ::^: 1^r:1tz^=^-=:|^r^=:PZWtLZMtiM *^^l3?EESi

A

Dain - ty maid of high de-gree, What has the beg - gar to do with thee ? Thy life is morn and love is May,

-J:~|r^-t--^*—|rjrl^f-|—|r-i- i"|ri

123:

=1;m

rit.

:^=i ^==^*i^tiit;

:5:^«^^rp w^m=(t:p*r

:b^1S- 3^=?-^^wtizzr±zs^z

'-z^^^zz-^^.e siiSiEipz=E5-Eitz

What has the beg-gar to thee to say ? Uen - tie word hast thou for me, In my heart a tear for thee. And

^I

-|--

t)ffSi^-

^^—«=r^— -

=1: :=!=

:S: &5-

--I-

jir®';:^:

-«- —Y

:§5=:^

sempre pm lento. rail.

IjfUIjZIII==:K-T=q^^:

i^-g__gg g^zg--giipa: :k:

PP ^p

^^E^^=3Si3El=i^=i^::f^-*'—»!-

:t2:

Ah ! that thou shouldst fade one day, E'en as I on the great Highway. Fair and free, Night and day,

Fair and free is the King's Highway. Fair and free, Night and day, Fair and free is the King's Highway.

J*5:=f5i;aj^-i_a(^—as|^:2_—a^ P=*=2; s£=£m -i-=w- i"-«- -«- -4»i- -«^ • -"?- -^ -^1- -^1-

-»- -*- -m- -9- -m- -9-

-A-r^— %%? *

S^^ l3=^=s^£ -^?—q- -^-=^5S=*=

-«—-n- ^JM.- ^ Pcd. :ic ^'

Ped.

182

LOUISA GRAY. LOOKING BACK. ARTHUR SULLIVAN.

-=!— ^:3sE5^5=^

1. I heard a voice2. But ere our sum

long years a - go, A voice so wond'rous sweet and low, That trembling tears un- bid-den rose, From themerpass'd a- way, Thatgen- tie voice was hush'dforaye, I watch'd my love's last smile,and knew. How

^ -^ :S: ^S: :|: 3^^ ^: S ^' S: S: «: ^^ ^ ^--=srrz:zr

-m- -«- —j-

-*F- -*- -•-

t^:•?=*-

depths of love's re - pose, It floatwell the an-gels lov'd her too, Then si

«^|=E^^?^3=5: WMed thro' my dreams at night,

lent but with blinding tears.And made the darkest day seem bright,I gath-er'd all the love of years.

ItAnd

3: ^ S^ §S

i^izzl.—

r*-=^ ::J^

5: -1?

i-I-

?^=i 4—H- :^-:=1-

t^:

raZ/.

whisper'd to my heart, "My love," And nest-ling there,forgot to rove—

>

laid it with my dreams of old Where all I lov'd slept white and cold (

:45:i r==^=lv:=ftqv

z3^=b|^^z^±:S=*=:i; iEj:

Un poco piu lento e con molto tenerezza.

O my love, I lov'd her so, My-s^-

lov'd her so. My love that lov'd me years a - go.

*i=^:tt*;

5^5-(?- -^ -€-

4S-H

r-

S:_-C-_^J^H^pilf^p

THE BRIDGE.188

H. W. LONGFELLOW.Andante con espriss-

MISS M. LINDSAY.

1. I stood on the bridge at mid-night,

2. For my heart was hot and rest- less,

As the clocks were strik-ing the hour,

And my life was full of care,

T- =SI=1=

:ii^S=J:

And the moon rose o'er theAnd the bur- then laid up -

zi^zB^EEE ^z

P

:g.

^^^^J-

§^ :^^i=-.M- 1^^—

^

-(S"-

9Sm- -^ m zm.-——.

^ f r-SI-

±r=:t

cit - y,- on me

:=1: :^=S: ig: :3=i=3=;:

Be - hind the dark church tow'r,

Seem'd great-er than I could bear.

And, like..

But nowthe wa - ters

has fall - ea

-^=^- :^-=lt x:

±-Mz :^i-*: :=^P:=l^q=

V b^—t^-

flood of thoughts came o'er me, That fiU'don . ly the sor - row of oth - ers, Throws its shad

1^-9^-^^*- c^

my eyes with tears, Howow o - ver me

;

Yet when

oft - en, oh ! how oft -

ev - er I cross the riv -

en,

er.

In the daysOn its bridge

that had gone by,with wood - en piers,

I hadLike the

184 THE BRIDGE. Concluded.

HowAnd for

(

i^==l:EE5 :^=:«;

n^q:zii

stoodlong

on that bridge at

as the heart hasmidpas

night,

sions.

And gazed on that wave and sky

!

As long as life has woes,

HowThe

-zqs_i)i,_«^_^_qsirs::-i^=:S=t=i=i=

4N-4S-

:i=:--;--^—-Hzi-gi

zirb^—[-:

V—m—|

g- -W^

oft - en oh

!

how oft - en

,

moon and its bro - ken re - flee - tion,

:?=

I had wished that that ebb - ing tide

And its shad-ows shall ap - pear

:^WouldAs the

z£zilzi==iiizbg:izbg—Ez:i:g=g-Eg:=brrzzz=—-—to—

^

qv=^l^^gf:

:J=3ft=i;

bearsym

me a- way on its bo- som,bol of love in heav- eu,

^-^ I

O'er the o - - cean wild and wide

!

And its wav - er - ing im- age here.

186

ii ij

FRED. E. WEATHERLY.Allegretto.

JOSEPH L. ROECKEL.2d verse a little nlower.

1. There were three young riiaids of2. There are three old maids of

——j—t^S—*—

S

^ a>-p-^

they were fair as fair cau be, These three young maids of Lee.

all are cross as a gal - lows tree, These three old maids of Lee.

:t==

But these young maids theyNow if an - y one chanc'd— 'tis a

a little sloirer.

ztzz

"S?"

:^=r=ai|: -s-

ucan - not find A lov - er each to suit her mind ; The plain spoke lad is far too rough, The

chance remote—One sin - gle charm in these maids to note, He need not a po-etnor hand -some be. For

iw=^22=

:T-

9^- -(S*- m-:^-

1^ J^(^-^.

iores.

ZZ^Z

=^=:]==|=

$

rich young lord is not rich enough, And one is too poor, and one too tall, And one just an inch too

one is deaf, and one cannot see; He need not woo on his bend - ed knee. For they all are willing as

=ffg-

=1= =q=q:--=1=:=)=F^=i==l=:^:q

g -JZ2Z-iS-

leggiero ma marcato.

--=[-

-ei- -9- -9- -9-

~W- :qz=z

--S-—

s

:=i:

i

iStJ 'A BIRD IN HAND." Concluded.-^-^

rail./TV 18

L J1 j ^—L_| 1 1—

K

It1 ^ ^J .

1

short for them all. "0th - ers pick and choose,and why uot we? We can ver- y well wait," said the maids of Lee.

willing can be. He may take the one, or the two, or the three, If he'll on - ly take them a - way from Lee.

I J I I

-S^^^~zzr^-^:55*1

rail.

^^•c*- -ct*-

-A 1-

:^:

=1:

i3^iE=ii

There were three young maids of Lee,

a tempo.

They were fair as fair can be, And they had lev - ers

-T- ^=h=^==]=3=s-

P ma marcato.

:i:jr=:1--=]: r=s=i^N^-g=^

:^:

*: it

^ j'iY. largamente.

^^ee1^^=?^ :t=:r^rzzrp:

:?=pr:f:i -^-

For tliey were fair as fair can be. These three young maids of Lee.

sts

—I-

f rit. largamente. ff

EEEEEEEEEg=F=^^'^=p:-ft^c

:S=:=1=

-=1-

=t

2d verse tcmjw primO:

:=lv

^—J-\.z^=.^^=^-=z.-^-Yz^~.

f

EUg zt=^===-1

-|p»—

-

There are three old maids at Lee,

tempo primo.They are cross as c oss can be.

:zn: :qr=q:

marcato.

zzX=^ziz

:g: S:

And there they are. and

ai^

f colla parte.

~=^:^: :S:

—\—

-=1==1==:1^=1^=^:

::^=^=:^:—I-

^==1==!=",;=P=*===^^p»=

ii^=?=l=

-t—I1 1

W<. ff largamente.

S

there they'll ])e. To the end of the chap - ter, one, two, three. These three old maids of Lee.

mi

_^ ^^ largamente.

^i;T^-

f=rE^^E II

///

t-*

BANBURY CROSS.187

EDWARD OXENFORD.Allegretto.

"J:

MILTON WELLINGS.

9'il^ ^

"Oh, pray tell me the road to

pPfr^ ^^^--=3=11=1=1=?

feigi^^fi^^li^^ig^gi^^^^-^^J_J__J.

J==e^eII?-3e^I^

Ban - bu - ry Cross, To Ban - bu - ry Cross," said she,

—^-

:=^ ::s==^:Si:^=:i=S=*=i-5=*

:S=* :i)=«^-:^=^

" For I've luiss'd my way, and am quite at a loss. They'll

d—«*-?E^^ :S3K:i=*:?=$--J=

pSS^^^g :i^:2=*-

wonder what's happen'd to me-

"

tt2=t2::=1: ^^ggS^^^gEEiEEgEgiggi

-S*=&^=

r Sf»'

" Oh, Ban- bvi-ry Cross, pretty maiden," he said, "Is ma-ny a mile a -head;^1 ' -=^r-_.^—

4

But I'll

1^=.— Si^

p mf

^^=^m¥^^^^w^^^mEmmm^^^--

show you the way. That is if I may?" "I thank you,good sir," she said.

I I

:s:=f? :^;=^: ^rq==^:'rf^--^-^-^--^.:^='

-J-

I— :p|i^lf^E==i=^

siz: ^ •-ttS *

So they journej''d a-long towards Ban-bury Cross,Thro' lanes that were border'd with flower's ; And she

w^i^F^=

-f

-^ ^:«/

^^^f P

¥=S=::st:=:

188

Jziz::g—r—r—g:

i 1--

BANBURY CROSS. Concluded.

1^=q==q:-g—g^-hJ—j^—^—atl =^—

N

-^-:^—i:

:|^-q=:S:

:t:

coy - ly spoke of the ferns and. moss She ciiU'cl in the lirightsuiimier hours. "At Ban - bu - ry Cross,pretty inaiileu," he said,"What

==1=^}

^ -SB m.V-:=j=

J ^^-:q=:-z=r^-r-b=:==!=t=^=i1: E

'^^^^^^^^l:^ -^

—

20'-^--3=^^- :e

-f=—

I

^-^

^.i—b«

—

ac! lib.

:ttSe-

±=ttHffl tempo.

'StirW-

hap-py lives must be led

;

Howl wisli, yes, I do, That I lived there too!" "And why not,good sir?" she said.

:s^=S: s:^--€- :5:

,^

-%-m--^^-

j^ ^_ja,-

--ft»-*=.^=

l-PS^—I—«i—hgfi—I—^-F^— 7i— Ti- •T

/

bJr -^i^i!:^=^^3==|t:zz=t^

q^ qv=^^^t^:^^E3^

:=lv=^=

i

-N(-

:titfi%-.%zW^-%:^-_

r-i»-

^-

The Church bells are ringing at Ban •bu - ry Cross, All Ban - bu -ry Cross is guy!

-^e=mAnd a-

--S— -S—^^^ k«j

.-=:.-z=:--t--^z|^Lr.M=E liii^iii^illiE^E^

J=^;^^=1t:qz:: -Ai,

^l^^^^^^M^'^i^^^^^^^^^^?^far and a- near there rings many a cheer, For those to be married to- day 1

-f-

—gi—^^F^41^

: 1 1-

"At Ban - bu- ry Cross, lit-tle wife," said he, "We'll

—

\

11 II III^-drpi^^: fet-^-rrF^'^"^

r L,J-

:Lst:

poco rit. ad lib.

:ff=f=:^::^z:^

=^;^£S=i=^ ^^i=^^^^f^i:=i^^

live when we are wed!'' "And for -ev - er and aye I shall bless the day We met on the way !" she said.

-*9«..r'^- -<^

mi ^--H—h"^ -m- :i: -^-

^:j^:^^^.g--^|gggg|y

colla voce.

r..

:C!«*=:4:

PE#lijgr

AVE MA 19'i)

i:Moderato.

Bi

PFed.

w *»"

BACH-GOUNOD.

_—jaBi

sa:;^ii|i:l;ii:

* Fed. ^ Fed. * F.d.

'^^EEEE^ p?= -^fOfr——

w ?2= =^=p; :^= ^=*j

AA

lie

veMa - ri

Ma - ri

^=--^Perf. ^yO

=^i^iii=:=i:s^

f^^EEE^* p«?. * Fed. * Ped.

^ :^= ^= =S

^ N=i^ r^-

^ L-^ :&: -^-- -^—J-=S=3^ :^zr_^:

Thouti - a li

hap - py mothnaer,

DoGod

'rtw - nus te

is witheUTTl

thee.

:^=ii:^ t^=l=t«t

Fed. cres. * Fed. pp

^ ra^I l"^

F=^5=-.ipt-*—

^<i:^

-a*—e* * ~»'~-tf'—[—W ~a^-

-# Perf. cres. • ^P

^^Ped.

i^=e£ --Q-

f—I—^""^—,

—

- —f^ 4^r^r±

Blessneed,

die

bless ed art

tu

thouin

Amubove all

icres. dim. PP ^^g §s=Ped. • Ped.S *Ped. *Perf.

190 AVE MARIA. CONCLUDED.

"^ zwzz:^ ^^EE^. -^hi 1 h--i^—1»

«7^^^

ven

tliee

tris iu

the an

(' Jeffel of the

SMS .

Lord.sane

Honta

or'd

Ma-and

dim. Fed.

<^^S>' \

!-»'

l^=is^: ^ '2w:lj0.Ml=^ ^

tfzzzi^^z z^^i=.-^l

-^r^

-^ ^ —st o^^i^ :(?:

^ ^ ^ e^

cj'es. moltn. f^^- 221 g , r^ ^-=i-^

bless

aed,

sane

lion

to

or'd

iUa - ri

and bless

a ilia - ri

ed, Ma - ri

red. ^ Pcd. cres.vwlto. * Fed. * PecZ.

g^^^_^^^^__^^T=J^=^IS i T—

r

i:Vzr*i

[g I*wr-

::^i52=;^

Mothra ^ro moer of Je

bis

sus,

TOO

In6m pec ca - to

fant Re - deemri bus

er.

Fed. pp •# Fed. lift Fed. ores, molto. * Fed.

t "^ ¥ 1""^Sf

:?2= «l_(8».

^ C2-S;^^ ^ ^ ^^^ -

-^^^nuncBorn

et in ho

to savera in ho

us from our sins,

ra

andmorall our

nohea

stum

Ped.

^* Ped. jf # P«d. #• Fed.

^ tP——9-— «i tP-

la J^ ^ f» =!-»':i:^=i -ii-*=S iI I 'S ^

-<s-

woes,

^^

ue/

A

* Fed. pFed. dim. ., ^ ^Fed.

r-S"—h^s^

f

THE ARROW AND THE SONG. 191

THE POETRY BY LONGFELLOW.Andante moderato.

THE MUSIC BY GIRO PINSUTI.poco piu mosso. -=z:z;

J^szuK

I shot au ar-iow

=^i^:

ISiu - to the

(-'Shit

molto cantabile.

t^ 5 ;^ =Ma=?:£<

t^

^l^^^^^^^^^Z^L.H.

1*" #

P \ arpegyiate.

4^IP— -

-^—<-»-

L.U.

animando. sempre animando.

^ 5»t ^

192 THE ARROW ANE THE SONG. CONCLUDED.

i^^^Pso keen and strong That it can fol low the flight of

song?mcno niosso.

Long, long af - terward, in an oak I found The ar - row still uubroke; Long af - terward, in an

oak I fonnd the ar-row still uu - broke

3

And the Song, frombe- ginning to

-Jl=1^:

cres.moito.-=allargando.

tr;

=3^ :si&*

^^-

W ^^ri4'' :*S

> > > > > > > > >/ moUo maestoso.-10-19-0—iO—19--Sh*-S- - -=gp.^=lg=^=gl^

---%-=A

IfI^-^-^

inccdzando.

^^ ^-^:ii=:|^

c cres.a poeo a poeo.

—-yfr^ > > > >

T^t^b^fe^^^^'^fe^end, I found a gain in the heart of a friend; And the song frombe-gin-ningto end,>>>> > > > > >>>>>>>>>> ~

I found a

t-3

—

^^-^-i>-^-^-44-^-rSS3l§S—^—^—3-S-if,—^-iif-,9-fB-^-&~!9-^ -in>—I

—

~ ~ " y—r^—^

—

f^—P^-

U_l Uw. ^

j=r-^-i—-E^

# grnndwso.

-^> >>>>>>>> d:[,>l 3 3

THE BRIDGE 193

WORDS BY LONGFELLOW. MUSIC BY LADY CAREW.

it t T

^=^^:i=i- m—•'

—

^-fe

=lv=X ^ 3^=3="•I y -n=S ^s

mid-uight, As the clock was strik- ing the hour, And the moon rose o'er the cit - y Be- hind the dark church

f^

—

-m i»=s 2=

"¥- ~w- :^iS

need.

3^1fc=J5

/S -?—f-

?^2i: ^^=^ Jlj . J-J-^i^^r^ <> J ^

^o-cean, Seem'dtolift and bear them a -way. As sweeping, eddying through them, Rose the be-lat - ed

tUXf^rUfj ^t-=^- ^r^m uiruii^ ^^^

P2I

r-

siaceel.

^—^

iV • ^^ ^ J=:^-^1—^.^—i-s -^ -^ * ^ ' g-

s: -^ 1 »>—

4

tide, And streaming in - to the moon - light The sea - weed float -ed wide; And like those wa - ters

194 THE BRIDGE. CONTINUED.

^ rail.

^d==^W 1 y 1 » gci=^m g 1 s ^rushing, A-mong the wooden piers, A flood of thoughts came o'er

iJl

That

ggj^i^^^^^jjiJir^^

^ 221 Z2I"25^

P/? Zento.

-I »- 1^=^ J- JJ ^Ey 1 :^g= # r"^i~F ]?^ 3tzifc=*=i^z:^?=

flU'd

^Mmy eyes with tears. How oft - en ! oh, how oft - en, In the days that had gone

legato.^ ^^^^•^^^ 51.

^ ^'*~ *^rr r

i^5=^ ^=|5s= ^ ^ -N—k- ^ifczizz* i > ^^- :J=J= y 1 p =-

t;by, I had stood on that bridge at mid - night, Andgaz'd on that wave and sky; How

3I=P&:-=.j—* ^

ig0m^-±-«# '^-^i^-*^ ^J^

s :^

:St"23"

iSji -f—I-

i£ ^^ 1t^:^=jk: :iJ=i^ ^= =?2=

g£ ?^<gl a^ y~ -y ^ «i ustnrafcat

fct

oft - en! oh, how oft - en, I had wish'd that the ebb-ing tide. Would bear me a-way on Hs

I-.^—\-» ^=^ =m -»—?•—»-+^^-g: -irf>:^=W:^—I—I—h-

@a£ ^m #122

Agitato.

^=1^ -S- Mi S=S: 1 1 y ~qs-=j^

*=i= «l—tf^

—

*-m W^ li=J-- -=J=^ ^^i=^

bosom. O'er the o - ceanwild and wide. For my heart was hot and rest-less, And my

THE BRIDGE. CONTINUED. 195

IJ:ad lib.

^^h^E^E^g,^^g^^ JUS^J']SK

^ •—^"N I K

:i=S=5f: ?-s—

^

life was full of care; And the bur - den laid up - on me Seem'd greater than I could bear;

it^^gf^^^-y^-ad- ^T—I-

-^-_=V

^S? 122;

wftl

jD « tempo.

t—p—w—=r-r-w- J—J—^^^—^—S- ^=fi ^5jg "^ ^ =W *!' J ^y u* S=J:But now it has fall - en fiom me. It lies buried in the sea; And on - ly the sor-rowof

s£ ^^^mt=^ ^-^;pg=rp^h^rs-^jj^p

m :& i^^r ZZL

"^n::i=^s=>.- =S: 1li=ir- ^ -=t—S 1 "N'

J=tliothers Throws a shadow o - ver me; And I think how ma - ny thousands Of

M«=^=i^^ Bf^ ^^- ^?-F^^^

=c2r1221

i^- :«^ ^=1^

I s 1 K^ -s—^Hv atzzat^zr*: 7d y 1^^=;.^=J= itzt^n^ ^=U_^_^__«i;

care - encumber'd men, Each bearing his bur - den of sorrows, Have cross'd the bridge since then.

=tf=

fl^ '::£'- zJ.—

dtj^r-^

a^-Z^Z»-^- Pil ^ 1 .pg^y—=1-

^^3=

s-Jt-

-*r Tj^

^= ::22; <s—221

-<^ ^it

^ 4 1

—

y—\-

t=m^^ ^^ -! S 1 -^ :S=hV^ -y 1 » * • *'*' JJ^F^-^—=1-

J±J-^-J-t-

For - ev - er and for - ev - As long as the riv- er flows,

SJi

As long as the heart has passions, As

g^l^^j^ ^ -?Sb^—aam"^ ^q^^^^-=^^^=t=m^

g^^i;

'^ -i

p ^ c&

IP^

®^ ^^=1^'-^

t22I P

196 THE BRIDGE. CONCLUDED.

S^rail. a tempo. raU.

=i=^ S N S S=S=?f:^ -jg iv-ft^^ J J J J J- ^i=ii- :i=it

And its shadows shall ap - pear.long as life has woes. the moon and its broken reflection. As the

ir-^^r^m3* "^ Ig 221 S -P2=

IS2I-^- wi^ ^ gi£ W> 9> «> 22

sym - bol of love in Heaven, And its wav - 'ring im - - age here.

LET ME DREAM AGAIN.WORDS BY B. C. STEPHENSON.

Andante espressivo.

MUSIC BY ARTHUR SULLIVAN.

w mm v^- ^^m^-E*; w^i

I dim. I/3^ -^ -«-

feafai.-J=£E^E;g

f i-p B tf—p-

—BKBBi^ i^

—

P^^^m „N* VL.

cV cC"

J . J^^5t=^: flP=:zii ^=:Sii?*^ a= :C^

1. The sun is set - ting and the hour is late, Once more2. The clock is strik - ing in the bel - - fry tower, And warns

I stand beside the wickUS of the ev - er - fleet

et

ing

pr^nJv S##^^^"» -^ gst

i^•"^^ •'T

I-^« ^ -^ ^ ^ '^ '>^"

I*

F. E. WEATHERLY. OLD TIMBER-TOES. CECIL TOVEY.199

_^_ i^i H-- g»_J

toe. The time we lick'd tlie Rooshan boys A score o' years a -go, But what did I want two legs for, I'm just as well wi' one, Forheart, I had not lost my heart a week A- fore we had to part, She piped her eyes,niy bonny lass.When I went off to sea, I

me. An' talK of Jem,our sai -lor boy Who's gone a -way to sea. An' when he fights the foe,myboys,He'll make the beggars run. An'

-^—H-^^- :^£ 1Vt Vv>^

^:_^ ^ ::^ s-

4f—¥^g -S- -f

m

-M^ -Sr W ^^~% * "5:[Jsi<S

^ biff*- 4;t

^=^r^:x ^ :^::

--^: ^V:=i:: S

j-aZZ. ziT

W---J^-^—^=j-

=d=

I*

::1=

=4s:;r:± jt 3^-^33^

Jack at sea, and Jack ashore, Is

went aboard wi'-out my heart,Bnt

if he lose an arm «r leg, He'll

not the boy to run,

left it safe wi' she,

fight as well wi' one.

Si -stzipt -Mu:^ ^S^^^^^-m- -m- -m-Is not tlie boy to run.

But left it safe wi' she.

Yes.just as well wi' one.

For a fightin' we must go.

For a conrtin' we must go,

For a fightin' we must go,

An' aAn' aAn' a

fightin' we must go. An' what's the odds if you lose a leg, As long as you drub the foe'? For a fightin' we must go,

courtin' we must go. An' what's the odds if you lose your heart,If you've got your lass in tow ? For a courtin' wemust go,

fightin' we must go. An' what's the loss of an arm or leg. As long as you drub the foe ? For a flglitin' we must go.

AAn' aA

I £

^^ mores, accell.

tfistz^

fight in' we must go, . An' what's the odds if you lose a leg.As long as you drub the foe ? long as you drub the foe '

court -in' wemust go. An' what's the odds if you lose your heart,If you've got your lass in tow ?

fight - in' we must go, - An' what's the loss of an arm or leg, So

200 GOBBLE DUET.FROM "MASCOT."

;g; Allegretto moderato.

AUDRAN.BETTINA.

n^-^ ^ ^^^ ^^=^^^^mWhen on your graceful form I gaze, A sense of pleasure passes o'er me

;

And ev'ry time your eyes meet mine.My heart pitpats with joyful feeling

;

•8: PIPPO.

g±^Efei:

Sll tii^

When,Your

dZ: =S^ ^^S*3^i?The silv-'ry music of your voioe.Is sweeter far than liquid honey.When you approach me quietly,Like a tiny chickling I quiver,

H«-^^H«-fct:_^z^=^lEfe,

^ '^^^im&^.^^-s-^ =W^^:C2:1^!=ticii^«-i«e*-£ggg

dear BettinaJ see your face,Eapture limitless thrills and holds me

;

hairgiving out rare perfume,That rav-ish-es the nas-al or- gans;

When your glances on me youAnd when your little hand I

xfe:

tfc^: ^ wmt tr ^^

ik^ ^ ^^-^—j^ -^—s-

3F^^ "Pv

r-=^^ ^-^

i^^^s^: ^^^^E3^^H^9—m—^—

Pointing to Ms heart,

Tur-keya do I love, When they gently cry,

fe£,g^z^^ ^g=:,^zii^throw.'Tis here I have a hap- py feel- ing.

clasp, My ex- ces- sive bliss I can-not hide.

I do love my sheep,

?i:t=l=ji

T^ f litW * * #^# -s

f=t^=iS=J=

t^:Idt3" ;g^

f:I^^-^ -^-s"

I—I'

i

M.D.

d

(Imitating turkey.)

GOBBLE DUET.

accelerando.

20l

a tempo.

^^ ^^^^^I^^S'^—0—^—^—9— I n t=^ igobble,gobble,gobble,Even when they cry,gobble,gobble,gobble,

"s^ "e^ "a^gobble,gobble,gobble,

£--e=^f:S^iL^lt^iL^*.

1^=t?=k=k:fea -f=--

Sfe^

tlian sheep I love you more, Soft-ly bleating their baa. baa.

P^^Br^^ Ig—^g=±-=^^:^- ^ 3-==^^-^ 1^=^:

"^^i ^^J/.i).

!^M> l^W^M* -g-

^tfc -^^^"

i3F

-^—S-^««-H-S S-

>&- ^k'-f^^ ^r=^=

-jg-—s-

i-^

—

eg

gobble,gobble,gobble,gobble,gobble,gobble,gobblegobble,gobble,gob - ble,

^- & ¥-^1

-^-^- -S-S-

baa, baa, baa, baa.

^^gir# S='=^^i=^=lSi

PZt*s Zcti^. i ;^;

f.

^"

—

cres - cen - do.^4^^

a^^jg:^ I ^^^-5^-f

f=-^r^-M=S-

202

MY QUEEN.STELLA.

Moderato.^

JACQUES BLUMENTHAL.

-%-^ -"fe1e==^ritard.

"U^^t :^i^ ^BiEK^bS'

i^^sttz::^:^'5S

f-=1-^-

PpTenwo ad lib. quasi Allegretto.

"S--i=1= g^i=fggag IiS S::i»

^—=1!£rJ:

Where and how shall I ear - li - est meet her, What are the words she first will say, By what

i :tt=^=1= :s ^^ '.gi'-

'• legato.:^:

pppcolla voce.*T * ff=?T B

iztri^r^-jn^^^r^i:t-^-=

1^-3-^- 4*'-|± ^^^ ^^:^ i#^:^:?S^:^*= ?=^^^^^:

/

^ :g^^^rit.

=%i^

^iM Zento. p

Pi^--^ ^ ^--^^^Igf-1^1^

name shall I learn to greet her. know not now, but 'twill come some day. With the selfsame sun-light

rr ^ i#:

colla voce.

*^eEg=pt3fc»^_|-^«-

^iM lento.

^^=i-=i-

3-^-a<- is

i^i^mjcres. e accel.

^—gi- =--d=--^^ g=i=^fe accef. ^

Hi^—^ <%

shin-ing up -on her. Stream - ing down on her ring- lets sheen. She is standing somewhere, she I would

^ ^PP

^f=fcil^rf=rnfcres. e accel.PP ii f

iF^-^-i^—F^—^#- ztW^at

yrit*t=a jji^ditiizDifci

ritard motto.

STt^M^ :E|a^-§£?^

a temx>o.

^^^^^^^mhon-or, She that I wait for, my Queen, my Queen.

ritard molto.

f=r$ f accelerando.

^s^^^^S^

Ped.

MY QUEENP iwco piu agitato.

20i

P a tempo.

I will not dream of her tall and state - ly, She that I

^^=^:-m^

^tranquillo. p ^ .

—^- rit.

—I—tea ^q zcn

does, It will sure be right. And she may be hum-ble or proud, my la - dy, Or lliat sweet

^ rit.

=S^-^ tp

piu moderato.p^ cantahile.

=5--SI_^_=i_Hi;. ,*=£ Lt^d^fefe-EEEi^

calm, which is just between ; But when -ev - er she comes, she will find me ready

^ piu moderato.

To do lier

-^ ^^^?= -^^=1:

;-^=i:

-iM I^'pp cantabile.

!

I -W-

Mn P^

:S:^

772/" cres ^oco - «cceZ. accel.

J, Of -^-

zr:=fc

s—^=fg---^-L^l=::^=^^Ei-

=r=:#at

horn - age, my Queen, my Queen ! But when ev - er she comes. she will find me read-y, To do her

'—r--sri»t-f:

«r

*eT

204 MY QUEEN.

bove. And I'll give my heart

A A A A A|,.,|_-„

to my La - dy's keeping, And ev - er her strength on mine shall

-J-J-* f"p^' 'ff

rit.

a tempo,

fft^n,. marcato.

Eg-^^-!*-(

mf piu agitato.

ty3^^^^^^^^ N N- ^ ^iQ^J-^-^--^

:i2=[i2=

lean, And the stars shall fall, and the an - gels be weeping, E'er I cease to love lier, E'er I cease to

H^^r^

MY QUEEN.a tempo.

W. S. GILBERT.LITTLE MAID OF ARCADEE.

ARTHUR S. SULLIVAN.

Fze: ^1 ::^^tz^!=^=i=-»—^

—

m ^ 9- 9—ffll—*—«!—•'- i^-^::

Allegretto moderate.

1. Lit- tie maid of Ar - ca - dee, Sat on Cou- sin Eob - in's knee,3. To her lit- tie home she crept, There she sat her down and wept.

-^4 :i^-^—I--^-

::^=Tz;)—

?z:^ -a^»jB-M-jg)

:^:jshsl-

:=1: :^::iM; ::1==:S=i

t t "* :22i

lis

-*-ffli ^'

S:=^=

Pt

-j0—\—^— ;^=

r-t

5 :4--=E

-gy-:p=pi

i^E-gi-«g-

-.s"-

nY.

?fl^ 5^:it^

-"^2= ^—

^

S?SThought.in face, and form,and limb. No - bo - dy could e- qual him. He was rich and she was fair,Truth they made a pretty pair

;

Maiden wept as maidens will. Grew so thin, and pale and ill, 'Till an- oth- er came to woo. Then a- gain the ros - es grew.

^ :^: i =|:--e^:^

-^3=3***=? tS- ^s^ a*

^='^m^^-_iS-- ^

5 *1—r^S«^^^ "'i^l^^

i -^—»i—

^

g ^tK-

to/ a tempo. cres.

^e:^rfflZ^.

SS -iS---

E W—^—«—I*—J—*l2=b^ :*=*z=J=:^-

Hap-py lit - tie maiden she

!

«—SI

ts^

Hap py maid of Ar - ca - dee

!

Hap- py lit - tie maiden she, Hap-py maid of Ar - ca- dee

!

-s- ©= ::^

7n/ a tempo.Ul CO.

"S^^^t 1 ^ 1 ^ 1 r"^^

^%i^^»^rail.

at:N=s

206

J-—•

—

-^—-A—«i--.^J—St z-JzzMt:

LITTLE MAID OF ARCADEE.

Hap-py maid of Ar - ca - dee

!

E^=a^if^^iS:^

:;=:d: -S-T

colla voce.

2. Mo-ments sped as mo-ments will, Rap - id - ly e-

-^-

"SsUit'

m/^«9W'5^

-S^^-i

^s!^=»L

^^Fine.

?^^^ii

!l^-^^:

i^^?

^ -fip-s-**i-i i

t:

:p==1-:

^./

?e=^=3:=^^«zz^i2=t2=t^-=:=

r

227

nougl) ; un - til Af - ter, say a month or two,

^—9- i*—i*—g<"—*=^ 'm.Eob- in did as Rob-ins do. Fie- kle as the month of May,

=^^= -^^MmMm

^^1 S^: *2:

Jilt-ed her and ran a - way !

^-=^

5i=:^kI*—I*'—»i—•^

i2=^^:3eS1

raZZ. e dim.

=1= =1Wretch-ed lit - tie maid-en she! Doleful maid of Ar-ca - dee ! Dole-ful maid of Ar - ca -dee!

P-j_-H-H-^-»h \

—-—I—f*n—r~^—I—I——r*^

—

i--T-

t=3^ t^-

§»-"

raZZ. e (/jhz.

-=1—t—=1—1»-

S==:t^=±=^:i^

^-

S2:"C?'

LORD BYRON.Andante con molto espressione.

MAID OF ATHENS.HENRY R. ALLEN.

-—±s-\-r^'f^ [-?*-w-|—I

—

^-^Ff?:;?

tS- ^^^ eS a?^

-«"

i"^ i^-=l-s- L^=iet=^

1. Maid of Ath - ens, e'er we part,

2. By those tress - es un - con - fined,

3. Maid of Ath - ens, I am gone

;

Give, oh ! give me back my"W%)ed by each iE - ge - an

Think of me, sweet, when a -

-Si :=\-- Pm3:-^- m

-0- pp f f

t?=5z*:ZJS^Z

-«i ^ S—Jr^

-«- i:1-

tm--

MAID OF ATHENS.=^1

207

11 =?^=^S= i ^zitzS.S

Or, since that has left my breast,

By tliose lids whose jet - ty fringe.

Though I fly to Is - tarn - bol, .

KeepKissAth

it now, and take the rest!

thy soft cheek's blooming tinge,

ens holds my heart and soul.

aonsTTEi^Ts.A BIRD IN HAND Roeckel. 185

i> SUMMER SHOWER Marzials. 18

AS YOU LIKE IT Pinsuti 157

AT THE FERRY "Wellings. 56

AULD LANG- SYNE "Scotch." 150

AVE MARIA Gounod. 189

A WARRIOR BOLD Adams. 46

BANBURY CROSS Wellinqs. 187

BIRDS IN THE NIGHT Sullivan. 91

BRIDE BELLS Roeckel. 133

BY THE SAD SEA WAVES Benedict. 69

CLEANSING FIRES Gabriel. 97

DARBY AND JOAN Mollot. 143

DOUGLAS Scott. 104

ESMERALDA Levey. 105

FAIRLY CAUGHT Diehl. 153

FAR AWAY Lindsay. 108

FIVE O'CLOCK IN THE MORNING Claribbl. 185

FOREVER AND FOREVER Tosti. Ill

FORGET ME NOT. Ganz. 113

GOBBLE SONG Audban. 200

GOLDEN DAYS Sullivan. 42

GOOD-BYE, SWEETHEART, GOOD-BYE Hatton. 55

HE GIVETH his BELOVED SLEEP Abt, 161

HOME, SWEET HOME Bishop. 121

I CANNOT SING THE OLD SONGS Claribel. 171

I DREAMT I DWELT IN MARBLE HALLS Balfe. 34

I FEAR NO FOE Pinsuti. 32

IF Pinsuti. 30

IN THE GOLDEN EVENTIDE Pinsuti. 162

IN THE GLOAMING Harbison. 170

IT WAS A DREA.M Cowen. 168

EATEY'S LETTER Dufperin, 167

LET ME DREAM AGAIN Sullivan. 196

LIGHTS FAR OUT AT SEA Gatty. 49

LITTLE MAID OF ARCADEE SuLr ivan. 205

LONDON BRIDGE Molloy. 95

LOOKING BACK Sullivan. 182

MISTRESS PRUE Molloy. 85

MY QUEEN Blumenthal. 202

NANCY LEE Adams. 83

NO, SIRI Wakefield. 166

O FAIR DOVE! FOND DOVE! Gatty, 74

OH, HOW DELIGHTFUL! Molloy. 81

OH, MOTHER! TAKE THE WHEEL AWAY . .. .Claeibel. 165

OLD TIMBER TOES Tovey. 199

ONLY COME Tours. 163

ON THE ROCKS BY ABERDEEN Gvtty. 80

OUR CREW Campana. 78

PRIMROSE FARM Wellings. 159

PRINCE CHARMING Roeckel, 158

PUNCHINELLO Molloy. 76

ROBIN ADAIR "Scotch." 156

SING, SWEET BIRD Ganz. 154

SOME DAT , Wellinqs. 148

SOMETIMES StTLLiVAH. 146

STRANDED Stabk. 71

STRANGERS YET Clabibel. 140

SWEETHEARTS Sullivan. 137

SWEET LOVE OF MINE Cowen. 139

TAKE BACK THE HEART Claeibel. 128

THAT TRAITOR LOVE Roeckel. 17

THE ARROW AND THE SONG Pinsuti, 191

THE BABY AND THE FLY Molloy. 116

THE BEND IN THE RIVER Blumenthal. 63

THE BLUE ALSATIAN MOUNTAINS Adamb 59

THE BRIDGE ; Caeew, 193

THE BRIDGE Lindsay, 183

THE BROKEN FLOWER Blumenthal. 65

THE BROOK Dolores, 67

THE CLANG OF THE WOODEN SHOON Molloy. 93

THE COTTAGE ON THE MOORLAND Saihton-Dolby. 98

THE DANUBE RIVER Aide. 131

THE DAY IS DONE Balfe, 100

THE DUSTMAN Molloy, 141

THE FAIRY JANE Maezials. 151

THE FARMER AND THE PIGEONS Taubeet, 109

THE FIRST LETTER Molloy, 110

THE GOLDEN SHORE Gatty, 35

THE HOUR OF REST Roeckel. 39

THE KERRY DANCE Molloy. 174

THE KING'S CHAMPION Watson, 173

THE KING'S HIGHWAY Molloy. 180

THE LAST ROSE OF SUMMER Flotow, 20

THE LONGEST WAY ROUND Roeckel. 89

THE LOST CHORD Sullivan. 177

THE LOVER AND THE BIRD Guglielmo, 87

THE MAID OF ATHENS Allen. 206

THE MIDSHIPMITE... Adams, 198

THE PALMS '. Fauee, 160

THE TAR'S FAREWELL Adams, 126

THE THREE SAILOR BOYS Maezials. 115

THE TORPEDO AND THE WHALE Audban. 124

THE TRYSTING-TREE Gatty. 122

THE UNFORGOTTEN SONG Babbi. 28

THE WATER MILL Diehl. 43

THE WAY THRO THE WOOD Dolby. 24

THEN YOU'LL REMEMBER ME Balfe. 125

TIRED Lindsay. 48

'TIS BUT A LITTLE FADED FLOWER Thomas. 36

TURNI-IAM TOLL Wellings. 47

TWICKENHAM FERRY Maezials. 52

TWILIGHT TIME Campana. 51

TWO LITTLE LIVES Molloy. 63

TWO'S COMPANY, THREE'S NONE Roeckel. 23

UNFORGOTTEN DAYS Roeckel, 70

UNREQUITED Pinsuti. 50

WAITING Blumenthal. 44

WEARY Gabriei* 21

WE'D BETTER BIDE A WEE Claeibel. 22

WELCOME, PRETTY PRIMROSE Pinsuti. 118

WHAT A LITTLE BIRD SAID Roeckel, S7

WHEN THE SWALLOW COMES Pinsuti. 58

WILL HE COME? Sullivan, 40

WON'T YOU TELL ME WHY, ROBIN? Claeibel, 12«

YES, SIR! Wakefield. 81

(208)

WHAT IS SAID OF "NATIONAL SCHOOL-'-Coiitmued.

Maggie A. White, Marshall, Mich.I consider "National School" a comprehen

slve and thorough method of instruction, iieside

containing all that is good in older systems, it has

many special features, which render it admirablyadapted to the wants ol instructors and pupils.

lOLA A. Wright, Rock Creek, O.I like "National School," in many respects,

much better than those in general use. The grade

is well arranged and the musical selections fine.

Altogether, it is a good, practical method.

Max Mbybr & Bno., Omaha, Neb.We find "National School" a very thorough

and complete -work—being a good school for be-

ginnera as well as for advanced scholars. Weshall recommend it.

J. E EcKBB, Toledo, Ohio.'•National School" contains much that is

valuable, and undoubtedly will be appreciated bythe public, eepecially by those who will give it anactual trial.

Dubuque Mademy, Dubuque, Iowa.We flnj "National School" an excellent

method, aad tt Is certainly the best Instructor wehave seen.

Miss Josjiphinb Ybhl, San Francisco, Cal.

"National School" is the best work of its kind

that I havs sver seen. All the explanations are

complete and thorough and very easily understood.

The arrangement of the exercises and the selec-

tions are perfect, and one could not find a better

book for advanced pupils, as well as for beginners.

A. W. SicKNER, Wichita, Kas.I am a t< acherol considerable experience and

have used nearly all the leading methods, butnow I can conscientiously say that your "NationalSchool "is ahead of anything that I over used. I

hope it will meet with the success that it merits.

Charles E. Brat, Portland, Oregon."National School" coverd the whole ground

more nearly than any work I know of, and I takepleasure inVecommending it to the musical public.

For explicitness of detail it Is admirable, and it

also contains much matter never before IntroducedInto any work of the kiud.

J. J. DUNAN, Lima, Oho.I consider "National School" an improve-

ment over all others. All the teachers to whom 1

have shown it, approve the new ideas it contains.

C J. Shbppard, Marietta, Ohio.I think "National School" will supersede

most of the other methods.

Gkorob Jonas, Ziouisville, ICy.

I have used and examined " National School"and am much pleased with it. In the voluminousbooks published on the subject, it fills an impor-tant blank by the progressive manner in whichthe exercises and recreations are arranged. I

shall take great pleasure in recommending it toall teachers wno need a work of the kind.

Mrs. Jennie Seakle, Galesburg, III.

As a teacher, I must thank you for the greatwork which you have accomplished. It is sosimple, and at the same time so thorough, that achild cannot misunderstand it. You have takena weight from the shoulders of the teacher, andadded wings to the feet of the learner. I havelong felt the want of£U(;h a work and shall recom-mend it to all of my pupils. The Dictionaryalone is worth more than the price of fht entirework. Accept my congrntulations for the produc-tion ol a work that must prove eminently suc-cessful.

EMAii"tEL Marquis, Greencastle, Ind.I consider "National School ' admirably

adapted to its purpose. It embodies not only thebest elements of the best instruction books here-tofore published, but has, in addition, manyvaluable and useful features not to be met within any of the popular Piano Methods of the day.I should be pleased if this expression (from onewho has been actively engaged In teaching thepiano these 80 years) would aid in securing toyour work the popular recognition and extensiveadoption which it merits.

Mrs. E. Doane Perkins, Owosso, Mich."National School " is an excellent work—one

eminently calculated to furnish the materialupon which to construct a solid foundation for athorough musical education. I heartily recom-mend it to any one seeking for a Jirst-class in-struction book, and one may search long beforefinding its equal.

Mrs. B. F. Hepler, Fort Scott, Kas.I like " National School " very much. It sim-

plifies the rudiments—a very essential thing for«> young beginner.

W. T. GiFFB, liOgansport, Ind.The entire arrangement and selection of mate-

rial in "Nationil School" shows taste, experi-ence and judicial discrimination on the part ofthe compiler. I am especially pleased with theauthor's remarks on the " Evils of the Thorough-Base System of Playing." They are pointed,sensible and opportune. The whole book fur-nishes a greater amount of valuable matter forthe teacher ana piano student, for the price, thanany work of its class that 1 have yet s^en.

James A. Kerr, San Francisco, Oal.I candidly pronounce your "National School"

the best I have ever seen. It commence? in theplainest and simplest manner, and gradually pro-gresses in difficulty by a more scientific methodthan any other work I know, thus rendering it ad-mirably adapted lor a pupil of even ordinaryability. I cheerfully recommend and will, hero-fter, use it mysell.

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ALLENT.

LoniB Zern, Kendallville, Ind,I take great pleasure in recommending "Na-

tional School." In all exercises and piece", theleft hand has as much to do as the right, which is

not the case with others. I heartily congratulateyou.

F. W. HoHMAN, Lincoln, Neb.After a Oiref'ul examination, I believe that

the author of "National School' has surpassedall his notable predecessors, while the many ex-

cellent features are hardly hinted at by others.Its exercises could not have been selected withbetter judgment, and 1 believe it is destined to

lead the world.

Mrs. F. W. Frain, Laingsburg, Mieh.I find "National School" a most excellent

and complete book of instruction. The arri*nge-ment is mel hodical and unique. Its advancementfrom the elementary part to that for advancedpupils is original and especially commeodable.

Jessib B. Hull, Lansing, Mich.I am very well pleased with "National

School"—especially the instructions in the usesof the " loud " pedal, your rudiments of harmonyand the study of thorough base,

Mrs. Frank Young, Ainboy, 111.

I am very much pleased with "NationalSchool," and am confident that it will meet thedemands of modern piano-forte instruction.

Mrs. W. C. Porter, Fort Soott, Kas.I regard " National School " as the most com-

plete Instruction book with whichlam acquainted.Its progression is most excellent. It also containsvaluable instruction in harmony, includingthorough-base.

Chas. Winter, Sacramento, Cal.I have carefully examined " National School,"

and find it a most valuable addition to the bestinstruction books now in use.

H. S. Krousb, Salt Lake City, Utah.I feel assured that "National School" will

satisfy a vacant want.

S. T. Church, Fargo, Dakota.I fiud that "National School" contains all

the prominent features designed for first-class in-

struction, and the additional advantages are sur-prising. After a twelve years' experience with thebest work of the past—" Kiohardson "—I am nowobliged to adopt the "National," on account ofits superior merit.

fi. D. Bullock, Jackson, Mich.I examined "National School," and was very

much pleased with it. Think it is just the bookthat teachers need. One of our leading teachersexpresses himself as well pleased with it.

Mrs. J. Bfllmtbr, Marshalltown, Iowa.I like "National School" very much. Have

shown it to our teachers and they are also pleasedwith it.

W. Sharp, Tipton, Mo.I and our music teacher are very much pleased

with the "National School."

EtCH. J. WiLMOT, Quincy, 111.

I have much pleasure in bearing testimony tothe value of ' National School." The plan of in-structing beginners iniho rudiments of time byunbarred phrases, to which the pupil shall addthe absent bars, is so excellent that one wondersit has not been adopted before. It contains agreater amount of information than can be foundin any one book.

Oscar Rose, St. Louis, Mo.I am v-'ry much pleased with "National

School" and intend to introduce it among myscholars.

S. F. Hopkins, Kalamazoo, Mich.Every subject is handled with such care and

elaboration, that nothing is left to be desired.The musical writing lessons recommend them-selves. The work is graded with care and eachnew difficulty explained as it is met. Part 3—Harmony—will please a great many who havebeen looking for this very thing so long. Pupilscannot study the different selections without de-riving great benefit. The Pronouncin? Diction-ary and Encyclopajdia are invaluable—the infor-mation given being most accurate and reliable.I tielieve that you have compiled a work whichonly needs to be examined to be appreciated.

A. W. Perry & Son, Sedalla, Mo.The demand for "National School " is unpre-

cedented and we can scarcely keep enouah instock to fill our orders. No one but a publisherknows the difficulty in starting a new work, butyou have achieved in a few months what mostpublishers are contented with afier patientlywaiting for years—success.

D. O. Evans. Youngstown, O.I think " Nai iSTial School " will become A-ery

popular, as it is just what teachers need.

Chas. De Oeston, PeVln, 111.

I find "National School" the rnost cleir andcomprehensive work that I have mad thj goodfortune to find in twenty (20) yeal.-s of teaching.

N. O. Smtser, Champaign, 111.

I am highly pleased with "National School."It is thoroughly progressive and comprehensive,and far In advance of any other American workof the kind. I am especially pleased with so full

an exposition of Harmuny, while the many otherexplanatory remarks, not found in other instruc-tion books, place it in actual value to th teacherand pupil, where I hope it will stand in numberof copies sold

—

in the very front rank,

[And many others, which the space will notallow us to print.]

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Canada's Verdict:Morning Chronicl", Quebec.

A valuable work designed for amateurs aswell as professional pianists. On the subject of"loud pedal" alone,this work is of priceless valueto the young student.

Carl Martens, Toronto, Ontario.I can truly say that I see much to admire in

your "National School." 1 think it the bestschool of its kind, and it will certainly have a verylarge sale amonjist the more prominent teachersin Canada and the United States.

London (Ont.) Catholic Record.It will be found the most valuable aid ever

published.

VEvevement (French), Quebec, Canada.(Translation.)

Decidedly the Americans are insurpassableabove all when they do anything that unites theuseful with the agreeable, in quality not lessthan in cheapness. It is of the utmost value toteachers and professors, for its explanations aregiven with a neatness and precision that biingit within the Cumprehension of everybody. It is

without a rival.

J. W. Fetherston, Bellevile, Ontario.1 have carefully examined " National School,'*

and like it very much, especially the remarks, asthey, I hold, teach or rather compel pupils tothink for themselves. This, by the way, is theonly proper road to arrive atthe desired goal withany pupil. 1 admire the work and congratulatethe author.

Max Sterne, St. John, N. B.I have thoroughly examined the "National

School" and am exceedingly pleased with It.

Teaches adopting it can certainly advance theirpupils more steadily and correcilyin music thanthey can with any of the older methods. It is

undoubtedly the instruction book of the day andis b„und to take the lead.

Paul Letondal, Montreal, Quebec.Alter an attentive and conscientious examin-

ation, I am convirced that tiie "National Schoolfor the Piano, by W. F. Sudds," Is one of the mostcomplete, methodical, and disooursive works nowpresented to the public. 1st. With regard totechnique: It contains a seriesofexerclfes which,after careful ttudy. will enable the pupil to attain(he highest degree of perfection Iri execut.on.2d. One of its most prominent features is its les-

sons and studies with appropriate instructions forreading at sight which, if carefully lollowec bythe student, cannot fail in giving a great facility

in that much desired branch of musical education.3d. With regard to style and its interpretation:The author in avoiding vulgar melodies, or suchas were originally intended for the orchestra orfor the voice, has made choice of such selectionsor studies as were writlen for the piano-forte.The elementary course of harmony, as also thedictionary inserted in this work, will give to thepupil an amount of knowledge which cannot befound in any other method for the piano. All ofthese qualities have given to this book a classicalcharacter which recommends it to the use of bothteachers and pupils. I believe it destined to ren-der the greatest services to ihe musical world andto the public in general.

Sister Blessed Sacrament, Montreal, Quebec.Says she endorses "Natior'al School "in every

particular, both its routine of study, its remarks,and more especially the studies in harmony andreading from score. She finds it the most perfectsystem.

Montreal (Quebec) Daily Witness."National School" also includes instruction

in harmony and thorough-base, and a dictionaryof music and musicians.

Truth, Toronto, Ont." National School " is a new and comprehen-

sive instruction book for the piano. It containsalso a pronouncing dictionary of musical termsand phrases.

W. B. Millt'.r, Toronto, Ont."National School" is the most simple and

masterly method that we have in use at the pres-

ent time. The exercises are progressive andadmirably arranged. The dictionary of musicalterms is particularly serviceable and mui,h ad-mred. I wish you all success with your work.

Chas. Bohner, Toronto, Ont."National School " is the best work for both

teacher and students. No other book so clearlyexplainstherudimentsof harmony and thorough-base. The dictionary ,j musical terms is verycomplete. I can confidently recommend It to anyone who contemplates the study of the piano-forte.

Montreal (Quebec) Daily Star.

This is a bulky book, containing a pcffeclwealth of instruction in detail for the masteryof the piano-forte. Its author has designed It

not only fur those who desire to become profes-

sional i)ianists, but a.lsofor those who aim to be-

come accomp ished amateurs, while for those whoare coinpellsd to become self-taught players, hesays it will be found "the most valuable aid everliblifhed." The advantages are: it teaches thersL principles of music by writing lessons, which

is more effective in overcoming difficulties thanthe ordinary me' hod; it is more carefully graded;complete instruction in harmony and thorough-base, neglected by other works; last, but notleast, is included a dictionary of music, withproper pronunciation of names and musical terms,with biograph as of prominent ancient and modernuusiclans an . composers.

e;;

CONTAINING THE

l^dCTJSIC OIT THE D^INTCE,AND OTHER SELECTIONS FOR WEDDINGS, SOCIABLES, PARTIES, SCHOOLS, ETC

ARRANGED FOR THE

ALSO FOR THE :E=»iJ^isro-These Books are arranged, to be iTsecl togetlier, if desired, as dTiets for the

COMPRISING

MARCHES FOR V^EDDINGS, PROMENADES AND SCHOOLS,

ConsistiHg of Plain Quadrilles, Fancy Quadrilles, Lancer Quadrilles, Schottlsches, GaTottes, Hornpipes, Danish Dance, Fiye-Step Waltz, Cofillions,

Racquets, Waltzes, YarsouTienne, Polka-Waltzes, Mazurkas, Redowas, Reels, etc. Also the "German," with Figures, and many other Fancy Dancps.

ARRANGED IN AN EASY MANNER FOR PARLOR OR BALL-ROOM,

This book is one of the most desirable publications ever issued, containing all the popular dances of the time, enough for a M'hole

evenino-'s entertainment. Any ordinary performer can find in this book, arranged in an easy manner, most of the modern and standard

dances that may be called for, especially adapted for weddings, sociables, suppers and entertainments of every character. The popular

"German" and children's dances are a great feature of this publication; and with the marches for promenades, weddings, schools and

calisthenic exercises, make it especially desirable and serviceable on all occasions.

Always or Never Waitz.

A Toi (To Thee) Waltz.

Basket Cotillion.

Bella Bocca Polka.

Boccaccio Racquet.

Bon-Ton Polka Quadrille.

Bridal March.Brightest Thought Schottische.

Cachuca Dance.Carnival Lancers.

Cauliflower Cotillion.

Centennial Lancers.

Circus Rentz Gavotte.

Coquette Cotillion.

Courtsy Cotillion.

Cracovienne Dance.Danish Dance or Waltz.Dip Waltz.

Dreams of the Past March.Fairy Fountain Redowa.Favorite of the Ball-room Quadrille.

First Love Redowa.Fisher's Hornpipe.Five-step Waltz.

Flow'ret Forget-me-not Gavotte.

Full of Joy Galop.

OOIsTTEIsTTS.Fun and Frolic Waitz.

Gaetana Mazurka,German (The).

Glide Waltz.

Golden Ringlet Waltz.

Handsome Corporal Polka.

Happy Hearts Mazurka.Heel and Toe Polka.

Here We Go Galop,

Highland Fling.

Jig Cotillion.

Kutschke (Heel and 'X*oe) Polka.

Lincoln Medley Quadrille.

Marriage Bells March.May-time Redowa.Mazurka Quadrille.

Message of Love Polka.

Message of Love Racquet Galop.

Minuet.

New Year Cotillion.

Olivette Waltz.

Original Lancer Quadrille.

Palermo Quadrille.

Patti Schottische.

Patti Waltz.

PlainQuadrille.

Polacca Quadrille.

Polka Waltz.

Prestissimo Galop.

Prince Imperial Galop.

Return of the Brave March.Robinson Schottische Quadrille.

Royal March.Rustic Reel.

Salon Mazurka.Secret Love Racquet.Smith's March.Snow-Flake Waltz.

Sociable Cotillion.

Songs of Alsace Waltz.

Swing Song.Tally-ho Polka.

Torpedo and the Whal«.To Thee Waltz.

Twickehham Ferry,

Variety Quadrille,

l^arsouvienne,

Violets of Eden Schottische.

Virginia Reel.

Wedding March.West End Polka Quadrille.

PRICE, FOR THE VIOLIN, (Solo), - - . -

PRICE, FOR THE PIANO, (Solo), ... -

PRICE, rOR THE VIOLIN AND PIANO, (in two books).

$1.00.

$2.00.

$3.00.

WALDTEUFELAs a writer of dance music, especially waltzes, Waldteufel is pre-

eminent, and fills, to-day, the position as a popular favorite, once occupied by

Strauss. His works are melodious, and the piano arrangements so admirably

adapted to that instrument as to be easily played, and yet retain many of

the orchestral efiects ; in this particular he has great advantage of his above-

mentioned competitor, whose adaptations for piano were frequently too

difl&cult to come into general use. Unlike other publications of the same

character, we have adhered strictly to the original form, and each composition

is coniplete, with introduction and coda—a plan too frequently neglected,

and yet veiy essential, for the additions oftentimes convey the whole story

or subject of the work.

GEMS OF WALDTEUFELis printed on an excellent grade of music paper—contains 192 full size sheet-

music plates, and is tastefully bound in half cloth. For the completeness of

Belections, we confidently refer to the

CONTENTS.Les Sirfenes Valse—Trfes-Jolie Valse—Tout £i vous Valse—Ma Charmante Valse

—A toi Valse—Toujours Fiddle Valse—Les Kendezvous Valse—Toujours ou Jamais

Valse—Chantilly Valse—Hommag'e aux Dames Valse—Eose et Marguerite Valse

—

Bien-Aim6s Valse—Mon E§ve Valse—Les Sirfenes Valse (Violin and Piano)—Pluie

d'Or Valse—Gait6 Valse—Plots de Joie Valse—Bella Bocca Polka—La Plus Belle

Valse^—Brune ou Blonde Valse—Au Kevoir Valse—Madeline Valse—La Berceuse

Valse—Forget-me-Not Valse—Tr6s-Jolie Valse (Violin and Piano)—A toi Valse

(Violin and Piano).

SENT BY MAIL TO ANY ADDRESS. PRICE. $2.00.

GARLAND OF GEMS.In order to place the most popular vocal publications in the hands of

our customers at a reduced and exceedingly low price, we have made a care-

ful selection from the 4000 pieces contained in oiu; catalogue, and publish

them in book form, under the title " Garland of Gems."That this arrangement will prove of great advantage to purchasers of

music, we do not doubt ; and the contents—given below—will serve to con-

vince the most skeptical that popular music (and not a lot of unsalable

pieces), are offered in a decidedly attractive fbnn, at the price of one cent

per page.

Each piece is complete, printed from regular size sheet-music plates (192),

"•.nd on an excellent grade of music pai)er.

CONTENTS:ilue Alaatlan Mountains Adnmsrumham Toll WelUngsTwickenham Ferry MarziaUIn the Gloimlng HarrisonBoatman's Song—(Duet) AbtDays that are gone seem the brightest

Westendorflilttle Birdie Mine WatsonThe First Letter MolloyTake me back to Home and Mother. fftimtZej/

The City Bells-(Duet) AMThe KoU Call PinsutiFairly Caught BiehlThe Mill Wheel— (lor Voice and Guitar)Bringing Pretty Blossoms to strew on

' Mother's Grave WestendorfMoonlight on the Lake—(Quartette) . . WhiteLet my Name be Kindly Spoken BanksA Little Mountain Lad RoeckelRobin Adair—(lor Voice and Guitar)rhe Bridge CarewMy Little Q,ueen PinsutiDe Little Cabins all am empty now

WestendorJA Summer Shower MarzialsI live and love thee—(Duet) CampanaForever and forever TostiSome Day I'll wander back again . . . HuntleyThe old Love is the new Coteen

Kerry Dance. ...<<< 4 ..•<>•• i n•••• > >MolloyIt was a Dream CowenA pleasant Legend Abt"Will I meet my Angel Mother?. . Westendor}As sweet Little May WatsonLittle Ben Lee AdamsTwenty Years Ago GattyButtercup Queen MarzialsSweet Days goneby CoxEnbarrassment AbtMinster Window PinsutiMerchant of Cheapside DiehlIn the Starlight— ( Duet) GloverThe Boatswain MolloyPretty Little Cottage in the Meadow

WestendoChildren of the City AdamsCome where the soft Twilight falls— (Duet)

SchumannBy-and-by you will forget mo HuntleyDonald Blain MolloyIn the golden Eventide PinsutiI'm one of the ticklish kind WestendorfKochester Bells MarzialsKing's Highway MollowChorister SullivanMan-o'-war's-man GibsoneMaijorie's Almanac Dolby

PRICE, BOUND IN HALF CLOTH, $2.00.

SONGSWTO-DATThis work is not a promiscuous or nasty compilation of vocal tunes,

gotten up to take place with the multitude of cheap books, whose only merit,

if any, is in their fine sounding titles ; it is a collection of beautiful songs,

each of which has been selected for its known and appreciated worth, and

with the sole intent of fui'nishing to the individual lover of scng a repertory

of music sufficiently varied in character to suit his mood, his taste and ability.

A glance at the table of contents will reveal a wealth of musical treasure

unrivaled by any other similar work published. The list of authors repre-

sented, and their well-known reputations, speak more eloquently in favor of

"SONGS OF TO-DAY," than anything that could bo said by the publisher,

rt is a book that is worthy a place in the library of every one interested in

vocal music, and as such it is offered to the public.

CONTENTS:All that glitters Roecke-lAt the Ferry WeUingsBetween Two Stools RoeckelBird in the Wood TaubcrtBirds of a Feather RoeckelBloom on my Koses CowenBlossoms HattonCast thy Bread upon the Waters RoeckelChanged Her Mind RosewigCleansing Fires GabrielCrucifix FaureDreaming WeUingsFarmer and the Pigeons TaubertFinger-prints upon the Pane WestendorfFisherman s Bride GeihelForever Faithful DoWijGood-bye TostiGood-bye, Lass LeveyHe Giveth His Beloved, Sleep Roeckel1 cannoi say Good-bye RoeckelIn Dreamland BalhoIvy-clad Ruin GeibelLongest^Way Kound, etc Roeckel

Merry Birds , GuvaberfNo, Sir ! WakefieldOld Poet MolloyOnly a Dream of my Mother RutledgeOrange Blossoms GeibelPalms FaurePeacefully Slumber RandeggerQueen of the Night TorryRose Leaves GeibelScout CampanaSomebody LangSome Dav WelUngsSpeak Kindly to the Old Folks Skel'hj

There is a Crreen Hill faraway GounodTrue to the Last AdamsTrust Her Not. Quartette SuddsTwilight on the Sea. Quartette Sudds-

Two's Company RoeckelWatching and Waiting CowenWeaving WeUingsWedding Day BlumenthalYes, Sir ! Wakefield

PRICE, BOUND IN HALF CLOTH, $2.00.

CASCADESimilar In style of publication and value of contents, to " Garland of Gems," Its com-

panion In vocal music. Great care has been given In the selection ol contents, and we

confidently recommend the book as the best oi Its class.

In addition to excellent music paper, printing and binding, "Cascade of Rubles"

appeals to all purchasers ol music in a most persuasive manner, viz., the cheapness, which

Is certainly remarkable, being published In a most attractive manner, and offered at one

cent per page.

The aggregate vain* of the same music, published in sheet form, amounts to exactly

$18.15.

Oarefol buyers will think the new form a decided advantage.

CONTENTS:Angels of Dawn Reverie Latour

Farewell JungmaunTr6s JoUe Valse Waldteufel

Fond Hearts must Part Lange

Gavotte de la Cceur Fliege

Waves of the Ocean March Blake

Full of Joy Galop Fahrbach

BUlee Taylor March Cramer

La Pluie de Roses Kolling

Postillion d'Amour—(Four Hands) Behr

Joyous Farmer SchumannShepherd Boy Wilson

Prettiest ol All Waltz Wallis

Always or NeverWaltzes Waldteufel

Bobolink Sctottische Kinkel

Message of Love Reverie Sudds

Singers' Jubilee JungmannSecret Love Arranged by Mack

In Rankand File Lange

A'tol (to Thee) Waltzes Waldteufel

SlumberWaltz Latour

Marquis et Marquise—(Ghtvotte) Morley

Joyfulness—(Violin and Piano) QieseGoddess of Morn Reverie LatourSlumber Song BehrQui Vive Galop Arranged by MackStorchschnabel Galop FahrbachChinese Serenade Fliege

Galt^ Valse WaldteufelIn the Sunshine LangeEarly Morning March FaustLittle Fairy Schottische StreabbogFrolic ol the Frogs W alte WatsonLa Plus Belle Valse WaldteufelGreeting in the Forest LangeGentle Words DornMusical Box Arranged by MackLittle Fairy March Streabbog

Message of Love Galop SuddsTulip PotKa Ki'nke.

Moonbeams on the Lake MackLa Berceuse Valse Waldteufel

Poet and Peasant— (Violin* Piano). . .Supye

Under the Linden-tree. Langa

PRICE, BOUND IN HALF CLOTH, $2.00.

li.zoo'j.oM -C>fs^(

No. /^c? ^ Sect. ^ Shelf ^

CONTENTS

Lincoln National Life Foundation

Collateral Lincoln Library