Hardbound, with marbled paper boards. Line-cut of the Hummel edition, Berlin, . With an Introduction by Gerard Bal. Oblong, 25 x 22 cm, 70, pp. Line-cut of the Erfurt, edition. Reprint der Ausgaben: Teil 1, Erfurt, 2. Mit einem Nachwort von Gerard Bal. Oblong, 24 x 20 cm, , [xvi] pp. Linen, with slipcase in marbled paper. Faksimile der Ausgabe Leipzig , herausgegeben von Michael Ladenburger. Wiesbaden, Line-cut of the Groningen, edition. Afterword by Herman S. Line-cut of the B. Schmid edition, Nuremberg, c. Oblong, 29 x 21 cm, 16 pp. Line-cut of the Haffner edition, Nuremberg, c. Oblong, 28 x 20 cm, 75 pp.
Line-cut of the Wolfgang Moritz Endters edition, Nuremberg, Line-cut of the Leipzig, first edition. Leipzig Oblong, 25 x 17 cm, 22, pp.
Considered the first keyboard sonatas to be published in Germany. Preface in It-Eng by Laura Alvini. Quarter linen. Erster Theil. Oblong, 25 x 17 cm, 22, 94 pp. Seven sonatas in suite form. Preface It-Eng by Laura Alvini. Partie I, Andrer Theil. Oblong, 25 x 17 cm, 89 pp. Seven sonatas in suite form and one in sonta form. Oblong, 33 x 24 cm. Courlay, 24 x 33 cm. Facsimile of the autograph manuscript of An important theoretical section with text on organ registration.
Oblong, 32 x 24 cm. Jahr-des Privilegs Oblong, 28 x 21 cm, 90 pp. Beautiful marbled paper boards. Oblong, 33 x 24 cm, xii, pp. Line-cut of Paris,  edition. Municipale, Troyes]. Oblong, 33 x 24 cm, 28, 92 pp. Line-cut of Paris, c. Oblong, 31 x 23 cm, 13, pp. Huntingdon, .
Xerographic reprint of the Paris, edition. Partbooks: vln solo, vln I, vln II, vla, vc, db, kbd. Concerto no. Musik aus Ostbayern, Oblong, 30 x 21 cm, ii, 24 pp. Line-cut of the Augsburg, edition. Contains 14 organ works for Christmas. Preface in Ger by Konrad Ruhland. The First Part. Oblong, 26 x 15 cm, 95 pp. Line-cut of the Thompson edition, London, c.
Preface by Peter Holman. Ring binder. Edited by C. David Harris. Critical Facsimiles, 5. Line-cut of the London, Livre premier. Oblong, 31 x 22 cm, xxi, 24 pp. Municipale, Versailles, ml 61,]. Oblong, 32 x 24 cm, xxxiv, 75 pp. Laaber-Reprint, 1. Line-cut of the Berlin, Hamburg edition. Opera prima. Line-cut of the Berlin, edition. Oblong, 35 x 24 cm, pp. Anthology including works by Agricola, C. Bach, C. Graun, Kirnberger, F. A Facsimile of the Amsterdam Edition c. Line-cut of the Bologna,  edition. The sonatas alternate between harpsichord and organ.
Dedicated to Empress Josephine. Complete tutor, including discussion of structure, performance, repertory, accompaniment, and improvisation. Brussels, Oblong, 31 x 23 cm, 52 pp. Line-cut of the only known printed copy. Opera trentesima seconda. Faksimile-Edition Augsburg, 5. Wrappers, with handsome portfolio in marbled paper. Line-cut of the third edition, Paris, Faksimile-Nachdruck herausgegeben von Margarete Reimann. Line-cut of the Hamburg, edition. Sets forth the precepts and knowledge necessary for an 18th-c. Afterword in Ger. Coverboards in decorative paper. Oblong, 24 x 17 cm, 15, 84 pp.
Oblong, 24 x 18 cm, 80 pp. Line-cut of the Gardano edition, Venice Libro primo e secondo. Rome , Line-cut of the Simone Verovio edition, Rome, An instrumental encyclopedia by a pupil of Sanz. Anhang: Andante KV Vienna, Practical edition for organ of Fantasies K. Includes halftone reproduction of K. Introduction in Ger-Eng-Fr. Reproduced by Permission of the Biblioteca Nacional Madrid. Monte Carlo, Oblong, 21 x 15 cm, 15, pp.
Line-cut of the Seville, edition. Fantasias, dances, villancicos, romances, sonnets, glossas, versos, tientos y canciones. Faksimileausgabe nach dem Druck von herausgegeben von Karl Friedrich Wagner. Halftone of the Vienna, edition. Compendium of remarks and observations on the art of playing the organ. One of the finest engraved specimens of the late 17th c, showing a perfect balance of music engraving and the visual arts.
A Mighty Fortress Is Our God
Beautiful coverboards in decorative paper with attractive engraving of the title page. Early Keyboard Music in Facsimile, 1. Line-cut of the Vienna, edition. Johann Baptist Mayr, Salzburg Color facsimile of the Salzburg, edition. Hardbound, with handsome decorative paper boards. Line-cut of the Simrock, c. Oblong, 24 x 17 cm, xiv, pp. The first book of keyboard music to be engraved in France. Oblong, 24 x 17 cm, 56, pp. Oblong, 30 x 22 cm, 39, pp.
Oblong, 21 x 17 cm, ii, 24 pp. Line-cut of the Paris, edition pp. Introduction by in Fr-Eng. Amsterdam, Willem van Beaumont Faksimile-Edition Krakau, 1. The only known print preserving the works of A. Hardbound, with laid paper boards. Musikwissenschaftliche Studienbibliothek Peters. Herausgegeben von Jolando Scarpa. Frutti Musicali. Magdeburg, Early Keyboard Music in Facsimile, 3. Oblong, 23 x 18 cm, 51, iv pp. Cycle of 6 arias with variations. Oblong, 31 x 22 cm, xiii, 51 pp. Oblong, 26 x 20 cm, 51 pp. Reinmichel, Laugingen Line-cut of the Laugingen, edition.
An important source of German keyboard music from the second half of the 16th c. Contains 26 motets, 27 popular French, German and Italian songs, 30 dances and 2 canzoni alla francese and numerous passamezzos, saltarellos, pavans, galliards, branles and German dances. Line-cut of the Florence, edition. Color reproduction of a contemporary ms copy. Offers guidance to students of 17th-c. Hardbound, with cloth spine. Early Keyboard Music in Facsimile, 5. Innsbruck, nyp. Halftone of the undate print, second half of the 17th c. Collections Dominantes. Line-cut of the autograph score and a contemporary manuscript copy.
Faksimile-Nachdruck herausgegeben von Wilibald Gurlitt. Kassel, 17 x 24 cm, , iv pp. This volume, in German, describes the instruments known to the author and includes beautiful woodcut illustrations of them. Reprint der Originalausgaben von und Herausgeben von Arno Forchert. Edition fac-simile. A cura di F. Accademia a Lucchesse di Scienze, Lettere e Arti. Musica in Accademia, 1. Pisa, 30 x 21 cm, pp. Oblong 35 x 24 cm, 26 pp. Korte beschryving van het beroemde en prachtige orgel, in de Groote of St. Bavoos Kerk te Haerlem Line-cut of the Haarlem, editions.
Maria Radino, organista in S. Facsimile with Transcription by Rosamond E. Royale, Brussels]. Halftone of the Venice, edition, together with new practical edition and historical introduction. First Italian collection of dances to specify the harpsichord. Inguimbertine de Carpentras, Vaucluse].
Oblong, 31 x 22 cm, 85, pp. Beautiful 3 and 4-color halftone in original folio format. Protective folder. Musica Repartita, Line-cut of a comtemporary ms copy in the hand of J. Afterword in Dut-Fr by J. Oblong, 31 x 22 cm, 25 pp. Line-cut of the Walsh edition, London, c. Organo de cantori.
A treatise on counterpoint, complete with music examples. Additional tablatures have been entered by hand on the front and rear flyleaves. Oblong, 30 x 22 cm, pp. A valuable guide for playing French music. Buren, nyp. Translation and Notes by Elisabeth Berry Barber. Transcription and English translation on opposite pages from facsimile. Oblong, 20 x 15 cm, 92 pp. The earliest printed collection of keyboard tablature. Coverboards in laid paper with reproduction of the woodcut of the original title page. Bibliotheca Organologica, 8. Hilversum, Teil I: Facsimile. Herausgegeben von Clyde William Young.
Frankfurt, Line-cut of the Bernhart Jobin edition, Strasburg, Arrangements in 4 to 6 voices , notated in German keyboard tablature, of a broad repertoire of vocal pieces including works by Lasso, Crecquillon, Richafort, Zirler, Pathie, Clemens non Papa, Arcadelt, de Rore, Meiland, and Berchem.
Critical edition. Collection of pieces for great organ, including transcriptions of works by the old masters, original works by older composers, and original works by Schmitt and his contemporaries. Herausgegeben von Hermann Fischer und Theodor Wohnhaas. Documenta Organologica, 9.
Berlin, Beautiful line-cut of the title page and 6 copper engravings. Introduction in Ger. In protective folder. Augsburg, Lotter Erben. Oblong, 33 x 21 cm, 80 pp. Line-cut of the manuscript parts housed at the Library of El Escorial. Preface in Sp by Samuel Rubio. Introduction and Notes by Carl O. Augsburg, Early Keyboard Music in Facsimile, 2. Oblong, 27 x 20 cm, 98, iv pp. Subdivided into three distinctive parts: toccatas musicalische Blumen-Felder , magnificent verses, and arias with variations.
Oxford, Line-cut of the Estienne Roger edition, Amsterdam, Unlike earlier works by Stanley, these concerti reflect a distinct classical spirit. Includes an appendix of transcriptions where the original is written in the C clef. Faksimile-Edition Rara, 3. Line-cut of the [Stuttgart], edition. Steigleder engraved the music himself and is credited with being one of the first to use key nomenclature over modal ones. Hardbound, in marbled paper. Stimmen componiert]. Faksimile-Edition Rara, 8. Approximately 40 instrumental pieces in fugal style notated in open score for 2 to 4 voices.
Consists of fantasies and a large number of chorale preludes with the chorale tune in various positions. Hardbound, with beautiful marbled paper. Edited with an Introduction and commentary by Michael Latcham. Quellenkataloge zur Musikgeschichte, 61 Wilhelmshaven, Oblong, 21 x 30 cm, 2 vols, , Color facsimile, together with transcriptions, a translation into English and commentary of the personal notebook of Johann Andreas Stein, one of the most important instrument makers of the 18th c.
The book contains poems, sketches, anecdotes, descriptions of all his journeys and work as a journeyman and instrument maker in Augsburg. There are references to Bartolomeo Cristofori and Frantz Jacob Spath and other interesting material such as stringing schemes for harpsichords, pianos and clavichords, improvements to the piano and clavichord, organ dispositions and lists of clients. Stein used the notebook from until The notebook contains dispositions of various organs including that of the famous Gabler organ in Weingarten, J.
Halftone of the sole surviving engraved edition. Labyrinthus musicus. Calculus musicus. F dated Dresden, 24 June Tuning and Temperament Library, 3. Line-cut of the ms. Series of fantasias for organ in all 24 keys followed by a treatise on tuning and intervals. Oblong, 31 x 22 cm, 28, pp. Oblong, 30 x 22 cm, 21, pp. Oblong, 17 x 12 cm, x, pp. Basso continuo treatises. Opere tutte da sonare, a quattro voci.
Libro primo, Napoli ; Il secondo libro de ricercate et altri varij capricci. Libro secondo, Napoli Over compositions, all notated in score. Wrappers and slip cover in decorative paper. Line-cut of the Halle, edition. Rotterdam, . Selection of 13 pieces from a ms copy dated and of Florentine provenance. Padova Composed in Padua in , the work consists of a full score and parts; it calls for a four-voice choir with solo parts for the arias, duets and quartet and strings, two trumpets, and organ. Wrappers in portfolio. Line-cut of the Vienna, c. Line-cut of the Bonn, edition. Operas decima.
Opera duodecima. Huntingdon, c. Line-cut of two contemporary ms copies and one autograph. Brewood, Little is known of William Walond; he took his BMus at Oxford in the late s and published two sets of voluntaries. The title pages of both these volumes describe him as Organist in Oxford. Quedlinburg, Edited by Rudolf Rasch. Tuning and Temperament Library, 1. Line-cut of the Quedlinburg, edition. Describes six tuning methods including his well-known unequal tuning. Opus 6, Nos. In the second or Hades scene the music changes from its bright color to a gloomier minor tone.
Dudley Buck, one of the most eminent of American organists and composers, was born March 10, , at Hartford, Conn. He studied both the piano and organ, the latter with such success that at the age of sixteen he was appointed organist at St. In he went to Europe and entered the Leipsic Conservatory, where he studied the piano with Plaidy and Moscheles, and composition with Hauptmann and Richter.
A year and a half later he went to Paris, and there acquainted himself with French music and musicians. He returned to this country in , and accepted the position of organist at the Park Church, Hartford, but after the death of his parents removed to Chicago, where he obtained the position of organist at St. In that city his home became a musical centre. Like many other musicians at that time he left the city, seeing no prospect of advantage to him where it would require a long time to recover purely material losses.
He went with his family to Boston, where his fame was already established, and obtained the position of organist at St. After remaining a short time in that city he removed to New York, where he has since resided. His life has been a very busy one, and he has had an important influence, both personally and in connection with Theodore Thomas, upon the progress of music in this country.
It is not extravagant to say that there are few Protestant churches whose music has not been dignified and improved by his contributions, particularly of anthems and Te Deums, as well as of compositions for the organ, of which he is a consummate master. Singing societies are also indebted to him for many elegant four-part songs.
The last two cantatas were issued in Europe, the one in Germany and the other in England, and thus came to this country bearing a foreign imprint,—a novelty for an American composer. While hunting one morning, Don Munio de Hinojosa captures a cavalcade which is escorting the Moorish Prince, Abadil, and his betrothed, Constanza, on the way to their wedding. The Prince, all escape being cut off, seeks to purchase the good-will of Don Munio with his gold and jewels, and implores him not to separate him from his affianced.
The Don, touched by their unfortunate condition, invites them to spend a fortnight at his castle, promising that the nuptials shall be celebrated there, and then they shall be released. The lovers accept, and Don Munio is faithful to his promise. Shortly after their departure he is ordered by the king to join in the expedition to Palestine. In one of the encounters of this crusade he is killed by Abadil, who does not  recognize his former benefactor with his visor closed. His death is greatly mourned in Spain, but they are consoled when Roderigo, a messenger from Palestine, arrives and tells them that one evening while strolling near the Holy Sepulchre he saw seventy Christian knights riding in ghostly procession, with the late Don Munio at their head.
This is regarded as an assurance that all is well with him. Requiescat in pace. These are the incidents which Mr. Buck has chosen for musical treatment, and he has done the work excellently well. After the orchestral introduction follows a spirited hunting-song for male chorus. The next scene opens in the chamber of Donna Maria, wife of Don Munio, who laments his absence in a minor strain, to which succeeds a rondo movement.
Close of vesper service in the chapel of the castle. Escobedo, the chaplain, with the women, and such retainers as have not followed Don Munio on his expedition. The next number is an Ave Maria for full chorus, which is very beautifully harmonized. In the next scene we encounter Don Munio in the forest, and are treated to the conventional hunting-song.
After the tumult ends, Abadil very melodiously appeals to Don Munio, followed by a brief arioso in which the latter makes his terms, and a spirited chorus of gratitude to the Don, which close the first part. A duet ensues between the two lovers on the castle terrace, which is very Italian in its flavor, and one of the most effective numbers in the cantata. The next two numbers furnish the wedding music,—a happy bridal chorus, and a charming bolero for orchestra. In the next scene occurs a vigorous duet between Don Munio and his wife, in which he informs her of his speedy departure for Palestine, followed by a stirring battle-hymn for male chorus.
Buck has rarely written anything better in his sacred music than this beautiful requiem. The National Centennial celebration at Philadelphia was inaugurated May 10, , with a special musical programme, in which the cantata with the above formidable title occupied a prominent place. It must be acknowledged that the work did not make a deep impression, although it contains some excellent musical writing, and for two sufficient reasons. First, it is not a work of musical genius or inspiration, as it was ordered by a commission for a popular show.
It was not singular in this respect. Second, the stilted and unmusical lines furnished by Mr. Lanier must have hampered the composer in every verse. This is all the more remarkable because Mr. Lanier himself was a practical musician. He had been for some time a violinist in the Peabody orchestra at Baltimore, under that accomplished leader, Asgar Hamerik. It is remarkable, therefore, that he should not have recognized the difficulties he was placing in the way both of the composer and the performers.
The ode has sixty-one lines, divided into eight stanzas of unequal lengths. It sketches the past and present of the nation, the powers which opposed its progress and hindered the development of its freedom, and the elements which at last produced success, closing with cheering auguries for the future, and a welcome to the world. All this might have been set to smooth and fluent verse, which would readily have adapted itself to music; but what composer could have treated successfully such verses as these?
Even in the last verse, where the composer must make his climax, and the singers must be most effective, they are confronted with this unsingable line:—. The only musical verse is the reply of the angel to Columbia in the midst of her ragged and cacophonous meditation, which the composer selected as a solo for bass voice:  —.
The prelude for orchestra determines the motive of the whole cantata, and is very spirited; for here, at least, the composer was not hampered by words. The opening verse,—. Then follows the whispering of the Huguenots and Puritans, commencing sotto voce , and gradually increasing to a forte at the close. Leopold Damrosch. Norton as Elsie, Mr. Frederick Harvey as Prince Henry, Mr. Rudolphsen as Lucifer, and Mr. Whitney as Friar Paul. Prince Henry of Hoheneck, stricken down with an incurable ailment, after vainly seeking a remedy, is visited by Lucifer disguised as a physician, who tempts him to adopt a remedy prescribed by a doctor of Salerno; namely, the blood of a maiden who will voluntarily offer herself as a sacrifice.
Elsie devotes her life to the Prince, and they journey together to Salerno, where her death must take place. Arrived at the spot, the Prince, touched by her magnanimity, entreats her to forego her purpose; but she insists upon it, bids him farewell in the school, and enters an inner apartment with Lucifer disguised as a friar. Before the tragedy can be consummated, the Prince bursts open the door, with the aid of his followers, and rescues her. The pair return to the castle on the Rhine, where of course the rapidly convalescing Prince marries Elsie, and the story closes with an epilogue reciting the discomfiture of Lucifer and the triumph of good over evil.
Out of this material the composer has constructed his work, eliminating from and adding to the original matter to suit his musical scheme, but at the same time preserving the general spirit of the story. It is a simple, tranquil hymn, but full of that sacred sentiment which this composer expresses so admirably in music. Edmund C. Stedman versified for this work as follows:—. The next number is for orchestra only, and once more the instruments are used for a continuance of the action by a description of the carousal of the  monks in a characteristic allegro bacchanale, the abbot testifying his indignation through the medium of the trombone and the use of the Gregorian melody.
The sentiment of the latter is expressed by the following verse:—. The ninth scene changes to Genoa. The twelfth reaches the climax in the scene at the college of Salerno between Lucifer, Elsie, and the Prince, with accompaniment of attendants, and is very dramatic throughout. Scene I. In the chapel of St. George at Palos, Aug. They entered upon the enterprise full of awe, committing themselves to the especial guidance and protection of Heaven.
Scene II. On the deck of the Santa Maria. The greater part of that time was passed in almost hopeless solicitation, poverty, and ridicule. Scene III. The Vesper Hymn. Scene IV. Discontent and Mutiny. Scene V. In distant Andalusia. Scene VI. Land and Thanksgiving. A short allegro brings the scene to a close. The fifth scene is a tenor recitative and love-song of a most graceful character, and one which will become a favorite when it is well known:—.
The final scene is very elaborate in its construction, and brings the work to a sonorous and stately  close. It was written in and first published in England. Its name reveals its source, and the composer has made compensation for the privilege of using Mr. The libretto was prepared by the composer himself, who has shown great skill in making his selections in such manner as not to disturb the continuity of the story.
The purely philosophical portions are omitted, and only those are retained which have a human interest. In this manner he has avoided the obstacle which the lack of human sympathy in the poem, beautiful as it is, would otherwise have placed in  his way. The text, as will be remembered, has no definite metre, much of it being in blank verse, and does not readily lend itself to musical expression; but it will be conceded that the composer has also overcome this difficulty in a very remarkable manner.
The cantata is divided into four parts,—Prologue, the Renunciation and Temptation, the Return, and Epilogue and Finale. It begins with a fugue, opened by the basses, simple in its construction but stately in theme and very dignified throughout. A tenor solo describes the six long years of wandering, followed by a characteristic chorus of voices of earth and air bidding him pass to the tree under whose leaves it was foretold that truth should come to him for the saving of the world. The final number is a masterpiece of choral work both in the elaborateness of its construction and the majesty of its effect, and brings the cantata to a close with the mystic words:—.
He was a student at the Royal Academy of Music in , and in the following year gained the Mendelssohn scholarship. From to he studied at Cologne with Hiller, and in returned to London, where he engaged for a time in literary pursuits. His abilities as a writer are very clearly shown in the librettos to his works. In he was appointed conductor of the orchestra at the Brighton Aquarium, and since that time he has devoted himself to teaching and composition. Corder is one of the most ambitious and promising of all the younger English composers, and his music shows in a special degree the influence of Wagner.
The adaptation has been made in a very free manner, but the main incidents of the poem have been carefully preserved. John by Merlin, where she must sleep. The next number, a very dramatic dialogue for soprano and tenor, gives us the conversation between Arthur and Gyneth, and leads to an energetic full chorus with very descriptive accompaniment, picturing the bloody tourney and its sudden interruption by the appearance of Merlin the enchanter.
This number alone is sufficient to stamp Mr. Corder as a composer of extraordinary ability. The work is largely in narrative form; but this, instead of being a hindrance, seems to have been an advantage to the composer, who has not failed  to invest his music with dramatic force that is remarkable. Corder is credited with being an ardent disciple of Wagner, and his cantata certainly shows the influences of that school. It is throughout a vigorous, effective work, and gives promise that its composer will yet be heard from outside the English musical world.
Frederic H. Cowen, the favorite English song-writer, was born at Kingston, Jamaica, Jan. His first teachers were Benedict and Sir J. Goss, with whom he studied until During the next three years he continued his musical education at the conservatories of Leipsic and Berlin, returning to England in As a song-writer, Mr.
Cowen is also well known; many of his lyrics, especially those written for Antoinette Sterling and Mrs. Aline Osgood, the American singers, having obtained a wide-spread popularity. After a brief orchestral introduction, a three-part chorus altos, tenors, and basses tells the story of the ancient King to whom an heiress was born when all hope of offspring had been abandoned, the gay carousal which he ordered, and the sudden appearance of the twelve fays, guardians of his house, with their spinning-wheels and golden flax, who sing as they weave:—.
In beauty of melody and gracefulness of orchestration this chorus of the fays is specially noticeable. Its charming movement, however, is interrupted by a fresh passage for male chorus, of an agitated character, describing the entrance of the Wicked Fay, who bends over the cradle of the child and sings a characteristic contralto aria:—. Following this aria, the male chorus has a few measures, invoking a curse upon the Fay, which leads to a full chorus of an animated character, foretelling that there shall dawn a day when a young voice, more powerful than witchcraft, will save her; at the close of which the guardian fays are again heard drawing the thread and weaving the woof in low, murmuring tones, with a spinning accompaniment.
It is followed by a trio soprano, tenor, and bass , with chorus accompaniment, announcing the departure of the fays, and leading to a very melodious tenor solo, with two graceful orchestral interludes, which moralizes on what has occurred and closes the prologue.
Unobserved the Princess leaves the banqueting-hall, glides along a gallery, and ascends the staircase to a turret chamber. The second scene opens in the turret chamber, where the Wicked Fay, disguised as an old crone, is spinning. She hears the dance-music  again, but the Fay gently draws her back and induces her to touch the flax. As she does so, the Fay covertly pricks her finger with the spindle. The answer comes in an animated prelude, through which is heard the strain of a horn signal, constantly growing louder, and heralding the Prince, who enters the silent palace, sword in hand, among the sleeping courtiers, knights, and ladies.
His kiss awakes her, and as she springs up, the dance-music at once resumes from the bar where it had stopped in the scene with the Wicked Fay. An impassioned duet follows, and the work closes with the animated waltz-chorus which opened the first scene. At the age of thirteen he went to work for an uncle, who resided in the village where the schoolmaster was a proficient musician. The latter, recognizing his ability, gave him lessons on the organ, and allowed him to copy music.
Piano lessons followed, and he had soon grounded himself quite thoroughly in counterpoint. At the age of sixteen he was admitted to the organ-school of Prague, of which Joseph Pitsch was the principal. Two years later he secured a position in the Bohemian Opera House at Prague, then under the direction of Mayer, where he remained until , in which year he left the theatre and devoted himself to teaching, with the prospect of earning two hundred and fifty dollars a year.
These were hard days for the young musician; but while he was there struggling for a bare subsistence, he continued writing compositions, though he had no prospect of selling them or of having them played. Shortly after this he received the appointment of organist at the Adelbert Church, Prague, and fortune began to smile upon him. His Symphony in F was laid before the Minister of Instruction in Vienna, and upon the recommendation of Herbeck secured him a grant of two hundred dollars. Since that time he has risen rapidly, and is now recognized as one of the most promising of living composers.
The Russians, Servians, Slovaks, Lithuanians, and Poles all have poems in which the ghostly ride of the spectre and the maiden forms the theme. In general, the story is the same. The Spectre comes for his Bride and she rides away with him through the night, amid all manner of supernatural horrors, only to find at the end that she has ridden to the grave with a skeleton. In his version, unlike the German, the Spectre and his Bride make their grewsome journey on foot. In the opening scene she is represented gazing at a picture of the Virgin, mourning the death of her parents and the absence of her lover, who has failed to keep his promise to return.
His parting words were:—. She has faithfully followed the counsel. The three years have expired, but still no tidings have come. As she appeals to the Virgin to bring him back, the picture moves, the flame of the lamp upleaps, there is an ominous knock at the door, and the voice of the apparition is heard urging her to cease praying and follow him to his home.
She implores him to wait until the night is past, but the importunate Spectre bids her go with him, and she consents. On they speed over rough bowlders, through thorny brakes and swamps, attended by the baying of wolves, the screeching of owls, the croaking of frogs, and the fitful glow of corpse-candles. One by one he compels her to throw away her prayer-book, chaplet, and cross, and resisting all her appeals to stop and  rest, at last they reach the churchyard wall. He calms her fears with the assurance that the church is his castle and the yard his garden, and bids her leap the wall with him.
She promises to follow him, but after he has cleared it, sudden fear seizes her; she flies to a tiny house near by and enters. A ghastly scene takes place; spectres are dancing before the door, and the moonlight reveals to her a corpse lying upon a plank. As she gazes, horror-stricken, a knock is heard, and a voice bids the dead arise and thrust the living one out. Thrice the summons is repeated, and then as the corpse opens its eyes and glares upon her, she prays once more to the Virgin.
At this instant the crowing of a cock is heard. The dead man falls back, the ghastly, spectral crew disappear, and night gives way to a peaceful morning. It was written for the Birmingham Festival of , and the text was translated by the Rev. Troutbeck, from a German translation  of the original poem made by K. It contains eighteen numbers, each of considerable length, of which eleven are descriptive, the barytone, with chorus response, acting the part of the narrator, and accompanied by instrumentation which vividly paints the horrors of the nocturnal tramp, even to the realistic extent of imitating the various sounds described.
It is unnecessary to specify each of these numbers in detail, as they are all closely allied in color and general effect. The music which accompanies them is picturesque and weird, increasing in its power and actual supernaturalism until it reaches its climax in the dead-house where the maiden takes refuge; and in these numbers the orchestra bears the burden of the work. The remaining numbers are almost magical in their beauty and fascination, particularly the first song of the maiden, lamenting her lover, and closing with the prayer to the Virgin, which is thoroughly devotional music, and the second prayer, which saves her from her peril.
There are four duets, soprano and tenor, between the Bride and Spectre, and one with chorus, in which are recounted the episodes of the chaplet, prayer-book, and cross, besides the hurried dialogue between them as he urges her on. These, too, abound in quaint rhythms and strange harmonies set against a highly-colored instrumental background. The story is not a pleasant one for musical treatment,—at least for voices,—and the prevailing tone of the composition is sombre; but of the wonderful power of the music and its strange fascination there can be no doubt.
Arthur Foote, a rising young composer of Boston, whose works have already made more than a local reputation, was born at Salem, Mass. While at Harvard College he studied composition with Prof. Paine, and after graduation determined to devote himself to the musical profession. He studied the piano-forte and organ with Mr. Lang of Boston, and soon made his mark as a musician of more than ordinary promise. He is now living in Boston, where he is engaged in teaching the piano and organ. The composer has made use of the remainder of the poem without change, except in repetitions demanded by musical necessity and in the omission of the seven lines immediately preceding the final words of farewell, which does not mar the context.
The remainder of the work is choral. The work, which was written for the Apollo Club of Boston, is not a long one, nor is it at all ambitious in style. The composer has evidently tried to reflect the quiet and tender sentiment of the farewell in his music, and has admirably succeeded. Poetic beauty is its most striking feature, both in the instrumental parts, which are well sustained, and in the vocal, which are earnest, expressive, and at times very pathetic, of this pretty tone-picture. Niels W. Gade was born at Copenhagen, Oct.
His father was a musical-instrument maker and intrusted his early education to the Danish masters Wershall, Berggren, and Weyse. He made such good progress that he soon entered the royal orchestra of that city as a violinist and began to be known as a composer. He arrived at Leipsic in , and after producing his first symphony with success, travelled through Italy, returning to Leipsic in , where during the winter of that year he conducted the Gewandhaus concerts in the place of Mendelssohn, who was absent in Berlin.
In he was appointed Hofcapellmeister, and was honored with the title of Professor of Music. Since that time he has devoted himself to composition, and has produced many excellent works, especially for festivals in England and elsewhere. Her love is returned by the warrior, and disguised as a youth the princess follows him on his expedition against Caracul, King of Lochlin. On the day of the battle Fingal places her on a height, near the shore of the Carun, whence she can overlook the fight, and promises her if  victorious that he will return at evening. As the tedious hours pass on a fearful storm arises, and amid the howling of the blast the spirits of the fathers sweep by her on their way to the battlefield to conduct to their home the souls of the fallen,—the same majestic idea which Wagner uses with such consummate power in his weird ride of the Valkyries.
Comala imagines that the battle has been lost, and overcome with grief falls to the ground and dies. The cantata is almost equally divided between male and female choruses, and these are the charm of the work. The parting duet between Fingal and Comala is very beautiful, but the principal interest centres in the choruses. Those of the bards and warriors are very stately in their style and abound in dramatic power, particularly the one accompanying the triumphal return of Fingal.
The chorus of spirits is very impressive, and in some passages almost supernatural. The music of the cantata is in keeping with the stately grandeur and richly-hued tones of the Ossianic poem. The poetry and music of the North are happily wedded. They do not play the subordinate part of accompaniment, but really enunciate the ideas of the poem, which are still further illustrated by the voices, acting as the interpreters of the meaning of the instrumentation.
The work consists of four movements, for four solo voices, orchestra, and piano-forte. The prominence  which Gade has given to the instrumental parts is shown by his characterizing the movements,—I. Allegro moderato e sostenuto ; II. Allegro molto e con fuoco ; III. Allegro vivace. The poem in the original is one of more than ordinary excellence. The translation in most common use is one made by Mrs.
The first movement is in the nature of an invocation to spring, in which the longing for May and its flowers is very tenderly expressed. Voices and instruments share alike in the jubilation:—. The boy at first is charmed with the apparition, but cries in mortal terror as the Erl King seizes him, while the father gallops at last into the courtyard, only to find his child dead in his arms.
The prologue relates that Sir Oluf at eve stayed his steed and rested beneath the alders by the brook, where he was visited by two of the daughters, one of whom caressed him while the other invited him to join their revels. At sound of the cock-crow, however, they disappeared.
He finds the alder-maids dancing in the moonlight, singing and beckoning him to join them. Marcel Frank 1. Kyrie, Gott heiliger Geist Clav. My Spirit be Joyful cantata arr. Wolff, for organ, tpt, tymp. Nun danket alle Gott chorale from Cantata 79 arr. Biggs for organ and trumpet 2. Nun danket alle Gott chorale from Cantata 79 Means 2.
Passacaglia and Thema Fugatum in C Minor 4. Pastorale third mvt 2. Pastorale; Miserere Mei…; Aria in E minor arr. Widor 8. Pastorale in F Major ed. Buszin 1. Prelude in E Minor 1. Ricercare a 6 voci Musikalischen Opfer 2. Sheep May Safely Graze Biggs very good cond. Sheep May Safely Graze Biggs 2. Taylor a few pencil markings 2. Sheep May Safely Graze arr. Alphenaar 3. Siciliano from Flute Sonata No. II arr. Snow copy 1 Bach, J. Snow copy 2 Bach, J. Steuterman 2. Sinfonia to Cantata Arioso, in F 2. Ten Instrumental Movements from the Cantatas, Nos. Toccata in F 2. Toccata in F copy 2 Bach, J.
Vom Himmel Hoch canons 2. Neumeister Chorales Barenreiter Oeuvres Complete Dupre , Vol. Oeuvres Complete Dupre , vol. VIII: Clavierubung, part 3 IX: Great 18 chorales 9. Complete Organ Works Kalmus , v. Complete Organ Works Kalmus, loose covers , v. Complete Preludes and Fugues Dover 5. Compositions on the Chorale large 6.
Orgelwerke Wilhelm Hansen , Bd. V: Orgelbuchlein Bach, J. VII copy 1 Bach, J. VII broken binding copy 2 Bach, J. Orgelwerke Peeters , vol 1 Sonatas, Passacaglia, Pastorale 4. Orgelwerke Peeters , vol 6 Chorale Preludes, part 1 exc. Orgelwerke Peeters , vol 6 Chorale Preludes, part 1 hardbound 5. Orgelwerke Peeters , vol 7 Chorale Preludes, part 2 exc. Orgelwerke Peeters , vol 7 Chorale Preludes, part 2 4.
Art of Fugue Peters 5. Art of Fugue Peters good cond. Bach: A Tribute, th year celebration J. Mansfield 5. Clavier Ubung, part 1 Peters 4. Clavier Ubung, part 3 Peters 3. Clavier Ubung, part 3 Peters, missing some pages 2. Clavier Ubung, part 3 Peters 4. Clavier Ubung, part 3 Peters copy 4 Bach, J. Clavier Ubung, part 3 Durand 5. Clavier Ubung, part 3 Riemenschneider 5.
Chorales: Four Part Chorales Breitkopf 2. Chorales: Four Part Chorales Riemenschneider 4. Chorales: Four Part Chorales Reimenschneider 4. The Organ Students Bach Rogers 4. Orgelbuchlein Dupre — vol. Orgelbuchlein Barenreiter, ed. Keller Orgelbuchlein Riemenschneider 5. Orgelbuchlein Kalmus 3. Schubler Chorales Riemenschneider 5. Schubler Chorales Peters 3. Trio Sonatas, Nos. Das Wohltemperierte Klavier Kalmus 3. Durch Adams Fall, ed. Was mein Gott will 4. Evening Song 5. Noels Christmas Music for the organ, Vol. I Balbastre, C. I I Balogh, L.
A Wedding Suite 4. Organ Sonata ; unmarked pages, a few water stains 7. Organ Sonata copy 2 Barber, S. Adagio for Strings arr. Strickland, W. Wondrous Love, Variations on a Shape-note Hymn red markings 3. Organ Fantasy on Benediction 2.
Festal Prelude in G Minor 2. Solemn Prelude, Op. Song for Organ 2. A Dream 3. Grand Fantasia 5. Fifty Voluntaries, Op. Four Grands Offertoires de Ste. Four Grand Offertories St. Cecilia 6. Offertoire in d minor, Op. Offertoire in A flat 8. Three Short Pieces cover missing 9. Freie Orgelkompositionen 5. Chorale-Paraphrase 3. Ave Maris Stella 2.
Grand Choeur 3. Parkhurst 2. Phillips 5. Hare 4. Best, Vol. Awake, my heart, with gladness 4. Toccata, Aria and Fugue in C good cond. Variations on a theme by Hugo Distler Op. The Burning Bush copy 1 Berlinski, H. The Burning Bush copy 2 Berlinski, H. Elegy Berlinski, H. Kol Nidre 2. Miniature Suite arr.
Mason 4. Cadence: Etude de Concert Best, W. Organ Suite 4. At the Cradle of Jesus 3. Bells of Riverside, Op. Roulade Op.
- My Fathers House.
- 2012 (Notes) … (a Greek Design);
- The Standard Cantatas, George P. Upton.
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Three Oriental Sketches, No. Berceuse arr. Andante Moderato from Concerto Grosso no. Four Wedding Marches 7. Four Wedding Marches 6. Four Wedding Marches 4. Prelude recueillement from String Quartet, arr. Marsh Bloch, E. Six Preludes for Organ 4. Douze Pieces for Organ Op. Heures Mystiques For the Organ vol. Suite Gothique, Op. The Liturgical Service for the organ Vol. I Boely, A. II Boely, A. Douze Pieces Nouvelles, Op. Etude de concert Bonnet, J. Magnificat for choir and organ from Douze Pieces, Op. Variations de Concert 3. Loneliness Meditation cover loose Bossi, M. Enrico Alla Marcia 3.
Enrico Alla Marcia brittle, water stains copy 2 Bossi, M. Enrico Ave Maria No. Enrico Ave Maria, Op. Enrico Orgelwerke, v. Enrico Scherzo in G minor ed. Bedell 4. Enrico Six Pieces 4. Stunde der weihe, Op. Two Pieces: Ave Maria, Offertoire; ed. Bedell excellent condition 6. Stephen Counterpoint 4. Fantasia for Organ Op. Ten Voluntaries for the Organ or Harpsichord Facs.
Ye Sweet Retreat arr. Virgil Fox 3. Organ Works Vol. A Lovely Rose Is Blooming, ed. Holler 3. Choral-Preludes, Op. Complete Organ Works 3. Miscellaneous Compositions Marks edition 4. Neu-Einrichtung der Choralvorspiele, Op. Six Organ Pieces 5. Introduction, Passacaglia and Coda Brown, A. Orgelwerke Stein Bruhns, N. Seiffert small water stain, otherwise very good condition 6. Meditation, ed. Dickinson 2. The Holy Night Buck, D. The Last Rose of Summer, ed. Owen Buck, D. The Star-Spangled Banner concert variations ex. Brideshead Variations for Organ Solo 5. Trumpet March Bush, L.
Roler Coaster photocopy of manuscript Busoni, F. Praeludium und Fuge Op. Buxtehude, D. Choral Transcriptions, Part 1, Vol. Spitta and Seiffert 5. Choral Transcriptions, Part 2, Vol. Spitta and Seiffert excellent condition 5. Chorale Prelude: Kommt her zu mir, spricht Gottes sohn; ed. De Lamarter excellent condition 4.
Dickinson excellent condition 4. Dickinson very good condition, a few pencil markings 4. Free Compositions for the Organ, Part 1, Vol. Spitta and Seiffert like new Spitta and Seiffert 8. Free Compositions for the Organ, Part 2, Vol. Spitta and Seiffert; very good condition Fugue en UT majeur Fuga in C water damage 1. Fugue a la Gigue Fuga in C H. Gray 2. Orgelkompositionen, Heft 1: Passacaglio, Ciacona 2 , Praludium u. Fugen 2 ; ed. Orgelwerke, Band 1: Praeludien und Fugen, ed. Keller cover loose, pencil markings 5.
Keller loose cover 2. Keller 5. Samtliche Orgelwerke Band I, 1 ed. Beckmann, Breitkopf Buxtehude, D. Samtliche Orgelwerke Band II, 1 ed. Samtliche Orgelwerke Band II, 2 ed. Josef Hedar;fair condition, pencil marks 4.
Hedar 6. Masterpieces of Organ Music series : 5 Chorale Preludes, incl. Vater unser, Nun komm, Var. VI , ed, Henry G. Ley Buxtehude, D.
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Seth Bingham 3. Seth Bingham excellent condition 6. Seth Bingham 6. Gray, ed. L Bedell 5. At Dawning, arr. Clarence Eddy 2. Clarence Eddy 3. Suite in D 4. Series 3. Series arr. Fox 3. Gustave Ferrari 3. Three Organ Preludes 3. Star Dust 2. Hymntune Preludes for the Organ, Vol. Clouds St. Cecilia Series 3. Varhanni Skladby Chadwick, G. Suite in Variation Form Chadwick, G. Ten Canonic Studies Op. Theme, Variations, and Fugue Chadwick, G. In Springtime 2. Andantino trans. Guilmant fragile, brittle 3. Eleventh Nocturne in G Minor transc.
Lott Fragile, missing cover Christiansen, F. Organ Compositions, Vol. Alessandro Esposito Clare, Sr. Eddy, Whitney, Wilkins 6. Trumpet Voluntary,Fischer ed. Trumpet Voluntary arr. Alphenaar Marks Clemens, Ch. Modern Progressive Pedal Technique poor condition 3. Briggs, D. Hymnus falling apart Cole, R. Meditation falling apart Cole, R. A Song of Consolation Op. Bedell 6. Preamble for a solemn occasion 3. Kraft 2. Dupre 2. Mass for the Convents, Kalmus edition excellent condition 8. Mass for the Convents, Kalmus edition 8. Mass movements Masterpieces of Organ Music series, folio 29 2.
Qui tollis peccata mundi Hist. Recital Series v. Recital Series cover missing, some pencil marks 1. Recital Series 2. Suite for organ from Solemn Mass for Parish Use 4. Chaconne trans. Bonnet Couperin, L. Chaconne for 4-Part Brass Choir with Organ Pavan and Galliard 3. Divertimento, No. Sonatina, No. Hymn Interpretations Dallier, H. Cinq Invocations Lemoine ed. Noel arr. Bitgood 3. Watters 3. The Cuckoo arr. Biggs, St. New Book of Noels Vol. West, John E. Melody 2. Scherzo Symphonique DeBruyn, R. Six Pieces for organ 5.
Clair de Lune trans. Cellier 3. Clair de Lune 3. Gaston Choisnel Debussy, C. Romance trans. Rogers, loose cover brittle 2. Murray Dello Joio, N. Laudation Dello Joio, N. Six Etudes Bornemann, like new Demessieux, J. Andante Serioso St. Series 80 3. Series 80 worn 2.
Berceuse 2. Exaltatation St. The Joy of the Redeemed Dickinson, C. Memories St. Reverie St. Series 79 3. Two Ancient Melodies 2. Psalm 4 and Psalm 90 Diemente, E. Two Pieces for organ Diemer, E. Psalm Interpretations, Vol. Allegretto Grazioso Diggle, R. Carol Prelude Diggle, R. Choral Symphonique on four hymns 3.
Exultate Deo 2. Woodland Flute Call ed. Hornpipe in D 1. Funf Orgelchorale Doppelbauer, J. Adoration 2. Adoration et Vox Angelica poor cond. Alleluia on O Filii et Filiae 3. Alleluia; arr. Cantilene Nuptiale 6. March of the Magi 3. March of the Magi Schmidt 4. Messe de marriage 7. Messe de marriage 4. Six Pieces ed. Noble 6. Sortie Grand Choeur Dubois, Th. Ten Pieces 5.
Toccata in G major 4. Twelve Pieces Schirmer 6. Twelve New Pieces Schirmer 6. First Sonata in G minor Schmidt 6. First Sonata in G minor photocopy, but a good one of the edition 5. Wedding Prayer 1. Louis 3. Largo from New World Symphony 3. Preludia a Fugy E Eben, P.
A Festive Voluntary new 7. Laudes Sonntagsmusik new Versetti 7. Franklin Lyric Prelude based on music of A.