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Creator: Notman, William
Date: 187-?

Date: 1920
Text: . K ,_ . /fr» I :~.. ~ ; Mm . 1/‘ [,{_’~ 31.4 /3 *7 ,»4:-"’“ J V, ‘la ‘a 3 ; - i“ V U ‘Jxﬂ ,‘\,»*L/3:/L!:'_/,[:‘,/ Gompozitionsg my Sobn rlltsokrejs MUSSC LIBRARY VVAEAQAIR COLLEGE voucmmzwsse. new vow 34 ( \ \ ) 1)}: VALCIK. Db Gr. 4-5 . . . . . . . . . . . . . . . . . . . . ..50c TOLD IN JUNE. E Gr. 4.. .' . . . . . . . . . . . . . ..50c ROMANCE. D Gr. 4-5 . . . . . . . . . . . . . . . . . . ..50c OUT OF THE WEST. G Gr. 5 . . . . . . . . . . . . . .50c PRELUDE IN G MAJOR.* Gr...
Show more. K ,_ . /fr» I :~.. ~ ; Mm . 1/‘ [,{_’~ 31.4 /3 *7 ,»4:-"’“ J V, ‘la ‘a 3 ; - i“ V U ‘Jxﬂ ,‘\,»*L/3:/L!:'_/,[:‘,/ Gompozitionsg my Sobn rlltsokrejs MUSSC LIBRARY VVAEAQAIR COLLEGE voucmmzwsse. new vow 34 ( \ \ ) 1)}: VALCIK. Db Gr. 4-5 . . . . . . . . . . . . . . . . . . . . ..50c TOLD IN JUNE. E Gr. 4.. .' . . . . . . . . . . . . . ..50c ROMANCE. D Gr. 4-5 . . . . . . . . . . . . . . . . . . ..50c OUT OF THE WEST. G Gr. 5 . . . . . . . . . . . . . .50c PRELUDE IN G MAJOR.* Gr. 6 . . . . . . . . . .75c SCHERZO IN E MINOR.* Gr. 6 . . . . . . . . . . . .90c INTERMEZZO.* A Gr. 6 . . . . . . . . . . . . . . . . . .75c ARABESQUE.* Db Gr. 5 . . . . . . . . . . . . . . . . . .750 FROM A BOHEMIAN VILLAGE. C Gr. 4-5. 50c DANCE OF YE WITCH OF SALEM TOW . ABSENCE. C MINOR Gr. 2-3 VALSE B}; Gr. 3 AN INDIAN DANCE. C MIN AN INDIAN IDYL.* G Gr. ECOSSAISE (Scotch Dance BAGATELLE IN G. Gr. VILLAGE SCENES.* Gr. THE BLACKSMITH. D. GLADYS AT PLAY. D. . . . . . . JUMPING JACK. C. . EVENING. C. (41 <70 RONDO. C. [ 5 THE BELLS. C. \ Gr. - JACK IN THE PULPIT. C . . . . . . . . . . . . . . . . . . IN THE HAY LOFT. Bb . . . . . . . . . . . . . . . . . . . .25c OLD CHIEF MATAATAKWA. A Minor . . . . . . ..25c THE WHITE BUNNY. C . . . . . . . . . . . . . . . . . . . .25c THE FROG POND. C . . . . . . . . . . . . . . . . . . . . . . .25c DANCING DAISY FIELDS. C . . . . . . . . . . . . . . . .30c PETER PETER.* CCr. 30¢ FROM A TAMA POW-WOW?‘ A Minor Gr. 2.....30c KITE FLYlNG.* D Cr. 2 . . . . . . . . . . . . . . . . . . . . . . 30:; Q (E S HRAB AND RUSTUM. C 25c BOHEMIAN FOLK SONGS.‘ Book I . . . . . . .50c (Arranged as easy Piano Duets. Gr. 1-3). Book II . . . . . . . . . . . . . . . . . . . . . . . . . . . ..90c NATURE SKETCHES. FROM THE HILLS. Bb Gr. 3 . . . . . . . . . . . . . . . .30c THE BIRD RONDO. G 3-4 . . . . . . . . . . . . . . . . ..50c PLAYING LADY. C 2 . . . . . . .I . . . . . . . . . . . . . . .30c IN SUMMER. D 2 . . . . . . . . . . . . . . . . . .30c AD BOY. G 3 . . . . . . . . . . . . . . . . . . . . . . .40c A DA THE / A HERZO. Gb 4 . . . . . . . . . . . . . . . . . . . . . . . .50c MI HINC-TON WAS A BOY* . . . . . . . . 1.00 (An Opera for Young People) LOVE ME YET JG SONG M THE FIELDS OF FRANCE ‘ AH—WAH-TAY—SEE (Little ﬁre-ﬂy) WA—YEA MY LITTLE OWLET E/(EAL E ‘ (\ SONGS OM TH] R’S GARDEN . . . . ..75c (V t teen ngs fo Children.) SONG (L I67‘) . . . . . . . . . . . . . . . . . ..40c (C to F) . . . . . . . . . . . . . . ..50c . (IE) to F) . . . . . . . . . . . . . . ..50c I MELODRAMAS (Reading with Music.) MIANTOWONA.* . . . . . . . . . . . . . . . . .75c (Poem by Thomas Bailey Aldrich) THE LEGEND OF WINONA . . . . . . . . . . . . . .75c TRIO IN B MINOR. (For Violin, ’Cello and Piano.) LESSONS IN HARMONY . . . . . . . . . . . . . . ..1.00 LESSONS IN SIGHT READING."‘ . . . . . . ..75c (For the Beginning Piano Student.) LESSONS IN RHYTHM* . . . . . . . . . . . . . . . . . . . . .. 75c 09 ODOWAN PUBLISHING CO. 880 W. 181st St., New York 831 Ave. B, Cedar Rapids, Iowa ‘Rub. by (Jtayton F. Sammy 00., Chicago. To £3111. You’ll Love Me Yet (SONG FROM PIPPA PASSES) REVISED EDITION BROWNING‘ Moderate You’ll love tar— ry your 1ove’spro—tract - ed grow - ing. 6’o;9y7'2'g/at MUZIBZY by Jolm ﬂlokrejs. JOHN MOKREJ S 17000 piu mosso June _ rear’d that — ers you car- 1-y nf poco piu mosso pri1’s sow. — ing.. I plant a heart — f ul some seed at least to strike and yield __ What you‘ll not pluck in deed‘___ Not love but You?! Love £l[e Met 4 Not love but may be like! Not love, not may be like! V P Yotf ll look 1) ll tempo Tab. loves re - mains,A grave’s one vi — o - let: Agrave’s one Y 0247! Love Me Yet 4 vi at but may be, least your look? that pays a thousand/thousand pains, a thou - sand pains. {-25 What’s death? You’ll love me yet!What’s death?You’111ove me yet! >>>> {T {-5 A 2:} me You’ll__. love me You"11 love me yet! Y0u’11 ~ love me, love me yet! ‘*1 4e ?’ [7000 Mt. Yozdllﬁove Me Ye! 4 To my sister Amze Spring Song REVISED EDITION Words by Music by SHAKESPEARE JOHN MOKREJS Alleg'rettAo d ai — When shep — smocks larks Oopyrig/at MUMXY by J0/m Jllolcrejs. - buds tread, light, cuc - koo then smocks..___. ed men; For. thus._ sings AS"!-wing Song 3 Cuc—k0o, cuc —koo, Spring Song 3 A Tfiéule to our Gallant Boys From The Fields Of France Words as Music L argo (very slowly) E _ B 131£OKREJS _ L __ F.‘ Vwy slowly and profoundly Though our hands be part ,- ed by the deep seas blue, Yet have When the storms go rag - ing, be on sea or land, Then have Like the sun’s down - go - ing, mid its glor — ious ‘hue, In the nff hearts one Song whenthere’s fightéin" to do. Though We ne’er see home and you, we to hearts one Song and as mountains We stand_ As the mountains do we stand, with one roll ca1l’s miss - ing our hearts go home to you. "Yet though clod becomesthe clod, and 1‘ du — ty’s call were true; We lived for the Right and we died for you. heart, one hope, one hand, Un- til Right en - throned shall rule the land. time and a — ges nod, There’s no name e’re lost from the roll call of God. T Oopyriglzt 1l[6’1ﬂ’)f by Jo/an Zllolcrejs. VVah—Wah—T1(:£ré:“0sWé7”e;>I./j3{Ij'1:}kir1‘i).7”ﬁ91e Fire Fly. From Longfe11oW’s Hiawatha. Music by Y JOHN MOKREJS . Andante con moto e tranquillo. ,5 Wah—wah - tay -_ see lit -tle fire - fly Lit-tle flit - ting Whitefire in\: sect, Lit—tle dan—cing »\ 2; white-fire crea - ture Lightme with your lit -'tle can — dle, 6’(/pg/7'77g/¢Z‘ J[6’J[XV by Jo/an Zllo/cre,/Ls‘. Ere up- on_. my bed I lay... me e Ere in sleep I .5 close my eye - lids Wah—wah-tay - see litgtle fire - fly, Lightmewith your lit- tle can - dle Ere in sleep I closemy eye - lids. trrmgmlln Tab. $1.3. ”l"’/"*"””'l"WW-W" ~° ‘ F.\J.LAWSON co.N.v To ﬂfary. EWa—yea My Little Owlet. (From Longfe11oW’s Hiawatha.) JOHN MOKREJS . Andante mo derato. \——/ P 00 7; [’ca’_ Ewa-yea my lit— tle that lights the ‘Wig - warn?Wi‘ih his great eyes lights the wig - warn Sz _>.. 15> 00]);/7‘?:l,"/if MUMXIII by Jaime ]l[o/krejs. Ewa - yea my lit -tle owl - et 7.’ . f great eyes lights 8 Z .7 . P Ewa -yea my lit — tle Ema -yea 2 T0 Jllr. EE. Pirkel. GALLIE. REVISED EDITION (SOUTHERN SERENADE.) JOHN MOKREJS. Moderately. is a out ma dar - — - lin’, ob de sum—mer night, is a in ma dear swoon-in’ Wid de- light Copyright MCMXX by Johh Mokrejs Hi -ho ma dar - lin’ H3 -ho ma dear gva ' ' '3 _ . \./ \_/ Wwjz‘ 4/<3: \¥ J/-\/'_\ b gx J./\ : - : __ /‘T Sweet! Sweet! owls ar’ hoo - tin’, Night croons, stars ar’shoo - tin’, Gal- lie lie “ 1*” I s here Gal-lie. Game_ 2 >2: Cello ditto two octaves lower BY JOHN MOKREJS WHE_N WASHINGTON WAS A BOY An opera“ in one act for young people based on the cherry- tree story and bringing in the important characters, including the negro servants, surrounding Washington’s boyhood. Though written for piano accompaniment only, it is strikingly orchestral L. ESSONS "Lessons in Harmony" is a beginner's harmony book. The facts in it can be taught by any teacher after a slight perusal of the book. The exercises are to be played, listened to and written, and, being simple, can easily be understood by pupils of any age. It teaches how to form and play all intervals and all chords. It teaches the nature and use of all chords, thereby laying the foundation for memorizing, improvising and composing. It teaches the perception of Relative and Positive Pitch and has a most excellent presentation of modulation. The book will be sent on approval. (Price $I .00 net.) "Excellent in thought and content, not conventional, and wide in scope."—-A. L. A. Boo/flist. The average student approaches the study of harmony with a hostile mind. Decades of stupid teaching and dry text have brought about this unsympathetic attitude and only through the use of practical works like the one under discussion can the usefulness and pleasure of the subject be fully disclosed. It ‘ is not ﬁlled with rules that contradict, nor is it padded with dry formulae; nor yet is it made wearisome with endless excerpts from composers’ works; it is almost tersely clear in explanations of formations and progressions. LESSONS This book is for the beginning piano student and it teaches how to read without any drudgery. It teaches the treble, high-treble, loiv-treble, bass, high-bass and Iolv-bass lines as units (pictures) with deﬁnite locations on the keyboard. These six pictures combined take in the entire key- board and each one is equally easily learned. LESSONS Teaches your pupils to play naturally in time. It aims to give your pupils a musician's conception of rhythm. Elastic, ﬂexible, proportionate, accurate. This method establishes that rhythm is to be taught—not as a problem in arithmetic——but as an element in music which must be consciously felt as well as scientifically understood. Notes are named according to their sound, their meanings, their rhythmic or counting values. This is the ﬁrst time that the subject of rhythm——including Time, Tempo, Measure, Pulse, Pulse-Rhythms, Rests, Dots, Ties, Syncopation, Irregularities, etc., is gathered into one com- plete, practical teaching method-«scientifically accurate yet artis- tically intuitive. I N I N in effect and the vocal parts are perfectly within the possibilities of young people. Its length is about an hour and a quarter, and by following the directions given, it can be done with but a month's training. H,ARMONY The chapters on modulation should be mastered by every church organist who essays the necessary transition between the hymn and the anthem. No stiff formula: but the best possible manner of approaching each key clearly set forth in a convincing manner that would mean a little more peace in the choir loft i followed honestly. Again modern usage is taken into con- sideration by a fair recognition of the looser key feeling now obtaining where the old relations were so ﬁrmly fixed.-~—~Cedar Rapids (/a.) Sunday Republican. Harmony Considered From a Practical Viewpoint. Too much has the custom in the past been to merely ap- proach the study of harmony as a sort of geometrical structure, with no instinctive association between the two methods of receiv- ing impressions, viz.: the eye and the ear. The manner in which Mr. Mokrejs insists upon ear training as a fundamental of har- monic comprehension indicates a perception of what has heretofore been the weakest point in our system of theoretical musical educa- tion-weak because it has so often been taken for granted. This work is well adapted for study under almost any conditions-— with or without a teacher. Among its commendable qualities are conciseness, directness, simplicity, brevity——so arranged as to lead to the absorption of the subject rather than of a lot of rules which are supposed to govern the subject.—-~MusicaI Monitor & World. IN SIGHT READING It teaches the Relative and Positive Location" of Keys (which is as necessary to a pianist as Relative and Positive Pitch) afid enables one to naturally see the keys in the notes. It establishes that notes should be learned from the keys and tones they represent, and never disassociated from them. Price 75 cents" RHYTHM The exercises are presented in such a logical manner that they immediately clear up every Rhythm Problem from the sim- plest elementary forms to the most advanced complicated forms. The principles taught in the first elementary lessons are so scientiﬁcally true that they work out equally well when applied to all the more involved forms. This blesses the pupil to the extent that nothing ever needs to be unlearned. These “Rhythm Lessons" can be used for all students of music—-vocal as well as instrumental—-including wind, string and percussion instruments. The price is 75 cents"‘ Two INDIAN MELODRAMAS MIANTOWONA AND THE LEGEND OF WINONIA _ That the Indian -is ﬁguring moreandimore in American art is very apparent. Indian legends, Indian life, Indian exploits are fascinating to young and old alike, and rightly so—~“they are ours. Miantowona and the Legend of Winona» one a legend, the other a tradition; one poetical, the other dramatic~—are both beautiful poems to be read with musical accompaniment-—melo- dramas. “Miant_owona""" (the poem by Thomas Bailey Aldrich) is a legend which tells how the first water-lily came to be———from Miantowona's constant love for Wah-Wah whom the Great Spirit had taken to the‘ happy hunting grounds. "The Legend of Winona" deals with an incident at Maiden's Rock on the upper Mississippi. It is based on a poem by James Athearn Jones and shows the inner thoughts of a brave, heroic Indian girl to whom death was but a stepping stone to liberty and her higher ideals. The character and action of the poems are beautifully ex- pressed by Mr. Mokrejs’ music. Both make splendid numbers for home or club programs. Price. each 75 cents.. ’‘‘Published by Clayton F. Suinmy Co., Chicago.
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Date: 1917
Text: 33 E? E. Phi‘;0mc"i HfV!'4".‘..:',.‘..[\’=. .‘,;21'..-xii. Imsah .M.:~: g>:.;::.»:.x‘E«.:~/4 3V'»'L'J;vv.: mm. mia. -' '“i\‘TIE §_.UL\I¢,2‘v‘?‘1,l.(>'»‘u" j NE;.'w" ‘.‘{"-C’3Ex’i':\?'.: ilH1“s.'“L«, EL ].’9H.'£"fr5*..T!‘A‘-3 éir I.,a.}¢. L'u‘;"§€'I.-‘\u;;a}. ¥..“2’€'.'i>{‘*h {iv §M’i..:X5_."§’ music: LIBRARY VASSA-R COLLEGE YE VOICES, THAT AROSE , 1 - Ye...
Show more33 E? E. Phi‘;0mc"i HfV!'4".‘..:',.‘..[\’=. .‘,;21'..-xii. Imsah .M.:~: g>:.;::.»:.x‘E«.:~/4 3V'»'L'J;vv.: mm. mia. -' '“i\‘TIE §_.UL\I¢,2‘v‘?‘1,l.(>'»‘u" j NE;.'w" ‘.‘{"-C’3Ex’i':\?'.: ilH1“s.'“L«, EL ].’9H.'£"fr5*..T!‘A‘-3 éir I.,a.}¢. L'u‘;"§€'I.-‘\u;;a}. ¥..“2’€'.'i>{‘*h {iv §M’i..:X5_."§’ music: LIBRARY VASSA-R COLLEGE YE VOICES, THAT AROSE , 1 - Ye voices, that arose After the evening/s close, And whispered to my restless heart repose! Go,breathe it in the ear > Of all who doubt and fear, And say to them.,'1Be of good cheer! V’ Ye sounds, so low. and calm, That in the groves of balm V Seemed to me like an ange1’s psahn! Henry I/I/Fzdswort/z _L¢mgfell0w (from the French) 5-’! 50"72079 — 3 From Me Franc/1 mngmaz 311% Al») CECIL BURLEIGH HENRY WADSWORTH LONGFELLOW Op. 32, N0 3 Very slowly; with deep feeling (lg 40 orfslower) FT’! VOICE Ye voi — ces, that a Af'—ter the eve — ninge 2 And Whis—perH to my rest— less heart re — pose! z'ncrea.s*e ‘ —e breathe it ' the ear Of; all who doubt and mcrease -=./' And say to them,__ “Be /X 3?: 5“ Copyright NICMXVTI by Oliver Ditson Company International Copyright Secured 1%’ Ye sounds, so low and calm,.__ = n That in the groves of balm __________ Seem’d to me... like an an — ge1’s ,5: : : " r- Seem’d to me like slower K The Musicians Library The masterpieces OF song and piano literature edited by men of authority SONG ’ VOLUMES ' ISSUED Foi-HIEI1 Voice For Low Voice Ediiedby JAMES HUNEKER Edited by WM. FOSTER APTHORP Edited by HENRY T. FINCK Edited by DR. EBENEZER PROUT Edited by DR. EBENEZER PROUT Edited by WM. FOSTER APTHORP Edited by CARL ARMBRUSTER Edited by HENRY T. FINCK Edited by W. J. HENDERSON Edited by JAMES HUNEKER Edited by JAMES HUNEKER Edited by CARL ARMBRUSTER Edited by CARL ARMBRUSTER Edited by ERNEST NEWMAN Edited by HENRY T. FINCK Edited by DR. CHARLES VINCENT Edited by PHILIP HALE BRAHMS, JOHANNES FORTY SONGS FRANZ, ROBERT FIFTY SONGS GRIEG, EDVARD FIFTY SONGS HANDEL, GEO. F. SONGS AND AIRS HANDEL, GEO. F. SONGS AND AIRS JENSEN, ADOLF FORTY SONGS LISZT, FRANZ ' THIRTY SONGS SCHUBERT, FRANZ FIFTY SONGS SCHUMANN, ROBERT FIFTY SONGS STRAUSS, RICHARD FORTY SONGS TCHA'I'i<OvSi<Y, P. I. FORTY SONGS WAGNER. RICHARD LYRICS I WAGNER, RICHARD LYRICS ii S Iii WOLF, HUGO FIFTY SONGS FIFTY MASTERSONGS FIFTY SHAKSPERE SONGS MODERN FRENCH SONGS VOL. I (BEMBERG TO FRANCK) MODERN FRENCH SONGS VOL. II (GEORGES TO WIDOR) ONE HUNDRED ENGLISH FOLKSONGS ONE HUNDRED FOLKSONGS (All Nations) ONE HUNDRED SONGS OF ENGLAND SEVENTY SCOTTISH SONGS SIXTY FOLKSONGS OF FRANCE SIXTY IRISH SONGS SIXTY PATRIOTIC SONGS OF ALL NATIONS SONGS BY THIRTY AMERICANS SONGS FROM THE OPERAS L II Er III SONGS FROM THE OPERAS IV G V For I‘IIgI\ VOICE For Low Voice Fcrr High Voice For Low Voice For High Voi¢¢ For Low Voica £*.'3v‘.-.$v‘5$v’;:'5v‘.-3 For High Voice For Low Voice For I‘II${I'\ Voice: For Low Voice vi? For High Voirc Ior Law Voice For I*'IIs>,I\ Voice I*'Oi Low Voice For Higiiw Vmcz For I,\Iv/ Vuice Fur I‘II;:Ii VC'iiL‘P, Poi Low \/(JILQ For Soprano Fvt‘ Tenn! For Bunion: and Basis For Hi*,Iw \/OICC For Low Voice For I"I_ii.II Voice For Low Voiuc Fi».— F-I.»,_ii Vote: In): Low \/OlC¢ For HIEII Voice For Low VOIC¢ For High Voicc Fix Low Voice Edited by ' PHILIP HALE {:5 I19 v‘.°*vi':i‘r¢;‘v€-5:’£i.‘zv‘.-f5t‘.:?iv7:t‘iv‘:'5>‘.-E Edited by CECIL SHARP Edited by GRANVILLE BANTOCK Emmi by GRANVILLE BANTOCK Ediied by HELEN HOPEKIRK Edited by JULIEN TIERSOT Edited by WM. ARMS FISHER Ediwd by GRANVILLE BANTOCK Edited by RUPERT HUGHES Fdimi by H. E. KREHBIEL Editedby H. E. KREHBIEL For Medium Voice 8 C For Medium Voice & Fcr HICII \/‘nice For Low Voice For High ‘I/mitt: For Low Voice For Medium \/(MCI! For Hiri.Ii Vcicc for L.0V'\ Vmuz For Medium Voice For I‘Ilf.'II Voice For Law Voice For Sopiisno For IVI¢Z7I)<S0Dl&.I'\O '0.’ A to Far Taiior For Baritone nnd Bun f.-Tv§§t‘!:3ﬁv‘$f$v“;3&% v‘:i‘vv‘:3i‘.°.5is‘.*%v‘;.'5v‘.-.§b‘.:.5i’;‘3i‘:.‘vv‘5 ﬂ iﬁﬁﬁf5§.%$€:§E%€:§&5&%&%&%&¥&%ﬁt§.t§ COMPLETE LIST OF’ PIANO VOLUMES FREE ON REQUEST Each vOIume in heavy paper, CIO[I'1 back, $150; in FLIII CIOtI’i,. giit, $2.50. Copies maiIecI post-paid. Other vOIumes in preparation For Free bOOkIet, giving Full particulars and Easy Payriient Plan, send to the pubIisI1erS % OLIVER DITSON COMPANY" BOSTON
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Date: 1917
Text: SONGS BY CECIL BURLEIGH Op. 32 Philornel (VVILLIAM SHAKSPERE) High voice. in E Medium vuict-. in 1)?‘ T he sea hath its pearls (HEINRICH HEINE) Medium voice, in F Low voice, in D1} Ye__y_QiC€:s, that arose (HENRY VVADSVVORTH LONGFELLOVV} High 'VU1C€, in Al" Low vmrc. in E ;.aaunnuum.., I heard the trailing garments of the night (HENRV VVADSWQRTH LoNom7LLovv; High voice, in I) mm. Low x nxr.-u, in B mm. The lightlmuse {H ENRY ‘JVADSVVORTH LONGFELLOW) High voiwse, in E!’ Law vu1cr.....
Show moreSONGS BY CECIL BURLEIGH Op. 32 Philornel (VVILLIAM SHAKSPERE) High voice. in E Medium vuict-. in 1)?‘ T he sea hath its pearls (HEINRICH HEINE) Medium voice, in F Low voice, in D1} Ye__y_QiC€:s, that arose (HENRY VVADSVVORTH LONGFELLOVV} High 'VU1C€, in Al" Low vmrc. in E ;.aaunnuum.., I heard the trailing garments of the night (HENRV VVADSWQRTH LoNom7LLovv; High voice, in I) mm. Low x nxr.-u, in B mm. The lightlmuse {H ENRY ‘JVADSVVORTH LONGFELLOW) High voiwse, in E!’ Law vu1cr.. an (2 BQSTON: OLIVER DITSON COMPANY NEW YORK: CHAS. H. DITSON & CO. CHICAGO; LYON 31, HEALY MUSIC uananv VASSAR COLLEGE YE VOICES, THAT AROSE Ye voices, that arose After the evening’s close, And whispered to my restless heart repose! Go, breathe it in the ear Of all who doubt and fear, And say to them.,“Be of good cheer! ” Ye sounds, so low and calm, That in the groves of balm Seemed to me like an ange1’s psalml Henry Whdsworfh Longfellow ( from the French) 5-150-72079 ~ 3 YE VOICES, THAT AROSE From Me French HENRY WADSWORTH LONGFELLOW VOICE Go, CECIL BURLEIGH ’0« gm‘ [K " ”~’"" 6”) 011.32, No.3 Very slowly 5 with deep feeling (J.= 40, or slower) ft“-I ' that Af_ter the eve _ ning’s voi _ ces, rest- less heart re - pose! And vvhis_ per’d to my increase breathe it ' all_ who doubt and —'—«:f \___/ Copyright MCMXVII by Oliver Ditson Company International Copyright 'S60l1red 5-150-72079 — 3 1919 e sounds, so low and calm, That in the groves of ba1m_____ Seem’d to me____ like an an _ ge1’s 1’ Seem’d to me like Zf’?_——— 5-150-72079 ‘ 3 The Musicians Library The masterpieces OF song and piano literature edited by men OF authority FORTY SONGS FIFTY SONGS FIFTY SONGS SONGS AND AIRS SONGS AND AIRs FORTY SONGS i THIRTY SONGS FIFTY SONGS FIFTY SONGS FORTY SONGS FORTY SONGS LYRICS I LYRICS ii E iii FIFTY SONGS BRAHMS, JOHANNES FRANZ, ROBERT ORIEC, EDVARD HANDEL, CEO. F. HANDEL, GEO. F. JENSEN, ADOLF LISZT, FRANZ SCHUBERT. FRANZ SCHUMANN. ROBERT STRAUSS, RICHARD TCI-IAII<OVSKY, P. I. WAGNER, RICHARD WAGNER, RICHARD WOLF, HUGO FIFTY MASTERSONG5 FIFTY SHAKSPERE SONGS MODERN FRENCH sONOs (BEMBBRG TO FRANCKI MODERN FRENCH SONGS (GEORGES TO WIDOR) ONE HUNDRED ENGLISH FOLKSONGS ONE HUNDRED FOLKSONGS (AII Nations) ONE HUNDRED SONGS OF ENGLAND SEVENTY SCOTTISH SONGS SIXTY FOLKSONGS OF FRANCE SIXTY IRISH SONGS SIXTY PATRIOTIC SONGS OF ALL NATIONS SONGS BY THIRTY AMERICANS SONGS FROM THE OPERAS SONGS FROM THE OPERAS VOL. I VOL. II I, II fr III IVé—V v’.~%n‘.-‘v€:5I’:$&¥i-.%f;3I’v';‘v»‘.:%v‘$ E-.3 v‘.’v€$€5£-5v1‘rv‘:‘5€z%€:%f5ﬁv$€;%v‘.-3v‘;?rf;%f;?v€;% For H igh VDICC For Low Voice For High Voice For Low Voiciz For High Voice For Low Voice For High Votes: For Low Voioc For High VDICR For Low Voice For High Voice For Low Voice For High Voice For Low Vc-we For I"Iiqh Voicc Fm Low Voice For High Voice For Low Voice For High VOICE For Low VOICC For Soprano For Ten For Baritone Bus For High Voice For Low Voice For High VUIEI For Low Voice For H igh Voice For Low Voice For High Voice For Low Voice For High Voice For Low Voice For Medium Voicc For Medium Voics For High Voice For Low Voice For High Voice For Low Voice For Medium Voice For High Voice For Low VOICC For Madium Voice For High Voice For Low VO2C¢ For Sopr o For M2zzci- rano or I For Tenur For Benton: and Bus: SONG ° VOLUMES - ISSUED ¢.2’vv1t'i»‘:3%‘z¥v1?’r‘$v‘:5v‘:5v‘z'3v‘z‘v ﬁ n‘-3$$v1:%5’;%v1‘vv‘:i‘vf;?rv‘$f;%é’a%v‘:?v&%v‘;.%>1.-3%v‘.:‘v Edited by Edited by Edited by Edited by Edited by Edited by Edited by Edited by Edited by Edited by Edited by Edited by Edited by Edited by Edited by Edited by Edited by Edited by Edited by Edited by Edited by Edited by Edited by Edited by Ediied by Edited by Edited by Edited by COMPLETE LIST OF PIANO VOLUMES FREE ON REQUEST JAMES HUNEKER WM. FOSTER APTHORP HENRY T. FINCK DR. EBENEZER PROUT DR. EBENEZER PROUT WM. FOSTER APTHORP CARL ARMBRUSTER HENRY T. FINCK W. J. HENDERSON JAMES HUNEKER JAMES HUNEKER CARL ARMBRUSTER CARL ARMBRUSTER ERNEST NEWMAN HENRY T. FINCK DR. CHARLES VINCENT PHILIP HALE PHILIP HALE CECIL SHARP GRANVILLE BANTOCK GRANVILLE BANTOCK HELEN HOPEKIRK JULIEN TIERSOT WM. ARMS FISHER GRANVILLE BANTOCK RUPERT HUGHES H. E. KREHBIEL H. E. KREHBIEL Each voiume in heavy paper, Cloth back, $1.50; in Full CIOth_. gilt, $2.50. Copies mailed postrpaid. Other volumes in preparation For Free booklet, giving FuII particulars and Easy Payment Plan, send to the pubiishers =5‘ OLIVER DITSONCOMPANY' BOSTON
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Date: March 30, 2013

Creator: de Worde, Wynkyn
Date: 1499

Creator: Wyman, Ann (Southworth)

Creator: Koeln, Wygand
Date: 1523-1535

Date: April 29, 2013

Date: n.d.
Text: //L ‘( i \ mﬁﬂg 0: m§I”3S / I / X‘ x6$ . 7 ¢../\ > I ..r—-\ I ' }’l// I" /,'’‘//////’/'/_i’ ///‘ /I,"////////II/N /I}:,$‘/// /,/// S/.'.= /x}/// LON/IDON1 (J3-RAMER'.'*W,OOD §?c 09 AND LAM BORVN COCK-& c9 ,;,, .~ /////'\ /2/'/,",///’ n/7 /we 01./Pf//.'/V’/4; /’}tz///’/////I}///.s'. MUSIC LIBRARY VASSAR COLLEGE .~. /- ' . _ /— v_\ / V 2/ Z“\ ’ . \ TPE WRECK _OF THE HESYERUS. II'rz'(tch by H. W;'wLang...
Show more//L ‘( i \ mﬁﬂg 0: m§I”3S / I / X‘ x6$ . 7 ¢../\ > I ..r—-\ I ' }’l// I" /,'’‘//////’/'/_i’ ///‘ /I,"////////II/N /I}:,$‘/// /,/// S/.'.= /x}/// LON/IDON1 (J3-RAMER'.'*W,OOD §?c 09 AND LAM BORVN COCK-& c9 ,;,, .~ /////'\ /2/'/,",///’ n/7 /we 01./Pf//.'/V’/4; /’}tz///’/////I}///.s'. MUSIC LIBRARY VASSAR COLLEGE .~. /- ' . _ /— v_\ / V 2/ Z“\ ’ . \ TPE WRECK _OF THE HESYERUS. II'rz'(tch by H. W;'wLang‘fwllvn1'. Composed by J. L. Half .21. 941.1. E.GR,O. _ 'I‘o‘1o1«:’ .‘:‘:€ ‘It was the schooner Hos__pe_;nIs,'l‘hat 'P,I.u1 .N‘() E 0 R T E. ' ‘V mi’ And the Skipper sai l’d -in sea; Nu.’ lime dat1gh-tér, '1‘: bear him" cmn-pa-_ny. Blue were her eyes, as the V’ V fai -_ry flax, er ‘ e the €_iawn'of‘ "day; And her be white as the Z“"“\\ / T. ,h§1w.,;__thorn buds ‘ in I the month ‘of. . May. Hw~uern-R. _ .. ;-. \ V mohth, Am! I ‘4 K ' . . I . .n .1 P m» .1. ...P _. .s .1. _h .h L? .. ...I. N .\ J I; he stood befgside‘ _the ._he lm I/' Elk ‘i’ ‘pp or did blow 'l‘he~‘s1nu.ke now west, now south. watch?'(l how the Veerillg flaw T hon I Z /)L| If!‘ ‘Br, Had sai|’<[ the ‘Spanish niailr, Old up and spake an Sai-_l a hur___ri_-_.c-ane. |,a,<4t pray thee, ut in_.to 0n-der on, Fox‘? fear night the moon had a 0ld_en ri But‘ to—night no moon we smote a-.._mai11 The ves_--s0l in-F shu‘dder’d and paus’d } E} like a fr‘ight_,e_ad. steed, Down C-cune the storm. and’ - its ‘ strength; Fu'r1ns0. en leap’d her ca__b|é’s > H:-xpvrcu j\ 1‘ F’ I Come-hbiihér! come hither! my ‘Iit_tlVe daughﬂér, And \./ not tremble so; For can ‘weather the r0ugh_est gale, T\h~-at e_ver the wind did blowl fa__ther! hear the church—bell rihg, say what may it be?”“’Tis a A 9,. f0gf' 1 On a I‘0Ck—boImd coast, We,must steer for e open sea’.’ \~_/ ‘H -xpurn-. . {I V y it be?” But the fa_-ther answer’d say what ma va ’ /9/9' col a 12006. -01- W V. Lash’d to the helm, all never a word, A f1'u-zen corse was he. ‘ T stiff and stark,With his pale face‘ to the skies, The l.ah‘_ter_h gleam’d through ‘The falling snow On his fiX’d and glas_sy eyes. H~~.*.\wrI'.~, Then the maid-enA clasp?! Ifelj liahds, and prayyd That saV-ed she might /I J\ I :1 . \ I she thought of HIM, Mhnv stiII’d the wavvs I I I _I I W) V Tempho . r I I r I I II. I V I. v. I But fast through /the m1d..-_n1g [. «r I I -0 -OI-' -0 Tempo. dark and dréar,. I ’ .t 0 whistling sleet and sheetfed g ost, the bark swept on T t e’ reef of “N0rman’.s woe”. . . . . ores}: ‘i ff'”‘I”-“’- I Ho! the breakérs J 5 rattling s}nf_0uds all sheuthd in ice,VVith the nmsts,We11tby t] e board; I H0! 1 e stove and sank-, 3 glass, I ,1» V ssel‘ 0 Llke a L‘\ He>.<V-Prux . ‘ "./:1.N"D.»1.}VTE.~' At day—break.on‘ the; bleak seja~beaC}1, V, A 'fish.erman stood a--- ﬂ3"““-‘ the form "of a maid-_--en fair, Float I L on a drift_--ing mast. The salt sea Was ' fro_'_-_zen V her-breast, The salt tears in her eyes; 1' J + was the *m'<=(*k of Um; Hes_;__pe-_rus, In ‘flim- ﬁr . ,5 ./‘I (I ag io . mi<lm'ght and the snow‘. Oh! Save” US_ all from a death like this, On tlw’ /:\ ./Jdaggio. V 8: of “T\'0rmeu1's , Old Clock on the Stairs (The ' *Shepherd’s Winter Sting (The) ...- . *Night Journey (The) . . . SELECT MADRIGALS, GLEES, SONGS, DUETS, &c. ARRANGED AND EDITED BY THOMAS OLIPI-IANT. Madrigals, &c., by R. L. Pearsall. *1 saw lovely Phillis . . . . . . 4 voices . . *The Hardy Norseman . . . . *Great God of love . . . . ‘ . . *0 who will o’er the downs (in F) . . *0 who will o’er the downs (in C, for male voice ) *Take heed ye shepherd sivains . . ‘ . . *Wh0 shall win my lady fair . . *When Allan-a-—dale went a hunting It was upon a spring-tide day . . Spring returns . . . . *N_vmphs are sporting . . *Why with toil thy life consuming . . ,, . . Separate parts, 3d. per page, are published to those marked * . . . .:=~.J>cns>.;:i;><ma=-.~i>ooi«l> saw»--wwzozototzzzotov--_o. A Selection of Madrigals in Score and Parts. Down in a ﬂow'ry vale (in A & F) 4 voices C.Festa 1 Stay one moment . . 4 ,, T. Oliphant J In going to my lonely bed R. Edwards 1 Come again, sweet love . . J. Dowland 1 Lady, see on every side L. Marenzio Hard by a fountain . . H. Waelrent All ye who music love . . B. Donato Ah me ! where is my true love? F. Anerio My mistress is as fair as ﬁne J. Bennet In the merry spring . . T. Ravenscroft Out, alas! what should I say Anonymous To pitch our toils go we Anonymous When April deck’d . . L. Marenzio Under a willow lying . . O. Vecchi Fair May Queen . . L. Marenzio O sweetly sleep . . M. Pierson T’other morning very early Thibaut Strike it up, neighbour T. Weelkes Songs by J. L. Hatton. Laws of the Sea King (Vikingabalk) . . What is life? . . . . . . Wreck of the Hesperus (The) . . Simon the Cellarer (new edition) . . Dream, baby, dream . . . . Blind Boy (The) . . Blue Bell and the Fly (The) Day and Night . . . . Vogelweid the Minnesinger . . . . Herrick’s Letanie . . . . . . Fair daffodils we weep to see . . . . Autumn reﬂections . . . . Cloris, now thou’rt ﬂed away (Amintor’s Well-a-day) Garland (The) . . . . . . Goldsmith’s daughter (The) . Cxiblkl-Pll3c;q_C>OwCI'li5l‘-§H>Hk|§vl>ll>~>P . . 2 . I . Z I I2 (oi-did!-I-202»?!-‘l\3“'-‘P-"‘ Hope . . . . . . Linden Tree (The) . . . . Maureen. . . . . . Meeting and parting . . . . My days have been so wondrous free Nun and the rose (The) Reaper and the ﬂowers (The) Sailor’s Best (The) . . Seasons of life (The). . Streamlet gently ﬂowing The silver moon (Serenade) ’Tis midnight (To my taper) Twilight. . . . Walter the Woodman Weep no more, thou sorry boy *M'ysterious Serenade (The) *Chapel (The) . . *Window Curtain (The) *Mother and Daughter *Greenwood Concert (The) *Dying Swan (The) . . *Gardener’s Song (The) *King’s Daughter (The) *Repose . . . . *Youth by the Brook (The) . . *Violet (The) . . . . *King Sifrid . . . . *Robber (The) . . . . *Roe (The) n o°-.oou.oo.oo- *Poet’s Grave (The) . . . . . *Mountain Shepherd Boy .. . . it Those marked have German words also, and were originally published under the pseudonyme of CZAPEK. Simon the Cellarer Quadrilles, from Popular Melodies, composed by J. L. Hatton. Arranged by C. Coote l€N>t\'>i\?l\3l\'>N>l~33~3t\DtxZJl\')t~3ZO(\9l\Dl\'JZOl0fQb9Z€>Z€ItOl~3l\9l\9KOl~3l0l0lOlOl\91\3lOZCl°l-'l\5°3lot°N3l*3C°°31\3°3 on o :~‘~ cnoocuooonmo:ooovmammocacao:ocnouoosooouonocncncnoaonoacaommocucacscaoocao o®®®®O®®O°°¢”°~’°‘°°°°°®“ 09°’ °°°’°°‘-75°‘ Om Four-part Songs. 0 peaceful be thy slumber (also in Parts) . . Fair Lady Anne . . (ditto) Nymphs are sporting (ditto) The Urchin’s Dance . . (ditto) The Hunt is up . . (ditto) Summer Eve (in F or A) (ditto) When the smiling May returneth (ditto) Weber . . Joyful at the close of day . . . . De Call . . The mist is rising (Chorus from ‘ Euryanthe ’). . Weber , . Volunteer Chorus, “ Up rouse ye ” . . Weber . , Now the Curfew Bell hath ceased (S.A.T. & B.) Kreutzer Welcome spear and shield . . . . Werner . . Rosy-mantled spring _ . . . . Miiller . . Thro' yon lattice—window . Eisenhofer Let me not hear . . Winter , , Sing and drink, boys Lorenz . . When despairing Cupid Seyfried 8. Mendelssohn 2 Mendelssohn 2 Pearsall . . Hatton . . Hatton . . Hatton . . xoysx \o~/9 N; (4; 5,) yo (\'>ON>n—»--ts'>t\'>t~')R\'J Q mic: on oc:o>c:®c:®O>OOO>?~ J os. Haydn. Ariadne. A Cantata . . . . . . 5 Maiden fair (Liebches Madchen), Comic Serenade (Three voices) .. .. .. .. 2 0 Hymns for Four Voices by G. P. L. Da Palestrina. Five Numbers, or in a Set complete . . . . 6 0 Separate parts, 3d. per page. Songs and Duets by Mendelssohn. Fair Lady Anne . . *'I‘he ﬁrst violet . . . . *Fancy’s dream (The Journey) . . Garland (The) . . . . - *How can I sing (Duet) . . *I stood alone beside the mast (Duet) *Maid of the Ganges (The) . . *Now each creature joys the other *0 peaceful be thy slumber . . *Over the mountain . . . . *Onward still old Time is ﬂying . . , . ""Page’s Song, The (Pagen Lied, or the Savoyard’s Song) . *Slumber and dream (Cradle Song) . . *Suleika and Hatem (Duet) . . . . * Those marked have German words also. - an on o .. ..... . . . . . . . . . - 1020200-|r—|l\')l-‘ZOlOK""N9""l‘3 mcuocamocacaoocaczcao 4 English Songs, &c., by various Composers. Auld Robin Gray (with Introductory Preface) Barbara Allen (Old Ballad) . . Harmonious Blacksmith (The), for voices Lord Gregory (Old Ballad) . . . . O weel may the keel row (Old Ballad with Chorus) . . Sandy and Jenny (Ballad) . . . . Sanderson When ye gang awa, Jamie (Hunting-tower), Copyright editio of T. Oliphant . . . . Leeves. . Handel: Three Duets for Treble Voices, by Weber. Tell me truly, gentle maiden . . Leave me to mourn . . . . Hail to Friendship . . . . no In no no 00 -- Duets for Treble Voices, by F. Abt. *Sunday on the Ocean . . . . *Eventide . . *Rural Happiness . . *The Boatman’s Song *The Woodbird’s Song *Home Sickness . . *The Merry Greenwood Tree *The Early Spring Bird *Not too soon . . _*The Wanderer’s Song . *The Mariners . . . . Two Duets for Treble Voices, by 0'. Keller. "‘Ah! could I teach a nightingale . . . . *Lovely as the beam of morning . . . . o . u v C»Z>l\')?€-‘Z\:2lOlx'JZOt\'J(\'Jl\'>2o ©G>C3O)O)®O>®O)G9® o o u o no on o o o o o o . o o a .0 -n ta 2 ..2 Duets for Treble Voices, by Kucken. *The Swallow’s farewell . . **‘My heart ’s in the Highlands . . . . *How mournfully murmurs . . . . *The Hunter . . . . *The Fisherman . . . . . . *Swiftly o’er the wide Laguna (Barcarole) . . * Those marked have German words also. LONDON: ORAMER, WOOD & 00., and LAMBORN COCK AND 00., 62 and 63 NEW BOND STREE .
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Date: n.d.
Text: B FLAT MINOR T WRITTEN BY Mmwmm The Music Composed J OHN L.HA’I"I‘0 Ema J‘tcz.H¢iZé. \ Londo IL, JOSEPH WILLIAM s. 24, BERN ERS STREET. W. Also Z9)» tics szzme Com,Uos-er.‘ CHANGE or TWENTY YE.ARs.,.:.,..._ Jory rar Bass 77»ice......_1,_. W31- CLOWNSrSONG,...-_...........,...,..,... ,_.. f'orBar'zTtone Voice. Ho: FILL, ME A'rANKARD,....._._,_,,,,..yang f‘orBas.s-Virice, .. % ....... .31» IN’ DAYS OF OLD.‘ /£1/“Bass775ice...I..._.,,..._...3]- SIMON THE C'ELLARER.... Vo...
Show moreB FLAT MINOR T WRITTEN BY Mmwmm The Music Composed J OHN L.HA’I"I‘0 Ema J‘tcz.H¢iZé. \ Londo IL, JOSEPH WILLIAM s. 24, BERN ERS STREET. W. Also Z9)» tics szzme Com,Uos-er.‘ CHANGE or TWENTY YE.ARs.,.:.,..._ Jory rar Bass 77»ice......_1,_. W31- CLOWNSrSONG,...-_...........,...,..,... ,_.. f'orBar'zTtone Voice. Ho: FILL, ME A'rANKARD,....._._,_,,,,..yang f‘orBas.s-Virice, .. % ....... .31» IN’ DAYS OF OLD.‘ /£1/“Bass775ice...I..._.,,..._...3]- SIMON THE C'ELLARER.... Vo‘.zZua.......’H~ MUSIC LIBRARY VASSAR COLLEGE THE WRECK OF THE HESPERUSt J. L. HATTON. It was the schoo _. ner Hes _ pe _ ms, That mf \./ sail’d in the win_try sea; And the Skipper had ta’e11 his 1it_t1e daugh_ter, To the K-2 hear him com- pa - ny. Blue were her eyes, as the fai - ry flax, Her cheeks like the dawn of day; And her ho- som white as the haw. thorn buds, That ope in the month of May. The D’ ' T Skip-per he stood be- side the helm,Wit>h his pipe in his mouth, wa.tch’d how the veer _ ing flaw did blow ﬁx; smoke now west, now sﬁuth. V up and spake gm old sai_l0I°, Had s"ai1’d the Span- ish main, pray thee, put in _ to you. der port, For I fear a hur _ ri _ K % T 4’) nvight moon had a gold - en rmg, But to-night no moon we “freak of Hesperus. Skip-pe1' he blew - whiff from his pipe, And a scorn _ ful laugh 1-au'gh’d Down came the storm, and smote a _ main The sh11d-der’d and p21‘us’d like a fright _ ed steed, Then leap’d her > VG,-eck of Hesner[IS¢ Come hi_the1'! come hi _ ther? lit _ tle daulgh _te1°, And . do not trem - ble - ' can Weather the rough _ est g:-l/e, * e-ve1' the wind did blow! fa_the1'! I hear the ch11rch—bell ring, ‘. what may \_/ fog-— bell on ‘ r0ck—-bound coast, We must steer for the 0 _ pen Vfreck of Hesperus. yr \‘ 4* gleamg ing light, 0 say 8 what may be?”. ‘*1 ' ’- — 1 ne_ver a Word, A fro _ zencorse was 115 stiff and stark, With his e face to the skies, fail- snow On his fix’d and glas _ sy eyes. -dim. ‘ Wreck of __ Hesperus. Dear ﬁn. _t.h'er! I see a ‘L Y >\s.._—/ ad lib. But the fa - >ther ans _wer’d Laslfd to the helm, all The lan-tern gleam’dtb1'oughthe .f.'f' pit) lento. Then. the maid’ _ en clasp’d her hands, and pI'ay’d That sav _ ed she might U §~\__.../ be; And. she thought of HIM, A who still’d th V tempo. But fast thro 11 the mid - dark and drear, Thro’ the Whist ling‘ sleet and sheet _ ed ost, the bark swept on To the reef of “ 0r_Inan’s w0e.’5. f furioso. Wreck of Hesperus. rattling shrouds all slleatlfd in ice, With the masts, V t by Like a ves_sel of glass, she stove and sank, H0! H0! the breakers ralle dim. ' ‘ﬂeck of Hesperus. Andante. At day—b1‘eak Aon the bleak sea—be-ach, A fish_er_man stood at. the form of a maid _ _ en a drift _ ing The salt sea was fro ‘s alt tears in b er eyes; M'1'c:cL' of Hesperus. streaIl1 , hair, like the brown sea weed, On the waves did fall and was the wreck of the Hes_ -pe_ rus5 V In the F mid_nigfl1t and the Oh.’ save us all from a death like this, On ‘the '10. if if 13%; . E Q’ '$' 99 ‘C of Nor - malfs Woe! W1-eck of Hespérus. :5 vvvvvvvvvvv *- 9 nwvvvvvvgvvvvv vvvvvvvsew-vvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvv--v-v--v--v-vvvvvvv- A! DREAMLE55 RE577 THE CHINEE DOLLY. Words by ADRIAN ROSS. - Music by F. OSMOND CARR. >7 Written by ADRIAN‘ ROSS. V-2 <7 0): dis‘: Price 45. ' Andante. Sam/re legato. A Composed by‘ F. OSMOND CARE. 2. Slow - ly the long day pass-es, SIow- ly the sun - set wanes; . . . Price 45‘ A ndanlz can meta. 1. I'm a dear lit-tle Chi—nee dol -ly, Lov’d by ev-'rydoll and toy~ 19 SW55 ' - dew panes. I x 5- —4?-“Q-—k—-'3-l—"——Q—k-‘Ir-Thi—'P‘——§—k~i‘—4’d—::—*—:——4:I*=— —‘—"-—‘—d*'~‘i-'—d—d3—.'I:"‘:3+-d—3—-3'4"-'—l-—~“""'r:'LT— Dolls thatcantalk.And dollsthatcanwalk,But thebest was a bold tin sol-dier boy! . . . __.____ _.p§___I__._ '_ T _"":._i'_"_l . 3'-El" *‘—'—d—d—'—i-3-5-1‘:I—-1-1-I”!—‘—i—£—-‘--i-=l-I--—*:'r—*"*I— 30 U C,’ \; SIOWIY the 10113 day P355559 Into the cloud-land golden Gsd W1)’ the 511“-593 W333-5; Under the ev'ning star. ' ol on the waving grasses , _ 4 0 J 4 ‘ Red on the window p,mes’_ There was the land I hopd to ﬁnd, _ §.,_,____j _‘._g_j"____¢__,'=___i_g__;’_5_.i_,__g__,____I_,__-;_ Slowly the great bell numbers VVhere care and sorrow were left behind ; . _,g:___:_ g by I 74 I I our after weary hour’ %'3'}e]yond.the}f!laIir]Ie of t_helcrimson West, I &/ In Here where the shadow Slumber‘ . ere,“a° L 6 Ome or ove to rest ' I'm a dear little Chinee dolly, ' But my poor little leaden soldier Under the grey old tow r. VaCI)n werelit now to wander Lov'd by ev’ry doll and toy— fell upon the floor one day, This 15 the song of the tolling bell : L “t. ‘° 1 7“ fairy 5l1°1'€y Dolls that can talk, and dolls that _can walk, His head had.a dent, and his stand was bent, When love is happy, to live is well ; "Ire 15 l‘9t1heTe OT )‘0“d5*'y But the best was a bold tin soldier boy! And his uniform was flak d away‘! When_]ove is ended, [0 sleep is best, ‘We “"1 "°,“~1‘"“ "9 m°"e- For he had a coat of red, red, red, I wept for my boy in vain, VE.1ll'l,’\‘£\ll1,, _ Here is the homeof d;-eam1e55 rest 1 Here must I 1111337 100513’: And a gun and a sword oflead. lead, lead, For he never could stand again, gain, gain, DOW“ “'l‘e“e ‘he 5h‘"*d°“'5 fan- And he looked so grand on his little stand. So I wed instead of my lad of lead That he won the maid of the Flowiry Land 1 A Mandarin with a nodding head I Once in a dream departed Hearing the great bell only Saw I a land more fair, I with my love true-hearted, Dream’d I could wander there ; Out of the city olden, Into the West afar,‘ Out of the twilight call. This is the song of the tolling bell I When love is happy, to live is well ; Vi/hen love is ended to sleep is best, Here is the home of dreamless rest I Once so jolly, dolly. talkee folly, dolly, Used to sing song, dancee with a fan, Now, so solly, dolly, melancnoly dolly, All for my tin, tin sojeman! Once so solly. dolly. rnelanc_ho1y dolly, \Veepee so for sojeman of tin ‘ Now so jolly, dolly, give up fbll'y, dolly, Molly piecee Chinee Mandarin . REFRAIN. . _», 9 Ytmpa fnma. .—9—ie ““‘—L—7V‘T REFRAIN. \\I II I aI J‘ In. Q. ' . . 6 This is the song of the toll - ing bell: When love is hap - py, to live is well; Once so jol- ly, dol- ly, talk- ee fol- ly, dol- ly, Used to sing song, dancee witha fan, ‘in’ .II I 5% :7. Ijl » 5- E— ﬁ_—%—-E-'-.E:|5.—._5.-15:57‘ ' v'vl l a Q . , 1* l I5 I o J ‘I | I I Voices. The Young Heart; and the Old. Words by CLIFTON BINGHAM. THE THREE ANGELS. Price 45. Music by E. WALKER HUNTER. Price 45- Modzrata. Moderato Ii I \ I J I ' I\ Iwir _|\ I I ‘i ‘ R I ii I A I I 4--3.-—.I.gd—.c— 9 3' 0-'3" - - \_/ 1. I wan-der’d in God's sunlight. . A-cross theﬁelds of May, The tears ofSpringwere AZ--11. 1 1. The young heart sang in the sun - light, The old heart read in the shade; . . .¢.. E41 . '6-"959 3-2. :1 “E” ==.‘-$55: ‘I J I I {A “2. 5:3 ._l. . .5. ' AAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAA.A;AAAA.sAAA4AAAAAAAAAAAAAAAAAAAAAAAAA;AAAAAAAAAAAAAAAAAAAAAAAAAAA shin - ing on ev' ry leaf-y spray, A phan-torn crept be - side me, .9. The young heart sang in the sunlight, The old heart read in the shade; Oné: was a sunny brpdw d Inlaiden, ne was a grey o mart . She 1ook’(l from the page to listen, To the song by the young heart sung ; Thought she “there are miles a thousand 'Twixt_ the old heart and the young I” The young heart wept in the twilight, O Thefoldf heart drpamt at her side, ne 0 a ar away over One of a lad who died. She whisper’d of hope and comfort, The story of years was told ; Thought she, “ There is but a footstep ’Twixt the young heart and the old.” And the young heart lost its sorrow, As close to the old it was laid, There in the dusk together The old and the young heart prayed. One lover came home in the spring-time, One has been dead long years ; But the old heart forgot its own grief In healing the young heart’s tears. I wander’d in God's sunlight, Across the ﬁelds of May, The tears of Spring were shining On ev’ry leafy spray, A phantom crept beside me, Its shadow on me cast ; I spoke, “ VVhy dost thou haunt me?” It sigh’d, “ I am the Past !” I sat alone at nightfall Within my silent room, A shadow sat beside me With brow of sombre gloom. O‘er burden’d with its presence, At last aloud I cried: , “ O spirit, speak, who art thou?” “ The Present it replied !” In doubt and sorrow wand’ring, I pass’d into the night, A star-brow’d angel met me, I A form ‘o‘fIwonctl1r;oL1;‘lztght. ' n _t spa to am e u ure . I seeni’d God’s peace to see, And sorrow as a mantle Fell fromithe soul of the ! In Keys to suit all Voices. In Keys to suit all Voices. LONDON; JOSEPH WILLIAMS, 24, BERNERS STREET, W.
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Date: 1895
Text: E T.‘ 3. ucw ma sA us us A v THE CATHEDRAL PARAGRAPH PSALTER CONTAINING THE CANTICLES, PSALMS, AND PROPER PSALMS ARRANGED IN PARAGRAPHS AND POINTED FOR CHANTING A ASCHEME OF APPROPRIATE OHANTS AND BRIEF I " NOTES ON THE PSALTER EDITED BY THE REV. J. TROUTBECK, D.D. (Chaplain in Ordinary to the Queen and Minor Canon of Westminster). PRICE THREE SHILLINGS AND SIXPENCE. The principle of Pointing followed is that of the Cathedral Psalter, with slight modiﬁcations here and there, _ ....
Show moreE T.‘ 3. ucw ma sA us us A v THE CATHEDRAL PARAGRAPH PSALTER CONTAINING THE CANTICLES, PSALMS, AND PROPER PSALMS ARRANGED IN PARAGRAPHS AND POINTED FOR CHANTING A ASCHEME OF APPROPRIATE OHANTS AND BRIEF I " NOTES ON THE PSALTER EDITED BY THE REV. J. TROUTBECK, D.D. (Chaplain in Ordinary to the Queen and Minor Canon of Westminster). PRICE THREE SHILLINGS AND SIXPENCE. The principle of Pointing followed is that of the Cathedral Psalter, with slight modiﬁcations here and there, _ . suggested by experience, in the treatment of individual verses. For the accents which are used in the Cathedral Psalter to indicate the beginning of the bar of duple time, which connects the free recitation with the metrical part of the chant, are substituted super-imposed musical notes, in accordance with the principle set forth in the Preface to the Cathedral Psalter, so as to indicate exactly, in every verse throughout the Psalter, the best method of dividing the bar into the component parts of a semibreve. Other means also have been adopted to ensure clearness and promote facility. Preﬁxed to the new Psalter is a Scheme of Chants and some brief Notes on the History of the Psalter and the‘ Characteristics of each Psalm. THIRD EDITION (REVISED AND GREATLY ENLARGED). Containing 6oO Chants. Price 25. 6d.; Cloth, 33. THE WESTMINSTER ABBEY CHANT BOOK ARRANGED AND EDITED BY THE REV. J. TROUTBECK, D.D. (Chaplain in Ordiiliary to the Queen and Minor Canon of Westminster), ND J. FREDERICK BRIDGE, MUS. DOC. (Organist of Westminster Abbey and‘Gresham_Professor of Music). This Edition has been arranged in connection with the CATHEDRAL PARAGRAPH PsALTER,'prepared by Dr. Troutbeck on the lines of th edral Psalter. ' ‘ ‘ - ny fresh contributions, including Single, Double, and Triple Chantsespecially are set—_—by Dr. J. F. Bridge, J. Foster, Myles B. Foster, Dr. G. M. Garrett, I, John E. West, Dr. G. C. Martin, Sir Herbert Oakeley, Sir John Stamer, ' inted for the first time, by Sir Joseph Barnby, H. Smart, &c. In-x -cm-"' t‘ a~v«»«-s.-.:~a-nu.-w~ I-Wu: E...» NOVELLO’S ORIGINAL OCTAVO EDITION. THE WRECK OF THE HESPERUS POEM BY LONGFELLOW SET TO MUSIC FOR SOPRANO, TENOR, AND BASS SOLI, CHORUS AND ORCHESTRA HERBERT W. WAREING. PRICE ONE SHILLING AND SIXPENCE. LONDON 62 NEW YORK NOVELLO, EWER AND CO. Copyright, 1895, by Novello, Ewer and Co. The right of Public Representation and Performancegis reserved. The purchase of Scores and Parts carries with it the right of Public Performance. If it is desired to use hired or borrowed copies of Scores or Parts, the permission of the Publishers must beﬁrst obtained. THE VVRECK OF THE HESPERUS. L011§f‘*110W- Herbert VV. Wareing. ’ _ J T Mus.D0o.Cantab. Modemto assaz. = 88. p Juice 5 sempre [again 1'19’ ml]. e dim. stringendn 10081 (70j>yr'z'g7zz‘, I895, by N0716Zlo,Eze1er 5: C9 A Modemto ass '. J: 69. ff imat0.J=8s. mf dnlra semp re Iegata sempre tremalan CHORUS. B Allegretto. So rano. It was the schooner was the schooner It was the schooner Bass. It was the schooner Alle etto. J: 108. p— per had ta - ken his Skip— per had ta - ken his skip — per had ta — ken his skip — per had ta — ken his lit — vhf E7 dnlre Hes-perus,That sailed the win — try And the Hes-perus,That sailed the win-try Hes-perus,That sailed the win—try Hes—perus,That sailed the win-try vv daugh—ter, To hear him, to-bear him lit ~ I16 daugh-ter, To bear him lit— tle daugh-ter, To bear to bear him e daugh—ter, To hear him, to bear him skip — per had ta — ken his lit-tle daugh— ter To skip— per had ta — ken his lit- tle daugh— ter T0 skip- per had ta — ken his lit — tle daugh— ter To s p _ per had .- ken his t—tle daugh — ter To him, to hear him Blue were her him, t hear him: . bear him - Blue were her eyes as the him, hear him Blue were her eyes as the fairy flax, cheeks e the dawn of day, eyes as the flax, as the fairy flax, cheeks like the dayvn of day, fai — ry__ ,as the fairy ax, cheeks like e dawn of day, Blue were her V — cheeks like the dawn of day, mb bo— som white as the haw—thorn budsThat ope in the month of bo — som white as the haw—thorn buds That ope in the month of o — som white as the haw—thorn buds That ope in the month of bo - som white as the _thorn buds That ope in e month of in the month of ope in the month of May, Mair, May, May, 7}’ pg’ 76 mll. bo—som white as the hawthorn buds in the month of bo—som white as the ha orn buds \ in the month of bo—som white as the wthorn buds That ope in the month of L’ 55,- - _ 000 mll. bo—som white wthorn buds That 0 e in the month t Pemjao Moderafo. J, 100. — side the helm, Allegretto modemto. J: 100. P dulce X: o ' A 9 Bass Solo. he stood bee was in his mouth, watched how the veer—ing flaw did blow The smoke_________now West,now He watched how the veering flaw did blow, did blow The 3k Fed. Tenors. The skips. — per he stood be- Basses. /._\ smoke now West, now South The skip — per he stood be- . /_\ ¢_z temjwo — side the helm, ' ._____._. was in his mouth, - side the helm, ' ___j__ was in his mouth, watched how the veer-ing flaw did blow watched how the veer-ing flaw did blow The smoke now West He watched how the veer—ing_f1aw did blow, He watched how the veer—ing flaw did blow, / smoke now West,__ nowWest,now South. smoke now West,.f)now est,now South. ‘I 7 H4? The smoke now West,__ nowWest,now nowWest, now did blow The did blow The f_\_ A Z‘ P d Z‘ [1015 /\ 0 7710 67771 0. D 7 _ J B /“T PPl'b Tenor Solo. “ t6"”'4’0 Then a tempo A £1; £1 ‘"4 jvoco mil. up and spake an Old Sail — 0r,__ Had sailed... theSpanish Main,__ ((1 arlamte pray thee put in—to yon—der port For I fear,_ I fear a 8 dalre hur—ri—cane, “Last night the moon had a gold — en ring, And to- TTTE P 110/ CHORUS . Soprano. “ IEast night the moon had a golden ring,And to- 0. - “Last night the moon had a golden ring,Andto- T or. night no moon We see! _._ “Last night the moon had a golden ring,And to— ELSS. “Last night the moon had a golden ring,And to- Am'maz‘0. The skip-per, he blew a The skip—per, he blew The skip -per, he The skip—per, he ~b1ew A-m'mat0. J: 110. "If whiff his pi , whiff from pipe,”_ And whiff from his pipe,_ And whiff from his pipe,__ And scorn-ful laugh 1augh- ed ful laugh 1augh— ed — ful laugh 1augh—ed 12 Q Allegro modemfo. older and 1oud—er blew the wind Colder Colder and 1oud—er blew the wind Colde , =12 /0 modemto G 5’ o1d—er and loud-er blew the Co1d—er and 1oud—er blew the m -e Cold - er, '$0lut0 A gale, a f risolut A gale f.rom ale from The snow fell hissing A gale, a gale from the North — east; The snow fell hissing Northwast, a gale, a gale from e or L — east; The Snow fen N0rth—east, a gale, a gale fromthe North — east; — to e brine; ' break — ers froth’d like in — to the brine; And the break - ers froth’d like - ing; And the break— ers frothd like And the break— ers fr0th’d like SHOW fe11— hiss - ing in - to the brine, And the breakers: froth’r1 like t_ . . yeas And the breakers fr0th’d snow fell__ hiss — ing in ~ to the brine, And the breakers fr0th’d like Yeast And the breakers fr0th’d like F 10081 D wncame est rm, smote -main Down came storm, smote a - main , vessel st0rm,and smote a - main vessel I Down came est0rm,ands te a — main vessel 3 5'15? H stre -‘ e shudd red and paused, a t-ed steed, enleapt her strength; S\1-1/e ddered and paused,1'1kea fright — ed steed, Then leapt her strength; Then leapt her strength; Moderat ca-b1e’s1 ca—b1e’s length. ca—b1e’s1ength, her ca-b1e’s1ength. 021.1, 935 her ca—b1e’s1ength. Bass Solo. ca—b1e’s length. Come Mode/rato V 15 tranquilla ran espn-1'55. hither, come my 1it—t1e daughter, And do not tremble .1 \/ ptra quilln [an espress. can wea—ther the rough — est gale That ev— er the wind did D1 Tampa cmimato. rrz hi — ther, come my lit - tle ﬁx/_\ daughter and do not, do not trem—b1e so; For can weather the //*‘——.xe//--T Piic animato. 0 rano. ewrapped her warm in his e wra her warm in his Wrapped her warm in his S. roughest gale, that ev- the win 1ow.___ He_\‘vrapp_ed herw rm in his Pm ato. =126. sea—man’s c0at_________ A ‘ 3135" the [5 sea-man’s.c0af.________ A - ainst the S sea—man’s coa ._._____.... A - gainst the sting - ing sea—man’s coat___.______ A - g t e sting — ing broken spar And bo broken S And bound her to broken spar,_._._...._______ d bound her to «broken spar,_._______? And bound her to the \.z mast; He cut aropefroma brokenspar Andboundherto the mast.__ 1} 1;}- mast. He cut aropefroma brokenspar Andboundherto the mast.___ h _"_‘_"“.._j-— mast. He cut aropefroma brokenspar Andboundherto the ’mast.___ 4 mast. He cut aropefroma brokenspar Andboundherto the - mast... {W Modemto. J=96. Soprano Solo. 0 fa—ther! Ihear the church-bellsring, 0 say what mayit /—~;-'———t'*-\ Tempo an/imatto. - be?. Bass Solo. ’Tis a ‘ fog—be11 on a roclcboundcoast! And he Temﬁo arzimato. ’ Modemto. 777 fa-thcr! I hear the steered for the 0 - pen sea. ﬁ If Modemto. L96. __ \ f-—\ rev” Tempo am'maz‘0. e- sound of guns, 0 say what may it Some Tempo am'maz‘o. ship in distress, that can- not live ‘In such an an-gry sea! _ fa — ther! see a gleaming light, ham Meno 7710550. Soprano. But the a-ther an—swered nev-eraword, For a Tenor. But the fa-ther an-swered nev-erawordt, For a "£0550. J-_-.96. M 6720 Voices Andante con mato. Lashed to the helm, Lashed to the helm,.__._ Lashed to Lashed to the helm, all Atzda-mfe 0072 moto. =92. say_ e helm, all what may it‘ fr0- zen corpsewas fro - z corpsewas fro - zen corpsewas fro - zen corpsewas all stiff and stiff and stiff and stark, ith his face turned to the ._______ The Ian-tern gleamed thro’ the stark,With his face turned to the es,_ the skies,The Ian - tern gleamed thro’ the — stark, Withhis face turnedto the skies,._the skies,The Ian-tern gleamed thro’the — ‘ stark, With his face turned to the skies,_._______ The Ian - tern gleamed thro’ the Larghetto (:0/z mafo. g1ea.m~ing- snow On his fixed and glass g1eam— ing snow Onhis fixed and glass - gleaml ing show On his fixed and glass gleam - ing snow On his fixed and glass eyes. Larglzetto can m0z‘0 M =96. Larg‘Iu;t1‘0. N /‘x 17 L92. 8 Larglzefto co/z mall/‘0 espressione. S/<_:>\prano So1o.0 And the maiden clasped her hands and prayed That sav - ed she might /3 »/{T be; And she thought of Christ who stilled the waves,Onthe Lake, the Lake Qf ; {"3 r 1' hi Ga — 1i-lee. The maid -en clasped her hands and prayed That sav — ed she might And she thought of Christ who stilledthe waves, ——§-+ ad lib. thought of Christ who stilled the Waves On the Lake_ Ga—1i-1ée,__ onthe mfcolla 5EﬂlpI"E EFEEE. ‘Z/006’ Pd Lake of Ga- 11 — lee. Z’_\ 9?: F'Ed.9§9 Pad. 5% F211. 9% Pad. 95' 10081 AlSleg7’eIft0. rano. And fast through the mid - night dar __ and drear, Throughthe Tenor. And fast through the mid — night dar __ and drear, Throughthe Allegrett0.J. : 60. whist - ling sleet and snow, whist — ling sleet and sel swept Towardsthe reef of the Nor - man’s sel swept Towards the o the or — man’s sel swept Towards the of the Nor - marfs sel swept Towards the of the Nor - man’s be — tween be — tween be — tween soundof etramp—1ing surf, land ;_.’tWas the sound of the trarnp—ling SLTIT, 1and;._ ’twas the sound of the trarnp—1ing surf, — 1and;._ ’twas the sound of the tramp-ling surf, breakerswere right be - neath breakerswere right he — neath breakerswere right e — neath breakerswere right he — heath came from the from the V I0 cks and the hard sea - ro cks and the hard sea - rocks and the hard sea — rocks thehardsea - her bows, She her bows, She drift-ed a drear - y her bows, e drift; ed a drear — her bows,She ‘drift-ed a drear — y xgfrlgggp — ing bil swept her crew oop — ing bil swept her crew c. oop — ing b swept er crew L e whoop - ing bil low swept her crew " Wm cic-1es__ from her gy — C10-19$-— from 1161' deck,from her deck. - c-1es__ from her’ deck,from her deck. She struckwherethewhite and cic.-1es”.’__ ’from her .:__._ She struckwherethe white mf She struckwhere e white and fleec — y waves fleec - y waves, Looked soft__ as card — ed, card — ed wool, ./’———_S fleec - y waves, Looked soft_:.. as card - ed wool, struck where e whi e___ and Looked struck where the ' and Looked struck ere the white_ and Looked Looked '77)‘ But the cm - e1 rocks as card 7 as card _ as card _ er sides, cru — el rocks er sides, Like her Sides, _he'r sides, Like her sides, her sides, Like her sides, her sides, Like horns of horns of an horns of horns of .._______ cru - e1 rocks, dim. cru - e1 rocks, they ru - e1 rocks, they > . _ e1 rocks, they — e1 rocks, they dim ﬁ-\______,,/ uds all sheathedin ice. Withthe Her ratt— ling shrouds all sheathedin ice. Wifhthe Her shrouds all sheathedin ice. went by the went by the went by the FE L'7'£’5L'. stove andsank, Ho! ho! stove and sank, stove and sank, stove and sank, J) sempra [f‘E5l_'. T ves — sel [I’E5L' ves — s e1 [rest was — sel [l’E5[.' —se1 T molio rail. of glass, of glass, of glass, of glass, molto rail. Molto meno mosso. J-:60. D-AY-BREAK ON THE SEA-SHORE. Azzdazztzbzo 0022 molzfo espress. W A7zdam‘z'7z0. J = 112, 9? When this work is performed with pianoforte accompaniment only, it maybe considered ad - visable to omit the part between this sign and that on page 34. ' ‘ -T - 10081 Andante con moto. J : 108. Sastenuto. ,,, Tenor Solo. At day-break on the lone sea—beach, A fish-er-man stood a - ghast to see the form of a maiden Lashed close 0 a drift—ing mast The salt seawas fro—zen /"\ on her breast,The saltjtears in her eyes-, saw her hair, like the brown sea-weed, n e bi1—1ows fall He saw her hair like the brown sea—weed,. On the bil ~ lows fall and__ — Suchwas thewreck of the Hes—per-us, the ' ght and the snow! Christ save us all from a \_,-E death like this, On e or-marfs Woe! y Allegretfo. S rano. Alto. Christ save us all from a death like this On the reef of the Nor—rnan’s Bass. y Allegretto. J = 112. Li’ R____,/ 37 Christ save us all from a death like this On the reef of the or-man’s Woe save all from a death like . ,fromadeath like us__ all fr a death like \, this Christ W save us all ) Christ s e us all from a death 0 thi or the Nor - marfs . Z7 T ¥’/ ;_,./ v_.__..—-—Z this, 0 save us... all,.____ 0 save us from death like $a______,z from a death like this Christ save us all Christ save us all from a death like this On the reef of the Norrnarfs Woe Christ save us, save,___ S€lV6 Woe! Christ save us V us, save,____ save___ us ave ,_ save all, 0:: all,_.__ Christ save us 1' all, Christ Christ Woe! .b all froma death like this Oh the all,,_._ us__. all, r ef of the or — man’s F l’ us all, death like this death like this Christ Christfroma death like this 0 save us reef of the Nor-marfs Woe, save us reef of the Nor-marfs Woe, us all, 0 I'll death like this On the reef f the Nor- man’s Woe, \./ death e this On the reef of theNor-man’s Woe, death like this On the reef of theNor-man’s , O_ save._ death like e reef of Nor - man’s oe, O._ save_ all,_.___..___ Christsave us all from all, Christ save us all, save us all from a Christsave all from death like this, from a all» sempre crest. death like this, death like this, death ethis, O__._ 5Efﬂ[7f‘£’ L755}. E Christ save us all death like__ all, save from a death like__ all, save from a death like___ J Andante C0/'2 m0I.‘0. mf Such was the wreck f Such was thewreck of the Hes - A7zdam‘e 0022 moto. J : 84. per -118‘, "If this, this, all. a death like a death like In the the mid-night mid—night reef reef reef reef Christ save us st s of the of the of ‘ e of the 8 Christsave from a death like alﬁnnra deaﬂ1hkeﬂﬁs0n e reef f the or- On the reef f the Nor-man’s death ﬁke death like death like this SOI1 n the this On‘ LONDWWNOVEUORC9 Engravers Kg Printers NOVELLO’S ORIGINAL OCTAVO EDITIONS ,. I Oratorios, Cantata FRANZ ABT. (Female voices) ... (ditto) (SOL-FA, 0/6) 0 (SOL—FA, 0/6) THE FAYS’ FROLIC SPRINGTIME SUMMER THE GOLDEN CITY THE WISHING STONE THE WATER FAIRIES THE SILVER CLOUD MINSTER BELLS (ditto) B. AGUTTER. MISSA DE SANCTO ALBANO (English) MISSA DE BEATA MARIA VIRGINE, IN (English) (Female voices) THOMAS ANDERTON. YULE TIDE THE NORMAN BARON II WRECK OF THE HESPERUS (SOL-FA,0/4) W. I. ARGENT. MASS, IN B FLAT C P. ARMES. HEZEKIAH ST. JOHN THE EVANGELIST ST.BARNABAS .. no A. D. ARNOTT. YOUNG LOCHINVAR(SoL-FA,0/6) THE BALLAD OF CARMILHAN (SOL-FA, 1/6) E. ASPA. THE GIPSIES ENDYMION up Ibl ASTORGA. STABAT MATER ... BACH. MASS, IN B MINOR MISSA BREVIS, IN A . . THE PASSION (S. MATTHEW) ,, Abridged, as used at St. Paul’s THE PASSION (S. JOHN) CHRISTMAS ORATORIO ... ... MAGNIFICAT GOD GOETH UP VVITH SHOUTING GOD SO LOVED THE WORLD ... GOD'S TIME IS THE BEST (SOL-FA,0/3) .. MY SPIRIT WAS IN HEAVINESS O LIGHT EVERLASTING BIDE WITH US ... ... A STRONGHOLD SURE ... ... BE NOT" AFRAID (SOL-FA,O/4) BLESSING, GLORY, AND WISDOM I WRESTLE AND PRAY (SOL-FA, 0/2) THOU GUIDE OF ISRAEL ESU, PRICELESS TREASURE HEN WILL GOD RECALL MY SPIRIT JESUS, NOW WILL WE PRAISE THEE J. BARNBY. REBEKAH (SOL-FA, 0/9) ... THE LORD IS KING (97th Psalm) LEONARD BARNES. THE BRIDAL DAY J. F. BARNETT. THE ANCIENT MARINER(SOI.-FA, 2/O) ... THE RAISING OF LAZARUS . PARADISE AND THE PERI THE WISHING BELL (Female voices)(SOL-FA, 1/-) BEETHOVEN. TI-IE PRAISE OF MUSIC I RUINS OF ATHENS ENGEDI; OR, DAVID IN THE WILDERNESS MOUNT OF OLIVES MASS, IN C COMMUNION SERVICE, IN C MASS, IN D THE CHORAL SYMPHONY D1TTo, VOCAL PART (SOL-FA,0/6) THE CHORAL FANTASIA (SOL-FA, 0/3) A CALM SEA AND A PROSPEROUS VOYAGE . MEEK, AS THOU LIVEDST 1/9/95- uo no on Inn in an 323$-E°A’ ML’ }§“"°' c:c>c>a>as<nFsm “'°" Paper |lll|lIlB<wds- Clth ll|lI|||<+3t- C a: SS IIIII1I|:III1II%i;°II|% HHHIHIHH1~'£§HI% to IIIIISISSSEB IIIS , SIGURD . . OF s, Odes, Masses, &c. KAREL BENDL. WATER-SPRITE’S REVENGE (Female voices) WILFRED BENDALL. THE LADY OF SHALOTT (Female vv.) (SOL-FA, 1/0) SIR JULIUS BENEDICT. ST. PETER THE LEGEND OF ST. CECILIA (SOL-FA, 1/6) PASSION MUSIC FROM ST. PETER SIR W. STERNDALE BENNETT. THE MAY QUEEN (SOL-FA, 1/0) V .. THE WOMAN OF SAMARIA (scum, 1/0)... INTERNATIONAL EXHIBITION ODE (1862) G. R. BETJEMANN. THE SONG OF THE WESTERN MEN ... W. R. BEXFIELD. ISRAEL RESTORED HUGH BLAIR. on HARVEST-TIDE BLESSED ARE THEY WHO WATCH (ADVENT) JOSIAH BOOTH. THE DAY OF REST (Female voices) (S01.-FA, 1/0) E. .M. BOYCE. THE LAY OF THE BROWN ROSARY YOUNG LOCHINVAR ... .. J. BRADFORD. HARVEST CANTATA THE SONG OF JUBILEE PRAISE THE LORD W. F. BRADSHAW. GASPAR BECERRA . . ‘ . . J. BRAHMS. A SONG OF DESTINY C. BRAUN. s J. C. BRIDGE. DANIEL .. .. .. RUDEL . . J. F. BRIDGE. ROCK "OF AGES (Latin and Eng1ish)(SoI.—FA, 0/4)... MOUNT MORIAH BOADICEA” ... ... ... CALLIRHOE (SOL-FA, 1/6)... NINEVEH .. . THE INCHCAPE ROCK THE LORD’S PRAYER (SOL-FA, 0/6) THE CRADLE OF CHRIST (“Stabat Mater Speciosa”) nu DUDLEY THE LIGHT OF ASIA EDWARD BUNNETT. OUT OF THE DEEP (13oth Psalm) ... W. BYRD. MASS FOR FOUR VOICES (in F minor) CARISSIMI. JEPHTHAH .. . F. D. CARNELL. BUCK. SUPPLICATION GEORGE CARTER. SINFONIA CANTATA (116th Psalm) WILLIAM CARTER. PLACIDA CHERUBINI. REQUIEM MASS, C MINOR (Latin and English) SECOND MASS, IN D MINOR... THIRD MASS (CORONATION) FOURTH MASS IN C an can. on ... nu NOVELLO’S OCTAVO EDITION OF ORATORIOS, &c.——Contimu rl. on E. T. CHIPP. OB ... . AOMI ... . ... HAMILTON CLARKE. PEPIN THE PIPPIN (Operetta), both Notations (DITTO, SOL-FA, 0/9) THE MISSING DUKE (Operetta) (SOL-FA, 0/9) THE DAISY CHAIN (Operetta) FREDERICK CORDER. THE BRIDAL OF TRIERMAIN (SOL-FA, 1/0) SIR MICHAEL COSTA. THE DREAM ... . . no H. COWARD. .THE STORY OF BETHANY (SOL-FA, 1/6) F. H. COWEN. ST. OHN’S EVE (SOL-FA,1/6) A S NG OF THANKSGIVING... SLEEPING BEAUTY (SOL-FA,1/6) ... RUTH (SOL-FA, 1/6) SUMMER ON THE RIVER (Female vv.) (SOL-FA,0/9) THE WATER LILY VILLAGE SCENES (Female voices) (SOL-FA, 0/9) CHRISTMAS SCENES (Female voices) (SOL-FA, 0/9) J. MAUDE CRAMENT. I WILL MAGNIFY THEE, O GOD(I45th Psalm)... LITTLE RED RIDING HOOD (Female voices) ... W. CRESER. EUDORA (A dramatic Idyll) W. CROTCH. PALESTINE . W. H. CUMMINGS. THE FAIRY RING ‘N. G. CUSINS. TE DEUM ... GIDEON ... FELICIEN DAVID. THE DESERT (Male voices) P. H. DIEMER. BETHANY ... ... ... ... . M. E. DOORLY. LAZARUS ... ... F. G. DOSSERT. MASS, IN E MINOR COMMUNION SERVICE, IN E MINOR F. DUNKLEY. THE WRECK OF THE HESPERUS ANTONIN DVORAK. ST. LUDMILA DITTO (German and Bohemian Words) THE SI’ECTRE’S BRIDE (SOL-FA, 1/6) DITTO (German and Bohemian Words) STABAT MATER PATRIIOTIC HYMN... ITTO German and Bohemi REQUIEM MASS .(.. an.Y.vord.s.). MASS, IN D COMMUNION SERVICE, IN D A. E. DYER. SALVATOR MUNDI ELECTRA OF SOPHOCLES H. J. EDWARDS. THE ASCENSION . THE EPIPHANY PRAISE TO THE HOLIEST EDWARD ELGAR.m THE BLACK KNIGHT ..‘. . . ROSALIND F. ELLICOTT. ELYSIUM THE BIRTH OF SONG GUSTAV ERNEST. ALL THE YEAR ROUND (Female vv.) (SOL-FA, 0/9) T. FACER. RED RIDING-HOOD’S RECEPTION (Operetta)... DITTO, SOL—FA, 0/9 E. FANING. BUTTERCUPS AND DAISIES (Female voices) 2/6 (DITTO, SOL-FA, 1/0) HENRY FARMER. MASS, IN B FLAT (Latin and English) (SOL-FA, 1/0) 2/0 on J :1 U MYLES B. FOSTER. THE LADY OF THE ISLES /6 THE ANGELS OF THE BELLS (Female voices)... 1/6 (DITTO, SOL-FA, 0/ THE BONNIE FISHWIVES(Female VV.)(SOL-FA,0/9) 2/6 SNOW FAIRIES (Female voices) 1/6 ROBERT FRANZ. PRAISE YE THE LORD (xI7th Psalm) NIELS W. GADE. PSYCHE (SOD-FA, 1/6) SPRING’S MESSAGE (SOL-FA, 0/3) %§{OLb—IKING’S DAUGHTER (SOL-FA, 0/9) THE CRUSADERS ("sloL-I§X, I/0')" III COMALA CHRISTMAS EVE (SOL-FA, 0/4) HENRY GADSBY. LORD OF THE ISLES(SoL—I7A,1/6) ALCESTIS (Male voices) . . . COLUMBUS (Male voices)... . F. W. GALPIN. YE OLDE ENGLYSHE PASTYMES... ... G. GARRETT. HARVEST CANTATA (SOL-FA, 0/6) ... THE SHUNAMMITE THE TWO ADVENTS R. MACHILL GARTH. no EZEKIEL THE WILD HUNTSMAN A. R. GAUL. A SONG OF LIFE (Ode to Music) (SOL-FA, 0/6) }OAN OF ARC (SOL-FA,1/0) PASSION SERVICE . . RUTH (SOL-FA,0/9) ... THE HOLY CITY(SOL-FA,1/0) .. THE TEN VIRGINS (SOL-FA, 1/0) IJSPIIKAAEL IN THE WILDERNESS (SOL-FA,1/0) (DITTO, SOL-FA, 1/0) THE LEGEND OF THE WOOD (Female voices)... (DITTO, SOL-FA, 0/8) FR. GERNSHEIM. SALAMIS. A TRIUMPH SONG (Male voices) E. OUSELEY GILBERT. SANTA CLAUS AND HIS COMRADES (Operetta) F. E. GLADSTONE. PHILIPPI ... GLUCK. ORPHEUS ... ... ... F. K. HATTERSLEY. ROBERT OF SICILY HERMANN GOETZ. BY THE WATERS OF BABYLON (137th Psalm)... NCENIA THE WATER-LILY (Male voices) ... CH. GOUNOD. MORS ET VITA (Latin or English) ITTO, SOL-FA (Latin and English)... RE UIEM MASS, from “ Mors et Vita" TH REDEMPTION (English words) (SOL-FA,2/0)... DITTO (French Words) DITTO (German Words)... MESSE SOLENNELLE (ST. CECILIA)... OUT OF DARKNESS ... COMMUNION SERVICE (Messe Solennelle) TROISIEME MESSE SOLENNELLE DE PROFUNDIS (13oth Psalm) (Latin Words) DI-I-1-o (Out of darkness) THE SEVEN WORDS OF OUR SAVIOUR ON THE CROSS (Filia: Jerusalem) ... ... . DAUGHTERS OF JERUSALEM GALLIA (SOL-FA, 0/4) A. M. GOODHART. EARL HALDAN’S DAUGHTER ARETHUSA .. no on C. H. GRAUN. THE PASSION OF OUR LORD (Der Tod Jesu) .. TE DEUM ... ALAN GRAY. THE WIDOW OF ZAREPHATH ... ARETHUSA .. THE LEGEND OF THE ROCK-BUOY BELL J. O. GRIMM. THE SOUL’S ASPIRATION ... .. G. HALFORD. E. V. HALL. IS IT NOTHING TO YOU P _; o THE PARACLETE 0219 v4 4 IIIIIIIIEIEIIBIIE HANDEL. ALEXANDER'S FEAST AND GALATEA TO, New Edition edited b . Barnb SOL-FA,l 0 ALCESTE ...” SEMELE... THE PASSION THE TRIUMPH OF TIME AND TRUTH... ALEXANDER BALUS .. HERCULES ATI-IALIAI-I ESTHER... SUSANNA ... THEODORA BELSHAZZAR THE MESSIAH, edited by V. NOVel10(SOL-FA, 1/0) ... THE MESSIAH, ditto, Pocket Edition THE MESSIAH, edited by W. T. Best ISRAEL IN EGYPT, edited by Mendelssohn ... ISRAEL IN EGYPT, edited by V. Novello,Pocket Edit. }UDAS MACCABZEUS (S01-FA, 1/0) ... UDAS MACCABAZU S, Pocket Edition . . SAMSON (SOL-FA,1/0) SOLOMON JEPHTHA OSHUA ... EBORAH SAUL CHANDOS TE DEUM DETTINGEN TE DEUM . UTRECHT JUBILATE O COME, LET US SING UNTO THE LORD (5th Chandos Anthem) O PRAISE THE LORD (6th Chandos Anthem) CORONATION AND FUNERAL ANTHEMS Or, Singly:— THE KING SHALL REJOICE . . ZADOK THE PRIEST ... MY HEART IS INDITING... LET THY HAND BE STRENGTHENED THE WAYS OF ZION ODE ON ST. CECILIA’S DAY L’ALLEGRO DIXIT DOMINUS (from Psalm ex.) HAYDN. THE CREATION (SOL-FA, 1/0) ... THE CREATION, Pocket Edition . THE SEASONS Each Season, singly (SPRING, Tonic Sol—fa, 6d.) FIRST MASS, IN B FLAT (Latin) DITTO (Latin and English) SECOND MASS, IN C (Latin) THIRD MASS (IMPERIAL) (Latin and English) ITTO (Latin) SIXTEENTH MASS (Latin) THE PASSION; OR, SEVEN LAST WORDS OF OUR SAVIOUR ON THE CROSS TE DEUM (English and Latin) INSANE ET VAN/E CUR./E (Ditto) BATTISON HAYNES. THE FAIRIES’ ISLE (Female voices)... A SEA DREAM (Female voices) ... H. HEALE. up: no no on on an JUBILEE ODE . .. C. SWINNERTON HEAP. FAIR ROSAMOND (SOL-FA, 2/0) EDWARD HECHT. ERIC THE DANE 0 MAY I JOIN THE CHOIR INVISIBLE GEORGE HENSCHEL. OUT OF DARKNESS (I3oth Psalm) TE DEUM LAUDAMUS, IN C . . STABAT MATER . no HENRY "HILES. FAYRE PASTOREL ... ... THE CRUSADERS FERDINAND HILLER. NALA AND DAMAYANTI A SONG OF VICTORY (SOL-FA, o/9) H. E. HODSON. THE GOLDEN LEGEND HEINRICH HOFMANN. FAIR MELUSINA CINDERELLA SONG OF THE NORNS (Female voices) HUMMEL. FIRST MASS, IN B FLAT COMMUNION SERVICE, ditto SECOND MASS, IN E FLAT COMMUNION SERVICE, ditto THIRD MASS, IN D COMMUNION SERVICE,ditto ALMA VIRGO (Latin and English) QUOD IN ORBE (Ditto) TION "N3 Paper EB Board: 93:0 109- \'§.S. Iaalllll IIl§.'|%‘.|% 5-“ 6 192910 #3 IFN 11% §§§RB3l§%B IE5! I I I I OF ORATO RIOS, &c.——Contz'nued. W. H. HUNT. STABAT MATER H. H. HUSS. AVE MARIA(F'ema1e voices) .. F. ILIFFE. SWEET ECHO . . JOHN WILLIAM JACKSON. ICRIED UNTO GOD w. JACKSON. no THE YEAR ... ... D. JENKINS. DAVID AND SAUL (SOL-FA, 2/0) A. JENSEN. THE FEAST OF ADONIS ... W. JOHNSON. ECCE HOMO . C. WARWICK JORDA BLOW YE THE TRUMPET IN ZION ALFRED KING. THE EPIPHANY ... N. KILBURN. THE SILVER STAR(Female voices) ... THE LORD IS MY SHEPHERD (23I'd Psalm) BY THE WATERS OF BABYLON OLIVER KING. BY THE WATERS OF BABYLON (I37th Psalm)... THE NAIADS (Female voices) ... THE SANDS O’ DEE .. J. KINROSS. SONGS IN A VINEYARD (Female vv.)(SoL-FA,0/6) H. LAHEE. THE SLEEPING BEAUTY (Femalevv.)(SoL-FA, 0/6) LEONARDO LEO. DIxIT DOMINUS H. LESLIE. THE FIRST CHRISTMAS MORN F. LISZT. THE LEGEND OF ST. ELIZABETH THIRTEENTH PSALM .. C. H. LLOYD. ' ALCESTIS .. ANDROMEDA HERO AND LEANDER THE SONG OF BALDER .. THE LONGBEARDS’ SAGA(Male voices) ... THE GLEANERS’ I-IARVEST(Female voices) A SONG OF JUDGMENT ROSSALL SIR OGIE AND THE LADIE ELSIE CLEMENT LOCKNANE. THE ELFIN QUEEN (Female voices) ... W. H. LONGHURST. THE VILLAGE FAIR HAMISH MACCUNN. LAY OF THE LAST MINSTREL(SoL-FA,1/6) LORD ULLIN’S DAUGHTER(SOL-FA, 0/8)... G. A. MACFARREN. SONGS IN A CORNFIELD (Female voices) (DITTO, SOL-FA, 0/9) MAY-DAY (SOL-FA, 0/6) THE SOLDIER’S LEGACY (Operetta) OUTWARD BOUND A. C. MACKENZIE. THE DREAM OF JUBAL .. THE STORY OF SAYID o ... . on s.- ASON .. . .. THE BRIDE (SOL-FA, 0/8)... THE ROSE OF SHARON (SoI.—I=A, 2/0) JUBILEE ODE .. THE COTTER’S SATURDAY N1GHT(SoL—FA,1,«o) THE NEW COVENANT VENI, CREATOR SPIRITUS BETHLEHEM... .. DITTO. Act“II., Seiiarateiy NOVELLO’S OCTAVO EDITION OF ORATORIOS, &c.—Com‘:inued. ‘ B. MCEVVEN. THE VISION OF JACOB F. W. MARKULL. ROLAND’S HORN (Male voices) ... F. E. MARSHALL. PRINCE SPRITE (Female voices) J.T.MASSER. HARVEST CANTATA I-IORATIUS (Male voices) DELPHI, A LEGEND OF HELLAS (Male voices) MENDELSSOHN. ELI AH (SOL—FA, 1/0) ELI AH (Pocxer EDITION) ‘IS THE HART PANTS (42nd Psalm) COME, LET US SING (95th Psalm) WHEN ISRAEL OUT OF EGYPT CAME (DITTO, SOL-FA, 0/9) NOT UNTO US, 0 LORD (II5th Psalm) ST. PAUL (SOL-FA, 1/0) ST. PAUL (Pocket Edition) HYMN OF PRAISE (Lobgesang) (SOL-FA, I/O) LORD, HOW LONG VVILT THOU (SoI.—I=A, 0/4) HEAR MY PRAYER (s. solo and chorus) (SOL-FA,0/2) DITTO ITTO LAUDA SION (Praise]ehovah)(SOL-FA, 0/9) ... THE FIRST WALPURGIS NIGHT (SOL-FA, 1/0)... MIDSUMMER NIGHT’S DREAM (Female voices) ATHALIE (S01.-FA, 1/0) . ANTIGONE (Male voices) (SOL-FA, 1/0) MAN IS MORTAL (8 voices) FESTGESANG (Hymns of Praise) ... DITTO (Male voices) . CHRISTUS (SOL-FA, 0/6) THREE MOTETS FOR FEMALE VOICES SON AND STRANGER (Operetta) . LORELEY (SOL-FA, 0/6) CEDIPUS AT COLONOS (Male voices) TO THE SONS OF ART (Ditto) (SOL-FA, 0/3) WDGE ME, 0 GOD (43rd Psalm) (SOL-FA, 0/1%) HY RAGE FIERCELY THE HEATI-IEN MY GOD, WHY, 0 WHY HAST THOU FOR- SAKEN ME (zznd Psalm) SING TO TI-IE LORD (98111 Psalm) SIX ANTHEMS for the Cathedral at Berlin. For 8 voices, arranged in 4 parts ... AVE MARIA (Saviour of Sinners), 8 voices ... ... MEYERBEER. NINETY-FIRST PSALM (Latin) DXTTO (English) A. IVIOFFAT. A CHRISTMAS DREAM (A Cantata for Children)... B.MOLJQUE. ABRAHAM ... .. . MOZART. KING THAMOS FIRST MASS (Latin and English) ... ... .. SEVENTH MASS, IN B FLAT ... COMMUNION SERVICE, IN B FLAT,ditto ... TWELFTH MASS (Latin) DITTO (Latin and English) (SOL-FA, 0/9) REQUIEM MASS DITTO (Latin and English) (SOL-FA, 1/0)... LITANIA DE VENERABILI ALTARIS(ED) LITANIA DE VENERABILI SACRAMENTO (Eb) SPLENDENTE TE DEUS First Motet O GOD, WHEN TI-IOU APPEAREST ditto HAVE MERCY, O LORD Second Motet GLORY, HONOUR, PRAISE Third Motet E. MUNDELLA. VICTORY OF SONG (Female voices) ... DR. JOHN NAYLOR. JEREMIAH JOSEF NESVERA. DE PROFUNDIS . E. A. NUNN. IIASS, IN C REV. SIR FREDK. OUSELEY. [HE MARTYRDOM OF ST. POLYCARP R. P. PAINE. THE LORD REIGNETH (93rd P.~ra1m) PALESTRINA. MISSA ASSUMPTA EST MARIA ... MISSA PAP/E MAR( ILLLI .. MISSA BREVIS .. .. MISSA “O AD-.\IIIRA'BIl.E CO'£\I.‘vII7,l~’.C.IUI\«I” II IIIIIIIIIIIISIESIII II 20945‘ \-E CO 0! \ Q mm» \\_ WOO IIIIIIIIIIIESISEIII H. W. PARKER. THE KOBOLDS . HORA NovIssIMA.'.'.' C. H. H. PARRY. DE PROFUNDIS (I3oth Psalm) ... ODE ON ST. CECILIA‘S DAY( SOL-FA,I/0) BLEST PAIR OF SIRENS (SOL-I«‘A,0/8) THE GLORIES OF OUR BLOOD AND STATE PROMETI-IEUS UNBOUND JUDITH EALLEGRO (SOL-FA, 1/6) THE LOTUS~EATERS (The Choric Song) i<ING sA"iIL DR.]OSEPH PARRY. NEBUCHADNEZZAR .. DITTO, SOL—FA B, PARSONS. THE CRUSADER s T. M. PATTISON. MAY DAY (SOL-FA, 0/6) THE MIRACLES OF CHRIST(SoL-FA,0/9) THE ANCIENT MARINER ... THE LAY OF THE LAST MINSTREL ... A. L. PEACE. ST.JOHN THE BAPTIST .. A. H. D. PRENDERGAST. THE SECOND ADVENT... . PERGOLESI. STABAT MATER (Female voices) (SOL—FA, O/6) CIRO PINSUTI. PHANTOMS—FANTASMI NELL’ OMBRA E. PROUT. DAMON AND PHINTIAS (Male voices) .. THE RED CROSS KNIGHT (SOL-FA,2,0) THE I-IUNDREDTH PSALM FREEDOM HEREWARD QUEEN AIMEE (Female voices) PURCELL. DIDO AND IENEAS TE DEUM AND JUBILATE, IN D .. LADY RAMSAY. THE BLESSED DAMOZEL ].F.H.READ. HAROLD BARTIMEUS . .. CARACTACUS... THE CONSECRATION OF THE BANNER IN THE FOREST (Male voices) PSYCHE THE DEATH OF YOUNG ROMILLY (Male voices) THE SONG OF HANNAH DOUGLAS REDMAN. COR UNAM, VIA UNA j.V.ROBERTS JONAH ... W. S. ROCKSTRO. THE GOOD SHEPHERD . J.L.ROECKEL. THE SILVER PENNY (SOL~FA, 0/9) EDMUND ROGERS. THE FOREST FLOWER (Female voices) ROLAND ROGERS. PRAYER AND PRAISE FLORABEL (Female voices) ROMBERG. THE LAY OF THE BELL (New Edition, translated by the Rev. J. Troutbeck, D.D.) (SOL—FA, O, 3) .. THE TRANSIENT AND THE ETERNAL (DITTO, SOL-FA, 0/I) ROSSINI. STABAT MATER(SoI.-I«‘A,1/0) MOSES IN EGYPT DIVINE LOVE .. ED. SACHS. WATER LILIES C. SAINTON-DOLBY. FLORIMEL (Female voices) on u- CHARLES B. RUTENBER. I0 25%; €§I I I I€2I I I I I I I 22:3. I-lllllll iv §IIII§IIIII IIE? \U'I \ Q9 NOVELLO’S OCTAVO EDITION CAMILLE SAINT-SAENS. ‘THE HEAVENS DECLARE-—CCELI ENARRANT (19th Psalm)... W. H. SANGSTER. ELYSIUM ... . FRANK J. SAWYER. THE STAR IN THE EAST ... ... ... THE SOUL’S FORGIVENESS... . ... H. W. SCHARTAU. CHRISTMAS HOLIDAYS (Female voices) SCHUBERT. MASS, IN A FLAT COMMUNION SERVICE, ditto MASS, IN E FLAT COMMUNION SERVICE,ditto MASS, IN E FLAT COMMUNION SERVICE, ditto .. MASS, IN C COMMUNION SERVICE, ditto MASS, IN G COMMUNION SERVICE, ditto MASS, IN F COMMUNION SERVICE, ditto SONG OF MIRIAM (Scum, 0/6) SCHUMANN. THE MINSTREL’S CURS THE KING'S SON .. MIGNON’S REQUIEM PARADISE AND THE PERI (SOL-FA, 1/8) PILGRIMAGE OF THE ROSE... MANFRED FAUST ADVENT HYMN, “ IN LOWLY GUISE" NEW YEAR'S SONG (SOL-FA, 0/6) H. SCHUTZ. THE PASSION OF OUR LORD BERTRAM LUARD SELBY. CHORUSES AND INCIDENTAL MUSIC TO “HELENA IN TROAS” SUMMER BY THE SEA (Female voices) H. R. SHELLEY. VEXILLA REGIS (The Royal Banners forward go) E. SILAS. MASS, INC COMMUNION SERVICE, IN C JOASH .. IISISSIII R. SLOMAN. SUPPLICATION AND PRAISE HENRY SMART. KING RENE'S DAUGHTER (Female voices) THE BRIDE OF DUNKERRON (scum, 1/6) J. M. SMIETON. KING ARTHUR (SOL-FA, 1/0) ARIADNE (SOL-FA, 0/9) ALICE MARY SMITH. THE RED KING (Men's voices)... THE SONG OF THE LITTLE BALTUNG (ditto) (DITTO, SOL-FA, 0/8) ODE TO THE NORTH-EAST WIND ODE TO THE PASSIONS .. E. M. SMYTH. MASS, IN D A. SOMERVELL. MASS, IN C MINOR POWER OF SOUND (SOL-FA,1/0) CHARLTON T. THE DAY DREAM .. SPEER. SPOHR. MASS (for 5 Solo voices and double choir) ... HYMN TO ST. CECILIA CALVARY FALL OF BABYLON LAST UDGMENT (SOL-FA,1/0) THE CHRISTIAN’S PRAYER GOD, THOU ART GREAT (SOL—I«‘A,0/6) HOW LOVELY ARE THY DWELLINGS FAIR... JEHOVAH, LORD OF HOSTS... JOHN STAINER. THE CRUCIFIXION (SOL-FA, 0/9) ... . . 2/0 ST. MARY MAGDALEN (SOL-FA, 1/0) 2/ DIXIT DOMINUS ... . 2/ 6 THE DAUGHTER OF JAIRUS (SOL-FA,0,9) 1/6 2/0 OF ORATORIOS, &c.~—~—Contz'nued. C. VILLIERS STANFORD. EDEN ... ... THE VOYAGE OF MAELDUNE CARMEN SXECULARE THE REVENGE (SOL-FA. 0/9) GOD IS OUR HOPE(46th Psalm CEDIPUS REX (Male voice ... THE EUMENIDES... ... MASS, IN G MAJOR I ... COMMUNION SERVICE, IN G EAST TO WEST ... THE BATTLE OF THE BALTIC H. W. STEWARDSON. GIDEON ... ... ... J. STORER. THE TOURNAMENT ... MASS OF OUR LADY OF RANSOM E. C. SUCH. NARCISSUS AND ECHO... GOD IS OUR REFUGE (46th Psalm) ARTHUR SULLIVAN. THE GOLDEN LEGEND (SOL-FA,2/0) ODE FOR THE COLONIAL AN EXHIBITION FESTIVAL TE DEUM W. TAYLOR. ST. JOHN THE BAPTIST A. GORING THOMAS. THE SUN-WORSHIPPERS E. H. THORNE. BE MERCIFUL UNTO ME BERTHOLD TOURS. A FESTIVAL ODE THE HOME OF TITANIA (Female voices) ... (DITTO, SOL-FA, 0/6) FERRIS TOZER. KING NEPTUNE'S DAUGHTER (Female voices) (DITTO, SOL-FA, 0/6) » VAN . BREE. ST. CECILIA’S DAY (SOL-FA,0/9) ... CHARLES VINCENT. THE VILLAGE QUEEN(Female voices) (SOL-FA,0/ THE LITTLE MERMAID (Female voices) W. S. VINNING. SONG OF THE PASSION (according to St. John)... S. P. VVADDINGTON. JOHN GILPIN . W. M. WAIT. THE GOOD SAMARITAN ... GOD WITH US ST. ANDREW... 1'2. H’? WALKER. JERUSALEM .. . R. H. WALTHEW. THE PIED PIPER OF HAMELIN ' WEBER. IN CONSTANT ORDER (Hymn) MASS, IN G (Latin and English) MASS, ,IN E FLAT (Ditt IN E FLAT ) COMMUNION SERVICE, JUBILEE CANTATA PRECIOSA THREE SEASONS S. WESLEY. IN EXITU ISRAEL S. S. WESLEY. O LORD, THOU ART MY GOD . E. WEST. SEED—TIME AND HARVEST (SOL-FA,1/O)... . C. LEE WILLIAMS. THE LAST NIGHT AT BETHANY (SOL-FA,1/0) GETHSEMANE A HARVEST SONG OF PRAISE A. E. WILSHIRE. GOD IS OUR HOPE (Psalm 46)... THOMAS WINGHAM. TE DEUM (Latin) .. CHAS. WOOD. ODE TO THE WEST WIND . M. W. YOUNG. THE RETURN OF ISRAEL TO PALESTINE LONDON & NEW YORK: NOVELLO, EWER AND CO. INDIAN ‘ . weal‘-per |lllll||lEBB°"“* p$z"(‘lt:h ||lllilll‘:" © ® GUI- NOVELLO’S VIOLIN & PIANOFORTE ALBUMS. ‘I. Mendelssohn-—Four Marches. Transcribed by B. ToURs. No. I, Wedding March; No. 2, War March of the Priests; No. 3, Cornelius March ; N o. 4, Funeral March .. . Berthold Tours.—~Thirty Melodies (expressly written to be used in connection with the Author's VIOLIN PRIMER) . . . . . . . Mendelssohn.—“ Elijah." Ten Transcription byB.ToURs .. .. .. .. .. . Gounod.—-“Mors et Vita.” Ten Transcrip- tions by B. TOURS . . . . . . Battison Ha.ynes.~Twelve Sketches. . . Siegfried J a.coby.—~Hungarian Dances. (Tran- scribed) .. .. .. .. .. .. . Ippolito Ra.gghianti.——Nine Morceaux de Salon . Oliver King.-—Twelve Pieces . . . . . . . Joachim Ra.ﬁ'.—Six Morceaux de Salon . . . Siegfried Ja.coby.— Six Characteristic Pieces. For Two Violins . . . . . . . . Arcangelo Gore11i.-Twelve Sonatas. In Two Books. Edited by A. DOLMETSCH. Book I. . Arcangelo Corelli.—Twelve Sonatas. In Two Books. Edited by A. DOLMETSCH. Book II. . Siegfried Ja.coby.—Eight National Melodies, (Arranged) . . . . . . . . . . . Gounod.—" Redemption.” Nine Transcrip- tions by B. ToURs . . . . . . . . . Arnold Dolmetsch.——-Twelve Easy Pieces * These Albums may also be had armngedfor Violoncello and Pianoforte. S. 2 2 2 d. 6 6 6 *I6. I7. J. Haakman. Twelve Characteristic Pieces Handel. —— Six Sonatas. The Pianoforte Accompaniment by A. DOLMETSCH . . Arcangelo Gorel1i.—~Six Trios. For Two Violins and Violoncello, or Pianoforte ; or as Quartets, with Violoncello and Piano- forte. Edited and the Pianoforte Accom- paniment by A. DOLMETSCH . . . . .. . Kate Ra.lph.—-Six Pieces . . . . . . . Various Composers.—Fourteen Pieces . . Yarious Composers.—Twelve Pieces .. . Yarious Composers.——Thirteen Pieces . . Rosalind F. Ellicott..~Six Pieces . . . Arthur SulIiva.n.—“ The Golden Legend.” Nine Transcriptions by B. ToURs . . . J. Miiller.—~Forest Pieces (Op. 9) . Ethel M. Boyce.—-Eight Pieces . I. B. Pozna.nski.— Ten Pieces . . . . . . . Ch. de Bériot. Eight Pieces . . . . . . . Henry Purcel1.—Fourteen Pieces. The Piano- forte Accompaniment, Marks of Expression, Bowing, and Fingering by ARNOLD DoL- METSCH .. .. .. .. .. .. H. W. Ernst.——Seven Pieces . . . . . . F. Da.Yid.—-Five Pieces . . . . . . . . H. Yieuxtemps.—Four Pieces . . . . . . F. Schubert.——Six Valses arranged by Smo- FRIED JACOBY . . I8. 30- 31. 32. 33- J. D. Da.vis.——Six Pieces for Violin and Piano- forte (Op. 21) .. .. .. .. .. Edward Germa.n.~—Three Dances from the Music to Shakespeare’s “Henry VIII." Arranged for Violin and Pianoforte by the Composer . . Edward German.—Gipsy Suite (In the Press) H. Grossheim. Six Easy Pieces for Violin and Pianoforte (Op. 24) . . . . . . . . C. Gur1itt.—Six Pieces for Violin. With Piano- forte Accompaniment . . . . . . . . Romance (from the above) . . . . . . H. Herkomer.—Six Easy Pieces for Violin, wit Pianoforte Accompaniment. Illustrated ., S. J a.c0by.—Six Bagatelles for Violin and Pianoforte Oliver King.—Morceaux de Salon, pour Violon et Piano. I2 Pieces Caractéristiques. Op. 91. . W. Ma.cfarren.—First Sonata . . . . . . Second Sonata . . . . ‘E. G. Ma.ckenzie.—Six Pieces for Violin. With Pianoforte Accompaniment. No. I, Gavotte; No. 2, Berceuse ; No. 3, Benedictus; No. 4, Zingaresca; No. 5, Saltarello ; No. 6, Tema con Variazioni . . . . Zingaresca (from the above) . . . . . . ’ Benedictus (from the above) . . . . . . ,, ,, Arranged for Orchestra :— Full Score .. .. .. .. .. Orchestral Parts . . . . . . . . . . Highland Ballad, Op. 47, No. I, for Violin with Pianoforte Accompaniment . . . . . . Two Pieces (Barcarola and Villanella), Op. 47, No. 2, for Violin with Pianoforte Accompani- ment . . . . . . . . . . . . on Net. S. 3 3 d. 6 A. C. Ma.ckenzie.—Pibroch. Suite for Violin Solo. Arrangement for Violin and Pianoforte Orchestral Parts . . . . . . . . Concerto for the Violin. Arrangement for Violin and Pianoforte . . . . . . . . . . Full Score .. .. .. .. .. . Orchestral Parts . . . . . . . . . . Alfred Moffa.t.~Twelve Transcriptions for Two Violins and Pianoforte . . . . . . . . Joseph Ne§Yera..—Ten Pieces for the Violin. With Pianoforte Accompa "iment . . . . C. H. H. Pa.rry.—Twelve New Pieces for th Violin with Pianoforte Accompaniment, in Three Sets (In the Press) Percy Pitt.——Bagatelles for Violin and Pianoforte (Op.I) .. .. .. .. .. I. B. Pozna.nski.—-Ten Sketches for Violin and Pianoforte . . . . . . . . . . J. L. Roeckel.-—Six Pieces for the Violin. With Pianoforte Accompaniment . . . . . . Emile Sa.uret.~E1égie et Rondo for Violin and Pianoforte . . . . . . . . . . Emile Sauret. Trois Morceaux de Salon (Naddia, Ethelia, Mazourka), pour Violon et Piano (Op..49) .. . .. .. .. F. Schubert.—Six Marches Arranged for the Violin and Pianoforte by S. jacoby . . Berthold Tours.—~Suite for Violin and Pianoforte. From Music to Shakespeare‘s “ Hamlet ” Herbert W. lHa.reing.——Six Pieces for the Violin. With Pianoforte Accompaniment :—— I. May Day Festival . . 2 o 4. Pastoral Dance . . 2. At Killee . . 2 o 5. Legende . . . 3. Romance . . I 6 | 6. Saltarello. . so LONDON & NEW YORK: NOVELLO, EWER AND CO. Ila/95 NOVELLO’S VIOLONCELLO & PIANOFORTE ALBUMS. . Mende1ssohn.— Four Marches. Transcribed by B. TOURS. No. 1, Wedding March; No. 2, War March of the Priests; No. 3, Cornelius March; No. 4, Funeral March . .. . . . Berthold T011rS.——Thirty Melodies These Melodies are expressly written to be used in connection with the Author’s Violin Primer. . Mende1ssohn.—“ Elijah.” Ten Transcriptions by B. TOURS . Gounod.——“ Mors et Vita.” Transcriptions by B. TOURS Ten . Battison Haynes.—Twe1ve Sketches 6. Siegfried Jac0by.~Hungaria Dances (Transcribed) S. d. . Arthur Legend.” by B. ToURs . Joachim Raﬁ'.—Six Morceaux de Salon . Arcangelo Core11i.——Six Sonatas. Book 2. Edited by A. DOLMETSCH . Siegfried Jacoby.——Eight Nation Melodies (Arranged) . Gounod. -—- “ Redemption.” Transcriptions by B. ToURs . Arnold D01metSch.—-Twelve Easy Pieces Sullivan. — “ Golden Nine Transcriptions 0-: Nine . Haakman.—Twe1ve Characteristic Pieces . Arnold Dolmetsch.—Ten Pieces Nove11o’s Albums for Pianoforte and Stringed Instruments- No.1.ARNoLDDoLMETscH.—Suite of Four Pieces No. 2. PURcELL.—Suite of Five Pieces. The Pianoforte Accom- paniment, Marks of Expression, Bowing, and Fingering, by Arnold Dolmetsch No. 3. EDWARD GERMAN.—Three Dances from Music to “ Henry VIII.” Francesco Berger.—Cavatina in F, for Violoncello, with Pianoforte Accom- paniment . Rosalind F. E11icott.~A Reverie, for Violoncello and Pianoforte H. Hoffmann. —Russian Romance (from Prairie Pictures), arranged by F. GRUTZMACHER Romance. Op. 48 J. Ho1lman.~Six Morceaux: No. Legende; No. 2. Pizzicati; No. Aubade; No. 4. Andante; No. Petite Valse; No. 6. Tarantelle Or, singly, each J. H01lma11.——Deuxieme Mazurka, pour le Violoncelle avec accompagnement de Piano .. J. Hol1man.—Viei11e Chanson, pour le Violoncelle avec accompagnement de Piano 2 6 l Libotton.—SiX Pieces for the Violon- cello with Pianoforte Accompani- ment :—- No. . Etude Caprice . Reverie . Caprice Hongrois . Nocturne (Chopin) .. . Chant sans Paroles (Tscha'1'- kowsky) 6. Du bist die Ruh’ (Schubert) 0 I Walter. Macfarren.—Sonata in E minor 0 A. C. Mackenzie.—Six Pieces. Op. 37. Arranged (from the original for Violin) by B. KRALL Mende1ssohn.———Romance sans Paroles. Op. I09 .. Sonata in F minor. Sonata in B ﬂat. Sonata in D. Op. 58 Variations Concertantes in D. Op. 17 . Op‘; Op 45 C. Hubert H. Parry.—-Sonata in A Alfred Piatti.—Serenata for 2 Violon- cellos and Pianoforte Rameau.~—Gavotte in D. Arranged as Quintet for Pianoforte and Strings, by B. ToURs Otto Schweiger.——Sonata. Op. 28 C. Villiers Stanford.~—Three Inter- mezzi. Op. 13 LONDON & NEW YORK: NOVELLO, EWER AND CO. NOViELLO’S PIANOFORTE ALBUMS. EDITED BY BERTHOLD TOURS. In Numbers, each One Shilling; or, No. 1.~—Bach. Twenty Pieces from Petits Preludes, A Suites Anglaises. Partita Nos. I to 3, &c. No. 2.—Ba.ch. Twenty Pieces from Suites Anglaises, Suites Francaises. Partita Nos. 4 and 5, &c. No. 3.—-Bach. Twenty Pieces from Petits Preludes, Concertos, Suites Anglaises, &c. Nos. 1, 2, and 3, in One Vol., cloth, 4s. No. 4.—Ha.ndel. Twenty—four Pieces from Suites I to 7, Sonatas, “Harmonious Blacksmith,” &c. No. 5.—Ha.nd el. Twenty-four Pieces from Suites 8 to I2, Gavottes, &c. No. 6.—Ha.ndel. Twenty-four Pieces from Suites I3 to I6, Water Music, &c. Nos. 4, 5, and 6, in One Vol., Cloth, 45. N0. 7.—Marches. Fifteen Pieces, including Mendels- sohn’s “ Hero's March,” Rakoczy's March, Bridal March “ Lohengrin," &c. No. 8.—Ma.rches. Fifteen Pieces, including Meyerbeer’s Coronation March, Cornelius March, Pilgrim’s March, &c. No. 9.—Marches. Fifteen Pieces, including Mendels- sohn’s Wedding March, March “ Tannhauser,” &c. Nos. _7, 8, and 9, in One Vol., cloth, 4s. No. 10.—Gavottes, Minuets, &c. Sixteen Pieces, includ- ing Rameau’s Gavotte, Zimmermann’s Gavotte, Calkin’s Minuet, Silas’s Bourrée, &c. No. 11.—Gavottes, Minuets, &c. Sixteen Pieces, includ- ing Gluck’s Gavotte, W. Macfarren‘s Bourrée, Bach's Bourrée, &c. No. 12.—Gavottes, Minuets, &c. Sixteen Pieces, includ- ing W. Macfarren’s_ 2nd Gavotte, Sir J. Benedict’s Gavotte, Mozart's Minuet, &c. Nos. 10, 11, and 12, in One Vol., cloth, 4s. No. 13.—-Wollenhaupt, J. Ten Pieces, including Marche Hongroise, Scherzo Brilliant, &c. ‘ No. 14.—Wo1lenhaupt, J. Ten Pieces, including “ La Gazelle,” “ Mazeppa Galop,” &c. No. 15.——lllIo1lenhaupt, J. Ten Pieces, including “Les Clochettes,” “ Feu Follet,” &c. Nos. 13, 14, and 15, in One Vol., cloth, 4s. No. 16.-Schweizer, Otto. for four hands). No. 17.—Spindler, Fritz. Eight Scottish Airs (arranged Nine Pieces, including " Mur- muring Rivulet,” The Pilgrims’ Chorus (“Tann— héiuser ”), &c. ’ No. 18.——Spindler, Fritz. Nine Pieces, including “ L’Oisil— lon,” “ Le Carillon," “The Evening Star” (“ Tann- hauser ”), &c. No. 19.——Spindler, Fritz. Ten Pieces, including “ Jeu des Ondes,” Valse Mélodieuse, Spinning Song (“Flying Dutchman”), &c. Nos. 17, 18, and 19, in One Vol., cloth, 4s. No. 20.—Goetz, Hermann. No. 21.—Goetz, Hermann. Four Compositions. No. 22.——-Groetz, Hermann. Six Compositions. Nos. 20, 21, and 22, in One Vol., cloth, 4s. Five Compositions. No. 23.—Rheinberg'er, Josef. Seven Compositions. No. 24.—Rheinberger, Josef. Eleven Compositions. No. 25.—-Rheinberger, Josef. Seven Compositions. Nos. 23, 24, and 25, in One Vol., cloth, 4s. No. 26.—Tonrs,Berthold. Juvenile Album. Eight Char- acteristic Pieces (Duets), 2s. Cloth Volumes, each Four Shillings. Nos. 27 and 28.—-Moscheles, J. “ Domestic Life.” Twelve Characteristic Duets, Two Books, each 25. The Two Books, in One Vol., cloth, 4s. No. 29.—Kjeru1f, Halfdan. Nine Pieces. to 3; Op. I2, Nos. I to 6. No. 30.-—Kjerulf, Halfdan. Ten Pieces. Op. 24, Nos. I L . to 4: Op. 27, Nos. I and 2; Op. 28, Nos. 1 to 4. No. 31.——Kjeruli’, Halfdan. Op. 28, Nos. 5 and6 ; Op. 29; and Twenty Songs arranged for the Pianoforte by the Composer. - Nos. 29, 30, and 31, in One Vol., cloth, 4s. Nos. 32, 33, and 34. The National Dance Music of Scot- land. Arranged for the Pianoforte by Alexander Mackenzie: with additions by his son, Dr. A. C. Mackenzie. Nos. 32,, 33, and 34, in One Vol., cloth, 4s. No. 35.—Mackenzie, Dr. A. G. Eight Pieces. Nos. I to 5; Op. 15, Nos. I to 3. No. 36.—Mackenzie, Dr. A. 0. Nine Pieces. Nos. I to 6; Op. 23, Nos. I to 3. No.37.—Mackenzie, Dr. A. 0. Six Songs. Transcribed for the Pianoforte by Guiseppe Buonamici. Nos. 35, 36, and 37, in One Vol., cloth, 4s. No. 38.——Altschu1, Rudolf. Fifty Hungarian National Songs. No. 41.——Liadoﬂ’, Anatole. Twenty—one Pieces. Op. 2, Nos. I to 14; Op. 3, Nos. I, 3, 4, and 6; Op. 6; Op. I5, Nos. I and 2. No. 42.——Liadoif, Anatole. Seven Pieces. I to 4; Op. 7, Nos. I and 2; Op. II. No. 43.—Liadoﬂ‘, Anatole. Ten Pieces. Op. 8; Op. 9, Nos. I and 2; Op. 10, Nos. I, 2, and3; Op. 13, Nos. I to 4. Nos. 41, 42, and 43, in One Vol., cloth, 4s. No. 44.—Cui, César. Thirteen Pieces. Op. 20, Nos. I to I2; Op. 21, No. 3. No. 45.—-Cui, Cesar. Eleven Pieces. Op. 21, No. 4; Op. 22, Nos. I, 2, and 3; Op. 31, No.2; Op. 39, Nos. I to 6. No. 46.—- Cui, César. Seven Pieces. Op. 22, No. 4; Op. 29, No.1; Op. 30, No.1; Op. 35. Nos. I and 2; Op. 40, Nos. 2 and 4. Nos. 44, 45, and 46, in One Vol., cloth, 4s. No. 47.—Sohubert, Franz. Four Impromptus. Op. 90. No. 48.——Schubert, Franz. Four Impromptus. Op. I42. N0. 49.——Schubert, Franz. Moments Musicals (Op. 94),. and Adagio and Rondo (Op. I45). Nos. 47, 48, and 49, in One Vol., cloth, 4s. No. 50.—Schubert, Franz. Three Sets of Variations, Andante, and Klavierstiick. No. 51.~Schubert, Franz. Adagio, Allegretto, and March in E major, &c. No. 52.—Schubert, Franz. Scherzi. Nos. 50, 51, and 52, in One Vol., cloth, 4s. Op. 4, Nos. 1 Op. I3, Op. 20, Op. 4, Nos. Five Klavierstiicke and Two No. 53.—I'Iofmann, H. “The Trumpeter of Sakkingen ” (Op. 52) and Two Valses Caprices (Op. 2). No. 54.——Hofmann, H. “Italian Love Tale” (Op. 19) and Five other Pieces. . No. 55.—Hofmann, H. Fourteen Pieces. Nos. 53, 54, and 55, in One Vol., cloth, 45. LONDON & NEW YORK: NOVELLO, EWER AND CO. THE CATHEDRAL PRAYER BOOK BEING THE BOOK OF COMMON PRAYER WITH THE MUSIC NECESSARY FOR THE USE OF CHOIRS TOGETHER VVITH THE CANTICLES AND PSALTER POINTED FOR CHANTING EDITED BY SIR JOHN STAINER, M.A., Mus. Doc., OXON. (Professor of Music in the University of Oxford) AND THE REV. WILLIAM RUSSELL, (M.A., MUS. BAc., OXON. (Succentor of St. Paul’s Cathedral). EXTRACT FROM EDITORS’ PREFACE. Ti-IE inconvenience and costliness of the number of separate Books usually requisite for the members of a Choir, in the performance of an ordinary Choral Service, have long pointed to the desirableness of a manual which should, as far as possible, unite under one cover all that is necessary for the choral rendering of, at least, those portions of the Church's Services which are less liable to variation. The Music of the Versicles and Responses-—Festal as well as Ferial—a Psalter and Canticles pointed for chanting, are almost indispensable for the careful and accurate rendering of a Choral Service. And yet, hitherto, it has been scarcely possible to procure these, unless in separate numbers; involving not only much additional expense, but also the disadvantage arising from the continual shifting of books during Service time, which is such a hindrance to a devout participation in Divine Worship. To remedy these evils, and to assist in promoting, as it is hoped, a more careful and reverend performance of the Divine Ofﬁces, the Cathedral Prayer Book has been compiled. The Editors are fully aware that they are not the ﬁrst to make an effort in this direction. But they believe that several circumstances have tended to favour their attempt, and ensure its success, which have been wanting in other instances. . This manual provides not only for the daily Morning and Evening Prayer, and the choral celebration of the Holy Communion, in all its completeness, but also for the whole of the occasional Ofﬁces contained in the Book of Common Prayer. A special feature of it, moreover, is that it includes an Appendix, in which are contained not only Tallis’s Festival Responses and Litany, but a great deal of other additional and miscellaneous matter which it is conjectured will add greatly to its usefulness and value. The Versicles and Responses throughout the Book (exclusive of the Appendix) and the Litany are from the arrangement used in St. Paul’s Cathedral (Stainer and Martin, founded on Goss). They follow Merbecke, although with one or two slight variations which have become traditional in the Cathedral of the Metropolis, and, more recently, in many other Churches. The Music to the Order for the Administration of the Holy Communion follows the Edition of Merbecke given in “A Choir Book of the Oﬂice of Holy Communion” (Stainer), and published some years since. The Order for the Burial of the Dead has also been arranged from Merbecke by the same Editor. The pointing of the Psalms and Canticles is after that known as the Cathedral Psalter, edited by the Rev. S. Flood-Jones, the late Mr. James Turle, Dr. Troutbeck, Sir John Stainer, and Mr. Joseph Barnby, An Edition can also be had in which the Cathedral Psalter Chants to the Canticles and the Psalms are included. EDITIONS. I. Demy 8vo, 628 pp., large type. With Canticles and Psalter pointed for Chanting. ' Cloth, red edges Ditto, ditto. Red basil and red edges Demy 8vo, 600 pp., large type. With Canticles and Psalter pointed, set to appropriate Chants (Cathedral Psalter Chants). Cloth, red edges .. Ditto, ditto. Red basil and red edges 3. Imperial 32mo, 696 pp., Pocket Edition. With Canticles and Psalter pointed for Chanting. Cloth, red edges 2 6 O 0 (Ditto, ditto. Red basil and red edges i . . 5 o The Clergy can be supplied with copies, in quantities of not less than 25, on liberal terms. LONDON & NEW YORK: NOVELLO. EWER AND CO. TO CHORAL SOCIETIES. SHORT CANTATAS RECENTLY PUBLISHED. A. Davidson Arnott.—“ Young Lochin- var.” Ballad for Chorus and Orchestra. Poem by Sir WALTER ScoTT . Ethel M. Boyce.-——“Young Lochinvar. Ballad by Sir WALTER SCOTT. Set to Music for Baritone Solo. Chorus, and Orchestra Edward Elgar.—‘‘ The Black Knight- Cantata for Chorus and Orchestra. The Poem by UHLAND; translated by LONGFELLOW . Alan Gray.—“ The Legend of the Rock- Buoy Bell.” Ballad for Chorus and Orchestra. Words by SUSAN K. PHILLIPS F. Kilvington Hatters1ey.——“ Robert of Sicily.” Cantata for Soli, Chorus, and Orchestra. Poem by LONGFELLOW ' S. d. Oliver King’.—‘‘ The Sands 0’ Dee.’ Ballad for Chorus and Orchestra. Words by CHARLES KINGSLEY \ E Cl. Sachs. — “ Water -I Lilies.” A Fairy Song by'FEL1c1A HEMANS. Deutsche Uebertragung Von L. KLEIN .. Charles Villiers Stanford.—“ East to West.” An Ode by ALGERNON CHARLES SWINBURNE. Set to Music for Chorus and Orchestra S. P. Wadding“;on.——“]ohn Gilpin.” Ballad for Chorus and Orchestra. Words selected from CoWPER’s poem Richard H. Walthew. —— “ The Pied Piper of Hamelin.” By ROBERT BROWNING. Set to Music for Tenor and Bass Soli, Chorus, and Orchestra CANTATAS FOR .d. J. F. Barnett.——“The Wishing Bell." ‘Cantata for Ladies’ Voices and Orchestra. Words by JETTA VOGEL Frederic H. Cowen.—“ Summer on the River.” The Words written by SHAPCOTT WENSLEY Tonic Sol-fa (in the Press). Frederic H. CoWen.~“ Village Scenes.” Words by CLIFTON BINGHAM J. Maude Crament. — “ Little Red Riding-Hood.” The Words by J. FREDERICK ROWBOTHAM 2 2 b FEMALE VOICES. Myles B. Foster.—“ Snow Fairies.” Words by SHAPCOTT WENSLEY Battison Haynes.—“A Sea Dream.” Cantata for Ladies’ Voices with Recitation(Accompanied). Words by SHAPCOTT WENSLEY Sea.” VVrit_ten by SHAPCOTT WENSLEY Berthold Tours.——“The Home of Titania.” Words by SHAPCOTT WENSLEY LONDON & NEW YORK: NOVELLO, EWER AND CO._ . /. _,_,n, . 2.53 B. Luard Se1by.—“ Summer by the}
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Date: 1893
Text: Music LIBRARY VASSAR COLLEGE eoucuxesnsac. NE“! ‘mun INSCRIBED TO AUGUST MANNS, ESQ., AND THE CRYSTAL PALACE CHOIR. THE ﬁﬁimztk Hf the iﬁ25p2r1I5 A BALLAD FOR CHORUS AND ORCHESTRA THE POETRY BY H. W. LON GFELLOW THE MUSIC COMPOSED BY FERDINAND DUNKLEY. PRICE Lwmw ,, 50,. CENTS. LONDON 6 NEW YORK NOVELLO, EWER AND CO. A UTHOR’S PROPERTY. Copyright, 1893, by Ferdinand D1/mleley. Score and Parts may be hired of the Composer, 7, Nightingale Park Crescent, Wandsworth Common, London; and 136, State...
Show moreMusic LIBRARY VASSAR COLLEGE eoucuxesnsac. NE“! ‘mun INSCRIBED TO AUGUST MANNS, ESQ., AND THE CRYSTAL PALACE CHOIR. THE ﬁﬁimztk Hf the iﬁ25p2r1I5 A BALLAD FOR CHORUS AND ORCHESTRA THE POETRY BY H. W. LON GFELLOW THE MUSIC COMPOSED BY FERDINAND DUNKLEY. PRICE Lwmw ,, 50,. CENTS. LONDON 6 NEW YORK NOVELLO, EWER AND CO. A UTHOR’S PROPERTY. Copyright, 1893, by Ferdinand D1/mleley. Score and Parts may be hired of the Composer, 7, Nightingale Park Crescent, Wandsworth Common, London; and 136, State St., Albany, N.Y., U.S.A. INSCRIBED TO AUGUST MANNS, ESQ., AND THE CRYSTAL PALACE CHOIR. THE rank nf the ‘iﬁeaaperuﬁ A BALLAD FOR CHORUS AND ORCHESTRA THE POETRY BY ” H. W. LONGFELLOW THE MUSIC COMPOSED BY FERDINAND DUNKLEY. PRICE ONE SHILLING. ,, 50 CENTS. LONDON 6» NEW YORK NOVELLO, EWER AND CO. A UTHOR’S PROPERTY. Copyright, 1893, by Ferdinand Dunkley. Score and Parts may be hired of the Composer, 7, Nightingale Park Crescent, Wandsworth Common, London; and 136, State St., Albany, N.Y.. U.S.A. THE WRECK OF THE HESPERUS. Allegro con anima. CHORUS. ALTO. _._ _y_ It was the schoon-er Hes — perus, That sailedthe, BASS. ‘i > It was the sch00n—er Hes - perus, That sailed the ‘\ , _V_ ‘Z? 3 o ‘ ‘B’ : n 3*“1<“—l3""-",§*i“* 3 ‘—1"~.—*‘3"“1"-.—i’7£"—eg—::"1'1l Ti ‘ V ‘ . ‘ . | i ‘ 3 ‘ 1 I 3 3 3 . -—~ 0-3-a4_—_—r——j:a——.+ ; 0-: * \/ C \/ \. \/ \_ \. Copyright, 1893, by Ferdinand Dunkley. Fe1:dina.ndADunk1ey—?‘ The Wreck of the Hesperus." ' SUPRANO. And the "K - per had taken his lit-tle daugh mf - I And. the skip — per had taken his lit-tle daugh — 1 And the sk1'\p — per had taken his 1it—t1e daivigh And the skip - per had taken his 1it—t1e daugh To bear him com - 133;‘ ny. L To bear him com - pa- ny. - To bear him com - pa- ny. -h To bear him com — pa- ny. Fcrdinzmcl Dunkley—“ The Wreck of the Hespenlsﬁ’ Un poco path cmimato. Sopmmo. Blue were her eyes as the fai 1 Un poco piic animate. d : 144. r—‘''—‘‘\ f—‘\ K-'’‘-'‘''—‘\ /""*“‘\ K"""""—'\ cheeks bo\‘- sﬁjx white as the - thorn buds, That ope in the month ope — in ~ the month .Ferc1inan<1.Dunk1ey—“ The Wreck of the Hesperus." ‘:37 VI‘ "ﬁr qr <e=e> teed» <$=e <3 - CF 4:4] ii CF‘ I ﬂag) tggsg, 1 55:: \ <3“ Cl‘ ‘CF \ \ l\ |\ g u “ LL | u -' ‘ ' TL. 0 TI «-7- And he watched pipe was in his mouth, _'— Tempo lmo. > new West South. > > blow The smoke, now West South. > He wa the veering ﬂaw blow The smoke now West new South, > South. , Tempo lmo. d : 132. 3\ 3 ‘Ferdinand Dunk1ey—“ The Wreck of the Hesperus." --him ‘ J -3- -6- \ Then upandspakean old sai - lor, Hadsailedthe Span ish main, ‘e ____e-— . _'.. Then up and spake an (SH sai - lor, Had sailed. the Span - main, ' ’ - ' Thenspake ’ sai - lor, Hadsailedthe Span ish main, e‘ — Then up ahd spake sai ~ L lor, Had sailed the Spam —~-3 “I pray thee put in -120 yon-der port, “ Last night the moon had a go\1d—(£ ring, Audto - ' —-—-— ,_ ur - ri—cane. - 3 hur - ri—cane. “ Last night the moon had a golden ring, And to -0- . 8ve ....... Ferdinand Dunkley-—-“ The Wreck of the Ilesperus.” The skip-per he blew a. whiff from his pipe, And a. The skip—per he blew a wl1i pipe, And a > dim. - night no moon we see! ” a whiff from his pipe, And a. > . - night no moon we see !” scorn - ful laugh laughed he. :5 scorn - laugh laughed he. ~ \ scorn - ful laughed he. \ \ -3 scorn - ful laugh laughed he. A gitato. B SOPRANO. ALTO. Cold - er and loud - er blew the wind, A gale from the North - B A gitato. & : 76 (J = 152). ' ,. f Ferdinand Dunk1e'y-—“ The Wreck of the Hesperus." bil - lows frothed like yeast. e h E d M 69 H ..1 I b 8 2|... LU in snow fell hiss - ing _;;__F_ ‘I. "[750 ‘IV 094 Kit? :6 7%? its in and smote . . a- main The ves - sel Down . came the storm, ' 0 0 0 ‘(J . smote . . a—Ina1n its in The was - sel . came the storm, Down .1?”/——x its in and smote. . armain The ves- sel came the storm, 0 1‘ ‘ﬁe 9 5E.t1f§. IF ~s~T.v="—b?';'_'“:”: its in and smote . . a.— main The Ves - sel czune the storm, >- >- I\ I. i:?:+=4~§— ‘H: e§—%—% 0‘ —:‘.;=1—*1 —%{%£§' _l Ferdinand Dunk1ey—“ The Wreck of the Hesperus." 29” strength ; She shudder-ed . . and paused, like a fright —ed slzrength ; She shudder-ed . . and paused, like a fright - ed strength ; She shudder—ed . . and paused, likea fright - ed St1‘e11gth; She shudder—ed . . and paused, likea fright ~ ed /- /- C Allegro. Then leaped her ca. - b1e’s length. leaped her ca - ble’s length. Then leaped her ca - ble’s length. /_Then leaped her ca - ble’s length. /— /_ C Allegro. cl : 120. /‘ r---\ _ TENOR. “Come hith-er, come hith -er ! my lit; — tle (laugh f*'*"T_ /‘-jﬁ r*--—-% . Ferdinand Dunkley——“ The Wreck of the Hesperus." “em ‘ ble 50; I can Weatherthe 5 . , ‘ ' ‘ a rough - est gale That ev er Wind did blow.” He Wrapped her Warm . . ' his sea. - man’s coat, A — gainst the ‘cf ' He wrapped her warm . . " his sea - man’s coat, A - gainst the He wrapped her warm, A‘ - gainst the wrapped ' man"s coat, ;_.____._/ ' Ferdinand Dunk1ey——“ The Wreck of the Hesperus.” blast ; r--—-——-—-‘\ from And bound her to the mast. — And bound her to the mast. — And bound her to the mast. __.(.——:——v-—:'4_ _ L And bound her to the mzmst. 5 Ferdinand Du11kley—“ The Wreck of the Hesperus.” -=___—-T; _ . I I i ‘n. - I = 4 . ,1-3~-e—:~—~e.:;~ V V fa - ther, I hear the c11ureh~17eI s ring, 0 say, . . what may it T‘ I I h I; 0 F v'—‘.~—-.o—.«-—F _ - ‘\l 1. i I ‘ « ._ I - V :“~T—~4.”+%»+'-.+.——;>:~r 1 he steered for the 0 — peg fog - hell on a rock-b0undcoa,st!”—— And he steered for the 0 pm “0 fa-ther, Ihear the ._I_ —;E } } :- Ferdinand Dunk1ey——-“ The Wreck of the Hesperus." sound of guns, 0 say, . . what mayit; be?” TENOR. “Some ship in dis-tress, that }- can - not live In such an an - gry sea?” SOPRANO. “O Fa -ther, I see a gleam - ing light, 0 say, . What may it ;__) ff” Ferdinand Dunkley--—“ The Wreck of the He.sperus.” ' ‘D Lento doloroso. -7- *"r— K -0-’ -0- . But the fa - ther an - swered nev — er a word, But the fa - ther an - swered nev e er a word, D Lento doloroso. J : 56. i ‘y if *6‘ fro - zen corpse . TENOR. I ‘fzn a I E " E“’ =" E l g i 1 g Lashed to the helm, in H I fro - zen corpse stiff and stark, With his face turned to the skies, /‘_"""'\ The Ian - tern .n- 159 ALTO. gleamed through the gleam - ing snow On his ﬁxed and glass - y eyes. Thenthe __ _‘_ : Ferclinand, Dunk1ey—“ The Wreck of the Hcsp:1'us.” snow, maiden clasped h er hands ahcl prayed sav - ed she might be ; Soi>RAN 0. She thought of Christ, who J J’ ~13‘ sr“ -' _ V .1}- _[ f Pia moto. Gal - i-lee. Piio motto. stilled the ‘wave, Lake . . of "I rﬁ and drear, Through And fast through mid - night dark And fast through mid - night dark and drear, Through And fast through mid - night dark and drea1',Tl1rough And fast through the n1i(l;~ night dark _g_ ' } . sheet ghost sheet ghost sheet ghost . 0- ' sheet ghost 3 3 Ferdinand Dunk1ey—-" The Wreck of the Hesperus." whist - ling sleet and Wl1ist- ling sleet and whist - ling sleet and ‘ {.3-_'" and d1'ear,Through the whist - ling sleet and ves — sel swept ’l"wards the ves — sel swept ’].‘’wards the t T’wa1'(ls the ves - sel ves - sel swept 'l"wards the of or - man’s of Nor - man’s of Nor - man’s -9- of N0r-man’s . ev — er the ﬁt - ful gusts be- tween A ALTO. It was the sound of the trampling surf, On the came from the land; f-<:sf rocks and the hard sea. - The break-ers Wereright be - SOPRANO. And a. Who0p- ing bil - low ws, She drift -ed a. - y wreck, > . f Ferdinand Dunk1ey——“ The ‘Wreck ofthe Hesperus.” swept the crew Like i - white and ﬂee - cy Waves White and ﬂee - cy Waves white and ﬂee — White and ﬂee - cy waves Waves K F‘ " Looked soft Looked soft Looked soft Looked soft ‘ah ﬁr 4?" ci-cles from the deck. " E Pia sostenuto. struck struck EPiz‘o sostenuto. J : 84. ' K :2?“ i3 as cord - as cord - as cord - as cord ~ . ,‘_ Ferdixnagd _I)unk1ey,—_-4-“ The Wreck of the Hesperus.” 0 Where the where the . L where the M where the - e1 ‘rocks, they L .herside Lil::e—tl1e horns of an - rocks, they gored her side Like the horns of an an they gored her side Like the horns of an an ::—+——> - el rocks, they gored her side Like the horns Pie} agitato. _ bull. ' Her rat- tling sh/eath’d Her ra,t — tling. . sheath’d Her rat - tling b . . ' sheath’d 111 bull. I Her mt - tling shrouds, . all sheath’d in Pm agitate. d : 112. P060 0: 17060 C768. /T X} } sempre pm With the masts L by the board ; Like a sempre ' With the masts . by the boerd ; With the masts by the board. ; semp7'e_pz'L‘o ' . ' With the masts _ byrthe board ; §.__._.___.._.....—___/ Ferdinand Dunk1ey—“ The Wreck of the Hesperus." ﬁg Ar-—\ ves - sel of glass, she Holho! . . fﬁ vies - sel of glass, she I-Io ! ho ! the breakers A A /\ the breakers -9- ves - sel of glass, she a , _¢_ ves — sel of glass, she H0!l\1/0! . the b\4eake/rs I A roared I roared 2 /\ roared 1 6' d fpocoapo z o l I I 1 F‘ :1: I : Z‘;- V — -o— L Pad. Ferdintmd Dunk1ey——“ The Wreck of the Hesperus." TENOR :' ﬁ~7“/.',.::* *"«57° - ’ : j At day-break, bleak sea - beach, ﬁsh— er-man stood a—ghast, To see the form of a maid- en A fair, Lashed . f . , -1’ .. con molto espress. 170; "5" J 5 .1} _ . _,_ _ froz — en on her breast, e salt tears 1n her eyes; And he saw her Z“. ‘ - J ‘ " g. ""..._“‘—“;‘——*- __? Ferdinand Dunkley——“ The Wreck of the Hesperus.” hair’ the bil - lows /' . Tempo lmo, ma sostenuto. Such the wreck of the Hes Such the wreck of the Hes of the Hes Such was the Wreck mid ~ night IS Such was the wreck of the es mid - G Tempo lmo, ma, sostemito. J : 100. Christ Ferdinand Dunk1ey—" The Wreck of the Hesperus.” fall and _ -1 7"‘ %_ V a death a death like this, a death v like this, /\ of Nor - man’s of Nor - man’s '6' 0 0 . Ferdinargd Dunkley-—-“ The Wreck of the Hesperus.”
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Date: 1917
Text: T. TERTIUS NOBLE Two Songs With Piano Accompaniment CUPID’S ARROW % - WINTER _High in F minor Low in L) minor @ Price, each 60 cents net New.Y0rk : : Boston nusoc L}/*IhAnv VAS$AR CO LL EC‘ To my fmend 1i3cz'7aal(lWerrenrntlz VVinter Words by Longfellow V A T- Tertius Noble Lento, molto sostenuto 1’ The day is end - ing, The night is de- A d 8”“ bassa #’ scend-ing,The marsh is fro-zen, the riv - er dead. >>- >> > /\ } 27049 C Copyright, 1.917, by G. Sclzirmer Piﬁ mosso...
Show moreT. TERTIUS NOBLE Two Songs With Piano Accompaniment CUPID’S ARROW % - WINTER _High in F minor Low in L) minor @ Price, each 60 cents net New.Y0rk : : Boston nusoc L}/*IhAnv VAS$AR CO LL EC‘ To my fmend 1i3cz'7aal(lWerrenrntlz VVinter Words by Longfellow V A T- Tertius Noble Lento, molto sostenuto 1’ The day is end - ing, The night is de- A d 8”“ bassa #’ scend-ing,The marsh is fro-zen, the riv - er dead. >>- >> > /\ } 27049 C Copyright, 1.917, by G. Sclzirmer Piﬁ mosso Through clouds like \/ \_/“/ sostenuto flash - es - dows that it tempo 1’ The snow re-com-menc — es, The bur — 8 "" a tempo 13720 ._ Mark no long- er the road to the plain, Z’—\ ".27" While thro’ the mead - Like fear—ful shad - ows, 3 -=-z:/(¢»;=\::<_'ae>;-ﬁ;;.;a.7'a7«a&7&,§..~'Z:; fe S1ow—1y pass—es a fu-n’ra1 train. > > 1’ The bell is peal - ing And ev—’ry feel - ing With— in sx __ re—spondsto the dis — mal knell; ‘.570 /"*3, Sha.dL- ows are trail - ing,______ My heart is be— wail — ing f % And to11-ingWith- in like a fu-rfral bell, > > n'ra1 bell. FOUR SONGS by JAMES H. ROGERS To Felt’: llughu Sea Fever John Masefield James H. Rogers Spiritoso f I must go down to the seas a-gain, to the lone - ly sea and the sky, :11 I usk in 1 tall shlpand A star to steer_her by, wheelk klcknnd the windk songand the white sails_ shah.-ing, > f Copy;-iglt, llll, by 0. Scbirncr PRICE 60 CENTS NET To Miss Geruldxm’ Farrar The Star . wows. W A fragment from Plato Charles F. Lnnums High. in Db Low ;n B], James H. Rogers -K-5:A* ‘YR: semprv R- - inglhemoth . - er shes, - cqyum. um. by no s.s. meme co. ¢'°m"':M 1'": Mr 0< Selim!" PRICE so cams NE‘! “Loves on the highroad“ F. Dana Burnt! James H Rogers Vivace con anima Voice co,,,r.,u, ma, 3., a. Selina! PRICE so cams NET NEW YORK :-G. SCHIRMER Autumn F. Dana Bum“ James H. Rogers Poco Volcé W Swift-ly, my heart, while {adeslhe sum-me-r rose, qfslulaada Speaklhou or love, ere Youlhand Love growcold! The year hath lurnedher face un - to the ngfslcuhmdo . ‘! PRICE so ceﬁf NET BOSTON : THE BOSTON MUSIC CO. Copyright, IBM, by (I. Sclimtr
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Creator: Wing, Lucy (Madeira)
Date: September 29, 1892 - June 13, 1901

Date: 1885
Text: MUSIC LIBRARY VASSAR COLLEGE POUGHKE-EPSIE, NH’! '/52¢: ""“\ Worzis‘ ézjgiz /71‘. if fa/gy/1’?//02% / \ ,J, // 0\ \/\ / ":‘_ 4 /W7" » \ I ;sv , 1/ -/ l /‘ J} K‘\_(/2 2 “~\_*//// §’z/5/Mm §/5/WK/7/za/2 JXRTHUR P. §cHJ~4ID'I‘. THE WIND -MILL. Words by LONGFELLOVV. GUSTAVUS TUCKERMAN. Con spi1‘itg. VOICE.‘ vivane my tow _ ‘- er, With ﬂy gran. , ite jaws The maize, the wheat, and the ‘ APS&m493=6 Copyright 1885 byAR'rHUR ESCHMIDT 8: Co. grind theni, and...
Show moreMUSIC LIBRARY VASSAR COLLEGE POUGHKE-EPSIE, NH’! '/52¢: ""“\ Worzis‘ ézjgiz /71‘. if fa/gy/1’?//02% / \ ,J, // 0\ \/\ / ":‘_ 4 /W7" » \ I ;sv , 1/ -/ l /‘ J} K‘\_(/2 2 “~\_*//// §’z/5/Mm §/5/WK/7/za/2 JXRTHUR P. §cHJ~4ID'I‘. THE WIND -MILL. Words by LONGFELLOVV. GUSTAVUS TUCKERMAN. Con spi1‘itg. VOICE.‘ vivane my tow _ ‘- er, With ﬂy gran. , ite jaws The maize, the wheat, and the ‘ APS&m493=6 Copyright 1885 byAR'rHUR ESCHMIDT 8: Co. grind theni, and grind them, look down 0v- er the farms, be, har _ vesst that is to fling a _ loft mine arms , -\PSS:C0.~’293 = 6 and grind thorn in p Lie 9 rif. (sol/11 voce > In the fields of grainl The har vest that is fling a - loft _ to flour to mine arms , . know it is all for me, know it is all for me, patio ritard .__._.————«~ u [em 1’ heau‘ llle sound of flails, Far off from the threshing floors, J l)aI‘ns "with their op- en doors, Andthe wind ' _ my sails, in my sails, — Louder aml loud- er 1'o.ars, APSAM‘/0.493=6 Loud _ er and loud _ er roars. dim 9 Tit. tempo ecaresc. standhere, h in my place, With my foot on the rock be _ low. And which er way it my blow, meet it face to brave 1I1anmeets his : Wres _ ﬁle and pace ' ‘ I 0 0 calla voce 1/risolufo. Ll'S&Cn.493=6 strive, V mas- ter the mil _ ler stands, For _he knows who makes makes him lord of lands. Church-go _ ing bells XPSXM‘/0.493=G Their low, mel_0_di0us din. cross ,n_1y arms on (10091 . peace with _ And all is rd al fine. decrese. poco a co alfine APs&Co.493=6 Bruno Oscar Klein. 09. I7. Ingeborg’s Lament. Concert Aria. English version by F. W. Bancroft. l Mez. Sop. Cmin. 'c—a) Op. 42. Five Songs for Baritone or Contralto: No. 1. The Moon shines through the Forest Green. E (b—f$l) . . . No. 2. Trooper’s Morning Song. Emin. eb—-f . . . . . . . . . . . No. 3. The Siaeet May Night with Dusky Pall. G (c$——e) No. 4. At Twilight. F (c——e) . . . . No. 5. Serenade (When at Evening). Fmin. (c—eb) . . . . . . . . . Margaret Ruthven Lang. Eros. G (d-g) . . Oh what comes over the Sea? Amin. (e——t') My Lad Jacqueminot. Bb (f—g) . Ojala. Ft (ft-—ﬂ$) . . . . . . . Nameless Pain. G (e——g) . . . . Ghosts. Ab (f-—f) . . . . . . In the Twilight. E (g——e) . . . . Song of the rival Maid. D (f#—g) . Meg Merriles. Gm-in. (d—g) . . . In a Garden. (d——f) . . . . . . . Deserted. E (e-—f#) . . . . . . . A Spring Song. Emin (e~—fil). . . Op. 6. Three Songs for low voice. Chinese Song. Emin. ct--e) . . . A Bedtime Song. E ( ——d8). . . . Lament. D (d—d). . . . . . . . Op. 7. Three Songs of the Night. Night. B (d3l—g). . . . . . . . . Slumber Song. G (dll—-f) . . . . . The Harbor of Dreams. E (d#—f#) . . Three Songs of the East. Oriental Serenade. Medium voice. e e e e e e e e e 1 c n o e o u 0 e o I e e 0 e e u e o e Emin.(c-—-fill. . . . . . . .. Christmas .Lullaby. Medium voice. Fmin. (d—e) A Poet gazes on the Moon. Low voice. Cmin. (c-eb) . . . . . . . . . . Four Songs. Heliotrope. High voice. F (eb—g). Spinning Song. High voice. D(d——f#) The Sky-Ship. Medium voice. Ab (db- f) Betrayed. High voice. A min. (e—a) 1!. Elliot Lath. l.ove’s Courier. —— D ct-—e - Moorish Love Song. T) min. (a-—e) . . . . —— Emin. (b—f). Fmin. (c—g) . . .. . . W. P. P. Long-fellow. O that we two were Maying (Violin obligato). (e——g . . The Mermaiden. Cmin. (c—f). . . 'l‘he Swallow Song. Eb (bb-——f). . E. A. I'«’ia.c Dovell. Op. 34 No. 1. Menie. Dmin. .d——f) . . . No. 2. My Jean. A (e.—e) . . . . Op. 40. Six Love Songs. E..ition Schmidt * No. 19 . . . . . . . . . . . . net. M. R. Macfarlane. Sway to and fro’. F (f or g#—d) . . . . Tellherso. G(d#—g). . . . . . . . . E. P. Header. Sweetheart sigh no more. E (b—f£‘») The Robin. G (d-—g) Soft and gently through m_v soul. E (dl1—-ft) Geo. B. Nevin. The Boatswain Bold. Bar. or Bass. D (a—d) Homer A. Norris. Uradle Song (Rock-a-bye Babie). Ab (c—c) Once indroyal Da.vid’s City. Christmas. Db b——b . . . . . . . . . . . . . ( e Supplication (Oh Father, Thou dost hear us). Bb (e——f) C John Knowles Paine. Op. 40 No. 1. A girddupon a rosy bough. b — . . . . . . . No. 2. A farewell. G (d—e). . . J. 0. D. Parker. lelections from the Oratorio of St. John. lo. 1. Eye hath not seen. Contralto. F gL—d) . . . . . . . . . . . . lo.) ethnic mighty Sop. C(c-—b) u tab ~ eh (J L“’.‘:* E. W. Parker. Slumber Song. Ab (eb-—eb) . . Wedding Song. Bb g—eb) . . Goldilocks. E (d#— . . . _ Op. 14 No. 1. Love’s hase. A (e—g# . . No. 2. Night Piece to Julia. Eb( -g) No. 3. Orsames’ Song. D (d--e). . There is a land of pure delight. Sacred. Gb (c—eb) . . . . . . Rest. Sacred. Gb (db-—fb) . . . I‘. A. Porter. Op. 8. True Love. Db (eb-—gb) . . 0 Memory. G (d—e) . . Love’s Touch. Bbmin. (f-—gb) . . . In May. Db (f——gb) . . . . . . . . Earth in heavenly rest. F g-—f) . The Answered Prayer. G ( —e). . “Seven times four. G (g—-g) . . . . . . . Slumber and rest thee. Sop. Violion obli- gato. D (b—-e) . . . . . . . . . . Martin Roeder. Shall we roam, my Love. C (d-g) . . Unspoken. D (e—f# . . . . . . . . . To the Night. Bb (d-—eb). . . . . . Love’s Strivings. Gb (db—eb) . . . . . My spirit is of pensive mood. Eb (c—f or g) Op. 59. Four Songs. No.1. Dost thou know? Eb (e—f) No.2. Warning. Eb (eb——f or g) . No. 3. Confession. C (cl$—-f or g) . No.4. Cupid’s Song. F (f—f). . . Mrs. Emily 3. Roelofson. Christmas Lullaby. Cmin. (c—eb) . . . . Op. 15 No.1. The Sands 0’ Dee. Cmin. (g—eb) . . . . . . . . . . No. . Sea Shell. E (e—a) . . . No. . As through the land. Fmin. c—- . . . . . . . . . . No. . I leaned out of the Window. Amin. ( No. . From the close shut Window. C min. (c-—f) No. . Carpe Diem. Eb (eb—eb) . No. . 0 heart, my heart. G (d—g) A. Rotoli. Eveningdltest. Sacred. Sop. or Ten. in G ( —g) . . . . . . . . . . . . . . — Mez. Sop. or Bar. in F (c—f) . . . . —- Cont or Bass. D (a—d) . . . . . . . Our King. Sacred. Sop. or Ten. F‘ (f—g) . —- Mez. Sop. or Bar. D (d—e). . . . . — Cont. or Bass. C (c——d) I‘. Rudolphsen. Break, break. F (f—-g). . . . . . . Chas. Salaman. Of thee I fondly dream. Db (c—gb) Jan Saxe. Look down. Bb (d—-g) . . . . . . . Bird’s Love. F (d—f) . . . . . . . At the window. Eb (e$i—-g) . . . . L. L. Soalfe. Beyond all lights. A (e—f#). . . . . . . Exultation. Db (eb-—ab). . . . . . . . . Sidney Seymour. . Only a Song. C (ﬂl or b-e). . . My Love is gone. Dmin.(f——g) . '. At my feet. Eb (ab or c—eb). . -. Her King. F (c—g) . . . , . . Over the Mountains. D (d-—g - u u o o e e a u e o e Wilson G. Smith. . Shadow Song. A (b—a) . . . O Beauteous Maiden, Whither? G (d—a) Op. 22 No. . My Bonny Lass,'Marie. Ab eb-—g . . . . . . . . . . No. . Cradle Song. C (d—f) . . . Templeton Strong. Op. 38. Three Songs. No. 1. %hall I smile or guileful glance. (e——d No.2. Come, Ah come, my life’: do- light. Eb (eb- No. 3. Philon (While t at the Sun) E (dt-—-f) . . . . . . . Op. 10 No. No. Arthur W. '.l.'ha.yer. Clover Blossoms. Sop. or Ten. Db (db-4 b (¥b—d or f) . . . Supplication. Sop. or en. E (e-—gI) . —- Alto or Bar. Bb (bb—-d) . . . My Love. Sop. or Ten. . —AltoorBar. ).... . The Helmsman. Alto or Bar. Cmin. (g-——d) The red, red rose. Alto or Baritone. Bb bb—— . . . . . . . . . » Break,(break, break. Db (g—-eb). . . Somebody. Mez. Sop. Amin. (e——f) . Pictures in the sky. F (c—- . . . The Winds are hushed. Db (db— ab) . I know not where. Sop. Eb (d—g) . — Alto. Bb (a-—d) . The quiet moon upon —-g . . . . . . . . Only a Song. Db (db—-ab). . . . The Milkmaid. Bb (f-—f) . . . . My.Swete Swetyng. Eb (bb—eb) . Beware. A (ct-—d) . . . . . . . Go, hold white Roses. E (e—a) . Good Night. Db (eb~—ab) . . . Chas. E. Tlnney. Art thou Weary. F (c— Bird of the Wilderness. g) . . By the Sea. Contr, or Bar. Eb (bb—-eb) . The Keeper of the Keys. Bass. C (c—c). Peace I leave with you. Sacred. A (e—gb) Rock of ages. Sop. Fmin. (c——f) . . . . — Cont. Dmin. (a—d) . . . . . . . . . Vain Quest. Cont. or Bar. E (b—c8—-e) . The time I’ve lost in wooing. Eb (bb—eb) . Gustavus Tuokerman. O! that we two were maying. C (dﬁ--g) . The Windmill. Bass. Bbmin. (f--eb). . . Vinoenzo Vennini. The Floweret (Il Flore). G (cl?-—f8 or g) . Malinconia. Eb eb——f) 0! were Iblesse (S’io fossi un Angelo). Eb (l.~b—eb) Thee will I love. ([0 t’amero). Ab (eb—f) Oscar Wail. Op. 10 No. 1. In Autumn Herbstfriihling) Gmin. (d—-g . . . . . . . No.2. Spring Song (Friihlingslied). G ——b The same with Violin obligate . . . . . . Op. 11 No. 1. When the day is done(Abend- lied). G (d--f). . . . . . . No.2. Devotion (Die helle Sonue svheiut). A (e——g) . . . . No.3. Farewell (Abschied). Amin. (en Ase) No. 4. Autumn Blossoms (Die Nach- knospen). Bb (f—-a). . . . No. 5. .-\\'e hlaria C (e—g) . . . Arthur Weld. When the sere leaves fall. F (c—c) . . . Floweret barn in the Hedge row shade. Bb (d— ) . By the Bronk’s side. ' . . . . Attraction. C (e—a . . All things to-day. ( f) . . . . . Six Songs to Words by Rennell Rodd: No. I. To—. Eb (bb—eb). . . . . . Lyric. D (e-—c) . . . . . . The Daisy. G (d—g) . . . . The Sea Swallows. D (d—-eb) . Vain Dreams. Eb (eb——f). . . Love’s Reproach. E min. (e-e) Mary E. Wood. Heart's ease. F . ‘A Wild Rose Gb (e—gb). . . . A Souvenir. Cmin. (c—eb) . . . Blossoms. D (d——-ft) . coo Courtship. G (c—d) . . How many times do I love. Eb (eb——eb) . MargeryDa.w.A My Own. E (e--g) . . . What would you bu ? Ab (g-—eb) . . . . That sweet day in une. Eb (f——g) . . . The turn of the Tide. D (a—-(I). . . $%§i‘:°~%-"3-‘:3’ 2883382
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Date: 1918
Text: MUSIC LIBRARY VASSAR COLLEGE '>'.""f‘.Uv---.,-~ - ~- Price SINGING CLASS MUSIC~EDWARD ARNOLDS SERIES EDITED BY % THOMAS P‘. DUNHILL. Pub/zshed by EDWARD ARNOLD, 41&43. Maddox Street, London, W 1. THE WINDM I LL TWO ‘PART S ONG MUSIC BY PERCY C . BUCK WORDS BY LONGFELLOVVI _ Lento comodo. (DO}?i»‘:’£§’)'§l : I :m 'd' .,d' :t cl ct Id‘ :—-.1 |m' :s i- ‘ f declamando Be - hold! a gi-ant am I a - loft here :m |1.,1:f¢r‘rI1 :—.1ld' :m I- f...
Show moreMUSIC LIBRARY VASSAR COLLEGE '>'.""f‘.Uv---.,-~ - ~- Price SINGING CLASS MUSIC~EDWARD ARNOLDS SERIES EDITED BY % THOMAS P‘. DUNHILL. Pub/zshed by EDWARD ARNOLD, 41&43. Maddox Street, London, W 1. THE WINDM I LL TWO ‘PART S ONG MUSIC BY PERCY C . BUCK WORDS BY LONGFELLOVVI _ Lento comodo. (DO}?i»‘:’£§’)'§l : I :m 'd' .,d' :t cl ct Id‘ :—-.1 |m' :s i- ‘ f declamando Be - hold! a gi-ant am I a - loft here :m |1.,1:f¢r‘rI1 :—.1ld' :m I- f declamando 3 Lento comodo. Be - hold! :1 gi-antaml a-loft here > - . (m ‘d’;-—¢d' :t 41 (t Id‘;-«mzl l~~ tm 4m:d' |—-<1 cl it ¢—-at } 3 3 my gran-ite jaws I de-vour the maize, and the wheat, andthe rye, And an |1;—.1:t:r‘r11:—4m:1 L m xm:1 |—<1c1:1¢-«re; 3 3 3 my gran-ite jaws I de.vour the maize, and the wheat, and the rye,And , Copyright, 1918, by Edward Arnold. {lg1'd' :1 them in — to :t. grind {I m Id grind themin — to fields {I 1. (- fields of grain I to the air .,s is to the air i/-\ The Windmill. :t. . The har sec The har - vest ‘_.Z I 1 rit. arms, arms, For I .1. |—. o -9"‘ :f -.m rit. ' .1‘ lm .m :1 21 (1 lm I look downo -ver the faLr_ms_; .1. la .a if cf (f Id 3 I look dO‘WnO-V61‘ the farms; to m] :1 .S. If. If. i—— _ vest that is that to I: of *“___._§_.==.— atempo For I :m .1.‘ a Is .f know it is $ rit. a temﬁo. lm 1’ know it I d is 19 all J I’ r.E.b. zds .s 15000 acce/. _.-..—-_-':.’:;’. And I zds .s 15000 acc . A11dI 36000 aacel. is all \*~......, I I ( G. 4. .''‘d m 5- cm :1 0 umosso hear the sound of flails I X: : ' : dx—cd :f .f id 00 Zyllr’Iﬂ0SSO jaw pm mosso hear the sound of flgils _ f.C. ) :-— .s it - 1' . ' : '5 :-— I :51” 9,1" 5 ﬁoco accel. off from the threshing floors In barns, with their 0 - pen ‘doors, And the {|m cm cm :1 .1 |rg_g§ :f_e_._rg|m .t, :-— .r Id :d It, :-— I :Sr'.,r‘ } 3 ‘ pocoaccel. off from the threshing floors In barns;with their 0 - pen doors, And the 15000 wccel. /-\ g"""1‘§ _j :r'.d'1t' :1.s — wind, thewind in my sails Loud.-erand1oud~er. roars. ﬁr‘ :-— I— :1 Ir‘ :d'.t |r'.d.':t__.,lW :r.rlt :s |1"t. :— l-- ._==__--:r. “-1-'-“"-—"—: > the wind in my sails Loud-erandloud-er roars. > h >/‘''‘\ can fo rza The Windmill. Tem 0 1111.0. P . Id‘ :— .d' It :1 .t } f molto maraato I stand here in my I1 :—..1. or :r .1" } molto maroato I stand. here in my “’’‘1’‘’ Tempo I310. . ‘V/F‘ /’ &__( {|d' 1- I .1 lm' :s l—.s :£l’sall ls :— I :m.m!d' :-—.d'1t place, With my foot on the rock be—1ow, Andwhich-ev — er way it may {I1 :- I :1 .1 la‘ :m |—-.m :m§9;f lm :— I :m.m|1 :—.1nr :r.r} place, With my foot on the rock be-low, Andwhich-ev - er way it may zt c—(t 1m‘ .d' :1 Id :t. i 1. :-— l-— _:-—H ’\ As a brave man meets his foe. :1 <—4re lrL.d':1__._m|d zt. I1,:— 1- :— H -9- .As a brave meets his foe. > > The Windmill.
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Date: 1897
Text: UUSIC LIUHRRY \I".Q¢‘-."" "“' v ‘-9: SUNG BY ME WATKIN MILLS. N92 IN CMINOR %i N‘?! INB MINOR \V/ / -—'>> \<*‘ THEWINDMILL . 44 A K‘) , U A K, x A mm M G? J | 'z- ' ln;mM um mu '1‘ L. ‘ ‘ , ‘D \., * J 2 /1‘ /J \- \ / r ‘d ‘§\*» 5 u T 1) L’) 9 N K) WORDS BY %@NG13@ELL@w MUSIC BY -PRICE 4:/; CHAPPELL 8cC<? LTP 50.NEw BOND STREET, LONDON,W. AGE NTS:_N EW YORK; BOOSEY 8cC.° Eup_yr-ighf MDCCCXCVH. b_y E'.happr-_-||XcE‘.‘ MAY BE SUNG...
Show moreUUSIC LIUHRRY \I".Q¢‘-."" "“' v ‘-9: SUNG BY ME WATKIN MILLS. N92 IN CMINOR %i N‘?! INB MINOR \V/ / -—'>> \<*‘ THEWINDMILL . 44 A K‘) , U A K, x A mm M G? J | 'z- ' ln;mM um mu '1‘ L. ‘ ‘ , ‘D \., * J 2 /1‘ /J \- \ / r ‘d ‘§\*» 5 u T 1) L’) 9 N K) WORDS BY %@NG13@ELL@w MUSIC BY -PRICE 4:/; CHAPPELL 8cC<? LTP 50.NEw BOND STREET, LONDON,W. AGE NTS:_N EW YORK; BOOSEY 8cC.° Eup_yr-ighf MDCCCXCVH. b_y E'.happr-_-||XcE‘.‘ MAY BE SUNG WITHOUT FEE. ORVLICENSE. fmlf .- 7 ’ To C. T. Johnson. The Windmill. Song. Words by Music by LONGFELLOW. HERBERT H. NELSON. Vivace . Be- COPYRIGHT, MDCCCXCVII, BY C‘-HAFPELL & C‘? -101“: here in my t0w’r, With my gra.nite jaws I de - Vour 2 -maizeyandthewheat, and the rye,And grind them in - to flour. > O f > >77?" " lento. [Sift lento. look down ov - er the farms; In the fields of grainl ..... .. The har.vest that is to be, fling to the air my arms, For Iknow it is all for Far off, fromthethresh- ing floors doors, with their sails, ........... .. the wind, the wind,in my sails ..................... .. <1 :>—~$f# cresc: 20376. ' me. I hear the sound of In barns, Withtheir 0 - pen rioso. And the wind, the wind, in my .19" Loud .. er and 10ud-er roars. ‘ f Tempo Primo. stand, I stand here in my place, here in my place! mf VWith my foot on the rock be - low, And which-e - ver way it may meet it .... .. face to face,As a brave man meets hxs foe. V 10 15112 lento. And while We Wrestle and strive , My mas —ter, the mil — ler, stands And feeds me with his hands, and feeds me For he knows who makes him thrive,Wh0 makes him I jqa a temfo. On Sun—days I take my rest; e” ]m a tem}$0. Church go-ing bells be - gin Their low me-lo—di0us din, ....... .. their me - di m .- - lo - dious din; cross my arms on my breast,Andall is peace with- - in, and all is peace with - in. /5 risvegliato. f Tempo Primo. Be — hold! be —~ hold! A > '/17’ Tempo Primo. A - loft here in my t0w’r, f gra—nite jaws I de — vour, With my gra - nite jaws I — vour f'\ maize,andthe wheatandthe rye,Andgrindthem’ in - to f10l;.I‘. Be - hold! be- G C\ F5 gi — ant V am I! r:-«, O of 20376.
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Creator: Spring, William
Date: 1809-08-24
Text: Bath 24th August 1809 Dear Sir, There is Elven Indians in this Neighborhood that has been much alarmed by Being shot at the other evening by some hunters (as we suppose) and have lost their horses which they cant find since the Circumstance happened -there is several Hunters living in the neighborhood of Mud Creek where this thing happened who have allwaise been opposed to the Indians hunting on their ground, but the Inhabitants here ant able to prove anything against them - the people in the...
Show moreBath 24th August 1809 Dear Sir, There is Elven Indians in this Neighborhood that has been much alarmed by Being shot at the other evening by some hunters (as we suppose) and have lost their horses which they cant find since the Circumstance happened -there is several Hunters living in the neighborhood of Mud Creek where this thing happened who have allwaise been opposed to the Indians hunting on their ground, but the Inhabitants here ant able to prove anything against them - the people in the village wishes them to hunt and are willing to help them in finding their horses - the Bearer cant Satisfyed without coming to see you and wished some person to write a line of course was willing to Satisfy them and will do anything to help them to find out who has troubled them- I am with esteem &c William Spring Capt ParishWilliam Spring letter Augt. 24, 1809Captain Parish Canandaigua
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Creator: Kerr, William J.
Date: 1818-05-28
Text: Niagara May 28h 1818 Dear Sir, I wrote you last winter by two Mohawk boys the Grand Children of Capt. Duncan who were then on their way to see him. - Their Parents are anxious to hear how they got on after they left this, and any other information you can give them -. Excuse the liberty I have taken - and oblige Dr Sir Your Most ob. Ser. --- William J. Kerr Mr. Jasper Parrish Canandaigua State of N. York

Creator: Slee Bros. (Poughkeepsie, N.Y.)
Date: between 1865 and 1867

Creator: Caxton, William
Date: 1489-1491

Creator: Lawrence, Margaret Stanton
Date: n.d.
Text: they would like nothing Better than to seeihrs. $tenton:meke cake; that they haénﬁt dreamed she couloi So I escorted them to the dining-room, and there eatzey mother in a block satin gown with soft laces at her throg xhendfehite silk shawl about her shoulders, her hair beautifully dressed; the onlyE§§%denoe of work was her large epron with its bib, carefully protecting all this elegance. She always dressed her- self thus on arising for an eight o’olook breehfejazihenoe, looked as if she had...
Show morethey would like nothing Better than to seeihrs. $tenton:meke cake; that they haénﬁt dreamed she couloi So I escorted them to the dining-room, and there eatzey mother in a block satin gown with soft laces at her throg xhendfehite silk shawl about her shoulders, her hair beautifully dressed; the onlyE§§%denoe of work was her large epron with its bib, carefully protecting all this elegance. She always dressed her- self thus on arising for an eight o’olook breehfejazihenoe, looked as if she had just ‘ . £é‘%t—oz.; . jumped out of a band box, at any hour of the day o§{l . C/L As we all sat around the dining table and chatted, We had a merry time. One of the young men came from.the sogth. he said he hadn't had such a good time since he last saw his mother making cake, and then she hedmollowed him to lick the spooni So Kother at once handed him the large wooden spoon, and gave the bowl to the other boy to extract from.it what goodness he could find with his forefihgeri hhile they'were talking, she had quietly directed the cook to bake some little cakes in patty~pane and had herself spread the thick layer of orange frosting over them. when they were finished, she presented two to each of the youngzmen. You can imagine their éelighte She was very fond of reporters, both men and women. She always received them raoiousl* and .ave them an interview no:metter if she had to be awakened J 5 ‘W6, A‘ from.a hep to do 30. She considered it a moot valuable way in which to get her ideas before the public. ‘ﬁe teased her a good deal about the fact that no matter what the suhject‘wae on which they came to interview'her, she always got in some woros on her pet hobbies. At her funeral it'wae a touching sight to see the youhgzmen eod women report- ere with bowed heads, tears streaming down their faces; they naitzad they had lost one of their beet friends. Egg Age. Va Eh mother’s was a remarkable old age. Radiant health had heen her portion through life, and the radiance of her spirit, as her life drew to ite close, was a rare 2% anﬁ beautiful thing. She was agmost dalightful parson ta 1ive‘with3 ~ during the last eleven years 1 wag her hsusﬁkeaparg w as full cf fun and marrimantﬁ so apprasiative mf all that Waﬁ date for her. She teak at interest in everything that want an, was aiwys busy§ always ready to do aything, go anywhere. She played all her old p§.ez':§e:-3 an the ggiazm ::3.ﬁ»:f}. sang; Q thra songs ‘of her youth t“*e‘a‘i<3:3 evary C3.;‘.3o::\:f5 zzzarnizzg and evening her enumciation‘was perfect: she took drives in Central Park and up Riversiée Brita several timﬁs a week. She made us orange and spcnge cake, and her ginger bread was so soft and delicious that it malted in your;mouth: Sha told us gtaries of her ehildhocd and yauth, and related anecdotas bf her travels in the far west. She liked all new‘ideas. The bicycle and the telephone had just cage in, and tha autqmabi1e'was being talked of; unlike many people of the older ganer~ atien, she‘was keenly interested by al; these things and tolerant of tham¢~ never antau .544 / 4zAwu¢4L.4é§%;t¢Z£7«44?%£&j:;g%;: gonizea bzr t‘:1em . C:z:,“%L 1" as ,t 44% . V a,,o%«§"'"“ - In contrast to'Mother, who was always serane,; I was inclined to let things WBF?y me. Sue evaning"when I retired, I found this rhyme under my pillow} "Take example of the roses, That live alone on sun and dew, They never trouble about *Eoses, And why in Heavan‘s name should you?“ 26 ”;etIﬁosas represent all those things that give you the blues." * mother had a‘W@y of putting little notes about her children’s raoms than she wished to give them some advice. She herself had passed through troutled wttars, but she never let her thoughts dwell on the dark side of life. She was indeed a philosopher; it had been the habit of a life time, that if anything worriaﬁ bar she wvulﬁ lie dawn, take a nap, and arise refreshed and with a naw outloaki . ﬁrs. Stanton‘s ﬁppaarange. ﬂy mother was a charming wqman socially and'was the centre of a large cirsla of frieds. Her crcwn of exquisits whii@7hair was always carefully dragged, and by her own.hand, and was so striking that some_one said, “it gave her the distinctimn ané dignity of a queen.”..a...¢. “Every detail of her dressgwas full of beauty. She was ef medium heighﬁﬁ and had beautiful hands and feet. Her presence was such that it called ferth remark and praise wherever she went . .... She was a person grasiaus . -_.. » ,, Q of mannsr, soft of voiae, ~,§gg¢;w]w~~~ 7 :py“, wrote a frlﬁﬂda She'was a person of prcfound symnathies, Wide culture and knvwledge, and of marked intellectual abilw C‘ 1ﬁy,“’wrate a distinguished man. ogocooiiﬁtlctciooiolioooboieo _ «z%L$ww&$&4ﬁ%*~_ . Fiotura of EH9 at her . . table in 94£h St. . . Taken 2;Weeks before . . she died. . I O . . .O9COOOOO§OIOOOClIOOO.500COCO Her Last Days. The last few years of her life %other‘s eyesight Waé grdwing dim, but, with¢ the aid cf a secretary and her children, she kept fully abreast of the times and went on'with her literary work; forged thunder bolts, and sent them.forth, thai kept ta aiﬁy, state and nation vitally awake to the great purposes which always animatad her. Sha naver referred to her affliction; and was as brave as a lien about ii. @hen‘within ﬁWO'W86kS of 87, and her death, she said ta a reporter; "Lifa haé been a gerpetual joy totme, and with the opening of each day I gs about my duties wﬁth renewed zeal and enthusiasm. I shall never put aside Hg wnrk:whi1e I have life and strength ta continue it." Es her secretary read the papers to her each day, she would say} ﬁﬁark that with a blue pencil and we'll answer it later on.“ when the newspapers ware finishedﬁ affiwnuld go protests on this, tkat, and the other thing ts The SEﬂ£ The Trihne, The Evening Post: The ﬁCman’s Journagx and The Chicago Interwoceggf s!".=r\' "l'5’£<'v.rw‘- A >$‘|l':«&9 2% gtuufeaoh article had a humorous twist to it, Her sense of humor was e:merkeﬂ oherecterw istie through life, is the end of October, 1902 epproeohed,iﬁother'was engaged in preparing e letter to Fresident Roosevelt, ~ who, just at this time was writing his annual- messege to Congress, asking him to put in a clause for women suffrage. This 1et~ ter ieigine and clear that I cannot refrain from.quoting it. New York, October 22, 1902. Hot} Theodore Roosevelt, President of the United States Dear Sir: As you are the first President of the United States who has ever given a public opinion in favor of women suffrage, and, when Governor of New York State, recommended the measure in ezmessage to the Legislature, the members of the different suffrage associations in the United States now urge you to advocate, in your coming message to Congress, an amendment to the National Constitution for the enfrenehisement of the thirty~six million American women, now denied their most sacred right as citizens of a Republic. In the beginning of our nation, the fathers declared that “no just govern- «I ment can be founded'Without the consent of the governed", and that taxation without representation is tyremhy." Both of these grand declarations are denied in the present position of semen, who eensitute; one~helf of the people.g& "political pewer inheres in the people“ ~ and eoeen are surely people ~ then there is a crying need for an amendment to the Eetionel 3onstitution,fmeking these fundamental principles verities. Surely there we e do greater moopoly ther.thet of all men denying to all women s voice in the laws they ere compelled to obey. Abraham Lincoln.immorte1ized_himself by the emancipation of fourzmillion southern slaves. Speaking fer my suffrage ooedjutors, we now desire that you, Er. PT@3id@ﬂ@a'Whc are already celebrated for so many honorable deeds and worthy utter» aﬁcﬁﬁg i$m0?ta1ize yourself by brimgingebout our complete emancipation from.the 2? olavooy of the poot. ‘with best wishes for your oontinuod honorablo ooroor and rowolootion as Frooiaont of the United Statosg 1-‘: Sn Gotobor 2o’~ it was Saturday afternoon, ~ Mother and ho? soorotary oro busy at her desk in the corner by the oindow overlooking the Hudson River and tho Palisades beyond. They were working on a letter to Mrs. Roosevelt, when suddenly the room was invaded by her four sons and two daughters. Theodore'Was in How York from.Paris, andférs. Blatoh from.England. After greetings and kisses had boon oxohangoﬁ, Kathe? calmly went on with her work; her powers of concentration wore so oxtraordinary, that We did not disturb her in the least with all our laughing and talking. COCOIODICOOOO‘O§OIIIIOOQO.ICCIOIOIOQ Picture of her corner at 94th Street. I t 9 C I 0 1 I OQ QC 0 COCOOJIIOOIOCCOOOOOOO-l»DOIQIISUUQOCIQO Finally one brother oxolaimod, ” Oh} Eothor, do stop working and talk to no,” But it was not until the letter toﬁﬁrs. Boosovolt'was finishod to her satisfaction that she turned in her ohair, and soon booamo tho life of tho pafty. Friends c~oo ig hotor for dinnor and spout the ovoning. The next day, Sunday oho arooo as usual and drossoﬁﬁ but said she did not feel vory W811-SO sho sat; duo- ing all the morning, in her high-booked armchair. ﬁe oallod tho dootor but he sai thoro was nothing ho could do; She had always hopod she would not have an illness at the end of oor days, she had mover boon really ill; wondorful health had boon boo portion. at three o’o1ook iﬂ ﬁhﬁ afiayﬂﬂan ""‘ Aj./4»,,,£%.7“*/,/2.44. ~ a:,4..¢._ .44.-—4~ Q14. .3 28 the maahimary in th@'G1S$k ran dawn, and the quietly sliypad awwyi we mama Of at etulé raaliza it, it was all SS sudden. Sha had gsnt just as aha hapeﬂ she wtuld. Her last ‘W0 1%: on txartah was far t,3:1»s:.> tr0:s‘:2a3n % this natian: the Easst dram;-= watts she sign@d'Were apyaals far their benefit. On October 25th, the day she diaé, there appaareﬂ in the New York American a signed article on tha editsrial pages which she had dictated the day before to a member of the staff of ih¢?§a§5r’ making a plea for justice an& liberty for'womem. The Ineffaceable Record. She it was who first asked for the ballot for wcmen in America, she was the first to strive for an amendment to the Sonstitution of the United States. “She helped to secure property rights for:married women, rights to their wages, equal guard» ianship laws. She was active in securing for women a tedical education, and by her speaches and writings in the leading magazines of the country she was instrumental in revising the divorce laws of the different state?/and in freeing us frtm many of the religious superstitions of her day",'writes her daughter ﬁrs. Blatch, In short, we of our genaration owe an enermous debt - for the things We enjoy to the ability and se1f~sacrifice of my mother, Elizabeth Cady Stanton.
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Creator: Lawrence, Margaret Stanton
Date: n.d.
Text: 12 iega, Neeport,"¥eshington, Europe, or even to come here. My tee youngest ehilﬁreng "with tee feithful nurses, are at the Deleven House, and when I have ecsomplished m mission we shall all go home together“. CQO*I3CQC90OI80CO%0$‘O$§C Picture of Mother and $at‘)L1E-Ienry 1854 ncooaoacaoulocacntuot 90 no to on on an 0%‘ nu» to so do on no 03 I34! are $0 mi My mother never knew what mischief she would find had been done by her four lively boys during her absence on errands in the...
Show more12 iega, Neeport,"¥eshington, Europe, or even to come here. My tee youngest ehilﬁreng "with tee feithful nurses, are at the Deleven House, and when I have ecsomplished m mission we shall all go home together“. CQO*I3CQC90OI80CO%0$‘O$§C Picture of Mother and $at‘)L1E-Ienry 1854 ncooaoacaoulocacntuot 90 no to on on an 0%‘ nu» to so do on no 03 I34! are $0 mi My mother never knew what mischief she would find had been done by her four lively boys during her absence on errands in the village. Her second see, Henry, then nine years old, was quite an inventor, and on one occasion, as she Wes walking home by the river road, she was greeted with a shout from.a boat full of beys in the water, "oh: mother, it works, it works perrectlyi" 3 "What works?" she called out. thwy life preserver", the boy answered. ,, And, to her horror, there was her fourth son, Theodcre, sheet a year, 44v/u~/Lo4u4¢¢é ‘twee: e1d,'eith the life preserver fastened under his arms, splashing about in the'Water, as blue as indigo. The child, accustomed to a cold bath every morning in a large tb, seemed to be enjoying it also. After the rescue of her baby, the youthful’ inventor was shown the error of his eeys in the privacy of his room.and forbidden to take the baby out of the yard. While the nurses were busy laundering the babies‘ clothes, mother paid the older boys to Wheel us younger chi1&ren about our spacious grounds in our eerrieges.% Shortly after the foregoing performance, mother was retaking from church‘With a friend, when suddenky she said, "Look up on that chimey, Mrs. Stenteni” And then(she beheld her baby seated on the chimney top with the inventor 13 standing beside himm hmether quietly-slipped up stairs, out on the roof and rescued her son Theodore. da‘ﬁriter Sﬁ/anion as Mr. In speaking of our mether, my sister, Harriet Stantoﬂ Bleteh, seyezd “From.185d on, one able argument followed another. Mrs. Stanton wielded a trench- ant pen, and she'eee the author of all the ‘§£E§2_Eepers‘ Lhat marked, and honeurw ably marked, the development of the suffrage movement in America. The ringing calls to suffrage conventions were the work of her hand; the appeals to Legislatures and to Congress, the legal arguments addressed to jurists, came from her pen. She was a bri11iant'writer and an able speaker". acooooocooooooococoootuo GICOOOOOOOOOOOOOOOOO 0000 no to an to at 00 can Ooooioooooonacoooocoooob B; gnzmgy, At one time mother was much troubled at the“weyh her boys swere, so she took council with sweet little Lucretia Mott, who was her guest, and withZMise Anthony. After same thought Mrs. Mott suggested that mother, Susan, and she all“ swear at table and see if that wouldn‘t shame the boys out of their bad habit. So When.the family gathered for the next meal, Lucretia, in her trim white Quaker cap and ‘kerehief, said: “Elizabeth, may I give thee some of this damn chicken?“ The C‘UGOOCIOﬁ¢.l>£IOGCCC..II “ OOIOGIIOOOOOIOGGOOQ 3 3 Ll : ¢_ 9, ‘:5 O I *3‘ 0 o 3 § 2; Q" ‘ 3 '3» 414,, ‘V . ’ ‘ Q .. I. Q ‘ r I .AHvl . u "ﬁr: _ v. . . J ~. OiuC0«§00ODOi!eOOODO3§Q ..t3m3...§ ‘warmest friends in Seneca.Fa1ls were an Episcopal c1ér§§madf:;:% 14 boys all looked amazed,'buﬁ, as none of the laidea cracked a smile, and as the oathﬁ from.the ldps of the three wnmedrflew thick and fast, the youngsters joined in and enjeyed ﬁhe fun. This was kept up for three malss at the fourth msal, howavarg doma distinguished guests were pfeseni, who had been let into the secret” The oaths Still fell from.the lips of nether, Lucretia, dud Susan, but wheﬁ %hey'were uﬁtered the gentleman jumped a little and looked horrified, but never smi1ed.ur spoke. just A'word of'exp1anatio here: the servant problammwas as rampani ix those days as ncw, and as mother entertained oonstaﬁtly and desired her repasts well served, she had trained her three oldasi boys to'wait on ﬁable. They had white suits, were paid for their services, and took great pride in doing it to the bes£.af their ability. V To return to the story: 'fEé boys'were distressed, as they servsd the guests, to see the look of disapproval on Governor Seward‘s and Gerrit Smith’$ faces as their hostess and her two Quakér friends ripped out their oaths. So when ihey got their mother alone, they gathered around her and with tears in their eyes said: "Oh, mother, what will the Governor and Cousin Gerrit think, hearing you Swear like thaﬁ?” "W611", she said, "you boys all do it, and so we £hought‘we would also; don‘t you like to hear us?" “Oh, no, other,“ they replied, with the tears running dawn their cheeks. “Oh, v9ry‘We1l," she said, her arms about two cf the lads as thay leaned against her, while the third boy sat on a stool ai her feet with his head in her lap, “If you boys will stop swearing, I will alsa.” And they did. Mrs. Stanton and the Clergz Mw'mpther always had many friends among the clergy; théy seemed ta delight in.having arguments with her on the s‘her:fof woman. Among the fdmi1y‘s ‘ (I; ,5, V 1 A y ‘ 56 .~xw'» _. 4 " . ’ girls of his brood and the bays of her‘s were devoted to each oﬁher. ’Hbther, at one time, asked her;%gys'which church they would rather 1 attend. Their answar was: “Oh, let’s take a paw in the church where tha clergy» 154 men Wears e nightgown end mentilla". iSo they all went to the Epieoopel Shuroh. At this time the laying of the first Atlantic Ceble'wes under disous» sion. The Rev. Mr. G. ardently maintained that it could never be done, while mes. Stanton as positively said that it could. She said: ~"Whatever the humeh mind oen eonoeive can be oarried out", - the tenor of her argument showing olearly the stti~ tude ofimind she held on all new ideas. Too Much for a Bishop 4 One day the Bishop of the Diocese of‘Western New York, the Rev. Mr, Sex, was calling on my mother; he was violently opposed to the ballot for “ladies”, ahd'eas holding forth on the disabilities of women as a bar to their having the vote. “dhy, Bishop Cox“, exclaimed mother, "I didn‘t know that women had any dise abilities; pray mention them." “Well”, he said, "surely motherhood is a disability, Mrs. Stanton." "On the contrary, Bishop", she quickly answered, "motherhood is an added glory to womn. It is something that you men cannot do, - give birth to an immortal soul: If it be a disability, why does your church, the whole world around, celebrate the Magnifioat every Sabbath morning glorifying motherhood?”' "Y~e~s,3re~s”, ow ~t&4r¢ said the Bishop, hesitatingly, "that is true, Mrs. Stanton. I neveoriﬁeeoaihy ’ if c, in that light before. But - you must admit that your skirts are a disability." “Ry, Bishop"; quickly answered my mother, "we are not born with skirts on. ‘we lay them.off whenever we choose. And I notice that when you on go into the pulpit you put on flowing robes, and so do the Judges of the Supreme Court before they take their pleoes on the bench. This is done to give added dignity to the position.” “Y¥e-s, y-e—s," reluctantly drawled the Bishop, “I never looked at it from.thet angle before. I think you may be right.” Finally, with a hearty laugh and throeihg his head book, he said: "I think there is no use in.my trying to argue'With you, dear lady; we would better discuss arti” Mos; Stanton's Powers of Conversation In a biogrephioal sketch of ow'Hwther, ritten by one of the ost o brilliant neeseeper men of her day, I find the following: “Her gift of gifts is o eonveesstion, Her throne of queeoship is not the offioiel oheir of the ﬁomee’s Eigsts Conveetion,{thougn she eleeys presides with dignity end ease), tut is rather a seat st the social board, where the oomyeny are elderly, oonservetive gentlemen, who combine to argue her down. I think she was never ergued down in her life. ‘ . Go into the oroherd, jar the fruitwleden trees one after another, end not e greater shower of plums, cherries and pomegranates will fell about your head then the eittioisms, anecdotes, and repsftees which this bounteous women sheds down in her teble talk. Housekeeping, babies, free trade, temperance, and women suf- frage are her favorite themes. ‘tony 3 person, after spending e delightful evening in her society, has gone away, saying, "ﬁell, that is ﬁedeme De Steel alive agein.” How She Qoelled e Bully. Mrs. Stanton always had the ooorege of her convictions, Which, with a re~ former,is half the battle. This was never better illustrated them in the following incident. She was back in her old home, Johnstown, visiting her mother. She and her sister, ﬁrs. Eaton,1sere walking toward the cemetery to visit the graves of their forebears. Now3iErs. Eaton was a very proper, conservative woman, not in the least democratic; e very beautiful person, with snoW~white,‘Wevy hair, who never 1%“ got out of spherei As they passed the blacksmith shop, the Smith, a huge men, was pouhding e smell one, while a crowd of men and boys looked on, apparently enjoying the scene; as members of the sterner sex have s vey of ﬂoing in street fights. set one raised e finger to stop the onequal contest. But the moment my mother ep- peered and grasped the situation, she rushed up and separates the men, took her position in front of the giant blacksmith, seized his arms by their great bulgine C) N , . .&W. . .. biceps muscles, end bede ham stop; adding, "You are 1n danger of kxlllng that little men, my deer fellow, then.you sill be put in prison, tried, and will have ,to hang, for the few minutes of angry fighting in'ehioh you have indulged.” ;Then’ she turned her heed over her shoulder and asked that crowd if theyseere not ss that of the men, end their self-sacrifice and devotion were disgleyed in many end M’ J .17 eshmed to stand by esglehe raise a finger to stop so unequal s contest. iheenehile the little men hed;mede his escape; and the meh and boys, with hanging heeds, slunk away. ihother said she could feel the blecksmith‘s greet biceps relax under her touch. ‘Then she begged his pardon for reproving him before a crowd of his peers, but she said she could not bear to see him, in his teeering rage,rushing madly to certain death. She told him that she had five sons of her own and was accustomed to stopping fights. So she left him.end joined her sister, who had walked on, end nes greeted with, ”hell,Lib Csdy; I never knee anybody like youi That man is the ugliest creature in town, everyone is afreid of him. He is.slways thrashing someone, and he will be so mad at you for disgrecing him before that crowd that it won‘t be safe for you to go out of the house." "Honsense, Harriot”, said mother, “you just'wait and see. He has too much that is good in him. I ceuld tell it by his face." And sure enough, this wise and courageous woman had awakened the best elements in that great burly blacksmith, and early the next morning the front doer~bell rang: there he stood, all dressed up, freshly sheven, asking for‘hrs.i Stehton. In his hend'Wes e beautifullxnﬁpuﬁaof flowers for her from his garden. He thhnhed her,'With tears in his eyes, for saving him from.his angry passions. They had a long talk on various subjects, At parting he took her hand and told her she eould never realize what she had done for him. And often during her stay in Jchnstowh he called and left flowers for her, and if she were at home, he would stop and have s long talk. ﬁbmen end the Civil War. Inzsy mother's reminiscences, “Eighty Years and sore”, she tells of the greet work the eomeh of the United States aid during the Civil War. She sums it all up thus: "The patriotism of the women shone forth as fervently and spontaneously ,._,'§::._..,,,,,.:, - . ..- »z.'-;.-«x-.. ‘- -‘ varied fields of sction. ..... ’When the war broke out Women were in four trades; ; . ; ‘.,«”"-"'"«‘_-’,»"‘7T”"’T"'7""":"”-¢’f-?“!*"" ‘"6’ fhsﬂ ‘ " - ‘ "' ____.___.. » fr’- 3st the end of the war they eere in four hundred. That tells itsﬁgwn $t°?y$ *****% _, _.JJ., cl ,4 . - —. - - .r ».r-' -«A--»-' ‘ ‘chi i . /718. 1 //--'5 1.... V T The truehistory of the Civil ear will never be fully eritten if the achievements oft e the eomen.sre left untold." The somsn‘s Loyal League . RF‘ ‘In 1882, we moved to New York City. The following year, mother and miss Anthony formed The hbmen‘s Loyal Leegue,'with mother as President andlniss Anthony es Secretary. The League did noble work throughout the war. Its task was to awaken public sentiment by writing and speaking, and to secure signatures to pewl titions to Congress urging that body so to amend the Constitution as to prohibit the existence of slavery in the United States of America. Great meetings'were held all over hen York City, especially at Cooper Unions Signstures'were taken at these gatherings, and in the end petitions carrying over half a million names were sent to Congress. The League was formed after oonsults~ tion'sith such men as Horace Greeley, William.Lloyd Garrison, Governor Andrews, Robert Dale Owen, and others, and did a great educational work, as letters of en-, dorsement received from.generals, statesmen, and editors show conclusively. ﬁrs. Stanton as e Presiding Officer; ‘ It was in Boston that my mother had learned her lessons in how to manage mohs3 and in theﬂi years, when she, herself, was ' huge meetings, a sell , A u. v _ known men, the Rev. Charles F. Deans, of the Church of the Strangers, Wrote of her: "I have studied hrs. Stanton hours at a sitting when she was presiding over those big public meetings at Cooper Union, New York City, and the mob was hissing and shouting; the tact with ehioh she managed that nhole assembly and moulded it to her'nill'Wss a marvel. Except Henry Clay, of Kentucky, she was the best gresiding officer I have ever seen." er _,_/» 3&3. E‘ I ' I’ r -f 7 <3?‘ ’ fﬁmﬁﬂry Clemmes sees, a writer in the Independent&;ss§sﬁ‘ "'3' u 5 a Elisabeth Cedy Stanton embodies in her person the noblest type of the Emericen metron.~~ Ber shite hair surls closely about her fine forehead; her dark eves, l9 quick end earnest, flesh under its side arches, clear reflections of every feeling and thought eithin. Her features are noble, the lines of the mouth es sweet as they are strong, her dress rich and quiet. She has powerful megnetism.es a public speaker, for ell the forces of her rich personality seem fused into her eords. She / ¥ G 6 C I IS logical, earnest and eloquent, and never mennish 1n;msnner. Home L ifs , Ih.my mother‘s autobiography she gives a vivid picture of our home life at this period. so had moved from hew'York to Tenefly, New Jersey, only e few miles from the city. There we had a pretty new house on the western slope of the Palisades; It was large and room, surrounded with magnificent old trees. She writes: "These were busy, happy years, of varied interests, public and private. Sons and dsuphters, graduating from Vassar College, Cornell University and Columbia College Law School, bringing troops of young.people to visit us. The usual love affairs and matrimonial entanglements, weddings, journeys to Europe, business ventures,~ in the Whirl of plans and projects our heads, hearts and hehds'Were fully occupied. ..... Seven boys and girls dancing around the fireside bouyent with life’s joys opening before them, are enough to keep the most apathetic parents on the ‘Watch-tower by day, and anxious, even in drezslend, by night. Ey spare time, if it can be said that I ever had any, was given to social festivities. ... hear us lived the publisher of The Sup, Isecc‘h. England, sho also had seven sons and daughters, as full of frolic as our own. ﬁrs. Engleud and I entered into all their games with equal zest; from.the youngest to the oldest they all thought half the fun'wes to see our enthusiasm in ‘blind men’s buff’, ‘fox and geese’, and “":"‘t¥:<"t "/-'“’5?'*’ ii ?A_é-f".—s ’ ‘bean bags’. I laugh es I srite at the memhry of all thegfrolics we had on the 7g .e 0 c,~ 35 . blue hills of Jersey. ;’¢ﬁ”*@»e The Revolution ; In 1867 ere. Stanton sndliiss enthouy established “The Revolution", e political uesspeper, of ehich my sother see editor-in-chief. “During this burning so time of the reconstruction period these the semen stood almost alone in yreaching the political policy which it would have been'Wise had the nation folhowed”, Writes her daughter, hrs. Harriet Stanton Blatch. “They fought step by step, as the new aeendmehts‘eere added to the United States Constitution, for women as Well as men to be protected under the last and if there was to be a qualification placed upon the newly enfranchised, it should be a qualification of edutatioh. The political insight and grasp of the editorial deeartmeht of *The Revolutiosl is a my- monument to the'eisdom of its editor—in-chief." But that little word “male” crept into the Constitution, and it took till /f:md l A 191% to get it out, - over seventy yearsi Founding the National ﬂoman Suffrage Association, In l869 the National Woman Suffrage Association was founded, mother was made its first President, and she retained that office consecutively for over twentw—five ears/ Great conventions were held in different cities each rear J Y .. 3 especially in.Washington, D.C.iwhenfthe women had “Hearings” before various , J , > ’ V '" .5‘ I Congressional Committees. Lyceums and Lectures, Mrs. Stanton became convinced that in order to advance the suffrage move- ment it was necessary to push the propagahda on a wider stage, and for that reason,, in 1869, she gave her name for the first time to a lecture bureau. and for the next twelve years of her eventful life she travelled all over the country; lecturing for eight months of the year. host of her children were grown up,~ some in college, some in business; her capable, quaker housekeeper, Amelie, was still'sith her, so that all things moved along smoothly during her absences. ~ The Lyceum Bureau was at this time one of the great features in smerican life. ‘hany of the distinguished men and semen of both this and foreign lands were constantly on the wing giving of their best to the large audiences that assemhled 21 ell over the notion. ind the sudienoes richly deserved the best thet dnuld he given, for, particularly in theﬂdest and iatiﬁﬁ Middle West, the country people oame to the lecture centers, often from fifty, sevsnty~five, or even one hundred miles. ‘hothers brought their babies. ﬁhole families - father, mother, uncles, aunts, grsnd~perents, children and pets ~ drove inbehind their fine horses; to hear the message that the lecturer ~ often at enormous personal effort u had come to give. ﬁrs. Stanton from having been one of the most ridiculed endzmﬁsunderstood of women, soon became one of the most popular lecturers of her day. She was in great demand all over the country. The two speeches that were most called for were "Our Girls" and “Our Boys”. "They were full to overflowing with sound, common sense, showed sympathy sod underw standing of youth, and contained tactful and trenchant advice to parents. They 7.7 =9‘ ‘Were classics in that their ideas are not confined to any time; they are as souhd tods es they were in 1870”, writes my sister,.Mrs. Blotc.. Before mother gave up her Lyceum Work she had a long list of lectures and spoke in:mony a town year after year. She had several addresses for women alone, on "hotherhood", "The Care of Babies", "Dress; Diet and Hygiene". Those she gave in the afternoons. She had another speech on ”Thurlow Weed, William H. Seward, and Horace Greeley”, - all of them her personal friends, ~‘Whioh‘Was ex~ tremely popular. Horace Greeley and the Ballot‘, The friendship between mother and Greeley was a vividly interesting one, even though they differed on many points. Why deer lady”, he ssid one dey,'shehi they were having a heated discussion on votes for women, “Don’t you knor that the bullet and the ballot go together? Are you ready to go to war and fight?” "Yes, or. Greeley," she answered quickly, "I’m willing to fight just as you fought in the late oar of the Rebellion, by sending my paid substitute." During that ssr, perhaps some of my young readers may not know, you ooold 22 ff pay a man three or four hundred dollars, ono he oou1@‘and fight for goui Famous women of the Bible, In the course of her looturing'work throughout the United Stotoo mother had several sermons on “Famous ﬁohon of the Bible“. Those she govo in Ghurohoo on Sunday, when she stayed over Week-onds in a place. She opoko before the inmatos of blind asylumo, to the doaf and dumb,» with an interpreter standing behind hor; to the men in prisons in various states; to the students in tho oollogoo and medical schools; before political oonvontions and state logisloturos. .- oSho was over ready for any coll wade upon her. *5. hrs. Stanton Addresses tho Prisoners at Jackson, Eiohigan . In 1874 a Constitutional Convention was held in ﬁiohigan and the proposition ‘Was to be voted upon,;to givo‘the vote to the women of the State. Mother and ébmamdhnuu»/L“ ‘Susan B. 5nthony'woro invited to go and help carry the paagcuééésn. It was a A ist vary ootive oampalgn. The hetho@’Conferenoe passed a rosolutlonyln favor of the 1 ﬁmondmont_by a unanimous vote. Thogiethodists, Unitarions, Uhivorsolists, and Quakers throw open their pulpits to the apostles of the ngw gospel of equality for Woman. §y:mother spoke every evening to large audiences, every afternoon to women alono, and preaohod every Sunday in some tulpit. Those two indofotigab&o‘womon .1. spoke in jails, prisons, asylumo, dopots, the ooon air, and to the collage studohto at tho State University at Ann Arbor. "Wherever there were oars to hear us, we lifted up our voices”, hrs. Stanton says. The votes of forty thousand men were oast for the amendment, aI€‘tho proposition was lost. During that campaign mother was staying at the home of Governor Bogloy. ho'wos in favor of woman suffrage, ahd dooply interested in prison rofonm: so ho urgoé mother to spook to the mom in tho largo Stato prison at Joohsoht She readily _ Jhumvz oohoootoé to do so. .She dooidod that the news of the day woulé interest thooﬁ so she toio them'ehy the women“eere in the State working fat the imendmeni to ramgvg the word male from the Constitutiom, and thus give the mothers something to soy ebouﬁ how things shouid be managed. She eloeys addressed them.ee “Gentlemen”, which gloesed the prisoners very muhh. She told them that if the proyoeition “were oerried, one of the first things the women would do would be to imgrove the prisons.’ Then she drew a word picture of an ideal prison. It was esubjeot’ she had lookeﬁ into very carefully one about which she had many edenoed ideee: no capital pﬁniehment, plenty of out~door'work, amusements, a school to help the uneduoated, good food, training in some trade, pay for their work, and money sent home to their families. She knew all about men and boys, hevimg had five soné} a husband, a brother and a father. She told those men stories, made them laugh, never referred to their sins, in closing she said, "Now, gentlemen, having heard my arguments why the women of Fichigen should be emancipated, how many of you, if you could go to the polls and cast a ballot this Fall, would voﬁe for the gmeniment?" They all stood uo, to the last man: “eh”, she leughingly said, "gentlemengi how I'wish you were all free to vote for us, and that an equal number of our enemies were here in your piaoesi“ They laughed and applauded heartily, and as they filed out each gave her a salute. She said, "I felt satisfied that they had had one hepey hour, and thei I had said nothing to hurt the feelings of the most unfortunate.” OiiiﬂiﬁlﬁlimgfillOIOIOOOOSOOI _ , "gig! , . ; re‘ of { H: ElieebethiCad¥%Stanton : : as she lgokeowﬁgie og : E the 1eoﬁgre.§1e££o£:ﬁ : 759$ sconceooosescoovooooooaoucocs The tales of sorrow one woe that were poured into the ears of this ﬁﬁother 2% in Isreel" by the men and women of this nation made her see thihgs in their true 0 Mrs. Stenton’s Greoe. Often'when mother stayed in prvate houses the hostesses did their own hark, As it would be an important episode in their lives to entertain so distinguished a guest, they would invite relatives std numerous friends for the occasion. hother was often asked to say grace. At first she refused, then she sys, §In.my travels through the West I often sew weary little women coming to the table after meet ehhausting labors, and large, bumptious husbands spreading out their hands end thanking the Lord for the meals that the deer women had prepared, as if the whole came down likezmanna from.heeven. So I preached a sermon ih the blessing I gave. :1 fi You will notice, she remerks’"that it has three heresies in it. "Heavenly Father and Mother, make us thankful for all the blessings of this life, and make us everzmindful of the patient hands that oft in Weariness spread our tables and prepare our daily food. For humanity‘s xxr sﬂm,mmn. » §hen.mother finished and all had raised their heads she met the astonished glances of those gathered shout the table. She noticed how pleased the little hostess looked, and how high she held her heedl The guests esked:mother where she got that grace, saying they had"hever heard anything like it." idould she write it iﬂ their sutogreph albums?‘ Several ladies hadtheirszfremed and hung in their dihingrooms, end to this day I am constantly mehing copies oof it.for people. The babies, too, as s previous story has indicated, needed to be thankful that she was in e position to'eitness the wrongs being done to them. She was the fairy god«mother to many an infant that travelled on the trein with her during these extensive lecturing trips. thhenever she heard a child cry she sent at once to its mother and asked to take it.l Often she gve it its first drink of*seters Oh one occasion she boarded a train and took the only vsosht seet beside 25 a banignwlaaking gentleman. £5 soon as the train startad hm aﬁkgd her if aha knaw‘ anything absuﬁ babies. Sha told him.that aha knaw all abeuﬁ them; having haé aevéﬁ cf her own. “$911”, he said, "that baby that is crying, hasm’t Stmpped sinaa I ggt on this train hours ago. If youfll get ii and bring it here, I3 11 provide a rubber tab, tawels and water, and'wa‘11 see what a bath will da". It was a hat summer day; T29 weary yQung:mother readily consenteé, handed my mcther fresh clathes and the baby, put her haad back, and was sound aaleep in a few sacon&a§ Two men get up in front 55 mother's seat, which they turned over and installed the bath tub tharggn, ?irst tha boy was given a drink of cool water, undressed, than puﬁ into the tub. ﬁany gathered abeut to see the operation. The baby cooad, and smiled and splasheﬁ about under ﬁrs. Stanton's capmhle hands. Then she dried it. Eeanwhile the tub had been removed, a dry tawel put on the seat, and on thighnmther laid the Q%ild§ ‘with another towel over it, and it was souﬁﬁ asieep before you could say ”Jac% Robinson.“ Eeryone heaved a sigh of relief and soon the whole car was in the land of mod:
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Creator: Lawrence, Margaret Stanton
Date: n.d.
Text: <3 (:._.;t: aw ' ~ -_ c»,~';:v:.e:: ‘ 1. M . .1 " " a. -, \ "‘ ., ‘ ( V ’ — 7 * * — , ’ V _ ~" . V . 3, , y ‘ , P‘ v , - 5 . , 5- ' a v V I I . I ; . \‘ V _ 3 :3 D » ., / » ‘ O 4,. r. . 3 ‘V _ x ~. “ » , ; , ’*‘~ ’ A , , ‘ . .. \ 1 _, 4 _ - .3 "~ , . \ ., . « I 7 K . ‘ 1 . \ L. , V V - . ‘ ' _ [3 J4 .- 1» a ‘ A ‘ A ; ' w G o 1 ~ / , , - 4 / ': ~~,§§- 1» WHO WAS ELIZABETH CADY STANTON? 1815~1902 MY MOTHER By Margaret Stanton Lawrence In...
Show more<3 (:._.;t: aw ' ~ -_ c»,~';:v:.e:: ‘ 1. M . .1 " " a. -, \ "‘ ., ‘ ( V ’ — 7 * * — , ’ V _ ~" . V . 3, , y ‘ , P‘ v , - 5 . , 5- ' a v V I I . I ; . \‘ V _ 3 :3 D » ., / » ‘ O 4,. r. . 3 ‘V _ x ~. “ » , ; , ’*‘~ ’ A , , ‘ . .. \ 1 _, 4 _ - .3 "~ , . \ ., . « I 7 K . ‘ 1 . \ L. , V V - . ‘ ' _ [3 J4 .- 1» a ‘ A ‘ A ; ' w G o 1 ~ / , , - 4 / ': ~~,§§- 1» WHO WAS ELIZABETH CADY STANTON? 1815~1902 MY MOTHER By Margaret Stanton Lawrence In 3 Parts. Part 1 Picture of Elizabeth Cady Stanton Mrs Stanton was the first person in the world to ask for votes for women, away back in 1848. And as the ballot has now been given to all the women of the United States, I thought this would be a good time to tell the rising generation of young people something about the home life of the individual who started the whole question of suffrage for her sex. ._‘,.4:- 94. \\‘ ELIZ.&ETH cm STANTQN y Earl Bars iﬁ Jehnstcwn , Y 3 Over one hundred years age, a little girl was born whese meme Wee destined to be keen by the gee ideas ehe set adrift. JAIﬁie ehild was Elizabeth Cedyg TShe first saw the light ef day November 12,Li§15, en the hills of Johnsﬁewng Fulton Cagney, ﬂew York. Her iether, Daniel Cady, was e renowned jurist; he set on the bench of the Supreme Court %and Court of Appeals, of New York State, till he was ever eighty years of age, A.life~eized portrait of him hangs in the Capitol at Albany. Her metherﬁ Margaret Livingston,'Wes a tell, handsome eomanﬁ a daughter ef Gel. James Livingsten, who served on General Weshingten‘s eteff during ﬁhe Revolutionary Ear. Ere. Cady was a daring horse~woman9 she was full of "vim? and “go”, so that Elizabeth inherited beauty, breine ana fight freezbeth eidee of her family. % She eas breught up in the midst of ease ané luxury; ené this makes it the mere remarkable that, even in her youth, she sheule have felt so keenly the injustice of the laws bearing on eemen. ’«3®t'.i=Is&’$-ﬂ95G$¢SG$€&E§Qﬁ$$'$ ¢ 1 I 5 3 G 9 :3 3 Picture 1 3 5 <° 5 3 of : 3 e 3 *3’ » . ° §‘:’§Z‘S 3 Cadgf 3 5.» m ‘ , 5’ w ,,_3:”, .» . , g :4: k 3 Q 4; -_., etcedoeaocca-sweetie-necoetﬂ Childhood I erwaye like te knew haw the people lack that I am.reediﬂg abﬁutv There were no photographs taken in those far-off days so I was glad to come upon this pen picture of my mother: “Elizabeth Cady was a plump little girl with very fair skin, rosy cheeks, good features, dark brown curly hair, laughing blue eyes, and beautiful tooth“. Those merry blue eyes were one of her marked features through life. An event that made a deep impression upon her, as a child, was the birth of a sister. Before she saw the now arrival, she heard several people say, “What a pity that the baby is another girl!" There were already four girls in the family, so when tho nurse took her in to see the little stranger, Elizabeth felt a kind of compassion for the baby. She remarked, in later life, "I didn't understand then that girls were considered an inferior order of beings." In those days there were no law schools in the United States. To the most noted lawyer in any region, the young man went who desired to study law. Judge Cady’s law offices, which adjoined his house, were famous all over the land and students came from the four points of the compass to be under his tutelage. Elizabeth’s Interest in the Law. my mother, from her earliest years, was constantly in her father’s offices, deeply interested in all that was going on there particularly in hearing the students talk about the laws they were studying. There was nothing those boys enjoyed more than roading aloud to Elizabeth all the bad laws they came upon relating to women. They found much more interesting to see her fly into a rage than to pore over musty law books. They always had a new batch ready whenever she appeared. Johnstown was in the midst of a large farming district, and Elizabeth often sat on hot father’s knee as he talked to his clients, especially if they were the wives of farmers who came to tell the tender-hearted judge of how unjustly they were being treated by their husbands. The cases often concerned the farm, on which many of the women had been born, and which frequently had been left them by their fathers before they were married. In 1823, no married woman could own property, If, as a girl, she had inherited a piece of land, the moment she married John Jones it passed into his hands. Everything she possessed his; her clothes, her false teeth even! If he took them away, she couldn't masticate her food! And she had no redress. The money she earned ever the wash~tub was likewise his, and he could collect it at the end of the day from the people for whom she worked! Worse still, he didn’t have to give her any of it. And this right of a husband to collect hie wife‘e wages was the law in California till 1910; when the women won the vote in that state. The Judge was explaining all these laws to old Sarah, whose ne‘er-do-well husband had mortgaged the beautiful farm which she had inherited from her father when she was a girl, till there was very little left. Sarah always supplied the Judge's family with eggs; butter, chickens, cider, and other good things, so that little Elizabeth looked upon her as a kind of lady bountiful, when she appeared at the week~ends. My grandfather got down many books and read the laws to Sarah to show her why he could not help her; however, petting her on the back, he told her he would put her on one of the best farms he owned, stock it for her, and she could have all she made from it, and could stay there as long as she lived. But it was justice not charity that the old woman wanted. Elizabeth had not been idle during this interview; When her father finished with a book, she quietly marked each law that he had read, turned down the leaf, and put the books back on the shelves upside down, so that she would know them. She followed the weeping woman into the street and when out of sight of the office she threw her arms about her, bade her cry no more, and told her that she had marked every one of those wicked laws, and that when the men had left the offices that evening she was going back and would cut them all out of the books. "Then", she said, "your troubles will be over!" As soon as Sarah could get rid of the child, she hurried back to Judge Cady and told him what his little intended doing. So, after supper, he took Elizabeth over to his office, and there, with the child seated on his knee, before the crackling logs of a big fireplace he told my mother how laws were made by the legislators at Albany, that his library was only one of many all over the state, that even if it burned up it would make no difference, that when people wanted to get the laws changed they had to go to Albany, talk to the legislators, and get them to alter the laws, then new books would be printed and the old ones laid aside. Little did that conservative judge dream that what no woman had ever done would, in years to come, be done by that very daughter of his. He unconsciously planted the seeds of rebellion in that fertile brain; and when grown to womanhood, the mother of four sons and a daughter, she took two nurses and two babies with her, and, leaving them at the Delevan house, went up to the Capitol building and made her first speech before a legislature on tﬁa unjust laws pertaining to married women. That was in 1854. 3i=39!?!&$a!Q5§9$'DiD9Q3@'8§§I§i§ -------------------------- : Picture : : of : : Judge Cady : -------------------------- Loss of her only Brother During my mother's childhood Judge and Mrs. Cady lost their only son, a fine, manly fellow, who had just graduated, with high honors, from Union College, JUDGE DANIEL CADY. Schenectady, N. Y. It nearly broke my grandfather's heart. He was always saying to Elizabeth, when she tried to console him, "Oh, my daughter, if you had only been a boy!“ Throwing her arms about him, she said “I will try to be all my brother was." She resolved to study hard and stand at the head of her class, to learn Greek, Latin, the higher mathematics, and to ride horseback--all of which resolves she carried out. Rev. Simon Hosack. Judge Cady‘s next door neighbor was an old Scotch Presbyterian clergyman, the Rev. Simon Hosack. Elizabeth was a great pet of his. Whenever she was in trouble she ran at once to consult him, she was eleven years old at this time. One morning, as he was working in his garden before breakfast, She came running over to ask him which he liked the better, girls or boys. "Why, girls of course," he replied, “I wouldn't give you for all the boys in Christendom." “My father doesn't feel that way," said the child, "he prefers boys, he wishes I had been one, and I intend to be as nearly like one as I possibly can. I am going to learn to ride horseback and swim, and I want to study Latin and Greek. Will you give me a Greek lesson now, Doctor? I want to begin at once”. “Yes, dear child," he said throwing dawn his hoe, come into my library and we will start without delay." He entered fully into the feeling of suffering that possessed the little girl, and putting into her hands the old grammar he had used in the University of Glasgow, Scotland, he taught her the Greek article before breakfast. Elizabeth Cady was educated in the old Academy in Johnstown. The girls and boys were all in the same classes, except in the languages and higher mathematics. In these subjects my mother was the only girl among a number of boys, mast of them older than she, who were preparing for college. She was always running races with John Wells to see who should stand at the head of the class. Some- timas it’W&$ Jﬁhﬂg aamﬁéimaﬁ @lﬁZa%@€h$ She carrieé cff any cf tha prizes, buﬁ, when flushed with iriumphg she ran té her father’s affice and laid thasa traasn uras im his 1ap§ and 1o§kad up inta his face for a word of praise; his mag ram spansa was; “Chi if you had only'been a bag.” Thus it was bcrne in uyan har, at an early age; that boys saemad ta ﬁe mars hivhly valuad than girls. The iran sank deep inio her Saul and aha ﬁeterminsd is see what she c@u1d do to lif% ﬁha terrible edium aﬁtached ta al1‘W@mankinﬁ¢ “Eighty years and I quate the follawing from.my mothergs autabiagraphyg Msre“:!"FroH;the Jchnstown ﬁcadamy many of tha bays 0f my glass wsnﬁ ta Enian H Collegeﬁ S$h@ﬂ@§ﬁ&ﬂy¢ ‘When those‘with‘whom.I had studied and aonﬁaﬁdad far ‘prizes for aver fiva years saws ta bid me goodubya, and I learned 0f the barrier that prevented my follwwing in their footstegs, ‘No girls amiﬁted here?, my vexation and marﬁification knew mg bounds. I remsm$er nsw how'prauﬁ amd%hamdsoma the boys lacked in their naw clothes as they jumpad an the staga~caach and drsve off, and haw lonaly I felt after they were gone, and I had aathing ta do, for the plans far my future were not yet determined. I felt mnrg kaenlf than aver ﬁhe humiliatian of the distinciion made on the grounds cf sex." There was not a oﬁilege for girls in the'world at that time;~1830. (Oberlin Collegeﬁ in Ohie, was nut o§ened till 1833.) The Emma‘Wi11ard Schecl. In family ceumcil it was decided to send Elizabeth is tha Emma ﬁillard ,Sehoa1 aﬁ Tray, N. Y.; the mast calebraiad educaﬁional instiﬁutian far girls to study but French, music and dancing. in ﬁha United States at that data¢ Alasi when Elizabeth reaahadfﬁwxéfﬂshe I’-£3 fauna that her sﬁudias in the excallant Jehnstcwn Acad@m§"had carried her far bavand the mast aﬁvanaeﬁ glasses in.her new schgcl. There as ngthimg fer her . t, . 2.3 W- ,,_. kylk“ She was so disgusted when she learned this and thought of her boy chums at Union College, only a few miles away, going on into the higher realms of study; that she burst into tears at the injustice of it all. But being a good deal of a philosopher, she pitched into French and music with all her might, and wrote home to her father for the extra money needed for the dancing lessons. The judge promptly wrote back that he was perfectly willing to pay out any amount of money to educate her head, but would give nothing to educate her heels! He was toe mush of a Puritan to believe in dancing. Elizabeth Cady, even as a girl, rarely let any men get the better of her in an argument. She sent off an epistle post-haste, “Thank you, dear father, but your letter shows great ignorance, dancing is done on the toes not on the heels! So please send me the money by return mail." And he did, for Daniel Cady was too just a judge not to know When he was worsted in a case! Educating a Young Man for the Ministry. In these early days girls and women were always doing things to educate young men for something that these sons of Adam were not able to accomplish by their own efforts. My mother was the leader of a club of girls in their church which had undertaken to raise funds to educate a young man for the ministry. They sewed, baked, brewed tea and coffee, held fairs and sociables to pay his way through the Auburn Theological Seminary. When he was ready to graduate, they sent him money to buy a new suit of black broadcloth, a high hat, and a cane. Then they invited him to come and preach them a serman in the presbyterian Church, the largest in the town. Everyone turned out to hear him. The front pews were reserved for the girls. When the church was full and the psychological moment had arrived, the club marched in, head by my mother, and took their seats, all dressed in spring attire, each girl on the tiptoe of expectation to hear what their youthful theolagua wnuld say. I shall never forget hearing my mother describe that scene ta an audi~ enea in Chiaagag when she was on one of her lecturing trips. After dilating on haw faithfully that club of girls had worked to aducaie liha young man, in her round, rich voiae, she askaﬁ that vast assembly; “Ana what do ycu think, my friends: he took for his text? That passage of the Scriptures which says, Pausing a momsnﬁ ts let her hearers catch the full significance of ihe ﬁhingg ﬁrs. Stanton remarked in a slow} distincﬁ tone, “we never aducatadanQih~ eri” Hef hearers bursi agﬁ into shcuts of laughter and ayplausaa Some man called ou%5 "I should hope net." when quigg was restored, mother‘went on to relate haw those girls turned and looked at cue ancther for just a momsnt, than all arose, and with heads l ‘they erect, drawing themselves ug to their full height, two by twg/marched dawn that lang aisle and out into the streei. They never stcpped ta hear ona ward ha said. And the huga Chicagc audience, 50 years after the incidenﬁ, shonisd they selves hearse calling, "Bravo! bravoil for those girls, and thraa eheers for Elizabeﬁh Cady' Stantoni" Girlhood. my grandfather had a large stable full of good driving and saddle horses, carriages and slaighs of all descriptiens. He didn’t allow his ﬁaughters to gs anywhere with young E@n.n1ess he prsvided the horses far horsebask riﬂing, ar the vehicles for driving, nor ceuld they go to public anﬁertainmgats unless he provided the tickets. This being'well understeod the Cady gir1s'wera graaé , . many favcrltes, and as grandmmther kept open house, and there wara%alway§[nice yaupg. man studying law in her husband’s offices, they never lacksd for asserts. A.most amusing incident occurred in connectian with a certain yaung man fror* T ’ 0 .* - ~ ﬁ - u . \ u‘Ln1on aullega, wna was spending hlS Chrlsﬁmaﬁ vaoatlgn at the Cady manﬁicn. 10 It was oviéont that he was quito smitton with y mothor; he had boon toooing her for being gush o chattorbox, and said he didn’t boliovo she could keep still too minutoo, she emphatically vowing she oould'olohout diffioulﬂy.% lhoro was o party of these gouﬁg §eOple gothorod about tho piano singing, lough~ ing and talking by turns. It was a glorious moonlight night anﬁ fins sloighingg so or. Blank oroposoo to my mother thotthoy go for a ride, and ooo if sho really ooulo koop still.l She sent oorﬂ to Peter to héoo a sloigh harnessed, and she left the room.togot ready. Her sister ﬁoogo went with hor,ﬁ:§E[$hor£1y appeared in the drowingoroom and told ﬁr. Blank heﬂﬂfbettor got on his coat, as the sleigh: was at tho door and his lady already io. So the young man rushoé out iﬁgw the hall, donned his fur coat, cap and gloves ond popped in booido his companion, ﬁll the young folks troopod out on the piazza to see them otort. The ooaohmon handed him.tho lines and finiohed tucking in tho robes; »’Eid shouts from.tho porch and answering ones from.the sleigh they dashed off, the bolls ringing mor- rily as they disappoorod in the moonlight. 0 "Iso‘t this o glorious night for o sloigh~rido, Eiss Elizabothﬁﬁ romorkod or. B. ﬁe ?oply. ﬁftor making several more attempts and getting Mo"ansWors hel “Uh; oomo now, thoro’ooo’t be any fun riding if you aro not going to talks I didn‘t really moan What I said, I knoo you oon koop still if you oono to, I was only fooling.“ Still his companion modo no roply.l The horse was guito a gag ono/(Juogo Ca&§ liked good horse flesh; his - 7 an I ‘i. __. * Wife and all hio¢ lﬁwooulo ride and drivo'anything)3 and kept tho young man busy trying to control it. But after a whilo he said, “ooll, if you are not going to talk we might as ooll drive home,“ Still the young lady made no answor, so after a little he turned the horse and drove boob lf iiss Cody kept oil hor lovers at onm‘s length, they never droamod of touching her, house o y or. olonk had not loiﬁ his hand on hor arm.ond bogged her 11 to ﬁargive him and speak; when he drové up in frcné cf the hangs all its inhabitants game out on tha giazza, inquiring how he had enjoyed his ridgﬁ anﬁ fcremgst among_ them was my moﬁher, Elizabeth Cayi As acon as Era Blaﬁk saw'har he gasped and turning to the lady besiﬁe him, he axclaimad, “Far haavenis sake; Wiﬁh whom.have I been ridiﬁg: Julia Jones?” a gﬁ%%» girl Wham ha thaﬁaughly daw- ﬁastad. ’ “Bring in the yeung lady; Peter; and shaw Mr. Blank wha it is,“ 1aughn inglycallad Gui Elizabath Sady. It was a feather bolster dressad up in ha? alathesi Ehe yang man wa$ SQ maé,, SQ digusted ﬁhai he mever fully §ogave my moﬁhér the joke she ylayaﬁ on him. E3 soon transfarrad his devetiens to soﬁemoae alas, WhQm.1atar he married. The news spread as far ﬁawn the Mohawk Vallay as Sghanactady and when he gﬁt back he collega, the ﬁoys would say5 “So yam Wenﬁ sleighing with a bolster up in Johnsﬁown, Slamk, dié yea enjoy your ri&e?“ ﬂy Kwﬁher, I have been ﬁeld, was a very beautiful yvung wnmaag Ska wag brilliani in cenveraatien, sang and played wall on the pianc and guiiar, was a graceful danger, one whose society was aiways scughts aha had me and 9f admirw ers,'was a fearless hcrsewwow 1, coulé laap any fence or,jum@ any éitch. Euﬁj she had 3 sericus side to her naﬁuras she was an omniveréus reaé E, af staaéaré Eeaks, ever éelving into social questiéns and trying ta solve knotty prmblemsa Sh8‘W&S particularly fond ofarguing with learnadzmen. In diacuasion she aiways kept her temper, was quick to parceive and.to take aﬁvanﬁage sf 3 1@0p*hQ183 or a flaw in an Qppcnent’s argumant, and she was blessed Wiﬁh a kean sensa of humara 311 my grs¢&mother*s daughters were well trained in hausa§§}é ﬂuties, and; natwithstanding there were many'sarvan%s in the house§ aash§¢¢h%Ww%r“Was obliged Q V~..._ to spend a certain lengﬁh of time every day attending ta her special task. 12 Gorrit Smith . Elizabeth Cady was brought up in tho midst of the most oonoorvativo; sooﬁarian surroundings; How she became so liberal, along so many lines, has always been an interesting study to mo; one of iho poiont influences in the life of this wideuawako young Womn was her oogstant visiting at the home of her cousing Gorrit Smith, the aboliw tionist, at Potefboro, New York. His daughter Elizabeth anﬂ my mother formed a strong friendship that lastoé all thoir 1iVBSa Grandfothor did not altogether approve of these visits; ”5udgo Cody ad» mired his brilliant nophoo'and appreciated his sterling oharaoiorg but ovary fibre of his being rovoltod against the aovanood opinions of Gorrit Smith. However, the two families were so knitted togothor by relationship and sinooro friendship ﬁhat a rupturowas absolutely impossible, so Elizabeth Cady osoapod oonstantly from the religious austerity of her homo into the swootor3 froor at» mospher of the ?etorboro household," wvitoo my sister, Harriot Stanton Blatoh. “Tho Potooboro house was spacious, and always full of choice society", Writes my mother; "hero you met scholars, philosophers, philanthoopigts, judges; bis~ hops, artists, musicians, and statomon. \ ........ There novor'wao such an atmosphoﬁoof peace, freedom ano good cheer, nor were there over two such hosts as Cousin Nancy and Cousin Gorrit.” There were tins when anﬁi-slavery was tho all~absorbing EOpi3a Through the portals of the home at Poterboro stopped Wendell Phillips; ﬁilliam Lloyﬂ Garm rison, Horace Greeley, Frederick Douglass, and John Brown} As it was one of the stations on the “Under Ground Railway", the outnbuildings often harbored runaway slaves, resting for a day or so till Mr. Smith was able to convey thomby oar- riago, or sleigh, safely to Canaéa, Where, the moment they stopped foot on English soil, freodom.awaitod thom. My mother saw and oonvorsed with those runaway slaves and heard from.thoir own lips the tales of their tortures; Thus it was that she early became interested in the sad lot of that much abused race; Every possible phase of political and social life come up for discussion at Peterfboro, and as those who did thetalking,were the leaers of thought of that day you can readily judge of the influence all this had on the open mind of my mother. . . , , Henry Brewster Stanton It was at Peten¥boro that Elizabeth Cady first met Henry Brewster Stentonﬁ _ re a direct descendant of Elder’ﬁi1liam,BreWster, who came over in the Mayflower, Mr. Stanton‘wae then considered the most eloquent aod impassioned orator on the anti-slavery pletforme eHe was a finemlooking man, ten years ow mother‘e senior» Elizabeth Cady had a passion for oratory, who unuotal powers and earnest» mess of Mr. Stanton soon made a deep impression upon her. Carriegewloads of ladies and gentlemen drove off every morning to dttend the anti~s1avery meetings that were being hold all over Eadison Gounty. The enthuoiesm.of the people in these great gatherings, the thrilling oratory, were experiences never to be forgotten. My mother says in her autobiography,- "I became deeply interested in anti~s1avory and temperance questions; saeeoeseee I felt a new inspiration in life, and was enthused with new ideas of individual rights; for the anti-slavery platform was the best sooool the American poopie ever had in which tolemmoteepublioan prinoioles of government." Her‘ﬁedding Journqyg I The result of that meeting in Peterboro in Ootoben,1839,'Wao a wedding in Johnotown, N. Ye; im.May, 1840. Judge and ﬁrs. Cody oppoeed.th9tmarriagé Ld of their :w@5%ﬁ{“ fdaughter to "a radical“; but the young P90P19 were Obduratga 14 and a'wedding trip follcwed ts tha'§br1d’s Antiwslavery Convention heﬁd in Lcnden, England; in June, 1840; My father was Secretary ef the Convantion; as well as one of ths delagates fr¢m;£he United States‘ E333 Amsriéan*wmmen had also been sent as delegates, but on account of English prajudisasg based on asriptural texts; thay-were net permitteﬁ to take ﬁhair seats an tha flocrg so had ta sit in the galleries and look on ignomigfuslyi There were many ringing appeals made in that greai hall $0 seat tha Woman 1 delegatas from.th@ United States; My father; I aﬂzprcué £0 say, made an impassionm ’ ed speech in their favor, William Lloyd Garrison %i11iamKL10yd Garrison, the knowledge of Whose eloquence was wcrldwwideg and whQm.a11 England had be@n.anxieus to hear; was so indignant at the insult to his counirywemen that he refused to take his saai an the flaer, and sat silent in tirza §~‘§a.1.1ef3? ‘z»*«z'i‘t;h. the ”¥HC}31'L*?31T'1a ~ /7/5‘/7 ‘‘‘’7/(/’'‘‘ , M/%% Z“‘“;,‘Z f 3&4 7 / &/Z:-L/-:1 /9/éjisaniel O‘Conne11 Daniel O‘C0nnel1$ the great Irish oratcrg made his first agpearanca aﬁ the world‘s Coneniioné a few days after the women delegates had beeﬁ rejected. He paid a beautiful tribuﬁa to wamam and saiﬂ ﬁhat if he had been presanﬁ an the opening day he wmulé have spaken in her f&VQfa‘ Gssaecuaoosaatasoaesma we can) i‘ I 1: 5 o st :1 2 t 85 m ‘Piciure af 99 Lucreﬁia Mﬁﬁt : «: 9G!'DlQ'U!*ItﬁCQI!I<IOOC~1ﬂ!Q*3 - 4. \ ' '~,'i.’.f~‘: V H ‘\ ﬂ’ ' . ,g,;l,§»s."'” 15 Lueretieemeei These scenes all made e etreng impression on ehe heppy young brideg Eliz- abeth Ceey Stanton; One ether experience meée this cenventicnmemereble ﬁe my meeher. Threughouﬁ its sessions ehe set in the gallery next to Leeretie mﬁﬁt§ the distinguished Quaker yreeeher free ?hiledelphie; she end Ere“ eeee became well eequehted. eﬁother afterward ereee oﬁ her: “She was is me an entirely nee revelem tiem.of Wﬁmﬁﬂhﬁgdascseseasacstcal shell never cease te be grateful fer ﬁhe pet» ieeee eed seeming pleeeure with ehieh she fed my huegering Sﬁﬂlasssseeeseseseaea Eben I first heerd frem.her lips that I had the eeme right he ehine fer myself that Luther} ﬁelvie end Jeen Knox bed; end the eeme right he be guideda by my Gen eenvietione; I felt e eeewbern sense of dignity ewe freedeen“ These ewe ﬂiew cussed the grebleme of life fer the eomen cf thee egg, and decided} en their re~ tureﬂee emerieeg he eell e eonventien with the ebjeet “ef deeiing eéequetely eith the rights cf eomen". This meeting did et take piece, heeeverg till 1848» ey perente trevelled all overﬁngleedg Ire1end5*Sce£1end end§ be eeme ex~ teeiﬁ Freeeeg and feihee spake in all the large citiee ef the British :S1$5e On returning is her native lend; meeher,eee eekeeeeeet ehe had seen eeeeee that ieierested her meet. Her promgt reply eee, “Lucretia eeeeiﬁ While in ﬁublinﬁ Irelend, they were eeeerteineé by Daniel G‘Gonne11§ eke "Qreet $ieeriee“3 as he wee eelled. During dinner, Ere, Steeiee eeked him.if he heped ﬁe geie liberty for Ireland; “Ne”, he eeid; “but ii ie elweye geed eeliey ﬁe claim the ettermoetg and when yen will get eemethingﬁe caashesocosoaocnesavaaseoaoessn Q ‘ '3 Q 55 Q Q ,. > at A //"’""“"‘-. 5 _,;~'' .3 9; an U ‘,~~/ I W ﬁqgﬁurexcf 3 Q, . V 3 ‘1 ‘V ‘_', I... »-~‘“="_’“"' _ Q s . Eeeeegﬁezlree treln ; 1 [4, V ~..,\\‘ Q \( /1;?" ‘ ‘_ §§¥“»-3,_: C If,/"' 5 3‘ G 1* § a ﬁggggibiﬁiiﬁiftﬁﬁ~§9§O&$O!O$Q89‘ Hbmaward Bcunﬁ §hen.mothar wenﬁ in Troy to school she rode on the firsi railreaé built in ﬁhe United Statesg which rau between Schaneciady ané Albany. My parenﬁs WBm$ ﬁg Europe an a sailing vessslg But they camﬁ hemg an ﬁha first steamﬁr ﬁhat ever crossed the Atlantic Ocean, the iggfius” of the Cunard Lineg All threugh her evantful life she di& things ﬁhat ware beiﬁg dame for the first timai On their returnimr. and ﬁrs. Stanton wenﬁ to Jahns%awn$'where thgy ran maimed under ﬁhe parantal reaf fof twp yearsa Faihar studied law in Granéfather§s effice. Esther busiad herself reading law, historyg ad galitieal agansmyg but in 1842 all her thoughts were turned to the ﬁractical one; mf'hat ts ﬁe iﬁﬁ a baby. Sha says; “Though mwtherhsad is the mst important of all tha professions; requiring mre knawledga than any oﬁher departmsnt of human affairs, there is not sufficient attention given to the preparation for this high office.” In September, 1842, she gave birth to a fiﬂe boy, Whm was nameﬁ afiar his graméfathar5 Daniel Caiy 3tant@n. The scientifia manna? iﬂ'Whi$h she raised thaﬁ baby'wsu1d have ﬂame creﬂiﬁ he gif twentieth century mairani She said she had been ﬁhimking$ raading and absarving, ‘ad had as liitla faith in iha pgyular tﬁaarw ies sf tﬁﬁﬁé days as regarés babies as she baa an m&ﬁy othar subjgaﬁsy 03% ry sf ligﬁt illuminated the darkness about her, “It was a hawk by gndraw Qcmbafgn la” 3‘? famayg sha“Wriiaa, She Proved Ber Th0?i%S g ﬁaulﬂ that I had tims and spasa to tell in daiail haw she ﬁraimed her hursag her husbamdg her parenﬁgg evén the d0ct9r§ as $3 haw ha? baby was ta ha iﬁaatadg when mast of them.ha& been tha parents Qf num@?aus ahildramg Sui aha carried the day; and har‘h@a1thy3 bauﬁcing baby convinced tham.£ha$ her thcrigs mmat be right, as he never ariad, slept a gﬁad Shara of the tima, and; baing givw ” an planﬁy af fresh air amd‘water to drink, being wmrsed reguzarky by tha_o1cek3 17 -’ gégi,/é;44Lqnm%%¢2e~ua.Zé%vu¢¢A4ij:Z;;4»» M__ . ¢ M A.‘ a-.« V ‘N 1- wt; aw ’ -3‘ «-1 ‘ _‘}={»‘‘ '-._.'’7 .'.._g‘ "'3: *3 _, 1 _ h@4 wag never 111* E9 ﬁl§§t &1mn@ mg a raam by ﬁ1maa;$:‘ Egbuﬁf sa$u all ac? .% ;% , 8 ,, - _ ¢= mm ..,V;g . ~= *; 2 ~ : , ﬁn I * . ~ $ -+ [ w “’w §ead&n& ﬁi hhls blﬂm G6ﬂmﬁT$d an pay$1a¢0g§; dgat and nyglaneﬁ anﬁ aha“ she cam t tha Qonalusian that babies ; s}% vied uwless somgthing wag ﬁha mattﬁr thaﬁ "7 *3 gauld be remediaﬁ§ Eémaa sha wa child cry withaut faaling haunﬁ ta flﬁﬂ J. R-4 » at “e‘-"* 2 c ‘i , .9» " 1* sub whaﬂ ma; baa cauaﬁg I %e? in life she lecﬁurad far aight mmnéhs af avary‘y@a?3 far twalva X‘ 25* Q'"‘§"‘ "'5"? 5 ’~ —‘ us": ‘ ‘“‘ *"“:§Vé.' .‘ ’ 1" ’ ﬁ ‘ 3‘ -9 . 4, " 1' ‘-3 ygayg§ frgm,m&1m$ as Ca1ifgrnma3 fr$m.k;aaasa%a ta Texas; On thasa axtgnazvg traps h 1Fﬁ A‘ ” av 'ﬁ”“ W%%‘ rv‘n “whims aﬁd i@na?a@t n9%@ﬂ%q Qwd %“?%%v “ai Siaa ‘x.1.£a33E§Z‘1.i:‘J§.1.“J‘e3S E5; 41.. us’-.1 Q {I 1 :3 /L .*...z‘ 5 .-..:. V ‘3 . "' ~ *‘ * «N» J‘ - «-’$« 5 ‘—»~“¥>»3~ «a- G‘? and» *5 in $9 savan sauﬂd shildraﬂ sf her awn she felt she aauld sp@ak‘vi%h authmriiya An Imgragsiva ﬂbjacﬁ Lassen . .... Jae ._ Gm ana aocasian, a'wh01a car full of peo§1s'was pn tenﬁerhmeks fram thg graisngad 3?yiﬂg_Q§ a b&%y, As maths? enﬁarad éha car anﬁ task he? seaﬁg sha hearﬁ its pit@0us'Wai1s, SQ she want fcrward and askea the‘waary5 ysumg mgthar if sha might taka ii; The b&%y raadi1y"wanﬁ ta % marg and wa1king‘With ii ta ihe anﬁ sf tha car she tagk har ymakat drinkiag qlass from.iﬁ3 saga; ringimg 1%, gig ﬁraiaﬁi ii af avery ﬁyay. Sas”ag him 35 ihirsiyg mgthar gag the liﬁiia fgi aw ‘Y s samﬁ mﬁrﬂﬁ iheng smiling mg7%§ he? face, Ea laiﬁ hia ¢@ad 0n.her b?§a$%«an&‘wamt poi’ "‘f” . Q‘ ~ . .7,-4 -“=;"‘:' > 1"‘ "‘,“‘,‘~. g ’s,. pt. -3- ~u-« -v ' .. . faaw as;ae§ lmﬁuﬂﬁuﬁy; ﬂfu§T aghzls gha saturnmd is whara the babylg maramis waragm is th@ chiig gﬁill sleyt an paaaafuilya I!” 3“ 3? , . - .,.,.- '? _, ., ‘H! . ‘~‘~. ,. ‘ ,— A Yam S%a3.mada&ﬁ‘; said %ﬂh%ﬂ?§ all ia@ Erb§‘ﬁ§3d§ﬂ‘W%3 a drink @§‘waie:&“ Y?‘-:'~:1:“ 15 age ~ 1 ‘ “Y _' F .,,‘x, 6. V, g , . , V . at 5. g 3 awﬁggw axclazmad tha woman} why, ha 3 nava? had a drink mf Waiar mm hlﬁ lifai“ it A _ '_ _ W. r V N H .. .w._ h N w_ V, , , Euﬂgi you glVﬁ3ﬁMn¢§h§§l@ﬁ and Eibtmﬁg waﬁar?“ Mmﬁhar znqmgraﬂs fir”. 1 ’ «,3 . ‘E « ;-,~-. #9 r,«;‘ -r 9». Uﬁﬁ gas; cgitaxﬁg, was 0&3 «nswar. “Haw aid ia geurboy?" mcthar askad. 18 "One year last Tuesday". Wﬁhat have yam been giving him to drink when he was thirsty?" ﬂnﬁ t0 he? hG?FGF she received this &ﬂSWG?a "Tea? coffee er milk, and when he crias very har&, we put a few drops cf whiskeygor soothing syrup; in the mil&;§ So methar sat down opposite thése ignorant young paremts and gave them a simple talk em hygiene, disk, dress, digestion, physiolegy, ha impertance above all things of giving children glenty of water ta ﬁring. ézﬂkzihig tims ﬁhg baby lay on.m@ther’s lap sweetly sleeping; she had thrgwn a light shawl over the chilé. Tha §e0ple in the car gathereﬁ araund, samﬁ standing am the seats ta listen. Hang of the man asked questicns, ta carry heme the informaticn to their wives, as they said, they also, haé babies that criaﬁ incessanély. The years after the birih of hér 1fir3t son.Were very full aﬁﬁ busy ones. In lﬁéﬁ my parenﬁs mpved to Boston, Mass., where my father began.thapractiee cf lawg as a parimer of Ruus Chcate. There mother mat Lydia.ﬁaria{Chi1é, Elizabeth Peab¢dy3 Thaodare Parker, Ralph Ealdo Emerson, Charles Sumner; Jehn G."Whittier, Bronsen &lcoit§ ﬁathaniel Hawihorne, and many ether litarary pegple and reformerag She ané father were frequent viaitmfs at the h0mﬂs0f §ande1l Phillips and ﬁilliaz Lleyﬁ Garrisana ﬂhila in BOStGmﬁ mother attended all the lecﬁures, churehas, cencertsg theatrés, temperanceﬁ paace, prisan~ref¢rm.and antinslavery oonvantions that mgt in the city; She says:"I never lived in such an enthusiastiaally litarary and ram fmﬁm latiiuﬂa befare. my mantal powers wera kept at the highast tansimn." Th0se'wMre stirring times in which my paranis lived, BostQm‘Wag the stgym cenire of many of the big movements of that day» The great antiagggvgr mgatingg 19 in Fanuail Hall rmakad Basion to its very founﬁatisn. They were cften dis» turbed by huge mgbs that woulﬂ held the most gifted orator at bay hmur after hear. These an the §latform‘were pelted with rattan eggs: cabbagasg and even brickbatsi During this parioé of her life in Bosﬁon my mother alga visited Brook Farm, gpandigg Emu d&ys thera, and saw that cammunity ﬁxyarimant at its heigﬁll " -_ ‘:9 ~,,.», «7 - A ’ 3 _.‘ .v.s“_z,"-9, , .« Yark Sun§‘Waited an ﬁablg. Thus through her earlv vears’was the bent of this breaﬁminded thmuvhtn 2.3 u 21 3 «.3 ful yaung wnman made firm; the foﬁndation stones were Wall laid amang “*l native hills, and nsw she began ﬁg build tha supafsﬁruature thereon. ﬁrs. Stanton as a Housekeeper- *?‘f"" my grandfather had given maihar a fine, naw heuse, baautifully farm nimhed, on the hills of Shelsea, overlooking Beaten Harbaur. She says; "ﬁhen firsi installed as mistress avg? an gstablishmant, one has the ﬁama faaling of pride and satisfaction thai a young ministar must have in ﬂaking charge ‘-3 5 *.-”:§1I’§3. {:9 w £3 cf ﬁis first eaugregationg s.... It is a praud mmmant in a woman’$ life i suprams wﬁthin four walls. ..... I gtuﬁiad my everything yextaining ta hou$a~ kaapingl ..... I had all ihe mast ap§roved cook~book5, aud spent much sf my , lg . '= M V . ‘l " ' ‘:7 ,M«(. timg picklingfand exyeriménting on.n9w‘&ishes. I felt the same ambiiion ta _% axeell in all ﬁepartments sf ﬁhe culinary art that I did at schcal la iﬁa ﬁifferent .ranehes cf laa?ming. seats I put my whole Saul imts everything and enjoyad it.“ my mnther was a famous housakeeper and cook; though she always kept several household employaes, thera'was nothing she herself could not dc. Her house was always in ﬁerfecﬁ orﬂer frem garret to cellar, her back dear as —.u.vz‘-‘v=—’(¢’ 20 ha? front door. Eu 1845 Judge ani ﬁrs. Gady mmvad to ﬂlbany fer a faw years ta as~ tablish twn of their senswinwlaw in the legal yrsfassian ihare, S0 ﬁhﬁ J Qapiﬁal 9f the Stata gﬁﬁﬁmg the family rallying paint far same time. G@verncr‘¥illiam H, Seward « ﬁrs. ﬁﬁaniam made several visits ta £1bany during thig period, and ﬁhus‘was able ta take anzzative part imthe discuaaien cf t&a Earriad ﬁomangs Pramerty Bi11§ the V;-3 - mending in the Legislatures Ths bill haé bean introﬁugad in 183* it did mat pasﬁg hewaver; Wniil 1848. ﬁi1liam‘H. Sew&rd'was Govarnor - 3 9- _ ’ ’ ’ “ “’ ﬁgriﬂg §art gf this tima; he appravad of the bill; anﬁ hi; Wlfﬁﬁ a wvman of b o A 0 w‘ . if n» V E3 N‘; “ = , rt ‘*1 3 2“- rare lmtalllganae, advacatad 1t warmly. logawhar , ﬁrs. Stanton ﬂT;t$§§ “ﬁrs. Seward and I had the epgartunity of talking abeuﬁ tha bill with many membars3 bath cf the Senate and ﬁssembly, in S0ci@iy§ as wail as in smmittas raams.” Gmvarner amﬁ Mrs. Sewar&‘s friendship far my mather laatad t0 the and 9; uhair £335, and thay'were freguant visitars at aaah 0£har’a hamasg §il1ia3:£. Sewarﬂ was afﬁerward Secretary Sf Staﬁﬁ in ?ra$i&ent Lina01n‘s Gahinaﬁa %Mr3. Stan%on‘$ saemné son Henry was barn im Albany in 1843, during one cf hay visits taera, ﬁunéar mare favarabla auspices than w§'first ﬁarnﬁ she; writes, “as them I ts dc 1:zr:i.i:.E’; sza. bsa.z:y.*‘ imzi. }—mx¥ 33.§.z*d son, C;~erz*i*%; gm-2,33 3ﬁﬂHt0n,“W&S born im 1845 at Che1aea¢ H533. under the ahadaw cf Bunkér Eill mmnumanta Sha:musﬁ have been a very bay wammn wiih thmeé bays iﬁ Pan? years; she nursad all her b&hies3 and; though she always had nurses; ska did man .31‘ ._‘i things hewsalf for her children, She was a meat devotaé mmthar; she sang and plryad for us on bath yiano anﬁ guitar; anﬁ tald uswandarful stories. She 21 cculd racita poeﬁry by the page; often thesa recitations were fram tha Odes of Hsrace, 0? the Eclsguas of Virgil, she nevar forgeﬁ her Latin er Greek. I hava often seen her, at the twilight hour ih her ald age; surraunded by a bevy of children listeninv s§el1b0und't0 her thrilling tales. -; ”‘5?%l£* * il57” 51 ? Lif@ at Seneaa Fallso lflha sevaritv of the Naw‘England climaie provad toe rigcraus for my father’s ~ he&lth; sa this stimulating; intellectual and sccial lifal and his brilliant legal start, all had to he given up; and in the Spring of 1847 my parents mgved to Seneca Falls, ﬁew*?ark. Father’s haalth improved greatly; hey spant sixteen years of their married life in that littla village; and the?e their ' :¢..s;;\,l~—m . qﬁéﬁf four ohilﬂren'war9 born. t A 7 %§%w¢i¢ Grandfaﬁher had given mmther a large, ol§~£ashionadR§ame in Seneca Falls, also a farm near the town. On her way to the new home she stapped in“ Johns» town to visit her parents, and left her nurse and three boys there While she . want on.to Seneca Falls alone to put tha house in hahitablg condition. Father had been called to New'Y0rk ﬂity on important business. Ebther’s eldast sister, ﬁrs. Edward Bayard; had lived in ﬁhat villagé sevaral years before, and as ELih@F had oftéa Viaiteﬂ her, she was already acquainted‘With many of the tawnspeapleg I At parking Grandfather gave his daughﬁer & gooﬁly sized check and said with a kiss anﬂ a smile, “You believe in woman‘s capacity £0 dc and dare; 35W Q? ahead and_show us what you can do'With that hause.“ She started off quite hagpy at thafhcﬁght of the rasbansibility cf repairing a hause and puﬁtimg all things in arder. Tha ylaca had bean clmsad for several yearsﬁ and needed extensive repairs; anﬁ the grounds, compriaing several acres, were overgrawn with weeds, and the trees, hedges and shruba sadly neglected. %y'mpther writes in her autobiography: “tit %mi@ute survay of the _ ‘ ‘Y ‘,.3§ﬂij_,*,, - 3 praises anﬁ due consultatian with sevewal sons 0 '4 v‘: :'~*':'t~~ ’ ’ painters, paperwhangers, and garﬂeners to work; built a fine haw kitahana wpod~hause and several perches and in six'waaks took passassianiﬁ my mather possessed a great ﬁeal cf axacutive atility and astanishad every ate at wtat she aécomglished in S0 shart 3 time; She told me maay amusing taies of sitting on kegs cf nails and disw cussiag the tapics ef the day with samé of the leading Judgas and lawyers of the tswng who draypad in to adviae her, while the workman were pounding and hammering about themJ In Seneca ?a11s my mother found life decidedly sclitarg and even depressing. In Beaten all her immediate friends were thinkers and refarmars, amang tham.the chief figures of that ﬁay. There she had a new hcuse‘ith all tthe mmdern conveniences, well-trained sarvants, near and delightful neighbors. Eéra the home was remote, built at the edge of a cauntry village: The h0usa~ hold employees were inferior. ’She had an increasing number of children, anﬁ 1 fathar was frequantky abliged to be away frat hama on outiness. §hi1e‘we lived in Seneca Fallg he was a member cf the ﬂew York Legislature. Ebthar sums it all uy grayhically in the fol10wing‘wor&s; *Ta kaap a larga hause .and many acres of grauné in orderg purchase evaryzartinla fer daily use? Keep the wardrobea cf half a dozen human beings in proper trimﬁ take children ta dentiﬁts, shoemakers; day and dancing schools, and tc find teachers for home study,- altogether made sufficient work to keep one brain busy, as Well as all the hands I couié press into service. .fhen, tca; the novelty 0f housekeeping had gasseﬂ away, and much that was ance attractive in dgmggﬁig life was now i?ksom.. I had so many cares that the oompant I neaaeé for in~ tellectual stimu1us‘as a trial rather than a pleasure.“ Before this, my mother's life had glided by¥with ccmparative ease, Aﬁith her hameepathie book and bag sf buﬁ new ﬁhe real struggle of existence was ugen her; Her &utias'wer9 two numerousg an&§ “None”, she sayss “sufficiently exhilaraﬁing £0 bring inte play my higher faculties; hamaa 1 auffereé from.m@nﬁm1 hunger. I naw fully underw steed the practiaal difficultias East wcmsn have to eanﬁand‘with in the isolated hemsehsld, ﬂﬁw i%e impossibilitr cf wamangs besi davelopment if in centact, the chief part of her life, with servanﬁs and children“, i§~£4§§ﬁi-¥’O§§94E°I5§4Q$$§O§%$'9G$Oﬂ‘NB " at “’ 1' 3 : C ’ 9 S 9 1., E 0' ‘ ‘ 9 " ~ 3 \E>"§x;> ‘met’ * z \\ u 5 “‘- 5 “ .‘ 9 : 1 A I is . - ..-=-. ~ - -:=.~.‘- new E aad ﬂmf Qgm Olu3Sb ~ 9 3 ‘ 3 Q t 7-‘ ‘re 1* . ' . ‘agﬁv ' 3' 0 S (‘I V * 3 3 5 $ Q I 8 ’ 2 1 I 3 OOG0i§§0®OO!it>Cl=5352?!-ﬁtﬁﬂifi$- Mrse Stanton and twe 3? her bavs ffsm an old dayuerrect G _ ta 3' x,.ZT' Near Our h0me'w&s an Irish setiiament frcxzwﬁish came constant commlaints E‘ "§' 1 . 5*’ «rm $ .~m— A ,, -..v ‘ .y, 4, ‘a F‘ ‘ I ‘ 5 ‘ I‘ . th&u krsﬁ §EdﬁtGn 3 bays were thlawzmg stauag mi their “pigs anﬁ reefs”; 38 successful was my mmﬁher in bar diplemaﬁic adjustnanﬁ of affairs, thaﬁ S18 S90? 1 0',‘ ‘‘t_ ' ‘. 1 - ‘ , N, 2 3‘ mecgms the umpire of the nexghborhood. bhe lent boogs anﬁ payers ta tﬁ@’WG§ﬂ ﬁﬁﬁ mﬂﬁi invited the chiléram inta her beautiful grcunds ta pl“y‘wiﬁh her hg;g ‘ "' ‘L "75" ' ‘”"’ W ‘ 1?‘ tn A ’ 1» u »- n. . » and angog uhﬁ Eﬂlugm, p&Pmll@1 mﬁd hC?l£Qﬁi&1 bags: the trageza aﬁd laﬁﬁergﬁ ymdicines, she tenﬁed thg sick and mgnistgrad is tha wmmen im the nangs of mate?nitv§ ti‘? she Qagﬁﬁw Qn%f§ an exmﬁri if thﬂi J. ~ E . as -. _ .e=‘m.:... -4» J‘- ,,,,., 1- ,~ ~ 1" 4 ‘L d“ C l XX’) #55- branch 9? the mgdical prafessien. She imugzé them.haw to take intelligent cara cf their babias and children. She was lookad ugan by all her naighbars as their beat friend anﬁ adviseﬁ, anﬁ thera'was noﬁhing they wou1& moi ﬁe for ha? in return. Emerson says a hsalthy discontent is the first step in progress; my mgther says, “The general discontent, which I now‘felt,with woman‘s partian aa wife; mother} hou$ekeeper3 sgiritual guide, the weariﬁﬁ, anxious look of tha majayity of wemen, all impressed mg with the feeling that some aotiva maaaureﬁ must %a ‘ﬁaken to ramedy the‘Wrongs of society in general and GE woman in particular, ﬁy experiamme at the'ﬁor1d’s £ﬁti~S1avery Gcnvantian in Lemdanj all I had ra&d of ihe lagal status of women in my faiher‘s law books, ané ﬁhe cpprassian af wnmgn I saw everywhere swept across yg*smul, intensifieﬂ nww by Hg'mﬁny personal exw‘ periencés. it seemgd as if all the eleménts had conspireﬂ to impel me te same ﬂﬂwayﬁ Sggg, 1 ggulﬁ net sge‘wh&t to de or where to begin, ~ my only thought was 3 public meating for protest and discussion.” In this perturbed sﬁate of mind, mother received an inviﬁatimn to yo my ta '%aterlo0, the naxt tawn, and spanﬁ he day at the home cf her friends, the Eunﬁs, ﬁe see Lucﬁetia ﬁatt, wha was there on a visii. Ehey haé invited a party of their z— Quaker acquaintances, all earnest, married women, ta meat 4! - ﬁrs. Matt and ﬁrs‘ Stamioa. §y?hé%her was so full of the spirit wf discmntent, and sﬁa poured it autwith such vahamenca anﬂ eloquanca, that she stirrea herself and all her hearers, as she says, “Te de and dare anythingi" like First ﬁcman’s Rights ﬁenventien 0 They deciéed to holé a ”%bman's Eights Convention”. They wrote the call ﬂ A that afterncon and had it printed in ihe Seneca Gsunév Courier an July 14, l8é8. if . , H‘ 5.. 9 Q rs ,, _* I - ‘,3 Q a w I K The c&11 was 1bgued‘w1th0ut slgnaﬁures, mt was merely an announcement that a r . f 9 ‘ . 5 ‘Hr » _ I ‘. , Jonah s Rzghts Conventlon would be held on July 19, and £0, lﬂ Seneca Falls. The chief mnvers were Elizabeth Cadv Stant on of Seneca Falls, Lucretia Matt of Philadelphia, %ary'enn ﬁcC1intock and Jane Hunt of Waterloo, and Martha C. T E dright of iuburn. The last mentioned ledy*eee the sister of ﬁrs. ﬂott, and the grandmother of Themes ﬁott Osborne, the famous exdwerden of Sing Sing Prison, who thus comes naturally by his reform proclivities. , .. The Convention was held in the~” Church in Seneca Falls. It ees a great success, the place ees crowded at every meeting, both men end women spoke. James Eott, Lucretia's handsome husband, presided. Someone sage of it: “A religious earnestness dignified all the proceedings”. M 4'c«¢,é"4..:;z/a 3 * ~ -in 'L.«.~.- ~ »~~vr~ —+‘:a’"’ " . “ ‘ - ‘ Of that first ConventionZme»eeeeee dig in her eutcbiogzephy, Eighty Years and More“, "These eere the hasty, initiative steps of the moet;momentoue refornz that hee yet been leunchede in this world, the first organized protest against the injustice which has brooded for ages over the oherecter and destiny of one- helf the race.” But mother fails to tell, in her book, one incident that I think most significant, and which I have often heard her relete; "It shows how far ahead she eee of her times and how clearly she see into the future. She asked Frederick Douglass, the great colored orator, who had oome down from.Rooheeter to ettend the Ccnventicn,°what it ees that his people, the slaves on the southern p1ente~ tions§ needeaﬁtp out them.on the right plane. "The ballot”, he promptly replied. “And I see that is exactly ehat we Women need“, said Mrs. Stanton. Then she explained d" T to him.thet she had drawn up a resolution, tetdshe intended to present to the »%“"'5"5;3 ‘ Convention, and he must immediately jump to his feet and make e speech in favor of its passage, and then she would do likewise. The resolution reed: “Resolved, That it is the duty of the eomen of this country to secure to themselves their sacred right of the elective franchise.” “éﬂ-Q i,/¢¢¢,{;§::’,¢¢ ii; ey mother told Er. Douglees that in the conﬁerences they had been holding before the Convention, ehen she had maintained that the ballot in the hands of eomen'ees the keynote to the situation, Lucretia ﬁott had exclaimed: ”Oh3,Lizzie, 26 if thee demands that, thee will make us ridiculousi ﬁe must go slcwly.“ And my father, aha usually stood by my mother in all she did and saiﬁ3 and aha disc spoke and‘ﬁorked for the cause of wnman,'was so amazed at her .9‘ daring,'when she confiéad ta him what she intended doing,and sp distressed that she would not listen to his advice, that he left tqwn and dié not attend any of ths'meetings3 But mother felt she was right, and nething anyoae saié coulﬁ turn.her from.her path. Thenﬁ tee, she remsghered the advice given her by Daniel O3C0nnel1 years bafore in Ireland: “Always ask for the uttermpst; than you may get semethingi” Of course those on the platformywere furious at her for springing her reseluticn on the ﬁonventiont it created hot debate, but the brilliant éefeﬂse, of Bouglass and her own elcquence and logic so roused the audience that many arese and spoke for her side; and after a two hours’ tussle it was carried. v ﬂ’ ' 4 ﬂ 4') /~',’ /' u r éﬂemand fram the first was those three . 40 So that Elizabath Cady Stant0n's 1/’? 05/ little worés ~ "VotesJfor Womami“ Susan B. ﬁnthony was not present at that first ﬁonventiens she did met some inte the mavemant until three years later, in lﬂﬁlu
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Creator: Lawrence, Margaret Stanton
Date: n.d.
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Zr‘ 4&7/,0 %(;,‘/4k,__/},~[L” A/m .. ’ %Z=ch____, 52 % /?%-mg«-—=z»4——-6 /7 ~ ﬁﬁkf ab V/ﬂ ﬁyﬂ . V» V, - 4*“ /2 l G ’ ’ V " ’ ’ w > 4 ﬁg g » % L Q9’! M / . 4 / /xi .,—w.~mﬁ 2 ‘ : , I «Vim. /’ «W r " , 7 v ‘ l L z~ 4, W <4»: '7.’ » 0 , . . ....... 4. LML, .4»:/z_a«/,“'g4 J/— é/aw‘ % ii ital £a.¢«..¢._ ,r:::§£,%. %£___/ﬂ W 4’ * {D . % ' « 5’ ‘, ,1 ~ / . ’ .,wzuz M iénze/4 f ./-(pm. //%{,,.«}3,;i /W/M%%L. ’ 4 /, » ¢ M’ 1 :1" , I ﬂ;-s / , ,~“ . . . / C " ‘ ‘ .2 M ‘« "/ Q {-9 W. _' / = ,, ‘ K yaw: i‘%"{Z"Lf“%”g*"”“ /’ M 4/ “""“" 1''” /&.g:%'”\\ ’ /A ‘ V /9. . 2?‘) /«i454/Q’%“"z*7§. 4%/J"/xxm//Z /111.4 A W /ﬂﬂ/?‘«-— /2’/w mu 35/ ”‘“*%m'¢;:%g.¢/L. -Z; / M ;M /5 g/ﬂag‘/' /2.14/c... ., ,1. k2‘ ¢ A » " ',/ /344+; mum W, 4 /%~ / 4 §§G §A$ ELIEABETE C$$f §?A§?7§? AEE TED ST&RTﬁ3 Vﬁ?E$‘FQR ﬁﬁﬁgﬁ? A 31? Q? ﬁ§$IE§.’§I3?GRY $3? TEE SIELS O? T§~§£?. EY E33. §?A§TQﬁ'$ EA7§ﬁ?EB. Eﬁﬁﬁf W?T S?A§?O§ LA§R§§C§. ]i4'L;/A,..Zfa_ /A;"@,;{;"(;y-r2Zm.z«(_22'.«¢¢ Au.____. § 1. M7” A As I galkeé along the praﬁty cauntry roaﬁ ta cast my vote la$t\§QV%E%$?~iﬁ thia auburb af §@w“§ark $iﬁy,~h0w I aid wigh that my mother, the lata Elizabeth Cééy Séggﬁeﬁ, ways witﬁﬁe, ‘gLj7> an her way to tha @9115. Gnly 933 or ﬁwc ef the far weﬁtern gﬁataﬁ gave thair women tha vata bafare 3&3 gaageﬁ away. I Esra a beautiful brooch, an heirloom, Qblong in ghaya. ﬁhe breast pin hag quite a wide gold baréer inlaiﬁ with levely pearla, in the cantar of %hieh, mnéer glasﬁ, ig a lack sf myﬁ mather*$ wendarful'@hite hair. $3 the hack sf ﬁhe pin I have had imaerihed, as that whoéver inherita it will knew w%0ge ﬂair it 1%, the follewing: Earn Eev. 12, 1815. Elizabeth Sﬁﬁy ﬁtanton. 42“j?;» % éiea Got. 25, 1902. I was éeteﬁminaa that acmething belenging ta bar ahauld be in the yelling beath.$ith.me when I marked my bailetﬁ, aft@r aha had faught ta get mg %omen.the vot@ for evér fifty fear (5%) years af bar life: As I walked along unéer ﬁhe treas, faat ﬁhaééing their laaves, I picturad my mother Eben aha e&llaﬁ that first con- ?@ﬂti@ﬂ a haantiful yeung waman of thirtyuthree the mothar ef three stalwart haya. ay paranta aant ta Baatsn, aasaachnaatta, in 1845: ahare my father, tha late Henry Braaatar Stanton, a airact aaacandant ca aha Rav.'%illiaaaBraaatar aha came avar in the aayfloaar, ba- gan the practice sf laa as a partner ef Raina ﬁhoata. Ea haa fer many yaara baan an araant anti~a1aaary advaaata and aaa ena cf iﬁa aaat ra w brilliant aratora. In Beaten aethar mat Lydia aaria Salli, Elizabaﬁh Eaabeay, ?ha0&ara Parker, Balph‘aald6 ﬁmaraan, Gharlea Samnar, John G. ahiﬁtiar, Brenaan Alcott, aathanialaﬁaatherna ana aaay ataar litarary lighta. aha and my fathar aara fragment viaitora at tha hamaa af aanﬂall Phillipa and ailliam Llayd Garriaon. aaila in Eeaton.aathar attanéea all the lacturaa, caurchaa, cenceraa, taaatraa, taaparanca, peace ani yriaon rafcrm, and anti-alaaary Convaatiana that aat in that ciﬁy: aha aaya, “I naaar liaad in auch an anthuaiaatically literary and raform A Amauziz. hﬂwﬁl a latituda before. afanawaral aeaarsﬁhera kept at the highest tenaioaam fhoaa aara atirring tiaas in ahiah my paraaﬁa livad.a‘ §aat9n aaa the atana cantar cf many cf the big aavaaanta af that day. ?ha graat antiualavary aaatiaga in Eanuail Eall aaaaad “Eha ﬁnk“ ta ita vary fouaaatien. But alaai the cliaata of Baatcn pravaa to ba tea aaaara far my fathar, as they aara abligad ta laava all thia congenial aociaty and the goad atart ha haé maﬁa in the law; In 1847 &ey ﬂowed to $eﬁec& Falls, Ee%'York, a litﬁle village % in the centar sf the gtatﬁ, whare ﬁg granﬂfather, Juéga ﬁgéy C&¢j7; had large landaé intaresta, and affarad}tﬂem a nice heme, with spasiaus graunﬁa, ané a farm naarby. Sf their new abiding place my mather gays, “In §%n%C& ﬁallg life was ctmparatively salitary, and £35 change from.Eogt9n was gameahat dapregsing. ‘There all my immeaiate friandg Wﬁfé re- fonmera; I had near n&igbor$,;a may houae with,mod@rn imgrovaw manta, ana wellwtrainaa sarvanta. ﬂare our residenc@‘%a$ in the outgkirts sf tha village, roaé$ eften mudéy and me aid@w&lk3 meat of the gay. “ﬁr. ﬁtanton gag fragueatly away frcm,hem@ an %usine$$, I bad year servants, and an incraasing number sf children. ?e keep a houge ané graunés in gaod erder, purchﬁaa every articlﬁ far daily nae, Rea? thexuardrobes of half a éazen human beingg in prayer irim, take chiiiren ta ﬁentigts§ ﬁkeemakara, ta éiffareﬁt achoala, aitegether made gufficiant WQEK ta heap nae brgim bag‘, as well ag all the hands, I 0031i iﬁ§?€S$ inﬁo the aarvica. Then, tea, the novelty af heugakeeping had paggeﬁ away, and much that wag snag attractive in ﬁamaatic life wag nsﬁ irkaame. I haé so maay cares that t&@ ccmpauy I naaﬁaa far imtallectual atimuluﬁ was a trial rathar than a yleaguraﬁ. axtc/{tmzﬁ”»-ac. ﬁhﬁ writea, “I new fully und@§3tand tha yractical ﬁifficulu tiea meat wmmen had to ceatead with im the igal&te& hauaﬁhali, ‘ ané tha impoaaibility sf waman'$ bag? &e?@lgpm&nt if im cant&ct the ehiaf Qarﬁ cf hat life with gervamtg and children.“ Aﬁmerssn aays,”Afhealthy%éi$acntent :3 the firat $t%§ in pregress,“ mathar §ay$,”Th& general ﬁigcamtant I f@1t witﬁ %0mén’s partisn as wifa, mcther§ hauaekaeyﬂr, yhyaician, and spiritual guiﬁe, the ch¢0tic conditian inte wﬁich avﬁrything fell without har cangﬁant auyervigiaa, and the w&ari@ﬁ, amxieuﬁ leak 01! af taa majority sf women Lmyreageﬁ me with & faeling ﬁhat gama J agtivg mgaaurag ghculm he takaa ta wemﬁcy the wrangﬁ sf ﬁociaty in genera1,:&nﬁ of wamen in particular. it gaemﬁﬁ ta imgai me ‘ '5 kg same Qmward gtay. I ceuld net 83% @h&t ta £9 Q? wmwye ta be» giﬂ,~-umy only thought was a public maating far ﬁzaiaaé &n& £13» In ihia iamgggtwioageé siaﬁa af mimﬁ Erg, ﬁiantmm E£$@i?$§ * ,...~ -‘»§- ' «. A~ ,, 4 ms» Mg. .. '. -M,» *7 /».~ . H» .. ' ‘HT :3 ~. ;. gm lﬂfluﬁtlﬁﬂ um uygna ge Qw§ in LJE uaarﬁy Vlllagﬁ Q; ﬁateslaag er .4. . ..g... 1 A ‘s ,.‘‘I ﬂu. =’» ,._ .. * ,... . _ 3,. I ,, .. , . m. E. 90 M33» mgr 94$ xriamﬁjxucreﬁzﬁ Eﬁtt, ﬂag C@l@bf%t@ﬁ Quaker yreaaher from ?hila&el§hia} wﬁo ha&%ay§i¥~a im ﬁhat iawn am a.viaiﬁ aﬁ the ﬁauaa Qf Eichari Rani, whayg gha may ﬁhygﬁ ﬁiﬁﬁf €93 %Q&K@£ L?l3H&§,:@;l %&fﬁ%$t, h0ugﬂ xml gumgmﬁ gagﬂlgg mﬁffig» U? 0 Of this gathering, among ether things she eeye, “I poured out ﬁhet eey, the eerrenﬁ ef my leng accumulating eieeontenﬁ, eith such vehemence ead indignatien that I etirree myself, ee eell es the reeﬁ ef the yerty, he ea ene dere enything. The result eee they decided ﬁe cell e.“eemen*e Rights ﬂan» ven‘i;ien**, the :i’ire‘t in history! They er:-ate The $33.11 for that meeting thee efterneen, end as my mother dreve heme, eee left it efe the e;f:t‘:i.ee of The eeneca} emney C{§1‘u.rie_3:: ﬁe ee jggmhliehed the next day, July 14, lees. fhe meetings eere te‘be hele en July 19th. and 20th. The Cell eee ineeried without eigneturee, hue ﬁne chief mevere ene menegere eere Elizabeth ﬂgay Stentmn, 4ﬂUi;L, of Seneca Falls: Lucretia Eott, ef ?hiladelphie; eerthe C. ‘eright of Auburn E. Y;-eeeieter oibcreﬁie Eeﬁt-end the grand- mother ef Themes eat: Osborne, eke eee the femoue eerden of Sing ﬁing yrieon in ear dey; end ehe ihue comes ne£urelly,yee§ eee, by ﬂie reform yrecliﬁtiee. The other rebellieue eemee eho eigned were eay Ann Eeohetock and Jane Hunt of Weterlee. 54,, 4;; 7£@%%£L€7¢¢uA4A4LIC.%Q¢’4“WL&7-w A quintette es it eere. ~‘_ I E i 5 t I / Tn «*2. '3; =v “_ M 1% ' 16.31? En "3 ~ ’ -9-?» ‘“H*“.. «S»-“?.»q r '1 ' ,«"\~ ;"'1‘§.—~: m». J ‘J {V «a. L. T” eeeeemezee wee mgai iﬂ uw§ MﬁumQQlw -uu&mﬁ La uﬁﬂgﬁa ..- 'n‘ 4. *4, '1 '1. :1 . M. ‘ ‘s, , _ "e 4. .0 I .,, - _ :1 £1 . =3“ "_< i..:'1"‘3: ;~. 5.4 ’“s '2 57* .v* * M « V re -me: " ..:.«.=..» ?..»=L.«...z.., 3 :,c.,=.4.5.. x..-..:~.> 1...: L 33. 4.34‘: e=...£“ we £3. L} 3. XL7.’-.,; .55. Q la 9 """’~..u ~v ’ A « ‘W0 “.5; . ~-- .- .~ ‘ -, 4-. , A w-—. ,- J-M.’---, . . .. ’ peeezmeﬁ. G; tﬁlﬁ meetmeg my meewee eeye, 1n 4" '1'?‘ "'1/; .~** W‘ 1 ~g"a . '7 -1» «W -= -~,.»~ , , - ‘ m, ."« ' ‘ ,,. , lmtﬁlg eegeuleﬁﬂﬁﬁ by Herger Erothere, undeg the ﬁitle Eliemheth {Hg 55 '3 .1 ‘H3’ *9 ' ‘Jr. a" r'* 3:‘ ‘M’ I‘ 9 r .; we-2 wiee >ﬁeﬂtO4: 314% eke Leiteyeg * hﬁ ieuee Tub csezfeﬁ we seer? {Q C5’) C3 {:3 C) $25 W :71‘; ;..fs ii} E Z? V :-..._..5’ £3‘? W 5.4. 9"»! ye x.:“~'; C333 0 C3 . 9.: V $33 $ 52? ?r“”$ (D . §,...J }«53¢ 5-«Jo C3 Epﬂu-D 9-4 (:3 {T9 ﬁg?» e gr.) {'3 {5} 5+ 9 (L: if’ E. e 3 1 !~-an: (“ 2 I nifiee all the eroeeeeinge.” -.... «'9 v‘W"».. 32 i ,, 3:} -.~ 5 .49 4. -.. ‘V. 1,...‘ ¢.g.,.\5 J‘ e nan -01 mm» 4..._"’; ”_. . 2.» v = V .__?7.‘0 ,4’, A .1 .1. 5 .» :3 ‘K 4.... .~ .'|: 1...: ‘hm-"‘ .r”“,H‘§‘,!‘ ;.““:«‘§°“'S’ *3" . ‘amt -,-. 1,‘; .r.. .3». ‘am ~n<5m ‘@ hext. ehe read it to my Father, ehe usually steed by his wife all she die. at said. but he ee eheeked that he jumpeé. ta hie feet ene begged her net he read it. Furthermere he told her ehee she-heuld net follee his advice, that if ehe per- eieted in her intentien, that he weuld leave teen end net attend any ef the meetinge,ehieh he did. But this breve. yeung mether ef mine was ee eure ef what was needed that she éefied the eerie, her husband and Lucretia Matt! whegthird pereen he ehem Mrs. Stanten.cenfided her intent» ions was Frederick Deuglaee, the brilliant celered ereter, ehe had came dawn frem.Recheeter te speak at the Cehventien. My mether asked him what it was that he saw, that his peeple. needed to put them on the right plane! “The ballot“, he promptly rep1ied.2¢*And I eee that the ballet ie exactly what ghh eemen need,“ eeid Elizabeth Qgay Stanten. 4;??g_ Then she explained ta him.that she had drawn up such a reeelutien/ite text shortly fellows. This she said she eeuld reed te the convention when the IX Reeelutien has called fer, ehd that he must jump to his feet immedietexy and make e.rihg- ing epeeeh in favor ef its passage: and ehen she weuld de like~ wise. The fameue IX.Reeo1utieno ﬁheeolveig That it is the duty cf the women ef this eeuntry to eeeure ta themselves their sacred right e:#the Elective Franchise.” hr. Douglass agreed with her that her resolution hit the nail righﬁ on it5m heai. and saii he wauld d@ all he cauld ta help her. fhen,teo,mother rhuembered the advice given her by Daniel O*Cnell, the famoua Irishh erater wh she met Landhaz; England in 1840 en her wedding trip. while attending the‘Warld's Anti-Slavery Canvention with my father, Henry Brewsﬁer*8tanton, who was ane ef the delegates fram the United States Qf Americg, as Well as being the Searetary of the Cenvention. She haw a great deal of Mr. O'C@nne1l éuring that Con» ventien, and when she and father were in Dublin, Ireland. my parents dined with him. During the dinner she asked the”Irish Liherater“. as O'Connell was called. if he expected ta gain freedam fer Ireland? “Ne,” he replied, “but when you are agitating a questien a1» 3 u ways ask for the uttenmost, than yeu hay get smaethin Of ceurse these on the platform were furiaua at her fer springing her reselution in the conventien, they thought they had squelched. her beierehand. It created hot c'teba.te. but the brilliant defenee af Douglass ani her gwnhelaquence ah rauaed the auaience that many arese aha spake far her aiée: and after a three hnufh tussle it was carried, by a small majarity! 4.4% So that Elizabeth Q§d¥[Stenten*s demand free the very first was these three little words "Votes fer eemenf ” Pram en article that I read enky teodey, eritten by en old inhabitant of Seneca Falls, end ene ef mether’e near neighbere~~Janet Ceeinga-«I teke the felleeing; ﬁfhetjggygigi’ §g§h§§;§eneentien ef l8e8 e$eite& the laughter of the netien. Same of the papers treated it eith derision, and others eith indignation. Only the Anti~e1every papers steed menfully by the eemen.“ ey mether eeye of it: ”With.eur De » hand Reeelutione for e text. it seemed as if every men'who eeuld 77 wield a pen prepared e hemily en*eemanfeS here’. So prenouneed was the pepuler voice egeinet it, in parlor; preee and pulpit that meet ef the ladies who had etteneed the cenventien and signed the Declaretien. one by ene withdrew their names and influence, ené joined ear pereecutere. Our friends gave us the cold sheulder and felt themselves disgraced by the whole preceeding.“ 2 z,_. Further en in her beak hrs. Stanton says, Wﬂhether ema- vention ees held ene menth later in Reeheeter, R". Y. The first ene seemed te heve dreen ell the fire, and ef the seeend but little eee eeid in the press. We had set the bell in metion. and new in quick sueeeeeiee conventions eere held in Ohio, Indiene, Massachusetts, Pennsylvania and in the city ef ﬂee Yerk; end have been kept up even einee.“ 10. A list ef these signing the Declaration and Resolutions at Seneca Fells, July 19. end 20, in 1848, is given in Mrs. Stenten’e Autebiegrephy. heny peeple are new claiming that their eneeetere signed thet list, an consulting it yeu eill find that their names do not appear on it et all} It numbered only about one hundred. SUSAN E. ANTHON¥. Susan B. Anthony was not present eh that femoue fenece Falls Cenventien of 1848.L She did not eeme into the meve~ ment till three (5) years later 185i; She was teeehing school, et this time. et Cenejeherie. in the Valley ef the hhhawk river]. when ehe reed the Wemen's Decleretionhef Indepeneenee and these eleven Reeeluggpns in the pepers,'tis said she rether laughed at their audacity. But when she get heme for her eummer vacation and heard the reports of her father, mother and eieter Mary, ehe attended the meeting in Reeheeter; ehere my mother spoke, and heard them eey that they eeneidered hrs. Stenten'e% demands “quite proper," it-set-her te thinking. My mother and Suseefhnthony did not meet till 185%” ehen she came te Senece Falls te attend an anti-slavery meeting g2:§E2;&;up by‘Williem.L1eyd Gerrieee and Geerge fhempeen. But elmest free theisiygthat my mother eed hiss Antheny A met they became the eemeet ef frienae, and eteee by each ether ;1G£B) yeere. Theirs wee. prebebly. one of the most beautiful friendships that ever exietee between tn eemen. She was e cenetent visitor at ear heuee after 1851. and eee en ethef tggie. et eur heme ehertly after I was barn; and Wes ene of my earliest friends end admirers, and tech almost entire Centinued 0 charge of ma when I was being weaned in 1855?? Se yam see I knew ”Thuzan¢“, as he ehildrenalwaya called her from “A ta Zg almost from the haur sf my birth, Oct. 20. 1852, till the day ef her death 1.196. a:e. sld laéy @f 75 fr&n.where It is quite a walk for_a I live t9 the polls. §=égg:;£:%Z I had plenty of time ta reminisce. hhen I arrived at the nice, clean, reomy. school hcuseneur pelling plhca- I theught af mother's prew dietions. that when wamen got the vote he_waulémhawe decent places in which ta hold elections, instead cf old barber shaps, er small tailoring establishments, and the like, as in the days of man-rle. I Walked into the play~roam an a level with the street. An American flag held 3. conspicucus place an‘ the/fg‘iLL‘: plenty of henchhs and chairs were scattered abeut, there were tWQ wamen amang the gelling clerks. A policemax?with.nething ta de, sat reading his morning paper. Gh! my, theught I, haw mcther wegld have enjoyed seeing her predictions came true. Such a centrast th the canditians of the polls cnly a few years age. when we wemen were still asking far the ballot, and the men allawed us ta be watchers in New“Yerk City. One place was right appasite where I lived in the west-nineties, just off Broadway,---a “kid glove“ district. as it was called. 12. ey sister, hrs. B1etch1eae then President ef The%emen'e Politieel Union: almd her yeung eeeretry hed been eeeigned. to egggg in this little teilering etere Where the oak place. Her Secretary, Miss Hill. was bemeening the feet that they had not been eentvdoen te same tough place where exciting things eeuld heppeh. “Ree held on. Alberta, the day ien’t dehe yet, yen may see things even up here? I eeie. And they did: ene by ene the pclling clerks disappeared and came back drunk, the pelice had to he called in. ere. Bletch and Miss Hill were preeeedgigte service by the sober heed-men te help him eet in the emergen- cy. They eorkeﬁ fer inte the night; eere too busy even te come ecreee the street and partake-ef the tempting dinner thet .my geod cook had prepared for them. Seﬁwe sent eeme nice viende ever fer ell ef them. “Lediee,“ the heedpman eeid at parting, “ I don't knee'I en eure. What I ehauld have done eitheut year efficient help.“ I Alberta was more than satisfied with her daye work she told me afterward, “No place could have been more exciting, Mrs. Lewrence),*ehe exeleimei! when I eent to register there happened to be no ene present but the peelihg eletke, ee I took my eet beside the eemen in charge ef the beak eherein I erete my name. ene they began te eek me hee eld I was, ehe I eee, what my oecupetien was etc. 4;’! I spoke up and eaie. “he ell sit dawn ene listen and I'll tell yen. *‘ 15. “ I em.eeventy-three years old and the daughter ef Elizabeth @%3y Stanton. ﬂee; can any bf yam tell me'whb ehe wae?MEo. tbf couldn*t; never heard ef her. “Well? I replied. “ehe it was eho, away back in 1848, started all thiSLfHSS ebeut giving wemen the right to vote.” 89 I tbld them.ehe ehe wee. ell abeut thet firet can-I acer end ventien; end of her answer to Horace Greeley, then as editor of the N. Y. Tribune. Mbther was talking wamen suffrage ta hie, he locked at her and saié, “Ere. Stanton. don't you knew that the ballet and bgllgﬁ ge te~gether? Are you ready to fight?“ “Yes, er. Greeley.“ she prbmptly replied."I’ll fight just as yeu fought in the late War ef the Rebellion by sending my 3aid.subetitute!“ In the war of 1861-1865 all yen had to de was to pay a man $500.00 end he would ge and fight fer you. They were called “Three-hundredndoller men? They all laughed heartily at that, end seemed much inn terested in all I had told them. I remember that before I went te the polls for tbe first 'tiee. my sister. Mrs. Bleteh ehawed me haw ta feld my ballot, Centinued 14. end egg it must be felded that way, eo that he one eeuld epen it and peep in and see hee it was marked. and change it if thy wished. Lo! dn going te the polls that day I see that all the ballets eere folded wrong. I at ence eent ta the head- man and beth-teld him and ehoeed him haw they must be folded. and he had to have them.al1 done ever! hire. Bleteeh '51 me that the way the ballots are famed ie the proper way te fold table-elethe. then ell the creases will he on top when the clcth ie laid on the table. Hence hacks better. V I eonder if the men get the idea frem seeing their eivee iren and feld their table iinen properly? ewho knees?
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Date: n.d.
Text: e>v 3 *MW,ITHEN9 ﬂ“W§%;iE;gJR? 0NG or In: wnsa NYMPI-IS.) F ~‘@r?9 C5552 191;: rg -seletteh from C \& /Q 4 W "\ L. g (JV 9 ﬂHWPERﬁ@MU (€325 I § “~ /ii?‘ ¢ » 9 2 ’ 4 é // , _ I F‘ .. / ,-~ ‘ ‘ ( r y9 /3 q ~/‘ /» - “ ‘ ‘ UN v:> ‘ \\,, H \> 3 k N Wnumngzh lag A ‘i , @@%N”@&@@%iE ﬁg Me .$‘(I/I26 Izztﬁors, .«\ am mmﬂ ’ ? EXCELSIOR . .. (2)3710 t7f’/7lé¢’«£&’/ . .. 4/ FOOTS TEPS OF ANGELS/wit/L/Jarlmit /,-/{any/.131/ow,..3/-v 1: ‘ CONSECRATION OF PULASKYSABANNER . ,4/:...
Show moree>v 3 *MW,ITHEN9 ﬂ“W§%;iE;gJR? 0NG or In: wnsa NYMPI-IS.) F ~‘@r?9 C5552 191;: rg -seletteh from C \& /Q 4 W "\ L. g (JV 9 ﬂHWPERﬁ@MU (€325 I § “~ /ii?‘ ¢ » 9 2 ’ 4 é // , _ I F‘ .. / ,-~ ‘ ‘ ( r y9 /3 q ~/‘ /» - “ ‘ ‘ UN v:> ‘ \\,, H \> 3 k N Wnumngzh lag A ‘i , @@%N”@&@@%iE ﬁg Me .$‘(I/I26 Izztﬁors, .«\ am mmﬂ ’ ? EXCELSIOR . .. (2)3710 t7f’/7lé¢’«£&’/ . .. 4/ FOOTS TEPS OF ANGELS/wit/L/Jarlmit /,-/{any/.131/ow,..3/-v 1: ‘ CONSECRATION OF PULASKYSABANNER . ,4/: GOOD NIGHT ./fen:/Iaa’£, .. nu: nmnv om //su-/W-2 Vaim, ..3/= THE. PSALM or LIFE. //or-1.;;’2 1r?1iae".s'/.- .. . THE BRIDGE . 4= I ma snuzm LAND .. //arzfumy ... STARS OF THE SUMMER NIGHT .. ...3 . /T ., Ent. .§'toL.Eal[. JOHN BLOCKLEY, 3,ARGYLL. ST, REGENT Saw; ~. 1 Ztffa Alusac uanmv VASSAR COLLEGE "WHITHER7 (soNG<n'rHE WATER.NYMPHsJ “I11_the twilight of a sItm.m’er’s evening, the Baron and Fleming walked forth along the borders of the stream. As they heard it, rushing and gushing among the stones and tangled roots, and the great wheel turning in the current, with its never ceasingplash, it brought to their mind that exquisite simple song of Goethe,the Youth, and the Mill- br-ook. It was for the moment a nymph, which sang to them in the Voice of the waters. ‘Can you not, even now, hear this brooklet telling you how it is on its way to the Millwhere at idaybreak the miller’s daughter opens her window, and comes down to bathe. her face in the stream’/’ 9 Written by Composed by H.W}LONGFELLOW. JOHN BLOCKLEY. ./VIODER.x1T(). L >/-\ mf //’“\\ //”“\\. ///_‘\\ ///~\\ I he-ard abrnok_let gushing Fromits rocky fuun_tain near; /9 €/ \___,/ ‘/ ; *2 \_Q/ \_Z ‘Z Duwn to the val _ley rushing, So fresh and w0n_d’r0us clear Crcs. know not what came (fer me Nor who ‘the coun _se1 gave 1 must has_ten down _ ward, All with my pi] _ grim stave. \/ J. Blockley. molto espressivo 6 pin lento. Downwardand e _ ver fa'r_ther, And e_ver the brook be- side, . And can anima. 7 . e_ver- fresher mur - mu1~d,_And ever clearer the txde, mf‘/~/ -/‘/ dim e rail. 9 . .e_Ver fresher mur _ murd, And e_ver clearer the t1de. {T , calla voce. dim e rall. \.:/ W'hit-her. ‘ -1~Bl0C“*’:~{~ Is this the Way I was going‘? W}1ither,O bruqklet say! Thou hast with thy soft mur _ mu'r,s Murmu'r’dmy senses‘ a _ way. Whatdo I say of a mur _ mur? That can no mur_mur be .Tisthe Wa _terNymphs that are sing _ ing‘ Their roundelays un_der me. Let them \_ W]‘i-“‘9“- J.Blockley. molto espressivo e pin lento. sing my friend let them mur _ mur, And wan-der merri _1y mf con anima. wheelsof a mill are go _ i_ing In ev’_'ry brook_let clear, Inf dim e rall. wheelsof a mill are go _ ev’_ rybrooklet clear. fﬁ calla voce dim e rall. Vfhither, Puhlislxeil by Jairhrz Bi*}4flzl!_'Y 5% e$z*:.)'v'll
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Date: 1907
Text: SIX INDIAN SONGS FROM THE “HIAWATHA" HENRY VV. LONGFELLOVV With German text by Hermann Simon VOICE Gitche Manito the Mighiy (KitschiManito, der Machfge) . . . . Med. Greeting of Hiawatha (Gruss Von Hia- watha) . . . When the Noiseless Night Descended (Nachts, wenn alles liegt in Schwei~ gen) Chibiabos (Tschibiabos) . Death of’ Chibiabos (Tod der Tschibiabos) Onawayl Awake, Beloved! (Onawéil wach auf", Geliebtel) Med. OLIVER DITSON COMPANY. Boston New York Chicago ' Philadelphia...
Show moreSIX INDIAN SONGS FROM THE “HIAWATHA" HENRY VV. LONGFELLOVV With German text by Hermann Simon VOICE Gitche Manito the Mighiy (KitschiManito, der Machfge) . . . . Med. Greeting of Hiawatha (Gruss Von Hia- watha) . . . When the Noiseless Night Descended (Nachts, wenn alles liegt in Schwei~ gen) Chibiabos (Tschibiabos) . Death of’ Chibiabos (Tod der Tschibiabos) Onawayl Awake, Beloved! (Onawéil wach auf", Geliebtel) Med. OLIVER DITSON COMPANY. Boston New York Chicago ' Philadelphia C. H. DITSON 8: CO. LYON 8: HEALY J. E. DITSON 8: CO. To Am’!!! Rio Pxxrclm. 39d from the WHEN THE NOISELESS NIGHT DESCENDED vsl “mm” (NACHTS, WENN ALLES LIEGT IN SCHWEIGEN) HENRY WADSWORTH LONGFELLOW E E German translnlzbn by Hermann Simon CARI. BFSCH Allegro Moderate, When the noise — less night de — scend -ed Broad Nachts,wenn Al — les liegt im Schwei—gen_, Nachts, Copyright MCMVII by Oliver Ditson Company International Copyifight Secured — dark o’er field and for_est, When the mourn—ful Wa _ wo— nais — sa, AI — les liegt im Dun-kel, W"em1 des Schlum—mers Geist, Ni — bo — win, Sor-roW—ing sang a _ mong hem—10cks,» Zu _ schlies al — le Wig — Thii — ran, J-/‘T KT J-’\ [/9 Spit — it of Sleep, Win,.._. Shut the doors of Nie — mami dich 1'en,._____ S0, (lass Me _ mand A 543-86898 ~4 all the Wig — wams, From her bed rose Laugh- ing VVa—ter, dich kann sz: _ /zen} Heb’ dich schzvci — geml 22011 dam La _ gar, 3 [9 Laid a—side her gar—ments Wh01-1y, And with dark - Le — ge ab die Klei — dc?’ a.l — le, Geh} um ness clothed and guard — die be_sii - ten Fel — :4; 4;; 444 5—33~66898-4 shamed and un — af _ fright—ed, Walked se - Cure — 1y round the corn_fie1ds, Drew the Gran — ze al - ler Ae - char, Nur be — deckt mi! dei — nen Lo _ cken, Und in sa — cred, mag- ic cit- cle Of her foot-prints round the corn — Ra — ben -nacht ge— klei-def Das mach! frucht—bar die Ge — fil - 5-33-663‘.-)8-4 THE MUSICIANS LIBRARY An ideal series of‘ independent volumes, planned to include the masterpieces of song and piano music, edited by men of authority. Each volume contains an elaborate, critical introduction, a bibliography of the subject, and portrait of the composer. The volumes are beautifully and uniformly bound in full cloth, gilt, price, $2.50, postapaid, and in paper with cloth back, price, $1.50, postrpaid. Descriptive booklet sent on request THE MUSIC STUDENTS LIBRARY A series of educational works suited to the requirements of the average student. The books are uniformly bound in ﬂexible cloth, are handy in size, and range in price from 50 cents to $1.25. The subjects treated are Ear Training, Intervals, Chords, Harmony, Harmonic Analysis, Music Form, English Diction for Singers, Training of Boys’ Voices, and kindred subjects. Send for booklet THE HALF DOLLAR MUSIC SERIES A series of music volumes planned to give, at a popular price, a varied selection of attractive music. The contents of each volume have been carefully chosen from music of proven acceptability. In no other form can so much desirable music be had at the price. The books are attractively bound, and the series includes collections for Piano, Organ, Violin, Voice, Mandolin, Guitar, Cornet, and other instruments. Send for booklet THE DITSON EDITION A new library of approved works, chiefly technical, for the Piano, Organ, Violin, and other instruments, and for the Voice. It addresses itself to music teachers and students of dis» crimination—to those who value quality, who want the best. The Ditson Edition claims superiority in its editing, typography, printing, and binding. It is built on the principle—"Not how cheap, but-how good." Send for catalog THE MUSICIAN A monthly magazine devoted to the educational interests of music. Its richly illustrated pages are for teacher, pupil, and music lover. Its varied contents are practical, helpful, and entertaining. Its special features are unique, and its contributors specialists of great reputaa tion. Each number contains at least 24 pages of music. Sample copy, I0 cents, which is credited if you subscribe. Subscription price, $1.50 per year. Send I0 cents for sample copy and special premium offer OLIVER DITSON COMPANY, BOSTON
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Creator: 1923-2010
Date: n.d.

Creator: Wheeler, Jessie F.
Date: 1878-1891

Date: 1904
Text: MUSIC uanmv VASSAR COLLEGE "0'-"-‘-NW’?!-s-t. Ntw van N91.i~ E % ORIGINAL. . THE POEM BY” ﬂI.L_/@1:2>gf@1E1@ﬂe THE Mus 1c BY WA EL NJEEDLIJNGEBL Price 50 cents. THE WILLIAM MAXWELL MUSIC C‘? 8 EAST SIXTEENTH STREET, NEW YORK. To Mr. H. 7? Burlezgr/z, The Weary Hours. Poem by . Music by H.W LONGFELLOW. W. H. NEIDLINGER. Larghetto. (tempo rubalojz, i Voice. Good nighﬂgood night! Good ni ht! be - T3/?$/‘D é.b cm are ‘Ben. 9% ::::::::====-—_. i::EEE;::;;EE;:::: 10v - ed! I come ...
Show moreMUSIC uanmv VASSAR COLLEGE "0'-"-‘-NW’?!-s-t. Ntw van N91.i~ E % ORIGINAL. . THE POEM BY” ﬂI.L_/@1:2>gf@1E1@ﬂe THE Mus 1c BY WA EL NJEEDLIJNGEBL Price 50 cents. THE WILLIAM MAXWELL MUSIC C‘? 8 EAST SIXTEENTH STREET, NEW YORK. To Mr. H. 7? Burlezgr/z, The Weary Hours. Poem by . Music by H.W LONGFELLOW. W. H. NEIDLINGER. Larghetto. (tempo rubalojz, i Voice. Good nighﬂgood night! Good ni ht! be - T3/?$/‘D é.b cm are ‘Ben. 9% ::::::::====-—_. i::EEE;::;;EE;:::: 10v - ed! I come //”j;E“\\§ A >——b~?)‘:‘5 C7’€.S‘6‘. accel. /rye To be near thee to be near thee, A ~ lone is /\ calla zroce. crew twee; L11} Copyright MCMIV by The William Maxwell Music Co. International (Jopyrzght secured. 659-3 . mpa tempo Thine eyes______. - are /5“ .,_ 19 molto rt’? ”"“"‘ ’ﬁ— cresc accel, morn — - Thy lips . .____ are /"T3 {T [T cresc accel. mf ores c_ flowers! /1\i» 7.5 calla woe. the Wear - y hours. K5 /any $4. ﬂﬂefx} moreizdo Tab. 959 54.5136’: C? uTu.szENo.u:w voP.'.'. NEW SONGS xg V3 ./and BALLADS By Successful Composers ALLING, WILLIS H. "THOU AND 1'' Keys G and B A “THE SOUL’S DESIRE" Tenor or Soprano AVERY, STANLEY R. "SONG OF JENNY" Keys D and F "I LOVE THEE STILL" Mezzo-Soprano . "QUARREL" -- -- BARTLETT. HOMER N. "ELAINE" Keys C and E . . "LIFE IS A SONNET" Eb Soprano or Tenor BURLEIGH, HARRY T. “]EAN" Keys B ﬂat, D flat and E ﬂat "MAMMY’S LI’L' BABY“ Keys D and F . (Lullaby) (Sung by Mme. Schumman Heink) "LOVE'S GARDEN” Soprano or Tenor "HEIGI-I-HO! ” Keys B ﬂat and D ﬂat . "FOLK SONG” Keys BI) and G ("I love my Jean”) “LOVE‘S PLEADING” Mezzo Soprano "JUST MY LOVE AND 1'’ Keys D and F “ON E DAY” Mezzo Soprano or Baritone CHAFFIN, LUCIEN G." "SO DEAR" Keys Eb and G "GOOD NIGHT” Contralto EDWARDS, JULIAN "MY TRUE LOVE HATH MY HEART" Keys G and B flat "THE ROSE AND THE LARK” Contralto Above two songs sung by Mme. Schumman Heink GRANT, E. M. "WERE WE IN LOVE” Keys B ﬂat and D "SEVILLA” Waltz Song Sung by Mme. Calve KLEIN, MANUEL "FORGET ME NOT” Mezzo Soprano "THE FRIAR AND THE KING” Bass Song LITTLE. ALFRED E. "TI-IE MESSAGE” Soprano . . "THE LAND 0' THE LEAL” Mezzo MARZO, EDUARDO "A DREAM OF HEAVEN” Keys E ﬂat. F and A ﬂat NEIDLINGER, W. H. "SAVIOUR BREATHE AN EVENING BLESSING" Keys E ﬂat and G "THE RED ROSE TREE" Soprano . . . “LOVE'S DESPAIR" with violin or mandolin obligate "SWEETHEART” “ " “ “ “ Keys B ﬂat and D PURDY. M:-.CRACKAN "A LITTLE SERENADE" Keys D and F REMICK, BERTHA “COME INTO THE GARDEN LOVE” Keys F and B ﬂat "YESTERDAY AND TO-DAY” Soprano . SHELLEY, HARRY ROWE "KING OF KINGS” Keys C. D ﬂat and D “THE DAWN OF HOPE” D ﬂat. Eb ﬂat G “O DAY OF REST AND GLADNESS” B ﬂat & D ﬂat "THE ANGELS SONG” E ﬂat. F and A ﬂat SMITH, H. WAKEFIELD "TI-IE LILY AND THE BLUEBELL" Keys D and F "THE I-IUMMING BIRD AND THE FLOWER" Mezzo Soprano THE WILLIAM MAXWELL. Music COMPANY NEW YORK
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Date: 19--?

Creator: Warner, Mary Whitman

Creator: Warner, Mary Whitman

Creator: Warner, Martha S.

Creator: Warner, Hariette A

Date: 1920
Text: Q . ////%/// w, W W////////////////////////W V BY M , M / High Voice am «my ILN RLN ..._f can wan .3 mm o D. {1j__HE WANIN Low Voice A LOVER’S LAMENT Price, each, 60 cents, net In Memory of my Father The Waning Longfe11ow* ’Lento J: 60 can z'7zten32'td > n'2f'r>-— largamente —-i J. It is au—tumm; a tempo calla voce Carl Deis § W.“ 15 *This poem was originally entitled “Autumn” 29502 0 Oopyrzgkt, 1.920, by Sclzirmer Youth T and spring are all ‘ ' that haze grown...
Show moreQ . ////%/// w, W W////////////////////////W V BY M , M / High Voice am «my ILN RLN ..._f can wan .3 mm o D. {1j__HE WANIN Low Voice A LOVER’S LAMENT Price, each, 60 cents, net In Memory of my Father The Waning Longfe11ow* ’Lento J: 60 can z'7zten32'td > n'2f'r>-— largamente —-i J. It is au—tumm; a tempo calla voce Carl Deis § W.“ 15 *This poem was originally entitled “Autumn” 29502 0 Oopyrzgkt, 1.920, by Sclzirmer Youth T and spring are all ‘ ' that haze grown espressivo . "f '22 animato Birds - L96 V are dart- ing thro’ the air, {J-i /T ing with- out poco a 12000 mi; tranquillo ’ -Where is stir—ring ev _\ _ pm trcmquzllo A If Tﬁmpo I0 Save with-in this lone-ly breast. J7’ There is si - lencez The dead leaves Fall and rus-tle , and are still; Beats no flail up-on the sheaves, Comes no mur-mur from the ESPECIALLY PRETTY OLEY SPEAKS THE SECRET 60 cents net High F—Low D Vivace The south wind told the- brook- let, 0 - var the field he_ blew, ? 6‘opyr:'gM,_ (915, by G. Schdrmor ELEA NO R MA RUM ROSES 60 cents net Medium G Andante La - dy,.____ whanj ban hold me ma-ea sproutuing, ‘wmcn,c1aa1n damask manues,aecx the anboura, And then__ be—hold your Goyyrtgu, IP15,» 0. Fchrlwi MANA—ZUccA IF FLOWERS COULD SPEAK 60 cents net High G——Low Eb Moderato, con sentimento If ﬂow’rs could speak, I'd send thee ev’.ry day A fose of red sing 1ove‘s roun.de—1ay; And ev'. ry pel.aIwiLh its per. fume rare Would 6‘wrv':M. met, by 0. 5oIoI'rm...~ 3 East 43d St. ° G. A. 514 SONGS CECIL FORSYTH GARDEN OF SHADOW 60 cents net Medium D I7 Moderato Love heed: no mere the signing of the wind Apgainstthe per-ﬁaot flowers; thy gar-dzxfs close Is grown .5 S Li Oopyrlghf, 1918, by G.ScMrmer EYES OF IRISH BLUE xviedium L b MARGERY A. C0oK 60 cents net Andante mestameme copy:-Igu, 1916’, by G. Scnirnwr COME DOWN TO KEW High G. Med. F. LowD (J.= 100) (In the style of a folk- song) CARL DEIS 60 cents net down 10 Kew In H . lac-Lime. in H . la.c.time, in 11 . lac— time; Go Copy:-u'gAt, 1910, by elliabdraar Published by SCHIRMER ' Ne W
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Creator: Chepman, Walter
Date: 1507

Date: 1923
Text: MUSIC LIBRARY VASSAR COLLEGE '0'.'P-WE’?-svz. new vonx SONGS sHA-wON-DA-sEE (The South Wind), Medium, F (No. 5252) . SKARL THE DRUMMER, Medium, D minor (No. 5253) COWBOY SONG, Medium, E minor (No. 5254) - WABUN (The East Wind), Medium, F (No. - I-IIAWATI-IA'S SONG, Medium, F# minor N. as - — — — ADJIDAUMO (The Squirre1)'Medium,G } ( ° 52 ) ‘F J. FISCHER 82 BROTHER - NEW YORK FOURTH AVENUE AT EIGHTH STREET (ASTOR PLACE) 3, NEW STREET, BIRMINGHAM, ENGLAND PRINTED IN THE...
Show moreMUSIC LIBRARY VASSAR COLLEGE '0'.'P-WE’?-svz. new vonx SONGS sHA-wON-DA-sEE (The South Wind), Medium, F (No. 5252) . SKARL THE DRUMMER, Medium, D minor (No. 5253) COWBOY SONG, Medium, E minor (No. 5254) - WABUN (The East Wind), Medium, F (No. - I-IIAWATI-IA'S SONG, Medium, F# minor N. as - — — — ADJIDAUMO (The Squirre1)'Medium,G } ( ° 52 ) ‘F J. FISCHER 82 BROTHER - NEW YORK FOURTH AVENUE AT EIGHTH STREET (ASTOR PLACE) 3, NEW STREET, BIRMINGHAM, ENGLAND PRINTED IN THE U. S. A. To Mr. and Mrs. Elbert L. 0’m°pente7~ Wabun (The East Wind) “Hiawatha” LONGFELLOVV JAMES A. BLISS Q I Medmm Op.11,N0.2 Allegro con moto r,__§_._, Voice Young and beau - ti - ful was Wa - bun, A Zeggiero x V7 0 ‘ He it was ~wh0 brought the morn-ing. He it was whose Sil - Ver méfr- rows f Ossia Chased the dark 0’er hill and Val - ley; He it was whose cheekswere painted Copyright, 1923, by .ZF2'scI¢er c6 Bro. British Copyright Secured ‘» J.F.& B. 5253-3 Meclzamfcal and all otlzer ﬁghts reserved ].>;~§ymgd in U¢s_A_ mf cresc. With the bright-est streaks of crim-son, And Whose voice a-Woke the Vi1- 1ag‘e,V } Lg > ¥_______,g f? , (M.M. J:1o4) Called the deer, andcalled the hunt-er, Lone - ly in the sky was Wa-bun 19 staccato Though thebirds sang gai - 1y to him, Though the Wildflowers ef the mead-ow J.F. & B. 5255-3 Filled ‘ the air with 0 - dors for him, Though the for-ests and the riv—ers Slower Sang and shout- ed ' at his com-ing Still hisheart was sad with-in ‘him /}i /"T /"““T 1‘ a - lone in Heaven. iv A Group of AMERICAN SONGS L1sT No. I . HOWARD BARLow . . . . . . . GENA BRANSCOMBE . . . . .. ELIZABETH I-I. DAVID. . .. }AMEs P. DUNN . . . . . . . . . G. FERRATA . . . . . . . . . . . .. CECIL FoRsYTII . . . . . . . . . FAY FosTER . . . . . . . . . . . . J. BERTRAM Fox . . . . . . .. FRANK H. GREY . . . . . . .. VICTOR HARRIs.. . . . . . . .. A. WALTER KRAMER . . . . HOWARD D. MCKINNEY. WILLIAM REDDICK . . . . . .. GERTRUDE Ross . . . . . . . .. LILY STR1<,:I<LAND . . . . . . . . DEEMs TAYLOR . . . . . . . . . PIETRO A. YoN . . . . . . . .. I-lush ofthe World . . . . . . . . . . . . . . . . . . . . . . . . . . ..2 keys (5193, 5194)* L0veissoNew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..2 keys (519I,5I92)..... Your Eyes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..2 keys (5195, 5196) In my Heart there Lives a Song . . . . . . . . . . . . . . . .2 keys (5038, 5039) . . . .. Honeysuckle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (5151, 5152) . . . .. InAbsence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..2 keys (5155, 5156) Revelation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..2 keys (5153, 5154) The Bitterness of Love . . . . . . . . . . . . . . . . . . . . . . . .3 keys (3976, 3977, 4087) To Helen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (4033, 4077) . . . . . Under the Greenwood Tree . . . . .. . . . . . . . . . . . . . . .2 keys (4340, 4275) . . . . . A White Rose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (4034, 4076) .. . . . Night, and the Curtains Drawn . . . . . . . . . . . . . . . .2 keys (3845, 3000) ..... A Masque . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .]\/ledium (4532) . . . . . . . .. Rest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (4546, 4547) . . . .. The Watcher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .High (4545) . . . . . . . . . .. When the Last Sea is Sailed . . . . . . . . . . . . . . . . . . .Bass (4534) . . . . . . . . . . . My Menagerie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (4491, 4460) . . . .. Secret Languages . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (4665, 4666) . . . .. Shadow of the Bamboo Fence . . . . . . . . . . . . . . . . . .2 keys (4328, 4327) . . . .. When Lovers Part . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (4663, 4664) . . . .. Your Kiss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (4454, 4455) . . . .. A Ballad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. High (4737) . . . . . . . . . . . Evening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .High (4596) . . . . . . . . . . . Eventide . . . . . . . . . . . . . . . . . . . . . . ... . . . . . . . . . . . .2 keys (5079, 5083) . . . .. Sadness; Tears . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (5078, 5141) . . . .. Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 keys (4860, 4861, 4923) When Blossoms Come . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (5160, 5161) . . . .. The Cupboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (5096, 5097) ... .. A Madrigal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (4982, 4983) ..... Nod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 keys (5092, 5093, 5094) Silver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..2 keys (5098, 5099) ._.... Eternal May. . . J . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (4244, 4245) . . . .. ForaDream’s Sake . . . . . . . . . . . . . . . . . . . . . . . .. 2 keys (3851, 3852) Joy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (4246, 4247) . . . . . Song Without Words . . . . . . . . , . . . . . . . . . . . . . . . . .High (5020) . . . . . . . . . . . In My Soul's House . . . . . . . . . . . . . . . . . . . . . . . . .. 2 keys (4867, 4868) . . . . . Slower, Sweet June . . . . . . . . . . . ... . . . . . . . . . . . . .2 keys (4681, 4688) . . . . . To a Hilltop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 keys (4863, 4864) . . . .. Spanish Serenade . . . . . . . . . . . . . . . . . . . . . . . . . . ..High or Medium (5077) . Travelin‘ to de Grave. _ . . . _ . . . . . . . . . . . . . . . . . .2 keys (4955, 4956) ... .. Early Spanish Californian Folk Songs (Five).. . . .2 keys (5120, 5121) . . . .. Sakura Blossom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (5143, 5144). . . .. Bayou Songs (Four) . . . . . . . . . . . . . . . . . . . .2 keys (4944, 4992) .. . . . A Beggar at Love's Gate; So Cycle . . . . . . . . . .2 keys (4440, 4501) . . . .. I. I. I. ng Today is Fair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (4338. 4339) ~ ° ~ -- Captain Stratton's Fancy . . . . . . . . . . . . . . . . . . . . . .Bass (5242). Banks 0' Doon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .../\/Iedium (5210). . Plantation Love Song . . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (4334, 4333) ... .. The Messenger . . . . . . . . . . . . . . .. . . . . . . . . . . . ..2 keys (4732, 4733) The Rivals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (4728, 4729) .,... A Song for Lovers . . . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (4730, 4731) Gesu Bambino . . . . . . . . . . . . . . . . . . . . . . . . . . ..... 2 keys (4452, 4453) ..... Veneziana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 keys (4463, 4464) . . . . . .s.. *Fischer Edition Numbers; the first for high key, the second and third for medium and low. J. FISCHER 82 BRO. FOURTH AVENUE AT E1011 NEW YORK 3, NEW STREET, BIRMINGHAM, ENGLAND TH STREET (ASTOR PLACE)
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Date: n.d.
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Show more. , _, ) ‘//' . ‘/:/:/.eS’la./ﬂz//. ‘ ’ Wm ,,/"/(V. ...,\") L/ K / k,/. \\ / W: {T/_\ ‘<_, “_ /"\..\_/,4’/___T7\ /,.;_\ /fw/j,/“\_/f f ‘_ _ f /7:" ‘//’ ’ \\ ' // /. In / /D ///‘—\\ j = / A \ iy / /'\ /—-~—\ — :1//_/V //r~—~\T_ ﬂﬁmggfellrrm 8 T‘ 1\_//k / "” "‘\ ,/ K\»\ \_j\_ ,, ~ \\/V, 4 ﬁ @@1:A \\ ‘V / I . \/ * j:\ x /“A ~9/,{\ ‘ / .\’VV’,/‘—\Z// , HI,” ”"‘ _ _ Z716 Z’;/operfy of’ Z710 .‘ (7/l,'z?/Larzz‘ £37.” / ¢ @,7\v+72> «@ N, ADDISON & HOLLI ER , 2| 0, REGENT STR E ET. W71?/"6 Ina; 5;’ //ad all M 9 OI./PH/lNT§ ﬁtbZzl"zza'z2273:s*. MUSIC Lrammv VASSAR COLLEGE VOGEMILWEID’ THE I1‘m~J.s by HA.WI iongfellow. 1 »ALLEGRETT0C 0- -g‘e1Weid’ the L Min‘__ne_7sin ; ger ,7 é‘ legato.. ""'Laid his howdy‘ ‘in ‘v-()ﬂ‘*‘]\\t-'i(1.H16= MfIi¥Il'<i1|‘_"‘F‘ ‘ _c1oi.=fter, MINNESINGER, T Music by J:L.Hattnﬁ. _ left this world of' Un__dernéath yon Ab _bey ‘_1()'W’rs. Theyshr-> eed jyirds, =at4-.1V1Q91\Xtide' on his -‘plAaLce~f restub;-"Z " L /z-\ .T “ or (said '1A1"e) from these sweet min _stre1s I have learnii the art of song‘: /5 Let me now _' re____pay thellessons. They Kavetaught so well and l(r)‘I{g:° Thus-/1;11e,.1)ard of love V ‘__part--ed: And, his tombthe ‘birds were feasted - _ \:'ex*‘ < towgr {X11 df dim: ‘r 1*‘ 1 V is ' ‘ R ok I ..V ' 3’ ' V i’ W ' . .— lr.--I V; ' " ~ . V 111 fbui wea._..ﬁ.:ue‘r and. "In ' Ian‘, Da1_-_ly to the » ‘ 1 - _..‘-.__.../.,. ' . \ N A V ‘V v \:y' ‘ -,1‘ (V .1: *7 I - I I noontlde ban_‘qu§t Flccka Eh -pc«__e~ts f i g:::p—'_. in - ’V hea -'-vy bran/ch-es’ / O---ver_;.sha_-dow<i all V piace, On pavement‘, o c s u . ./3. I II I’ J5- I I V _ y , s(;ptlp__tured face,’/' if .1 I. I r $ ' A [V A the cross~barsﬁ-.-o‘f each window, O‘t’1/1116;"’1iﬁ.;:.Vte1 . of each ..,»dub'r,' They re-i_Ii‘e.w’d the __v_tIV1ne_-_-f'u1 WarV_._A V» A. “V ,.the’~/A bard had i ‘ ‘fought. be....fore. ; V Praising‘ theirﬂkind be --ne _fac_-tor “ aI._ter ‘ VOH er» Vo-gé1_weid’.” ‘ ,_A..\ V g.n.»a.1“ vs M .. Till lratilj-lllength the V - ’_ - _m1_I;r’<i;i~,“why it ' /J. it changid to lloavtés l1ence_fo1*_ward. I ‘ ou’1I~«.. fads/f-.-ing --_th(+1??__~V._hood/.” Then _ in iwvavin. with‘ mr ’ cries dis __cord ant, Clam’ __ -rous L round V the - thic ‘ spire, "V T -9- Z—\ Sc1;gm1'd the ’fea_ rid Mi.1i_n¢, isinwgers For the children of ~ _— I - -..--. Ruthless time "has left no tra__ Of the cloisters Af'u,n’_-ral stones ‘ A‘ L A’ Afnc_1 tra-_di__tion on--.1y, tells us ere _re_pos’el the ’ po_--et’s bonésl Buﬁ a__roundltl1e Lvast ca_:_the_‘l_dra‘l,V _ y’sweet <e-_c os mul._ti.....pi , ‘Still Birds re--.peat /_ 1é,_._gend,V _fLl1e na1V1’1ebof' l‘Vo---geI.-.wéid’.” SELECT MADRIGALS, GLEES, SONGS, DUETS, &c. ARRANGED AND EDITED BY TE-{Ol‘v'.i.’AS OLEPI-IANT. Madrigals, &c., by R. L. Pearsall. Four-part Songs. 8. O peaceful be thy slumber . . . Mendeisgoim <2 Fair Lady Anne. . . . . . . Mendelssohn 2 Nymphs are sporting ‘ . . . , Pearsall . . Joyful at the close of day . . . . De Call . . The Urchiii’s_ Diince . . (also in Parts) Hatton ‘“‘[ saw lovely Phillis . . . . . . 4 voices .. ""Tho Hardy Norseman . . *Great God of love . . . . *0 who will o’er the downs (in F) . . *0 who will o'er the downs (in C, for male voices) "’*1‘alte heed ye shepherd swains . . . . °l"Who shall win my lady fair . . . ‘*When Allan-a-dale went a hunting . . It was upon a spring-tide day . . Spring returns . . o n l ‘ _ . . . 2 The Hunt is up i .. (lingo) Hatton __ 2 Summer Eve (in B or A) (ditto) . . Hatton .. 2 When the smiling May returneili (ditto) , , Weber , , 1 The mist is rising (Chorus from ‘ Euryanthe ’). . Vlileber . . 2 0 2 Q 2 -on to Volunteer Chorus, “ Up rouse ye ” .. Weber _ , Nymphs are sporting . . Now the Curfew Bell hath ceased (S.A.T. & B.) Kreutzer 9-(‘Why with toil thy life consuming . . ,, . . Welcome spear and shield . . . . Werner . . Separate parts, 3d. per page, are published to those marked * Rosy-maiilled spring , , _ _ Mﬁ_][er_ __ } A Selection of liiiadrigals in Score and Parts. “miiiw I Z :: Down in a Ilow’ry vale (in A& F) 4 voices C. Festa ) Stay one moment .' T. Oliphant In going to my lonely bed R. Edwards Come again, sweet love . . J. Dowland Lady, see on every side L. Marenzio Hard by a fountain . . H. Waelrent All ye who music love . . B. Donato Ah me l where is my true love? F. Anerio My mistress is as fair as ﬁne J. Bennet In the merry spring . T. Ravenscroft ‘ Out, alas! what should I say Anonymous To pitch our toils go we Anonymous When April deck’d . . L. Marenzio Under a willow lying . . O. Vecchi Fair May Queen . . L. Marenzio O sweetly sleep - . . M. Pierson T’other morning very early Tlllbzlut Strike it up, neighbour T. VVeelkcs How merrily we live ,, M, Este .i>'.J>oia>.isit>o~.a:a>ooi§ ts'>t\'>i—z~:>tx‘JzOl:>l\'>I~Dl\'>v-‘t-‘go ocmcoooococaasn Sing and drink, boys . . . , Lorenz When despairing Cupid . . Seyfried 2 o <3 o o o@o~,c.c..c:mc:coo?~ Haydifs Trios. Maiden fair (Liebches Miidchen), Comic Serenade Plioelie's only fault . . Love and folly , Youth, manhood, and age . . _ , The power of beauty . . Hymns for Four Voices by G. P. L. Da Palestrina. 0 be joyful . . . . 0 I will give thanks . . L. . O Miserere mei . . . 6 Why do the heathen . . 6 By the waters of Babylon In Thee, 0 Lord } 0 or c.cci:»!>ii>il>o.mc;1c;.,.i;t!>-ii\..i>.iJ>-.i:>ti;..s.>i> ,_,l\r),_is_ip_.»—'lO2ob—41_\3t—-—:—-v—-ZC;i—I—i—|u-- caoaraaaoomocvoacuocnacao. Separate parts, 3d. per page. Songs by J. L. Hatton. "What is life ? . . Wreck of the Hesperus (The) . . Simon the Cell-arer (new edition) . . Dream, baby, dream . . Blind Boy (The) . . Blue Bell and the Fly (The) Day and Night . Vogelweid the Minnesinger Herrick's Letanie . . Fair daffodils we weep to see . . Autumn reﬂections . . . . . Cloris, now thou’rt ﬂed away (Amintor’s Well-u—day) Garland (The) . . . . Goldsmith’s daughter (The) Hope . . . . . . Linden Tree (The) . . . . Maureen. . . . . . Meeting and parting . . . . My days have been so wondrous free Nun and the rose (The) . . Old Clock on the Stairs (The) . . Reaper and the ﬂowers (The) . . Sailor’s Rest (The) . . . . Seasons of life (The). . . . Streamlet gently ﬂowing . . The silver moon (Serenade) . . _’Tis midnight (To my taper) . . Twilight. . . . . _ . . Walter the Woodman . . Weep no more‘, thou sorry boy . , ”*Mysterious Serenade (The) *Chapel (The) . . *Window Curtain (The) *Mother and Daughter *Greenwood Concert (The) ‘*Dying Swan (The) . . *Gardener’s Song (The) *‘King’s Daughter (The) *Ptepose . . . . °*Youth by. the Brook (The) *Violet (The) . . ’«*King Sifrid . . *Robber (The) . . ‘rice (The) . . . *Shepherd’s Winter Song (The) . *Poet’s Grave (The) . . . . =.t<i_:/i[‘0lim3m Shcphrfxid Boy ' ' *The Fisherman . . . . . . L lg It Gurney ( )6) . ' ' ' - ' ' ""S "ltl ’ tl 'd Lacuna (l3-art-arole) 9* Those marked have German words also, and were originally ‘ ‘ll 3' " er )0 V“ 6 '0 ’ ' ' published under. the pseudonyine of‘CzAPEK. ‘VF Those marked have German words also. Songs, &c., by Mendelssohn. Fair Lady Anne .. . . ‘ . . Ditto Arranged for four voices . . *The first violet . . . . . ‘7“Fancy’s dream (The Journey) . . Garland (The) . . . *How can I sing (Duet) .. *I stood alone beside the mast (Duet) . , ‘l~*Mai«l of the Ganges (The) . . . . *‘Now each creature joys the other . . *0 peaceful be thy slumber . . .. Ditto ditto Arranged for four voices *Over the mountain . . . . . . . *Oiiward still old Tine is ﬂying . . — . . . ’X‘Pa_ige°s Song, The (Pagen Lied, or the Savoyaru"s Song) . . *Slii:iilier and diram (Cradle Song) , . *Suleika and I‘I‘«tl€‘I]] (Duet) . . . . *Those marked have German words also. no lOZOZO—'i—IlOl\'JI--ZCrlO2O>'-‘ZOF-'lOZO ©C©62r®©©®©OOO>®®O© In English Songs, 850., by various Composers. Auld Robin Gray (with Introductory Preface) Leeves. . Barbara Allen (Old Ballaol) . . . . . . Bid me to live (words from Herrick’s Hesperides Oliphant Harmonious Blacksmith ( lihe), for voices Handel. . Lord Gregory (Old Ballad) . . . . . . O weel may the keel row (Old Ballad with Chorus) . . Sandy and Jenny (Ballad) . . . . Sanderson When ye gang awn,Jamie (Hunting-tower), Copyright edition of T. Olipliant . . . . . . . Three (Duets for Treble Voices, by Weber. Tell me truly, gentle maiden . . . . . . 2 Leave me to mourn . . . . . . 2 Hail to Friendship . ,, . . . . . . 2 ‘Two Duets for Treble Voices, by 0. Keller. *‘Al‘i! could I teach a nightingale . . . . . . 2 *Lovely as the beam of morning . . . . 2 -o.an. Duets for Treble Voices, by Kucken. ’l’~‘ lilic S\vallow’s farewell . . . . *My hcart’s in the Highlands . . . . ”'FEIow mournfully murmurs . . . . it llhe Hunter . . . . . . .I.Il' lo'o°o"' .... . .o........ l°‘°i~91\'>t~9t~'>NR0t~'>N>towwzowmwwwtotozozosozotxatototxozozotobazozozozxzwi-wwwwwtozoww oooooomcraoooooaooooocoooooooooooooooooocaoooooocaom Simon the Cellarer Q,uadrilles, from Popular Melodies, composed by J. L.‘Hatton. Arranged by C. Coote . . . .' '13). I 4;‘ _
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Date: 1902
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'.‘.'.'::o '30 Z‘; - - g o’.‘~ - . win" 0 9.-.«v’..°,’.‘.';9 ‘.0.- I THE MINNESINGER "-:_.-...---913:“--"-s: .-:-. .. - '. . . . _ ‘_ ,~'--¢‘.i>a-u_. . ‘ ._< a ‘Div-.-as '-'.*-I.“'oo,¢,‘An‘ ‘I n\’. C '§'.'-n- '0 01¢’ ’. 0;! '4 .,‘:"n_'_“l_D",‘\. .a'i‘5QlIf_,_‘...'. 0:!-03:91..‘ ..a I at UNISON SONGS-—GRADE 1. (Very Easy). EDITED BY W. G. MCNAUGHT. NOVELLO’S SCHOOL SONGS. A SPECIALTY OF NovELLo’s SCHOOL SONGS is that they are issued in Books, each book containing songs of ‘about the same class and degree of difficulty. Most of the songs are obtainable separately. Specially selected numbers can be stitched in a cover to order on favourable terms. all the songs are graded, will be sent post-free on. application. Published in two forms. the B column the A Edition only is published :— The Classiﬁed School Catalogue, in which A, Voice Parts in Staﬁ’ and Tonic Sol-fa Notation, with Pizmoforie Accomjmniment, 8v0 size; B, Voice Parts only in Tonic Sol-fa Notation. Where no prices are given in BOOK 1. S_IX EASY SONGS . Getting up . The Lark . Lazy Sheep . The Snowdrop . . The Autumn Daisy ’ . A Riddle A. Moffat BOOK 2. SIX EASY SONGS . The Little Fish . . The Spring Nosegay . The Old Beggar Man . The Three Little Ants . The Child’s Evening Prayer . The Meadow .. .. A. Moffat BOOK 13. SIX SACRED SONGS . Ye Gentle Flowers . . 0 Jesus, who didst suffer . I love the Flowers so beautiful . God of Mercy, we beseech Thee . Jesus so Merciful V The Gladsome Spring is coming A. Moffat BOOK 14. SIX SACRED SONGS . 0 Children, live in Jesus Christ (Easter Hymn) . Gentle Jesus (Evening Hymn) . O Heavenly Father The Little Birds .. . Forward, Christian Children Carol, Christian Children BOOK 21. NINE UNISON SONGS FOR JUNIORS . Rippling Waters W. W. Pearson . The Snail . H. Elliot Button . The Butterﬂy Chase S. C. Cooke . Swinging . Over’ the Meadows The Wanderer’s Song . Ladybird . My Home . Evening Star Scott Gatty C. A. Miacirone T. Ii/Iurby BOOK 23. TWELVE SACRED SONGS . Listening Angels J. Stainer . Morning Hymn . Hour by Hour . The Beautiful . The Crown is waiting . The Cross of Life . . We will praise Thee . Sabbath Bells . The good Shepherd . The Haven of Glory . The Golden Shore . Evensong A. Moffat _ l-H—H—‘)—H—‘)4l-H-I-‘I-1 A ti. 6 I»-t hw- Woo role‘ l—‘|-—-*)—‘)—-‘V-‘l—‘F-‘F-U-‘l—‘l—‘|—‘ J-A \.\,./\.\,.z--V-—a\.5/_z~—-V..«\—-V./“.‘ B d BOO K 25. TEN UNISON SONGS . Summer Evening Cath. van Rennes . Little Brother ' . The Old Beggar . Little Things... . Cock-a-doodle-do . Patience .. . Summer Showers . A Song for Boys .. . The Sunshine of the . Cradle Song BOOK 58. , TEN UNISON SONGS FOR JUVENILES . The Conceited Fly . The Wasp at the Pic-nic '. Merrily glides our boat . Trip along . The Dew-drop . Fairy Joys_ . Stay, pretty Swallow . Well-a-day ‘ . Were I a Fairy . A Charm , BOOK 83. SONGS FOR THE LITTLE ONES. Twenty-five Songs... By W. W. Pearson BOOK 84. THE JUVENILE SONGSTER. Thirty—three Songs, in one, two, and three parts. Composed and arranged by Lowell Mason BOOK 101. UNISON SONGS FOR CHILDREN. From “The School Music Review” The Jolly Tester (No. 40) J. W. Elliott Jack and Jill (No. 44) ,, The old man clothed in leather (No. 45) ,, The Soft-shell Crab (No. 50). Actions ad. lib. J. W. Chadwick A Child’s Evensong (No. 63) J. Stainer I had a Little Doggy (N0. 68) J. W. Elliott The Coming of Spring (No. 69) Schumann The ’Logical Gardens (No. 70) G. F. Cobb The Child and the Star (No. 66) J. W. Elliott BOO K 147 . TEN UNISON SONGS. From “The School Music Review " Hush-a-bye (No. 81) C. Egerton Lowe The Song of the Grass (No. 82)... Pearson Winter Song (No. 93) . W. W. Pearson Swinging (No. 101) .. A. Medley Christmas Eve (No. 103) A. Moffat The Brook (No. 104) J. VV. Chadwick The First Brigade (Marching Song) (No. 106) P. E. Fletcher Heart A. Scott Gatty Thomas”Murby Arthur Richards A. sciitt Gatty Thomas Murby Seymour Smith Macdonald Bridge K. Boundy Twinkle, twinkle (No. 107) . Daddy Longlegs’ warning (No. 117) The little shadow (No. 122) .. 652. Diamonds‘ R. H. Macdonald 653. The Fairy Book ' ,, , 654. A wet sheet and a ﬂowing sea C. A. Macirone * Staff only. 3'-‘F—‘F-‘F-JI""i—‘V“)"‘)—‘P—‘ mo- °°:“‘“l> ® )—Ir-4gu>—H-—4r—u—4r-H-4!-‘ MP Np-let-M-* * P—‘ T B d. 3 LONDON: NOVELLO AND COMPANY. Lmmap. NOVELLO’S SCHOOL MUSIC... EDITED BY W. G. MCNAUGHT. COMPOSED EXPRESSLY FOR THE‘ WESTMORLAND FESTI"VA"L.. 1903’. VOGELWEID, THE MINNESINGER A POEM BY LONGFELLOWA SET TO MUSIC FOR CHILDREN’S VOICES‘ BY GEORGE RATHBONE. PRICE ONE SHILLING. Tonic Sol-fa Edition, price Sixpence. LONDON: NOVELLO AND COMPANY, LIMITED. NEW YORK: THE H. VV. GRAY CO., SOLE AGENTS FOR THE U.S.Am Copyright, 1902, by Novella and Company, Limited. The right of Public Regﬁresentation and Pe;y"ormcmce is reserved. \‘:=.‘ —‘ .. . _.... .. 4( .. . . ;.___ ~_..,.g—;~,,__”,F‘ 3*-‘~ I r_ I 5 . , , . 5‘: .1 h I ‘ V f TO ALL THE CHILDREN WHO SING THE SE STAVE S. G. R. VOGELWEID, THE MINNESINGER. Walther Von der Vogelweid, or Bird-Meadow, was one of the principal Minnesingers of the thirteenth century. He triumphed over Heinrich Von Ofterdingen in that poetic contest at Wartburg Castle, known in literary history as the War of Wartburg. That the War of Wartburg was in all probability mythical, matters not to us to—day. A great movement in the cultivation of song was initiated in its name, and the musical contests which have since become a feature of educational musical life in this country are a modern reproduction of the spirit of Walther and his songs. CONTENTS. . Introduction . Vogelweid, the Minnesinger . Thus the bard of love departed . Day by day, o’er tower and turret . There they sang their merry carols . Day by day, o’er tower and turret . Till at length the portly abbot . Then 1n vain o’er tower and turret 0. Time has long effaced the inscriptions . But around the vast cathedral WALTER VON DER VOGELWEID. VOGELWEID, the Minnesinger, When he left this world of ours, Laid his body in the cloister, Under Wiirtzburg’s minster towers. And he gave the monks his treasures, Gave them all with this behest: They should feed the birds at noontide Daily on his Place of rest; Saying, “ From these wandering minstrels I have learned the art of song; Let me now repay the lessons They have taught so well and long.” Thus the bard of love departed; And, fulﬁlling his desire, On his tomb the birds were feasted By the children of the choir. Day by day, o'er tower and turret, In foul weather and in fair, Day by day, in vaster numbers, Flocked the poets of the air. On the tree whose heavy branches Overshadowed all the place, On the pavement, on the tombstone, On the poet’s sculptured face. On the cross-bars of each window, On the lintel of each door, They renewed the War of Wartburg, Which the bard had fought before. There they sang their merry carols, Sang their lauds on every side: And the name their voices uttered Was the name of Vogelweid. Till at length the portly abbot Murmured, “Why this Waste of food? Be it changed to loaves henceforward For our fasting brotherhood.” Then in vain o’er tower and turret, From the walls and woodland nests, When the minster bells rang noontide, Gathered the unwelcome guests. Then in vain, with cries discordant, Glamorous round the Gothic spire, Screamed the feathered Minnesingers For the children of the choir. Time has long eﬂaced the inscriptions On the c1oister’s funeral, stones, And tradition only tells us Where repose the poet’s bones. * [Saintly face or rain-Worn letters None may tell which stone to kiss; Choose the fairest for the master, Let the sweetest words be his.] But around the vast cathedral, By sweet echoes multiplied, Still the birds repeat the legend, And the name of Vogelweid. ‘ A Stanza has been inserted here for the purposes of the musical structure. ‘VOGELWEID, THE MINNESINGER. No. 1. INTRODUCTION. G G RA. no . LONGFELLOW. EOR ,_E —__TH_NF > > > Maes&oso._,1_ 79oc0>accel. «:1: >. r- g‘f'_E£: as: poco accel. - > Copyright, 1902, by Novella and Company, Limited. 3337. Andante gmzioso. /_ poco rit. poco rit. G. Ra.thbone—Vage1weid. the Minnesinger. f a tempo. poco rit. -9- —o- G Rat-hbone—Voge1weid. the Minnesiuger. 4 “ VOGELWEID, THE MINNE SINGER. . 1‘ I ‘ Q - A 3'" 14 j .‘ J the Minnesing - er, When he -leftthisworld ef :— .d “r .m :d Is. l_2nd SOPRANO. 1 M ‘ ‘ 1; U‘ ' 0' 31 V0-gel-Weid,the Minnesing - er, Whenheleftthisworld of ours, In] S] :1|.S| .f] in, In. “S; .S[ :‘d .5] :fe1-fe|lS[ bod - y in the clois - ter, Un-der Wi'1rtzburg’s min - ster towers. 4 ' . Hf :r :d .t. r :d :d .d :d' Ir‘ :s ”‘“m '- _ > > > > Laidhis bod—y in the clois - ter, U11-der Wiirtzburg’s ' - towers. Hf. .s. :1. .f. :1. .se. 1:. :1. :1. .1. “Serra :m : Hmse. :- gave the monks his treasures, Gave them all with this {lr .1.:d :t. 1. :s. :m .m r .1. :d > -0- gave the monks his treasures, Gave them all with this be - hest : They should feed the birds atnoontide {ufg .f; 2!’). :1‘. ['9' :37; :d .t| 1| .1] 3S] 3S; IN. :— :S| .S| S1 .11 :t3.|.S| :1; .1334} \T' G. Ra.thbone--Vogelweid, the Minnesinger poco rit. On his place of rest; : s..1.:d :r d ::.:— poco rit. Dai - ly on his place of I HI‘ id :t|.].|lS| :—{:sl rest ; :f. poco 1-it. 0. tempo. these Wand’ring min-s—t:els I have learn’d the art of song ; Let me now re - pay the . :m.m m :—.1:m.r} :— .s :m .r d :s. :1,.t, d .r :m :d lm “F1'0n1 these \vzLnd’ring min - strels I have lear11’dthe art of song; Let; me n :— .s :m .r d :s, :1..t. d .r :m :d m :m.m} -9--a— -0- les - sons Tlleyhavetaughtsowelland long.” Say-ing, “From these_wand’ringmin-strels I have {Id :1. :d .r m .r :d :m s :s..s. m :—.s :m .r d :s. :1..t.} > > _’.. _'_ re - pay the les - sons They l1ave_t2u1gl1t'so Welland long.” Saying,“ From thesewand’ring Hm :— .1 :m .r [d :1. :d .r m .r :d :m s :—- :s..s. m ‘ :— .s :m .rl G. Ra.tbbone~—Voge1weld, the Minneainger. Let me now re— pay the les — sons They have :m .m . :f .m m :r :d .d > lea.m’d the art { Id .r :n Let me now re-pay the min - strels Ihave 1earn’d the art {Id :s. :1. .t. d .r :m . :1. .1. 1 : .s :f .m taught so well Vogelweid, the LBD {la .m :s “ds'..1.:a :— .d H ..'_ They have taught so Well Hm : :s. .s. d .m :s Vogelweid, the :1'I‘1;.S.31. .S| Min-ne-sing - er, When he left this world of ours, Laid his bod — y Hr .m :d Is. :1. .t.“d .r :m :r r : :r.m If :r Min-ne-sing - er, When he left thisworldof ours. Laid his bod-y in the {|f. .f. :m. In. “s. .s. :d .s. zfe. .fe. s. f. .s. :1. .f. :1. .se.} G 1\a.thbone—-—Voge1Weid, the Minnesimzer. towers. 4.BD. II‘‘'“ =- Un-der Wiirtz-burg’s min - ster D.4. :d .d Ht-s :d' Ir‘ :s > > > > clois - ter, {|r > towers. Wi‘Lrtz—bu1‘g’s min - ster |l"‘Se' Un-der :m If :f :1| .1] 5°|l‘1 hest : S I be - Gave them all with this zt. trea. - sures, :m .m r .1. :d {l1| :5] > be :3; Gavethem all with this :d .t. 1. .1. :s. trea - sures, { I re. :m. > And he gave the monks his :m .m [r .1. :d :t. _'_ And he gavethemonks his :s. .s. |f. .f. :m. :1‘. poco rit. They should feed the birds at noontide :5] .S| S1 .11 3133.] .S| :11 $34} \ J FD-.5‘ ""61s min.- G. Rathbone—Voge1weid. the Minnesin-ger. “ THUS THE BARD OF LOVE DEPARTED.” Largo. Quasi marche fumébre. f 0 2nd SOPRANOS. Thus. the bard of love de - part — ed; And, ful - ﬁl - ling his de ~ Lab is D. Doh is F. {I : I1. :— .t. Id :t. Ir :d 't. :1. :1..t. d :1. :m :— .d} K_—..""'—“__——————':—T - sire, On his tomb the birds were feast -ed By the chil- dren of the C t f.F {|1.r'.:— Id’ :~.t|1 :s In :r lf :m :1m.}nm :r If :r 1st SOPRANOS. Thus: the bard 1| :‘ .t[ \_T—._..._:.:/ Ped. G. Ra.thbon¢.~—Vogelweid the Minnesinger. They were : I :1- d .d } - __ F111 -ﬁl- ling his ' his tomb the birds were H .d :d .d It. ' :- .ta. ‘rd :s If ’ :n feast - ed By the chil - dren of the choir. Ha‘ :—,|t :1.1!s :m In :r ed By the chil - dren of the choir. :d.r|m :d II. :t. d .9- l G B.a.t.hbone—Voge}weid, the Minnesinger “DAY BY DAY, O’ER TOWER AND TURRET.” f""_'\ Maestoso. > > > o’er tower and In fo111 weather and in [d :m :d .d Ir .m :d .m } I I I 1 2nd SOPRANO.> Day‘ ' vast - er num-bers, f.D. ‘Id d :m ls .s :- .___...___..\ J 1 G. Ra.thbone-—Voge1Weid, the Minnesingex -'. _‘_ On the tree tops, :t'«n. .r-1. In :-n the tree whose Flock-ed the poets of the air. .d It. :'1. :d .d Ir .n :d .m s J4 A U. l‘ \ l\'ll ' ._ l‘ l ‘ l L U 0- -0- where the branch - es O-verslmdowed all the place, :d‘.t| It] .l3| :11 .t| I . - \ . l ’l I ‘ T‘ \ l 14*‘. — l ' 1 11$ v . vl I ﬁa- .1‘ .“ 1“ l\ r“ ﬂ. '1} ' .x (J | Q: : =- ‘Q1; - O - vershadowed all the place, :— .r Ir .1‘ :d .r In the tomb - stone, the po-et’s sculptured the pave - ment, :— .d' It :1 :d .r Ir .1‘ :d .r } on the tomb - stone, On the po-et’s sculptured On the pave - ment, id .t| It] .13; :1] .t| } :tIm.m |m' :m' :"“s..s. [S :s i\ —'_. -01- G. l{2Lthb0ne—V0gelWeid, the Minnesingeln On the cross-bars . . of each window, On the lintel of each Doh is A. :d .d Ir :m — :d .m ls.s :—— :d (1 Ir .m :d .m } ten. On the cross - bars . . of each window, On the :d.d|r :m l—:d.n s.s:— I :d.d} -.‘- 1 ' -J._ They re - newed . . the War of Wart; - burg, Which the l— :d .d 1 :— .s :f .,s 1 :f I :m .r ). 1in-te1 of each door, They re - newed . . the War of Wart - burg, Which the {Ir .m :d .m Is :(1 .d If :— .d :1. .,d f :1. I :1. .1. } .oL G. Ba.tahbone-Vogelweid, the Minnesinger. had fought be —— l— :d ls :— Is > > bard had be - {[5, :1, :— |.—.:— It. 2 > tr 4”‘ 2'41 mossc. _p. P - r- G R.athbone-—Voge1weid. the Minnesinger. 14 “THERE THEY SANG THEIR MERRY CAROLS.” M d tightly. o erato. mf> > Doh is E. There they sang . . their met-ry : |s .s :1 :— .1; :d' .t } smootl Z . 7"f> L g > > There they sang their H : - : : : lm :m In an M oderato. /\ sempre staccato. Sang their lauds on :n .s 1 :s car—o1s, Sang their lauds on In .r.:d .s. d :m /T /7 There they sang . . theirmer-ry car - ols, . . Sang theirlauds on {ls .s :1 l— .t :d' .t 1 :s l— :r .n |f :s There they sang their mer - ry car-01s,Sa,ngtheirlauds on {lf :f If :f lf :f If .1‘ :t. .d r :m /\ _ /K‘ _ /\ _ /\ _ /\ -0- G. Rathbone—Voge1weid, the Minnesinger. 15 ,._.—.._ ‘ |‘l : I K I I I " ' 1 3 ‘ s I .1 r 1 L . *“"7=j;—“*F . . . 1r. 1 uv V1] 1 L r V V ‘ There they sang . . their mer—ry car - ols, Sang their ls .s :1 |— .t :d' .1; [1 -:‘s :m .s } I . 7“ they sang their - car-01s,Sa.ng their in IN in IN .r :d .s.} /\ /'\ xx \__y _ Therethey sang . . then" mer-ry : : IS; .S; :1| I‘ .t[ .t| } ,——:—-———'——-————§ . . . /1 /3 ' ~5- tit; Sang theirlauds on :m .m ls zf Sang t»heir1a11ds on ev - :s, .s. t. :1, Is. /\ /\ 129. —x— G. Rabhbone-—Voge1weid, the Minnesinger a.1a la. la la la la la. 4.E. {I :('eI)l .s. :1..t. d .r :m .f ls : . I- -.'--O- Fa. la. la la la la la la I .s..:1..t, d .r :m .f ls :— j. /.. > —f2’i_ la. la la. la. la la 13. I .s. :1..t. Id .r :n .f |s la la la, fa la la 1:). la, |—~ :m.rlm : . I .r :m.£e fe :s I /. >/-'\ /--\ lala 121.13. 1a.1a.Ia. . . . . la . . . lalala, 3.G. {I :(”“')| .s.:1..t.ld.r :m.f|s :— —.r |— :f |— :m_£|P1 la. la la la la la la la. 13., :r I. .s. :1..1z. d .rim .f|s : /. > G Rathbono-Vogelweid. the Minnesinger. 17 k . l\ I -1 \? I I I - F I _ 1 C I I‘ fa. la la la la la la, la I .r :f.1|s :1 .s|1 :t Id‘ fa la la la la la. la la la la. la la la H : I .Se»t.:d .r m .f:s I1 :f m :f .m If :r m f'‘“:’\ /—"\ EH #- > > /"T _ /T smoothly. > > There they sang their met car-o1s,Sangtheir1auds fA “in. :n In :m m In .r :d .s. d lightly. L; {- There they sang . . their nrer-ry car Sang their lauds {Ids} .S. :11 I‘ at] ‘d .t| 1| : :91] .5] 1| . gjx ' _'_ ' o o c There they sang their - car-o1s,Sa,ng their f :f If :f If .r :t. .d } K_./ There they sang . . their mer-ry car - Sang their S] .SI :1] K‘ .1}; .t[ 1| - 21‘: J7‘); } Z'\ G. Bathbon<.»Voge1weid, the Minnesinger lands on they sang their {lr ~ :m In :m There they sang . . their mer- ry S| .51 :1] ‘ .t| Id .t| car- ols, Sangtheir lauds IN .1‘ Id .S| d _o.. . Sang the1r lauds znl .s. [1, sang their mer - ry car-oIs,Szmgtheir lauds IN’ :m' IN‘ :m' IN' .1" :d' .d' It 1 I x J 1. ‘ Y I T] 0 O y ‘I Sang their lauds H Ratahbone —Voge1weid, the Mi11nr3singer. Fa la la la. la la. la. 4.A. l(r°).s. :1. .t. d .r :m .f ls Fa la la la la. la la la I .s. :1. .t. d .r :m .f Is la la. la la la la la la la .r :m .fe fe G. 11a’chbone— Vogelweid, the Minnesingeri la la la la la la .t d'.r':m'.f'l§ la la. la, :m'.r'lW Zightlg/. > There they sang . . their mer-ry E 1: ll ”e'.s :1 l— .t :d'.t } smoothly. > > There they sang their H hm :m In zm /'\ /\ "' Ped. G Rathbone--Vogelweid. the Minnesinqer. Sang their lauds on :m .s 1 car-o1s,Sang their lauds In .r :d .s. ld /\ simili. Therethey sang . . their mer-ry car - 01s, Sangtheirlauds on Ms .s :1 l— .t :d' .t 1 :s :r .m f :s side; They sang their car-01s,Sang theirlauds {f :f If :f . If .r :t. .d r /"\ /T /\ There they sang . .their mer-ry car - ols, Sang their s .s :1 l— .t :d' .t 1 :s :m .s } side; They sang fheir car-o1s,Sa11gt11eir :m In :m [m .r :d .s. } /T /"\ _i_ G. RaA:hbone—Vogelweid. the Minnesinger And the name .their voi-ces :1 .1 r' :— l— .d':t 1 1 > And the name . their voi -ces :f .f Ife :— l— .fe zfe .fe } ut-tered Was the name of {d'.s:— I :m.f s '— I1 u weid. :— d‘ :- ut-tered Was the name {|s.s:——l :d.r m \ A zitacca. G. Rathbone-—Voge1weid. the Minnesinszel ‘*3?-7 23 “DAY BY DAY. O’ER TOWER AND TURRET.” M aestoso. In foul weather and in :d .d Ir .m :d .m} Day by day, o'er tower and tur— ret, Doh is A. {Id :— .d [r : d :m is .s :— {|‘ > Maestoso. J?” num-burs, -0- -9- On the tree :*Im. .m. In Fl0ck’d the po-ets of the air. :d .d Ir .m :d .m s > > > -3. j- V _ V G. Rathbone--Vngelweid, the Minnesmgen. where the branch - es 0 - ver-shadowed all the place, 4.F. :ma‘]S|.S|IS :S :d .t| It] .t[ :1. .13] d y branch - es ~ ver-shadowed allthe place, :— .mlr zd :~ .r Ir .r :d .r m :- > the po-et’s scu1ptur’d the pave - ments, on the tomb On 4.A'p-. — .d' It :1 d'm . : :— .r Ir .r :d .r I, On the pave - ment, on the tomb - On the po-et’sscu1ptur’d zt-m.m In‘ :m' :"‘='=*s..s.ls : :d .t. It, .t. :1. .t. } Pedxro“ G. Ra.t.hbone— Vogelweid the Minnesinger On the cross — bars . . of each window, On the lin-tel of each Doh is A. ° dlr :m — :d.mls.s:—— l :d.d|r.m:d.m} ten. On the cross - bars. . of each window, :d.d|r :m |—- :d.mls.s:—,| :d.d} They re - newed . theWarof Wart-burg, Which the bard :— |—~— :d.d 1 :— |—.s zf .,s|1 :f I :m.r s :- > § lin-te1ofeachdoor,Theyre - newed . .theWarof Wart;-burg, Whichthe bard had HI‘ .I‘1 id .I‘1 IS :d .d :'—' I‘ .d :].| qdlf :1; I 211.1; S; 31' fought be - fore. {ls :—- Is :——|d :——| . . . be - fore. {|~:—|t. :—|d :—l : | : > J- .L> -0- -4- I G Bathbone—Vogelweid. the Minnesinger. 26 “ TILL AT LENGTH THE PORTLY ABBOT.” Adagio religioso. DokisC. {I = I = I Adagio 9'eZigz'oso. mf I -5- 0 -9- length the port- ly { |d :— .d Id —a— -0- -0- -0- ab-bot Mur-mured, zd |d.d: Id zdl toloaves hence - for- ward :— .d Ir :m s :s changed {Id A llegro agitato. -'_ V G. Ra.thbone'-—Voge1Weid, the Minnesinger Ped. 2nd Somulvos. -6-‘ of food? Be it .z— |—— :d.d} “Why this Waste Id zd [ma :— I—- ma Id :3‘ ”d‘ For our fast-ing brotherhood.” :s .s la zla |la.,t.:t. 27 “ THEN IN VAIN O’ER TOWER AND TURRET.” I ﬁ.:>confuoco>. > > > > > > Then in vain 0’er tower and tin - ret, From the walls and |1 =- .1 It :d' |r' :t ld'.t :1 ,:1.1lt :11" confuoco. Wood - land { Ir‘ zt When the min - ster bells rang noon-tide, Gathered the |m].| :‘ .1| It; II‘ It. |d—."t_L:1] :1|.1| ltg .J_ _ ‘_ :4- - : 1 - = 1*: I c 11 . , 1 . P*W I1 L’ 1 . ﬂ 1?! F L Then in vain, with cries dis—c01'd—ant, Clam-’rousr0undthe Goth- ic spire. :(‘):d' :—.d'lt :ta '1 :121 Is 2s Id‘ :-.d'|t :ta ‘1 zla ls 1 m' I ﬁgg; L1 1. 1 r. 1*. no . 111 I1 1 {I \1\1 I 1 1 7?L 1 ﬂ g D 1‘L‘I 4 T 1 1 1 A G I _,_. _,_ J ' 0 '\OJ_ _,_4_ 0 V 0 we1— come guests. Then in vein, with cries dis — cordant, C1an1’1'ous roundthe G0th- 10 {Ir :1;. Ids :——‘d :—.dlr :m :r [13:11 | :d.d|r :m G. Rathbone-—Voge1Weid. the Minnesinger _/‘ff: _mol£o rull. _ H. ‘ ' E-P—-}—J: ’/"r t - - 1 ' ' ' =7 1. E ' 4- Scream’d the feather’d Min - ne - singers For the children of the Ehoir, Scream’d the feather’d '0 G.. -C- {|’“'1 :-.1|se :s lfe zf |m.m:—— '1 :~.1:se :s lfe :f |"‘t :— If‘ :—.f'|m' :1 } fff> molto rall. 1‘; ~-., A . - 4 {=- L, e . I‘; . I . , I 1 1;. =.‘_= - ;f 10 If 1 ‘ ! Scream’d thefeather’d Min-ne - singers Forthe children of the choir, Screa1n’dthefeather’d -{lm1|:‘.].||t-1 :d '1‘ :tl IM|:1[ I :1|.].|!t| Ir :1}; ‘as :‘ ll" 2-.1"ld' :d' 1. ‘lam Qg'Q_ _,__—l:‘:I: :1- I- -5- Meno mosso. sostenu/to. -\,——/_:: Min - ne- sing-ers Forthe chil - dren of the choir. Hr‘ :r' Ir‘ :d' I : I :1.t d‘ :—|1 :—|1 : Ise :——II :—|— Jlleno mosso. sostenuto. __i_: ___e— - ne- sing -ers Forthe chil - :1 lse :1 | ° :f.f|m :—|m :—lm : M eno mosso. P sostennto. G. Ra.thbone—Voge1we.id, the Minnesmger. “TIME HAS LONG EFFAGED THE INSCRIPTIONS." Andante religioso e sostenuta. 1, - I K 2'“-——-a I l I’ I Time Doh is F. ' P1 . I l. I ll- 1 Time I : d Andcmte mligioso e sostenuto. 1 1“\ | 2 :— .d Id .d :d .d,d|r . . . - . 1 N 1\ I\ﬁ\ Y , . . ‘ 1 I 1 v e g 44:. I‘ R Fhittrf ‘ i L has long effaced the in_— scrip - tions :— .n In .n :m .n,mlm IN has long effaced the in- scrip - tions stones, (1 ten. neral tn fu Id stones, |d W31‘ Where re - pose :r .d 1;. us - et’s Where re - pose it. .1; S] p0 IS; .:fe| .S| G. Ru.Lhbone—Voge1weid, the Minnesinget. C And ‘era - di —tion on — 1y (1 .d Id .d :d .d — And bra - (11 —tion on - ly 1: -11 I1: -1: 31: -1| * (Saint ly face or rain-worn let - ters None may tell which {Ir L:— .r Ir .r :r .r f :f :f .f |d :d :j_— * (Saint - Iy face or rain-Worn let - ters None may tell which “ta. :" .ta4 ltaa .taq :ta| .ta. |l| :1] 11' .1] 134 3121. o 0 Choose the fair-est for the mas - ter, Let the :1. .1. It. .13. :d .d s :f :f .f } Z.i- Choose the fair-est for the mas - ter, Let the :11 .11 I134 .1a.|:S| .S| 1] 31' 3d .d I. PP—-e Time has long ef-faced thein - m :— .m In .m :m .m,m} Time has long ef-faced the in - d :— .dld -d :d .d,d} * A Stanza has been inserted here for the purposes of the musical structure. vi}. Rathbonc——Voge1Weid, the Minnesmger. - scrip - tions On the clois - ter’s neral stones, {In :m :m .n s :f :r Id 2:" . - scrip - tions On the clois ~ neral stones, {lr :r :d .d n :t. ld :—— =-} -in pppr'————':-'---‘é h I —C---O- And tra - di-tion on - ly tells Where re -pose :d .d Id .d :d .d m :r .d |t. _ -0- And tra - di-tion on -ly tells Where re-pose :1. .1. I1. .1. :1. .1. d :t. .1. s. ly face or rain-Worn let - ters .r Ir .r 21‘ .r f :f —— ly face or rain-Worn let - ters .‘ .1334 “$34 .1734] 31334 .ta. 1' 5].; n>a G. Rathbone-— V< gelweid, the Minnesinger. None may :f.f} None may :1. .1. } which Choose the fair --est for the :d :].| .11 It; .1}; 1d .d } . -'_ Choose the fair -est for the :1; .1. I134 .1a1:S| .SI 1. Let the sweet - est words be his.) :f .f m :f Ir :— .d ld ten. Let the ‘sweet - . W()\I‘(F':". be his.) :d .d d : Id .d |d :— — :-—— } PW’ -;“‘‘j——“ _g_ {| ‘ Pia mosso. f> Gr. Ra.thbone-~V0ge1weid, the Miunesinger. 38 No. 10. “BUT AROUND THE VAST CATHEDRAL.” M oderato. N obilmente. Doh is A But a- round thevast ca . I ' I :s..s.|d :—.dlr zn } {lzl :. :| M oderato. V A 29060 rit. (Bell.)j ff Bysweet ech-oes m11l - ' Still the :s..s. d .d :— Ir :m .n } the vast ca. - the - dx'a.1-, By sweetech-oes ~- .n Ir :d s. :s. :s. .s. In .n :- re-peat the le - gend, Andthe name of V0 - In :—.mlr :d n :m :d.d|m :r lm Stillthe birds re-peat The name of V0 - gel - weid. {|d : :1..1.d. :—.d|t. :1. ld :d Id :d t. :— T. .'_ G. Rethbone—Voge1weid, the Minnesinger. the monks his trea - sures, Gave them all with this :— .f' In‘ :r' r' :d' :d' .n' s‘ :— .s' If‘ allargando. gave the monks his trea - sures, Gave them all With this .— .1 Is :f If :m :m .s ta :— .ta|1 pia mosso. kolto mt‘ Theyshould feed the birds at noon - tide EI:)ai - ly on his place of .4. {ll :— l—— :1 .1 r' :— .r'ld' :t r' :d' Its zfe “s .1 :d' :r H .. molto 'r't. " pm mosso. _i:__"— hest : They should feed the birds at noon - tide Dai - on his place of {If :— l—- :f.ff :‘—-.f In :se t :1 Isem ”m.m:n :f pm mosso. So a-round the vast ca - the - dral, Bysweet echoes mul - ti - :s..s.]d :— .d Ir :n s :s :s..s.|d .d:— Ir :m } A A A ‘ So st - round the vast cs. - the - dral, By sweet- : :s..s.m :—.m Ir :d Is. :s. :s..s._} grandiose. ‘L V G. Rathbone—Vogelwei%‘, the Minnesinger re -peat the le - gend, And the :f .,sl :f :n .r } Stillthe birds {Is 2d .d ll I- .s And the Still the birds re-peat the le - gend, 31' .11 } 1d ogdlf .d :1] .,d f :].| ech-oes Hm .m :- the name of V0 :1. Id :d molto 2-it. sf a tempo. > > > > _g_ G. R:\thboue—Voge1weid, the Minnesingez‘. THE END. ‘UNISON SONGS—GrRADE 111. (Suitable for Higher Divisions). NO)/ELLO’S SCHOOL SONGS. IHHTED BY uA<1 MCNAUGHT. A SPECIALTY or NovELLo’s SCHOOL SONGS is that they are issued in Books, each book containing songs of about the same class and degree of difﬁculty. Most of the songs are obtainable separately. Specially selected numbers can be stitched in a cover to order on favourable terms. all the songs are graded, will be sent post-free on application. Published in two forms. Accompaniment, 8110 size; The Classiﬁed School Catalogue, in which A, Voice Parts in Staﬁ" and Tonic Sol-fa Notation, with Pimzoforte B, Voice Parts only in Tonic Sol-fa Notation. Where no prices are given in the B column the A Edition only is published :— BOOK 32. SIX CLASSICAL SONGS . The Fisherman Schubert . May Song Mendelssohn . Forget me not .. W. S. Bennett . Rose softly blooming . Spohr . The first Violet .. Mendelssohn . Come, ever-smiling Liberty Handel BOOK 37. SIX CLASSICAL SONGS . May—dew W. S. Bennett . Verdant Meadows (Verdi P1/ati) Handel . 0 Sunny Beam .. Schumann . Slumber Song Mendelssohn . Say ye who borrow (Voi che szzpete) Mozart . Who is Sylvia? Schubert BOOK 57. SIX CLASSICAL SONGS . Hear Thou my weeping (Laschia ch’io pirmga) Handel . My Mother Bids me bind my Hair Haydn . To Chloe in sickness W. Sterndale Bennett . Come, happy Spring (Caro mio ben) Giordani Mendelssohn Haydn . Autumn Song . The Mermaid’s Song BooK7L SIX CLASSICAL SONGS FOR LOW VOICES . The Wandering Miller . Crusaders ., . Welcome to Spring Mendelssohn . Sun of the Sleepless ,, . Evening Song . Contentment... BOOK 72. FIVE UNISON SONGS FOR JUNIORS Words, from “A Child’s Garden of Verses,” by R. L. Stevenson. The Music by Schubert 11 Mozart R. Houston Macdonald . 381.‘ The Moon 382. Where go the Boats... 383. My bed is a Boat .’ 384. Pirate Story 385. The Lamplighter BooK1oa S UNISON SONGS FOR CHILDREN From “The School Music Review” Children at Play (No. 35) Mozart Land to the Leeward (No.40) C. H. H. Parry A Beautiful Scheme of Taxation (No. 44) A. Somervell B. Foster A. R. Gaul H. Smart Eaton Faning A. Randegger The Star’S Watch (No. 52) Song of the Brook (No. 53) A Song of Peace (N0. 73) Boat Song (No. 54) At Night (No. 62) ﬁn Nlv-‘ D-4 “°..-’T—“-"”“*‘w:~ °° -‘F’ (Z) I-4 p—4 i—a >--I >—n »—A 63 »—4 +—4 »—I 1-4 »—I >-4 t»:l>—L¢{—-t¢1- lx’/i‘-ix’/l-L\’)lr‘ tol-‘ Ni-{sir BOO K 1 O9. NINE CLASSICAL SONGS From “The School Music Review” The Cottage (No. 29) Schumann Creation’s Hymn (No. 32) Beethoven Greeting (No. 32) . . Mendelssohn} A Song of May (N0 71) . Beethoven O for the Wings ofa Dove (No. 49) Mendelssohn Hark ! hark! the Lark (No. 34) Schubert Fairest Isle (No. 51) Purcell Hey, Baloo E (No. 54) . Schumann Alone (No. 73) .. Mendelssohn BOOK 110. SIX_ UNISON SONGS . Daisy Nurses... .. W. Hately . The old brown House ,, . Up and Down . Woodland Melodies . Cradle Song . Why do Summer Roses fade BOOK 119. SIX UNISON SONGS . Soft star of the West . Sweet day so cool . For Hearth and Home . Rock-a-bye . .. . . A Rose Song . There were four Lilies A. Medley G. Barker Pinsuti Brinley Richards C. Pinsuti C. H. H. Parry Horatio Parker Battison Haynes BOOK 125. SIX CLASSICAL SONGS . Whither .. Schubert . Come, gladsome Spring Handel ’ . The Lotus Flower R. Schumann . Thou’rt like unto a Flower . Ave Maria . Know’st thou the land BOOK 140. SIX CLASSICAL SONGS FOR LOW MEDIUM VOICES . The Two Grenadiers R. Schumann . 0 Star of Eve (T annhauser) Wagner . The Free Mind .. R. Schumann . Litany Schubert . On wings of Song Mendelssohn . The Garland (By Celia's Arbour) ,, BOOK 141. SIX CLASSICAL SONGS . Trust in Spring Schubert 739. Thou art Repose .. 740. Where’er you Walk 741. Fishers’ Song 742. I love thee 743. Gentle Zephyr BOOK 81. PUBLIC SCHOOL (BOYS’) SONGS. 450. Playyhard for the School F. C. Woods 451. A Football Song Summer Suns 453. Football Song 454. A Fives»Song 455. Hammock Song * Staff only. Schubert Beethoven Handel Schubert Beethoven Sterndale Bennett C. A. Engelhardt B. G. T horne F. C. Woods B. G. Thorne A d. .91 LONDON: NOVELLO AND COMPANY, LIMITED. I—' F—‘ >-‘ NJ N) N3 w t»:l:—Lel—Lol«- . B d. ‘-v.-4 NOVELLO’S SCHOOL SONGS. EDITED BY W. G. MCNAUGHT. A SPECIALTY or NovELLo’s SCHOOL SONGS is that they are issued in Books, each book containing songs of about the same class and degree of difficulty. Most of the songs are obtainable separately. Specially selected numbers can be stitched in a cover to order on favourable terms. all the songs are graded, will be sent post—free on application. Published in two forms. Accompaniment, 8210 size ; the B column the A Edition only is published :— The Classiﬁed School Catalogue, in which A. Voice Parts in Staﬂ and Tonic Sol-fa Notation, with Pianoforte B_ Voice Parts only in Tonic Sol-fa Notation. Where no price: are given in BOOK 16. SIX UNACCOMPANIED TRIOS . Sounds of evening Franz Abt . A Winter Song Ferris Tozer . Stars H. Elliot Button . A Canadian Boat Song A. H. Ashworth . The Fairy Barque A. Moffat To Blossoms . G. A. Macfarren BOOK 17. FIVE UNACCOMPANIED TRIOS . G0, Child, in Life’s fair morning W. Roston Bourke . Come sleep, 0 sleep . Ah! surely Melody . The Violet . ... . Be good, my Child BOOK 27. EIGHT UNACCOMPANIED TRIOS From Vol. I. of “The School Music Review” The Delight of Spring (No. I) Abt The Postillion Evening ) (No.2) L. Mason Sabbath Stillness F. Abt St. George for England i (NO' 4) iMacfarren John Gilpin (No. 5) Macfarren A Marching Song (No. 10) Abt The little Valley (No. 9) From the German BOOK 35. SIX UNACCOMPANIED TRIOS . Violets .. H. Elliot Button -. Summer Longings H. A. Donald . Let us to the Woods away Henry Knight . Wake up, my merry Masters all A. Moffat . The Gnomes . Hunting Song WVV. H. Stuart BOOK 59. TEN UNACCOMPANIED TRIOS . To Daffodils H. Elliot Button . The Singers ,, . The Waking Sun Alfred Moffat . Now pray we for our country E. Flower . L’Angelus (Evening Praise) R. L. Ruelens . 0 World, how fair thou dost seem F. Abt . A Song of Evening A. H. Ashworth . In the twilight Abt . The Blossoms Percy Jackman . Laughing Song ,, BOOK 60. SIX ACCOMPANIED TRIOS . Sweet October Seymour Smith . Happy Times ,, . When do Flow’rets Abt . Oh! the ﬂowery month of June Jackson . A Cradle Song Gilbert A. Alcock . Sunset... Franz Abt God be our Guide (s.s.A.) . Evening Peace (S.S.A.) . Blessed are the pure (S.S.A. Morning Hymn (S.S.A.A.) . Vital Spark of heavenly (s.s.A.) Harwood * Staff only. Franz Abt >—- l—| >—4 )—I I-4 )—t [Cl-£\'.I'-L\‘.Iv-‘ tel-4 C: 51' b Iv—H—u—I[0*\4+—-I-u—t{\'>n—-A m L.:|- rel-‘ NP‘ ‘ Ni’-‘l\’—l'-‘ BOOK 84. THE JUVENILE SONGSTER Thirty-Three Songs, in one, two, and three parts (Unaccompanied). Composed and arranged by Lowell Mason BOOK 64. POPULAR GLEES AND PART-SONGS (UNACCOMPANIED) 320. Blow, blow, thou Winter Wind Stevens 321. Soldiers, brave and gallant be (s.s.c.c.) Gastoldi 322. O hush thee, my Babie (arranged for S.S.A. by J. Stainer) Arthur Sullivan 323. The Angel of the Rain R. Rogers 324. Ye Spotted Snakes R. J. S. Stevens 325. All among the Barley E. Stirling 326. Jack Frost (arranged by Leslie) Hatton ACCOMPANIED TRIOS. 341. Our Heroes (March, S.S.A.) H. Clarke 460. The Death of Nelson. Solo, with ad lib. three-part chorus J. Braham 463. Glory and Love (Soldiers’ Chorus from “ Faust ”) (original words) Gounod 246. Ye shall dwell in the land (Harvest . Anthem). Arranged for s.s.c. J. Stainer 419. Within Thy sacred fane. Solo and Three- part Chorus ...]osiah Booth 420. Two Hymn tunes J. Stainer 421. Two Hymns for Children: “ Children, send a song of praise” (C. H. Lloyd) and ‘ Happy children we have been’ Sullivan 422. In the sight of the unwise F. A.G.Ouseley BOOK 99. SIX UNACCOMPANIED TRIOS 566. Now the Golden Morn J. Stainer 567. The Song of the Lark H. Hiles 568. Why do ye weep (To Primroses) ,, 569. The undertone of the Bells Roland Rogers 570. A Dance Song Abt 571. A Shepherd's Lullaby T. D. Edwards BOO K 1 O7. NINE UNACCOMPANIED TRIOS. From the “School Music Review” Sweet day, so cool (No. 25) G. A. Macfarren The Hunter’s farewell (No. 28) Mendelssohn God save the King (No. 32)‘ The Songs our Fathers loved (No. 36) Which is the properest day (No. 38) Dr. Arne Sweet and Low (No. 46) J. Barnby Erin, the Tear and the Smile (No. 39) The Lark’s Song (Four-part) (No. 51) Mendelssohn The Rhine Raft Song(No. 48) C. Pinsuti BOOK 108. EIGHT UNACCOMPANIED TRIOS. From “The School Music Review” Evening (No. 71) Abt 0 who will o’er the Downs (No. 52) Pearsall How merrily we live (No. 57) Este Patter, patter (April Showers) (No. 59) Hatton Vesper Hymn (No. 77) Beethoven In April time (No. 70) C. Pinsuti Annie of Tharaw (No. 76) Hail to the Chief (No. 72) * Staff only. R..”Bishop A d. B -1. oh v-4r'-u—u-—Ar—- 0-: 9-: >9!-‘ LONDON: NOVELLO AND COMPANY, LIMITED."
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Date: 1882
Text: I e ‘a ﬁillgzge glaaksmitg» “W R i H _]‘~|‘!’ Ax W ‘ «M ‘ I x} I; 3 A I / ‘H Ii ’ w . 5 ‘ ) Tilt VILLAGE BLACKSMITH, “ Under a spreading chestnut tree The village Smithy stands. The smith, a mighty man is he. With large and sinewy lxanilsz And the muscles of his brawny arms Are strong as iron hanzls. "-——-Lo-n,gfellow. In the northern oountygof Y()1‘kShi1‘e. England, dwelt the Grardner fa1nily—my fatlier, Obid Grard- ner, being the head of the family. He was a- blaoksmith, and Worked...
Show moreI e ‘a ﬁillgzge glaaksmitg» “W R i H _]‘~|‘!’ Ax W ‘ «M ‘ I x} I; 3 A I / ‘H Ii ’ w . 5 ‘ ) Tilt VILLAGE BLACKSMITH, “ Under a spreading chestnut tree The village Smithy stands. The smith, a mighty man is he. With large and sinewy lxanilsz And the muscles of his brawny arms Are strong as iron hanzls. "-——-Lo-n,gfellow. In the northern oountygof Y()1‘kShi1‘e. England, dwelt the Grardner fa1nily—my fatlier, Obid Grard- ner, being the head of the family. He was a- blaoksmith, and Worked from morning till night in the little shop at the corner of the road. “ .i-‘hid the children coming homefrom school Look in at the open door: They love to see the flaming forge‘ ’ And hear the bellows roar, And catch the burning sparks that ﬂy I J]. ke chaff from a thrashing-ﬂoor. It was here, in this little shop. that our neigh- bors had their horses shod. and here where the country farmers had their broken wagons mended. Father Gardner, as he was familiarly called” in
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Date: n.d.
Text: am // ‘g /,// J \ / ‘\ .// V T v_ T T \ 1i;€j;é&; by J; % W 1“ . jé’, <Z)J\V'(67'4/2'*77j',4"(,_£a///,”) L’/V183’ AS 07)Z\V(§2'..SS' in M12 AW/(I/A$S'»)’//"",.4I/4 /Z’? (0 7//@ 517 /[:7 71 Y, WW COMPOSERS JULES NORMANN EJ.WESTROP WEBER JULES NORMANN 6978<8, EXCELSIOR 7:588:19, PSALM OF LIFE 75()&5!, FOOTSTEPS OF ANGELS 7958<8, THE SLAVE'S DREAM 94-8&9, THE VILLAGE BLACKSMITH CARL REINHARDT 9558<6, GOOD NIGHT!...
Show moream // ‘g /,// J \ / ‘\ .// V T v_ T T \ 1i;€j;é&; by J; % W 1“ . jé’, <Z)J\V'(67'4/2'*77j',4"(,_£a///,”) L’/V183’ AS 07)Z\V(§2'..SS' in M12 AW/(I/A$S'»)’//"",.4I/4 /Z’? (0 7//@ 517 /[:7 71 Y, WW COMPOSERS JULES NORMANN EJ.WESTROP WEBER JULES NORMANN 6978<8, EXCELSIOR 7:588:19, PSALM OF LIFE 75()&5!, FOOTSTEPS OF ANGELS 7958<8, THE SLAVE'S DREAM 94-8&9, THE VILLAGE BLACKSMITH CARL REINHARDT 9558<6, GOOD NIGHT! BELOVED \ D° 964&5. THE GREENTREES WHISPERED LOW8<M|LD D° WW 859&60, THEOLD CLOCK ON THE STA|RS 895&6, THE REAPER AND THE FLOWERS 904&5, STARS OF THE SUMMER NIGHT 950&5l,BEWARE’. BEWARE! 3528<3, THE RAINY DAY 96680, THE DAY IS DONE COMPO5[ﬂ& R.sT6PEL CARL REENHARDT FRANZ KULLAK DD CARL REINHARDT DO LL L0) N [D '0 EN: MUSICAL BOUQUET OFF!CE,I92,H|GH HOLBORN; :9. J.ALLEN, 20,WARWICK LANE.PAT‘ERNOSTER R‘O_W. 7 Mlluuc uinnnv vnssm coLu:(-.5 THE VILLAGE BLACKSMITH. Poetry by H .W. LONGFELLOW. Composed by CARL REIN]§{ARDT.. ‘ A A A " .MODER.4TO. I Un _der a spreading ches-nut trees The vil _..lagi,e Smithy The smith a niigh t_y ~m-an is he,VVith_ ilargeiand si-newy hands; And the muscles of his brawny arms Are strong as 1 _iron _ba_pds. '.H_i‘s hair is crisp, and black, and long, His face is like the tan; His brow is ‘wet with o Chairllrﬁ Mackapﬁ SW35 IN ma Muﬁiral Bnuqmt; JOHN BROwN,0.R vva A GUINEA 1 CAN SPEND,jV‘f‘d’£a’z§’c6,» ENGLAND, DEAR ENGLA'ND,J44é‘é’c7,< HAwIHpg-in AND THE. |vv,_/¢¢a>&y,- DR.EAMlNG, mu DREAM\NG‘.]4Jﬂ&.5j,- HAL AND ms r.ax.aNos,14i2&-.3,.1Ha may nAm=,},!5«¢A2~.;
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