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Estey Organ Roll Catalog Volume 2
(Published circa 1928)

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From an original copy of "A Catalogue of Music for the ESTEY ORGAN"
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1.0 Introduction

The number of bulletins issued since the first volume of the music catalogue was published having become cumbersome, it has been thought, for the convenience of our customers, best to issue another volume. This second volume is arranged alphabetically by composers, with an index at the back of the book, including prices of all rolls listed. Biographical sketches not contained in Volume I are included in these pages and the compositions arranged since the last bulletin was printed, some twenty-five in number, are included in this edition and will not appear in bulletins.



448 Cherry

Here is a sparkling bit of melody which we have put on a roll for dance purposes. It is entirely satisfactory as a musical number also, but its strongest appeal is to those who dance. It is very popular as a one-step and is enjoying a degree of popularity.

ANDREWS, Mark 1875-

This noted organist was born in Gainsborough. England in 1875, and came to the Umted States in 19002, since which time he has resided in Montclair, N. J. He is one of the best-known organists in the New York district, and as a composer stands high, having published over one hwndred works, including two sonatas for organ. He is organist at the First Congregational Church, Montclair.

455 Venetian Idyl

This is in effect a delightful little barcarole or boat song. It has the graceful rhythm of the barcarole form and is charming in both melody and harmony.

478 Serenade

"Serenade" is a very indefinite term as applied to a musical composition. Therefore, like most other titles, its principal use is as a means of identification. No designation could add to, or detract from, the innate beauty of this little thing. As in all the work of this composer, this serenade reveals a remarkable gift of melody, and as the harmonic setting is highly appropriate, the result could be nought but enjoyable. It is a little gem.

ARENSKY, Anton Stepanovitch 1861-1906

This well-known Russian composer and pianist was born at Novgorod, July 31, 1861, and died in a sanatorium at Tarioki, Finland, February 26, 1906, after a long illness. He was a pupil of Johanssen and Rimsky-Korsakow and in, 1882 was appointed Professor of Harmony and Composition at the Imperial Conservatory at Moscow. In 1895 he became conductor of the Imperial Court Choir at Petrograd. Arensky's muse was lyrical rather than dramatic, and his smller numbers for the piano are particularly delightful. suggesting Tchaikowsky. His works include operas and most of the larger forms.

523 Romance

This is a fair sample of the lyric quality of this composer. He was much at home in things such as this-and what could be prettier! It is melodious and poetic in the extreme. The harmonies are characteristic of the Russian school and need no further recommendation.


416 Reverie

It is fortunate that so many things originally written for the piano are satisfactorily adaptable to the organ. Verily, the true greatness of the pipe organ is found in ability to do all things well.

In the case of hand-playing this trait of the organ is limited to the technical ability of the performer. The roll, however, recognizes no such limitations, and it seems to delight in the perforrpance of the most startling technical difficulties. All this, however, is by the way. The present number is a fugitive conceit for the piano which loses none of its charm as a result of its adaptation to the organ, and will be a pleasure to all who hear it.

BACH, Johann Sebastian

(For Biographical Sketch see Catalogue, Volume I)

647 Fantasie and Fugue in G Minor

Of all the Bach fugues for organ, this is the greatest. It is known as the "Great G Minor." It is wonderful when first heard, and grows more wonderful with each successive hearing. It should be listened to with the greatest attention. Its depths of beauty are not to be fathomed by the casual listener. It must be studied, as is an antique work of art.

The fantasie, which is really an introduction, is a gigantic recitative,-like the oration of a Cicero or Socrates. It is Bach with a free rein. Those who are accustomed to think of Bach as conventional will do well to give particular attention to this fantasie.

It serves its purpose well in preparing the mind for the wonderful fugue which follows.

663 Gavotte, from the Sixth Violin Sonata

This is a very famous gavotte from the last of Bach's six sonatas for the violin. What charming dance music it is! It is as dignified as a minuet, but much more sprightly and vivacious. With the minuet it divides honors as the most charming of the old dance forms. No finer example of this fascinating form exists than this one.


371 National Emblem March

This is a stirring march, which through sheer merit has won its way into popular favor. The organ does full justice to its martial swing, and falls little short of the effect produced by a military band.

BALL, Ernest R. 1878-

This composer-sometimes called the "American Tosti"--was born in Cleveland, July 21, 1878. He was educated at the Cleveland Conservatory, and has written more real successes than any other American composer. Some of his most popular hits were "Love Me and the World Is Mine," "In the Garden of My Heart," "A Little Bit of Heaven," "Mother Machree," etc.

558 Down the Trail to Home, Sweet Home

This is a very popular waltz song which we have arranged on the roll for dance purposes. It fulfills its mission ideally.

BARON, Maurice

549 An Indian Legend

Here is a really charming number which has in it enough of exotic flavor to justify the title. Four seemingly indefinite measures introduce a beautiful theme which flows along gracefully for a few measures when the introductory measures appear as a counterpoint to the main theme. The middle part is in splendid contrast, and rises to a stirring climax. The:first theme then reappears with a delightful flute obligato, leaving the last word for the solo violin.


555 Caressing Butterfly

This is a very pretty ballad-like melody with just enough accompaniment to support it. There is ample opportunity for the use of various solo stops, and this opportunity has not been overlooked in the arrangement. It is the sort of thing that sounds best when all is quiet and the lights are dim, and when one is in a meditative mood.

BARTLETT, Homer Newton 1845-1910

Homer N. Bartlett was one of the best-known and ablest of American composers. He was born in Olive, N. Y., December 28, 1845, and soon showed unmistakable evidence of great musical talent. He studied piano with S. B. Mills, Max Braun and others until 1861. He played the organ in a number of New York churches, his last position as organist being at the Madison Avenue Baptist Church, where he played for thirty-one years. He died on April 2, 192O. In every sense he was an American-made musician. He left behind many published works of worth, which include nearly all of the orthodox forms, and a goodly number in manuscript which the public will be interested in hearing. The latter include a three act opera, "La Valliere:' an oratorio, "Samuel," and a symphonic poem, "Apollo."

484 Meditation Serieuse

This is one of the best-known and most pretentious of Bartlett's compositions for organ. While it is a little reminiscent of Wagner, it is nevertheless a delightfully original composition and brimful of innate beauty. It contains some very striking harmonic progressions, and is no less interesting melodically. It reveals the sterling musicianship of the composer, and is a splendid composition in every sense.

BATISTE, Edouard

(For Biographical Sketch see Catalogue, Volume 1)

660 Larghetto in E flat

Batiste wrote many things such as this, and they are all worthy a hearing. He had a wonderful gift of melody which he always supported by appropriate and attractive harmonies. Here we have a simple and pretty theme voiced in the first instance with a simple accompaniment. On the second appearance of the theme, after a short interlude, we find it treated with a florid accompaniment. Here we find Batiste doing the sort of thing he liked best to do. It is a really delightful little thing and characteristic of the composer.

BEETHOVEN, Ludwig van

(For Biographical Sketch see Catalogue, Volume 1)

387 Symphony No. 5 in C Minor Allegro con Brio-First Movement

Of all classic symphonies, this is the one which is most often played. The first movement is famous for the brevity of its first and principal theme, which consists of the first four notes heard-three short and a long one. What can be said about this theme that is new! The music lover is familiar with the various theories concerning it, any or all of which are correct or erroneous, according to point of view. After all, what is the use of all the talk about what music means! The very tune which would provoke a feeling of sadness in one would move another to mirth, and to still another be whimsical, capricious, or bizarre. Beethoven himself said of his Pastoral Symphony-his only attempt at symphonic programme music-that it was "rather an expression of feeling than a picture." Incidentally he failed to state what feeling it expressed. This wonderful music has a story for all; let it tell it.

388 Symphony No.5 in C Minor Third (Scherzo) and Fourth (A1legro) Movements

To most people this Scherzo seems to open with an interrogation-which meets with an immediate reply. As though the answer were unsatisfactory, the query is repeated but meets with the same response.

Then begins one of the most charming musical conversations extant. What it is about must be left to the listener. One may find much of interest concerning this Symphony and others in Philip H. Goepp's work, "Symphonies and Their Meaning," to which sterling work we would recommend all who are interested in musical matters.

The present roll contains also the Finale of the Symphony, giving it without pause as was the intention of the composer.

The last movement is an exultant march of gigantic proportions, interrupted by a short reference to the Scherzo, after which the March theme again takes the reins. At the close of the movement, the pace quickens into a Presto and the triumphant conclusion is at hand.

400 Symphony No.6, Op.68 (Pastoral)

The Pastoral Symphony was written in the wooded meadows near Vienna in the summer of 1808. Beethoven's inscription on the score may be translated as follows, "The pleasant, cheerful feelings which arise in man on arriving in the country." He also adds that it is more an expression of feeling than a painting. There is, in the British Museum, a book of sketches concerning this Symphony in Beethoven's own hand, and in them he says that "The hearer is to be allowed to find out the situations for himself."

This would seem to indicate that Beethoven was very skeptical as to the power of music to engender definite impressions, a fact in keeping with his general good sense with regard to music matters. The music is delightful and satisfying, and it matters little what it means.

411 Scherzo-Andante Scherzoso from String Quartette" Op. 18, No.4

Here is Beethoven in a playful humor! To many this statement may seem incompatible with the generally accepted idea of Beethoven's character. As a matter of fact, Beethoven had a sense of humor such as was possessed by few of the great composers.

He was, perhaps, excelled in this particular by no one except Haydn. Surely he needed something to balance the serious side of his life. This number is one of the brightest gems of musical composition. It has definite form; melody in profusion; and harmonies so simple, quaint and appropriate as to give the impression that no other harmonies could be possible. It is one of the most spontaneous, effervescent and exuberant examples of writing extant.

412 Allegro from String Quartette, Op. 18, No.5

The combination of two violins, viola and 'cello has furnished a vehicle for the sublimest inspirations of most of the classical composers. The form, as we know it, was originated by Haydn, and is nothing more nor less than the sonata or symphony form applied to four-part writing. The early quartettes of Haydn were feeble and immature things, but the child of Haydn's mind grew to manhood and he ,left many quartettes which are today'standards. Mozart bridged the gap to Beethoven and left behind him twentysix immortal quartettes.

Beethoven, unlike some of the others, seemed to experience no handicap in having to write for only four fiddles, instead of a full orchestra, and his quartettes are just as symphonic as though they had been called sympnonies, the only difference being that in one case he wrote a symphony for a quartette of strings, and in the other for a full orchestra.

The present roll is the first movement of the celebrated quartette in A major, and is an example of Beethoven in his cheeriest mood. It is full of interesting dialogue, and there is not a dull moment in it.

427 Allegro ma non tanto, Op. 18, No. 4

The Number 4 Quartette is perhaps the best known of the six contained in Opus 18, and indeed is a general favorite among the earlier quartettes. While the present movement is purely orthodox from a Beethoven point of view, being in the sonata form invented by Beethoven and used by him and all other composers since, it is not so elaborate as many of the later opera in quartette form. It is no less charming, howev~r, on account of its comparative simplicity.

433 Adagio from Moonlight Sonata, Op. 27, No.2

Beethoven did nothing in the way of piano compositions that is more widely known or more passionately loved than the so-called Moonlight Sonata. Nothing could be more beautiful than the plaintive, soul-stirring theme of this movement.

The silly name which it bears is derived from a criticism of the sonata by Rellstab which mentioned the moonlight on the Lake of Lucerne. It might just as appropriately bear any other title. It is a work of superlative beauty and needs no sobriquet to arouse interest or stimulate imagination.

435 Minuetto, Op. 18, No. 4

What more need be said of this roll than that it is taken from a Beethoven string quartette? Such a minuet could not have been written by anyone else. Beethoven was always Beethoven! His earliest compositions resembled those of no other composer except in form. His remarkable naivete and ingenuousness were his chief characteristics through life. Any movement from a Beethoven quartette is a "thing of beauty and a joy forever."

526 Allegretto alia Polacca

This is not only "like a Polacca" but it is a Polacca. It is from the delightful Serenade, Op. 8, for Violin, Viola and Violoncello. This whole trio bears the stamp of youthful enthusiasm and is one of the most fascinating things Beethoven did in early life. That Beethoven liked it in his after years-although he cared little for his early work-is proven by the fact that he arranged this serenade for piano and violin and called it Notturno, Op. 42. Beethoven's facility in writing for a limited number of instruments was never better shown than in this, the daintiest of things. There is no adjective which adequately defines it,-it must be heard.

533 Larghetto from Second Symphony

It is readily discovered by students of Beethoven that his music may be divided into periods. That is to say, certain characteristics are present in many of his works which seem to place them naturally into a group. Nothing was too good for Beethoven, and he very wisely began his career as a composer with Haydn and Mozart as his models. They represented the best in music, and it was natural that the youthful genius of Beethoven should aim high.

Before long, however, he felt a certain restraint in the use of the strict forms employed by Haydn and Mozart, and he began to leave the beaten path and start out for himself, refusing to be dictated to by anybody or anything except that rare thing within him which we call genius. The noted student and writer, Herr von Lenz, places the Second Symphony, Op. 36, in the first period, and, singularly enough, be places Op. 26, Op. 27 and Op. 31-which were written at least a year earlier than Op. 36-in the second period. It is evident, therefore, that chronology plays little part in the arrangement of the learned writer. It would seem that Beethoven at times felt a little strange and lonely while exploring, and returned temporarily to the familiar paths of the past. But it was only temporary, for his progress was inevitable.

The Larghetto from the Second Symphony is as strongly characteristic of Beethoven as anything he did later in life. It may lack some of the finesse of his later works, but the divine spark illumines it from beginning to end. It is superlatively beautiful.

557 Scherzo from Second Symphony

This Scherzo is in the form invented by Beethoven, and used by him in most of his symphonies. It is a youthful Beethoven that speaks, but it is as characteristic of him as anything achieved later in life. No one else could have done it.

575 Adagio Molto, from First Symphony

This is the first movement of Beethoven's First Symphony. Aside from its native beauty and great musical worth, it is interesting to note how thoroughly characteristic of the mature Beethoven it is. It is a perfectly easy matter to place the works of Beethoven into periods, and it has been done. In other words, his progress in the technique of composition is not only discoverable, but obvious. He was a master from the beginning. His works are individual to a greater extent than those of any other composer. Anyone familiar with his works would easily discover, upon hearing this first symphony, the composer of the ninth, or of any of the others. The touch of the master is ever present. This movement is much less involved than some of the later works, but is just as charming as anything can be.

579 Allegretto, Second Movement, Seventh Symphony

The Seventh Symphony has been called the "Poem of Earth and Humanity"-a rather high-sounding title, but perhaps as good as any -certain as it is that it is Beethoven in a rare vein. The first theme is dirgelike. in its rhythm and harmonies. The second melody is in the major and abandons the solemn vein. It is a lyrical gem. Both themes seem strangely prophetic of Schubert. A period of contrapuntal and fugal development brings on again the mournful first theme which sings itself to a peaceful end, and with the end of this allegretto comes the end of one of the greatest compositions in music literature.

583 Gavotte in F Major

We have put this little piece on the organ as much for its historical interest as for any other reason. It lacks none of the essentials of a fine gavotte, but its greatest interest lies in the fact that it is a recently discovered effort of Beethoven's youth-sixteen years of age. We give the history of it, quoting Harold Bauer: "The present edition of an unpublished gavotte by Beethoven is due to investigations made in 1908 by Messrs. Georges de St. Foix and Theodore de Wyzewa with the object of establishing the authenticity of certain autograph manuscripts heretofore attributed to Mozart. "These manuscripts, originally in the possession of the Emperor of Austria, were presented by him, oddly enough, to no less a person than the Sultan Abdul-Aziz of Turkey, who subsequently gave them to his music director, Guatelli Pasha. The well-known English collector, Julian Marshall, bought them from Guatelli's son and they were ultimately acquired by the British Museum.

"A close examination of these manuscripts resulted in the startling conclusion that not only had a serious error been committed in attributing them to Mozart, but that the idiosyncrasies of style and handwriting proved beyond the possibility of doubt that they could have emanated from no other pen than that of Beethoven.

"This charming gavotte, which represents Beethoven in his earliest and consequently most Mozartian period (about 1786), was played for the first time by Mme. Olga Samaroff and the editor at a concert given by the Beethoven Association on January 13, 1920, in New York."

631 Tempo Ordinario d' un Minuetto

This is an adaptation of the wonderful minuet from the Serenade for Flute, Violin, and Viola, Op. 25. No other composer ever approached Beethoven in his ability to write for a small number of instruments. In this line he had no competitor. This minuet is rather unique in form in that it has two trios, after each of which the first two strains are played. Itis Beethoven at his best. Nothing more daintily beautiful was ever conceived.

641 Adagio Cantabile from Septet, Op.20

We have from time to time remarked in these pages that nothing could be more exquisite than a Beethoven slow movement. That assertion still stands, and we now offer more evidence as to its truthfulness.

This famous composition, which is nothing more nor less than a symphony for seven instruments, was written for violin, viola, 'cello, double bass, clarinet, bassoon and horn, and dedicated to the Empress Maria Theresa. In the organ adaptation we have given strict attention to the original scoring, with the result that the arrangement lacks little, if any, of the charm due to the unique selection of instruments for which it was written. It is a most exquisite composition faithfully given by the roll.

722 Sonata Pathetique, First Movement

Here we have a movement from one of Beethoven's early sonatas which lends itself to organ adaptation in a manner which will surprise those who believe (or pretend to so believe) that piano music should be performed on the piano only. One only has to hear the wonderful introduction to realize that the piano never could equal the organ in this particular thing. The title "Pathetique" is extremely apt. The main body of this movement is quite equal to the introduction in effectiveness.

733 Coriolanus Overture

Of all the overtures of Beethoven this one to Coriolanus, a tragedy by Colin, is perhaps the most popular.

It is certainly as beautiful as any, and by many thought to be Beethoven's best work in the overture form. It was written in 1807. He was quite as much at home in the overture form as in the symphony form, and his marvelous gift of melody, coupled with his wonderful technique of composition, are just as apparent here as in the symphony.

736 Prometheus Overture

"The Men of Prometheus" is the title of the ballet of which this is the overture. This overture and seventeen other numbers comprise the only ballet that Beethoven wrote. The overture alone lives by virtue of its value as a concert number. The entire ballet was performed in 1801 in Vienna, but little if any of the music is now known except the wonderfully brilliant overture, which we have very effectively arranged for the organ, from the orchestral score.

740 Leonore Overture, No.3

It is very well known that Beethoven wrote but one opera. The libretto was adapted by Joseph Sonnliethner from Bouilly's "Leonore or l'Amour conjugal." He received the text in the winter of 1804, and composed the opera at Hetzendorf in the summer.

The thing that is of particular interest in connection with this overture is that he wrote four overtures to his only opera.

The opera was first produced at Vienna, on November 20, 1805, and the overture used was the one now known as Leonore Overture, No.2. The libretto was then reduced to two acts, and three numbers taken from the opera. The above overture, Leonore No.8, was then composed.

After the death of the Italian director of the opera at Prague, and the adoption of German opera there, Beethoven, in the hope of having his opera performed by Liebich, the new director, wrote what we know as Leonore No.1.

The performance, however, did not take place and the No. 1 Overture remained in manuscript until after Beethoven's death.

The No. 8 Overture is widely known as a concert number and is a very great favorite.

742 Egmont Overture

Beethoven composed this overture for the drama by Goethe. It is supposed by some commentators to express the plot of the drama in music. Beethoven did little in the way of programme music; his best-known effort being the Pastoral Symphony, of which he said it was "more an expression of feeling than of painting." It is doubtful if the overture is intended to more than depict certain moods.

All of this, however, has nothing whatever to do with the musical worth of this masterpiece. It needs no programme. It is well able to stand as a gorgeous composition and needs the support of no plot, or other extraneous element.

BERLIN, Irving

Born in Russia, this composer of popular music came to America in youth and began composing some of the lighter pieces. His first hit--one of the first ragtime songs-was "Alexander's Ragtime Band." He also composed "Everybody's Doing It" and many other popular songs.

559 Tell Me, Little Gypsy

This is the song hit of Ziegfeld Follies of 1920. It is arranged as a fox trot, in which form it is tremendously popular.

BERLIOZ, Hector 1803-1869

Berlioz was born at La-Cote-St.-Andre, near Grenoble, on December 11, 1803. He was the son, of a country doctor who educated him for the practice of medicine. We have intimated somewhere in these paragraphs that a boy who was predestined to become a musician would overcome any obstacles which were thrown in his way. The case of Berlioz is additional proof of our point.

The most impressionable years of his life were wasted in the perfunctory study of a profession toward which (to use his own phrase) he felt nothing better than a "cold disgust," He finaUy decided upon a musical career and burned all bridges behind him. His allowance from home was cut off and he found himself in such extreme poverty that he was compelled to maintain himself by singing in a chorus at one of the small theatres.

He was admitted as a pupil at the Conservatoire, and made marvelously rapid progress. He is said to have lost much, however, by his intractability. He jumped at conclusions and had little respect for, or paticnce with, academic methods. After years of disappointment, he won the Prix de Rome with his cantata, "La Mort de Sardanapole."

The terms of the Prix de Rome imposed three years of travel-the first two to be spent in Italy. He could not bear expatriation, however, and after eighteen months he petitioned the Ministry to allow him to return to Paris, Between 1837 and 1840 he began to receive recognition. The French Government commissioned him to write a requicm and paid him a fee of four thousand francs. In 1834 Paganini paid him twenty thousand francs for "Harold en Italie." In 1840 he received ten thousand francs for the "Symphonic Funebre et Triomphale;"

Most of his works are in the larger forms, consisting of cantatas, oratorios, symphonies, etc. Among his literary works, one will hold its place at the top for all time: his work on orchestration.

600 Rakoczy March from the Damnation of Faust

Many are the beliefs as to the origin of this march, made famous by Berlioz. Its composition has been attributed to an Austrian prince, Rakoczy Ferencz, early in the seventeenth century. By others it is supposed to have been composed by Michael Barna, court violinist to Prince Franz Rakoczy, the second.

In any event, it was handed down by the gypsies and Hungarians and put to paper by Carl Vaczek.

Berlioz orchestrated it and used it in his "Damnation of Faust," and, believing in the eternal fitness of things, transferred the first scene of the work to Hungary.

BERNARD, Felix, and BLACK, Johnny S.

452 Dardanella

It is probable that no example of popular writing has created such a furore as this one in the same length of time. It is being whistled, sung and danced by everybody. It is simply impossible to get away from it. We have produced it on a roll for dance purposes, and fox-trotting to its captivating rhythm will be found an enjoyable pastime.

BIGGS. Richard Keys 1886-

This well-known organist was born at Glendale, Ohio, September 16, 1886. He was educated at the University of Michigan, studied music at the Cincinnati College of Music ard in London. His activities, as organist of one of the large Brooklyn churches, were interrupted by the war. After receiving his discharge he returned to Brooklyn and resumed the practice of his profession. He has made a number of organ arrangements of operatic and piano compositions, and a few of his original compositions have been published.

608 Sunset Meditation

It is unostentatious, and beautiful in its simplicity-a pretty melody, delightfully clothed with the simplest harmonies.

BIZET, Georges

(For Biographical Sketch see Catalogue, Volume I)

397 L'Arlesienne, First Suite for Orchestra. Minuetto

The play for which the music was written was a failure from the first. Bizet, seeming to realize that it was the text, rather than the music, which was responsible for the failure, resolved to put to use some of the good music and selected some of the best of the numbers, from which he made two orchestral suites. The First Suite especially has become a great favorite at orchestra concerts. The present minuet is one of much grace and charm, and is delightfully given by the organ.

409 Farandole from L'Arlesienne

This is one of the numbers rescued from the ill fated play by Daudet, for which Bizet composed the music. As is well known, after the failure of the play, Bizet got together a few of the best musical numbers and made them into two suites. The present number is from the first.

Little is known as to the origin of the Farandole, and one cannot do better for a description of it than to turn to "Grove's Dictionary," from which we quote the following:

"The Farandole consists of a long string of young men and women, sometimes as many as a hundred in number, holding one another by the hands, or by ribbons or handkerchiefs. The leader is always a bachelor, and he is preceded by one or more musicians playing the galoubet, i.e., a small wooden flute-a-bec, and the tambourin. With his left hand the leader holds the hand of his partner, in his right he waves a flag, handkerchief, or ribbon, which serves as a signal for his followers. As the Farandole proceeds through the streets of the town, the string of dancers is constantly recruited by fresh additions. The leader (to quote the poet Mistral) 'makes it come and go, turn backwards and forwards-sometimes he forms it into a ring, sometimes winds it in a spiral, then he breaks off from his followers and dances in front, then he joins on again, and makes it pass rapidly under the uplifted arms of the last couple.'"

The Farandole is usually danced at all the great feasts in the towns of Provence, such as the feast of Corpus Domini, or the "Coursos de la Tarasque," which were founded by King Rene on April 14, 1474, and take place at Tarascon annually, on July 29. In the latter the Farandole is preceded by the huge effigy.of a legendary monster-the Tarasque-borne by several men and attended by the gaily dressed chevaliers de la Tarasque.

718 Adagietto, Le Carillon, from First L'Arlesienne Suite, No.1

We have already stated in connection with the Minuet from this Suite (No. 397), that the play for which this music was written was a failure. It is fortunate that Bizet realized the value of the music and arranged various numbers into the two suites which are known so well. Otherwise we should have been deprived of some beautiful music.

Philip Hale, the well-known critic, says of the Adagietto, "I know of nothing in dramatic music that approaches this adagio, which not only accentuates the Biblical sublimity of the text, but rises to a height of pathos beyond the reach of word or gesture."

The Carillon depicts the gaiety of the betrothal of Frederi and Vivette and the festival of Saint Eloi. The three incessantly recurring notes represent bells. The andantino, the middle part, is the entrance of Mere Renaud, one of the characters in the play. After this, the Carillon proceeds to a brilliant end.

616 Le Retour (The Return)

Bizet is, of course, chiefly known for his opera "Carmen." His "Pearl Fishers" is fairly well known also, as is his Arlesienne Suite. A simple song without words from his pen, however, is something hardly to be expected. Here it is, though, and it is a lovely thing. The orchestras in some of the large "movie" theatres have recently discovered its beauty and play it often. It is likely, therefore, to be recognized by many who have wondered what it was. The secret is now out, as a result of this effective roll.


453 My Isle of Golden Dreams

This is a dreamy, quiet waltz which is immensely popular. It is being played in theatres at times when soft music is necessary, and is a great favorite for dance purposes.

BOELLMANN, Leon 1862-1897

This famous organist and composer was born in Ensisheim. Alsace, September 25, 1862, and died in Paris, October 11, 1897. He was a pupil of Gigout at the Niedermeyer School. He has written in almost every form, and was known far and wide for his wonderful organ playing. His compositions are graceful and pure in style, showing remarkable knowledge of form and facility of technique.

392 Minuet Gothique (Suite Gothique)

The suite, of which this graceful minuet is a part, was dedicated to William C. Carl, the well-known American organist.

It is a composition of much merit, and has attained a degree of popular favor which has required all concert organists to include it in their repertoire.

The suite contains besides the minuet, three numbers, "Choral," "Priere a Notre-Dame," and "Toccata."

645 Fantasie Dialogue

This delightful composition was originally written for organ and orchestra, but was subsequently arranged by the composer for the organ alone. It is the latter form that we have used in the roll.

A happy choice of thematic material and consummate skill in the development of it, are characteristic of Boellmann, and this combination is to be found in this roll. More need not be said in praise of it.

BOROWSKI, Felix 1872-

This composer and critic was born in Westmoreland, England, March 10 1872. He was educated privately, studied violin and piano with private teachers in London and at the Cologne Conservatoire, his teacher in composition being Gustave Jensen. For many years he has been active in musical matters in Chicago, as critic, teacher, lecturer and composer. His works include two suites for orchestra, two pieces for string orchestra, two sonatas and a suite for organ, a sonata and about sixty pieces for piano, many vioUn solos and about fifteen songs.

He possesses a wonderful gift of melody, and his works all show the hand of the skilled workman.

492 Chanson de Mai

This "Song of May" is a very beautiful thing. It has as graceful a theme as could be desired and the thematic material is treated in a masterful manner. It is a pleasure to find a critic who can do things other than to find fault. Borowski is unique in this respect, and has in this composition given us a charming little work.

527 Reverie

A dreamy melody, a thing full of repose is this from beginning to end. Slippers, a cigar, an easy chair, quiet and such a tune are all a tired man could ask.

603 Priere

Felix Borowski is a musician and composer of exceptional ability. He never writes below a very high level which he seems to have set for himself. He has done some big things-a sonata and suite for organ, for instance, both of which we hope sometime to put on a roll for the edification of Estey Organ owners. At this time we are especially concerned with this smaller number, "Priere." It is a beautiful work full of real devotional feeling and strikingly original.

BRAHMS, Johannes

(For Biographical Sketch see Catalogue, Volume 1)

659 Allegro

There is never any discussion nowadays about the quality of Brahms' symphonies. They are the work of a genius-the last of a long line of German geniuses of which Bach was the first. There is, however, a wide difference of opinion as to the quality of that elusive ingredient of the symphonic formula which entrances the listener and holds his interest unfalteringly. To the student, Brahms presents a different problem. To him, Brahms is like an unexplored country-new and novel beauties everywhere. Structurally, the four symphonies are gigantic masterpieces, and there is little in music which will pay equal dividends on genuine study.

One of these symphonies-the second-permits of no argument on any score. It is gorgeous from beginning to end.

For the present roll, we have chosen the first movement. We are confident that a better choice could not have been made. To quote Othello, it "will sing the savageness out of a bear."

714 Allegro con Spirito, Finale of Second Symphony

The Second Symphony is the great favorite of all the Brahms symphonies, four in number. The reason is not difficult to find: it is tuneful and splendid in form. This constituent, form, is the greatest single element in the writing of a symphony. It would be possible to write an atrocious theme and give it the necessary treatment to make of it a symphony, but such a thing would not be beautiful. It is form which relates architecture to music. Form cannot make a beautiful thing out of inappropriate materials it is only when we have proper thematic material, the design of an artist, and the artisanship of a master that such things as this symphony are produced.

BREAU, Louis, and COOPER, Joe

713 I Want My Mammy, introducing "Just a Little Love Song"

We have given here the very popular fox trot, "I Want My Mammy," and have introduced the chorus of "Just a Little Love Song." Such an arrangement has proved to be very popular for dance purposes.

BREWER, John Hyatt

(For Biographical Sketch see Catalogue, Volume 1)

678 An Autumn Sketch

This is a most dainty little caprice written for the organ. It is a seductively tuneful thing, full of all the traits necessary to the making of a caprice. As we have it on the roll, it is most enjoyable.

BRUCH, Max 1838-

Perhaps the most eminent of living German composers is Max Bruch, who was born at Cologne, January 6, 1838. His mother was a distinguished singer, and she carefully watched the development of her son's musical talents. He gave extraordinary promise in composition during his studies with Breidenstein at Bonn, and in 1852 gained a scholarship of the Mozart foundation at Frankfort-on-Main for four years, continuing his studies under Heller, Reinecke and Breuning at Cologne. From 1858 to 1861 he taught in his native town, and in 1858 gave there his first work, an operetta, "Scherz, List und Rache."

His works number about ninety, including all forms, with cantatas and vocal works in the majority.

628 Adagio from Violin Concerto, Op.26

For many years the Bruch Concerto has been the standard by which aspiring violinists have been measured. Its requirements are very great-not so much from a standpoint of technique, but rather from that of tone and breadth of musical feeling. A mere technician could only play the notes. Nothing short of a genuine musician can bring out its true beauty. We know of nothing more beautiful than this Adagio, and in its adaptation to the organ it has lost nothing.

BULL, Ole Bornemann 1810-1880

One of the most picturesque figures in the history of music was the subject of this paragraph. He was the son of a physician in Bergen who looked with little favor upon music as a vocation, and therefore sent him to the University of Christiania to study theology. In a very short time he was made conductor of a musical society of that town. He left Norway very suddenly in 1829-perhaps as a result of some part he may have taken in the political feeling rampant at that time. He suffered many hardships during the next two years, and finally got to Paris, where he heard Paganini, whose playing had the effect of making him settle down to vigorous study of the technique of the violin. His reduced circumstances and necessary privation brought upon him severe illness and despondency. Fortunately a benevolent Parisian lady took a motherly interest in him at this time, and nursed him back to health-this lady's daughter later becoming hia wife. After his recovery he made his first Paris appearance. His success was from that time asaured, and he created nothing short of a furore in Italy. He played in all parts of the world to the delight of all who heard him, except a certain few who accused him of charlatanism.

The fact is, that he was extremely eccentric, but was nevertheless an extraordinarily capable performer who had a lot of tricks and a technique which was probably surpassed by no one but Paganini.

He seldom played any but his own compositions, but he could find little else to give scope to hia marvelous technique.

394 Alpine Maid's Sunday

Someone may have written a more delicious melody than this one, but if so, it is unknown to us. The melodies which will endure the test of standing absolutely alone-without harmonies-are few. This is one. The harmony with which this gem is clothed was supplied by Svendsen. and could not be surpassed for beauty, but nothing in the way of a setting could add a whit to the exquisiteness of the unadorned beauty of this melody.


598 Twilight

This is a very attractive melody of the sort which, while written for the piano, fits the organ as though made to order. We have used a flute to voice the first part, while the second part is played on a violin. On the repetition of the first theme, one of the wood winds sings the melody, giving way to the flute in a pretty little coda.

CHAFFIN, Lucien Gates 1846-

Lucien Gates Chaffin was born at Worcester, Mass., March 23, 1846, received his A.B. from Brown University, 1867. He is an educator of note, and was a concert organiat for many years, also a critic and lecturer on music. His compositions are comparatively few, but of very high order of excellence.

498 In Springtime

"The heart is young in Springtime.
Birds sing their merriest notes." Old Poem.

Here is a gorgeous little piece which is full of merry notes. In form it is like many other compositions in this style of organ music, but here the resemblance ceases, for it is better far better than the average. The middle part is a sort of bird song cadenza, after which the unadorned first theme is used for a close.

568 Wedding Chimes

Chaffin is a man who has written comparatively little that has been published. Judging from his published works, he is an exacting critic so far as his own works are concerned. Nothing trivial or commonplace has come from his pen. "Wedding Chimes" is a good example of a very high type of organ music. The title is rather misleading, as the chimes do not appear in it. The figure in the bass in the last few measures is distinctly a chime figure and it is this which really justifies the title.


(For Biographical Sketch see Catalogue, Volume 1)

475 Pierrette, Air de Ballet, No.5

This is one of the dainty little things that Chaminade writes so well for the piano. Like most of her work in this vein it lacks definite form but has a sprightly charm all its own and is distinctly characteristic of her. It has been put on the roll for the organ; and in the process has lost none of its beauty. In fact, it is more interesting because of the added tonal variety.

594 Serenade

The conspicuous characteristic of Chaminade's compositions is grace. They are never big in conception, but are invariably full of charm. Indeed, in most instances they are faultless miniatures which evince the greatest care in matters of detail and which withstand the closest and most exacting scrutiny. Such attention to detail often produces a perfect but far from interesting result. Not so with Chaminade! Her work always possesses the innate charm which is the result of a fine poetic temperament. This serenade is no exception to the rule. It is a most bewitching little thing.

720 La Lisonjera (The Flatterer)

We have adapted a few of Chaminade's charming piano pieces to the organ, and without exception they have been enthusiastically received. They have all gained rather than lost by being fitted to the organ. This graceful number is no exception. It is too well known to require a description and, being from Chaminade's pen, it needs no recommendation.

CHOPIN, Frederic Francois

( For Biographical Sketch see Catalogue, Volume 1)

393 Nocturne in E flat, Op. 9, No.2

This is the most popular of all Chopin nocturnes, and deservedly so. It sings itself into one's soul, and while it is much abused, its claim to precedence as a lovely melody is not apt to be seriously disputed. One is likely to be surprised at the organ rendition as given by the present roll. It fits the organ as though made for it.

421 Nocturne, Op. 55, No. 1

This familiar Nocturne needs little comment. It is very characteristic and while by no means morbid, has a tinge of sadness in it which is unmistakable. Much has been written about the effect of Chopin's music, and no man ever created such violent contrasts of opinion. His adherents exhausted their supply of adjectives in his praise, while others, including just as capable critics, were relentless in their abuse of him. In the event of such differences of opinion, one must judge for one's self what is good. Chopin was trivial at times but never commonplace. No one can deny that this nocturne is a pretty tune, and one which grows in favor on acquaintance

432 Polonaise (Military)

The precursor of this stately Polish dance is supposed by some to have been an ancient Christmas carol. This theory is supported by the fact that in former times singing accompanied the dance. The earliest polonaises extant, however, are purely instrumental, to which fact is due the more generally accepted belief that the dance-as known to us at least-is of courtly origin, and, according to Grove, came about as follows:

"In 1573, Henry III of Anjou was elected to the Polish throne, and in the following year held a great reception at Cracow, at which the wives of the nobles marched in procession past the throne to the sound of stately music. It is said that after this, whenever a foreign prince was elected to the crown of Poland, the same ceremony was repeated, and that out of it the polonaise was gradually developed as the opening dance at court festivities."

Bach, Handel, Beethoven, Mozart, Schubert, and even Wagner wrote polonaises. It remained for a native son to develop the national dance to its absolute perfection. Before Chopin, it was dry and uninteresting; he imbued it with new life and spirit, as the present roll will testify.

COERNE, Louis Adolphe 1870-

Born in Newark, N.J. February 27, 1870. Was educated in German and French schools. Graduated from Boston Latin School in 1888, and Harvard College in 1890. Received the first Ph.D. given by Harvard for musical work, for his thesis on the Evolution of Modern Orchestration. He studied composition with J. K. Paine, violin with Franz Kneisel, organ and composition with Rheinberger at the Royal Academy, Munich, from which school he graduated with honors in 1893. He has led a very active musical life-teaching and composing. His compositions include a symphonic poem, "Hiawatha," and two operas, one of which. "Zenobia," was the first opera by a native of the United States to be performed in Europe. It was performed in Bremen, Germany, during the season of 1905-1906. In addition to these are many smaller works in the usual forms.

490 The River of Life

This is a delightfully unpretentious little number by a man capable of big things. One of the unmistakable evidences of a big man is his ability to do the little things well, and keep them from being commonplace. It has a theme of unusual beauty, and a middle part which is in marked contrast. The first theme reappears and a short coda effects an appropriate close.

504 Consecration

This is one of a number of little things written by this composer for the organ. It is a delightful bit of writing and it reveals to the discerning the musicianship of the composer.

COHAN, George M. 1878-

This composer of popular songs made his bow to the public as an actor as a member of "The Four Cohans." He has written many successful sketches for vaudeville and about eighteen plays. His musical ability is represented by a hundred or more poptilar songs.

373 Over There

This is one of the most popular songs inspired by the war. It has a good swing, and a splendid war-time quality which is likely to insure its popularity for some time to come.

CUI, Cesar Antonovich 1835-

Thi, famous composer was born at Vilna, January 18, 1835. He is the son of a French officer who, being unable to follow the retreat from Moscow in 1812, remained in Poland, and married a Lithuanian lady, and became professor in French at the high school at Vilna.

Cui received a good preparatory education, and eventually entered the School of Military Engineering at St. Petersburg. being appointed to a professorship after he graduated. He became a recognised authority on fortification, holding the rank of Lieutenant-General of Engineers, and has lectured and written much on the subject.

Having laid aside his musical tastes during the acquirement of his military education, he succumbed to his first love after he had become a full-fledged officer. His contact with Balakirev had much to do with his musical enthusiasm. He married a gifted pupil of Dargomijski, Mlle. Bamberg, and from that time became very active in composition. Eight operatic works, over two hundred songs, very many pieces for piano, strings, orchestra, and many choruses are the evidence of an etrtremely industrious musical life. Cui's work is characterized by grace and refined lyricism. It is seldom tragic.

547 Orientale

No one ever wrote miniatures such as this any better than Cui. He was known as a miniaturist, and this one example would seem to establish the claim. It smacks of the Orient, surely, and is as charming a little thing as could be found.

CZIBULKA, Alphons 1842-1894

Born at Szepesvavallya, Hungary, on May 14, 1842. He was a pianist, but proficient enough as a violinist to become Kapellmeister at the Karltheatre, Vienna, in 1865. He was a prolific composer, and has left to his credit many compositions for the piano and five or six operas.

610 Love's Dream after the Ball

Nothing could be more bewitching than this little tune. It is old-old enough to prove its goodness. It is exquisitely beautiful.

DAVIS, Arthur 1877-

Arthur Davis was born in Birmingham, England. His musical education included piano, organ, voice, theory and composition. With such an equipment, Mr. Davis was well qualified to fill the many important positions which have fallen to his lot.

He came to America in 1911 and has since that time made a name for himself as a concert organist and teacher. He is now choirmaster and organist of enriat Church Cathedral in St. Louis.

Mr. Davis' compositions include works for organ, piano and voice.

376 Trailing Arbutus

This is a charming reverie by a well-known English organist, now a resident of St. Louis, Mo.

The opening theme is of a quaint character, and an interesting and more lively middle part in marked contrast is a pleasing innovation. After a somewhat elaborate development of the second theme, the first theme recurs and serves as a fitting ending.

DEBUSSY, Claude Achille

(For Biographical Sketch aee Catalogue, Volume J)

403 The Snow is Dancing

This is Number 4 of a set of children's pieces by one of the originators of the ultramodern school. It may be said, also, that this little number is modern enough to suit the most exacting in such matters. Its daintiness is its greatest charm, and it will surely please.

DEMAREST, Clifford 1874-

Demarest is a well-known New York organiat who has composed a goodly number of pieces for the instrument of his choice, as well as about fifty anthems and two sacred-cantatas. His compositions also include a fantasie for organ and piano, and a number of songs. He is also the author of "Hints on Organ Accompaniment." His work is noted for the charm of his melodies. which are invariably beautiful. They are always clothed with appropriate harmoniea and all bear the stamp of sterling musicianship.

503 Sunset

This is one of four numbers comprIsmg the very popular "Pastoral Suite." The first part is a very graceful melody which gives way to a chorale-like movement in good contrast. The first theme recurs with an occasional note on the chimes which adds materially to the beauty of the theme as first heard. Two measures of the chorale and just an echo of the introduction gracefully effect the close of a delightful number.

DETHIER, Gaston Marie 1875-

Gaston Marie Dethier was born in Liege, Belgium, on April 19, 1875. Though a Belgian by birth he has always been regarded in this country as a French organist. He received his musical education at the Liege Conservatoire, where he won the gold medal for piano and organ playing and tke first prize for composition of a fugue at the age of seventeen. He made his debut at fourteen at the inaugural recital on the first tubular-pneumatic organ built in Belgium, at Malines. In 1894 he was engaged, upon the recommendation of Guilmant, as organist of St. Francis Xavier's Church, New York City, where he has remained until the present time.

He is actively engaged as a concert organist and teacher-both privately and at the Institute of Musical Art. New York.

Few excel him as a brilliant player on the organ, and his compositions are widely sought by organists whose technical equipment is equal to their requirements.

440 Allegro Gioioso

This brilliant composition is characteristic of Dethier and as usual betrays his unusually brilliant technique. A composer with a limited technique would never have conceived such a thing. It is a jolly, rollicking composition-which at no time expresses a serious thought. Good humor permeates it and overflows. It would be difficult indeed to find a number containing more jollity and mirth than this one.

It was written for the organ, and the roll gives it in a manner likely to excite the envy of the composer himself.

462 Barcarole

From the pen of a composer whose work coruscates as does Dethier's, one would hardly expect such a charming bit of simplicity as this Barcarole. It possesses all the elements of the boat song-the graceful melody, the swaying rhythm, etc. That Dethier could write such a thing proves his musicianship, for only a great man can do the simple thing so exquisitely as to avoid the commonplace.

466 Reverie

Meditation would have been as good a name but "what's in a name?" It is both dreamy and meditative-at times it seems retrospective or even introspective. Whatever the effect produced, it is captivating in its quiet simplicity.

618 Caprice (The Brook)

Among the difficult concert numbers for organ, few have enjoyed the popularity of this caprice. Its technical requirements are such that only organists of the first class can play it satisfactorily. Its difficulty does not concern us, however, for the Estey Organist knows nothing of difficulties. Its musical value is our chief concern, and musically it leaves nothing to be desired.

701 Elegie, Lied, Gavotte

A number of our clients have complained from time to time about the brevity of certain of our rolls. The obvious way of overcoming this objection is to cut more than one number on a roll. We shall pursue this policy in the future as far as it is compatible with good taste. We have here three little things by a big composer. They are all delightful and in striking contrast with each other. Each has a mood of its own and the combination of the three is a happy one.

DETT, R. Nathaniel 1882-

This pianist and composer was born in Drwmmondville, P.Q., Canada, in 1882. He graduated from the Niagara Falls Collegiate Institute in 1905. His musical education was obtained at the Halsted Conservatory of Music at Lockport, N.Y., and at Oberlin College, Oberlin, Ohio. At the latter place, he obtained the degree of Bachelor of Music. He studied composition with George W. Andrews and Rossetter G. Cole, and made his debut all a pianist at Oberlin, June, 1908.

He is well known as a teacher, and has held very important positions as director of music in various institutions of learning. At present he is attached to the Hampton Institute, Hampton, Va.

615 Juba

This is one of five pieces forming the suite, "In the Bottoms." It is illustrative of negro life and music. We shall let Mr. Dett describe it:

"This is probably the most characteristic number of the suite, as it portrays more of the social life of the people. Juba is the stamping on the ground with the foot and following it with two staccato pats of the hands in 2-4 time. At least one-third of the dancers keep time in this way, while the others dance. Sometimes all will combine together in order to urge on a solo dancer to more frantic, and at the same time more fantastic, endeavors. The orchestra usually consists of a single 'fiddler,' perched high on a box or table; who, forgetful of self in the rather hilarious excitement of the hour, does the impossible in the way of double stopping and bowing."

D'EVRY, Edouard 1869-

Edouard d'Evry, a brilliant organist of French parentage, received his musical education in London. He has been organiat of the Brompton Oratory since 1886. Not only has he gained a reputation as a brilliant performer, but ia known as a composer of organ pieces, many of which are successful.

486 Consolation

This is a composition of distinctly modern tendencies. It is a really delightful number, written for the organ, and the more often it is heard the better it is liked.

DIGGLE, Roland 1885-

This composer and organist is well known in the West and in Canada. He came to Canada from London, his birthplace, and since 1904 has resided in various parts of the middle and far West. Since 1914 he has been organist of St. John's Protestant Episcopal Church at Los Angeles, Calif., and has made two recital tours in Canada and one in the United States. He was soloist at the Panama California Exposition at San Diego in 1915-1916. Over one hundred of his compositions, which include many forms, have been published.

506 Chant Poetique

We, in this country, are inclined to look upon a chant as something of a devotional nature. As a matter of fact, chant is a French word meaning song. -It is, therefore, appropriate to designate a rollicking tune, such as this, a chant. It is poetical too. A charming rhythm permeates it from beginning to end, and it is a really delightful little thing.

513 At Sunset

A quiet and beautiful melody is this. It might have been called a nocturne-which it is. Its beauty may be attributed to its grace. Serenity is its keynote.

521 Reverie Triste

This song of sadness is a thing of much fascination. There is nothing dolorous or lugubrious about it, but it is plaintive in the extreme. It is one of a number of delightful little pieces written by this composer for the organ.


401 How ' Ya Goin' to Keep Him Down on a Farm?

DRDLA, Franz

(For Biographical Sketch see Catalogue, Volume 1)

665 Serenade

There is no more popular composer today in Bohemia-now a part of Czecho-Slovakia than Drdla. He has written many pieces for the concert room which deserve and enjoy a wide degree of popularity. Two of them are well known in this country, namely, Souvenir (Estey Roll No. 349) and Serenade, the present roll. Both these compositions were written for the composer's own instrument, the violin. They are both gems, and serve well as an example of the fidelity with which the string tone is reproduced in Estey organs.

DUBOIS, Francois Clement Theodore

(For BiographicaZ Sketch see Catalogue, Volume 1)

707 March Triomphale

A march of fine spirit and dignity is this one from the pen of the famous organist of the Madeleine, Paris. It is typical of the French style, which is a good style. It is vigorous and triumphant-and beautiful.

DVORAK, Antonin

(For Biographical Sketch see Catalogue, Volume 1)

405 Bagatello, Op. 47, Nos. 1, 2 and 3

By virtue of his residence and musical activity in New York, Dvorak has endeared himself to Americans generally. It may be said, however, without fear of contradiction, that his first claim to favor was through the bewitching beauty of his compositions-and so should it be. Nevertbeless, it cannot be denied that a special interest attaches to all his work because of his sojourn in the United States.

Of the five bagatelles in Op. 47, three are given on this roll, and more delectable music would be difficult to find. Dvorak was not known as a composer until his thirty-second year. At that rather late period in life to begin, a patriotic hymn struck the popular fancy. In 1877 he was discovered by Brahms, whose perspicacity in musical matters caused him to use his influence with Simrock, the publisher, to publish Dvorak's compositions. The Slavonic Dances, Op. 46, were first to appear, and the reception given them encouraged the publisher to bring out many compositions which Dvorak had long despaired of seeing in print. From this time on, Dvorak was recognized as a finished composer and his works were much sought after. This enchanting music will make its own place in the hearts of all who hear the roll, and it needs no description to add to its enjoyment.

519 Allegro and Larghetto from Terzetto, Op. 74

Dvorak is best known to us through his symphonies and quartettes. Here, however, we have two movements of an exquisite trio for two violins and viola, which we have put upon a roll for organ use. It is charming music, bright and cheery in the first movement, and different but no less attractive in the wistful larghetto. The roll gives it on the string stops, producing the effect intended by the composer with commendable fidelity.

EDMOND, Lemaigre

510 Prayer

This is a very beautiful and devotional melody which is sung on the Vox Humana with an arpeggio accompaniment on the harp. On repetition the theme is played on the strings and a flute obligato weaves its way in and out in ingenious and delightful fashion. This is a composition for the organ and the roll does it full justice.

ELGAR, Sir Edward

(For Biographical Sketch aee Catalogue, Volume 1)

487 Chanson de Matin

Song of the Morning, he calls it, and it is an appropriate title. It is a charming composition with the freshness of the dew upon it. Indeed, it sounds as if it had been written in the morning. It is a formless little thing which wanders about in carefree fashion, to the delight of all who hear it.

567 Chanson de Nuit

Much is expected of Elgar, and one is rarely disappointed. Here is a little song of the night, written for the violin. We have transcribed it for the organ with very happy results. It is still a violin solo, but in the case of the roll the organ furnishes the violin. Incidentally, this number provides an excellent opportunity to observe the fine imitative quality of Estey string stops.

601 Canto Popoiare

The popular song of this country is distinctly different from the kind here recorded. Elgar has chosen a tune of much beauty and has clothed it with delightful harmonies in his usual masterful way.


368 There's a Long, Long Trail

Of the many sentimental songs written in the last few years this is one of the most popular and one of the best. It has a catchy refrain, which is known to many who are not familiar with the rest of the song, and is effectively given on the organ from the roll.

FAULKES, William 1863-

This organist, pianist and composer, was born in Liverpool, England, November 4, 1863. He has taught in Liverpool since 1886, is well known as a composer, having written a concerto for piano, also one for violin, besides some chamber music and many pieces for piano. His organ works include the larger forms, such as concert overtures, etc., also many in the smaller forms.

508 Pastorale

The pastorale is a melody in 6-8, 9-8 or 12-8 time, in imitation of the simple melody of the shepherd's pipe. A drone bass very often furnishes the foundation, as is the case with this one, which is a splendid example of the form.

509 Minuet and Trio

This is a very good example of the minuet form in the key of B minor, containing excellent variety both in its subjects as well as in its treatment. Particularly melodious is the trio in the key of G major, with its tonic and dominant pedal. The return to the original subject is both ingenious and effective.

536 Barcarole

This is a fine two-part boat song, with a beautiful running accompaniment which is as incessant as the babbling of a brook, and as delightful. A middle part of considerable vigor furnishes the necessary contrast and this most charming number closes with the repetition of the first theme.

619 Concert Overture in D

A composition from the pen of this versatile and prolific English organist is always worth while. Here we have an overture written for the organ, which is a delight. It is fine in form. beautiful in thematic material and masterful in workmanship-which is about all that could be said in praise of any composition.

673 Wedding Chimes

A remarkable chime effect is obtained in this number by somewhat peculiar registration. Organists frequently use four- and sixteen-foot stops together for this purpose, which is what we have done here. Faulkes was in a particularly happy frame of mind when he wrote this charming piece. We have used the registration he prescribed throughout, thus carrying out the full intentions of the composer.

675 Spring Song

One of the best known of the many spring songs is this one by the well-known English composer and organist, William Faulkes. It is a delightful melody and the workmanship is of the usual high standard to be expected of him. A very unique and clever middle part adds wonderfully to the general scheme. The first theme then reappears with a florid accompaniment, adding variety and charm to a very beautiful and unpretentious bit of writing.

680 Nocturne

Not the least of the many talents of this well known English composer is his remarkable gift of melody. In a simple form like the nocturne, melody is the essential thing. In this case the theme is charming in its simplicity. A rather more vigorous middle part leads up to a repetition of the first theme in chords accompanied by an exceedingly graceful florid figure. It is a splendid example of the nocturne form.

FAURE, Jean-Baptiste

(For Biographical Sketch see Catalogue, Volume J)

463 Romance

Faure's particular claim to distinction lies in his ability to write charming melodies. This one is no exception, and will prove a delight to all who hear it. In the latter part a second voice appears and forms a most fascinating duet which continues to the close.

FEDERLEIN, Gottfried H. 1883-

Gottfried H. Federlein was born in New York City, December 31,1883. He is the son of a famous organist who is now retired, but is known as a teacher of singing, also as the author of a "School of Voice Culture," and essays on Wagner's "Ring of the Nibelungen." Our subject is one of the best-known of American organists and is a composer of great promise. He secured his musical education in New York, being the pupil of Biedermann, Goetschius and Saar. Besides his organ piecea, his compositions include sacred and secular songs, and aome music for the violin.

474 Scherzo Pastorale

This might be characterized a scherzo in tempo and a pastorale in rhythm and form. It certainly contains elements of both forms, and it was a happy idea to combine them. In any event, it is a matter of little moment to us whether the form is orthodox or not; the result is highly entertaining and displays a wealth of ability on the part of the composer. He has here given us a work of great beauty,

FERRATA, Giuseppe 1865-

This pianist and composer was born at Gradoli, Romagna, January 1, 1865. He studied at the St. Cecilia Acadamy, at Rome, having won a scholarship at the age of fourteen. He won the prize of the Ministry of Public Instruction. After receiving some lessons from Liszt, he toured Italy as a pianiat, with much success.

He came to America and for a number of years was dean of the Music Department of Beaver College. Beaver. Pa., and is now head of the Piano Department and professor of composition at Newcomb College and Tulane University. New Orleans.

He was knighted by the King of Portugal in 1887.

465 Nocturne

Ferrata's compositions are characterized by a free flowing melody accompanied by ever changing harmonies-almost kaleidoscopic at times. This number is no exception in either respect. It is dainty at all times, such a thing as one might expect from a skilled Italian composer. Indeed, it is a charming bit of melody, supported by a beautiful and appropriate harmonic structure.

488 Reverie Triste, Op. 9, No. 4

This is the sort of thing one likes to hear when in a meditative mood. Dim the lights, and listen to this roll in absolute quiet. If it does not leave an impression, your case is hopeless.

FIBICH, Zdenko 1850-

This composer was born in Seborschitz, Bohemia, December 10, 1850. He studied at Vienna and Prague, and later became a pupil at the Leipsic Conservatory under Moscheles, Richter and Jadassohn. His works, though little known in this country, number about seven hundred, including operas, symphonic poems, chamber music, song., etc.

672 A Melody, A Pensive Mood, Song Without Words

We have here, on one roll, three miniatures by a famous Bohemian composer. These pieces are happily mated on the one roll. The moods are not dissimilar, yet there is variety enough to prevent monotony.

FOOTE, Arthur William 1858-

Arthur William Foote is one of the most notable and prolific American composers. His activities as a composer have taken in practically all the accepted forms, and a great quantity of excellent music bears his name.

He has written much chamber music, most of which was given its premier performance by the Kneisel Quartette, a fact which of itself stamps Foote as a composer of a very high order. Similar testimony may be found in the fact that the Boston Symphony Orchestra has done him the honor to give most of his orchestral wrks their first public reading.

As a performer on both piano and organ Foote belongs in the first rank. He was organist of the First Unitarian Church, Boston, from 1878 to 1910, where he gave numerous recitals which were largely attended.

436 Pastorale, Op. 29, No.3

Almost every composer of note since the time of Bach and Handel has given expression to his feelings in a "Pastorale." It would therefore be surprising if Foote, with his wealth of melody, should not have tried his hand at this form. Indeed, it would have been unfortunate, for here is as pretty a piece of writing as one could wish. A delightful flowing melody, peaceful in the extreme, wanders around aimlessly through a number of different keys, all the while accompanied by the most exquisite harmonies, and finally returns home.

This Pastorale is a most charming thing. It was made for the organ and it fits.

683 Nocturne, Op. 50, No. 6

America has developed few if any better composers than Arthur Foote. He is a charming melodist, as is proven by this Nocturne. It is quiet and peaceful-just the thing to listen to in a dimly lighted room.


(For Biographical Sketch Bee Catalogue, Volume 1)

441 Cantabile

In this Cantabile of Cesar Franck we have a composition of transcendent beauty. One must listen a little below the surface to get the wondrous musical message contained in the superlative harmonies.

The food value of compositions such as this cannot be overestimated. The harmonies are anything but obvious, yet are not forced or unnatural. From beginning to end the careful listener will notice the composer's fondness for intervals of semitones, both in melodies and accompaniment, but principally in the latter. This is not a weakness, but a characteristic, and one productive of gorgeous effects when applied with the consummate skill of this great man. This roll is worthy of all the attention and scrutiny it can be given. It grows more beautiful with each hearing.

543 Piece Heroique

This is a very pretentious composition for the organ. It is Franck at his best. All the characteristics which have stamped him as a modem genius are here. It is a very wonderful work.

651 Choral, A Minor

This is the third of a set of three chorals written for the organ by Cesar Franck, the great Belgian composer. It is also the most popular and best known of the set.

In it he betrays unmistakably his allegiance to Bach. It is a curious circumstance that Franck, an ultramodern, should have chosen Bach as his model. Franck lacks nothing in originality, but there are, undeniably, passages in his writings which Bach might have written-and to his credit. The present roll has in it some such passages, and their analogy is interesting.

721 Symphony in D Minor

Cesar Franck, as we have said in our biographical sketch of him, was a Belgian by birth, but a Frenchman by adoption.

It is well to remember this in connection with the fact that his influence on the French school of music was far greater than the influence of the French school upon him. He is said to be the father of the modem French school. This is probably so, but if the dear old man could come to life, it is doubtful if he would recognize some of his children.

Franck was a radical and must have had a hard time with the skeptics of his day. He felt, however, that he had a message and that it was his privilege to deliver it in his own way. Indeed, such was the case, and what he said could not have been as well said in any other way, or by anybody else.

It is with his only symphony that we have to do here. In that one symphony he seems to have epitomized all that went before and all that was to come in the way of symphonic writing. A description of it would be most futile. It may be well, however, to call attention to the use of the principal theme in all the movements; a thing which we believe had not been done before. In the freedom of development and orchestration he actually rivals Beethoven.


661 Romance

Romance is perhaps the proper title for this little composition. As a romance should be, it is a tender, simple melody of great beauty.

FRIML, Rudolf 1881-

Rudolf Friml waa born in Prague, Bohemia, December 7, 1881. He obtained hia musical education at the Prague Conservatory and came to this country as accompanist to Kubelik. After a tour with the violinist he appeared with success as a concert pianist in recitals and with the orchestra. He now devotes his entire time to composition, and is remarkably successful, having written a number of musical comedies which have received the unstinted approbation of the public. "The Firefly," "High Jinks" and "Katinka" are among his efforts for the stage.

491 Twilight

This is an unpretentious piece of much melodic beauty, which has been admirably transcribed for the organ. It is an easy-flowing tune which fits the organ as though made for it.

585 Melodie

This melody is in effect a song without words. It is in a light vein but of splendid workmanship. In the arrangement of the roll, due cognizance of the possibilities for color effects has been taken; the saxophone, flute and violin appearing as solo instruments, while in the coda we have a chorus of strings accompanied by the harp. The roll is charmingly effective from beginning to end.

595 Russian Romance

This is one of the most popular of the many well-known compositions by this Bohemian composer. He has done much in a light vein, but nothing more deservedly popular than this. It is full of charming melody and splendidly harmonized.

FRY, Henry S. 1875-

Henry S. Fry was born at Pottstown, Pa., April 27, 1875. He is one of the best-known of American organists, having given over six hundred recitals. He is very active in the affairs of the National Association of Organists, having been president of the association in 1920.

As organist of St. Clement's, Philadelphia, he has established an enviable reputation as a service player as well as a recitalist. He devotes most of his time to teachmg and to literary work on musical subjects, being a regular contributor to a number of musical periodicals. Most of his compositions are in manuscript.

623 Sicilano

Few if any unpretentious numbers are in greater demand for recital purposes than this bit of dainty writing. It is to be found on the programmes of organists, great and small. The technical requirements are not very great, but it requires a goodly share of musical instinct to do it justice. The present roll was played by the composer and is a charming thing.

FRYSINGER, J. Frank 1878-

Concert organist, composer and teacher. Born at Hanover, Pa., April 7, 1878. He atudied with Frederick Wolff, Baltimore; S. Camillo Engle, Edgar Stillman Kelly and Richard Burmeister, New York; Ralph Kinder, Philadelphia, and W. Wolstenholme, London. His compositions include about thirty piecea for organ and over seventy for piano, in many of the accepted forms. He is at present attached to the University School of Music at Lincoln, Nebraska.

495 At Parting of Day

This is a delightful little bit of sentimentality which was composed for the organ by a man who has a highly pleasing gift of melody. The theme is very graceful and is clothed with most appropriate harmonies.

605 At Twilight

Here is a fine flowing melody with a rather unusual rhythm. The first theme is in 6-4 time, and the middle part in 5-4. The second theme is repeated with a sprightly obligato on the flutes. All in all, it is a very interesting and pleasing composition.


582 Reverie

As it should be, this is a dreamy sort of thing pleasantly dreamy. It has rather more form than most reveries, but is not hampered by it. It is a really charming piece.

GAY, Byron

454 The Vamp

Fox-trotting to the "Vamp" is the popular thing these days. Those among the nimble~ footed who do not succumb to the speU of this strange bit of music, are a hopeless minority. Everybody does the "Vamp."

GILLETTE, James Robert 1886-

This organist and composer was born at Roseboom, N. Y., May 30,1886. He graduated from Syracuse University, where he studied organ with Harry Vibbard, and composition with William Berwald. He is at present Professor of Organ and Composition at Wesleyan College, Macon, Ga. An annual recital tour has given him wide reputation as a concert organist.

530 Chanson de Matin

This is in all essentials like most songs of the morning. It is melodious and cleverly written. Its possibilities for unique and interesting registration will be noted at once and appreciated. It is a delightful little thing.

GODARD, Benjamin

(For Biographical Sketch see Catalogue, Volume I)

423 Au Matin

This is an enchanting little piano piece, which has been skillfully adapted to the organ with very satisfactory results. It is in the flowing, melodious style so characteristic of French composers, and Godard in particular. It is not a classic, but is a thing of much charm and beauty.

493 Canzonetta from Concerto Romantique

Here is an almost unequaled example of musical coruscation. Traveling along with a tune of unusual brilliance are harmonies of superlative beauty which continually change with kaleidoscopic suddenness until one wonders where this jumping about from key to key will end. Such a thing could not have been written by any but a man of very great talent. It has been said of Godard that he was too easily satisfied with his own work, but there is in this instance no evidence of carelessness; there is the evidence of genius and a real joy in his work. It is beautiful in the extreme.

GOUNOD, Charles Francois

(For Biographical Sketch see Catalogue, Volume 1)

723 There is a Green Hill Far Away

This is one of Gounod's most inspired sacred songs. Nothing could surpass the appropriateness of the music to the poem. It would seem almost that they were conceived together. We have made a delightful organ arrangement of this wonderful song which we are sure will appeal to all admirers of such music. A more devout or reverential bit of music does not exist.

GRAINGER, Percy Aldridge 1883-

The subject of this paragraph was born in Brighton, Victoria, Australia, July 8, 1883. He received most of his education at home, from his mother, who also was his chief instructor in music. He made his debut as a pianist at the age of ten at Melbourne, Australia. He later studied with Kwast at Frankfort, and Busoni at Berlin. He has toured Europe extensively, and his undisputed genius has met with cordial recognition everywhere. Among his seventy compositions are found works in nearly all forms. He is particularly happy as an arranger of old tunes, which he "dishes up," to use a phrase of his own, in most palatable fashion.

He has resided in New York for the past few years, and in 1917 enlisted in the American Army. He was assigned to the band of the Fifteenth Coast Artillery Corps as saxophonist.

391 Molly on the Shore

This number consists of two old Irish Reels, "Temple Hill" and "Molly on the Shore." These two tunes have been most ingeniously woven together into a most charming bit of music. It is in things like this that Grainger is best known to Americans as a composer.

This delightful bit of Irish music is of the sort that makes one wish for more, especially as the organ plays it.

617 Irish Tune from County Derry

Nothing need be said of Grainger's ability in the arrangement and harmonization of folk music. He has done a number of things in a most charming and original manner. In this instance, he used a tune of Irish but unknown origin-nameless even. Grainger got the tune from "The Petrie Collection of the Ancient Music of Ireland" and we think Petrie's paragraph, which accompanies the tune, would be of interest. We therefore quote it:

"For the following beautiful air, I have to express my very grateful acknowledgement to Miss J. Ross of New Town, Limavady, in the County of Londonderry-a lady who has made a large collection of the popular unpublished melodies of the county, which she has very kindly placed at my disposal, and which has added very considerably to the stock of tunes which I had previously acquired from that still very Irish county. I say 'still very Irish,' for though it has been planted for more than two centuries by English and Scottish settlers, the old Irish race still forms the great majority of its peasant inhabitants; and there are few, if any, counties in which, with less foreign admixture, the ancient melodies of the country have been so extensively preserved. The name of the tune unfortunately was not ascertained by Miss Ross, who sent it to me with the simple remark that it was 'very old,' in the correctness of which statement I have no hesitation in expressing my perfect concurrence."

GRETCHANINOW, Alexander Tichonovitch 1864-

One of the most important Russian composers, Alexander Gretchaninow, was born at Moscow, October 25, 1864. He studied piano with Safonov at the Moscow Conservatoire, and composition with Rilmsky-Korsakow at the Petrograd Conservatoire. His instrumental works are said to show traces of German influence, but his church music, of which he has written much, follows the best Russian traditions. He has written two operas, two symphonies, three string quartettes and numerous choruses, songs, etc.

551 Meditation

A very aptly named little piece. It might be an improvisation. It is formless-just wandering about, going nowhere in particular, but doing it delightfully. And when it gets to the end of its journey, unlike some other things, it stops.

576 Cradle Song

Composers great and small have tried their hands at the song somnolent. Many of these efforts have resulted in most charming music, as in the present case. Simplicity is the charm of this little gem, as it is in all good cradle songs.

GRIEG, Edvard Hagerup

(For Biographical Sketch see Catalogue, Volume I)

395 Solvejg's Song, Peer Gynt Suite, No.2

This is a melody of remarkable appeal, and such a one as only Grieg could have written. The inspiration was taken from Peer Gynt and the song occurs when Peer Gynt returns to his hut in the forest, and finds Solvejg awaiting him. He dies in her arms as she croons this beautiful melody.

402 March qf the Dwarfs, Op. 54, No. 3

This is one of a set of lyrical pieces for piano. It is quite grotesque and a most bewitching bit of writing. The organ provides the necessary medium for a most satisfactory rendition.

596 Berceuse

Of the many lyrical pieces by Grieg, none is better known than this Berceuse. Nothing could be more beautiful, or more in keeping with its title. It would not be classed as a difficult thing to play, but it is not without troublesome spots, which, if not played with consummate ease and grace, are apt to ruin the effect. The Estey Organist recognizes none of these difficulties and the effect is charming.

597 Norwegian Dance, Springtanz, Elegie, Waltzer Opus 38

In the set of lyrical pieces comprising Op. 38, there are a number which are splendidly adaptable to the organ. One roll, No. 596, contains the lovely Berceuse from this opus. The present roll contains four of the most charming numbers of the set. They are four beautiful miniatures and are representative of Grieg at his best.

604 To Spring, Op. 43, No. 6

Perhaps none of Grieg's lyric pieces is better known than this charming little spring song. In adapting it to the organ, nothing has been lost; indeed, in spots the organ seems to bring out the composer's intent better than the piano.

GUILMANT, Felix Alexandre

(For Biographical Sketch see Catalogue, Volume I)

414 Priere et Berceuse

This number is of a type of which Guilmant was particularly fond. He delighted in anything suggesting tranquillity, and was at his best when working along lines of simple melody. As a contrapuntist he was excelled by but few of his time, but he seemed to take the greatest joy in allowing his mind to wander along with a tune of exquisite beauty and refinement. No one was ever more fastidious or discriminating in the choice of subject material than Guilmant, therefore his themes were always well worth the work he put upon them in the way of development, ornamentation, etc.

The present roll is highly characteristic. It opens with a very slow movement (Prayer) which serves as an introduction to a lovely slumber song (Berceuse), which is uttered first in simplest fashion and later elaborated upon. A portion of the slow movement then recurs and brings the delightful number to a close.

431 Caprice, Op. 20, No.3

The serious side of Guilmant is well known and understood. Here, however, is an example of whimsicality which would do credit to a Haydn, and a degree of jocundity wholly unexpected from a pen so used to recording expressions of dignity and religious feeling. It is always interesting to discover a new angle from which a great man can be viewed, and this delightful bit of writing will shed a new light on this great man's personality which will add interest to all of his compositions.

It was written for the organ, and the roll gives it in a manner approached by none but the most skillful organists.

584 Nuptial March

Here is a glorious march by the inimitable Frenchman. He was a pigmy in stature, but a giant in intellect. He never stooped to frivolity, he was often jovial, frequently humorous, but his every mood was dignified.

This wedding march is as fine an example of march writing as is to be found.

625 Grand Chorus in March Form

No better compositions for organ are to be found than those of the great Frenchman. He always felt that whatever thematic material he selected was worthy of painstaking treatment, resulting invariably in sturdy, wholesome music. In this instance we have a splendid march, vigorous and inspiriting, such as only Guilmant could write. No one knew better than he the effects possible on the organ, or the way to obtain them. He was master of his instrument.

630 Andante con Moto

This movement was dedicated to Cavaille Coll, the great French organ builder and friend of Guilmant. Guilmant has here written some of the loveliest of organ music. It is organ music and nothing else. An arrangement of it for anything else would profane it. The opportunity for tone coloring has not been overlooked in the making of the roll.

632 Cantilene Pastorale

This is Number 3 of Opus 15. It is Guilmant in one of his sprightly moods. By a singular coincidence it contains a phrase which is identical with one in Grieg's "Anitra's Dance." This sort of thing happens much more often among the classic writers than is generally supposed. Of course there is no thought of plagiarism concerning men of this calibre. It simply happened. This Cantilene is full of charming melody and harmony woven together in the usual masterful manner. It is organ music and the roll does it full justice.

633 First Meditation

The theme of this Meditation savors somewhat of a pastorale. Much of its charm is due to its simplicity. In the development of the theme, many delightful incidents occur. It is full of tone color and is a splendid organ number.

637 Marche Religieuse

From time to time we have remarked on the masterful workmanship of this great French organist. He considered any theme of his selection worthy of the best treatment he was able to give it. In this instance, he has selected a theme from Handel's Messiah- "Lift up Your Heads." Nothing, therefore, need be said in praise of the theme. The astonishing thing about this march is the middle part. Suddenly, after the principal theme has held full sway for a time, a free fugue enters. It trips along in most interesting fashion, when unexpectedly, the first theme reappears with the fugal theme as a contrapuntal ornament. The march concludes with the principal theme in massive chords on the full organ. It is a wonderful thing on first hearing, but it must be heard again and again to grasp its full worth.

649 Largo e Maestoso

There are people who possess the silly idea that a great man-a big man-must be big in stature. This idea is more or less prevalent despite the numerous cases which may be cited to the contrary. To prove the erroneousness of such an idea we need, for our purpose, only to mention Guilmant (to say nothing of Beethoven). Here is a sonata, built on the lines laid down by Beethoven, which is so masterful in theme and workmanship as to cause the listener to forget entirely the fact that it is written according to a definite form. It is a gorgeous piece of musical architecture.

662 Finale from First Sonata

We have already listed the first movement of this Sonata under No. 649. The pastorale, which is the second movement, will appear as No. 676. These two, with the present roll, constitute the entire sonata. The finale is a tempestuous allegro, and in marked contrast to the pastorale which precedes it. It is also in Guilmant's inimitable style, which is all that need be said in praise of it.

676 Pastorale from First Sonata

Students of Beethoven are familiar with his fondness for themes of the simplest character. In his chamber music in particular, he frequently used four or five notes of the scale in sequence, either up or down. In the selection of thematic material this Pastorale reminds us of Beethoven. Here we find the theme beginning with the first six notes of the scale of A major in their proper order. Later on, we find the full scale, and more, used. Along in the middle we hear, most appropriately, a portion of a fine chorale, accompanied by the shepherd's pipe. The first theme is then developed and the close is effected by the use of two complete octaves of the scale of A major, with the dying strains of the chorale as an accompaniment. It is truly a wonderful composition. Anything more beautiful would be difficult to imagine and more difficult to find.

694 Offertoire, Elevation in F, Carol for Christmastide

The present roll contains three numbers, as shown above. Our reason for cutting the three numbers on one roll was that they seemed to belong together. The Offertory is based on the two Christmas carols, "Great God" and "Come, Shepherds, Awake"; the Elevation on the carol, "Shepherds of the Mountains"; the Carol for Christmastide on the carols, "Let Us Sing Loudly," "Noel," and "Christ Is Born."

All three of these numbers display the skill of the great French composer, and are fine examples of organ music.

695 March from the Ariane Symphony

The French school of composers were all fond of the march form, none more than Guilmant. He seemed to find expression in this form for his pent-up energy. It would be difficult to conceive a more vigorous thing than this. It is a delightful example of Guilmant with a free rein.

709 Lamentation

Guilmant dedicates this splendid work to the "memory of my friend, the Abbe Henri Gros, killed on the plateau of Avron, December 27, 1870 (bombardment of Paris), aged thirty-one years." Mention of the bombardment of Paris need no longer take us back to 1870, and this tribute to Guilmant's friend may with singular appropriateness be rededicated to others who met their death in a similar way. Aside from its historical interest this lamentation is a work of unusual interest. It is dignified, plaintive, and reverential, but never doleful or lugubrious.

GUION, David W.

573 Turkey in the Straw

What should be said about this old tune cannot be better said than by the author of the present transcription. We quote him:

"'Turkey in the Straw' every American, of course, knows, but not as I do, for I have danced to it thousands of times out here (Texas) at the cowboy dances until I was almost ready to drop. I do not know why, where, when or hy whom it was written, but the cowboys and old fiddlers rather look upon it as their 'national anthem.' In this concert transcription I have tried to write it just as I have so often heard it whistled and played by our funny old fiddlers, the cowpunchers and cowboys."

We have adhered strictly to the text as arranged by Mr. Guion, and have simply fitted it to the organ with most fascinating results.

Mr. Guion is an American musician, born in Ballinger, Texas, in 1895.

HALSEY, Ernest

570 Festal Postlude

This is a vigorous postlude of conventional type but much better quality of writing than the average. It is full of interesting contrasts and is a fine number to show the tonal possibilities of a fine organ. It is characteristic of the English school of writing and is a splendid example of dignified organ music.

HANDEL, George Frederick

(For Biographical Sketch see Catalogue. Volume 1)

544 Allegro from Sixth Concerto

This is the first movement from the Number 6 organ Concerto. For a number of years these concertos have been somewhat neglected, but of late seem to be reestablishing themselves in high places. The music is old-fashioned, but most things are that are one hundred and eighty years old, and antiques never go out of fashion, especially musical antiques.

666 Sarabande

The sarabande is an ancient stately dance. Its origin is a matter of much speculation. Fuertes says it was invented in the middle of the sixteenth century by a Spaniard named Zarabanda. Others attribute it to a Spaniard named Sarao. Sir William Ousley claimed it was of Turkish or Persian origin, Ser-band.

Whatever its origin it enjoyed years of popularity all through Europe during the sixteenth century. To us it seems very unlike a dance tune. We cannot deny its musical worth, however, and it is this phase of it which concerns us.


Hauser was a very famous Hungarian violinist, born in Presburg in 1822. When only twelve years of age, he made a world tour, meeting with the greatest success wherever he played. In 1840 he toured Germany, Sweden, Norway and Russia; in 1850, London and other English cities. From 1853-1858 he visited California, South America and Australia. In 1860 he was, feted by King Victor Emmanuel of Italy and the Sultan of Turkey. His composition, are little known except a set of Lieder Ohne Worte (Songs Without Words) which will survive for many years to come.

705 Wiegenlied

For many years this little gem has been a favorite encore number with violinists and the public. The reason is obvious, for it is a superlatively beautiful melody clothed with the simplest and most appropriate harmonies. It is truly an enchanting thing.

HAYDN, Franz Joseph

(For Biographical Sketch see Catalogue, Volume 1)

535 Andante from Symphony NO.4, Clock Movement

A hearing of just a few measures of this delightful music suffices as an explanation of the name which it has been given. The ticking of the clock begins the movement, and continues almost incessantly throughout.

After a measure of "tick-tock" a most exuberant melody fashioned in Haydn's own mould asserts itself, and the development which follows is a fair example of Haydn's skill in composition. It is a charming movement from the moment the clock begins to tick until it runs down at the end.

737 Adagio, Presto, Symphony in D (Clock Symphony)

In this Symphony, Haydn has revealed his many-sided nature. In the introduction to the first movement, the Adagio, we have a sombre and solemn announcement. It is a proclamation which seems to foreshadow a theme of dignified and stately character. When he comes to the point, however, we find we have been fooled. Instead of the expected theme we have a tune which is nothing short of waggish-indeed, just the tune one would expect from a chap who would deliberately cut the pigtail off a fellow chorister's wig. Away he rides on this mischievous, sprightly tune, in unrestrained and irresponsible merriment. Nobody but Haydn could, or at least did, write such a tune. Directly he makes a counter-theme out of the first theme by turning it upside down. Then the second theme is fashioned out of the second principal theme-principally by changing the accent, now the most brilliant polyphony; by way of development, the most delightful musical banter and badinage-all so characteristic of Haydn that it never once occurs to us that anyone else could have written it.

738 Minuetto, Allegretto, Symphony in D (Clock Symphony)

The so-called Minuetto has all the earmarks of a scherzo. "Grove's Dictionary" says, "When we come to Haydn the term minuet ceases to have any meaning." Goepp says, "Haydn's scherzos always have a strong 'out of school' feeling, this one especially; only it is a short recess." Haydn and Beethoven were the only true musical humorists.

739 Finale, Vivace, Symphony in D (Clock Symphony)

Again we are constrained to quote Philip H. Goepp:

"Strange to say, the Finale (marked Vivace) is quite the most serious phase of the symphony. Recess is quite over; we are back in school not to say church-for the violins, like a well trained choir, are striking up a melody that sounds much like a good old chorale.

"Simply stated, without a note of extended cadence, it is strictly repeated as if to make sure we know it. It is like the preacher who states his text with all serious unction, and repeats it, to give warning of the great sermon which is to follow. We are sure it is a rondo, mainly because it is not sonata-form; the cardinal theme, in its constant rounds, never lets us forget the text of the sermon. After some playing of themal phrases, there comes one of those dynamic passages, where all join to make a noise, and finally drop exhausted into a cadence; whereupon the strings, with a little help from the woods, gently toss about snatches of the melody, and the rest pitch in again in general turbulence. At last the strings rehearse the theme in really serious manner, with but slight obligato variation. The rest, too, join properly and respectfully in singing the hymn in its original harmonies. Soon comes another of those terrible phases, another Minore, where Papa Haydn tries so hard to look fierce, without anything special to say; merely general muttering, with the same old faces. We all know it is only to break the more pleasantly into his own benignant smile.

"Here was the fugue, which we knew was coming from the emphatic way the theme was first enounced. With such a theme, it could not be resisted. It begins in the first violins, with the seconds tripping in obligato behind, before, and all around, until they finally take up the theme, and. the violas 'hold the candle.' Best of all is when the 'cellos come in and the rest all play about. Of course, the violas have their turn, too. Finally, the woods make a trial at the theme, while the violins go on without attending to their ineffective attempts, and finally run away from them, on a side path. At last the whole orchestra joins in the fugue with all possible magnificence and solemnity, until the last verse, which is sung once more as at first."

729 Adagio, Vivace

730 Andante

731 Minuetto

732 Finale, Allegro Molto

The four rolls enumerated above comprise the G major, popularly known as "The Surprise." It is Number 8 of a set of twelve written for Salomon of London, but Number 6 of the Breitkopf and Hartel and other standard editions. It was written in 1791. The usual short Adagio is used as an introduction, leading up to the first theme (Vivace) in 6-8 time. The theme is as dainty as could be in the beginning, but soon takes on a more important air and develops into a masterful piece of writing.

It is from the Andante, or slow movement of the symphony, that it gets its name "Surprise." It starts out most unostentatiously, the theme being the single notes of the tonic and dominant seventh chords, accompanied only by a single bass note. It is first played piano, then repeated pianissimo. At the end of the repetition, there is a sudden and unexpected crash of the whole orchestra.

Papa Haydn always loved his joke, and he said to a iriend when writing this movement, "That's sure to make the ladies jump." It has never failed to this day.

The plan of the Andante is that of a theme and variations of which he was so fond.

The Minuetto is in Haydn's inimitable style. In the Finale, we find Haydn in his happiest vein. He revels in the sort of theme he has selected. It seems almost mischievous--as though he were playing pranks on the players by making them chase each other all over the place. He has serious moments, however, and has introduced some very surprising harmonies in the latter half of the movement, also a rhythmic surprise in the use (twice) of a grand pause, or full measure rest.


(For Biographical Sketch see Catalogue, Volume I)

692 Kiss Me Again (Waltz)

This is one of the old favorites which bobs up every now and again and has a period of popularity which makes some of the new things in the way of popular music suffer by comparison. It is played and sung on the vaudeville stage perhaps more than any other single composition, and it always makes a hit. It seems to have become a necessity.

HIRSCH, Louis A.

Few, if any, composera of popular music are better known, or have been more successful, than Louis A. Hirsch. His success would seem to refute the idea that a man with a claaaical education cannot write popular music.

Hirsch was educated abroad, having studied piano with Guatave Levy and Rafael Joseffy in Berlin. He studied theory with Max Spicker in New York.

Among the many musical shows written by him were "Going Up," "Vera Violetta," "The Rainbow Girl," etc. His greatest success is "Mary," and it is by all odds the most popular musical comedy produced in years.

554 The Love Nest

This is by far the most popular song written for many years. It stands a good chance of outselling any song of any time. It is from "Mary," a musical comedy recently produced in New York, and by three separate road companies. The reason for its unusual popularity is not hard to discover, for it has real musical merit, as well as that elusive something that makes one whistle or sing it continuously.

698 Learn to Smile,from "The O'Brien Girl"

A production with bright prospects for a long run is "The O'Brien Girl." It has captured the popular fancy and is a genuine hit. The tune that you take home is "Learn to Smile," a most fascinating thing which is whistled and sung for days after its first hearing.

We have arranged it for the organ in true theatrical fashion for those who like to dance.

HOGAN, Parke V. 1868-

Born in Mount Holly, N. J., May 6, 1868. Studied organ with the celebrated blind organist, David D. Wood of Philadelphia. Completed his studies of music and theory at the Philadelphia Musical Academy. Has been a successful conductor of chorus, orchestra and light opera. Has written many songs and has as well composed a light opera. Our patrons will be interested in a composition from his pen, as it is well known that he has for several years been the guiding hand in the arrangement of music for the Estey Residence Organ.

429 Minuet in D Minor

This is an adaptation of a minuet from a string quartette. The first strain is a rather robust and vigorous theme in D minor. The trio starts in D major but restlessly wanders about among related keys making very short calls and returning home in time for the da capo. As with all minuets the first two strains are played again, finishing on the common chord of D major. The advent of the F sharp in the final chord is rather startling, but leaves a good taste in one's mouth.

HOLLINS, Alfred 1865-

This famous organist and composer was born blind. He studied first with relatives, then at the Wilberforce Institute for the Blind. In 1878 he entered the Royal Normal College for the blind at Upper Norwood, where he studied piano with Hartvigson, and organ with Dr. Hopkins. He studied later with von Bulow in Berlin.

At thirteen he played Beethoven's Emperor Concerto at Crystal Palace.

In 1886, under the guidance of Dr. Campbell of the Normal College, he and a quartette of blind players toured America. He visited America again in 1886. and Australia in 1904.

His compositions include two concert overtures and numerous other pieces for organ, a romance for violin and piano, several anthems, piano pieces, etc., all of which bear the stamp of the true musician.

449 Spring Song

Rarely does one find a more charming bit of writing for the organ than this Spring Song. The spirit of spring permeates it from beginning to end. Birds, buds, flowers, sunshine--all the beauties of spring are to be found in this exquisite composition, which is delightful in its joyous and buoyant mood.

451 Concert Overture in C Minor

The composer of this overture is one of the best known composers for the organ. He is largely known, however, for his works in the smaller forms such as are usually written for church service. In this case he has given his talents a free rein and has produced a number for concert use which is not only interesting but delightful from beginning to end. The work is interesting in theme and his thematic material is developed in the masterful way characteristic of the composer. In this instance he had much to say, and said it in a most fascinating manner.

687 Cantilene in A flat

An introduction of six measures serves to establish the rhythm chosen for this composition. The theme is one of great beauty and simplicity and the message it brings is one of refined sentiment. It is one of those rare things which gives us more than we hear--that suggests beautiful thought. After all, this is the great mission of music.

691 Romanza

This is a charming melody of the type and quality to be expected from Hollins. The theme is one of delightful simplicity and grace in G major. A second theme in contrasting rhythm, in the key of G minor, precludes any possibility of monotony. Now comes a most skillful development of the two themes together. The second theme in G minor has been turned into a major theme and used as a counterpoint to the first theme in most clever fashion. It is a most interesting bit of writing and one which improves on acquaintance.

693 Evening Rest

Tranquillity is the text of this dainty musical discourse. It is Hollins in his best and most peaceful mood. The accompaniment of the first part is in sustained chords with a moving figure in the pedal suggesting the plucked strings of the basses in an orchestra. After the first verse, as it were, the theme is immediately repeated an octave higher. This time the sustained chords give way to a broken chord harplike accompaniment, the pedal figure remaining the same. Now comes a theme of a totally different character, forming a splendid contrast with the first theme. Then, in all its simplicity, the original theme is heard again, a short coda bringing to a close a very beautiful bit of music.

JACOBI, Victor

482 On Miami Shore

This is a very good example of the present-day waltz, which has become exceedingly popular. For dance purposes this roll leaves nothing to be desired.

JARNEFELT, Armas 1869-

The subject of this paragraph is a Finnish composer, born in Wiborg, Finland, August, 1869. He studied with Wegelius and Busoni at the Helsingfors Conservatoire, then with Becker in Berlin and Massenet in Paris. He has composed a great deal considering his activities as a conductor, and his compositions include two overtures, four orchestral suites, and a symphonic poem. Besides thesc works in the larger forms, he has written numerous songs and choruses. Since 1907 he has been conductor of the Royal Opera at Copenhagen.

439 Praeludium

This is a sprightly little thing which is overflowing with good workmanship. It is not startling either in thematic material or harmonic structure. Much charm attaches to it, however, because of the superlative skill with which the chosen material is treated.

565 Berceuse

A gem of the first water is this little piece. It is useless to attempt to describe it, for it is one of those things which conclusively prove the futility of any attempt to translate the language of music into terms of mere words.

JOHNSTON, Edward F. 1879-

This sterling musician was born in Edinburgh. He received his education at the Edinburgh University, and studied music there with Professor Niecks. He also studied with Professor Laudi at the Academy of Music at Florence.

Some very important positions have been capably filled by Mr. Johnston, whose reputation is firmly established as a performer, as well as a composer. His compositions include three comic operas, many sacred and secular songs, and a number of pieces for the piano and organ, his works for the organ being e8pecially well known.

370 Evensong

This charming number was first conceived as a sentimental song, but never fulfilled its original purpose. A number of years elapsed between the first conception and the appearance of the piece in the form known to the public. The first theme has in it that something which refuses to remain in obscurity. It was known to a few of Mr. Johnston's friends and was a theme upon which he liked to improvise. He resolved to elaborate it and give it definite form, and the result is one of the most delightful of organ pieces, and a wonderful favorite. It is good music, and the present roll gives it in a manner gratifying to the most exacting ear.

JOLSON, Al, and ROSE, Vincent

560 Avalon

JONGEN, Joseph 1873-

Jongen is a well-known Belgian composer who was born at Liege, December 14, 1873. He studied at the Conservatoire in Liege and won many prizes with his compositions, including the Prix de Rome for his cantata "Comala." He has composed in all forms-from pieces for the harmonium to a symphonic poem.

He is a composer of distinctly modern tendencies, indeed he may be said to belong to the modern French school.

538 Chant de May

This is a delightful bit of distinctly modem music. It is very indefinite in form and savors somewhat of a charming improvisation. Debussy might have composed it, which is all that need be said of its quality.

590 Improvisation-Caprice

Here is a most interesting composition by one of the ultramoderns. There are spots in it that hardly sound as though they had been improvised-indeed, they give the impression of being the result of serious study, but it is a caprice from beginning to end-never anything else. It is a distinctly modem conception, and a charming one.

KARG-ELERT, Siegfried 1879-

Karg-Elert was born at Oberndorf, Wurttemberg, November 21, 1879. He studied at the Leipsic Conservatoire under Reinecke, Reisenauer, Jadassohn and others. He is a most indefatigable composer of emtreme modern tendtmcies. He has written much for the organ.

542 Salvation Has Come To Us

This is a very beautiful and very short number which is one of the twenty choral studies published as Op. 78. The German title, of which the above is a free translation, is Es ist das Heil uns kommen her.

591 La Nuit, Op. 72, No.3

592 Clair de Lune, Op. 72, No.2

Here are two numbers from a group of three pieces for organ entitled "Trois Impressions." They were dedicated to Alexander Guilmant and are excellent examples of the work of this German composer. In calling these "impressions" Karg-Elert seems to have hit upon a very happy title. They are much like an impressionistic painting. Correct perspective is essential if one would enjoy them to the utmost. They seem queer at first hearing, but improve on acquaintance.

KERN, Jerome David 1885-

There is no more successful composer of popular music of a high class than Jerome Kern, who was born in New York, January 27, 1885. He was educated in the public schools of New York and Newark, N. J., and at Hunter College. He studied music at the New York College of Music. He has been phenomenally successful as a composer of theatrical music, all of which is far above the average.

697 Look for the Silver Lining, from "Sally"

"Sally" is one of the big hits. It has been running more than a year. The song "Look for the Silver Lining" is the musical hit of the show. It is a bit of optimism which should be practiced. Aside from the lesson, it is a catchy tune which is worthy of a hearing. The organ does it splendidly.

700 Ka-Lu-A

This is one of the hits from "Good Morning, Dearie," which is more than holding its own on the New York stage just now. It has an Oriental flavor of a much better quality than most things of the sort. The composer seems to have the faculty of producing music which has a popular appeal without descending to the commonplace level. His writings are always tuneful-never cheap or vulgar.


(For Biographical Sketch see Catalogue, Volume 1)

424 Caprice

Here is a caprice that is capricious. It scintillates from beginning to end, and continuously does what is least expected-as a caprice should. It has a very interesting middle part in 5-4 time which adds to its whimsical character, after which the inconstant first theme recurs, bringing to an end a most fanciful conceit.

442 Serenade

A number from the pen of Kinder is always well worth a hearing. He is one of the best known organists and composers in this country and his works enjoy commendation from both player and listener. This Serenade is no exception. It reveals Kinder's gift of melody, which seems unending, and some clever workmanship also. It was written for the organ, which fact assures a satisfactory rendition by the roll.


(For Biographical Sketch see Catalogue, Volwme 1)

367 Liebesfreud

This is another of these wonderful arrangements of folk songs so inimitably done by Kreisler, and known so well through his playing. It is an old Vienna waltz-very old-but under Kreisler's magic touch it has become new. It has lost none of its quaintness, however, through its revivification.

The organ gives it in a manner second only to Kreisler's violin.


716 Grandma (Grossmutterchen), Op.20

This fine old tune is a Landler or Laendler, which is a dance tune popular in Austria, Bavaria, Bohemia and Styria. The dance is said to have originated in Landel, from which district it derives its name.

It is in 3-4 time like a waltz, but the tempo is much slower and more stately. Mozart and Beethoven have both written true Landler, but many of the so-named compositions of later writers have nothing in common with the genuine. Schubert has also written most beauti­ fully in this form.

The composer of the Landler which we have recorded has written many. The present one is a fair sample.

LEFEBURE-WELY, Louis J. Alfred

(For Biographical Sketch see Catalogue, Volume 1)

473 Offertoire in C

An offertoire is a piece popularly supposed to furnish a suitable accompaniment to the taking up of the offering in a church service. We have here a most interesting composition. It is full of delightful contrasts both in theme and registration.

LEMARE, Edwin H.

(For Biographical Sketch see Catalogue. Volume 1)

443 Gavotte a la Cour

In this gavotte, Lemare has retained all the peculiar rhythmical qualities of this old dance tune. Of all the dance rhythms of a century or two ago, the gavotte and minuet alone retain their popularity, and these have survived because of their real worth. All composers have felt the love of this fascinating rhythm and many have found it a most useful form for the expression of their musical feelings. Lemare is no exception in this respect. He has treated the form rather more freely than most composers do, but he is a master workman and the form has suffered none as the result.

445 Chanson d'Ete

Spring songs we have in abundance but the thought of writing a song to summer seems to have occurred to few composers. This prodigious composer must have often been at his wits' end for names for his compositions. He has written in all the recognized forms, and, not content with the children of his own brain, he has adopted very many of the classic works and adapted them to the instrument of his choice. In this song he is in a happy mood and it seems that the title is particularly apt.

479 Serenade

Andante Grazioso is the tempo indication given for this little serenade, which is one of three numbers collectively called an Arcadian Idyll. Graceful is the proper adjective, for the theme jumps about with almost feline grace, among the most appropriate harmonies. A very pretty development of the theme in canon form is used for a middle part, after which the subject reappears in its original form.

489 Morning Serenade "In California"

This serenade is much in the nature of a popular song-in a lighter and more frivolous vein than most of Lemare's work. The same good workmanship common to this composer is present, and it is a composition of real beauty.

LEMMENS, Nicholas Jaques

(For Biographical Sketch see Catalogue, Volume 1)

469 Scherzo Symphonic

This is an orthodox scherzo but is conceived in symphonic proportions. Lemmens was a master workman and in this Scherzo he has been fortunate in the choice of thematic material which permitted him to display his technique of composition. It was written for the organ, and the roll renders it in a manner lacking no esseniial either in registration or technique.

471 March Triomphale

The march form is always an interesting one. Many of the great composers have written nothing that endears them to the people to a greater extent than their marches. In corroboration of this statement the Mendelssohn "Wedding March"; "Bridal March from Lohengrin," Wagner; "March from Aida, Verdi; "Coronation March from The Prophet," Meyerbeer; "Funeral March;" Chopin; and many others might be mentioned.

The march should be a composition of much dignity and breadth, and a composer lacking these qualities had better confine his, efforts to some other form. It should always be stately never maudlin or sentimental.

Lemmens possessed all the qualities necessary to write a fine march and has done it in this March Triomphale.


569 Ecce Homo, Op. 15 C

This is indeed a very fine composition by the organist of St. Peter's, Berlin. It is distinctly of the German school, and is full of remarkably ingenious transitions. It never startles, but it is full of pleasant surprises. It is organ music in its strictest and best sense.


417 Abide with Me

Here is a song that one can become really enthusiastic about. The words are inseparably welded to the hymn tune, "Eventide," of course, but their consummate beauty has, notwithstanding this fact, tempted the muse of many a mortal without eliciting more than passing comment. This particular setting is the exception. It is a song of rare beauty and so singable as to be difficult to render it badly. It is dignified and reverent, and next to the beautiful hymn tune, to which the poem really belongs, it is probably the most satisfactory setting the words have had.

LINCKE, Paul 1866-

Lincke is a well-known composer of light music for orchestra. and popular songs. He was born in Berlin, November 7, 1866. In America his gavotte, the "Glow Worm," is the best known of any of his efforts. He is also engaged in the music publishing business.

426 The Glow Worm-Gavotte

This is a graceful dance which was made popular largely through the terpsichorean efforts of the celebrated Russian dancer, Madame Pavlowa. It is a very general favorite wherever music of this sort is in demand, and it has real merit. The roll gives it in a very satisfactory manner.

MacDOWELL, Edward Alexander

(For Biographical Sketch see Catalogue, Volume l)

639 Romance, Op. 39, No.3, A Sea Song, Op. 55, No. 5, By Smouldering Embers, Op.61, No.6

640 Starlight, Op. 55, No. 4, At an Old Trysting Place, Op. 51, No.3, A Deserted Farm, Op. 51, No.8

We have selected for these two rolls, six of MacDowell's most beautiful miniatures. Each one is as beautiful as a cameo, and as wonderful a work of art. MacDowell stands alone among the moderns in the writing of such fragments, as did Schumann among the classics. He was the victim of every emotion, and most of them he has most cleverly depicted through the indefinite medium of sound. These six little things are gems of the first water. Their native charm has been added to, and nothing has been lost by their adaptation to the organ.


(For Biographical Sketch see Catalogue, Volume 1)

458 Spring Song

Here is an enchanting bit of writing which measures up to all that might be expected of a spring song. It is as bright as a spring day. The twitter and trill of the birds are here, and the fragrance of flowers-indeed, it would be difficult to find a more charming musical depiction of the joys of the spring season.

531 Serenade

There is nothing of the commonplace in this Serenade. It is not the Spanish type with the tinkle of the guitar, but seems to be cast in a new mould. Whatever of innovation there is in it, is all to its betterment. After a vague and mysterious introduction of four measures, and a like number of accompaniment, which serve to establish the time and rhythm, begins a charming melody of distinctly modern flavor. A pretty middle part by two solo voices and of a different design, furnishes the necessary contrast, and the first theme, with a coda of eight measures, brings to a close a most charming roll.

MAILLY, Alphonse Jean Ernest 1833-

Belgium has been the birthplace of many great musicians, few of whom have excelled the subject of this paragraph. He waa born in Brussels, November 27, 1833. He became a pianist of renown, and then an organ virtuoso. At the Brussels Conservatoire, where he obtained his musical education, he was appointed piano teacher in 1861, and organ teacher in 1868. His works include sonatas, fantasies and all the larger organ forms, as well as pieces for various combinations of instruments in the smaller forms.

706 Invocation

A more devotional or reverential piece than this invocation is not to be found. It breathes the spirit of supplication. No instrument but the organ could do it justice. By all means hear it.

MATTHEWS, Harry Alexander 1879-

Harry Alexander Matthews, one of the best-known organists and composers among the younger set, was born in Cheltenham, England, March 26, 1879. He studied music with his father, who was a well-known organist and conductor. For a number of years he has been in Philadelphia, where his musical ability and likable nature have won him a host of friends and admirers. He has written no less than five cantatas, all of which have been published and are successful. Besides these choral works he has written many things for the organ, numerous songs and part songs, and many anthems. He is at present organiat and choirmaster at St. Luke's Church, Philadelphia.

468 To Spring

The composer calls this a caprice for organ, and it is capricious enough to suit the most exacting. The principal theme is the call of the wood robin, and this queer little phrase is developed in a delightful and masterful manner. Its title, "To Spring," is a very happy one.

477 Cantilene

Cantilene is a term applied to a melody of a singable nature. The organ, being readily susceptible to melodies of this character, has received more attention in this direction than any other instrument. Indeed, no one would think nowadays of writing a cantilene for anything else.

The term is aptly applied in the case of this number. It is a smooth, easy-flowing melody of bewitching beauty. At first the theme appears with the simplest possible accompaniment, and, after a middle part, recurs with a counter theme, snatches of which have been heard in the introduction and at various other times, adding a finishing touch which is exceedingly appropriate and interesting.

580 Pastorale

H. Alexander Matthews has written many more pretentious things for the organ than this Pastorale, but he has written little-pretentious or otherwise-into which he has crowded more real beauty. It is simple in the extreme, but delightful in its simplicity.

581 Caprice

We wonder if a musical caprice might be described as a "tune out for a walk." We think so, and we think also that this dainty little composition proves our case. It starts out for nowhere in particular and seems to arrive at no prearranged destination. Here it runs, there it walks, and occasionally it stops-as if to look around. Then on it goes, wandering aimlessly about until it is time to return home, the last part of the trip being down the same street it started out upon; and a pleasant walk it was.

621 Paean

We have made rolls of a number of compositions by Harry Alexander Matthews, all of which have received approbation from the owners of Estey Organs. This Paean is rather more pretentious than the others, and it reveals a broader technique in composition than any of the others. It is splendid music and worthy of a studious hearing. The first theme is big in conception and pompous-as it should be. The second theme is quiet and in beautiful contrast. Both themes are developed in a rather free manner. A free fugal passage built upon the first theme leads cleverly into a return of the second theme in a different key, after which the first theme recurs and is brilliantly treated for a close.


457 The Magic Harp

This is a pedal study with a harp accompaniment, and is designed to display a facile pedal technique as well as a variety of tone color. It fulfills its purpose in a charming way and is a very delectable composition. It will be of especial interest to those who have an organ containing the Estey concert harp.


(For Biographical Sketch see Catalogue, Volume I)

379 Concerto for Violin, Op. 64, Second Movement, Andante

This is a song for the violin. It has no words. Words could not, indeed, express the message it brings. In this style of writing Mendelssohn has no competitor. Everything he has done of this kind seems to be a reflection of his beautiful character.

Kindliness, patience-what virtue is lacking in his melodies! Let it tell its own story.

382 Italian Symphony, First Movement

The name of this composition would seem to indicate that it was written during the composer's visit to Italy in 1830. It was undoubtedly conceived in Italy, and perhaps moulded into a more or less definite form in his mind while there, but was not reduced to paper until 1833. On November 5, 1832, the Philharmonic Society of London passed a resolution asking Mendelssohn to compose a symphony, an overture and a vocal number, and offering him one hundred guineas for the exclusive right of performance for two years. The Italian Symphony was to be one of the three and it bears the date, Berlin, March 13, 1833.

The work as a whole is characteristic, spontaneous and graceful, and would seem to have been easily written. Mendelssohn's notes concerning its composition, however, would lead to a different conclusion. He wrote, "The bitterest moments I ever endured, or could have imagined, were those I experienced during the autumn when the work was in progress." Later, when the work was finished, he found joy in the fact that the work "pleases me and shows progress."

Mendelssohn was his own most exacting critic and in this case, as in all others, that which pleased him has stood the test of time, which can never dim the lustre of this brilliant work.

385 Saltarello, Finale of Italian Symphony

This dance form, which dates back to the sixteenth century, has been variously known as Nachtanz, Proportio, Hoppeltanz and Saltarello, the first three being German and the last the Italian name for the same thing.

Mendelssohn gracefully avoided an incongruity by choosing the Italian name for his Italian Symphony. Rare good humor permeates this entire movement which has two themes in which the jumping or hopping step is very apparent (Latin, Saltare, to jump), and a third which belongs to another dance form, the tarantella, which is strictly of Italian origin.

The three themes are amalgamated in thoroughly Mendelssohnian fashion and the result is an exceedingly charming number.

386 First Movement, Scotch Symphony

This work is one of five, including, in addition to the Symphony, an overture, two fantasies for piano and a two-part song, in which the composer recorded the impressions of his Scotch tour in 1829. The present movement opens with a delightful Andante, the subject of which bears the date, July 30, 1829.

The Symphony was planned during Mendelssohn's visit to Italy in 1831, and partially written there, but was not completed until January 20, 1842, which date the finished score bears. It had its premier performance at Leipsic on March 3rd of the same year. Mendelssohn took it to England in 1842, and conducted it at a Philharmonic Concert, receiving permission to dedicate it to Queen Victoria.

430 Allegro con Moto, Op. 18

Mendelssohn, very early in life, showed his fondness for stringed instruments. Even after he had tasted success as a composer of larger works, such as oratorios and symphonies, he found time to devote to string quartettes, etc.

The present number was written in 1831 and was the first of his two string quintettes. The key is A major and it is full of Mendelssohnian delicacy and charm. Mendelssohn enjoyed a very happy existence, and his writings unmistakably reflect his jovial nature. He was nearly always joyous and light-hearted-he must have been, for his music betrays him. Verily, in his most dramatic moments he was happily so.

The roll gives this number with all the freshness and charm of a quintette of strings, and in the tone color selected by Mendelssohn for its setting, for no stops are used except strings.

529 Ruy Blas Overture

"Ruy Blas" is a play by Victor Hugo. In 1839 Mendelssohn was asked to write something to be performed at a concert to be given for the benefit of the Widows' Fund of the Gewandhaus Orchestra. He wrote for the occasion the Ruy Blas Overture and a chorus for soprano voices and orchestra. In a letter to his mother, dated March 18, 1839, he informs her that he conceived, wrote, copied, rehearsed and executed both pieces between Tuesday evening and Friday morning, and that a great part of Wednesday and Thursday were otherwise occupied. This almost or quite matches some of the feats of Handel and a few others. It is a brilliant overture and truly Mendelssohnian.

622 Overture, Fair Melusina

This is a concert overture and it may be well to record here the story of the fairy who prompted it:

"A daughter of the fairy, Pressina, by Elenas, king of Albania, the most renowned of the French fairies. Her origin may be traced to the Teutonic 'Amalaswinth! She was condemned to become every Saturday a serpent from the waist downward, as a punishment for having, by means of a charm, inclosed her father in a high mountain, in order to avenge an injury her mother had received from him. She married Raymond, Count of Poitiers, and, having been seen by him during her loathsome transformation, was immured in a subterranean dungeon of the Castle of Lusignan. The traditions concerning Melusina were collected by Jean d'Arras, near the close of the fourteenth century."

The Melusine tradition lingers around the Castle of Lusignan, near Poitiers, and to this day, at the fairs of that city, gingerbread cakes are sold with human head and serpent tail, and called Melusines. A "cri de Melusine" is likewise a proverbial expression for a sudden scream, recalling that with which the unfortunate fairy discovered the indiscretion of her lord.

624 Calm Sea and Prosperous Voyage

Two of Goethe's poems furnished the inspiration for this overture, namely, "Meer Still" (calm sea) and "Gluckliche Fahrt" (happy, or prosperous voyage). It was written when Mendelssohn was very young-about nineteen -and was, according to his sister Fanny, not originally intended that the two movements should be played as an overture, but as two separate tone poems. Some years afterward Mendelssohn rewrote it and a letter written by him indicates that he considered it much improved and that he was quite satisfied with it. The first movement represents the calm sea, the second the prosperous voyage. Both parts are fully up to the Mendelssohnian standard.

629 Overture, Fingal's Cave

This overture has two other names-"Die Hebriden" and "Die einsame Insel." It is best known in this country, however, as Fingal's Cave. It is the second of Mendelssohn's concert overtures. It was begun in 1829 while on a visit to Staffa, and completed in Rome in 1830, the first score bearing the date of Rome, December 16, 1830. A second score bears the date, London, June 20, 1832. The two scores differ materially in parts. The present roll gives the accepted form. It was first played by the Philharmonic Society in London, May 14, 1832.

667 I Would That My Love

It is probable that there have heen many settings of Heine's "Ich Wollt' Meine Lieb," but it is safe to assume that none of them is so beautiful as this one by Mendelssohn. Never was there a composer with a greater gift of melody than Mendelssohn. His melodies all bear the stamp of refinement. They reflect the fine texture of his being. Here he found a theme much to his liking and the result is, to quote Moore, "like the faint exquisite music of a dream."

734 Intermezzo, Midsummer Night's Dream

This Intermezzo is Number 2 of the series of twelve numbers of incidental music written by Mendelssohn to the Shakesperian play. Of the instrumental numbers, we have already listed the Wedding March, Scherzo, Nocturne and Overture. The Intermezzo is in Mendelssohn's happiest vein.

MERKEL, Gustav 1827-1885

This famous composer for the organ was born in Oberoderwitz, Saxony, November 12, 1827. His musical education was received from Julius Otto; the eminent organist, Johann Schneider of Dresden; Reissiger; and Schumann. From 1861 he was professor of the organ at the Dresden Conservatorium. He has written in all the large forms for organ and his works are all of a very high order of excellence. He was a master of form, and his writings for the organ are considered the most valuable.

638 Introduction and Fugue

This is a sturdy composition for the organ. It is dignified and scholarly. It is the work of a master, and must be heard a number of times for you to get its full meaning. It is well worth the effort required to fathom it.

MIGNAN, Edouard

578 Pastorale

Here is a quaint little melody which is sung first on the oboe. An enchanting middle part as a chorus of strings, then flutes and strings, furnishes a splendid contrast to the first theme, which now reappears as a flute solo, finishing with a passage on the violin which is reminiscent of the first theme. It is of the French school and a dainty bit indeed.

MILLER, Russell King 1871-

This well-known composer was born in Philadelphia, and his musical activities have been largely confined to his home city. His light has not, however, been hidden under a bushel, for he is one of the best-known American composers. He was educated at Princeton University, studied piano with Constantin von Sternberg and Xaver Scharwenka, and composition with Philipp Scharwenka and Bruno Oscar Klein.

Among the best-known compositions by this sterling composer are the "Nocturne" and "Epilogue," but many others enjoy the popularity they well deserve.

378 Nocturne

This is a most delightful number of purely organ music. It is a favorite on recital programmes throughout the country, and well deserves the esteem it enjoys.

The roll does it full justice, and much pleasure is in store for those who avail themselves of its use.

460 Epilogue

This composition, as its name would indicate, was designed to play people out of church. There is a well-known story to the effect that when Mendelssohn played the organ in church the people refused to leave. We have a suspicion that if this epilogue were as well played in church as the roll plays it, a similar result would be produced. It is a fine thing, which reveals in every measure the fine musicianship of the composer.

472 Scherzo Symphonic

A full-grown scherzo when written for the organ is very generally and very aptly termed a "Scherzo Symphonic." Here is a scherzo that is good in theme and splendid in workmanship. Most of Miller's work for organ is big in conception, and this number is characteristic in that respect, but is never top-heavy or uninteresting. This is an altogether delightful composition.

699 Berceuse

Little has been published from the pen of this well-known organist, but that little is of sterling quality. Here is a berceuse which seems to have been written to fit its title. It is a charming little composition, which bears the stamp of its author. It is in the usual form, but very unusual in quality.


(For Biographical Sketch Bee Catalogue, Volume 1)

380 Spanish Dances, Op. 12, Nos. 1 and 4

This roll contains two numbers of a justly famous set of Spanish dances written for piano, four hands. They are both characteristic of this composer's brilliant style and are given on the organ in a highly satisfactory way.

381 Spanish Dance, Op. 12, No.2

This is, to many, the most interesting dance of this set of five. It begins with a theme in a minor key-a theme more than ordinarily susceptible to a tempo rubato which is nothing short of bewitching.

The second part is distinctly Spanish, the accompaniment suggesting unmistakably the click of castanets. A third theme asserts itself in brilliant fashion, and a return to the first closes a very charming number.

415 Melodie, Op. 77, No. 9

Versatility combined with great talent is a combination seldom found in these days of specialization, and it is no less rare in a composition than along other lines.

Moszkowski is at home in any form which his fancy may dictate, from the most complex and difficult piano concerto, to the simplest melody. In every case the result betrays the breadth of his art. The tunes which will stand absolutely alone-those which require no clothing of accompaniment-are few; so few as to be counted upon the fingers. They are almost without exception, national airs, and the fact that they will, and do, stand alone as tunes only, is the best proof of their greatness. True examples of unadorned beauty!

Next comes the tune which requires but little support, and such a one we have in the present roll. It is a little gem which requires no elaborate setting to bring out its beauty-just enough to enable it to be viewed in the proper light.

425 Berceuse

Music's soporific qualities have long been recognized if not understood. Anyone in doubt concerning this phenomenon may readily be convinced by attending a symphony concert, where a casual glance will reveal many should-be auditors either on the verge of, or entirely in, the land of forgetfulness. A conductor bold enough to deliberately place upon his programme a slumber song would be an oddity. He would, however, without hesitation playa scherzo, fantasie or humoresque-simply because of a name when any one of them would be likely in some cases to produce a degree of somnolence approaching coma. As a means of identification, names are useful, much more cannot be expected of them--especially in music. At any rate, here is a seductive little berceuse guaranteed to rouse the most lethargic.

MOTZAN, Otto, and CONRAD, Con

712 Mandy 'n' Me (Fox Trot)

This is another of the popular dance tunes which we have put on the roll for the enjoyment of our clients who like to dance. "Mandy 'n' Me" just at this time is enjoying a degree of popularity which comes to few dance tunes. It has a bewitching rhythm and a catchy melody.

MOUSSORGSKY, Modest Petrovitch 1835-1881

This eminent composer was born in Karev, Russia, March 28, 1835. He received his firat instruction from his mother on the piano and made very rapid progress. He entered the Military Academy at Petrograd, from which he graduated in 1856, and with no thought of adopting music as a profession. His talent, however, was discovered by Cui and Balakirev, who persuaded him to devote himself to music exclusively. He began a course of study, unassisted, and acquired a good technique of composition, but poverty made it necessary for him to accept an uncongenial position in the government service, which he held through life.

His compositions are limited in number, but of exquisite quality - especially his songs. His opera, "Boris Godunow" has found a place in the repertoire of all the principal opera houses, and has firmly edablished his reputation as a compoler. He died March 28, 1881.

574 A Tear

This is an exquisite little conceit which could only have been written by a man of fine temperament. It is sad, but not gloomy or lugubrious. What is more, it is beautiful.

MOZART, Wolfgang Amadeus

(For Biographical Sketch see Catalogue, Volume 1)

515 Allegro Vivace Assai
516 Minuetto, Allegretto
517 Andante Cantabile
518 Molto Allegro

We present here four rolls, comprising the complete Mozart Quartette in G Major. The history of the string quartette is an interesting story and this is not the place to record it. Instructive and entertaining articles on the subject may be found in "Grove's Dictionary of Music and Musicians" and any book on the subject of musical form.

For our purpose it will suffice to say that the quartette as we know it was first conceived by the contemporaries, Haydn and Boccherini. There was a time when four instruments were not considered an adequate means for the expression of musical ideas, and singularly enough, at this very time, trios were plentiful. Bach wrote numerous trios, but no quartettes. Haydn, whose birth antedates Boccherini's by about eleven years, wrote his first string quartette in 1755 while paying an extended visit to a certain von Furnberg. At this time was born the form which has been closely adhered to by all the classical writers since.

This first quartette was a mere child according to present standards, but one of much promise. It grew under the careful nurturing of its father to maturity, and his eighty-three quartettes speak eloquently of the father's love for this child of his brain.

Mozart, with his genius for polyphony, found here the medium through which he could express himself to his liking. He studied the later quartettes of Haydn, and enlarged upon them, writing twenty-six in all, six of which he dedicated to Haydn. These six, with three he composed for the King of Prussia, are immortal. Nor was Mozart unmindful of the debt he owed his exemplar, for he said, "It was from Haydn that I first learned the true way to compose quartettes." This seems a good place to record what Haydn said to Mozart's father: "I declare to you before God as a man of honor, that your son is the greatest composer that I know, either personally or by reputation; he has taste, and beyond that the most consummate knowledge of the art of composition."

The various movements of the G Major Quartette are examples of perfect music. They are perfect in melody, harmony and form. Nothing could be more beautiful. We would suggest the playing of the four rolls in the order given. This plan will lead to a better knowledge of the structure of the quartette, and make it possible to observe closely the sequence of ideas, which is extremely interesting. We bespeak for these rolls the respectful hearing they merit, and anticipate for them a cordial reception from music lovers.

522 Allegro Vivace Assai, from B flat Major Quartette

This is the first movement of the immortal B flat major string quartette. It is one of those rare feats of composition which could no more be duplicated than could a violin by Stradivari. It is sharp and clean as a cameo, not one note could be taken from or added to it except to its detriment. It is a thing of perfection.

528 Allegro, Finale to Quartette No. 10

This is essentially a rollicking rondo, which is the musical counterpart of the literary form. known as a rondeau. In the literary form there are six or eight lines containing but two rhymes, the first and last lines being identical.

The processes of evolution are always interesting. What we designate as "form" is the result of such a process. The evolution of form was probably unconscious, and was, more than likely, in the case of music, a natural longing for something analogous to the symmetry in architecture. The poetry in music is nothing more nor less than the form in music.

Examples of unmistakable form are found in the music of the early part of the sixteenth century, and in these examples we find the inception of the rondo, which now consists of a principal theme of a definite length which recurs at stated intervals. The connecting links between the recurrences of the theme are short excursions into various keys, which furnish an agreeable contrast and prevent any possibility of monotony. The rondo reached its highest development at the hands of Mozart. Beethoven elaborated somewhat upon his gorgeous models, but the form is essentially as Mozart left it. Any further development of the form of the rondo is an extremely remote possibility. It is one of those things which has gravitated to its proper place and there it will stay. The rondo recorded here is a perfect example of the form by one of its greatest exponents. On first hearing, it is extremely pleasing, for it is superlatively brilliant. For those who care to dig below the surface there is a mine of pleasure which is not for those who only listen superficially or perfunctorily.

657 Minuetto
658 Allegro Molto from Symphony in G Minor

We present here two movements from what is very generally believed to be Mozart's greatest symphony. It is at least the most popular of them all.

Ambros, the greatest of the German critics, mentions three Mozart symphonies, of which the G Minor is one, and says of them, "Considered as pure music, it is hardly worth while to ask whether the world possesses anything more perfect." Jahn, Mozart's biographer, says of the same symphony that it is "A work of art exhausting its topic."

It is futile to try to say more in praise of this masterpiece. The Allegro Molto is the first movement and the Minuetto the third. The last movement, No. 669, follows. In the near future the slow movement also will be arranged. It will then be possible to play the whole symphony with the movements in their proper order. Meanwhile, the present two movements are complete in themselves and suffer no loss in beauty by being separated.

669 Allegro Assai, Finale of G Minor Symphony

It is futile to attempt anything in the way of praise for this masterpiece. It has stood the test of time, and is today as fresh and bright as the day it was written. In the paragraphs concerning other movements of this symphony we have expatiated upon the beauties of the symphony as a whole, and it would perhaps be as well to stop right here with the statement that this movement is an example of perfect music.

NEVIN, Ethelbert

(For Biographical Sketch see Catalogue. Volume 1)

461 Slumber Song

It is not strange that a man with Nevin's gift of melody should succumb to the fascinating qualities of this form of writing known variously as slumber song, berceuse, lullaby, etc. It is a seductive form and Nevin's work would have been incomplete without a representative. Here we have a thing that is altogether lovely. One could not wish it different in any particular. Itis beautiful through and through.

642 Venezia-Alba, Gondolieri, Canzone Amorosa, Buona Notte

Under the general title of Venezia, Nevin wrote the four short pieces bearing the above names. Two of these, Gondolieri and Canzone Amorosa, are already in our catalogue as separate numbers. We have now thought it best to make a roll containing all four numbers and to discontinue the two separate rolls.

The playing of the four numbers in the proper sequence adds much charm to the suite, and we are sure that the new roll will meet with the reception it deserves.

NEVIN, Gordon Balch 1892-

Gordon Balch Nevin is one of the most promising of the younger American composers. He was born at Easton. Pa., May 19, 1892. His principal teachers were J. Warren Andrews and J. Fred Wolle. He has been active as a church and concert organist for some years, and has a very extensive repertoire.

His compositions include a number of organ pieces and songs, as well as a number of arrangements. In a literary way he has not been idle, having contributed many articles to the "Musician," "Etude" and other journals.

456 Will O' the Wisp

This is a diminutive toccata-a toccatina. It would be difficult to find a more appropriate name for this composition than the one chosen by the composer. It is bewitching, scintillating, dazzling and sparkling-really a charming bit of music.

NOBLE, T. Tertius 1867-

This organist and composer, now well known to Americans, was born in Bath, England, May 5, 1867. He came to New York in 1912 to become organist of St. Thomas' Episcopal Church. He has been very active both as a player and a composer since his arrival in America. His compositions include services, offertories, a cantata, a comic opera, pieces for orchestra, chamber music, piano pieces and various other works.

548 Nachspiel

This is a fine vigorous piece, well adapted to display the power and roundness of the "king of instruments." It is rather modern in conception.


369 Keep the Home Fires Burning

This song voices a sentiment which should be shared by all. To many, the silver lining referred to in the refrain will never show itself, but the admonition to "turn the dark cloud inside out" is worthy of application in all cases.

PADEREWSKI, Ignaz Jan 1860-

Whether this noble son of Poland is considered from a political or musical aspect, the result is unqualified admiration.

It is the musical side of this remarkable man with which we have here to do. He was born in Podolia, Poland, November 6, 1860. At the age of sixteen he went on his first concert tour, and in 1879 became a teacher of piano at the Warsaw Conservatorium. He then went to Berlin and studied with Urban and Wuerst, and finally to Leschetitzky. From the time of his debuts in Vienna and Paris his career has been an unbroken triumph. He came to America in 1891, and met with a most spontaneous reception. He is very generally considered the world's greatest pianist.

Reputation, of course, is a thing that is made or acquired. Character is inherent-subject naturally to certain modifications. Few personages of reputation have had thrust upon them the necessity of revealing their characters to the extent required of Paderewski, and fortunate indeed is the man who is of such sterling stuff as to run the gauntlet unscathed. He is unique among men; first, a great musician, without a superior as a performer on his chosen instrument. Then his opportunity came and he became at once a great statesman. It is a pleasure to meditate upon such a man.

422 Melodie, Op. 8, No. 3

This exquisite bit of writing is Number 8 in a set of piano pieces comprising Op. 8. It is a plaintive melody of enchanting beauty and its sustained songlike qualities make it especially adaptable to the organ.

PARKER, Horatio William 1888-

One of the greatest of American composers is H. W. Parker. He was born at Auburndale, Massachusetts, September 15, 1863. He studied in Bodon with Emery, Orth and Chadwick, also in Munich with Rheinberger and Abel. Returning to America he became organist and professor of music at the Cathedral School at Garden City, Long Island. He was succesnvely organist and choirmader at St. Andrew's, New York, and Holy Trinity, Boston.

In 1894, his oratorio "Hora Novissima" was performed, and met with a most flattering reception. In the same year he was called to the chair of music at Yale Univernty. In 1911, his opera "Mona" won the ten-thousand-dollar prize offered by the Metropolitan Opera House. In 1913 his opera "Fairyland" won a similar prize offered by the National Federation of Women's Clubs.

His compositions include most of the accepted forms, with choral works in the majority.

682 Canzonetta, Op. 36, No. 1

Canzonetta is the diminutive of canzone, and therefore means a little song or tune, which is just what this is. It is a charming little tune of the kind that only a big man can write. The stamp of the master is all over it. Then, too, it was written for the organ, which means that the roll gives it in inimitable fashion.

PONCHIELLI, Amilcare 1834-1886

This sterlmg operatic composer was born at Paderno Fasolaro, Cremona, September 1, 1834. In 1843 he entered the Conservatorio at Milan, and in one capacity or another remained there until 1854. His first opera was a success, as was the case with all those that followed. His "chef d'oeuvre" is "Gioconda," which has never waned in popularity since its premier production in Italy in 1876. His demise on January 16, 1886, at Milan, robbed Italy of the man believed in that country to have been Verdi's successor.

420 Dance ofthe Hours-Balletfrom La Gioconda

The various subtitles to this exquisite ballet indicate the intent of the composer, and add to the interest of the hearer.

"The Hours of Dawn" begin in a mysterious pianissimo, suggesting the awakening and first song of the birds. Presently the "Hours of Day" enter on a crescendo, and after a rather sustained passage begins the dance of the "Hours of Day." This is one of the most indescribably graceful dances ever penned. Then, no less gracefully, enter the "Hours of Evening," with the birds' bedtime song. Lastly enter the "Hours of Night," with a somewhat forboding tune which forms a striking contrast to the preceding themes. A passage in 3-4 time, which is as much recitative as anything else, serves to whet the desire for another tune of a brighter hue, which fairly dazzles one with its bubbling impetuosity, bringing to a close a most delightful example of ballet music.

RACHMANINOFF, Sergei Vassilievich

(For Biographical Sketch see Catalogue, Volume I)

428 Serenade

This great Russian is one of the most versatile of contemporaneous composers. He can soar to the heights of a classic, as, for instance, in the C sharp minor prelude, or remain among mortals and pen an enrapturing serenade which would do credit to the most ardent Spanish lover, as he has done in the present number.

This is one of the most captivating and seductive bits of writing to be found. It is strikingly Spanish-or at least Latin in flavor-and is delightful in the extreme.

RAFF, Joseph Joachim

(For Biographical Sketch see Catalogue, Volume I)

374 March, "Parting," Lenore Symphony (Fifth)

The Fifth Symphony as a whole bears the title of "Lenore," and is based on a ballad bearing the same title, written by Gottfried August Burger, and translated into English by Sir Walter Scott.

Like all "programme" music, this symphony may convey the intended meaning to one person, and to another it may have an entirely different significance. This is not the place for a disquisition on merits of the music from a programme point of view, even though space permitted.

For our purposes it will suffice to state that this march, for thematic beauty and general fine workmanship, is scarcely surpassed. It is a great favorite and extremely effective as given by the roll.

RAMEAU, Jean Philippe

Volumes have been written about this distinguished French composer, who was born at Dijon, October 23, 1683. His father was a musician and organist of the Dijon Cathedral. Pater, with the best intentions, desired to make of his eldest son, Jean, a magistrate. Parental desire was as strong then as now, and just as futile. One thing is certain, a magistrate cannot be made of a boy predestined to be a musician, nor can anything else be made of him. Doctors and clergymen are often made of material much better suited to some other purpose, and in many instances live to ripe old age without discovering the fact. Not so with the musician! All the talk we hear about the man who would have been a great musician, if he had had the opportunity, is twaddle. If he had had in him the stuff of which great musicians are made, he would have made the opportunity. An effort was made to make a lawyer of Handel; an author of Schumann; a lawyer of Tschaikowsky; a diplomat of Thalberg; a priest of Haydn; a butcher of Dvorak; a blacksmith of Rossini, and so on. Many more might be added, but these suffice to establish the point.

Rameau was a very normal boy - except for his great musical talent. He possessed all the boyish frailties, including obstinacy, to a marked degree. Then, too, at seventeen he fell in love with a widow much his senior, but from all these things he recovered, and became one of the greatest composers and theorists of his time. Seven works on theory, thirteen operas and many miscellaneous works are left as a result of his genius and industry, and music made much progress as a result of his discoveries and work.

419 Rigaudon.

The English spelling is Rigadoon, and its popularity in England has caused some writers to believe it to be of English origin. Its popularity in France, however, antedates its English favor by many years, and Rousseau states that it derived its name from its inventor, Rigaud. It is characterized by a peculiar jumping step, and is in 2-4 or 4-4 time. The number of bars is unequal, and the music begins in the latter half of the measure.

Its origin is, of course, a matter of historical interest, but as a quaint old bit of composition, the present roll holds a more immediate interest. It is like a chapter from a musty old book.

READ, Edward M.

635 Offertoire in A flat

This is a composition of stereotyped form. It begins with a martial theme on full organ, after which a quieter theme on the wood winds occurs, corresponding somewhat to the trio in the regular march form.

This is followed by a hornlike solo on the diapason; a recurrence of the first theme; an oboe solo, etc., finishing with the first theme extended into massive chords on the full organ. The variety of thematic material, together with the contrast in power and tone color, makes a delightful number of this, and one which will receive the approbation of all organ owners.


The leader of the famous American Band of Providence has long been known as a writer of marches and other music of the lighter forms, and a march from his pen is always popular.

372 Second Connecticut March

This is one of the marches popular with military bands. It is in 6-8 time and possesses the necessary martial quality, and is, as well, a good number for dancing purposes.

REIFF, Stanley T. 1881-

A number of very well-received organ numbers have been written by this composer, who was born in Philadelphia in 1881. His published works also include songs and choral works. He studied with Dr. Frank H. Shepherd and Dr. Hugh A. Clarke, and received the degree of Bachelor of Music at the University of Pennsylvania. He is organist of the First Methodilt Episcopal Ckurch, West Chester, Pa., and a member of the American Guild of Organists and the Organ Players' Club.

501 Bonne Nuit

"Good Night" is a very happy title for this little number. It is serene and peaceful, and leaves one in a delightful meditative mood. Its only weak point is its brevity.

512 Scherzo

This is a scherzo which might have been just as well called a gavotte. It is not at all like the generally accepted scherzo form, but scherzo means literally a jest. For our purposes the lack of orthodox form is no detriment. It is a jolly good tune, well written, and charming throughout.

514 Bon Jour

This is a sprightly little composition which holds attention from beginning to end. Its vivacity is largely responsible for its charm. The variety of registration given it by the roll is a matter of interest and serves to make more enjoyable an already delectable bit of music.

RENAUD, Albert 1855-

This French composer was born in Paris in 1855. He studied with Franck and Delibes. He was organist for some time of St. Francis Xavier in Paris, then gave up playing to devote his entire time to composition. His works include three operas, several ballets, incidental music to "Don Quixote," a mass, and numerous pieces for piano, organ and orchestra.

670 Grand Choeur

This is a grand finale or postlude of a type that most French organists have written. It is a fine thing to show off the power of the organ. The harmonies are modern, but not extremely so. It is an altogether charming example of the well-known form.

RHEINBERGER, Joseph Gabriel 1837-1901

Rhemberger was born March 17, 1839, at Vaduz, Liechtenstein. His father was unmusical but quickly recognized the unusual talent of his son and placed him under the instruction of Sebastian Pohly, a superannuated school master, who taught him theory, pianoforte and organ. So precocious was this youth, that at the age of seven he was appointed organist of the parish church at Vaduz, and during the following year a three-part mass of his composition was publicly performed.

Prodigies often fail to live up to expectations, but Rheinberger was one great exception. He became one of the greatest authorities on composition of his time. He wrote in all forms with the hand of a master. He was prolific, too--his opus numbers reaching the startling total of one hundred ninety-seven, in addition to about a dozen works bearing no opus number. He was a noble musician--a credit to his profession.

589 Vision, Op., 156, No.5

This is one of a set of twelve short pieces written for the organ-perhaps the best-known one of the set. It is not startling in any sense, but reveals the sterling musicianship of the composer. It is just good, strong, sturdy, sensible music, lacking nothing that would add to its beauty and containing not a non-essential note.

RICE, Gitz

Gitz Rice was a lieutenant in the first Canadian contingent. He had a local reputation as a musician and composer before the war, but was not well known in this country until after the United States cast her lot with the Allies and it became necessary to raise money by the sale of Liberty Bonds. He was sent here to help in that laudable purpose, and appeared on the stage of many theatres of the country in a successful appeal to the patriotism and generosity of the American people. He wrote a number of songs, the most popular of which--and perhaps the best--is "Dear Old Pal of Mine."

434 Dear Old Pal of Mine

This song has become immensely popular for two reasons: First, the sentiment is of a kind which finds a ready response in the hearts of thousands in these times; second, the melody is singable and possesses much genuine merit. With these two qualities it is not strange that the song has been so widely sung and well received by the public.

RIMSKY-KORSAKOW, Nikolas Andreievitch 1844-1908

Nikolas Andreievitch Rimsky-Korsakow was born at Tikhvin, Novgorod, Russia, May 21, 1844, and died at Petrograd, June 21, 1908. He studied the 'cello and piano during his naval course. He was a professor in the Conservatory at Petrograd for about thirty seven years.

His Compositions include several operas, many orchestral works, including three symphonies, overtures, symphonic poems, chamber music, piano pieces, songs and choruses. He is considered one of the greatest masters of orchestration.

653 Hindoo Chant from the Opera "Sadko"

This splendid little piece, transcribed by Mr. Kreisler and made popular by him, breathes exoticism from every phrase. Its meditative mood is most charming and restful.

The opera "Sadko," from which this gem is taken, is little known outside of Russia, the reason being, perhaps, the peculiarly national character of the libretto.

ROGER-DUCASSE, Jean Jules Amable 1875-

This Ultramodern French composer was born in Bordeaux, April 18, 1875. He was a pupil of Faure, and in 1902 won, the second Prix de Rome at the Paris Consertvatoire. Since he first attracted attention with his "Variations plaisantes sur un theme grave,' his name has figured prominently in Paris concerts. His works include all forms, including suites, symphonies and symphonic poems for orchestra.

644 Pastorale

This is a remarkable composition of the modern French schooI. It sounds much like Debussy, but is rather more definite in form than most of the Debussy efforts. The theme, as first announced, is a pastorale of the purest type. The development is most wonderful. The composer seems to have completely exhausted the possibilities of his theme, and has undoubtedly produced a masterpiece. The technical requirements are such that it can only be attempted by organists who are absolute masters of organ technique in all its branches. The present roll is wonderful in every sense.

ROGERS, James Hotchkiss 1857-

This well-known composer was born in Fair Haven, Conn., February 7, 1857. He was educated at the Lake Foreat Academy, Lake Forest, Ill. After studies with Clarence Eddy and J. M. Towne in Chicago, he went to Berlin and placed himself under Haupt and Loeschhorn, and later under Guilmant and Widor in Paris. He has been in Cleveland, Ohio, for many years, where he has been, actively engaged as a teacher and music critic. He is a prolific composer in all the smaller forms, such as songs, anthems, organ and piano pieces. His compositions also include two cantatas.

Few American composers are better known than the subject of this paragraph. His works are all good and enjoy a wide popularity.

446 Intermezzo

This number is one from a suite for organ, and is as sprightly a thing as one would want to hear. It is not of a serious nature, but, as the title would indicate, is intended to fill in between matters of greater import-to serve as a contrast to what has gone before and whet the appetite for what is to come. It serves its purpose admirably, and is a delightful little number.

ROSSINI, Gioacruno Antonio

(For Biographical Sketch see Catalogue, Volume I)

556 Overture Tancrede

The opera of Tancrede marks the first step in the revolution which Rossini was destined to effect in Italian opera. The overture here given is in the true Italian style and is not particularly revolutionary. It bears, however, unmistakable evidences of the genius which finally found and crystallized itself in "Tell." This overture will always be popular as a concert number, and justly so.

599 Overture-Italian in Algiers

The type of Italian overture of the time of Rossini is well exemplified in this roll. Rossini wrote many operas, all of which, with the exception of "William Tell," had overtures of the then prevailing style. The present overture is one of the best of its kind and is a favorite. As a four-hand piano arrangement, it is particularly well known. In the organ arrangement, the orchestral score has been rigidly adhered to, the result being highly satisfactory.

ROUGET DE L'ISLE, Claude Joseph 1760-1836

The subject of this paragraph was born at Montaigu, Lons-le-Saulnier, on May 10, 1760. He was educated at the School of Royal Engineers at Mezieres. He rose from the rank of aspirant-lieutenant to firat lieutenant, and was atationed at Strassburg, where his versatility as a poet, singer and violin player brought him much popularity.

He wrote a number of songs and poems which enjoyed more or less popular favor, but his fame rests on the fact that he was the author and composer of the "Marseillaise."

Rouget de l'Isle was the son of Royalist parents and, belonging to the constitutional party, he refused to take the oath to the constitution abolishing the crown. He was stripped of his military rank, denounced and imprisoned. He celebrated his escape after the fall of Robespierre in a "Hymne dithyrambique." Reentering the army, he made the campaign of La Vendee under General Hoche, was wounded, and returned to private life at Montaigu, remaining there in poverty and solitude until the second Restoration. The sale of the little family property by his brother drove him to Paris, and there, but for a small pension granted by Louis XVIII and continued by Louis Philippe, he would have starved. His frienda, Beranger, David d'Angers and eapecially M. and Mme. Voiart-in whose house at Choisy-le-Roi he died-did much to make bearable his miserable existence. He died June 27, 1836.

375 La Marseillaise

Both the words and music of this stirring anthem were written by Claude Joseph Rouget de l'Isle, who, as a captain of engineers, was quartered at Strassburg when the volunteers of the Bas Rhin received orders to join Luckner's army. The mayor of Strassburg, one Dietrich, in discussing the war, regretted that the soldiers had no patriotic song to sing as they marched out. Rouget de l'Isle hurried to his lodgings and, filled with enthusiasm, wrote the words and music af this truly martial song, which in these days has a greater significance than ever.

The song as now known is essentially as it was written. The harmonies have been enriched, but the melody, except for a very few notes, remains the same.

RUBINSTEIN, Anton Gregor

(For Biographical Sketch see Catalogue, Volume I)

545 Serenade

Rubinstein's gift of melody is well exemplified in this number, which might as appropriately be called a barcarole. He announces the theme in the simplest possible fashion, and then begins a series of elaborations in the accompaniment to a new theme which is highly ingenious and delightful.

The organ arrangement presents a variety of tone color which rivals an orchestra.

SAINT -SAENS, Charles Camille

(For Biographical Sketch see Catalogue, Volume I)

398 The Deluge-Prelude

This is the Prelude or Overture to a dramatic oratorio based on the fall of man, the wrath of God, the covenant with Noah, the building of the Ark, and the Deluge.

The first theme is one of great breadth, followed by a fugal treatment of a rather melancholy theme which dies away with the subsiding waters. Then is heard the benediction, which is a violin solo of incomparable beauty.

450 Danse Macabre

Here is a remarkable example of programme music which was inspired by a poem by Henri Cazalis. We give a free translation of the poem, and are sure much interest will be aroused by a comparative study of the translation (or original) and the music.

Zig, zig, zig, Death striking with his heel on a tombstone in cadence,
Death at midnight plays a dance tune, zig, zig, zag, on his violin.
The winter wind blows, the night is dark, groans are heard in the lindens;
White skeletons flit across the shadows, running and bounding under their shrouds.
Zig, zig, zig, they bestir themselves, you can hear the rattle of the dancers' bones,
But pst! suddenly they cease their whirl; they scuffle and flee, for the cock has crowed.

The clock strikes twelve to the accompaniment of the strings, and Death begins to tune his fiddle (which, by the way, he never gets in tune -always tuning the E string to E flat). Then the skeletons appear. Their numbers increase with the progress of the dance, Death stopping now and then to tune his fiddle. The dance assumes the proportions of an orgy-wild, unrestrained, tempestuous, riotous, grotesque.

Suddenly the dance stops, day dawns, and the cock crows. Then is heard the quiet scuffling of the skeletons to get back to their graves. Few descriptive efforts, if any, compare with this one. It was written in 1874 and has never wavered in popularity since its first hearing. It is a truly remarkable piece of writing and thoroughly enjoyable as given by the roll.

708 Berceuse

There is an adage to the effect that true greatness lies in the ability to do little things beautifully and easily. Unlike many adages, it is true. Beethoven was greater in his songs and short instrumental pieces than in his symphonies. If you don't believe it take one of his symphonies, play it on the piano, thereby robbing it of all the color of the orchestra-making of it, as it were, a symphony in monotone, and see if it compares favorably with some of the smallest things written for the piano. Saint-Saens was a big man who has proved his greatness many times in the writing of little things that were charming in their simplicity. This Berceuse is one of them.

SALOME, Theodore Cesar

(For Biograpltictil Sketch see Catalogue. Volume 1)

437 Offertoire in D flat

This noted Parisian organist has written many things in the smaller forms, but he has rarely reached heights of greater beauty in melody than in this Offertoire. After a measure or two of the accompaniment alone, which serves to thoroughly establish the rhythm in one's mind, a melody of superlative beauty begins. A middle part which is in broad contrast serves to maintain interest and whet the musical appetite for a repetition of the first theme, which finally appears and sings itself to a graceful and fitting close.

577 Grand Chorus

This is a vigorous composition for the organ by a noted French organist. It is of the type used generally as a postlude in church services, and a particularly good example. The French composers of the old school, Guilmant, Widor, Wely, Salome, etc., were especially fond of this form, and their efforts in this direction resulted in some wonderful music. They invariably had something to say and said it well.

SALVINO, Domenica

743 Twilight Hour

This is a splendid melody, delightfully harmonized. It is simple, plaintive and seductive - really a delectable thing, and appropriately named. While written for orchestra, it fits the organ as though made for it.

SCHMINKE, Oscar E. 1881-

Schmmke was born in New York City, December 12, 1881. He early showed musical talent, but a slight deafness dissuaded him from adopting music as a profession. He studied dentistry at the New York College of Dentistry and graduated m 1903. Shortly after this his hearing improved and he studied theory and harmony with Spielter and Spicker. In 1909 he abandoned dentistry and studied piano and organ with Dethier. His compositions have met with success through their sheer merit.

626 Marche Russe

This is a remarkable march, composed of Russian tunes. It is dedicated to T. Tertius Noble of St. Thomas' Church, New York. A more stately and inspiring march would be difficult to imagine. It is dignified and masterful in treatment-a most charming and thrilling composition.

627 Festal Postlude

There is a story to the effect that when Mendelssohn played the organ the people refused to leave the church as long as he played. A "postlude" is designed to play the people out of church. This is a most attractive piece and the Estey Organist may be depended upon to play it as it should be played.


561 Whispering

SCHUBERT, Franz Peter

(For Biographical Sketch see Catalogue, Volume 1)

652 Ave Maria

For our arrangement of this delightful composition we have chosen the famous Wilhelmj transcription for the violin, rather than the original song, and the result more than justified our judgment.

As we have it on the roll, it is one of the most charming violin solos ever written. The use of the harp for accompanimental purposes is effective in the extreme. It is difficult to imagine anything more beautiful than this roll.

725 Overture-Rosamunde, Op. 26

The world is indebted to Sir George Grove and Sir Arthur Sullivan for this beautiful music. After its second performance, in 1828, it was shelved and forgotten.

In 1867, Grove and Sullivan set out for Vienna to recover what remained of Schubert's unpublished manuscripts. They found a number of things and were about to depart for Prague when they made a final call on Dr. Schneider to take leave and repeat thanks for his hospitality. Guided, as Grove believed, by a special instinct, he turned the conversation to the Rosamunde music. The doctor believed he had at one time possessed a copy or sketch of it. Grove asked permission to go to the cupboard and look for himself. The doctor did not object. After a long search, during which time Sullivan kept the doctor engaged in conversation, Grove found in the farthest corner a bundle of music books two feet high, black with the undisturbed dust of a half century. Here was the blessed object of their search. By the doctor's permission, it was, hastily copied and given to the world.

735 Andante con Moto

We quote the following from "Symphonies and Their Meaning" by Philip H. Goepp:

"At last Schubert's long restrained melody has a vent. As the Allegro was all vague motion, this is pure, continuous melody--one golden fabric. To 'explain' this lyric gem seems impertinent for two opposite reasons, its simplicity and its mystery. It is the typical paradox of the master himself. There is, throughout, the puzzling blending of lightest humor with deep meaning. At the outset it seems clearly a restrained dance. Then to the same sprightly step comes the song of principal melody by oboe. If we cared to analyze more technically, we could see how the mixture of minor mood with sprightly gait helps the mystery. But, usually, in groping for ingredients, in tearing apart the rose-petals, the main fragrance is lost. But in the next boisterous blast of the whole band and in the striding of strings in mock heroic dignity, there is no doubt the childlike, playful humor, pure fun, whence, through warning signs to hold our faces, we return to the serious beauty of the first melody. Still, it is now not the first song in doubling duet; but there is the daintiest interplay between the phrases of gentlest mockery. How wonderful is the versatile power of music for mirroring humor! Could any words, spoken or written, possibly approach remotely its delicate changes?"

SCHUMANN, Robert Alexander.

(For Biographical Sketch see Catalogue, Volume 1)

383 Allegro Animato-Finale: Symphony No.1 in B flat

After a somewhat sombre introduction of six measures, this number breaks into an infectious dance tune. Indeed, the whole movement teems with the gaiety of the ballroom. The second theme is one of extreme quaintness, and is interrupted in most original and humorous fashion by a ponderous theme in unison, which, more than likely after it has passed, one remembers to be the one which served as an introduction. This introductory theme is extensively developed in the middle part, after which the joyous themes recur. Another short development section serves for a close.

384 Scherzo, Symphony No. 1 in B flat

This movement is one of marked exuberance and charm. A novel effect is to be heard in the first trio,-when the time changes from 3-4 to 2-4,-which displays a degree of naivete seldom equaled. The second trio is more orthodox in character, and is in 3-4 time. The coda, which is a strain from the second theme, completes a movement bewitching in its poetic beauty .

399 Arabesque

The term arabesque was originally an architectural one, and was applied to ornamentation in Arabic style, as the term would indicate. Musically it was first used by Schumann as a title for one of his most charming piano pieces. Other composers have used the name for pieces of indefinite form, and it seems likely to take its place among other names of ambiguous significance.

The appellation need not worry us, however; the music is lovely, and that is all that concerns us.

Two pieces, from the Album for the Young

406 No. 17, Roaming in the Morning; No. 29, The Strange Man

Three pieces, from the Album for the Young

407 No. 30-No. 28, In Memoriam; No. 13, A Maying We Will Go

408 No. 12, "Knight Rupert"

Schumann wrote a series of short pieces for the piano which he called the "Album for the Young." The character of these pieces would seem to indicate that the standard of musical appreciation in the young of Schumann's day must have been very high. Most of the numbers in this collection are superlatively beautiful, and merit the attention of the most mature musical mind. They will bear the closest scrutiny, and are indeed gems of purest water.

We offer six of the most charming of these jewels of sound, arranged on three rolls.

It is interesting to note that the numbers which have titles were named invariably after they were composed. Schumann too well knew of the futility of trying to convey a defurite impression by means of sound. He therefore wisely wrote what was in his mind, and then gave it what seemed to him to be an appropriate name.

We may say that the name given roll No. 408 is that of a legendary German character, who dresses in a rough Santa-Claus suit, and goes around before Christmas catechising the children concerning their behavior during the past year.

This music is too lovely to be missed, and these three rolls should have their full share of appreciation.

552 Andante un poco maestoso, First Movement from Symphony in B flat

Of the four symphonies written by Schumann, this First holds, perhaps, the greatest amount of public favor. The reason is probably found in the fact that it is a truly inspired work. It was his second attempt at orchestral writing, so it must be assumed that his technique along this line was limited, and that his hand was guided by a higher p'ower than mere knowledge.

Schumann wrote it, as he wrote in a letter to Taubert, when the first breath of spring was in the air, and intended calling it the "Spring Symphony." This movement was to be called "Spring's Awakening." These facts are interesting and add a charm to the hearing of the roll, which performs this wonderful music in a most satisfactory manner.

593 Canon in B Minor, Op. 56

Schumann wrote six canons for the pedal piano, which form his Op. 56. The present one in B minor is a canon in the octave and a most interesting one. The organ brings out the imitating part with great clarity and charm. Indeed, it is extremely difficult to do it on the piano half so well. Because of its adaptability to the organ it is a favorite with organ players, and its innate beauty assures it a cordial reception from the public.

656 Sostenuto Assai from Quartette, Op.47

Among the very finest examples of chamber music are the quintettes for piano and strings, Op. 44, and the quartette for piano and strings, Op. 47. Nothing finer than these exists. We have made an organ adaptation of the first movement of the quartette which has been a delight to all who have heard it.

There is no other single instrument which could do anything approaching justice to such a composition. But, after all, an organ is not a single instrument. It is a quartette, quintette, orchestra, or any other composite instrument.

SCOTT, Cyril Meir 1879-

One of the most imteresting of contemporary composers is Cyril Scott, who was born at Oxton, Cheshire, England, September 27, 1879. After studying piano wntil he was seventeen, he went to Frankfort and studied composition under Professor Iwan Knorr. He soon rebelled at the restraint of rules of composition and cast his lot with the ultramoderns, with Debussy as his model. He has been called Debussy's English double. In spite of his impressionistic writings he has an enormous following, and not without good reason, for his works are full of charm and grow better the oftener they are heard.

Scott is also a theosophist and a lecturer on occult philosophy. He thoroughly believes in the relation between colors and tones. He has written extensively on esthetics and the occult aspects of music. His works up to Opus 59 include all the larger forms as well as songs, piano pieces, etc.

613 Vesperale, Op. 40, No.2

This is a very good example of Scott's style. It is modern in the extreme but is reasonable. The composer has striven for certain effects with most happy and satisfactory results. Its sustained qualities make it particularly adaptable to the organ.

717 Lotus Land, Op. 47, No.1

The success of Scott's "Vesperale," which we recorded as No. 613, caused us to look around for something else by this modern English composer which would lend itself successfully to an organ adaptation.

We have found it in "Lotus Land." We are sure that our clients will be more than pleased with this arrangement, as it is more beautiful than on the piano. It is Scott in one of his most interesting moods-more need not be said about it.

SHELLEY, Harry Rowe 1858-

Few American composers are better known than Harry Rowe Shelley, who was born in Connecticut, June 8,1858. He studied music with Gustave Stoeckel at Yale University, and with Dudley Buck, Dvorak and Vogrich in New York. At the age of fourteen he was organist of Centre Church, New Haven. Conn., later going to New York City to become organist in a Brooklyn Church, where he remained wntil 1899, since which time he has been organist of the Fifth Avenue Baptist Church, New York City.

His compositions are numerous and in many forms. They include songs, anthems, two sacred cantatas, much organ music, a lyric music drama and a symphony.

459 Lullaby

A man has just as much right to compose a lullaby as has a woman to change her mind. In the exercise of the God-given prerogatives referred to, the woman, of course, polls the larger vote, for the obvious reason that there are more women who can change their minds than men who can write a lullaby.

Shelley, like most other composers, has felt the charm of this fascinating form and has given in this number a dainty and enchanting melody, clothed with harmonies that are as appropriate as could be.


703 April Showers, from "Bombo"

This is one of the hits from Al Jolson's new show, "Bombo." Perhaps that is all that need be said with regard to its tunefulness. We have arranged it as a dance number and it is irresistible.

SMART, Henry Thomas 1813-1879

Henry Smart, as he was generally known, was born in London, October 26, 1813. He started out to study law, but nature had endowed him with musical talents which would not be denied, and he soon gave up the study of law and devoted himself whoUy to music. He received instruction from W. H. Kearns, but was to a great extent self-taught. His career as an organist began at the parish church of Blackburn, Lancashire, and continued for many years, in fact until his ill health required him to give up playing. Soon after 1864 he became blind, and his campositiona after that date were recorded by the tedious and disheartening process of dictation. In addition to much argan music he wrote three cantatas, a successful opera, numerous choruses and anthems and many part-songs. His work is all of sterling quality. and his part-songs alone assure his name of recognition in the future, for they are lovely indeed. He died July 6, 1879, just after the English government had voted him a pension of one hundred pounds a year in acknowledgment of his services in the cause of music.

483 Andante Grazioso

This is a fine andante. It is good, sturdy, real music. There is no striving for effect. It is simply a case of having something worth saying, and the ability to say it well. Play it over and over again,-it improves upon acquaintance.

SMETANA, Friedrich

(For Biographical Sketch see Catalogue, Volume I)

727 The Moldau, Symphonic Poem

The following preface is printed with the score of "The Moldau":

"Two springs gush forth in the shade of the Bohemian Forest, the one warm and spouting, the other cold and tranquil. Their waves, gaily rushing onward over their rocky beds, unite and glisten in the rays of the morning sun. The forest brook, fast hurrying on, becomes the river Vltava (Moldau), which, flowing ever through Bohemia's valleys, grows to be a mighty stream; it flows through thick woods in which the joyous noise of the hunt and the notes of the hunter's horn are heard ever nearer and nearer; it flows through the grass grown pastures and lowlands, where a wedding feast is celebrated with song and dancing. At night the wood and water nymphs revel in its shining waves, in which many fortresses and castles are reflected as witnesses of the past glory of knighthood and vanished warlike fame of bygone ages. At the St. John Rapids the stream rushes on, winding in and out through the cataracts, and hews out a path for itself with its foaming waves through the rocky chasm into the broad river in which it flows on in majestic repose toward Prague, welcomed by the time-honored Vysehrad, whereupon it vanishes in the far distance from the poet's gaze."

This wonderful composition was written after Smetana had entirely lost his hearing. It bears the pitiful inscription "In complete deafness."


711 The Sheik of Araby (Fox Trot)

Wherever you go you hear "The Sheik." It is impossible to escape it. It has that elusive something which appeals to the popular fancy. Rhythm is perhaps the greatest factor in the popular success of things such as this, but it is not the only factor. What the others are we don't know, but "The Sheik" has them.

SOWERBY, Leo 1895-

An American composer, born at Grand Rapids, Michigan, May 1, 1895. He was educated in America and teaches theory at the American Conservatory, Chicago. He is known as a composer of rather radical tendencies, although he denies that he belongs to the ultramodern school. His compositions include numerous sonatas for various instruments, two suites for piano and violin, organ works, and a rhapsody on British folk tunes.

612 The Irish Washerwoman

A few years ago the New York Symphony Orchestra, under Walter Damrosch, first played some Irish tunes which had been arranged by Percy Grainger, the famous pianist. They instantly made their way into the hearts of the people, and one of them, "Molly on the Shore," is a genuine favorite and growing in popularity every minute. It has become somewhat of a hobby with Grainger to explore and exploit the music of the past rather than to write original things. His plan has much to commend it, for there is an endless supply of old music of the greatest beauty which would never be heard by the average person except for the efforts of Grainger and those following a similar plan. Mr. Grainger disclaims the credit of being a pioneer in this respect and gives Grieg the credit. In any event, the plan is a good one and we hope that other composers will follow suit. Since Grainger's first efforts we have had an arrangement of "Dixie" by Zucca, one of "Turkey in the Straw" by Guion, and now "The Irish Washerwoman" by Sowerby.

"Dixie" is a humorous arrangement in which the theme is used only as a groundwork for original treatment. In "The Turkey in the Straw" Guion has endeavored with great success to give us the effect produced by the cowboy fiddlers of Texas. Sowerby's plan with "The Irish Washerwoman" is identical with Guion's. He has given us a backwoods rendition of this traditional tune. It starts off in orthodox fashion. Before long one of the fiddlers has to tune up, which he does without regard to the discordant sounds he produces. The tune never stops, however, and here and there an ornament of questionable beauty is inserted. On and on it goes until a state of frenzy is reached, every fiddler doing impossible things and producing the most atrocious discords. The only thing that remains as it should be is the rhythm. The effect on the musicians and dancers is very similar to the religious fervor witnessed at times at the oldfashioned camp meetings. We have seen just such conditions as Sowerby so cleverly depicts. It is a marvelously clever arrangement. We would not call it fine music, but it is true to type and is educational.

SPENCER, Norman, and McKIERNAN, Joe

562 Cuban Moon

SPOHR, Louis 1784-1859

One of the greatest violinists of all time was Louis Spohr, who was born at Brunswick, April 5, 1784, and died at Cassel, November 22, 1859. His father was a physician and an amateur flute player; his mother a pianist and singer.

Very early in his life, he began singing duets with his mother, and at the age of five began the study of the violin. At fourteen he played before the court a concerto of his own composition. Spohr's chief teacher was Franz Eck, who was an excellent violinist but an indifferent musician. The greatest good came to Spohr from hearing his teacher play.

In 1804 he made his first tour and aroused genuine enthusiasm as a player and composer. In 1805 he married Dorette Scheidler, a harpist, and with her made further tours in 1807 and 1809.

Spohr's compositions run into the hundreds. They include operas, symphonies and all the smaller forms from octettes and quartettes down to songs.

741 Barcarolle

In this little piece for the violin we have a good example of Spohr's exquisite melody. One of his chief characteristics is his painstaking workmanship. In this respect, he was surpassed by no one except perhaps Mendelssohn. The simplicity and innate beauty of this barcarolle are unsurpassed.


704 Sally, Won't You Come Back? from "Ziegfeld Follies of 1921"

In our efforts to supply our clients with the latest and best in dance music we have hit upon this fascinating thing from the "Ziegfeld Follies." It is characteristic and fully up to the high standard of a Ziegfeld show.

STEBBINS, Charles A.

This organist and composer was born in Chicago, and studied organ there with Harrison Wilde. Later he studied organ with Gaston Dethier and theory with Percy Goetschius at the Institute of Musical Art, New York, receiving a diploma. He is at present an organist in Chicago. His compositions are numerous, including a number for the organ, piano and many songs.

507 Festival Piece

This is in reality a majestic march from the pen of a man whose genuine musicianship is conspicuous in every measure he writes. It is a big conception, skillfully handled and appropriately named.

571 The Swan

One of the finest ethereal effects possible is to be found in this charming little thing. It suggests Wagner's propensity for writing three and four-part harmony for the violins in the upper registers. It is also slightly reminiscent of Grieg. It is not like anything by Grieg, by any means, but it seems to betray a very intimate knowledge of the Norwegian composer. Perhaps its greatest resemblance is in form. In any event, it is lovely in the extreme, and nothing could reveal the soft tones of the organ to better advantage.

607 Where Dusk Gathers Deep

We have already catalogued two charming pieces by C. A. Stebbins; namely, "In Summer" and "The Swan," and both have been well received. Being an organist, Stebbins, with his fine gift of melody, writes delightfully for his adapted instrument. His harmonies leave nothing to be desired and the result is always a worth-while effort. "Where Dusk Gathers Deep" is a quiet, dreamy thing of great melodious beauty.

614 At Twilight

Here is a melody which is full of grace and sentiment. A better description of it could not be given than the verse which accompanies the title:

Afar in the distance, the evening star gleams,
And dim music drifts through the dusk of our dreams,
While low murmur lute-strings, and soft sounds the sweep
Of swaying tree-tops in the garden of sleep.

STEBBINS, G. Waring 1869-

The subject of this paragraph was the son of George C. Stebbins, the famous hymn writer and coworker with Moody and Sankey. He was born at East Carlton, New York, June 16, 1869. Nothing was spared on his musical education. He studied organ and composition with Guilmant and others, and voice with Sbriglia, Henschel and others. He has held many important posts as an organist and is well known as a recitalist. Since his return from Europe he has devoted his entire time to teaching singing. His compositions number about sixty organ pieces, numerous songs and choral compositions.

609 Cantilena

This is a fascinating cantilena dedicated to the composer's teacher, Guilmant. It has a gorgeous middle part which works up to a stirring climax with full organ. The first theme reappears with a bewitching obligato on the flute, bringing to a close a most delectable composition.

611 A Memory

A wistful sort of thing by G. W. Stebbins. It really seems to put one in a reminiscent mood. Whether this is imagination or not is of little consequence-the fact remains that it is a charming piece.

STEVENSON, Frederick 1845-

Tkis composer, conductor and teacher was born in Newark, Nottinghamshire, England, September 6, 1845. He received a college education and studied choir work with Dr. Dearls, organ with Samuel Reay. harmony with Dr. Macfarren and counterpoint with Dr. Bridge. He taught composition and singing in London for fifteen years. Since coming to the United States he has taught in Denver ten years, Los Angeles twenty years, and Santa Barbara, Calif., three years. Many and various are his compositiona. They include a cantata, "Easter Eve and Morn," a motet, "Omnipotence," and many sacred songs, also a number of secular choruses, songs and part-songs.

496 Vision Fugitive

This is somewhat of a departure from the usual short organ number, and the innovation is altogether pleasing. It has no definite form, but has a very well-designed theme which is cleverly developed into a very charming bit of organ music.

STOLZ, Robert

696 Sal-O-May (Salome), Fox Trot

From time to time it becomes necessary to cut a few rolls of dance music for those of our clients who are also disciples of Terpsichore. We try to select for such purposes only pieces of established popularity. Here we have a fox trot which has proven its worth for dance purposes. The organ arrangement is full of orchestral effects and is eminently satisfactory.

STOUGHTON, Roy Spaulding

Roy Spaulding Stoughton is a native of Worcester, Mass. He is one of the most promising of present day composers. His work is distinctly modern, but not painfully so. Indeed, he shows remarkable restraint in the use of the material he chooses as a medium for expressing his musical ideal. Many a man, using the same material, would produce nothing short of an atrocity. At times Stoughton startles, but only for an instant. He never shocks. The use of the old ecclesiastical modes or scales lends a color to his compositions which could be obtained by no other means. His works--nearly all of them--necessarily have an exotic flavor, and they are invariably fascinating. They are delightful in the extreme.

494 Cantus Adoratio

This is a composition for the organ by a man who has written much for the instrument of his choice. It is melodious, and possesses a charming rhythm.

499 Within a Chinese Garden

This composer has a remarkable penchant for themes of an exotic nature, and has done much along these lines.

This particular number has a peculiarly charming rhythm, and a melody of distinct beauty. As a sort of introduction there are four measures of consecutive fourths, which, aside from the rhythm, produce a strange effect, and adequately prepare the ear for what is to follow. Now comes a really enchanting theme on the oboe, which gives way to a duet on the flutes, after which the oboe theme recurs, as does also the whole first part, bringing to a close an especially attractive composition.

502 Nocturne

A nocturne from the pen of a man possessed of a gift of melody such as this composer has, could hardly be anything but a delight. The first requisite of this form is an easy-flowing tune, and here we have it. It moves along with the required grace, and the composer has wisely clothed it with the simplest harmonies, producing a splendid balance between melody and accompaniment.

511 An Eastern Idyl

This is an especially attractive Oriental conceit, -a quaint and curious tune which was home grown but smacks no less of the desert and caravansary.

524 By the Ganges

525 The Dancing Girls of Delhi

Here are two numbers from the suite "In India," by a composer who revels in the atmosphere produced by the use of the old ecclesiastical modes or scales. Much skill is displayed also in the selection of suitable rhythm, and the combinations of unusual intervals and unique rhythm have, in the case of this composer, resulted in some delightful music which is reminiscent of nothing else. Both of these numbers are splendid examples of strange but beautiful music.

572 Ancient Phoenician Procession

The name of this number would indicate that it is a sort of a march of an Oriental or at least exotic flavor, and it is all its name indicates. But little imagination is needed to produce a mental picture of a gaudily costumed and stately procession, moving with measured and dignified step.

It is the sort of a thing that Stoughton does best, and is extremely fascinating.

586 The Courts of Jamshyd

587 The Garden of Iram

588 Saki

These three numbers form the "Persian Suite for Organ." This Suite has become very popular in its entirety. All the numbers measure up to what we have learned to expect from the pen of Stoughton. He rarely writes in a strictly orthodox manner. He likes peculiar rhythms and harmonies, and it is not strange that he does, for he writes them well. This Suite is a charming composition, and it is Oriental-a statement which may not be truthfully made concerning many things bearing an Oriental title.

668 Dreams

A very appropriately named little thing for the organ is this. It is mysterious, but yet seems to have a definite purpose. The mystery lies in finding the purpose. It is a most charming bit of writing.


(For Biographical Sketch see Catalogue, Volume I)

404 Thousand and One Night Waltz

The irresistible rhythm of this waltz has caused it to take its place beside "The Beautiful Blue Danube" as a standard-indeed a classic. The waltz rhythm has an inherent fascination and from the workshop of a Strauss there could come nothing short of a gem when a dance form was chosen as a medium of expression. The Strauss waltzes are as seductive and fascinating as ever and their popularity is never threatened-verily, they grow in esteem as time goes on.

664 Vienna Life (Waltz)

Strauss waltzes are always welcome. For genuine tunefulness nothing surpasses them. One would think that Strauss' supply of melodic material would have been exhausted long before he finished the hundreds of dance pieces he wrote. It was not, however, for the same characteristic charm is present in all of them. The "Vienna Life" or "Wiener Blut," as it is in the German, is no exception.

STRAUSS, Richard

(For Biographical Sketch see Catalogue, Volwme 1)

710a and b, Tod und Verklarung (Death and Transfiguration), (two rolls)

What may be regarded as an adequate description of this tone poem is found in the poem by Ritter which Strauss has used as a preface to the printed score of "Tod und Verklarung." Lack of space precludes the printing here of the entire poem, and a condensed version would not do it justice.

For our purposes we cannot do better than to quote from "Stories of Symphonic Music" by Lawrence Gilman:

"We see the sick man lying exhausted upon his bed in the little candle-lit room: he has just wrestled wildly with Death. He smiles faintly, dreaming of his youth.

"Abruptly, Death renews the attack, and the dreadful struggle is resumed. There is a gradual exhaustion, and once more a respite comes to the sufferer.

"Now he is visited by dreams and hallucinations -memories of youth, of young manhood and its vicissitudes, of lusty conflict and passionate endeavor, with illusory glimpses of future triumph.

"But again Death attacks his victim. There is a short and furious struggle, a sudden subsidence, a mysterious and sinister gong-stroke; a portentous silence signifies the final stilling of the heart.

"Then begins, gradually and gravely, the Transfiguration; and the final triumphant attainment of the soul released."

715 Till Eulenspiegel's Lustige Streiche

Tyl Owlglass (his English name) is the prank playing vagabond hero of a fifteenth-century German Volksbuch whose authorship is attributed to Dr. Thomas Murner (1475-1530). Till, according to Dr. Murner, was born at Kneithlinger, Brunswick, in 1283, and died of the plague at Moln in 1350 or 1353.

Till's exploits, the stories of which are household words in Germany, consisted of mischievous pranks and jests that he practiced without discrimination and, in some instances, with a frank and joyous absence of delicate sentiment. Strauss declined to furnish a description or elucidation of his music on the ground that it would seldom suffice and might offend.

He has, however, apparently given his sanction to an analysis of the score by Mr. Wilhelm Klatte. An English translation of this analysis has been made by Mr. C. A. Barry, from which we epitomize the following:

Here he is. He wanders through the land as a thoroughgoing adventurer. His clothes are tattered and torn.

The rogue, putting on his best manners, slyly passes through the gate and enters the city. It is market day; the women sit at their stalls and prattle. Eulenspiegel springs on his horse, gives a smack of his whip and rides into the midst of the crowd. Click, clash, clatter! A confused sound of broken pots and pans, and the market women are put to flight. The rascal rides away to a safe retreat.

This was his first merry prank; a second follows, immediately. He puts on the garb of a priest. He does not feel comfortable in his borrowed plumes. Away with all scruples! He tears them off.

Again the Eulenspiegel theme is heard in the same lively tempo, but now subtly metamorphosed. Till has become a Don Juan and waylays pretty women. One has bewitched him. He is in love, but in vain. His advances are repulsed and he goes away in a rage. Vengeance on the whole human race!

Eulenspiegel's insolence knows no bounds, he is a merry jester, a born liar. He goes wherever he can succeed with a hoax. Alas! there is a sudden jolt to his wanton humor. The drum rolls a hollow roll; the jailer drags his rascally prisoner into the criminal court. The verdict guilty is pronounced against the knave. He does not confess. He lies. His jig is up.

Fear seizes him. The fatal moment draws near; his hour has struck! . . . He has danced in air. A last struggle and his soul takes flight and Eulenspiegel has become a legendary character.

SUPPE, Franz von

(For Biographkal Sketch ace Catalogue. Volume 1)

634 Light Cavalry Overture

There are no more popular overtures in the lighter vein than those of Suppe. They deserve to be popular for they are good music and have a distinct place in music literature. Suppe had a remarkable gift of both melody and rhythm-the first essentials in successful composition. He was also a good workman and possessed a splendid knowledge of the orchestra. Thus equipped, it is little wonder that all of his overtures have attained popular favor. We shall adapt more of these charming overtures to the organ.

636 Overture, Morning, Noon and Night in Vienna

This is another of the fine concert overtures of Suppe. Like all of the others, it is tuneful in the extreme, and the thematic material is skillfully arranged. It shares with "Poet and Peasant," "Light Cavalry" and "Pique Dame" a degree of popularity exceeded by nothing in their class. It is extremely effective on the organ.

643 Overture, Pique Dame

This is one of the many overtures by Suppe which are known in this country only as concert numbers. All of Suppe's overtures are in a light vein but are well written and tuneful. This and the "Light Cavalry Overture" share with "Poet and Peasant" an immense amount of public esteem.


606 Chinoiserie

Firmin Swinnen has few equals and no superiors as a theatre organist. He has a marvelous technique and a charming temperament. A man so equipped could not but write well. We have seen a number of his arrangements and have made rolls of them, and have longed for something original from his pen. The first thing we have found is this Chinese tune "Chinoiserie," and it is delightful. It is wonderfully characteristic and truly smacks of its exotic origin.

671 Soir d'Automne

An autumn evening would likely inspire just such a tune as this. It is quiet, peaceful, placid, serene, unassuming and undemonstrative. It is good music by an exceptionally fine organist. We are sure our patrons will enjoy it.


679 Intermezzo

The purpose of an intermezzo is supposed to be to bridge a gap between two more important events. This one, however, needs no such excuse for its being. It is able to stand alone and command attention as a distinctly beautiful piece of music. It is by Paula Szalit, concerning whom we are unable at this time to give any information.

TOURS, Berthold 1838-1897

Berthold Tours is very generally comidered an English musician. He was born at Rotterdam, but his long residence in London-from 1861 until his death caused him to be classified as an English musician. He was a violinist, but is known in this country only as a composer. In 1878 he became musical adviser and editor to Novello and Company. His works are numerous, he having written many songs and anthems, as well as pieces for the piano, violin, etc.

481 Allegretto Grazioso

Tours' work never startles, yet is never so obvious as to be commonplace. It is always good, solid, wholesome music. He had a fine melodic instinct, and had enough of the technique of composition to clothe his melodies with well fitting harmonies. This allegretto is full of grace and charm and possesses a degree of musical solidity which might well be aimed at by many present-day composers.


(For Biographical Sketch see Catalogue. Volume I)

389 Overture from "Nut Cracker Suite"

Every number of this famous orchestral suite is superlatively charming. Never did Tschaikowsky's ingenuity come to the surface with greater force. He liked at times to throw tradition to the winds, and give himself free rein, and in this latter overture we have one of the most exquisite examples of spontaneity extant. It is by no means an example of unadorned beauty. Indeed, the framework approaches the commonplace. It is the remarkable embellishments which give it its charm.

A curious fact concerning this wonderful bit of orchestral scoring is that he has used neither 'cellos nor basses, the strings consisting entirely of violins and violas.

390 "Danse Arabe" from "Nut Cracker Suite"

The Oriental atmosphere in this little dance is so evident that it scarcely requires a name. The incessant tom-tom rhythm, the weird harmony, and the peculiarly Oriental melody, all combine to complete an ensemble which is highly satisfactory.

470 Humoreske

This is a very characteristic bit of writing which is filled with humor. It is Tschaikowsky in a happy mood and therefore a somewhat rare mood. He was a rather morbid creature, but when he was in a playful humor he scintillated, as this little thing will attest.

476 Chant sans Paroles, Op. 40, No.6

Like much of Tschaikowsky's music, this song without words is in a minor key, and like many other compositions from his pen it has a plaintive quality, and seems almost an expression of sadness. While sombre, this piece is no less interesting, and is such a thing as is apt to produce a reflective mood in the mind of the listener.

480 Melodie, Op. 42, No.3

Next to the violin, the organ is the best instrument upon which to playa violin solo. Nothing could be more pleasing than the organ rendition of this wonderful little thing from the roll. The Estey string stops are noted for their faithful reproduction of string quality, and this roll fully demonstrates the reason. It would be difficult to find anything more lovely than this number. It is in the repertoire of all the great violin masters, and the organ rendition suffers not at all by comparison.

546 Chanson Triste

Among the best-known and frequent moods of Tschaikowsky is that of sadness. He had only a limited fund of humor and he seems about to have exhausted it in the charming "Nut Cracker Suite." His sixth symphony, the "Pathetique," is an example of his best work, and it bears from beginning to end an unmistakable tinge of gloom.

In this number he has set down the simplest melody conceivable, and the accompaniment is a mere harmonic scaffold of the most unpretentious character, yet nothing could be more beautiful. It is in complete sympathy with a mood in which we all find ourselves at times, and it so completely expresses our feelings at such times as to make one feel that he is expressing himself in his own way.

550 Allegro con Grazia from Pathetique Symphony

Here is Tschaikowsky in one of his delightful moods. A more graceful or charming theme would be hard to find. It is extremely unique, being in 5-4 time, but this strange rhythm adds to its charm. It is Tschaikowsky at his best. More than this need not be said.

563 October from "The Seasons"

Tschaikowsky's set of pieces for piano, "The Seasons," is so well known as to require no comment. Each is a gem. The adaptation of October was a happy thought. It fits the organ as though made for it, and is indeed a thing of greater charm than the original conception.

564 Troika en Traineaux from "The Seasons"

This number occupies the place in "The Seasons" which should be allotted to November, had Tschaikowsky chosen to give it the name of a month as he did with all the others in the set of twelve. It is evidently a sleigh ride. In Russia they have a fashion of hitching three horses to a sled (troika), two of them trot while the other runs or gallops. Certain places in this composition seem to indicate the two distinct rhythms of the two gaits.

Indeed, one can imagine a lot of things with such a delightful thing as this to serve as prompter. It is full of effervescent joy throughout, something unusual for Tschaikowsky. It is a pleasure to find him in a joyous mood.

674 Barcarole, June, from "The Seasons"

Of all the work of Tschaikowsky, nothing is known better than this barcarole. The reason for its popularity is not hard to find, for it is superlatively beautiful. Tschaikowsky wrote twelve numbers which he named after the twelve months, and called them collectively "The Seasons." This barcarole is June. It was, of course, written for the piano, but it has lost nothing in being fitted to the organ; indeed, it has gained much, for as the roll gives it, it has a wealth of tone color which is missing in the original. We commend it to all lovers of beautiful music.

VERDI, Giuseppe

(For Biographical Sketch see Catalogue. Volume 1)

366 Aida Fantasie No. 1

This revolutionary operatic work had its premier production at Cairo, Egypt, on December 24, 1871. It was written at the instance of Ismail Pasha, Khedive of Egypt. The Khedive had built a new opera house at Cairo. He was a patron of art, and to further fulfill his desire to appear before the world as such, importuned Verdi to write an opera to be produced first in the opera house which he had built. Verdi was not enthusiastic over the proposal, but instead of refusing absolutely, made a price which he thought would dissuade the Khedive from his project. To Verdi's surprise, however, the Khedive at once accepted the terms.

The Khedive intrusted the finding of a suitable libretto to Auguste Edouard Mariette, the eminent French Egyptologist.

The story is founded on an incident in Egyptian history, found by Mariette, who developed the original plan of the libretto. This diagram was handed to M. Camille du Loele, who wrote the recitative and lyrics at Verdi's house at Busseto, Italy, having the benefit of the composer's practical advice. It is indeed a fact that Verdi had much to do with the preparation of the libretto which was to inspire one of the greatest of operas.

Once at work, Verdi's indifference changed to enthusiasm and he set about to excel his past operatic efforts, and time has proclaimed him. victor.

The best-known portions of the opera have been selected for the roll, including the famous "Celeste Aida."

410 Selections from Rigoletto

Most of the best-known and favorite numbers from this well-known opera appear on this roll, which is sure to give unbounded pleasure to opera goers. The popularity of certain numbers of Rigoletto will never wane as long as there is a Ruffo, Amato, Martinelli, Tetrazzini or Galli-Curci.

Baritone, tenor and soprano are the voices favored in this opera, and most of the numbers given by this roll are sung by these voices. Certain choral numbers are also included. Rigoletto has long served as a vehicle for the exploitation of some new star, but the real reason for its hold on the musical public is its inherent worth-a statement proven by the fact that the opera is so often given in its entirety.

VINCENT, George F.

620 Meditation Symphonique

The composer of this delightful piece has made the suggestion that the stops used should be as imitative of the orchestra as possible. As the imitative character of Estey Organs is well known and appreciated, it was easy in the making of the roll to conform to his wishes. This meditation is essentially orchestral in style, and we have been able to produce some striking orchestral effects. The first subject is heard alone in the first two measures on the 'cellos and basses. The treatment is in regular sonata form and is full of charming tonal effects ranging from the string choir alone to the full organ.

WAGNER, Wilhelm Richard

(For Biographical Sketch see Catalogue, Volume 1)

438 Vorspiel to Parsifal

As is well known, Parsifal is a three-act opera - rather a music drama-the poem and music by Richard Wagner. The poem was published in 1877, but the music was not completed until 1879. It was first produced at Bayreuth on July 28, 1882, and for twenty-one years was not heard elsewhere except in concert form under Barnby at Albert Hall, London, November 10, 1903.

Wagner desired, of course, that Parsifal and others of his operas should never be staged anywhere but at Bayreuth, and there are certain good reasons for this desire so far as Parsifal is concerned. However, after many serious disputes between American managers and the Bayreuth authorities, Parsifal was given its first complete performance outside of the theatre built for it, in the Metropolitan Opera House, New York, on December 24, 1903, with Alfred Hertz as conductor.

The present roll contains the Vorspiel, or prelude to Parsifal. The limited space available here precludes a dissertation on the programme of the music. This can be found in any of the many works on Wagnerian opera. It will suffice to state that the roll gives the music in a highly satisfactory manner, and that it will be enjoyed by all admirers of Wagner.

520 Overture to Rienzi

Rienzi was the first of what may be called Wagner's successful operas. Two acts of it were written at Riga and Mitau, in 1838 and 1839. Acts 3, 4 and 5 were written in Paris in 1840. It was first performed at Dresden, October 20, 1842, and is today a favorite opera in that city.

Rienzi is rarely given in this country, but the overture is a great favorite as a concert number. The thematic material in the overture is practically all from the opera, including Rienzi's Prayer, the chorus from the finale of the first act, the Battle Hymn and the finale of the second act.

534 Overture to Meistersingers

Wagner made sketches of this opera as early as 1845, but the poem was not really begun until the winter of 1861-1862 at Paris. The music was begun in 1862 and finished in 1867. The first performance took place at Munich, June 21, 1868, under von Bulow, with Wagner personally supervising everything.

The Overture-or Vorspiel-is a wonderfully clever arrangement of themes from the opera. It savors not a whit of a potpourri. The themes have been so skillfully welded together as to never suggest anything but a natural sequence of musical ideas. The roll gives this wonderful music a most artistic performance.

602 Elizabeth's Prayer, Tannhauser

To opera goers, the setting of this prayer is familiar. It occurs in the third act. Elizabeth is kneeling at the shrine, praying for the salvation of Tannhauser, who had gone to Rome to do penance. A band of pilgrims from Rome appears. Elizabeth discontinues her devotion long enough to scan their faces, and not seeing Tannhauser among them, she raises her voice in supplication.

719 Siegfried Idyll

In writing to a friend about the birth of his son Siegfried, Wagner said, "She has borne to me a wonderfully beautiful and vigorous boy, whom I could boldly call Siegfried; he is now growing, together with my work, and giving me a long new life (Wagner was then fifty-seven years old), which has at last attained a meaning. Thus we get along without the world, from which we have retired entirely."

The Siegfried Idyll was presented to Madam Wagner as a birthday present, and was first performed on the steps of Wagner's Villa at Triebschen. The orchestra was a small group of players gathered from the neighborhood and was conducted by Wagner.

The themes out of which the Idyll is evolved, are with one exception from the Nibelungen music drama, upon which Wagner was at work when his son was born. The exception is a German cradle song.

Wagner displays his wonderful genius in weaving together the themes, and has produced a concert number of superlative beauty.

726 Ride of the Valkyries, Die Walkure

Professor George T. Dippold, in his book on the Ring, thus describes the Ride of the Valkyries:

"The third act of the 'Walkure' represents a scene of uncommon beauty and interest. To the right appears the beginning of a forest of fir trees; to the left opens the entrance to a cavern in the rocks. Above this, the cliffs attain their highest point; toward the background, huge rocks are supposed to lead toward a steep abyss. Clouds, driven by the storm, sweep by the mountains. The region is the gathering place of the Valkyrs, the so-called 'Walkuren Stein,' or rock of the Valkyrs. At the rise of the curtain, four of the Valkyrs are seen on the point of a rock near and above the cavern. With helmet, shield and spear and glittering coat of mail over the long flowing dress, they await the coming of their sisters. A sudden blaze of lightning flashes through one of the clouds passing by, and in it is seen a Valkyr on horseback, the form of a slain warrior hanging across her saddle. Again a flash of lightning displays another Valkyr, until at last eight of the nine are assembled. Laughingly they greet each other and glory in their warlike deeds. The music portrays their wild flight through the air, the clash of arms, the neighing of the steeds and the laughter of the maidens, while the exulting Valkyr cry of 'Hoyotoho!' resounds from the lips of the warrior maids."

728 Waldweben, from Siegfried

This is an excerpt from Wagner's music-drama "Siegfried" which is often played as a separate orchestral number. It is that wonderfully beautiful bit of music from the second act while the hero is lying Imder the tree in the forest. The music represents the murmuring of the leaves. The song of a bird is also heard. It is a highly poetic piece of writing and the organ is second only to the orchestra in its rendition.

WEST, John A.

John A. West has for many years been a prominmt Chicago organist. He was born in 1853 in Oriskany. N. Y. Very early in life his musical talent came to the surface and he was organist of a church at the tender age of twelve years. He has composed for the instrument of his choice much which has received favor.

413 Melody

Here is a bit of melody which is charming in its simplicity. The tune is one that clings after once heard, and seems to have been written more for the 'cello or voice than the organ. The organ rendition from the roll, however, leaves no yearning - except to hear it again.

WEST, John E. 1863-

John Ebenezer West was born in London. December 7, 1863. His musical education was obtained at the Royal Academy of Music, under Dr. Bridge and Ebenezer Prout. His compositions are many, including two cantatas, a setting of the One Hundred and Thirtieth Psalm, an overture to Longfellow's "King Robert of Sicily," evening services, a Te Deum, numerous anthems, part-songs, organ music, songs, etc.

688 Festal Commemoration

It would seem that a festal commemoration should be a joyous sort of a thing, and that is just what it is - at least in this case. This is a sterling composition conceived on a big plan and developed With consummate skill. Above all, it is extremely musical.

689 Postlude in B flat

There are postludes and postludes! Some are evidently designed to drive people out of church, but this one is different: it is of the sort which makes the audience gather round in informal groups and listen until the organist has finished. Not even a good dinner would tempt them to leave. It is nothing short of fascinating.

WHEELDON, Herbert Arthur 1864

This composer's reputation is built almost entirely upon his compositions for the organ. He has written little for any other instrument. Born in Derby, England, in 1864, he held, many important positions in the land of his birth as organist. In 1907 he accepted the post of organist of the Metropolitan Church, Toronto, Canada, where he soon became famous for his organ recitals.

His published numbers for the organ include numerous forms, and are extremely popular with recitalists and churchgoers. They all betray a keen and sound musicianship.

444 Oriental Intermezzo

Here is a delightful tune with a decidedly Eastern atmosphere. Like most Oriental music, it is in a minor key, and it possesses many other characteristics common to music of this sort. In this particular number the composer was fortunate in his choice of thematic material, and his usual good workmanship is present from beginning to end.

447 Evening Chimes

Starting off with a conventional phrase on the chimes, which is immediately repeated in a faster tempo, the composer proceeds at once to weave about the chime phrase a most beautiful musical fabric. After a few measures the chimes give way to the strings, which hold sway until it is time for the chimes to reappear, which they do at the proper time.

The middle section is a delightful duet, and is a sprightly and charming theme. A very effective climax furnishes the necessary modulation of the original key, when the first part is repeated as a closing theme.

566 Grand Choeur

This postlude is a favorite among organists and recital attendants. It is big in conception, and is an altogether satisfactory composition. In the arrangement of the roll, advantage has been taken of the opportunity for tone color, which adds much to the charm of a splendid piece of writing. The sterling musicianship of the composer is evident throughout the whole number.

677 Postlude in D

We have listed other compositions by Wheeldon and the fact that they have all been well received is responsible for the issuing of this delightful postlude. It is full of color and in splendid form. The workmanship leaves nothing to be desired.

681 Cantique du Matin

This is a splendid piece both inelodically and harmonically. The theme is unusual and the workmanship that of a master. There is a most interesting middle part in which the first theme is used as a counterpoint for an entirely new theme. In this middle part the skill of the composer is well demonstrated. The composition concludes with a further working out of the original theme.

WIDOR, Charles Marie

France has been the birthplace of many great organists, notably, Guilmant, Dubois, Wely, Saint-Saens, Franck and many others, including the subject of this paragraph, Charles Marie Widor.

Widor was born at Lyons, February 22, 1845. He began his studies with his father, who was organist at St. Francois, Lyons, and continued at the Brussels Conservatory under the great Lemmens and Fetis. In 1870 he became organist at St. Sulpice, Paris. His great musicianship was at once recognized, and an appointment to the Professorship of Organ at the Paris Conservatoire eventuated upon the retirement of Cesar Franck - no greater compliment could have been paid him than to be asked to succeed so great a man.

Widor is noted also for his work as a writer on musical matters, and his "critiques" in the "Estafette" are notable efforts.

He is a prolific composer, having written in all the accepted forms, including many songs, duets, string and pianoforte trios, quartettes and quintettes, symphonies for organ, and also two for orchestra.

418 Scherzando Humoreske

If any importance is to be attached to titles, this somewhat diminutive composition should be of a jovial, jocular character. In this case the title is not a misnomer. A more humorous, facetious, droll or comical conceit would be hard to find. The trio is particularly waggish, with its sustained accompaniment and a strikingly impudent tune underneath.

Taken all in all, it is a bewitching little composition, and source of much delight to possessors of the roll.

467 Minuet from Third Symphony

Certain disputatious persons have claimed that a symphony cannot be written for the organ because the term implies a sonata for a full orchestra. This claim, however, is not well founded, for the obvious reason that a pipe organ is not a single instrument. Then, too, sonatas are not nowadays written for a single instrument (except the piano) and have not been for many years. Bach, Handel and their contemporaries wrote sonatas for violin alone and for 'cello alone, but few, if any, have been written since their time for any instrument without an accompaniment of some sort.

The fact that it is possible for one person to play a composition in the sonata form on a large number of instruments at one time, should not, and as a matter of fact does not, make said composition any less a symphony than if a number of men had been used to produce a similar result. We, therefore, conclude that Widor was well within his rights when he chose to call them symphonies. Furthermore, they are symphonic in form and scope.

This minuet is one of bewitching daintiness and is a fair sample of Widor's technique of composition. It has the stately rhythm so characteristic of the minuets of the classic composers. The atmosphere of powdered wigs, pannier skirts, silver buckles, silken hose, satin breeches and lace-trimmed coats, beauty spots, etc., permeates it. It is a thing of beauty. The roll plays it in a manner likely to make the best organists envious, and leaves nothing to be desired.

485 Scherzo from Second Symphony

Here is a rollicking tune which is as full of jollity and mischief as one could wish. It is rather unusual in form-at least from a classic point of view-in that it has no trio. There is plenty of precedent, however, for this omission, but if there were not, Widor was too big a man to be bound by conventionalities. The symphony from which this Scherzo is taken was written for the organ, and the roll does it superlatively.

537 Scherzo from Fourth Symphony

Here is an exquisite example of fairylike music which baffles description. It sparkles, scintillates, glitters, yet withal there is a vein of droll humor which is never absent nor obvious. It is superlative in its beauty. The symphony from which it is taken was of course written for the organ, which means that the roll leaves nothing to be desired.

539 Andante Cantabile from Fourth Symphony

Ever since the invention of the sonata form, it has been a matter of pride among composers to write a slow movement which they could look upon with satisfaction-with a feeling that they had done something really worth while. Indeed, a quartette or symphony is often judged by its slow movement.

There are all kinds of slow movements. Mozart was fond of highly ornate development of his thematic material, sometimes perhaps carrying his development a little too far, but his workmanship was always exquisite. Beethoven often used the simplest possible tune for a theme, followed by a series of charming variations. Tschaikowsky in the immortal slow movement of the String Quartette, Op. 11, has used neither of these methods, but has relied solely upon the native beauty of the folk song chosen for a theme and the gorgeousness of the harmonies with which he has clothed it.

In the slow movement of the Fourth Organ Symphony, Widor has chosen a theme of great simplicity and beauty which is good enough to stand alone. There is no embellishment except in the accompaniment the second time the theme appears. The modesty of the whole thing is its greatest charm.

646 Cantabile from Sixth Symphony

Widor wrote eight symphonies for the organ. All of them have their favorite movements. The present roll contains the Cantabile from the Sixth Symphony-a favorite with recitalists. That it is a charming composition is evident upon first hearing. It is cast in a mould of classic beauty. Widor's gift of melody is in evidence as well as his superlative workmanship.

648 Allegro from Sixth Symphony

This is a first movement cast in the regular sonata mould. The theme is immediately announced in massive chords. After a more or less indefinite interlude, which foreshadows the second theme, a fragment of the first theme is heard. Then the second theme and the development blossom forth in the inimitable Widor fashion.

It is massive in conception and the workmanship is fully up to the Widor standard-which is about all that need be said in its praise.

654 Intermezzo, Sixth Symphony, Third Movement

This Intermezzo might have been aptly termed "Scherzo." It is as full of jollity as anything could be; indeed, at times it seems almost humorous. Whatever the mood portrayed - and that is a matter of opinion - it is a delightful composition.

Its position in the symphony from which it is taken, is between the adagio and the cantabile - two slow movements - and what a beautiful contrast it makes! The "Cantabile," which is roll No. 646, may well be played after this one, as was the composer's intent. We shall complete the symphony in the near future. Then the whole five movements may be played in their regular order.

684 Vivace, Finale, Sixth Symphony

This is the fourth movement of this symphony that we have listed. Like the others, this movement is orchestral in its conception and coloring. It is ambitious and modern in its working out, but not painfully so. It is always music and while it is a ponderous thing, it is well adapted to display the power of the organ. It is never mere noise. Like most of Widor's work, it is somewhat free in form and bears the stamp of originality. Itshould by all means be added to the library of all.

655 Serenade

The greatest of composers have at times delighted in giving free rein to the muse, allowing her to wander, aimlessly about. Here is a case in point. This Serenade has no particular form or design. It is simply a charming tune which rambles about, going nowhere in particular. It is delightful in its simplicity and a remarkable example of restraint on the part of a man whose technique of composition is unexcelled.


(For Biographical Sketch see Catalogue, Volume 1)

464 Cantilene

This cantilene is strikingly original, which statement is as complimentary as anything that could be said of it. It is most unusual in rhythm and delightful in its treatment of thematic material. The middle part is quite as unique in rhythm as the first and serves as an appropriate contrast. As is usual in this form, the first part recurs and becomes the closing theme also.

500 Fantasie Rustique

Wolstenholme's work is always interesting, and more often than not beautiful as well. In this "Fantasie Rustique" are' combined all the elements which are necessary to the making of good music. In the organ, we have the medium selected by the composer himself for its delivery. The roll gives this exquisite composition in a manner surpassing the work of all but the very best organists, for its technical requirements are such that but comparatively few organists can play it at all acceptably.

505 Allegro Militaire

This is in reality a polacca or polonaise, the first name being Italian, and the last Polish for the same thing. Polaccas are in 3-4 time and are generally of a brilliant character. This one is no exception to the rule.

Beginning with a pompous theme, it gets right down to business and unfolds as brilliant and charming a bit of organ music as one could wish to hear. The middle part is scarcely less brilliant, but in marked contrast to the first part, which, with a short coda, effects a glittering close.

650 The Question and the Answer

These two compositions are most happily named. The "Question" is persistent and at times emphatic. Just what the question is about, is somewhat of a mystery. In any event, it expresses a longing for something, and a commendable determination to get it. The "Answer" seems not only to suffice, but to satisfy. Both are charming numbers and they form a delightful little suite.

685 Caprice

The blind organist who wrote this Caprice is a man of many moods. He could at will, seemingly, be sad or gay, dignified or capricious, stately or whimsical. Here we have him in a delightfully playful humor. He skips and runs about from place to place, seeming to have no definite objective. There is a period of quiet restfulness in the middle, after which the play is resumed. It is a splendid bit of writing and grows in favor each time it is heard.

686 Grand Choeur in G Minor

Here is an example of dignified writing quite in contrast with the Caprice by the same composer. In it he has shown to good advantage his remarkable gift of melody, and his technique of composition as well. It is a big conception, well planned and charmingly executed.

690 Concert Overture in F

Most of the organist composers have felt the desire to write a concert overture for the instrument of their choice. From Wolstenholme we always expect something genuinely good and we are rarely if ever disappointed. There is nothing startling about this overture. It is simply splendid in form and workmanship sterling music in every sense.

702 Reverie

A dreamy little thing by a French composer. It was written as a violin solo. We have, therefore, given the tune to the string stops. Organs which contain the Estey harp will find it effectively used in the accompaniment. The harp is not, however, a necessity, for it is a delightful piece without it.

YON, Pietro

(For Biographical Sketch see Catalogue, Volume 1)

497 Elegie

This is a highly original composition of much beauty. It is a unique conception from any point of view. In form only is it orthodox. The theme is plaintive and of the sort that improves with each hearing. The middle part is in marked contrast and well prepares the mind for the recurrence of the first theme, which is repeated in its entirety. A short coda of four measures brings it to a graceful close.

540 Andante Rustico from Sonata Cromatica

This is the first movement of a sonata dedicated to the famous French organist, Joseph Bonnet. It is a great favorite with recitalists whose technical equipment is adequate, and is also much admired by the attendants at organ recitals. It teems with vigor and virility, and bears the stamp of genius.

541 Adagio Triste, Slow Movement from Sonata Cromatica

This is a remarkably plaintive melody. It is anything but cheerful, but is nevertheless one of the sort that one likes to hear at times, being in marked contrast to the Andante Rustico of the same sonata, which it follows.


The index adds nothing of any value and has been omitted.