1. Index
2. Estey Organ Music
3. Organ Roll Catalog 2

Estey Organ Roll Catalog Volume 2
(Published circa 1928)

1.0 Introduction

2.0 CATALOGUE OF MUSIC VOLUME II

ALBERT, L.

448 Cherry

ANDREWS, Mark 1875-

455 Venetian Idyl

478 Serenade

ARENSKY, Anton Stepanovitch 1861-1906

523 Romance

ATHERTON, F.

416 Reverie

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

647 Fantasie and Fugue in G Minor

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

BAGLEY, E. E.

371 National Emblem March

BALL, Ernest R. 1878-

558 Down the Trail to Home, Sweet Home

BARON, Maurice

549 An Indian Legend

BARTHELMY, R.

555 Caressing Butterfly

BARTLETT, Homer Newton 1845-1910

484 Meditation Serieuse

BATISTE, Edouard

660 Larghetto in E flat

BEETHOVEN, Ludwig van

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

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

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)

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

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

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

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

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

526 Allegretto alia Polacca

533 Larghetto from Second Symphony

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

575 Adagio Molto, from First Symphony

579 Allegretto, Second Movement, Seventh Symphony

583 Gavotte in F Major

"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

641 Adagio Cantabile from Septet, Op.20

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

733 Coriolanus Overture

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

740 Leonore Overture, No.3

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

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

559 Tell Me, Little Gypsy

BERLIOZ, Hector 1803-1869

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

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

BIGGS. Richard Keys 1886-

608 Sunset Meditation

BIZET, Georges

397 L'Arlesienne, First Suite for Orchestra. Minuetto

409 Farandole from L'Arlesienne

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

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)

BLAUFUSS, Walter

453 My Isle of Golden Dreams

BOELLMANN, Leon 1862-1897

392 Minuet Gothique (Suite Gothique)

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

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-

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

492 Chanson de Mai

527 Reverie

603 Priere

BRAHMS, Johannes

659 Allegro

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

BREAU, Louis, and COOPER, Joe

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

BREWER, John Hyatt

678 An Autumn Sketch

BRUCH, Max 1838-

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

628 Adagio from Violin Concerto, Op.26

BULL, Ole Bornemann 1810-1880

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

CESEK, H. A.

598 Twilight

CHAFFIN, Lucien Gates 1846-

498 In Springtime

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

CHAMINADE, Cecile

475 Pierrette, Air de Ballet, No.5

594 Serenade

720 La Lisonjera (The Flatterer)

CHOPIN, Frederic Francois

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

421 Nocturne, Op. 55, No. 1

432 Polonaise (Military)

"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-

490 The River of Life

504 Consecration

COHAN, George M. 1878-

373 Over There

CUI, Cesar Antonovich 1835-

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

CZIBULKA, Alphons 1842-1894

610 Love's Dream after the Ball

DAVIS, Arthur 1877-

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

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

403 The Snow is Dancing

DEMAREST, Clifford 1874-

503 Sunset

DETHIER, Gaston Marie 1875-

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

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

466 Reverie

618 Caprice (The Brook)

701 Elegie, Lied, Gavotte

DETT, R. Nathaniel 1882-

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 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-

486 Consolation

DIGGLE, Roland 1885-

506 Chant Poetique

513 At Sunset

521 Reverie Triste

DONALDSON, Walter

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

DRDLA, Franz

665 Serenade

DUBOIS, Francois Clement Theodore

707 March Triomphale

DVORAK, Antonin

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

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

EDMOND, Lemaigre

510 Prayer

ELGAR, Sir Edward

487 Chanson de Matin

567 Chanson de Nuit

601 Canto Popoiare

ELLIOTT, Zo

368 There's a Long, Long Trail

FAULKES, William 1863-

508 Pastorale

509 Minuet and Trio

536 Barcarole

619 Concert Overture in D

673 Wedding Chimes

675 Spring Song

680 Nocturne

FAURE, Jean-Baptiste

463 Romance

FEDERLEIN, Gottfried H. 1883-

474 Scherzo Pastorale

FERRATA, Giuseppe 1865-

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

488 Reverie Triste, Op. 9, No. 4

FIBICH, Zdenko 1850-

672 A Melody, A Pensive Mood, Song Without Words

FOOTE, Arthur William 1858-

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

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

683 Nocturne, Op. 50, No. 6

FRANCK, Cesar

441 Cantabile

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

651 Choral, A Minor

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

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.

FRANZOFF, Boris

661 Romance

FRIML, Rudolf 1881-

491 Twilight

585 Melodie

595 Russian Romance

FRY, Henry S. 1875-

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

FRYSINGER, J. Frank 1878-

495 At Parting of Day

605 At Twilight

GALBRAITH, J. Lamonte

582 Reverie

GAY, Byron

454 The Vamp

GILLETTE, James Robert 1886-

530 Chanson de Matin

GODARD, Benjamin

423 Au Matin

493 Canzonetta from Concerto Romantique

GOUNOD, Charles Francois

723 There is a Green Hill Far Away

GRAINGER, Percy Aldridge 1883-

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 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

"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-

551 Meditation

576 Cradle Song

GRIEG, Edvard Hagerup

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

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

596 Berceuse

597 Norwegian Dance, Springtanz, Elegie, Waltzer Opus 38

604 To Spring, Op. 43, No. 6

GUILMANT, Felix Alexandre

414 Priere et Berceuse

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

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

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

625 Grand Chorus in March Form

630 Andante con Moto

632 Cantilene Pastorale

633 First Meditation

637 Marche Religieuse

649 Largo e Maestoso

662 Finale from First Sonata

676 Pastorale from First Sonata

694 Offertoire, Elevation in F, Carol for Christmastide

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

709 Lamentation

GUION, David W.

573 Turkey in the Straw

"'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

HANDEL, George Frederick

544 Allegro from Sixth Concerto

666 Sarabande

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, Miska

705 Wiegenlied

HAYDN, Franz Joseph

535 Andante from Symphony NO.4, Clock Movement

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)

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

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

"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

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.

HERBERT, Victor

692 Kiss Me Again (Waltz)

HIRSCH, Louis A.

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

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

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

HOGAN, Parke V. 1868-

429 Minuet in D Minor

HOLLINS, Alfred 1865-

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

451 Concert Overture in C Minor

687 Cantilene in A flat

691 Romanza

693 Evening Rest

JACOBI, Victor

482 On Miami Shore

JARNEFELT, Armas 1869-

439 Praeludium

565 Berceuse

JOHNSTON, Edward F. 1879-

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

JOLSON, Al, and ROSE, Vincent

560 Avalon

JONGEN, Joseph 1873-

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

538 Chant de May

590 Improvisation-Caprice

KARG-ELERT, Siegfried 1879-

542 Salvation Has Come To Us

591 La Nuit, Op. 72, No.3

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

KERN, Jerome David 1885-

697 Look for the Silver Lining, from "Sally"

700 Ka-Lu-A

KINDER, Ralph

424 Caprice

442 Serenade

KREISLER, Fritz

367 Liebesfreud

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

LANGER, G.

716 Grandma (Grossmutterchen), Op.20

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

473 Offertoire in C

LEMARE, Edwin H.

443 Gavotte a la Cour

445 Chanson d'Ete

479 Serenade

489 Morning Serenade "In California"

LEMMENS, Nicholas Jaques

469 Scherzo Symphonic

471 March Triomphale

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.

LEUPOLD, A. W.

569 Ecce Homo, Op. 15 C

LIDDLE, S.

417 Abide with Me

LINCKE, Paul 1866-

426 The Glow Worm-Gavotte

MacDOWELL, Edward Alexander

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

MacFARLANE, Will C.

458 Spring Song

531 Serenade

MAILLY, Alphonse Jean Ernest 1833-

706 Invocation

MATTHEWS, Harry Alexander 1879-

468 To Spring

477 Cantilene

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

581 Caprice

621 Paean

MEALE, J. A.

457 The Magic Harp

MENDELSSOHN-BARTHOLDI, Jakob Ludwig Felix

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

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

382 Italian Symphony, First Movement

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

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

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

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

622 Overture, Fair Melusina

"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

629 Overture, Fingal's Cave

667 I Would That My Love

734 Intermezzo, Midsummer Night's Dream

MERKEL, Gustav 1827-1885

638 Introduction and Fugue

MIGNAN, Edouard

578 Pastorale

MILLER, Russell King 1871-

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

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

460 Epilogue

472 Scherzo Symphonic

699 Berceuse

MOSZKOWSKI, Moritz

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

381 Spanish Dance, Op. 12, No.2

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

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

MOTZAN, Otto, and CONRAD, Con

712 Mandy 'n' Me (Fox Trot)

MOUSSORGSKY, Modest Petrovitch 1835-1881

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

MOZART, Wolfgang Amadeus

STRING QUARTETTE (G Major)
515 Allegro Vivace Assai
516 Minuetto, Allegretto
517 Andante Cantabile
518 Molto Allegro

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

528 Allegro, Finale to Quartette No. 10

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

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

NEVIN, Ethelbert

461 Slumber Song

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

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-

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

NOBLE, T. Tertius 1867-

548 Nachspiel

NOVELLO, Ivor

369 Keep the Home Fires Burning

PADEREWSKI, Ignaz Jan 1860-

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

PARKER, Horatio William 1888-

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

PONCHIELLI, Amilcare 1834-1886

420 Dance ofthe Hours-Balletfrom La Gioconda

"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

428 Serenade

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

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

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

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.

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 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.

REEVES, D. W.

372 Second Connecticut March

REIFF, Stanley T. 1881-

501 Bonne Nuit

512 Scherzo

514 Bon Jour

RENAUD, Albert 1855-

670 Grand Choeur

RHEINBERGER, Joseph Gabriel 1837-1901

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

RICE, Gitz

434 Dear Old Pal of Mine

RIMSKY-KORSAKOW, Nikolas Andreievitch 1844-1908

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.

RIMSKY-KORSAKOW-KREISLER
653 Hindoo Chant from the Opera "Sadko"

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-

644 Pastorale

ROGERS, James Hotchkiss 1857-

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

446 Intermezzo

ROSSINI, Gioacruno Antonio

556 Overture Tancrede

599 Overture-Italian in Algiers

ROUGET DE L'ISLE, Claude Joseph 1760-1836

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

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

545 Serenade

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

SAINT -SAENS, Charles Camille

398 The Deluge-Prelude

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

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

SALOME, Theodore Cesar

437 Offertoire in D flat

577 Grand Chorus

SALVINO, Domenica

743 Twilight Hour

SCHMINKE, Oscar E. 1881-

626 Marche Russe

627 Festal Postlude

SCHONBERGER, John

561 Whispering

SCHUBERT, Franz Peter

652 Ave Maria

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

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

"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.

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

384 Scherzo, Symphony No. 1 in B flat

399 Arabesque

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

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

408 No. 12, "Knight Rupert"

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

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

656 Sostenuto Assai from Quartette, Op.47

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-

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

717 Lotus Land, Op. 47, No.1

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-

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

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.

SILVERS, Louis

703 April Showers, from "Bombo"

SMART, Henry Thomas 1813-1879

483 Andante Grazioso

SMETANA, Friedrich

727 The Moldau, Symphonic Poem

"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."

SNYDER, Ted

711 The Sheik of Araby (Fox Trot)

SOWERBY, Leo 1895-

612 The Irish Washerwoman

"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

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

STAMPER, Dave

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

STEBBINS, Charles A.

507 Festival Piece

571 The Swan

607 Where Dusk Gathers Deep

614 At Twilight

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-

609 Cantilena

611 A Memory

STEVENSON, Frederick 1845-

496 Vision Fugitive

STOLZ, Robert

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

STOUGHTON, Roy Spaulding

494 Cantus Adoratio

499 Within a Chinese Garden

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

511 An Eastern Idyl

524 By the Ganges

525 The Dancing Girls of Delhi

572 Ancient Phoenician Procession

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

668 Dreams

STRAUSS, Johann

404 Thousand and One Night Waltz

664 Vienna Life (Waltz)

STRAUSS, Richard

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

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

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

634 Light Cavalry Overture

636 Overture, Morning, Noon and Night in Vienna

643 Overture, Pique Dame

SWINNEN, Firmin

606 Chinoiserie

671 Soir d'Automne

SZALIT, Paula

679 Intermezzo

TOURS, Berthold 1838-1897

481 Allegretto Grazioso

TSCHAIKOWSKY, Peter Iljitch

389 Overture from "Nut Cracker Suite"

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"

470 Humoreske

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

480 Melodie, Op. 42, No.3

546 Chanson Triste

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

563 October from "The Seasons"

564 Troika en Traineaux from "The Seasons"

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"

VERDI, Giuseppe

366 Aida Fantasie No. 1

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

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

WAGNER, Wilhelm Richard

438 Vorspiel to Parsifal

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 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

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

719 Siegfried Idyll

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

"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

WEST, John A.

413 Melody

WEST, John E. 1863-

688 Festal Commemoration

689 Postlude in B flat

WHEELDON, Herbert Arthur 1864

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

447 Evening Chimes

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

677 Postlude in D

681 Cantique du Matin

WIDOR, Charles Marie

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

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

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

537 Scherzo from Fourth Symphony

539 Andante Cantabile from Fourth Symphony

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

648 Allegro from Sixth Symphony

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

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

655 Serenade

WOLSTENHOLME, William

464 Cantilene

500 Fantasie Rustique

505 Allegro Militaire

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

685 Caprice

686 Grand Choeur in G Minor

690 Concert Overture in F

702 Reverie

YON, Pietro

497 Elegie

540 Andante Rustico from Sonata Cromatica

541 Adagio Triste, Slow Movement from Sonata Cromatica

3.0 INDEX