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 IC-NRLF 
 
MUSIC MEMORY 
 
 IN THE 
 
 SCHOOLS 
 
 SUGGESTIONS TO TEACHERS 
 FOR CORRECT CORRELATION 
 
 
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MUSIC MEMORY 
 
 IN THE 
 
 SCHOOLS 
 
 SUGGESTIONS TO TEACHERS 
 FOR CORRECT CORRELATION 
 
 BY 
 
 EVELYN MCFARLANE MCCLUSKY 
 
 Educational Director of Sherman, Clay^&Q>., , , 
 
 PRICE - 15c 
 
 PUBLISHED BY 
 
 SheiroanJpay&Ga 
 
 SAN FRANQSCO 
 
 NOTE: This booklet is not published for profit; 
 the price i$c covers the cost of publication only. 
 
I^DEX: 
 
 Foreword 5 
 
 Chapter I. What is a Music Memory Contest? 6 
 
 Chapter II. Selecting the List 7 
 
 Chapter III. Suggestions for the Guidance of 
 
 Committee and Teachers .. 9 
 
 Chapter IV. Phrases Pertinent to Composers.... . 12 
 
 Chapter V. List of Compositions 13 
 
 Chapter VI. Correlating with American History . 15 
 
 Chapter VII. Stories ,and Incidents Relative to the 
 
 ,' '', ". Compositions of the List 19 
 
 Copyrighted 1921 by 
 SHERMAN, CLAY & Co., SAN FRANCISCO 
 
FOREWORD 
 
 The compiler of this little book, has had experience in teach- 
 ing Music Appreciation for several years, and during the last three 
 years has been connected with several Music Memory Contests. 
 These Contests have become a National movement of increasing 
 interest. So many requests have come to me in the past year since 
 acting as Chairman of the Portland, Oregon Contest, that I was 
 forced to compile this little helper in self defence. The object 
 is to attempt to give an inspirational, logical reason for Music 
 Memory Contests in any City, and to supply some definite material 
 with which to launch work in this line, in an educational way. 
 
 Our days are so crowded that we often neglect interesting 
 things, and miss the joy that they would bring. Several teachers 
 have told me that they have had happier school work since incor- 
 porating into their daily work, some definite music appreciation 
 in connection with the regular subjects. The people of other lands 
 come into children's lives and thoughts thru hearing the music 
 of that land; the rhythm drills and concentration drills have been 
 the means of awakening dormant minds, of tuning a class in'to 
 happy harmony, of quieting the nerves and dispensing with the 
 confusion of disconcerted action. After introducing music appre- 
 ciation into her work one teacher said to me: "I feel ten years 
 younger this year. The atmosphere has been so different, and my 
 class has covered more pages in their books than any of the many 
 previous years of my teaching. I am sure this is due to the work 
 we have done in music." 
 
 For the reason that music should not be for special "music 
 classes" only, a Memory Contest is particularly valuable. Every 
 teacher and every child can enter into it and for this reason I am 
 supplying the information contained in this little book, that others 
 may have no hesitancy as they venture forth on an "uncharted 
 sea." Here are your first sailing orders. Set sail! Begin, no 
 matter how little prepared you may be, you will find each harbor a 
 friendly port, inspiring you anew. Your own ingenuity will carry 
 you forward in this big and important National movement. May 
 you have the joy of knowing that you have meant much to your 
 city thru your efforts in opening the gates of the land of Music. 
 
 EVELYN McFARLANE MoCLTTSKY. 
 
 friD o 
 
CHAPTER I. 
 
 WHAT IS A MUSIC MEMORY CONTEST? 
 
 Altho the chief aim of this booklet is to be of assistance after 
 you have already decided to have a contest and perhaps after you 
 have already had one contest, it is possible that you have not come 
 into possession of the little booklet published by the National 
 Bureau for the Advancement of Music in America, 105 West 40th St., 
 New York City, which gives a short sketch of the history of these 
 contests, and suggestions regarding prizes and certificates, etc. 
 
 We will therefore touch the salient points of the question 
 which so many are asking as the move gathers momentum over 
 the country. Over two hundred cities have held Music Memory 
 .^Contests, since the first one. The plan is an outgrowth of the 
 'needs forced upon the Committee chosen by the Government, to 
 look after the rolls, records and sheet music sent to our soldiers. 
 They were appalled! Something HAD to be done for the good of 
 the Nation. Quoting Ann Shaw Faulkner we know that "a nation 
 first becomes great thru commerce, then the visible arts, architec- 
 ture, and painting, and last of all begins a development of that 
 which is innate in all music! Also 'A nation develops its best 
 music after a great turmoil a war." 
 
 So you see we are just ready to do big things in the develop- 
 ment of a most vital thing, which is more than an 'art.' There had 
 to be something to touch the MASSES. Mr. Tremaine, evolved 
 the thought of having a Contest to arouse the interest of the com- 
 munities and develop an appreciation of music in the cnildren. 
 It has been adopted as a mighty National Campaign, with ever 
 increasing interest being manifested by all the states of the Union. 
 Briefly this is the idea of the Memory Contest. For a given 
 time, usually six weeks the first time, (later the work often ex- 
 tends throughout the year with final tests at the end of the term 
 just as any other examination) all the children of the city at- 
 tempt to become so familiar with a list of compositions of standard 
 composers that they will be able to name them when they hear 
 them and give the name of the composer. 
 
 Certificates of Merit are given to all who score a grade of 70 
 or over in a semi-final test which takes place in the various schools, 
 and is given according to the needs of that school. It usually in- 
 cludes the playing of parts of twenty numbers from the list which 
 has not less than thirty for study (the average Is fifty numbers). 
 The score is usually 3 points for correct naming of the composition 
 and 2 points for naming the composer. Certificates of HONOR 
 are awarded those scoring 100 in the final test, which is in the 
 form of a big Concert in some large auditorium or theatre. 
 
 The City Music Supervisor together with representatives of 
 Music Clubs and the Community Service Bureau usually form the 
 working committee, inviting such others as are needed to make it 
 a big civic affair. 
 
 The grades usually taking part in the actual test are from the 
 fifth upward including the high schools. 
 
 The information contained herein is to suggest ways and means 
 of correlating Music Memory Contests with the regular school 
 
subjects, in a definite educational way. Also to form an intro- 
 ductory music appreciation help which may be the only work of its 
 kind done throughout the year, or may preceed, become a part of, or 
 supplement the regular school work in sight singing, and Music 
 Appreciation courses. 
 
 Remember that this is a National Movement plan for annual 
 improvement. 
 
 We are including more compositions than we suggest your 
 using the first time. We hope the variety will show the possibili- 
 ties of many compositions, as well as enable different cities to adopt 
 the list to their particular needs. 
 
 CHAPTER II 
 
 SELECTING THE MST 
 
 In selecting the compositions for the list of study, keep in 
 mind the often overlooked fact that too much music of exactly 
 the same emotional appeal is like having a meal of seventeen 
 pieces of custard pie. Be careful of your musical menu. This 
 contest is not only for young musical geniuses, but also to interest 
 those children who have probably never heard good music and 
 those who very candidly express a preference for the Jazz of today. 
 It is eventually to reach every child in every school in America. 
 Exclude no one. Don't steal a child's birthright. No loss can be 
 more keenly felt with increasing regret as the years accumulate, 
 than the lack of appreciation of real music of the Masters. A care- 
 ful cultivation in this line in childhood often means the develop- 
 ment of a performer as well as that of a listener. 
 
 For a concrete example of hew to select the list to meet the 
 needs of a musical diet Humoresque, Traumerei, Melody in F, 
 Spring Song, Ave Maria, and the Swan are all soft, slow, sweet 
 music, with no especially tangible story and little opportunity to 
 ask for any certain response from the child, throughout the playing 
 of the composition. The raising of hands at certain places and 
 motions is one of the direct ways of showing a class that you expect 
 certain signals to prove what they are hearing. Active response 
 is essential to active listening on the part of those beginning to 
 learn to listen to music. In the few suggested above we have 
 the type of music to which we have listened for so long, as one 
 listens to rain on a roof when we have gone to bed on the sleeping 
 porch. It serves to start a channel of calm thought. We drift 
 anywhere. This is splendid out of school. But most unfortunate 
 IN school, except during relaxing periods or when the children 
 are expected to write an imaginary composition with the theme 
 built around the impression created by the music heard. 
 
 This is the type of music to put primary children to sleep; to 
 calm tired nerves; to feed to lovers. But a red-blooded, active, 
 teen-age boy needs some of the active music with this custard pie 
 kind. 
 
 For instance, Danse Macabre, Tailor and the Bear, Anitras 
 Dance, Hall of the Mountain King, Festival of Bagdad from Sche- 
 herazade, Hungarian Rhapsodie No. 2, Rockozy March, etc. These 
 
not only have opportunity for physical response but have dash and 
 brilliancy. Try to combine these two types. Two numbers be- 
 tween these two extremes are Narcissus and Invitation to the Dance. 
 
 The slogan of the Campaign is "Familiar Music is popular 
 Music," for this reason we feel that we will best remember the 
 composition if we become acquainted with the composers even, tho 
 thru the printed page. The impossibility of shaking hands with 
 Washington does not prevent our feeling of companionable acquain- 
 tance with his life and ideals. So it is with composers. 
 
 In forming your list, try to include composers of as many na- 
 tions as possible, and of as many periods of time. 
 
 There should be at least thirty numbers. Fifty is the average. 
 
 Children learn quicker than adults. 
 
 See that the compositions are those which are on records, for 
 without this there would be no way for the masses to study them. 
 Call on your local dealer and submit your list. See if he can sup- 
 ply the numbers and will order them. Let him know in time. 
 Delay may tie up your contest plans, and cause a panic and disap- 
 pointment to the children. 
 
 Six weeks is the average time allotted to a contest. 'Success- 
 ful contests can be handled in three and even two weeks, if properly 
 directed. For your convenience we suggest that you divide the list 
 into sections to study certain numbers each week. System simplifies 
 work and encourages children as well as causing a uniform develop- 
 ment throughout the city. Scattered efforts bring scattered results. 
 Study according to period, or Nationality, or program balance. 
 
 Observing these suggestions, unhesitatingly make the list more 
 difficult than the average adult imagines within the child's possi- 
 bilities. Do not try to include all the numbers of which one might 
 say, "Everyone should know this". Omit some of the general 
 favorites. This Contest will start the habit of correctly naming 
 what one hears and will in <this way take care of the overlooked 
 popular gems. 
 
 The majority of the compositions of the list should be dis- 
 tinctive orchestrations, with only enough songs, if any, to give the 
 children opportunity to sing, hum, and whistle the melodies, and 
 serve as a connecting link from the known to the new. 
 
 Symphonic numbers may be so distinctive that they are readily 
 recognized whether one can hum the theme "or not. 
 
 One of the greatest musical values of a contest of this kind is 
 the development of conscious listening when children are directed 
 to anticipate the definite part to be taken by various instruments. 
 The children's keen interest and response, as they feel the person- 
 ality of these instruments, is always proof that it is quite within 
 the child's appreciation altho the full significance will come later. 
 
CHAPTER III. 
 
 SUGGESTIONS FOB THE GUIDANCE OP COMMITTEE 
 AND TEACHERS 
 
 After the list has been chosen there are two lines of develop- 
 ment: Out of the School In the School. 
 
 I. 1. Out of School you have the co-operation of the movies, 
 for slide announcements and orchestras to play the numbers each 
 week. 
 
 2. Orchestras of hotels and tea houses and candy stores, etc. 
 
 3. The Music Clubs often sponsor home talent at Saturday 
 Concerts. 
 
 4. Neighborhood parties, where games consist of spelling 
 matches using names of the composers; matches where one side 
 announces the name of a composer and the other side must res- 
 pond by his composition, or vice versa. To get partners for the 
 refreshments, hostess may prepare quotations with the first half 
 for boys, and last half for girls, and he must find her by knowing 
 the rest of his musical quotation or statement. For example 
 "Bach was called" "The Father of Modern Music"; "Chopin was 
 to the Pianoforte" "What Longfellow was to Poetry". 
 
 There may be whistling contests, one side whistle a melody, the 
 other side name it. This is interesting during refreshments. The 
 refreshments may be made to represent some nation, or some per- 
 iod. And of course there must be MUSIC at the party. And Music 
 of the List. 
 
 5. Have children keep note books, with several pages for 
 each composer. Perry Pictures may be had for a penny. The 
 committee should see that the book store has a supply ready. 
 Accumulate news from the paper, from the magazines and Record 
 Catalogues. 
 
 6. Have the newspapers print stories concerning local develop- 
 ments of the contests, the parties and school teams. Also stories of 
 the compositions. These the children will clip and paste in their 
 note books. 
 
 7. See that the newsboys know what days to call special 
 Music Memory News. 
 
 8. Your Librarian will probably have some musical story 
 hours for you. 
 
 9. Talk of the contest. 'Compare notes with your neighbor. 
 
 10. Hear the numbers at your music dealers. 
 
 II. IN THE SCHOOL. 
 
 This contest is not to be a wild scramble for surface informa- 
 tion and prizes. Every subject studied in the school must be for 
 a very definite educational purpose. A Music Memory Contest may 
 be one of the vital subjects of the curriculum if educationally used 
 and not allowed to be a mere concert or a feeding of one's emo- 
 tions. Music should be a matter of brains as well as general char- 
 acter building. 
 
 9 
 
Music should create an intelligent interest in every other sub- 
 ject. Vitilize the three R's and round out an education by bring- 
 ing the often diversified subjects, History, Geography and Literature 
 to a focal point and welding the parts into a complete living whole. 
 
 Music has been considered the "Universal Language". Have 
 you considered what would the world be like if there were no 
 Music? Think this over a few minutes has there ever been a time 
 in history when the human race has not craved music and attempt- 
 ed in some way, by some kind of instrument to satisfy this craving? 
 
 Next consider: Why is the music of Scotland's Highlands more 
 sturdy and vigorous than the music of Italy? Does geography 
 have anything to do with this? Certainly! (Mrs. Max Obendorfer, 
 Chairman General Federated Clubs of America, has a most excellent 
 book on this subject of Nationality in Music.) 
 
 Isn't war the usual thing to change the boundaries of a na- 
 tion? Doesn't every nation have its martial music? Has music 
 ever helped win a war? Then doesn't music have a part in his- 
 tory? (All this by way of remembrance.) 
 
 Aside from martial music, hasn't the turmoil or lethargy of a 
 nation or period, caused certain musical geniuses to write composi- 
 tions and songs which have so gripped the people that they have 
 been spurred on to greater accomplishments? The spirit of the 
 music has caused literature of great beauty. And beautiful litera- 
 ture has been set to music to give it greater life. How closely they 
 intertwine! 
 
 Geography, History and Literature. Geopgraphical conditions 
 effect the music of a nation; music effects the people; people make 
 history and commerce. If music is an insight into a nation, 
 shouldn't our future American business men know more of the 
 music of all the nations? 
 
 Recently in a certain school where the last, quiet number was 
 following the active listening lesson, the children were told to listen 
 to what the music had to WHISPER to them. 
 
 After a moment of perfect calm, a third grade lad in the rear 
 of the room suddenly jumped from his seat, and striding swiftly to 
 the teachers desk, threw thereon a pocket book. 
 
 "There, take your old pocket-book!" he quiveringly exclaimed, 
 "I didn't want it anyhow!" 
 
 At recess when teacher drew Tony to her, in the companionable 
 way which draws forth confidences, he made this statement: "That 
 music was so darn sweet I couldn't keep the packet-book, an' that's 
 all!" 
 
 "Does music lift the morale of a Nation?" The right music 
 does. Are we going to let America drift into the degradation of 
 Jazz? 
 
 Music Memory Contests arouse a real interest in real music, 
 and by a directed educational use of this opportunity, the masses 
 of our school children may be developed in the art of "how to 
 listen to music." 
 
 Having thoroughly caught the vision of the possibilities of 
 such a contest, let the teacher see that throughout the time alloted 
 for the contest "all roads lead to Rome". 
 
 10 
 
Suppose your class in history or geography is studying the 
 land of Mesopotamia. "Did you know that Bagdad was between the 
 Euphraties and Tigres Rivers?, etc." Other suggestions come un- 
 der the division of "Events in America" and give further evidence 
 of this work. 
 
 Suppose your history class is studying the time of Napoleon. 
 Did you know that Beethoven lived when Napoleon did and so ad- 
 mired him that he started a symphony describing the character of 
 Napoleon? But when Napoleon became a general, he so disap- 
 pointed Beethoven who thought an ideal man would not work for 
 personal honors instead of the great good of the cause, that Bee- 
 thoven tore up the title page and the Symphony is now called the 
 "Eroica". Have we anything on our list by Beethoven? Yes, 
 "Minuet in G", etc. 
 
 Aside from the correlation, let us consider a requisite of a good 
 student, and a good American. A THINKER! There can be no 
 real student who can not concentrate. The business world is look- 
 ing for those who can respond promptly, as well as think correctly. 
 Active listening and accurate response to music will develop a more 
 brilliant mentality. Educationally directed Music Appreciation ob- 
 serves the significance of the importance of "Attention, Concentra- 
 tion, Participation, Response." Acquiring this thru music, pre- 
 pares a mind for other subjects. 
 
 One might say, "Think, Mary! Study!" But, poor Mary does 
 NOT know HOW! Or imagine watching the results of a child as 
 he pores over a chapter in history. Do you think he knows it until 
 he proves it by telling you in recitation? If you assign a problem, 
 does the mere statement that he understands it, make you say, 
 "Then never mind your figures"? In Music Appreciation do you 
 say, "Now children be perfectly quiet, we are going to have some 
 music", and then you put on a "record"? Why not, sometimes, 
 make them prove what they are hearing, and see how they are in- 
 terpreting the music? Proof in music is a step beyond all other 
 response, because with the geography or history recitation they 
 may hem and haw about it and stand for a few seconds accumulat- 
 ing ideas on the subject, but with MUSIC they must act instantly 
 or they are too late for any correct response. In such cases as the 
 "Whirlwind", for instance. If children have been asked to put up 
 their hand every time the whirl shoots things UP and they do not 
 put their hand up as swiftly as a wind can whirl, one can see that 
 they will have to think faster! 
 
 Work for active response. Here is another suggestion. Pre- 
 sent the story to the "Invitation to the Waltz", as follows: 
 
 Back in the time when people wore powdered hair and panniered 
 skirts, knee breeches and silver buckles, a musician named Von 
 Weber, went to a wonderful ball, where he saw an opera singer, 
 Caroline. He had wanted to meet her for some time. 'She had 
 heard of him too! Approaching her he made a long, low bow, and 
 asked her to dance with him, but she, being really interested, 
 couldn't accept the first time so she thanked him and declined 
 He asked again, and she was so glad to find hjm honestly anxious, 
 that her voice was all a-flutter with excitement, but still she couldn't 
 possibly! He insisted as they strolled along the ball room. They 
 heard the orchestra tune up, he asked her again and this time 
 she accepted! 
 
 They had such a lovely dance that they fell in love (and mar- 
 ried!) A few months after they were married, Von Weber decided 
 
 11 
 
to write a story in memory of the waltz they had so enjoyed. Of 
 course a musician's stories are in music, and certain instruments 
 often represent people, so this time the baritone voice of the 'cello 
 is the man and the soprano voice of the violin is the lady. 
 
 Suggest that all the boys in the room hold up their hand every 
 time the 'cello' baritone talks, and the girls every time the lady is 
 heard. Have every one put up both hands when she says "Yes". 
 Thus you can see how they are listening. 
 
 Whenever possible make the class go thru evidence of rhythm. 
 Sometimes suggest motions, sometimes leave it to their originality. 
 It does not always need to be swaying. In the "Eighth Symphony" 
 number of the list, try pointing to one row after another and let 
 them click like a metronome with their mouth. If you keep before 
 the class the need of proving to you by some motion, etc., you will 
 never find them too grown-up to try to prove that their ears, and 
 their brains are as good as the next one's! 
 
 With such compositions as "The Swan", "To a Wild Rose", 
 "Melody in F", etc., draw out from the class, by careful questions, a 
 comparison, and locate the distinctive points of difference. Make 
 discoveries possible on the part of the class. Their contribution is 
 sure to interest them. 
 
 Every one loves to have a few things left to discover for one's 
 self. For this same reason there will be no more details here. 
 
 Use the children's hands. Use the blackboard, even if only to 
 make a check at a certain instant, according to previously dis- 
 cussed signals. Let the children enter INTO the music. 
 
 CHAPTER IV. 
 
 PHRASES PERTINENT TO COMPOSERS 
 
 Oftimes a pertinent phrase helps to establish a definite fact in 
 the mind hence these suggested phrases 
 
 Bach "The Father of Modern Music." 
 
 Handel "The Father of Oratorio." 
 
 Haydn "The Father of the Symphony." 
 
 Mozart "The Boy Wonder of the Music World." 
 
 Beethoven "The Master Genius." 
 
 Schubert "The Greatest of Song Writers." Tomb reads, 
 "Music hath buried here a rich treasure, but still richer hopes." 
 
 Mendelssohn "The Melodist of Leipsic." 
 
 Chopin "The Poet of the Pianoforte." 
 
 Schumann "The Great Romanticist." 
 
 Liszt "Liszt the versatile." Composer, performer, producer,, 
 teacher, writer, man of the world. 
 
 AVagner "Creator of the Music Drama." 
 
 Verdi "Founder of the Modern Italian School of Opera." 
 
 Rubenstein "Founder of Russian School of Music." 
 
 12 
 
CHAPTER V. 
 UST OF COMPOSITIONS 
 
 INSTRUMENTAL 
 
 Air for G String _ .Bach 
 
 Anitra's Dance vtrieg 
 
 Bee, The _ . , Franz Schubert 
 
 Blue Danube Waltz Johann Strauss 
 
 Cappriccio Valse _ _ Wieniawski 
 
 Chanson Indoue ._ Rimsky-Korsakoff 
 
 Danse Macabre _ Saint Saens 
 
 Eighth Symphony (Third Movement) Beethoven 
 
 Gavotte ( Mignon ) _ Thomas 
 
 Hall of the Mountain King Grieg 
 
 Hungarian Rhapsody No. 2 _ Jjiszt 
 
 Humoresque Dvorak 
 
 In a Three Horse Sleigh -.Tschaikowsky 
 
 Introduction and Tarantelle _ ~ _ _ Saraste 
 
 Invitation to the Waltz Weber 
 
 Kamennoi-Ostrow _ _ Rubenstein 
 
 Liebestraum Liszt 
 
 Marche Minature _ . Tschaikowsky 
 
 Melody in F Rubenstetn 
 
 Midsummer's Night's Dream Overture _ _ ....Mendelssohn 
 
 Minuet in G Beethoven 
 
 Minute Waltz _ _ _ Chopin 
 
 Moment Musical Schubert 
 
 Morning ( Peer Gynt) ....... _ Grieg 
 
 Narcissus Nevin 
 
 New World Symphony (Largo) _ .-. - Dvorak 
 
 Nocturne in E Fat _ -- Chopin 
 
 Poet and Peasant Overture Von Suppe 
 
 Pomp and Circumstance Elgar 
 
 Prelude in C sharp Minor Rachmaninoff 
 
 Rakoczy March Berlioz 
 
 Salut d' Amour -- Elgar 
 
 Scheherezade (Festival of Bagdad) ...Rimsky-Korsakoff 
 
 Serenade : Moskowski 
 
 Serenade ~ Schubert 
 
 Souvenir Drdla 
 
 Spring Song - _ Mendelssohn 
 
 Surprise Symphony (Second Movement) Haydn 
 
 Symphony in B Minor (Unfinished) Schubert 
 
 The Swan Saint Saens 
 
 13 
 
To a Wild Rose McDowell 
 
 Traumerei _ Schumann 
 
 Turkish March Beethoven 
 
 Tailor and Bear McDowell 
 
 Whirlwind Krantz 
 
 SONGS 
 
 All Though the Night Old Welsh 
 
 Au Clair de La Lune French Folk 
 
 Berceuse from Jocelyn Goddard 
 
 Come Where My Love Lies Dreaming Foster 
 
 Drink to Me Only Johnson 
 
 From the Land of the Sky Blue Water Cadman 
 
 Hark, Hark the Lark Schubert 
 
 John Peel Old English 
 
 Lo, Here the Gentle Lark Shakespeare-Bishop 
 
 Mighty Lak' a Rose Nevin 
 
 O Sole Mio Italian Folk 
 
 Santa Lucia ...Neapolitan Folk 
 
 Song of the Volga Boatman Russian 
 
 Swing Low Sweet Chariot Negro 
 
 La Paloma Spanish 
 
 Funiculi Italian 
 
 Cradle Song Mozart 
 
 GRAND OPERA 
 
 Giaconda Ponchielli 
 
 Dance of the Hours. 
 
 II Trovatore Verdi 
 
 Anvil Chorus. 
 
 Home to Our Mountain. 
 
 Lucia de Lammermoor Donizetti 
 
 Sextette. 
 
 Martha Flotoic 
 
 Last Rose of Summer. 
 Goodnight Chorus. 
 
 Rigoletto Verdi 
 
 Quartette. 
 
 Tales of Hoffman Offenbach 
 
 Barcarolle. 
 
 Walkure Wagner 
 
 Ride of the Valkyries. 
 
 William Tell Rossini 
 
 Overture. 
 
 14 
 
CHAPTER VI. 
 
 CORRELATING WITH AMERICAN HISTORY 
 
 (By courtesy of Thomas Tapper, whose hook. "First Studies in. Music 
 Biography," is sure to interest you.) 
 
 BACH, JOHANN SEBASTIAN (1685-175O) 
 
 If Johann Sebastian Bach could have visited America in his boy- 
 hood he would have found New York a busy place of four thousand 
 people. He would have learned that a few years before, William 
 Penn met the Indians beneath a great elm tree that grew beside the 
 Delaware River, bought land of them, and made with them a treaty 
 of peace and good will. The next year he laid out a capitol city for 
 the colony, naming it Philadelphia. 
 
 Had Sebastian visited Boston when he was seven years old, he 
 would have found all the Massachusetts colony in a state of ex- 
 citement, for in that year, the people, especially in Salem, became 
 possessed of the thought that witches were about. A number of 
 persons accused of witchcraft, were executed. 
 HAYDN, FRANZ JOSEPH (1732-1809) 
 
 Franz Joseph Haydn was born March 31, 1732, a few days after 
 the birth of George Washington. He lived ten years after Wash- 
 ington's death. Within the period of his life there were living 
 Bach, Handel, Scarlatti, Mozart, Beethoven, Hummel, Cherubini, 
 Weber, and Schubert,. Mendelssohn was born in the year of 
 Haydn's death. There also lived during his lifetime many men dis- 
 tinguished in arts, letters and statecraft among them Franklin, 
 Washington, Scott, Burns, Johnson, Goethe, Wordsworth, Rousseau, 
 and the inventor Arkwright. In the period of Haydn's life the world 
 was experiencing some remarkable changes. The birth of the Amer- 
 ican Republic; the French Revolution; brilliant advances in arts, 
 literature, and science; and the advent of Napoleon, are alone suffi- 
 cient to make the time memorable. 
 MOZART, WOLiFGANG ARMADEUS (1756-1791) 
 
 Mozart's life was included within that of Haydn, who was 
 twenty-four years old when Mozart was born, and who lived for 
 eighteen years after Mozart's death. Hence George Washington 
 was twenty-four years old at the time of Mozart's birth, for he and 
 Joseph Haydn were born in the same year. Washington lived eight 
 years after the death of Mozart. Hence we may picture the great 
 American as reaching the height of his fame in the years of Mozart's 
 life. Mozart knew Haydn intimately. He knew Beethoven as a 
 youth and predicted his greatness. Bach, he could not have known, 
 for Bach died six years before Mozart's birth. Nor did Mozart 
 know Handel, being but three years old when Handel died in Lon- 
 don. But in his manhood he once played at the Thomas school 
 on the organ at which Bach so often presided. He knew "The 
 Messiah" well and wrote additional accompaniments to it; and like 
 all others who succeeded him, he paid tribute to the two great mas- 
 ters who stand at the head of German music of the eighteenth cen- 
 tury, Bach and Handel. 
 BEETHOVEN, L.UDWIG VAN (1770-1827) 
 
 This composer, known as the greatest master of the classic 
 school of composition, was born December 16, 1770. Looking back 
 upon the men whose careers we have thus far studied, we see that 
 at this time: 
 
 I. Sebastian Bach had been dead for twenty years. 
 II. George Freidrich Handel had been dead for eleyen years. 
 
 15 
 
III. Joseph Haydn was living, thirty-eight years of age, and in 
 service with the Esterhazy family. 
 
 IV. Wolfgang Amadeus Mozart was living, fourteen years of 
 age, had traveled extensively, was renowned throughout Europe as 
 a composer of the most unusual brilliancy and promise and at the 
 time in question, December 16, 1770, was in Italy. 
 
 Two great masters had, therefore, passed away and two more 
 were living. 
 
 What had happened in America in this same period; and what 
 was the condition at the time of Beethoven's birth? The glimpse 
 which we imagined Sebastian Bach to have had of our country, had 
 he visited it in his boyhood, made us acquainted somewhat with the 
 condition of the now three great cities, New York, Philadelphia and 
 Boston. In the time between then and 1770 we learn that: 
 
 I. The Treaty of Utrecht was concluded in 1713, and by it 
 many French claims in America were ceded to England. The land 
 of Evangeline, then known as Arcadia, became an English possession 
 and was named Nova Scotia. 
 
 II. The last English colony in America arrived in 1732, and 
 founded the city of Savannah, Georgia. Incidentally, we remember 
 that in this same year, 1732, George Washington and Joseph Haydn 
 were born. 
 
 III. In 1753 George Washington, then a youth of twenty-one, 
 was sent by Governor Dinwiddle of Virginia to Logstown, on the 
 Ohio River, to deliver a letter to the French commander there, to 
 ascertain the strength of the French, and in general to keep his eyes 
 open and report on what he saw. 
 
 IV. The battles of Ticonderoga, Crown Point, Braddock's 
 defeat, and Wolfe's capture at Quebec are outstanding events. Last- 
 ly, it is interesting to know what events of great moment took place 
 in the years of Beethoven's life, that is from 1770 to 1827. 
 
 I. The battles of Concord, Lexington and Bunker Hill. 
 II. The signing of the Declaration of Independence. 
 
 III. The adoption by the United States of a flag. 
 
 IV. The election of the first President of the United States. 
 V. The War of 1812. 
 
 VI. The appearance of the log cabin "in the west," carrying 
 civilization ever nearer and nearer the Rocky Mountains. 
 
 VII. The building of the Erie Canal. 
 VIII. The election of five presidents of the United States. 
 
 In the days of the first Continental Congress, of the Boston Tea 
 Party, and of the battle of Bunker Hill, little Ludwig Van Beethoven 
 was a child in his native town of Bonn, on the Rhine. 
 SCHUBERT, FRANZ PETER (1797-1828) 
 
 John Adams was inaugurated second President of the United 
 States thirty-two days after the birth of Franz Peter Schubert, 
 which event occurred on the thirty-first of January of the year 1797. 
 Today there may be seen, in the Nussdorferstrasse, in Vienne, 
 reached in a few minutes from the Maximilianplatz by car, a long, 
 low house, of two stories. Over the door there is a poor little 
 weather-stained bust, a few inches high, of a man with thick shaggy 
 hair, and a homely spectacled face, and near it one reads: "Franz 
 Schubert's Geburtsaus." 
 
 MENDELSSOHN, JACOB IAJDWIG FEMX (18O9-1847) 
 
 During the years of Mendelssohn's life, 1809-1847, the United 
 States passed through a time of growth and turbulence that in- 
 creased its territory and produced some remarkable men. A map of 
 our country, say in 1810, displays a few states. The Northwest was 
 
 16 
 
disputed land, the United States claiming the basin of the Columbia 
 River by right of discovery. South of this, between the Rocky 
 Mountains and the Pacific Ocean, there was a great stretch of coun- 
 try belonging to Spain which today is known as California and its 
 neighboring states. Texas was in dispute between Spain and the 
 United States. East from this, extended not the present states on 
 the Gulf of Mexico, but the territory of Spanish Florida. 
 
 When Mendelssohn was nine days old, Abraham Lincoln was 
 born. A few years later the fourth president of the United States 
 took the oath of office. During Mendelssohn's life-time there served 
 as presidents: Madison, Monroe, Adams, Jackson, Van Buren, 
 Harrison, Tyler and Polk. In Congress, Clay, Calhoun and Web- 
 ster were prominent. But the country manifested its most wonder- 
 ful changes in means of transportation, in the settlement of the west, 
 and consequently in its general social development. The Erie Canal 
 was opened, the first railway train appeared, and rivers were navi- 
 gated. A print of 1810 picturing the Ohio River at Cincinnati, 
 shows a boat in command of a man who stands holding the tiller. 
 He wears a tall hat. Instead of a flourishing city as we find now, 
 there is a group of houses on a hillside, with open country possess- 
 ing, no doubt, many more trees than the engraver could conveniently 
 show in the picture. Foreign relations were strained. Trouble 
 with England became acute. Napoleon, by an outright deception, 
 captured many American vessels and seized their cargoes, worth 
 many millions of dollars. But, bit by bit, development was going 
 on, new states were coming in, and the country was gradually gain- 
 ing that strength which makes it today a foremost nation. 
 
 CHOPIN, FREDERICK FRANCOIS (1809-1849) 
 
 The early years of the nineteenth century gave birth to some 
 remarkable men. In music we have already learned a few great 
 names: Mendelssohn, Schumann, Wagner, Verdi, and Franz Liszt. 
 Among men of letters there were in England, Macaulay, Dickens, 
 Thackeray, Tennyson, Darwin, and Browning; in America, Long- 
 fellow, Whittier, Homes, and Emerson. All these men were born 
 between 1800 and 1812. At that time were living Haydn (until 
 1809), Beethoven (until 1827), and Schubert (until 1828), of the 
 older musicians; Goethe (until 1832), Wordsworth (until 1850), 
 Bryant (until 1878), among writers of verse; and Scott (until 
 1832), Cooper (until 1851), and Irving (until 1859), among writers 
 of prose. 
 
 "In the year of Chopin's birth, 1809, some distinguished men 
 were born. It is significant to mention these: Mendelssohn. Ten- 
 nyson, Darwin, Holmes, and Lincoln. Longfellow, whose early 
 poems were published in 1839, just as Mendelssohn, Schumann, and 
 Chopin were entering upon manhood was in Europe at Heidelberg 
 during the days when Thibaut was lecturing there. 
 
 This, then, was one of the many events that were taking place 
 when men whom today we call "great" were boys and youths. 
 When they were men, famous books like Vanity Fair and Pen- 
 dennis were appearing. Vanity Fair came out in 1845; Longfellow's 
 Evangeline in 1847, the year Mendelssohn died. Pickwick Papers 
 appeared in 1836, the year that Mendelssohn married, and that 
 Richard Wagner was conductor of an orchestra at Riga. 
 
 WAGNER, RICHARD WtLHELM (1813-1883) 
 
 As the works of Frederic Chopin are almost exclusively for 
 the piano, so those of Wagner are for the stage. He wrote a few 
 pieces for the piano and a few for the orchestra, but his work is 
 
 17 
 
so essentially that of a writer of opera that all else may be said to 
 have no place in an estimate of his value as a composer. 
 
 Opera has been in vogue since the year 1600. In other words, 
 since the settlement of the Plymouth colony practically the entire 
 history of opera has been made. 
 
 In 1594, what is generally termed in the history of music, the 
 first opera, was performed at the house of Jacope Corsi. The libret- 
 to was by Ottavio Caccini. Peri's opera "Euridice" followed in 1600. 
 The "new music," as the style of writing illustrated by these operas 
 was called, gained a firm hold and, in the centuries to come, develop- 
 ed remarkably. 
 
 MONTEVERDE, GLAUDIO (1567-1643) 
 
 The great man, soon to appear, was Claudio Monteverde (born 
 at Cremona in 1567, died in Venice in 1643). He was "the first 
 opera composer by the grace of God, a real musical genius, the 
 father of the art of instrumentation." In the history of music the 
 student will find that the significant men in opera after Monteverde 
 are Alessandro Scarlatti, Christoph Wilibald Gluck, Wolfgang Mo- 
 zart, Carl Maria von Weber, Giuseppe Verdi, and Richard Wagner. 
 Innumerable writers of opera have appeared, but the majority have 
 been willing followers of a few leaders. By glancing at the period 
 covered by the above names we shall see that the time from the birth 
 of Monteverde (1567) to the present is practically unbroken. 
 
 Monteverde 1567-1643 
 
 A. Scarlatti 1659-1725 
 
 Gluck 17 14-1787 
 
 Mozart 1756-1791 
 
 Weber 1786-1826 
 
 Wagner 1813-1883 
 
 Verdi 1813-to present day 
 
 Opera is, then, three hundred years old. 
 
 Placing even one occurrence opposite each of the above names 
 will help us to keep them in mind: 
 
 Monteverde, 1567-1643 Landing of the Pilgrims, 1620. 
 
 Scarlatti, 1659-1725 Founding of Philadelphia, 1682. 
 
 Gluck, 1714-1787 Battle of Bunker Hill, Declaration of Inde- 
 pendence. 
 
 Mozart, 1756-1791 Election of the first president of the United 
 States. 
 
 Weber, 1786-1826 War of 1812. 
 
 Wagner, 1813-1883 First railway train (New Jersey, 1831). 
 
 Verdi, 1813 Discovery of gold in California (1849), Civil wars. 
 
 Once again, to pass over the same steps: 
 
 During Monteverde's lifetime all the plays of Shakespeare ap- 
 peared. 
 
 During Scarlatti's lifetime Bunyan's "Pilgrim's Progress" was 
 written and printed. The first edition of Robinson Crusoe was is- 
 sued in 1719. 
 
 During Gluck's lifetime Goldsmith's "Vicar of Wakefield," John- 
 son's "Rasselas", and his dictionary of the English language were 
 published. 
 
 During Mozart's lifetime most of the poems of Robert Burns were 
 written. 
 
 During Weber's lifetime, the works of Scott and Byron were 
 written. 
 
 During the lifetime of Wagner and Verdi the works of Dickens, 
 Thackeray, George Eliot, Tennyson, Browning, Longfellow, Emer- 
 son, Whittier and Holmes appeared. 
 
 18 
 
CHAPTER VII. 
 
 STORIES AND INCIDENTS 
 
 Some insist that we destroy the beauty of a composition by 
 too definite a story; others ask for a more definite story. As adults 
 we must have our music an indefinite thing of the emotions, but as 
 children we must have it so definite that we can suggest and expect 
 certain things to be heard and reported. The extmrifinp.es of the 
 years will add beauty to the little melodies of the compositions to 
 which we attached a story in the days of "beginning to listen." 
 
 Rubenstein has said, "I am for the program that has to be 
 guessed and to be poetized into the composition, not for the pro- 
 gram given along with it I am convinced that every composer 
 not merely writes notes in some key or tempo and rhythm, but 
 lays into his composition psychical mood- i. e., a program, in the 
 justifiable hope that the performer and the hearer will apprehend 
 this grogram." 
 
 Thru a definite story we lead a child to the secrets of the com- 
 posers in telling them "that intangible something" which really no 
 words could ever tell, for "music begins where the spoken word 
 leaves off." 
 
 INSTRUMENTAL. 
 
 AIR FOR G STRING (35656) BACH 
 
 This "air" is considered one of the most beautiful melodies 
 ever written. In its original form it was the second movement of 
 Bach's Suite No. 3 in D Major, and although the melody was given 
 to the violins, it was not confined to the G strings. (Wilhelm, the 
 great violinist, transposed the composition to the key of C Major, 
 and thus it was possible to play it on the G string of the violin.) 
 
 This composition is one of the most perfect examples of abso- 
 lute music to be found in the entire literature of the art. Listen to 
 the steady, "plum, plum" of the great father violin while the other 
 violins send little soprano and alto melodies capering all around the 
 father as though he were keeping time for the game. 
 
 PEER GYNT EDVARD H. GRIEG 
 
 Part I. "Morning." (35OO7-35470-35597) 
 Part II. "The Death of Ase." (35007-35470-35597) 
 Part HI. "Anitra's Dance." (64768-18042) 
 Part IV. "In the Hall of the Mountain King." (18O42) 
 These four numbers are from the Peer Gynt Suite by Edward 
 Grieg, the greatest musician of Norway. It is the musical setting 
 to Ibsen's drama of the same name. Peer (pronounced Pair) was a 
 vagabond and during one of his wanderings in a desert of Africa, a 
 company of Arabian silk merchants passed him. They had with 
 them a dancing girl, "Anitra" who displayed her shimmering silks 
 in the sunlight whirling before him, in an Egyptian type of dance. 
 You can imagine you see her as you listen, in the light, graceful, 
 swift dance. 
 
 Another time Peer had wandered into the Mountain Cave, or 
 "Hall of the Mountain King," and found there strange looking little 
 people whom we call Gnomes, or Trolls. They were very ugly, but 
 
 19 
 
even so, Peer flirted with the king's daughter. Of course they knew 
 he would not marry such an ugly creature; they hated to have her 
 fall in love with Peer and be disappointed, so they decided to dis- 
 pose of Peer. They "put something in his cup" and then as he be- 
 came sleepy, they began to dance around him, at first slowly, steal- 
 thily, then faster and faster until they were fairly whirling, making 
 Peer quite dizzy, until finally he fell senseless. 
 
 This music is wonderful because it describes an unlovely strange 
 story and does it correctly. 
 
 As you listen you are sure the Trolls are ugly and that they 
 were tormenting Peer. Try moving your finger as though it were 
 one of the Gnomes dancing around Peer. Keep perfect time. 
 Don't be in a hurry Feel the rhythm Watch how gradually the 
 Gnomes increase their speed. Don't jerk. The evenness is part 
 of the marvel of this music. Can your finger move as fast as the 
 music tells you? 
 
 Ase was Peer's mother. Does this music make 
 you feel she was dying? 'Compare it with "Morn- 
 ing." Would the music which is to tell us of morn- 
 ing be as full of bustle and rush as if it were to tell 
 about noon? 
 
 THE BEE (67076) FRANZ SCHUBERT 
 
 Did you ever watch a bee over a flower bed? What does it 
 dp? Draw out the fact that she has a very swift, eager, irregular 
 flight, as she tries one flower after .another, and then when she de- 
 cides there is honey, how she darts down into the flower zip ! Have 
 the children raise their hands instantly, the minute she darts into 
 the flower to stay. See if she changes her mind before she really 
 goes in. 
 
 What instrument could best show us this picture of the bee? 
 Make the children realize why the violin is best, by discussion 
 of their answers to the question. 
 
 "Franz Schubert, the composer of this charming 
 little tone painting, was a violinist of Dresden, and 
 was no relation to Franz Peter Schubert, of Vienna, 
 the great composer of the time of Beethoven. This 
 Franz Schubert was born in Dresden in 1808 and died 
 there in 1878. Almost all his compositions were for 
 his favorite instrument. Possibly the one which has 
 won for him the greatest recognition is the short but 
 exceedingly clever musical delineation of the buzzing 
 bee." Anne Shaw Faulkner. 
 
 THE SWAN (Cygne, L,e 45O96) SAJNT-SAENS 
 
 Where does a swan live? Can he move as fast as a bee? 
 Why? Then if he is bigger and moves more glidingly, do you not 
 think we should have the music tell us so? Wouldn't a deeper tone 
 be more appropriate? Listen to the 'cello (Record 45096). 
 
 When you see this number on programs it will nearly always be 
 by the French name for the swan, Le Cygne (Luh Seen-yuh). This 
 was written by the Frenchman, Saint Saens, pronounced, as you re- 
 member, "Sahn Sahn" (with nasal tone). 
 
 BLUE DANUBE WALTZ (74627) JOHANN STRAUSS 
 
 See Page 367 of "What We Hear in Music", by Anne Shaw 
 Faulkner. 
 
 The Richard Strauss, who is expected in America this fall, is 
 no kin to the Waltz King, but is a remarkable modern composer. 
 
 20 
 
CAPRICOIO VALSB (74686) WIENIAWSK1 
 
 This composition was chosen as the first composition to be re- 
 corded by the world famous seventeen-year-old wonder, Erika 
 Morini. "You will marvel at its sprightly melodiousness against a 
 rippling piano accompaniment sustaining a lovely waltz rhythm 
 throughout. Swift, cool harmonies rise out of the delicate ara- 
 besques of passage work, as delicious to the ear as the water drops 
 of some crystal spring might be to the lips. There are softly clang- 
 ing, mandolin-like pizzicati, soft wailing double stops, exquisite 
 glistening trills all the resources of the instrument." 
 
 CHANSON INDOUE (64890) RIMSKY KORSAKOFF 
 
 Rirnsky Korsakoff was an officer in the Russian army wno com- 
 posed music on shipiboard and mailed it to his teacher in St. Peters- 
 burg for correction. He traveled all over the world and so had 
 first-hand information to draw upon when in his opera "Sadko" he 
 wished to write the scene in which the foreign traders describe their 
 native lands. The merchant from India sings the "Chanson Indoue," 
 a slow and languorous melody, expressive of the strangeness of the 
 Orient. 
 
 DANSE MACABRE (35381) SAINT-&AENS 
 
 This is the third symphonic poem which Saint-Saens wrote for 
 the orchestra. He was inspired by Henri Cozali's (1840-1909) 
 poem, which tells of the dance of the skeletons at midnight. 
 
 "Zig, Zig, Zig, death in grim cadence 
 
 Strikes with bony heel upon the tomb. 
 
 Death at midnight hour plays a dance. 
 
 Zig, Zig, Zig, upon his violin. 
 
 The winter winds blow, the night is dark, 
 
 Moans are heard through the linden trees. 
 
 Through the gloom the white skeletons run, 
 
 Leaping and dancing in their shouds. 
 
 Zig, Zig, Zig, each one is gay 
 
 Their bones are cracking in rhythmic time. 
 
 Then suddenly they cease the dance. 
 
 The cock has crowed! The dawn has come." 
 
 EIGHTH SYMPHONY, IN F MAJOR (74661) BEETHOVEN 
 
 (Allegro, Scherzando, 2nd Movement) 
 
 When Maelzel, the inventor of the Metronome, had perfected 
 the little instrument to keep the exact tempo as one learns to play 
 the piano, his musical friends gave a party in his honor. Beethoven, 
 one of the guests, was feeling particularly happy and cleverly made 
 up a little song, toast form, to Maelzel, which imitated the steady 
 ticking of the Metronome. Everyone enjoyed it so keenly that soon 
 afterward he used it for a theme for a symphony. 
 
 Listen to the bass instruments telling a joke and the soprano 
 saying "Think of that," and through all of it hear the steady throb 
 and click of the Metronome rhythm. 
 
 GAVOTTE-MIGNON (64454) THOMAS 
 
 Gavotte is a dance form. It is in 4/4 rhythm and in regular 
 two part form, much like the Bouree, which was a cheerful, rapid 
 dance from Southern France or Spain. There are many dance 
 forms which have been used as the basis for the musical composi- 
 tions we enjoy; and there are many Gavottes. This Gavotte was 
 used in the Opera Mignon (Meenyohn'), the music for which was 
 written by Ambrose Thomas and first produced in Paris in 1866. 
 
 21 
 
HUNGARIAN RHAPSODY No. 2 (74647-74670) LISZT 
 
 Think of a man writing fifteen rhapsodies! Liszt did. Be- 
 cause he wrote so many we must be sure to say No. 2 when we refer 
 to the one that we are learning now. No. 2 is the most famous 
 and consists of a slow introductory movement patterned after the 
 "Lassen," of slow dance music, followed by rapid "Friska" from the 
 Czardas, the national dance of Hungary which was adapted from the 
 Gypsies. 
 
 See if you can find some lovely special surprises in this. 
 
 HUMORESQUE (74494-74163-74180) DVORAK 
 
 The great Bohemian composer Antonin Dvorak (pronounced 
 Dvor'zhak) is said to have written this to tell a certain story of 
 oppression and freedom, love and longing, anxiety and rest, so tang- 
 led that it would never do to really have a special story. It slips 
 into everyone's heart and everyone wants his own story. Dvorak 
 wrote it after a visit to the Southern states of America, where he 
 was gathering folk tunes. 
 
 IN A THREE-HORSE SLEIGH (74630) TSCHAIKOWSKY 
 
 (Troka en traineaux) 
 
 Sleighs are common in Russia, and the Russian Tschaikowsky 
 has wonderfully, naturally told us the story, which is beautifully 
 interpreted by another Russian, Rachmaninoff. Did you ever see a 
 picture of the queer harness, and the high wooden arches over the 
 horses? 
 
 As you listen, see what you can find out about this story? Is 
 the day crisp, and tinkley? Did the horses go fast at the first or did 
 the sleigh seem quiet, as if waiting for the people to come out and 
 start off? Tell the story as you really hear it. Decide whom you 
 think are in the sleigh, whether a little boy and his father, or an old 
 man on some errands or a merry party of young people, etc. 
 
 INTRODUCTION AND TARANTELLE (74626) SARASTE 
 
 When natives of Spain are bitten by a huge black spider, which 
 we call a "tarantula," it has been a custom with them to think that 
 the only cure is to whirl in a very swift dance until exhausted. 
 
 Think of having a name as long as this, Pablo Meliton Sarasate 
 Y Nevascues. 
 
 He was a great Spanish violinist and composer, living from 
 1844 to 1908. Born in Pampeluna, Spain. Prize pupil at Paris 
 Conservatoire. Toured the world at 26. Wrote many composi- 
 tions and had many written for his violin, by other composers. 
 
 INVITATION TO THE WALTZ (74598) WEBER 
 
 Back in the time when people wore powdered hair and pan- 
 niered skirts, a very bashful young lady went to a beautiful ball. A 
 handsome stranger, not knowing that she expected to be a wall- 
 flower, invited her to dance. Listen to his voice as the 'cello, hers, 
 as the soprano violin. Hear her high surprised voice as she tells 
 him she "can't possibly"; then he insists. She is sure she can't 
 dance. He tells her he will show her how, and you feel that he is 
 showing her a few steps, as he begs. Then she thinks perhaps she 
 can after all, and they whirl forth into the waltz. 
 
 "Invitation to the Dance" was written a few months after 
 Weber's happy marriage to the opera singer, Caroline Brandt, and is 
 dedicated to "My Caroline", and may be a memory of the times they 
 danced together, their conversation together before the dance, their 
 walking along with the crowd and then whirling into the dance. 
 
 22 
 
KAMENNOI-OSTROW (55O44) RUBENSTEIN 
 
 (For splendid "write-ups" of this, see "What We Hear in 
 Music", Anne Shaw Faulkner and E. B. Perry's "Descriptive Analy- 
 ses of Piano Pieces".) 
 
 The general title "Kammennoi Ostrow" takes its name from a 
 fashionable resort on the Kamennoi Island in the River Neva, Rus- 
 sia, where Rubenstein spent many vacation days. It is a collection 
 of twenty-four piano pieces, giving us a tonal portrait of his friends 
 or acquaintances made by Rubenstein while there. No. 22, "Reve 
 Angelique," is dedicated to Mile. Anna de Friedbourg, and is said to 
 be her idealized portrait painted in tone. 
 
 "No. 22 in F-sharp Minor is the best known piece in the collec- 
 tion and is regarded as one of the most beautiful melodies which 
 Rubenstein ever gave us. After a few measures of accompaniment, 
 which serve as Introduction, the first subject is announced. This is 
 a broad dignified melody which is in beautiful contrast to the more 
 animated second subject. This dreamy and pensive melody is sung 
 by the 'cellos, with an accompaniment in the trebles by flute and 
 violins, which suggests the ripple of water. A third subject is based 
 on an old Russian Church Chorale." 
 
 It is said that this piece carries with it a definite program. 
 The first subject in its broad serenity suggests a moon-lit garden on 
 a summer evening, the second subject depicting the conversation of 
 the two lovers, there by the rippling water, whose tender words are 
 interrupted by the tolling of a bell in the chapel nearby and the 
 chanting of the monks at even-song. 
 
 LIEBESTRAUM (74696) LISZT 
 
 Liszt wrote three tone poems for the piano which he called 
 "Liebestraum". The first two were given sub-titles of "Nocturne," 
 but they are in reality songs without words. The most famous of 
 the three is the one in A flat. Liszt originally used this melody as a 
 song, which he set to the poem by Ferdinand Freilgarth (1810-1876) 
 a German Revolutionary poet, who in his youth wrote many charm- 
 ing lyrics reflective of Romanticism His poem, "O Love," made a 
 very deep impression on Liszt, who used it as a song, then as the 
 transcription with which we are familiar. The words may be read 
 in the sheet music of "Liebestraum," by Oliver Ditson Co., or in the 
 book, "What We Hear in Music", by Anne Shaw Faulkner. 
 
 MABOHE MINIATURE (64766) TSCHAIKOWSKY 
 
 This happy little march is a welcome number between all deeper 
 numbers. The sparkle and ecstasy of both melody and instrumen- 
 tation make it one beloved and remembered. 
 
 Listen carefully and you will hear the soprano and bass tag 
 each other, and then the soprano will run up the scale, and the bass 
 down, but before long they come back and run along together. With 
 your right hand the soprano and your left the bass, show us when 
 they leave and return to play together. 
 
 MELODY IN F (45096) RUBINSTEIN 
 
 This little poetic thought shows the influence of Mendelssohn's 
 "Song Without Words." Though a Russian, Rubenstein was edu- 
 cated in Germany, and he once said of himself. "The Germans call 
 me a Russian; the Russians a German; the Jews a Christian; and 
 the Christians a Jew. What am I then?" 
 
 MINUET IN G (64121) BEETHOVEN 
 
 A universally popular little gem, by the big deep writer. 
 
 23 
 
MINUET WALTZ, D-FLAT (64O76) OHOPIN 
 
 Sometimes seen listed on programs as Valse, D Flat. 
 
 (See Biography in Rural Schools Booklet.) 
 
 When played swiftly only one minute is required to play this 
 number, and for this reason it has been called the Minute Waltz, 
 although some call it the "Little Dog Waltz," and attach the follow- 
 ing story. It is said that on one occasion, as Chopin and a friend 
 watched a little dog vainly whirling in an attempt to catch his tail, 
 the companion said, "If I had your nimble fingers I would write a 
 little waltz for the little fellow." Whereupon, the composer turned 
 to his piano and evolved the waltz which has won for him such popu- 
 lar applause, and for listeners such pleasure, but Oh, how hard 
 It is to tell the story correctly when we are just learning the mys- 
 tery of the keys. 
 
 As you listen, see if you feel the little dog getting dizzy, rest- 
 ing a minute, then whirling until he drops exhausted. 
 
 MOMENT MUSICALE (18216) SCHUBERT 
 
 (Pronounced Moh-Mohn Moo-Zee-<Cal.) 
 A perfect musical form, and general favorite. 
 
 MIDSUMMER NIGHT'S DREAM (Overture) (35625) 
 
 MENDELSSOHN 
 
 At the age of seventeen Mendelssohn wrote music for Shakes- 
 peare's play, and he and his sister, Fanny, and some friends gave the 
 play with Felix's music, there at their home. It was considered so 
 beautifully done that it was finished and has ever since been one of 
 the most famous numbers by this composer. 
 
 NARCISSUS (17472) NEVIN 
 
 Tell the class the old Greek myth about Narcissus, which 
 Nevin, the American composer, has interpreted in this music, "This 
 "Lovely Boy," when gazing into the limpid waters of a clear pool, 
 fell in love with his own reflection, with unhappy results, as it 
 caused him to pine away until he finally turned into a flower which 
 now bears his name." Which part of the music describes the boy? 
 Which part the changing into a flower? Can you hear how each 
 phrase is echoed by a similar one? That is the way the music ex- 
 presses the reflection of the boy's face in the water." F. Sheehy. 
 
 NEW WORLD SYMPHONY (74631) DVORAK 
 
 This 'Largo' movement is the second of the symphony, and feels 
 like the breezes on a field of cotton where there are negroes sway- 
 ing in tune with the breeze. The negroes of the South always sing 
 at their work, and one after another calls to remote parts of the field 
 some bit of news in song, which rises and falls as evenly as the 
 waves of the sea songs full of hope and imagination and memories, 
 lifted to the sky above as unconsciously and naturally as the flight 
 of birds in springtime. Listen to the appropriate use of the wood 
 wind choir of the orchestra. The beauty of this envelopes and holds 
 one in the spell of the beauty of the out of doors. 
 
 NOCTURNE IN E FLAT (74616) CHOPIN 
 
 This is one of the most famous 'night songs' of the Pole 
 Frederic Chopin, who immortalized the national dances of Poland, 
 the mazurka and polonaise, but who was also the first to be called 
 "the poet of the piano." This evening song is so full of poetry that 
 we easily see that this fame is justly earned. 
 
 24 
 
POET AND PEASANT (Overture) (355O9) VON SUPPE 
 
 This overture was written by Franz Von Suppe, who was born 
 in Spalato, Dalmatia, in 1819, but who lived most of his life in 
 Vienna, where he died in 1895. Suppe has composed many light 
 operas and overtures, and of the latter, "Poet and Peasant" has en- 
 joyed extraordinary popularity. See if you can write a story about 
 what the music tells you? Does the title tell you what Von Suppe 
 was endeavoring to tell in music? 
 
 POMP AND CIRCUMSTANCE (35247) ELOAR 
 
 Of a set of several marches of the same title, this stirring 
 march, "Pomp and Circumstance," is one of the most popular con- 
 cert numbers by Sir Edward Elgar, of the modern English school. 
 It was composed for the coronation of King Edward VII and played 
 during all the incidental festivities. Soon after his accession to 
 the throne, King Edward bestowed the title of Knight on the Eng- 
 lish musician. 
 
 It is an excellent example of march form and the brass effect 
 should be especially noted. 
 
 The trio of the march is very popular as a song, known as "Land 
 of Hope and Glory." 
 
 PRELUDE IN C SHARP MINOR (35625) RACHMANINOFF 
 
 Russia is a land of bells, we are told, and "it is of their tolling 
 that the opening theme, thundered out in octaves, speaks. Above 
 this is heard the counter chime of smaller bells. The great founda- 
 tion tones reverberate again and again against the upper chimes 
 until the whole tonal mass is allowed to die away in softness." 
 
 Surely you can remember this prelude to the chimes? If you 
 were passing some chimes which played this melody, would you 
 recognize it and be able to say, "That is C Sharp Minor, by Rach- 
 maninoff." Rachmaninoff was born in Russia in 1873, so he must 
 have really heard chimes many times. 
 
 ROKOCZY MARCH (74695) BERLIOZ 
 
 (Pronounced Rah-koh-tshee) 
 
 We call your attention to a most excellent and complete story 
 of this number as found in "What We Hear in Music". Also, Ap- 
 thorp's "Life of Hector Berlioz," pages 52 to 54. 
 
 The Rakoczy March is the national air of Hungary and was 
 originally written by Michael Barna, a Gypsy court musician of 
 Prince Rakoczy, from whom this composition takes its name. 
 
 The Rakoczy family were leaders in the Hungarian independent 
 movement for many generations, the most famous member of the 
 family being Franz II, who led the Revolution in 1703. Under the 
 direction of the composer, Barna, this was played when the Young 
 Prince and his wife made their state entry into Eperjes, and in 1711 
 Barna changed it to a more war-like march, when Franz led the re- 
 volt against Leopold I. Manuscript was kept in the Barna family 
 for generations, but many musicians of Hungary used the melody. 
 Chief popularity is due through the personal beauty and genius of 
 Barna's granddaughter, who played it on her violin. At her death 
 the manuscript came into the hands of another Hungarian Gipsy 
 violinist, Ruzsitka, who added strength and character, and it was 
 from him that Berlioz borrowed it, and made an arrangement for 
 use in his "Damnation of Faust", the success of which is thrilling 
 enough for a story all its own. 
 
 25 
 
SALUT d' AMOUR (18755) ELiGAB 
 
 "Love's Greeting" a modern instrumental serenade by Ed- 
 ward Elgar, an Englishman, who is considered one of the foremost 
 composers of the present day. He was born in 1857. This number 
 is one which all children love to try to whistle. 
 
 SCHEHERAZADE (74593) RIMSKY-KORSAKOFF 
 
 (Festival of Bagdad or Fourth Movement) 
 
 The story of this composition is taken from the Arabian Nights. 
 Scheherazade, the sultan's wife, to save her life, told her husband 
 stories for a thousand and one nights. The Festival of Bagdad is 
 the fourth movement from the symphonic suite, "Scheherazade." 
 Rimsky-Korsakoff's musical interpretations of one of the sultana's 
 tales. (See pages 317-318 of Spalding's book, "Music: a Litera- 
 ture and an Art") 
 
 The Festival of Bagdad illustrates the composer's power of 
 drawing a vivid picture. You know how exciting it is to go to the 
 circus and hear the criers of the side-shows, the roars of the animals 
 and the throngs of people in high-pitched holiday voices thronging 
 into the tents. Did you ever see the old Arab who was with one of 
 the big circuses, spinning like a top in his chalked circle, his casta- 
 nets held high above his turbaned head, his long, full trousers 
 balooning above his turned-up pointed shoes? Do you remember 
 the man who sat cross-legged near the whirling figure and played 
 his accompaniment on a piccolo? See if you can place these figures 
 in the 1145-year-old city of Bagdad, there between the Euphrates 
 and Tigris Rivers, which flow into the Persian Gulf. Let's have 
 them in a colorful gala street fair, under the blue, blue skies of the 
 Orient, mingling with camels, silks and excitement. Can you find 
 this picture in the music of the Festival of Bagdad? 
 
 SERENADE (64576) MOSKOWSKI 
 
 In warm Southern countries, people do not visit with one an- 
 other in houses in the evening, because it is too hot to stay indoors. 
 If a gentleman wishes to compliment a lady, he takes his guitar 
 and plays upon it while he sings a song under her balcony or win- 
 dow. Such a song is called a "serenade." This serenade is a song 
 without words. 
 
 SERENADE (74167) SCHUBERT 
 
 Schubert's "Serenade" is a song with words, and very beautiful 
 they are, too. The lover tells how the night winds are moving 
 softly, the streams are whispering, and he, too, is awake, keeping 
 watch with the stars and the moon. 
 
 SOUVENIR (64074) DRDLA 
 
 Drdla dedicated this "Souvenir" to his former teacher, Wianiaw- 
 ski, and has been a favorite with violinists and hearers ever since. 
 The term souvenir is applied to music of a quiet, thoughtful type, 
 which interprets the thoughts we have when we look at a box of 
 trinkets given to us by one whom we love. 
 SPRING SONG (18648) MENDELSSOHN 
 
 This is one of the composer's "Songs Without Words." 
 light arpeggio chords against the exquisite melody give it the at- 
 mosphere of springtime. 
 
 SURPRISE SYMPHONY (Second Movement) (35243) HAYDN 
 
 Remember in hearing this that Haydn was the Father of the 
 
 Symphony, and that at this time, there was no wonderful Symphony 
 
 26 
 
Orchestra as we have today. The music which Haydn played for 
 the people of the royal court was rather dreamy and quiet, such as 
 might have been heard when Bach was at his organ in a church. 
 The story goes that one day some of the royal people became anxious 
 to have something different, and when one of the gentlemen told 
 Haydn, he determined to surprise them. The second movement of 
 every symphony is supposed to be the quiet one, but in this case, 
 just as the powdered wigs were beginning to nod and adjust them- 
 selves for a long time of "just-the-same" kind of music, the or- 
 chestra suddenly gave a crash and wakened them into attention. 
 For this reason it is called the Surprise Symphony. 
 
 SYMPHONY IN B MINOR (35314) SCHUBERT 
 
 (Called the Unfinished Symphony) 
 
 "What We Hear in Music" has a good discussion of this. Be 
 sure to read it. There are many books discussing this because of 
 the unusual beauty and the mystery of its never having been com- 
 pleted. It was not sudden death which stopped the composer's 
 work, for it was begun in 1822, and Schubert did not die until 1828. 
 The work was found by Sir George Grove in 1867, in a pile of Schu- 
 bert's old manuscripts, and given by him to the world. He says: 
 "I am convinced that it stands quite apart from all the other com- 
 positions of Schubert or of any other master." 
 
 There are two beautiful subjects throughout, one introduced by 
 the 'cellos, and the other by the woodwinds. 
 
 Try presenting this by drawing the places where the special in- 
 struments sit as they begin the story and "check in" as the story pro- 
 gresses to the point where the famous 'cello melody comes in. 
 
 Did you ever listen to the deep-voiced father violins as they 
 stand back and rumble about some great secret, then hear how it 
 excites the first violins until they tremble with the overpowering 
 mystery of it all? The second violins become eager to know what 
 is exciting the first violins and they begin to tremble, too; then the 
 mother violins become anxious, and even the horns are full of cur- 
 iosity and ask to be let in on the secret. The flute calls out high, 
 above all the rest. He thinks HE should know by all means, so then 
 the boys violins, the 'cellos, who knows what their father were 
 talking about this time? decide to tell everybody! And what a 
 beautiful message they sing! 
 
 Have the children hum as soon as this famous melody is wafted 
 into the story. But first see that they know the exact place, by a 
 sudden show of hands as that part comes into the story. 
 
 TO A WILD ROSE (17691) EDWARD MacDOWEfLL 
 
 Although many think they can play this beautiful dainty num- 
 ber, the composer after hearing a small child attempt to play it, 
 remarked: "I've just listened to some one tearing my rose up by 
 the roots." 
 
 Did you ever really look at a wild rose and see the delicate 
 coloring and the simplicity of its lines? This composition is one 
 of a series of "Woodland Sketches," all of which are so poetic that 
 we may have thoughts other than those suggested by the titles, 
 but these thoughts must be sweet and beautjful to match the music. 
 
 TRAUMEREI (64197) SCHUMANN 
 
 We quote here from Rural School Booklet: "Traumerei 
 (Troh-meh-rye) is one of a group of smaller compositions, called 
 "Childhood Scenes." It is probably the most beloved of the entire 
 
 27 
 
group, and is a universal favorite, 'beloved by old and young. 
 Traumerei means 'Dreaming'." 
 
 "It is said that this number was intended to portray a dream 
 of the summer with its deep blue sky, flecked with fleecy clouds. 
 The fragrance of the wild rose comes on balmy breeze and soothes 
 the senses into a delicious reverie. The change in key comes as 
 the dreamer momentarily rouses himself. Soon, however, the first 
 key returns, as the dreamer's senses are again lulled to rest. Only 
 one melody is heard throughout this entire composition, the con- 
 trasts being obtained by modulations, or changes of key. 
 
 "Try this exquisite gem in the 'sleepy time' or rest period." 
 
 TAILOR AND THE BEAR (18598) MacDOWEOj 
 
 There are many ways to present this. If children are accus- 
 tomed to interpreting musical stories, let them give their own ver- 
 sion. If there is no musical reason for certain statements which 
 they may have made, then they need some definite assistance. The 
 mere statement that they like a certain composition is no indica- 
 tion that they comprehend the story. 'For those not experienced in 
 musical perception we suggest the following story and active res- 
 ponse. Tell the story to the class and explain the signals you de- 
 sire. Then watch how some hear correctly, others as mistakenly or 
 listlessly as -tho mother had started a record at home and then 
 every one talked. 
 
 Once there was a tailor, busily sewing. Do you think we will 
 know, if we listen, whether he was happy or sad? (How can 
 music tell it?) 
 
 Suddenly a great black bear came to the door! Just fright- 
 ens the breath out of the .tailor. Then he happened to wonder if 
 the bear was tame, and to find out he grabbed up his violin, which 
 he kept near him to rest him from sewing, and began to tune up. 
 Guess what the bear did! Yes, sir, he began to dance! But he 
 hadn't been dancing long when his keeper came for him, and tried 
 to take him away. The bear was having such a good time that he 
 didn't want to go, so the tailor tuned up again. This time the tailor 
 was not nearly so frightened and could give a better dance, such as 
 great lumbering bears love. But they didn't have all day to give 
 to a bear so his keeper dragged him along, and as far as you can 
 hear him going down the street, he is growling. 'Not a fierce growl, 
 but a happy one, thinking of the happy time he'd had. The tailor, 
 as he returned ito his work, was so relieved that the bear hadn't 
 eaten him, that he began to whistle. 
 
 When the tailor sews we will take great basting thread stitches 
 in time with the music. When he tunes his violin the first time, 
 we will pretend to tune, then play a violin in time with the rhythm. 
 After he tunes the second time, we will make two fingers dance in 
 slow bear dance time, -then walk your fingers off down the road, then 
 sew again. When the tailor whistles, we will whistle exactly as he 
 does. See what a wonderful thing it is to have a whole story told 
 with just instruments of the orchestra! 
 
 TURKISH MARCH (64965) REETHOVETV 
 
 The Turkish, March is from a work for chorus and orchestra, 
 which Beethoven wrote in 1811 for the opening of a new theatre at 
 Pesth, Hungary. This march has been arranged for piano. The 
 words of the original work are by Kotzcbue, a German poet, and 
 were inspired by the struggles of the Greeks against their Turkish 
 oppressors at the beginning of the 19th century. You hear the 
 'Turks approach, pass you and go off into the distance. 
 
 28 
 
WHIRLWIND (18312) KRANTZ 
 
 This remarkable flute solo tells us, perhaps, what happens when 
 an autumn wind whirls through a lane of leaves. Draw out the fact 
 that a whirl of wind has two chief characteristics whirling and a 
 light, lilting way of playing tag. Ask why a drum could not tell 
 the story as well as the flute. 
 
 SONGS 
 
 These simple well-beloved melodies are chosen because of their 
 representing several nations and spreading the joy of becoming 
 familiar with National characteristics. 
 
 There is so much opportunity to secure information regarding 
 these numbers that we will not publish a complete discussion of 
 them here. The Rural School Booklet will give valuable assistance 
 in supplying words for most of these; we are submitting only two, 
 "Mighty Lak' a Rose", and "John Peel". The sturdy even rhyth- 
 metic boom of the latter, makes it one of great interest to a large 
 number of those who become familiar with it. De Gogorza sings 
 this well. 
 
 It is said that when Mozart slipped on the polished floor of the 
 Palace he said to Marie Antoinette who assisted him to his little- 
 boy feet, "Thank you, you are kind. Some day I'll mary you." It 
 was this boy who lived so much of his time in the palaces of kings 
 and who wrote the Cradle Song we sing on our list. 
 
 FUNICULI FUNICULA is a merry song written for the gala day 
 when the people of Italy were celebrating the first trip of a queer 
 little train which was made to ascend Mount Vesuvius by the force 
 of one car, on its down trip, pulling the other car up. The music 
 reminds us of the clicking of this kind of train. 
 
 LO, HERE THE GENTLE LARK is so wonderful an opportunity 
 to create an intelligent interest in Coloratura voice work that we sug- 
 gest a comparison of actual bird voices by playing records of the real 
 nightengale, as he talks, sings and then thrills. You will discover 
 the marvel of a voice which can be so like one of the few birds who 
 can really trill. 
 
 This number is not merely a vocal display. There is much of 
 special interest. We are all sure that Shakespeare certainly knew 
 how to use words to describe certain things. This time he is telling 
 of the lark who likes to leave its low nest among the grasses and 
 soar up to greet the morning, singing as he flies. Bishop, who 
 wrote the music of "Home, Sweet Home", decided to describe the 
 Lark in Music. You will see that both these men had closely ob- 
 served a lark. As you listen, can you tell when the bird flies up, 
 floats, sings and then swoops down? 
 
 JOHN PEEL (64063) OLD ENGLISH 
 
 This song is sung by the boys of the famous old English schools, 
 Eton and Harrow. The words are kindly furnished for this book- 
 let by Miss B. Nelson. 
 
 D'ye ken John Peel with his coat so gay? 
 D'ye ken John Peel at the break of d,ay? 
 D'ye ken John Peel when he's far, far away 
 With his hounds and his horn in the morning? 
 
 Yes, I ken John Peel with his coat so gay, 
 He lived at Troutbeck once on a day. 
 We'll follow John Peel with hurray and hurray 
 If we want a good hunt in the morning. 
 
 29 
 
CRADLE SONG (64590) MOZART 
 
 MIGHTY LAK' A ROSE (89108) NEVIN 
 
 These two songs attest tenderness toward childhood to be one 
 of the beautiful unchanging facts of life the world over. 
 
 Mozart's "Cradle Song" is sung to some aristocratic 'baby in an 
 old world castle. We see the moon peeping thru a Gothic window 
 at the wakeful baby, and bathing in white light, an expanse of gar- 
 den and meadow where now sleep the lambkins, bees and birds. 
 The singer tells us all about a house of grandeur as she summons 
 soothing images to lull her charge to sleep. 
 
 The simplicity of the surroundings of the southern mammy lead 
 her to draw upon the unearthly of her imagery, so after she has 
 compared her baby to the one beautiful object of her cabin home, 
 the rose that grows outside the door, she likens him to heaven and 
 the angels. 
 
 'Negro mammies used to always care for the little babies of 
 the south and the words of this song will show you how they loved 
 these babies. 
 
 "Sweetest li'l fellow, 
 
 Everybody knows; 
 
 Dunno what to call him, 
 
 But he mighty lak' a rose! 
 
 Lookin' at his mammy 
 
 Wid eyes so shiney blue, 
 
 Mek' you think that heaven 
 
 Is coming clost ter you! 
 
 Wen he's dar a sleepin', 
 
 In his li'l place, 
 
 Think I see de angels 
 
 Lookin' thru de lace, 
 
 Wen de dark is fallin', 
 
 Wen de shadows creep, 
 
 Den dey comes on tip toe 
 
 Ter kiss 'im in his sleep. 
 
 Sweetest li'l fellow etc. 
 
 OPERA 
 
 DANCE OF THE HOURS (55044) PONOHIEtLiLI 
 
 (From GIACONDA) 
 
 The Dance of the Hours is a ballet which is given for the en- 
 tertainment of the guests during a masked ball in the Venetian 
 palace of the duke in the third act of Ponchielli's opera "La Gia- 
 conda". The dancers are dressed to represent light and darkness, 
 dawn and twilight, and the music symbolizes the struggle ever pres- 
 ent in the world, between good and evil, progress and ignorance. 
 
 ANVIL, CHORUS (17231) VERDI 
 
 (From IL TROVATORE) 
 
 The scene of the Anvil Chorus from Verdi's opera "II Trova- 
 tore" is a gypsy camp in the Biscay Mountains. It is early morning 
 and the men are beginning their day's work, singing as they ham- 
 mer on their anvils. 
 
 HOME TO OUR MOUNTAINS (8906O) VERDI 
 
 (From IL TROVATORE) 
 
 Home to Our Mountains is a duet between the old gypsy, Azu- 
 cena, and her adopted son, Marrico. They are in prison, and the 
 gypsy longs for the peace of her old mountain hime, while Marrico 
 tries to comfort her by assuring her that they will some day return 
 to it. 
 
 30 
 
SEXTETTE (55O66) DONIZETTI 
 
 (From LUCIA DI LAMMEBMOOB) 
 
 The story of Donizetti's opera, Lucia, is taken from Sir Walter 
 Scott's novel "The Bride of Lammermoor". The sextette is sung 
 in the scene during which Edgar, who loved Lucy, returns from 
 France just after Lucy had been forced by her brother Henry to 
 marry Sir Arthur. Brother and sister, the two rivals, with Ray- 
 mond (the chaplain) and Alice (Lucy's companion) express their 
 conflicting emotions in this famous sextette. 
 
 LAST ROSE OF SUMMER (74536) FLOTOW 
 
 (From MARTHA) 
 
 The words of the "Last Rose of Summer" are by the Irish poet, 
 Tom Moore, and the melody is an old Irish folk-tune. In Flotow's 
 opera "Martha", Harriet and Nancy, ladies in waiting to the queen, 
 disguise themselves as servant maids, and are hired by two farmers. 
 When Lionel, one of the farmers asks Harriet to sing, she responds 
 with this Irish song. 
 
 GOODNIGHT QUARTET (95210) FLOTOW 
 
 From MARTHA) 
 
 The two farmers, Lionel and Plunket, have been trying to teach 
 their new found servant girls to spin and after the lesson join with 
 the maidens in singing the "Goodnight Quartet". 
 
 QUARTET (55066) VERDI 
 
 (From RIGOLETTO) 
 
 Rigoletto is the name of the hunch back who is the father of 
 the beautiful Gilda, and the jester to the gay Duke of Mantua. The 
 Duke has told Gilda that he loves her. Rigoletto, knowing that the 
 Duke is false, allows his daughter to overhear his patron making 
 love to another girl, Maddalena. The quartet occurs when Rigo- 
 letto tenderly addresses Maddalena in the tavern where she re- 
 pulses him. Outside Gilda sings heartbrokenly, and Rigoletto vows 
 vengeance on the Duke. 
 
 BARCAROLLE (87532) OFFEiNBACH 
 
 (From THE TALES OF HOFFMAN) 
 
 The scene during which the Barcarolle is heard pictures a room 
 in a palace in Venice. Through the windows are seen the moonlit, 
 "untrodden" streets of the city of waters. The people in the room 
 sing this beautiful duet whose swaying rhythm expresses the motion 
 of gondolas. 
 
 RIDE OF THE VALKYRIES (74684) WAGNEB 
 
 (From DIE WALKUIRE) 
 
 The Valkyries are the warlike daughters of Wotan, king of the 
 Gods, who ride through the air on winged horses, picking up heroes 
 who fall on the field of battle and carrying them to Walhall, home 
 of the Gods. In this music you can hear the wierd cries of the god- 
 desses and the neighing of their steeds. 
 
 OVERTURE TO WILLIAM TELL (3512O, 35121) ROSSINI 
 
 This number is the overture to an opera founded on Schiller's 
 story of the Swiss patriot, William Tell, who shot an apple poised 
 upon his son's head. The overture is in four parts and describes 
 scenes in Switzerland in this order: first, dawn in the mountains; 
 second, a storm; third, calm after the storm and the shepherd's 
 prayer of thankfulness; fourth, the stirring march of Swiss troops 
 as they gather to fight for freedom. 
 
 31 
 
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