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The Year's Music This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c. The Garden Scene from Faust or Philemon and Baucis or Maritana or Bohemian Girl (without Chorus but in Costume) is good for Second Part of a Ballad Concert. Everything, such as Costumes, &c., will be provided by the party. A Piano is sufficient. No Scenery is required. Any of the above Artistes can be engaged separately, and Madame Fanny Bloody or Mr. Charles Manners can accept their usual engagements. For Terms, &c, please write to new permanent Address — MR. CHARLES MANNERS, 15, KING STREET, PORTMAN SQUARE, LONDON, W. THE YEAR'S MUSIC. ^Zfyt &ttatttt of (rtl (gtanofories^ THE Stein way PIANOFORTES, NEW YORK AND LONDON. Gold Medal, Inventions Exhibition, 1885. Gold Medal, Society of Arts, 1886. STEIN WAY & SONS are the only Manufacturers who make all component parts of their Pianofortes, exterior and interior (including the casting of the full Metal Fiames), in their own Factories. THE STEINWAY GRAND and UPRIGHT PIANO FORTES chiefly appeal to the taste of the cultured and musical classes. It may be truly said that the Steinway Piano is the CHEAPEST because the eest and most duraele. THE STEINWAY PIANOFORTES owe their even main- tfnance of th« highest excellence to the numerous inventions for increasing the volume and purity of tone, and securing unfailing accuracy and ease of touch, as well as to the system of the manu factuie of al parts of the instrument from the raw material upwards, being thereby able to ensure by careful selection that only faultless material is used. This system, though costly, results in the production of instruments that practically last indefinitely, and command larger prices second hand than is usually paid for new instruments of other makers. STEINWAY & SONS are the only Manufacturers who have never made a cheap or medium-priced instrument, and are therefore prepared to cater to that class who des>ire to possess THE BEST THE WORLD PRODUCES. THE STEINWAY PIANOFORTES enjoy the most world wide demand, the perfect system of their manufacture enabling them to withstand the temperature of any climate ; and their merits have bf en widely recognised by the principal Courts of Europe, Steinway & Sons possessing a larger number of Royal Appointments than any other firm of Pianoforte Manufacturers in the world. STEINWAY &. SONS, Pianoforte Manufacturers by Special Appointment to HER MAJESTY THE QUEEN, H.R.H. THE PRINCE OF WALES, H.R.H. THE PRINCESS OF WALES, H.R.H. THE DUKE OF EDINBURGH, HIS MAJESTY THE EMPEROR OF GERMANY, HER MAJESTY THE QUEEN OF SPAIN, HER MAJESTY THE QUEEN OF ITALY. Steinway Hall, New York; Steinway Hall, Lower Seymour St., Portman Sq., London, W. THE YEAR'S MUSIC 1896 BEING Jl Concise ^ecovb of British and Foreign MUSICAL EVENTS, PRODUCTIONS, APPEARANCES, CRITICISMS, MEMORANDA, ETC. Smilwn J. S. VIRTUE & CO., Limited, 26, IVY LANE, PATERNOSTER ROW. 1896 The Right of Translation and Reproduction is Reserved, HAnVAHU COLUHE LldW M ^ — f*oa THE BEQUEST OF ccta di icucn o EVERT MNSEN WENBEU I ABLIbHED 1780. Erard Royal Pianos — WITH — NEW PATENT RESONATOR. The Sunday Times says : — "The difference is truly marvellous, the increase of power in the ' singing ' quality is extraordinary. The Resonator is to an ordinary piano what a magnifying glass is to a photograph, or a polished reflector to a lamp flame." THE FINEST AND MOST DURABLE INSTRUMENTS. IN USE IN ALL THE ROYAL PALACES. Pianoforte Makers to the Boyal Family since the Reign of George II. MAKERS BY SPECIAL WARRANT TO Her Majesty the Quern. H.M. the King of Siam. H.R.H. the Prince of Wales. H.M. the Emperor of China. H.R.H. the Princess of Wales. H.M. the Quern of Italy. H.R.H. the Duke op Edineurgh. H.M. the Queen of Spain. H.R.H. the Duke of York, H.M. the Quern of the Belgians. H.I.M. the Emperor of Russia. H.M. the Empress Eugenie. AND OTHER REIGNING HOUSES. S. & P. ERARD, 18, GREAT MARLBOROUGH STREET, LONDON, W. READER'S NOTE. A Tear Book op Music is, perhaps, one of the most natural conse quences of a year's music — especially such a twelve months of work and doings in the divine art as we get in England, and particu larly in London. Paris has its V Amide Musicale, and there is the Boston Music Year Book for cultured souls in Massachusetts. Now, England has a Year Book of Music. The field of musical work and practice — even if we consider England alone — is an exceedingly far-reaching one, involving, as it does, not only the virtuoso and artist, but also the amateur, the craftsman, and mechanician in every branch of constructive musical work, to say nothing of many other allied trades and professions. That there should be a record of British and foreign musical events, productions, memoranda, etc., by and from which all who are inter ested in each year's music might see at a glance what has trans pired, and what have been the principal features of each twelve months' work, seems the most fitting conclusion of the matter. The object of " The Year's Music " is to supply this. No branch of cultivated labour in this country is more thoroughly, and, it must be added, ably represented than is musical criticism. Of the quality of this criticism it is almost unnecessary to speak. Both in the daily and weekly press — and we are not forgetting the smart halfpenny evening representatives of the new journalism — English musical criticism is, on the whole, distinguished by a literary style and perspicuous quality, which are peculiarly appre ciable in an age when the musician, male and female, is an educated individual, far removed above the "professional " of a quarter of a century past. In no country in the world, it may safely be de clared, is musical censorship of so high an order as it is in England. One unfortunate hindrance attaches, however, to this flood of daily and weekly criticism. It is in a form which, for the most vi reader's note. part, precludes it from having else than an ephemeral existence. It is published one day, and passes out of existence the next — for few people dream of filing the daily papers, wherein the best criticism undoubtedly appears. The result of this is, that although the year's musical doings are duly chronicled as they occur, it is found to be almost impossible to trace any occurrence or date forty-eight hours after it has happened — so fast an age is this, and so rapidly does event after event cloud and obliterate what has gone before. Some concise, handy chronicle of the year's music becomes an absolutely essential aid for all interested in music — the journalist, writer, and historian in general. To gather together a representative portion of such criticism is a part of the scheme of The Year's Music. Beyond this, our aim has been to provide a book which, while it will be distinctly reliable and useful for reference, will also serve as a chronicle which one — musical or otherwise — may take up betimes and read with pleasure and profit. To this end the contents are necessarily varied both in character and arrangement ; but the full index which has been provided will meet any difficulty here. We cannot hope to reach perfection in the first issue of such a work. Much which we had hoped and intended to have inserted has been crowded out. In our next year's issue, however, we hope to rearrange our plans and scheme generally, and we shall be glad to give as full effect as possible to the wishes and suggestions of our friends, if they will but make them known. "We sincerely hope that our readers will kindly communi cate with us and give us the benefit of their opinion as to the prospective scope of this work. We shall also be extremely glad to receive information respecting all performances, concerts, &c., as they occur, together with notes, news, books, music, novelties, &c., for insertion and review.
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