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Columbia ?Hraliergttp in tfie Citp of iSeto gorb LIBRARY
DEPARTMENT OF MUSIC NOVELLO'S ORIGINAL OCTAVO EDITION.
To MY FRIEND NICHOLAS KILBURN, ESQ.
COMPOSED FOR THE LEEDS MUSICAL FESTIVAL, igoi.
THE BLIND GIRL OF CASTEL-CUILLE
CANTATA
FOR SOPRANO AND BARITONE SOLI, CHORUS, AND ORCHESTRA
THE POEM TRANSLATED FROM THE GASCON OF JASMIN BY H. W. LONGFELLOW
THE MUSIC COMPOSED BY S. COLERIDGE-TAYLOR. (OP. 43-)
PRICE Two SHILLINGS AND SIXPENCE.
LONDON : NOVELLO AND COMPANY, LIMITED AND NOVELLO. EWER AND CO., NEW YORK.
Copyright, igoi, hy Novella and Company^ Limited.
The right of Public Representation and Performance is reserved. The purchase of Scores and Parts carries with it the right of Public Performance, If it is desired to use hired or borrowed copies of Scores or Parts, the permission of the Publishers must be first obtained. LONDON : NOVELLO AND COMPANY, LIMITED, PRINTERS. THE BLIND GIRL OF CASTEL-CUILLE.
A band of youngsters PART I. Wildly rollicking! AT the foot of the mountain height Kissing, AVliere is perched CasteLCinl]e, Caressing, When the apple, the plum, and the almond-tree With fingers pressing. In the plain below were growing white, Till in the veriest This is the song one might perceive Madness of mirth, as they dance, On a Wednesday morn of Saint Joseph's Eve : They retreat and advance, " The roads should blossom, the roads should Trying whose laugh shall be loudest and bloom, merriest; So fair a bride shall leave her home ! " The roads should blossom, the roads should Should blossom and bloom with garlands gay. bloom. So fair a bride shall pass to-day ! " So fair a bride shall leave her home ! This old Te Deum, rustic rites attending. Should blossom and bloom with garlands gay. Seemed from the clouds descending ; So fair a bride shall pass to-day ! " When lo ! a merry company Of rosy village girls, clean as the eye. BARITONE SOLO. Each one with her attendant swain, Came to the cliff, all singing the same strain ; Meanwhile, whence comes it that among Resembling there, so near unto the sky. These maidens fresh and fair, Rejoicing angels, that kind Heaven has sent Baptiste stands sighing, with silent tongue ? For their delight and our encouragement Is it Saint Joseph would say to us all, Together blending. That love, o'er-hasty, precedeth a fall ? And soon descending 0, no ! for a maiden frail, I trow. The narrow sweep Never bore so lofty a brow ! Of the hill-side steep, What lovers !—they give not a single cai'ess ! They wind aslant To see them so careless and cold to-day. Toward Saint Amaiit, These are grand people, one would say. Through leafy alleys What ails Baptiste ? what grief doth him Of verdurous valleys oppress ? With merry sallies It is, that, half way up the hill, Singing their chant: Dwelleth the blind orphan still. '' The roads should blossom, the roads should bloom. So fair a bride shall leave her home! Should blossom and bloom with garlands gay, Love, the deceiver, them ensnared ; So fair a bride shall pass to-day ! " For them the altar was prepared ; But alas ! the summer's blight. The dread disease that none can stay. The pestilence that walks by night, The sky was blue ; without one cloud of gloom, Took the young bride's sight away. The sun of March was shining brightly, All at the father's stern command was And to the air the freshening wind gave lightly changed; Its breathings of perfume. Their peace was gone, but not their love When one beholds the dusky hedges blossom, estranged ; A rustic bridal, ah ! how sweet it is ! Wearied at home, ere long the lover fled ; To sounds of joyous melodies. Returned but three short days ago. That touch with tenderness the trembling The golden chain they round him throw, bosom, He is enticed, and onward led A band of maidens To marry Angela, and yet Gaily frolicking. Is thinking ever of Margaret. THE BLIND GIRL OF CASTEL-CUILLEc
CHORUS. Come! keep the promise of that happier day. Then suddenly a maiden cried, That I may keep the faith to thee I plighted! " Anna, Theresa, Mary, Kate ! What joy have I without thee?—what delight ? Grief wastes my life, and makes it misery; Here comes the cripple Jane ! " And by a Day for the others ever, but for me fountain's side A woman, bent and gray with years, For ever night ! for ever night! Under the mulberry-trees appears. When he is gone 'tis dark ! my soul is sad ! And all towards her run, as fleet I suffer ! 0 my God ! come, make me glad. As had they wings upon their feet. When he is near, no thoughts of day intrude ; It is that Jane, the cripple Jane, Day has blue heavens, but Baptiste has blue Is a soothsayer, wary and kind. eyes ! She telleth fortunes, and none complain. Within them shines for me a heaven of love, She promises one a village swain. A heaven all happiness, like that above, Another a happy wedding-day. No more of grief ! no more of lassitude ! And the bride a lovely boy straightway; Earth I forget,—and heaven, and all distresses, All comes to pass as she avers ; When seated by my side my hand he presses ; She never deceives, she never errs. But when alone, remember ail! But for this once the village seer Where is Baptiste ? he hears not when I call ! Wears a countenance severe. A branch of ivy, dying on the ground, And from beneath her eyebrows thin and white I need some bough to twine around! Her two eyes flash like cannons bright In pity come ! be to my suffering kind ! Aimed at the bridegroom in waistcoat True love, they say, in grief doth more abound! blue. What then—when one is blind ? Who, like a statue, stands in view; *' Who knows ? perhaps I am forsaken ! Changing colour, as well he might, Ah ! woe is me ! then bear me to my grave ! When the beldame, wrinkled and gray, 0 God ! what thoughts within me waken ! Takes the young bride by the hand, Away ! he will return ! I do but rave ! And, with the tip of her reedy wand, He will return ! I need not fear ! Making the sign of the cross, doth say,— He swore it by our Saviour dear ; " Thoughtless Angela, beware ! He could not come at his own will ; Lest, when thou weddest this false bride Is weary, or perhaps is ill! groom. Perhaps his heart, in this disguise, Thou diggest for thyself a tomb !" Prepares for me some sweet surprise ! But some one comes! Though blind, my And she was silent; and the maidens fair heart can see ! Saw from each eye escape a swollen tear ; And that deceives me not !—'tis he ! 'tis he ! " But on a little streamlet silver-clear, What are two drops of turbid rain ? Saddened a moment, the bridal train CHORUS. Resumed the dance and song again; And the door ajar is set. " The roads should blossom, the roads should And poor, confiding Margaret bloom, Rises, with outstretched arms, but sightless So fair a bride shall leave her home ! eyes; Should blossom and bloom with garlands gay. 'Tis only Paul, her brother, who thus cries :— So fair a bride shall pass to-day!" BARITONE SOLO. PART II. " x\ngela the bride has passed ! SOPRANO SOLO AND CHORUS. 1 saw the wedding guests go by ; Tell me, my sister, why were we not asked? And from suffering worn and weary, For all are there but you and I! " But beautiful as some fair angel yet. Thus lamented Margaret, In her cottage lone and dreary :— SOPRANO SOLO. " He has arrived ! arrived at last! " Angela married ! and not send Yet Jane has named him not these three days TO tell her secret unto me ! past; 0, speak ! who may the bridegroom be ?" Arrived I yet keeps aloof so far ! And knows that of my night he is the star! BARITONE SOLO. Knows that long months I wait alone, benighted, And count the moments since he went away! " My sister, 'tis Baptiste, thy friend ! " THE BLIND GIRL OF CAST:^L-CUILL^.
CHORUS. CHORUS. A cry the blind girl gave, but nothing said ; It was enough ; and Jane no more replied. A milky whiteness spreads upon her cheeks ; Now to all hope her heart is barred and cold ; An icy hand, as heavy as lead, But to deceive the beldame old Descending, as her brother speaks, She takes a sweet, contented air ; Upon her heart, that has ceased to beat, Speaks of foul weather, or of fair. Suspends awhile its life and heat. At every word the maiden smiles! She stands beside the boy, now sore distressed, Thus tlie beguiler she beguiles ; A wax Madonna as a peasant dressed. So that, departing at the evening's close, She says, " She may be saved ! she BARITONE SOLO AND CHORUS. nothing knows ! '' " Hark ! the joyous airs are ringing ! Poor Jane, the cunning sorceress ! Sister, dost thou hear them singing ? Now that thou wouldst, thou art no prophetess! How merrily they laugh and jest! This morning, in the fulness of thy heart, Would we were bidden with the rest ! Thou wast so, far beyond thine art I I would don my hose of homespun gray, And my doublet of linen striped and gay ; PAET III. Perhaps they will come; for they do not Now rings the bell, nine times reverberating, wed And the white daybreak, stealing up the sky, Till to-morrow at seven o'clock, it is said! " Sees in two cottages two maidens waiting. How differently! SOPRANO SOLO. Queen of a day, by flatterers caressed. " I know it ! The one puts on her cross and crown. Paul, be not sad ! 'Tis a holiday ; Decks with a huge bouquet her breast. To-morrow put on thy doublet gay ! And flaunting, fluttering up and down, But leave me now for a while alone." Looks at herself, and cannot rest. The other, blind, within her little room. CHORUS. Has neither crown nor flower's perfume ; Away, with a hop and a jump, went Paul, But in their stead for something gropes apart. And, as he whistled along the hall, That in a drawer's recess doth lie, Entered Jane, the crippled crone. And 'neath her bodice of bright scarlet dye. Convulsive clasps it to her heart. '' Holy Virgin ! what dreadful heat! The one, fantastic, light as air, I am faint, and weary, and out of breath ! 'Mid kisses ringing. But thou art cold,—art chill as death ; And joyous singing, My little friend! what ails thee, sweet?" Forgets to say her morning prayer! SOPRANO SOLO. The other, with cold drops upon her brow. ''Nothing! I heard them singing home the Joins her two hands, and kneels upon the floor. bride ; And whispers, as her brother opes the door, And, as I listened to the song, *' 0 God ! forgive me now ! " I thought my turn would come ere long, And then the orphan, young and blind, Thou knowest it is at Whitsuntide. Conducted by her brother's hand, Thy cards forsooth can never lie, Towards the church, through paths un- To me such joy they prophesy. scanned, Thy skill shall be vaunted far and wide With tranquil air, her way doth wind. When they behold him at my side. Odours of laurel, making her faint and pale, And poor Baptiste, what say est thou ? Round her at times exhale. ] t must seem long to him ; — methinks I see And in the sky as yet no sunny ray, him now ! " But brumal vapours gray. Near that castle, fair to see CHORUS. Crowded with sculptures old in every part. Jane, shuddering, her hand doth press : Marvels of nature and of art. " Thy love I cannot all approve ; And proud of its name of high degree, We must not trust too much to happiness;— A litMe chapel, almost bare Go, pray to God, that thou mayst love him At the base of the rock, is builded there; less! " All glorious that it lifts aloof, Above each jealous cottage roof, SOPRANO SOLO. Its sacred summit, swept by autumn gales, " The more I pray, the more I love ! x\nd its blackened steeple high in air, It is no sin, for God is on my side ! " Round which the osprey shrieks and sails. THE BLIND GIRL OF CASTEL-CUILLE
SOPRANO SOLO. In sooth, deceit maketh no mortal gay, " Paul, lay thy noisy rattle by ! For lo ! Baptiste on this triumphant day. Where are we ? we ascend ! " Mute as an idiot, sad as yester-morning. Thinks only of the beldame's words of warning. BARITONE SOLO. And Angela thinks of her cross, I wis; *' Yes ; seest thou not our journey's end ? To be a bride is all! The pretty lisper Hearest not the osprey from the belfry cry ? Feels her heart swell to hear all round her The hideous bird, that brings ill-luck, we know! whisper, Dost thou remember when our father said— '' How beautiful! how beautiful she is ! " The night we watched beside his bed— But she must calm that giddy head. ' 0 daughter, I am weak and low; For already the Mass is said; Take care of Paul ; I feel that I am dying! ' At the holy table stands the priest; And thou, and he, and I, all fell to crying ? Then on the roof the osprey screamed aloud ; The wedding ring is blessed; Baptiste receives And here they brought our father in his shroud. It; ^ There is his grave ; there stands the cross we Ere on the finger of the bride he leaves it. set; He must pronounce one word at least ! Why dost thou clasp me so, dear Margaret ? 'Tis spoken ; and sudden at the groomsman's Come in ! The bride will be here soon : side Thou tremblest! 0 my God ! thou art going SOPRANO SOLO AND CHO:RUS. to swoon ! " " Tis he ! " a well-known voice has cried. CHORUS. And while the wedding guests all hold their She could no more,—the blind girl, weak and breath. weary ! Opes the confessional, and the blind girl, see ! A voice seemed crying from that grave so SOPRANO SOLO. dreary, *' What wouldst thou do, my daughter ?"'—and ''Baptiste, since thou hast wished my death, she started ; As holy water be my blood for thee !" And quick recoiled, aghast, faint-hearted ; CHORUS. But Paul, impatient, urges evermore Her steps towards the op en door ; And calmly in the air a knife suspended ! And when, beneath her feet, the unhappy maid Doubtless her guardian angel near attended, Crushes the laurel near the house immortal. For anguish did its work so well. And with her head, as Paul talks on again. That, ere the fatal stroke descended, Touches the crown of filigrane Lifeless she fell! Suspended from the low-arched portal. At eve, instead of bridal verse. No more restrained, no more afraid. The De Profuiidis filled the air; She walks, as for a feast arrayed, Decked with tlowers, a single hearse And in the ancient chapel's sombre night To the churchyard forth they bear; They both are lost to sight. Village girls in robes of snow At length the bell Follow, weeping as they go ; With booming sound. Nowhere was a smile that day, Sends forth, resounding round. No, ah no ! for each one seemed to say:— Its hymeneal peal o'er rock and down the dell. " The road shall mourn and be veiled in It is broad day, with sunshine and with gloom, rain; So fair a corpse shall leave its home ! And yet the guests delay not long, Should mourn and should weep, ah, well- For soon arrives the bridal train away And with it brings the village throng. So fair a corpse shall pass to-day ! "
H. W. LONGFELLOW (After the Gascon of Jaxmhi). CONTENTS.
PART I.
INTRODUCTION ,.. 1
CHORUS At the foot of the mountain height 2 BARITONE SOLO Meanwhile, whence comes it 20 CHORUS Then suddenly a maiden cried ... 25
PART II.
INTRODUCTION .. 41 SOPRANO SOLO AND CHORUS . And from suff'ring worn and weary 42 CHORUS And the door ajar is set ... 56
BARITONE SOLO Angela the bride has passed ! 58
SOPRANO SOLO Angela married! ... 59
BARITONE SOLO My sister, 'tis Baptiste, thy friend ! 59
CHORUS A cry the blind girl gave ... 60
BARITONE SOLO AND CHORUS Hark ! the joyous airs are ringing I 64
SOPRANO SOLO I know it ! ... 66
CHORUS Away, with a hop and a jump, went Paul 67
SOPRANO SOLO Nothing ! I heard them singing home the bride 68
CHORUS Jane, shuddering, her hand doth press 70
SOPRANO SOLO The more I pray, the more I love ! 71
CHORUS It was enough 72
PART III.
INTRODUCTION ... 77
CHORUS Now rings the bell 78
SOPRANO SOLO Paul, lay thy noisy rattle by ! 90
BARITONE SOLO Yes ; seest thou not our journey's end .. 90
CHORUS She could no more 92
SOPRANO SOLO AND CHORUS 'Tis he ! a well-known voice has cried 106
SOPRANO SOLO Baptiste, since thou hast wished my death 107
CHORUS And calmly in the air 108
THE BLIND GIRL OF CASTEL CUILLE.
Longfellow. S. Coleridge -Taylor. Op. 43. Allegro moderato.
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So fair a ifts ^ ;iF fe «t i :• =•: S ^/ ^fe# I *¥ • • ^ tlf * i 3 i: - 11229 13 /j= A^ -P- bride shall pass to daylll. / A ^^^ ^ bride shall pass. to dayi'l. A I. .•> f r If Hf rr r ^ S bride shall pass to day!!!. W ^ ^ ^ bride shcill pass to dayllL um m p '/ cresc. - ^ 0 m i t^ ]>f~^^^n.^t^Ife i>,f^ri>f^T>-:^^r^- s m H i ^^ p 'i t.f. dim. $m ^^pFi's f pir -'^^ ^0 The sky w^as blue, with - out one cloud of s ^fe ^ 1^ B mp y^ * *=3it ^ m * ^^ 33 r ^ >«' 11229 14 m i^ -.—Jj)ij)i'j) ii J-' •'' ^'• ^ i<^''i'gloom , pTh e su^n of Marc^h waipTns shin-ing bright-lyn, iAnr d t'T'to thep air _p y^ 1^ p v ^ ^ gloom, The sun of March was shin-ing bright-ly, And to the air the fresh-ning A n £: 1^''" [jjj ^^ e p^^N1* ;-1 ST) ^ ^ l."|. J i fe" ^ ^ ^^'1^. B J' J' J J^ fl JlJ) # . the freshening wind gave light- ly Its breathing of per - fume^ A P I • ^ s p P PPir ps wind gave light - ly Its breathing of per - fume^ A A Jr. I. Soprano.10 mf Y'^> ' hp p'pir' pip'i^^^p^pi pr J'iJ>^^ When one be-holds the dus-ky hed-ges blossom, A rus-tic bridal. ^.^'vj^^ ^ •'liUijQ'J' A rus-tic bridal. ft) ft P*/^ 11229 15 ^(^ I. T~ ^/ ^ ^^ ^ %h J 7"jMi,f: ^j^-^—•—&#^ - ^ ah! how sweet it is! To sounds of joy- ous me-lodies,That mf < W#)' I # p ah! how sweet it is!_ To sounds of To sounds of mL i 7I? ^g ^^ To sounds of 11 fcfc ^^ ^ ^ touch with tenderness the trem-bling bo-som, i.''|. JiJi'i) ^^^ me-lodies,That touch the trem-bling bo-som, ^''1- P7^p pif- -i!^\r- - pi^ ^'' me-lodies,That touch the trem - bling bo-som, mV'l , jijp ;; ir- ^^ • # e S me-lodies,That touch the trem-bling bo-som. 11 fck ^ ¥''' F ^LJ « accel. cresc. molto iQ- ^ i i m m m 11229 16 Pill mosso. pi M puiii r t $ ^ ^'Pii PI r p A band of maidens Gai - ly frolicking, A band of ^ w>iJ- J)| J JiTi 7 h^\ 7)J)i>?A £ A band of maidens Gai-ly frolicking, A band of i ^ '^"p lr' p i^r P '^i^r P^^I^PI^ ^^\ f P A band of maidens Gai-ly frolicking, A band of m i v^MP- Pi^r u\fu\^^iuh^ \ A band of maidens Gai-ly frolicking, A band of Pill mosso. __^ V 0—•—=• jP ^ 1=^ w I i m^#f e ^^4=^to r p "^ I r pi p p p -^ Ip P -^p Ip p ^ p; young-sters Wild - ly rol-lick-ing! Kiss- ing, Car.ess-ing, With ^ j)7 I J) J) J) 7 LJ) J) 7 J)|7) J) ^ h i0 0 P young-sters Wild-ly rol-lick-ing! Kiss - ing, Car-ess-ing, With f) r p "^ I? p '^1F p p ^ 1^^ ^^ ^p iM '^p young-sters Wild-ly rol-lick-ing! Kiss-ing, Car-ess-ing, With b--^r P H^r P V i^D P P ^ itfp P 7p ip p -^ p young-sters Wild-ly rol-lick-ing! Kiss-ing, Car-ess-ing, With I (S)= ^'P ^ V 11229 17 y H ^ \H P V D l<^p P pPPir P PlT p p fin - gers pressing, Till in the ve-ri-est Mad-ness of mirth, as they ^mm p p •' p I p p p p p I r p p 0fSi 0 i w fin - gers pressing, Till in the ve-ri-est Mad-ness of mirth, as they p -^ ip'p ^ p i^p D pppi^r p PIT H% fin - gers pressing, Till in the ve-ri-est Mad-ness of mirth, as they a tZP= P P IT p P F M ^ dance, They re - treat and ad - vance, Try- ing whose laugh shall be m ^ r J) J) J J) aE J'k^ J^ J^ dance. They re - treat and ad - vance, Try - ing whose laugh shall be g. r p p I p p ^ r "P p I r "P p dance, They re - treat and ad - vance, Try - ing whose laugh shall be J. S p p ir ^p p * p p fr p p N dance, They re - treat and ad - vance, Try - ing whose laugh shall be 11229 JL |.'T pPilFFi ^ loud-est and mer-ri-est-. 'The d-9fdJ Ji J) Ji ^^ iloud-es t and mer-ri-est-, "The #- ^^ ^ loud-est and mer-ri-est-. "The P *^r p p i^pf ^ i loud- est and mer-ri-est-, 'The 12 .J^[;^ |te^b^ 4 <—<1F=H—^ &^=*i=±ti&«:«m ^ ^ 0 0' B s /. rflf//. ^ ^ ^ Tempo I? r J)| P r p I p- ^J> l|' lr p'i'lii J' f p roads should blossom, the roads should bloom. So fair a bride shall leave her J- JM p^r p i^r' J^ IJ ' ^ ^^' ^^^^^ ^'^ roads should blossom, the roads should bloom. So fair a bride shall leave her p IH p I f- p I r r I'T p- p I p p p roads should blossom, the roads should bloom. So fair a bride shall leave her A ss=» p Ipr PIr j P^-fU-PL-P-P roads should blossom, the roads should bloom, So fair a bride shall leave her Tempol? 1 i W m ff s ^ AMAI A^ i i 11:1:1 11229 A 19 n :?E^ ^ ^ ^ S g ^ £ home!. Should blossom and bloom with gar - - lands gay, ^ ^ J) J -0t^—JT Iome L p^Shoul d blossom and bloom with gar - landf s gay, 1 ^f / home! I Should blossom anand bloom with gar - lands gay, _A m ^ ^^ 1^ home! L Should blossom and bloom with gar-lands gay, fi--^si 13 k ^ So faiwr a bride shall pass to - day f» j>ij Di^fTTm & rair a bride shall pass. to - day! IJ p-pif-fgi^p^^ ^ cJ So fair a bride shall pass to - day! 11229 20 BARITONE SOLO. Molto moderato. 14 ftIE^ ^ ^ S P p p I PT"^^^ s Mean-while, whence comes it that a - mong These mai - dens fresh and fair, \ fp #fc= '^ -f I I ^ m=^ ^f p I p p r" ^pir p for a mai-den frail, I trow, Nev . er nTTr^ .. nm If^"^]p^ U229 say. What ails Baptiste? what grief doth him op- 53^^ ^««S- ^ FK I Ww^^ ^f nV. ^ ^^ ^ J ^J?3bJ I J J ^ 'W * accel 11229 Poco meno mosso 16. ^ m-h ^ rp p p i-P p Pi I" iM P P r IP Pi It is, that, halfway up the hill, Dwelleth the blind or-phan still, m r=Pf w mp ^w w '&% -6 — MJ' ^^P pip P r hP r Pippp p f k Love, the de-ceiv-er, them ensnared; For them the al-tar was pre-paredj m ^ ^t I I i^t rm rr ^ i i f Poco agitato f- f \ '^sfiri^ 11229 23 -- Poco piU mosso 17 / ISffrf J), i'lj^p f P 11'"^^ All at the father's stern com - mand was changed-, Their Meno mosso. mp bt.-==^ m r-Tif 7Pir Pp^Pif .fik^Tpi^ Wear-ied at home, ere long the lov-er fled; Re - turnd but three short w*"&• • 9 Wh 90- m •=¥ u ^ ! mp ^^m ^ ^ i^ m ^ , Agitato. , Uo ^ ^ - ^''^ --^ cresc. Pii/P-'Tp-.^IP r P p P ^1^ P^ifE^:^ days a-go. The golden chain they round him throw. He is en - ticed, and U229 34 18 accel. dim. rail. m_w Ht Pff r ,\n^hjt m. onward led To mar- - ry An-ge-la, and yet Is think-ing, fca ^ ^=^ i>i> < m jiiji: m lip \>l\ *~*T^5'-yi* ^ w ^*i^: «« ^* accel. (im. rail. 777^ # M ^ •9: ^; •7 ^ * raj/. toAi" PPirp^ fi fffif ^PFrf ev - er of Mar-gar-et, think-ing ev-er of Mar- - gar - et! ^ fefc i=«- ,•* ^t w n mW f^frMJ ^ ? ,/ mf m ^ p ^ U229 25 -19 Allegro. Soprano. TlU P m Then Alto. mi_A^ i •' P Then 19 Allegro. ^j^\mj 71 f cresc. fCTsT fm^'^TP^ = J, 'ii4- p p ^p p p r I'M ^ i sud-den - ly a maid-en cried, ^^An - na! The |)^'^ p p p ^p p p r (^ ^ ^ ^ M N sud-den - Iv a maid-en cried, ''An - na! The 11229 26 ^''> fi.iih^'i ±z i 0 0 Here comes the crip-ple Jane!fj > ^ ^i i: i' ^j' J> ^ ^B ^I. Here comes the crip-ple Jane!'l_ i 20 I Contralto. 777/7- ^ 0';ES^ 0 05 ^ ^1 ^t^ 0- 0-, 0> O 1^ And by a foun-tain's side A woman, bent and gray with Bass. mp- ^=ij^ - -H fm • 0 \f' ffP"^r^r IP T And by a foun-tain's side A woman, bent and gray with 20 ^l ffi 1^m ffiW % 77Zp- w / t ^\-i. ^i* j ^ ^ V J JH il 0^E 0*5 ' • ^^^ * -a 0—0— years, Un-derthe mul - berry-treesap-pears. And all towards her to^t.'' Op ppip" v\ ^ % p If \ t years, Un-derthe mul - berry-treesap-pears, And all towards her v-#f 4.""^ — r • r ^ f=«3: ^ «' fjf / *' #• •#• ^ ^= ^ "^ 11229 27 ^ ifI/) J^f ) ^fJ ) §fJ l JTi^l '-^^-^ 0-^—0 0r ^^ i run, as fleet As had they wings up-on their feet._ » f ^., I S" p p p p p ip ^p^^ run, as fleet As had they wings up - on their feet 'i; |{ftirf'~'3 r f r \k''rk * * ^ *' j|^j1»Jciji'a i P ^^lll^±tf±f t- f- -P- i tif ± fe j^ ^ t-frft 1 I •-ft* i ^ #. ^ m ] . i i^^ *=^ ^ Soprano. 21 g i -r-^ iT"; 1^ It is that Alto. ^ ^1 i is that Tenor. ^ ^ It is that Bass. W ^ It is that ;= f ± u ± bf ^ 11S29 28 I \i' K 7 J)) J)i) ppip PP r p pip ''pf r7' Jane, the cripple Jane_ Is a sooth-sayer, wa-ry and kind. She tel-leth =i S J^r -Tfl J. Jl 9 0' 0' 0 __ r^'^'ip PP r p^#^ Jane, the cripple Jane- Is a sooth-say-er, wa-ry and kind. She tel - leth P' f ^ppp Mr^p^ppip pp r p pip ''Pr' p Jane, the cripple Jane Is a sooth-say-er, wa-ry and kind. She tel - leth A^ p.pp iP ppr p p |P .,|i f-^' r 1 p p >! 3 ?^ Jane, the cripple Jane Is a sootlt-say-er, wa-ry and kind. She tel - leth :2 1^ r? ^fi^ iii -9- m m p^ m^ H=^4^ ta# g> r r^pp ^^'pir ^pr rjip r'^p''^''^' ^''ir ^ for - tunes,_and none complain,she tel-leth for - tunes, and none complain. She P' J j_^jij) ji|j -.J) ^ m for - tunes,_ and none complain, she tel - leth for - tunes,_ and none complain. She •f'TVpr- pir ^ppfTifpp^i^ fortunes,andnone complain, she tel-leth for tunes,and none complain. £ 0 0 ^'i r r P ^ ^ I ^ ^'p ^^ for - tunes,- she tel - leth for - tunes.. ** ^ JL feSli •m 1 « :=:?:4 q* $ m f^i-O mpt^ m p p ^^ 11229 29 ^m pro-mi-ses one a village swain. And the J- ^''•ppr p- pip r^ ^a pro-mi-ses one a village swain. An - o-ther a hap - py wed-ding - day. And the - cresc. f. ^ ^m nn r if f=M^ An - o-ther a hap - py wed-ding - day. And the i^f frjT^ ^m tt i cresc. ^ '(r}-lj' J^r ^J'l fe^ •y jj *? EnE^# 22 pr pr r ir r rl^r p'pr-pif m ^ bride a love-ly boy straightway. All comes to pass as she avers; She m bride a Tovely boy straightway. All comes to pass as she avers; She ?—?7 m ppppip p rp''ir P'pP'PiPPf bride a lovely boy straightway. All comes to pass as she avers; She l» 0 £ '&^'s r p P P-PP'PIPP 7 P bride a love-ly boy straightway. All comes to pass as she avers; She ^'•j' fr' ^ ^[f hi ^ ^ 11229 30 never deceives,she never errs. -f])^^ ^'d^ 4^4- JM i)Jt never deceives,she never errs. |^"pppp- pip!??^^^ never deceives,she never errs. wprpT pip^^ never deceives, she never errs. 1122^ 31 (!P^ • P J. i;IJ(J),l jjhl feT ' ^ Y x^ seer_Wears a countenance se - vere. Mi ^m 0 ' 0^ rJ seer Wears a countenance se - vere, ^ f^^ r'p J' p 1^ 7 ^^W''. W J-tm 1* And from be-neath her eye-brows seer Wears a countenance se - vere, ^ fepEl » p ^ |C* fe i ^ seer—Wears a countenance se - vere, And from be-neath her eye-brows 11 p?]Tr ^ *i d>^ i ^ * ^ i Her two eyes flash'd, flash'd like can - nons bright: i Tyt"i^ \7 i J j^ IJ Her two eyes flash'd, flash'd like can - nons bright: ^ thin and white fo p p?r i- thin and white 11229 32 ^^m^ •0—0- i Who,like a sta-tue. •^ 0 d^^lh* d) Who,like a sta- tue, fe ^ • 0 ^^ i Aimed at the bridegroom in waist - coat blue. ffi=?^m ^ r r f Aimed at the bridegroom in waist - coat blue,_ 24 ^ ^)^r- p''^^'^ ^ 1^ Mp ^ ^' I'lg ^ stands in view; Chang-ing colour, as well he might. When the at P (r fitjT^ Ji I't p ^^ Stand^ s m view; Chang-ing colour, as well he might. When the f p jip J J) hp • fl J J^'. ii Chang-ing colour, as well he might. When the ^ f' ff"f r 6 if P ^ Chang-ing colour, as well he might, When the Jt m m i m *E| :j; i 1 ^ -Jf- :^ » 11229 33 dim. poco i>oco _ ^ ^ fe ^^ beldame wrinkled and gray. Takes the young bride by the hand, And with the dim. poco a poco ^m^ a fm^ s beldame wrinkled and gray. Takes the young bride wliy t'he hand, And with the dim. poco a poco f—0 m $ pJpif pp beldame wrinkled and gray. Takes the young bride by the hand, And with the dim. poco a poco -0 m .—, •^' 1^ f- . P ' (^n^^ r P-igp ^'^ r m 19 ^ ^m beldame wrinkled and gray, Takes the young bride by the hand, And with the s ^ m ^ w poco poco jiim. «e- n \ i ^f i K ^ l^ff^=^ m0 0 -G- 0 0^—0-^3 i i tip ofherree-dy wand, Mak-ingthe sign of the cross, doth ^ ^rzz^ •vm. 0^ 0' 0 0 0' 0 ^ g iti p of her ree-dy wand, Mak-ing the sign of the cross. doth ^)HJ J^J)"J J ij j J)i) TIIZ ^ —0 tip of her ree-dy wand, Mak-ing the sign of the cross. doth ^-•\M pp"r r ir r p P'I^J m tip ofherree-dy wand, Mak-ing the sign of the cross. doth fgqff i 1 t 11229 D 34 beware! Lest, when thou weddest this false bridegroom, Thoi ^ mp ^^=^=4 ^l S ^ -0 JT beware! Lest, when thou weddest thihis false bridegroom, Thoi mp TT" h\> i *f^ \ I ^r P p ^ beware! Lest, when thou weddest this false bridegroom, Thoi mp to"i, i '1 m ^^ f P P jm ^^ beware! Lest, when thou weddest this false bridegroom,Thou a=^=^ g- '^^^m ^ 11229 35 A- ^ -^ ^ diggest for thy-self a tomb!lL ^g 33E ^ diggest for thy-self a tomb!!L (m l> ^' J ^^ 6^-= # ^ diggest for thy-self a tomb!2L A- ^••b^J^J-l,J J Ib'^ -15 — ^ diggest for thy - self a tomb!!!_ 5 #- 4- 4L ^ --n@^ :e^ ^ 1=1^ 4—0 ^ 0-^^ m ^f- K 4iii4i i—r M 26 777P ^ ^. -rr tH- • lent; And she was si and the 777^ ^ -0 0^—^ ^ And she was si - -lent; and the mp $ -* 0' ^' o^ And she was si lent;_ 777^ s ^^ And she was si lent: 11229 36 ^)M J J J i)7^ maidens fair Saw from each eye escape a swol - - len tear; M J JI r^ 5 ^m maidens fair Saw from each eye escape a swoil - - len tear; But on a P ^ p' p I ^r F • 0 Y O^V ^^ I and the maid - ens fair Saw a swol- _ len tear;. Pi'r rif ^^p \ and the maid - ens fair Saw a swol (2. te •9- k^—^ ^=1 •0 9- w l^\ ^ lHfi:# fcl^ ^^ t^ - ^ p P r P [J What are two drops of i rx r cj nrj J lit - tie stream - let sil - ver clear. gL m. P P r r cj What cire two drops of ^=^ N lit - tie stream - let sil - ver clear, iHn{-^ \\m \ ^ 777p - nri J J im I p :i ^ T U229 37 accel. m 0 m jQ. ^^ m tur - bid rain? Sadden'd a mo - ment, the brid-al train. accel. ^ m ^^ ^ Sadden'd a mo - ment, the brid-al train accel. 0L1 it=a ^m s n m tur - bid rain? Sadden'd a mo - ment, the brid-al train accel. S m r''Pip p Sadden'd a mo - ment, the brid-al train accel. /^ ^^—^ cresc. -^ :::^ rall.n ff, Resum'd the dance and the song a-gain; "The cresc. ^::- -:^ rail. \> - i rj) 0 O 0 0 =i-0-^-0- $ ^m Re-sum'd the dance and the song a-gain; "The cresc. ^ :^ rail. // ^ \> - i vllp |t|^^^^^ "ppiyp * i Re-sum'd the dance and the song a-gain; "The rail. cresc. a ^^ # * m^ ^ N M Re-sum'd the dance and the song a-gain; "The A 27 ^M 5 ^^I^ ^i ^S S mcresc. ^rall. A 1^ ^ H^ s -^^ a iJ tt* 11229 38 Moderato. y ^ JM ff r p I f ^ m^^ roads should blossom, the roads should bloom. So fair a i= p'i ^- p p p I ^p- J' i • 0 roads should blossom, the roads should bloom. So fair a tm ^ ^m p^^^ m roads should blossom, the roads should bloom, So fair a -^ A (^i 1 r pi ^^ ^ ^ roads should blossom, the roads should bloom. Moderato. bride shall leave her home!. Should blossom and bloom ..^ with !» Jl Jl J) Jl ^J J.I? ^^ bride shall leave her home! Should blossom and bloom with p p p p I p p 1 p •' p I p p ^ bride shall leave her home! . Should blossom and bloom with U229 39 28 cresc. zmzn :t=^ W * mm i SO fair a gar - - lands gay. So fair a bride, cresc ^ ^ ^ K 0 jii'j;; IJ j^ gar - lands gay,- So fair a bride,_ so fair a i^^ r ^ p pji^p ^ gar - lands gay. So fair a bride,, so fair a cresc. - T? ^^ ^ A rail. a tempo - //r ^ r ifp p bride. so fair a bride shall pass to - day!^ ^ rail. a tempo ip^^ P^P^ ^ ^ bride, SO fair a bride shall pass to - - day!_ rail. a tempo -A - ff. —r gP IP P IP P bride, SO fair a bride shall pass to day! I rail. a tempo m: i-JL fj\rU^ f bride. so fair a bride shall pass to - day!. 1^ 4 rail. ffa tempo 11229 40 i2- a* a- a •^ ^ 7Jt 7 7^ Y^ , - dn P/' i i pp <:>^f^ f ^^ 1=7^ ^ ^^ Hg ^ I 11229 .Enrf r/ Parf /. 41 PART 11. Andante. i!i rvr\rn\il. ft U \>%: i £ I ^P molto espressi'vo iirlr i Oi f ttf / ^f |f p'ltf 1^ ^ 0 fr ^m ^ H s^ ^^ ^j -^ll^i^lpj^f 7 ^tj ^fl|Vm,|el: ^gj:-^. I ^ ^ ii/^ ^! ^^^ ^^ ^^r - ^ 30 ^^ 14i- ^4tJ1^- S ff f "PP 0-- P c H m m -0-M-^ i ># ;? # ti?»t^ "ri 11229 42 Soprano. m m p ir J J^ ^ ^ 7J) And from suff'ring worn and wea- ry, But Alto. W Jl Jl .• n ;^ 0' 0 ^ ^ ^^m And from suff'ring worP n and wea- ry, But Tenor. Ipipp I-1) i r 7 And from suff'ring worn and wea - ry, But Bass. _EE ^^ m ^ ^ 7P N And from suff - ring wea-ry, But ^r p-pVJ'pipi'p beau-tiful as some fair angel yet, & ^MlM) J' ^M^ beau-tiful as some fair angel yet. § P'PPp P P3^ beau-tiful as some fair angel yet. beau-tiful as some fair angel yet. rMtl-H i f: Um pp ^ •P"Wa"-i 11229 43 31 Agitato. Soprano Solo. poco rit. mf ,s * ^ p'p p He has ar • ^(i PP .f!-pr J if Jo JiJiin p r' JH r" U' Thus lament - ed Mar-gar-et, In her cottage lone and drea- ry: PP, ^FJ'JHJ'J-. ^'J'U J J' Thus lament - ed Mar-gar-et, In her cottage lone and drea- ry: -PP- m m r=f=p=pp ip p- p p iiiJ tLi>-^ i Thums lamen t - ed Mar-gar-et, In her cottage lone and drea- ry: ^mPP N Thus lament-eH^'HP^d Mar-gar-et, In her cottag^e lonMMe and drea' -T- ry:^. 31 ^ ^^ ^ a poco rit. ¥ TP pp ^ ^ ^^ i=5:^5S a tempo accel. iriv^d ! ar - riv'd at last!. Yet Jane has ^ •^—if- s Thus lament-ed Mar-garet! EE — p=ff ^^ Thus lament-ed Mar-garet! PZ- ^ ^ i)J r ip'p^ i Thus lament-ed Mar-garet! ^ ^ i)j r ipjp ^ N accel. Thus lament-ed Mar-garet! Agitato. a temi 11229 44 accel. ^i r- p J I -.p r p I'' ''"ir" ''fl r- pup^ nam'd him not these three days past; Ar-riv'd! yet keeps a-loof so / i ^ N a ^m T^^ cresc. accel. ^ ^ i^ i a tempo A^ p p p I r p ^ ifar! . And knows that of my night_ i^Q VE jijj * I —**5—**-•—*^1 - Thus lament - ed Mar-gar- et! -¥P— ^r^ff 0**V-a/— 0f a0 ^ Thus lament-ed Mar-gar-et! I, \ J-J r ip-^^ Thus lament-ed Mar-gar-et! _EE_ \^- I. j)J P IP-P^ ' Thunnv»Ti 11229 45 3 2 o^'P^c^^^^onato i %=^ ^^ i ^S ^^ i ^ he is the star! Knows that long months I wait alone, be- tt j jfsi ^(i'j ^^li'i ^^ ^^ dim. - 777P ^f W: @w ^ £.? ^ dim. i T r ^p ^ h J'piiir"ppi'L ^"'ii'"' night-ed! And count the mo-ments since he went a - w^ay M: i ^ •KaiJPP J J \lh] is ^ ^ ^ t^ Thus lament-ed Mar-garet, In her cot-tage lone and drea - ry. M _EE ^ i #hi)^ #^— i)li0 ) ei)^^ ^ i^UJ i j)^ Thus lament-ed Mar-garet, In her cot-tage lone and drea - ry. u .EE_ ^'"""J' pp.p.if pr. .PM.p; p-^piT. p I' ^ Thus lament-ed Mar-garet, In her cot-tage lone and dr6a - ry_ »*: m ^ i^^^p ^ ^ s pp pp # ^•W ^ I i i 11229 46 Piii agitato. 33 /oA^—^ ^--^ I 1—• ^ Come! come! keep the pro - mise of that happier day. That I may keep the * iw r ^ '\ 33 Pill agitato ^ lip pTp IP r'~p vi^ < ^h^' p P'|i faith to thee I plight - ed! What joy have I with- K j^bfppt ff ll^ft^ ' J^rJ iJ * < Thus la-ment-ed Mar - garetL 777p ^^ ^ Thus la-ment-ed Mar gar - et! mp ^^ ^^ Thus la-ment-ed Mar gar - et! =*f^^*^ 11229 47 accel. J)7 I i ^ ^ i -out thee? what de - light?. Grief wastes my bT A J" iif r I ^1 * ^^ p 1=^ m accel. TTip ^ f-f»ffr J^j^il^ j» ^^^ P i cresc. poco poco f=^ p p- J'ip-pr p^it pp^'pp life and makes it mi-se-ry;. Day for the others A il f-i0- ^ ^MlfJ ftPlH^ P i cresc. ^^P W ^ I 3A" a tempo |, f P^^pPlt PtfpplP PtPC^^ e - ver, but for me For e-ver night!_ for e-ver night! mp i Thus lament-ed mp 0'*m 0f 0 Thus lament-ed mp m, ^^ Thus lament-ed mp ^ _^M- ^ Thus lamented 34 ^ m ^ iy ^ ^ » 11229 48 Agitato. ^c^gi mp Trrr ^^ $ m When he is gone His V^l J)JU-P I * —KZZ^ Mar-gar-et, In her cottage lone and drea- ry: i VM J)Jilj)Ji Ji'iO Mar-gar-et, In her cottage lone and drea-r;^ P PPIp P P' s e ^mMar-gar-et , In her cottage lone and drea-ry: rail. - h p pi'f vpip *pMip piiM=i, r 'p., I nfiiJ) da^k! my soul is sad! I suf - fer! 0 my God!_ come,make me ^ ijJJ jjJ^tJ i^i^^ ^ i ^ ^ cresc. rail. dim. I^ ^ m •T+-0-5 Piii tranqnillo. § »f~p ^ii^''it;:r V r ly J i I'^Tr^i' pvn'ii^ glad When he is near, no thoughts of day in-trudej m i r—p;> ^m w^ 777p - 4-^ 'S'- I'p H -p gm p^N 11229 49 ^ 777/ rail. Poco ^pin moto. Day has blue heavens, but Bap - tiste has blue eyes! With-in them m-. H p-j^^^rjT W rail. m^ ^ ^ ^' I'' P Pat=:tt« S : h r IP p^ shines for me a heav'n of love, A heav'n all hap-piness, like s w=^ i *0m* f* cresc. ^SA^0 ^ to= ;?rr i iE ^ ^ p p ^ p 35 ff ^ f^m^^ accel.- cresc. - iM P p-^n-»f'ffMr I'n'iiip 7dP ^pp- no more of las-si-tude! Earth I for-get, and heav'n,and all fdis - p» p-m-p~ ^^ f'l^f jg FP-^Ft " accel. cresc. ^ Si ^ 1122^ 50 cresc. - iJk J p^ \i f p pi r pif-prri f Pop^ tress-es,When seat - ed by my side my hand he press-es-, Butw^hena- JU 0L 0L M. a » •- E m 1 ^m f ^ cresc. nh 0} \\ ff A molto rail. m r 7j)j)ij| ^' ^ - lone,- remember all!. 3^31 J ^ ^ ^; ^ 36^ r^w^o /? * ^ ^f> fcH PP i ju^j i'^Mpp r^ »• -* 7 Thus lament - ed Mar-gar-et, In her cottage lone and drea - ry^. :* _EE_ ¥ iij) J^JJ J)J)|J)Jl J^^g m Thus lament - ed Mar-gar-et, In her cottage lone and drea- ry,^ s ^m. ^ ^ p ppiPP- Thus lament - ed Mar-gar-et, In her cottage lone and drea- ry, Thus. EE ^ ^ rpipjr pp iPP r P i \ Thus lament-ed Mar-gar-et, In her cottage lone and drea-ry, 36 Tempo 19 n 'rn Ip i 1^ IMitrf- .i.fg El pp (s>--tf P i i-i- ^U 11229 51 ^^ jijij i'i'ipp f- pi«r p~p I Thus lament - ed Mar-gar-et, In her cot-tage lone and drea-ry:_ fe ^^ v ^ 0^ 0 * ' #^K #^) 0 •^ ^^ Thus lament - ed Mar-gar-et, In her cot-tage lone and drea-ry:. ^ ^ r ppipp p- p iti^ p"p'' lament - ed Mar-gar-et, In her cot-tage lone and drea-ry: <£>••» P' P P P IP'PP PP IP P^^ fe "^ Thus lament-ed Mar-gar-et, In her cot-tage lone and drea-ry:. ^ 7 7 1 m iU i.ih ipr,= t ^ rr> m ^^ @^r=F=? lU *=£ 37 Piw agitato. tf 1 S MH^ If ^^ ^g i Where is Baptiste? he hears not w^hen I call! 777p - ^ ^^ ^ branch of i vy, dy - - ing on the ground. U f\ r ^i ^ •—&» ^m \S^\\ 777p -—= ^^ ^ ^ ^ 11229 52 poco rit. a tempo ^m jilJj JJJciijj I hJifp I need some bough to twine a-round! In pi-ty M 3P^ i^^m i'^iNnJ^ln^^ y ^ a tempo OCO rit. te'M jr^lr ^^ ^ p m ^ *f«e' I' pvi-rii.jJip pir I'nif r ipi [' f come! be to my suff ring kind! True love, they say, in A M &1 ifi f f yi^pf It: i m ^^^ f m M i^ (^••y P m ^ » cresc. rail. ^ p pr p''ip P P Ppip P'^P ^ f grief doth more a-bound! What then when one is blind? when one is < -rPlPPtPP PPPII J VP Who knows?perhaps I am for- sa - ken! Ah! W: i ''[,fii»fii \ii 41 \UU 11229 53 :> 311==^ dim. A ^1 f' p r i^^\-f p p'^ -j _+JH^— ^ woe is me! then bear me to my grave!. J/n . PP_ ^ Thus lament - ed Mar-garet! PP 0-^ 0^-0 ^ Thus lament-ed Mar-garet! EE r ^ Thus lament - ed Mar-garet! PP ' s I )= ^1 N Thus lamented Mar-garet! m ^ $ ^^ tlir^ T^r pp t m (g'-' 7J j 7J ^^ ^ ^ ^ Molto agitato. r ^ p p- P p g f^ J V ^p r ^^ God! what thoughts with-in me wa ken! A - way! he will re-turn! .'', m \ Molto agitato. ^! 1 i' i is «i » ^/ ^^ ^^ 11229 54 rail. a tempo ^ ITHHH^^ ^^ ^ w . I do but rave! He will re-turn! I need not fear! He J ^ Thus lament-ed JE, Thus lament-ed- V ^^ Thus lament-ed £ : ^ Thus lament-ed ^ W:* i ± ^^W * p f ^ ia tempo ^ dim. rail. W ^ <& m m >• ^ i mpPi^^ tranqnillo IE Mi P P''-'PiP P r pa swore it by our Sa - - viour dear;_ He could not come of his yt r pp yu^r P' pir r > Mar-gar-et, In her cottage lone and drea- - ry: ^ J- J'J J) J)l Jtt ^ Mar-gar-et, In her cottage lone and drea- - ry: f—w ^m^ ^ ^ Mar-gar-et, In her cottage lone and drea- - ry: >s- — ^ • g p-pp pp ^ N Mar-gar-et, In her cottage lone and drea- - ry: A Pin tranquillo. ^m U }^H^^^S tf'T^ m\l [J^ /np «LM 12. 1(riiltp ; & i i 11229 55 ^^Piii moto. . ^) r^pJ vpir pvp'^^Mf p J M39 777/J^^ti;f ^ ^ own Jwill; Is wea - ry, or per-haps is ill! Per-haps his heart,. J^fi - m fc Thus lament - ed EE— Thus 0lament - ed te ^ Thus lament - ed m ^^ * "N Thus lament - ed y^Piu moto^ ^3 ^ t^ « # if ^ cresc. a #* m. ^ iS g^ f ^ tt» \}rf ^^ ^ p p "p- pi-r in this disguise, Prepares for me_ some sweet surprise! / ^ B i^ ^ Mar - gar - et, thus lament - ed Mar - - gar - et, S ^ j)i ^' P Mar - gar- et. thus lament - ed Mar gar - et. iiu r 11- Mar - gar-et, thus lament - ed Mar - - gafmr - et , m #-^ #-^ p J J UJ !M^ ^ ?^ Mar - gar - et, thus lament - ed Mar - - gar et, A EE* s rs *^^ ^p ^ ffJ^f ffi^r toe: ) ;l3^r B?3 ^^ 11229 accel. - - cresc. tempo ^, ,|. i; pT |f.,.f iitf M ^m- But some one comes! Though blind,my heart. can see! And that de- % s # ^ Thus lament-ed Mar - garet. i iU j I i. J)i Thus lament-qd Mar - garet J^J J aJ' J)J^^ Thus lament-ed Mar - garet. ^ J. J)J J ^^ Thus lament-ed Mar - garet. i \-1 f F [f [^ii^- fi ^/ u ^ i 7 ^^ And the ^ N And the Allegro confuoco. rail, molto 11229 57 J, p'p \ \\ \i IP' p r p ip- pp door a-jar is set. And poor, con-fid - ing Mar- gar-et ^ I r • p ^ i> -rr \^hm I. Mizj) e 1^ door a-jar is set. And poor, con-fiding Mar-gar-et •• ptip y iji j F ip^ r" pp ^ door a-jar is set. And poor, con-fid - ing Mar- gar-et to' r p0 0 PP PPl'lp' U 3i "^ door a-jar is set. And poor, con-fiding Mar-gar-et J — dim. PA^ fP > ^ 1 m ¥p^ Rises, with out-stretch'd arms, but sight-less eyes:. 'Tis on-ly ^ Wi ^^ jl vf f I fj )j) J) J^ I j^ ^j')7( ^=^?Ff Rises, with out-stretch'd arms, but sightless eyes: 'Tis on-ly =* ^^ i» ^ dim. ps.^ nr prr if pr f PM < vp p p Rises, with out-stretch'd arms, but sight-less eyes: 'Tis on-ly •^ dim. rwA c)-- pr p r ^ i=£i^ U\ i vp r Rises, with out-stretch'd arms, but sight-less eyes: 'Tis on-ly 11229 58 ^^ i ^ Paul, her brother, who thus cries: A m $ p i^p p V p 3 Paul, her brother, who thus cries: PP ^P P Paul, her brother, who thus cries: A w'f r iK=^^=^ I? a Paul, her brother, who thus cries: 41 Baritone Solo. (Paul.) ^ ^ m s wpip'p p An - ge-la the bride has passed! I sawthewedding- aS ^^m ^ ^ m pp^f*^ ^ p i ^^ "itj)i jtQ j3]] I m\^ ^ m ^i 'k »• ltm>n » 11 PPPP pp • guests go by; Tell me, my sister why were Al ^ ^ ^^ri a §hi ^l H:^ ^'"i^ ^ p Np s '^Jl'. [f]"Jl ^ j^tfJ^J jJJJ^ ' jJ^J^JI 11229 59 ^ li 1+^ • iiA^ ^. Soproopr. Solooio (Margaret.)Kiviars^ar we notaskd!For all are there but you and I!. ''An-ge-la € ^ft^^ ^ li-MI ^I^ s/ g^ « ^ ^ ^ ^ 1 I /77p Agitato. bp^ >r 7y/^1!p{ .p ,IT !> - ^ s ^ m ^^^ mar-ried! and not send to tell her se - cret un - to me!. §= i i!%I S dim. ^ =a= -cr Baritone Solo. (Paul.) p'^r'Tnip j> jsfc^'-pipp^ppr g speak!who may the bridegroom be? "My sister; 'tis Baptiste,thy friend!^!. /(^ Soprano. 42 i^ ^ i ^^mf Alto. fcd, ^ ^rlU'if f Tenor. m^m4- Bass. A w f^Wgg »/ ^_ aces/, f I ^ w^^ ^ ^ m ^^ ^f a 11229 60 Allegro ma non troppo. ^Ch L JJ n^ ^ ^ ^ ^ dim. l^'i r PPiff p p vpi pp r ip< -rjiic p cry the blind girl gave, but nothhig said.. A milk - y dim. p\'\ j^j'j'i J' J) J ^jii jij) ^^ cry. the blind girl gave, but nothing said.. A milk - y dim. n.jf^r ppi^p p r ''PI pp i ^JilC cry_ the blind girl gave, but nothing said._ A milk - y dim. //A pft'i r "ppLp ^^## f 1^ \,i i cry the blind girl gave, but nothing said.- A milk - y Allegro ma non troppo. ff..-,.rifff^£f^M yz m t ^ * ^^ i ff , ^/ NiB itaii 5r^ i iL ^.^'i>r J'^i4^ J'lp p r' ^r "^p '^^''^ -^^ white-ness spreads up - on her cheeks;. An i - cy hand, as i^)h J J) 7 It J) ^^ ^^ white-ness spreads up - on her cheeks; An ^ liU P^P PT^ ^^ white-ness spreads up - on her cheeks; An 11229 61 dim. - poco - a ^ poco \lAHhf -^pi^r p ^j^ifpf-- 7pi^ppii.^^ hea-vy as lead, De-scending as her brother speaks Up- on her heart, that has c?/m. - poco - a - poco - f^ s - cy hand de - scend - - ing Up - o)n her dim. - i)oco a - poco -. Pi i9 m cy hand de - scend ing Up - on. her ^ N P^y ^\j fcbdBia \M\ l\l 1)\\- '1\1)\ ^ ceasd tobeat, Sus-pends a-while its life. and heat. She ^ • 7 0^ 0* \ rJ ^3 M^E ir—fif^i^ ' 0- -^^^ heart,_ Sus - p ends a-while its life and heat. She 11229 63 y 43 %[i f ^ TTTT' V Jl stands be-side the boy, now sore dis - tressed; A wax Ma • J) J) j) ^ te s ^ stands be-side the boy, now sore dis - tressed; A wax Ma • ^T^l P P 1^ pi f^pP 11= 1 stands be-side the boy, now sore dis - tressed; A wax Ma- ejr. r FP P i PPiT .^iT I stands be-side the boy, now sore dis - tressd; A wax Ma- '^p r "^p p -don-na as a pCcis - ant dress'd. don-na as a peas - ant dress'd. % ^ -don-na as a peas - ant dress'd. te^f P-.P p fe -don-na as a peas - ant dress'd. 11229 63 Allegro moderato. 44 5^ BiJ ^ 5 ^N m f ^ f P ^r^5(?. - / U^-^ fei J, ^ 1^ p ¥ 0 0 tr • f ^f-rt# 0 r . 0 ^ ^ m m ^ w ^rt -JLi! fi ^ $t ;^^ * 1* i f f b3 ixzi: ftjff iiMi 1^ ^^ m w ^?« m S ^^^ A ^ m 11229 64 Allegro. Baritone Solo. (Paul.) ^iii^y P .|H^P P iPs^fegs Hark! the joy-ous airs are ringing! Si-ster dost thou hear them singing? utriM=st > Hark! Hark! fe± s? ^ ^ Hark! Hark! o 1*^ W S Hark! Hark! o to'-fti^? e^ ^ ^ Hark! Hark! 45 Allegro. J = J. preceding movement. ifor-t>j 7 H ff p 11^ f^ p I /M p IF r ^j Howmer-ri-ly they laugh and jest! Would we were bid-den with the Im^ 4^ #= ^ w<^ \ U329 65 m^ p I rest! U=^, <^ ^p p pp p Ip p r hp p p ipp- P' PijL^ I Howmer-ri-ly they laugh and jest! Would we were bidden with the rest! y/J) 7i JiJi J)I J) /j] hJi/lUJiji. Jl ilJ i Howmer-ri-ly they laugh and jest! Would we were bidden with the rest! gi^/pPP^plp-p f lyHMfp-p- plf ^ Howmer-ri-ly they laugh and jest! Would we were bidden with the rest! A a'%"/pfpppi^p ^ hHriTp-^^ Howmer-ri-ly they laugh and jest! Would we were bidden with the rest! #• a# |rf,U^p*^ ^r^ •yil \ fr i M ^ / yL ^^ ^ 7 17 fe(^ n V i ^^^^¥g 1 Baritone Solo. (Paul.) I would don my hose of home-spun gray,. ^ •> r r S,- m •=¥ I 5/ (g'-# I f t=l * i ir to-^i,irK ^ |iy p MFipp^p- iipiT i And my doub-let of lin-en, striped and gay; U229 66 p p p p ^m P'rhaps they will come-, for they do not wed Till to - iifTTTT] mm ^S:J J t|J •^ mp te- ^g i ^ ^^ i^ ^ ^ # ^ to--tfji*> ^F t^ f P p I f i|p p 1^ ^^ ^ morrow at seven 0 - clock, it is saidlL g.¥i|i'[jj :j^ i^ ^UJUr ^^ ^ i St cresc. it &f i H ti Soprano Solo. (Margaret.) mf l^ i ^ P I P' I'P >IP ^P Pl^pp l''pPP P 4-6 '^I know it!" Paul be not sad! 'Tis a ho-li-day-, To-morrow put t=m % p n- pip~c; hPpp'tijtij. on thy doub-let gay! But leave me now for awhile a - lonel'L K ^ ^p / ^ ^E^ ® 11229 67 47 ^Ji^^ ^ Ffefc Tenor. ]i^ '' }> ii¥^11^ppip ^p^j^|j)j) p p p A- - way, with a hop and a jump,w^entPaul,And,as he whistled a Bass. ^ ^p |i¥MipMt^|f r7^ffipp p^ \ way, with a hop and a jump,went Paul, And, as he whistled a :5=a: i iza^ttt* m PSf^B ^ « ^ 1^ >> :|^ ;,¥p^p ip-p^^ :2i ^ long the hall En-tered Jane, the crippled crone.. A to-ttJ P A y-^f \fnp-\ffr-^~r[^f: .i N -long the hall, En-tered Jane, the crippled crone.. ¥ ."f gill ^ t ^ ^^P II ^ ^^g ^ IE 5- ^ 11229 ^^ Soprano, weary, and out of breath! But thou art cold, art chill as death ^ 0 0^ ^ E V weary, and out ^of breath! But thou f art cold, art chill as death; fcS ?:# 1t^r^ fttf .fltlfftTi^ § ^ fe ^S s fr « fF#**=s ^m»Ji le tf ¥~f i s^ i^ **^ w^ or^ 11229 69 M p vPPPnTJTTr ^pp ifp'Pp. ;J^^pi> r p^i And as I listened to their song, I thought my turn woulould come ere longlone:.. Thou knowest it is at Whitsuntide. A A ^ S mttft $ *r-r A tE/'f (£)--Vtf U Ii ^ msat 0 6 appassionato *A ^ p-pp Pir J' s i Thy cards forsooth can nev - er lie, To me such S 8 § V ^^a [Hi I jjtj j Mfljn^ j to»A .."f F f P f i i r vfT«[£j.| 4t-f ^^ j ^, »ii»» W7ir ^p VI vj' p-pp III J- J'I r ^^ When they behold him, when they behold him at my side. i^ gv'iif 1 n fe ^f =1rit. P: ^ I p^ -^•^ ^•'c^ ^ 11229 70 Poco meno mosso. mp ril i ':p\' If 0 * r f- pir < m And poor Baptiste, what say-est thou? It must seem long to m ^S 33-^^1 J- 77 zr ¥• TT to'-ttji 1^ =§= \ rail. BO Andante con moto. ^ -e^ m •" ^i p I f • p p p 3: ^^ him, me-thinks I see him nowl". J/ck hik Soprano. m p'^ip pr ^p Jane,_ shuddering, her Alto. aB J _ _ J)7 I ft tl/' J^^ r Jane, shuddering, her ra//. 50 Andante con moto. 5 ^B jl ^m f«- ^waP m p ^ '"/ (!!};--ft| n m ^m W 9-^ ^•"ii "piij'77^ EfcE£ Me-thinks I see him now! /, m *H' p^p P hand doth press. Thy love I cannot all ap - prove-, We J J) 7 J S ^W ^ ^m ^^ "^ hand doth press. Thy love I cannot all ap - prove-, We 11229 71 p /r cresc. f^:==^ dim. -i JM—s-^ ,— f'd^d ^ ^ p IP ^p p p must not trust too much to hap-pi-ness; Go, pray to God that thou mayst cresc. dim. ^^ s5 ^ -4- -4- -4- ^^m t musLUstt no t trust too much to hap-pi-ness; Go, pray to God that thou mayst if: ^ mm 'TJll.fm. l-Li m cresc. f dim. - _ ^s ^ m m ^P fHif-^^f accel. !?L ^ j 7p J. ,piT r r ^ i "The more I pray, the more I love! /f * r p-'ip ^^ love him less! Go, pray, g:Or- pray to pA love him less! pray, i:o^- pi^ay to accel. i, ftf #tfff |f# r^^ e I 1 I i i i .^ mr^ ^^ ^^ m m m rail. ^cresc. ff 51 a tempo pn^^pf^ is 0 q# 3E:* It is no sin, for God. .is on my Pi^^side!!l_ ^ 11229 11229 73 ^ . a cold; I But to de-cei M But to de-ceive the bel - dime old She m m ^H-0-s E £ ^ 0' #. But to de-ceive,to deceive the bel-dame old She takes p^ip p' p mm But to de-ceive the bel- dame old She :z2 ^m ^ cold; But to de - ceive. the bel-dame old She 9-^ 1=^ p ^ mp te k ms # ^ *il"!4* J'-JU- Ji|J,Jip'pMJ>-JtJ Jl J'L/. Jip -IB takes a sweet con tent-ed air, Speaks of foul weather, and of fair. At A Mm ^^^^5 0' 0 fwu i> i>\j>i^ i a sweet con lent-ed'air, Speaks of foul weather, and of fair, === A: * r p P P ^ p-p r p pip p: takes a sweet con - tent - ed air, Speaks of foul w^eather, and of fair, ^ (£)--tftt r Pf ipjp p Pie in N takes a sw^eet con - tent - ed air, Speaks of foul weather, and of fair, lA ^ ^* ^iNfA cresc. e p I r... p I ry word the maid smiles!_ Thus the be f^-.V'j- i'ln At ev' ry word the maid en smiles! Thus, thup^s th#e be - cresc. PiprM. pir i^—ft n cT Att ev'- ry word the maid - en smiles! Thus, thus the be - cresc^ mh -^^p f p pp p- p ^r iT ^r'^ At ev' - ry word. the maid - en smiles! Thus the be- *fmi ^ 11229 74 poco accel. cresc. ^ P4F m ^ ^m ^m -guil - er she be - guiles; So that, de-part-ing aIt ev - nin^s ^ ^) 7 itt^r'^'J^ y\\\n i' i'l J J 81 lH^-^5^ 0- ^ ginl- er ^^^ ^^ - g^^les;. So that, de-part - ing at ev-nings cresc. « ff p Pir-f^r i • guil - er >hshee bbee -- guilguiles,e - So that, 1de-par t - ing at iev-ning' s cresc. tli9- •#• p »-e ; • ijnc ^ ^ r p Pir P P% ^ Mm • guil-er she be - guiles^Sothat, de - part - ing at ev - ning^s close. She I poco accehz- . -^^ cresc. i^# U Wm a tempo yr M «kn # . , ^ m f m 0—0- i close. She says"She may be sav'd! she She nothing knows!" M^ ^ 'tlJ^^ * i ^5 ^ i close, ''She may be sav'd! she no - thing knows I M s ^ ± i close, ''She may be sav'd! she no - thing knows!" fh ' A ^* H S Q # —&• TN sayS) "She may be sav'd! she no - thing knows 1'^ a tempo 11229 75 M cresc. m 'f g P'P^l^f^ cun - ning sor-cer-ess!_ Now that thouwould'st, thou art no -—— • —I cresc. *ml f i i m 0 ' d cun - nmg sor- cer-ess! Now that thouwould'st, thou art no cresc. ^^||»' |H|»|i:[^-^' njj' f^ cun - ning sor- -cer-ess! Now that thouwould'st, thou art no r—="^— ,cresc.fresc. ^8E i2_ Ff-f-fi TN cun - ning sor-cer-ess! Now that thou would'st, thou art no A ft^^ t^^ .^frg ^,v»fFfrjtt=,^4;. I /f ^ Wtt i ^p tf 4 te t —^ I fii'M-pp -^plT s prophetess! This morn - - ing, the ful - ness of thy L m A A I i prophetess! This morn - ing, this morn thy mg, m _ZJL M 0 0 ^^ ^g prophetess! This morn-ing, this morn- -ing, in 11229 76 poco rail. dim. ^ m J ^h\\f IrP Pliip F heart. Thou wast so, thou w^ast so. far be-yond thii M dim. mp m ^ ^^ % ^i heart. Thou wast so, thou, wast ISO. far be - yond thine dim. mp 0 0 ^=z P g=z fJ 0. U^ ^ ^ 0 0 i heart, Thou wast so, thou w^ast so, far be - yond thine dim.^ ^^ i •s- heart, Thou w^ast so, thou wast so, far be - yond thine A poco rail. ^a temi)o ^ Vf^j^mi -'o--% \}} 11229 EndofPart n. 77 PART III. Allegro. 11229 78 Soprano. .jnt . cresc. fei ^ Ff^ ^ Now rings the bell, nine times re - ver- ber-at - ing, And the white ^Alto. cresc. U) ^ SI [) I J). Jl j) jM J^ Now rings the bell^nine times re - ver -ber-at - ing. And the white rTenor. cresc. Now^ rings the bell nine times re - ver- ber-at - ing. And the white mf Bass. cresc. •-\^ wr—jir^ f p -'ittf p p ip-p p p I p-i Now rings the bell,_ _ nmee times re - ver-ber-at -ing- ine:., And ththee white * ^ ± i Ttf Bell. ^ if^*^ W fc ^ ^^ P "\^''' ' day-break steal-ing up the sky, Sees in two cot-tag-es two maidens IV i I J' J' ^ ^ #'H• tf^I # S ^^ day-brearln-ir Viroolkr c+aasteal-inl imrgr ^^•r\up thfVieO sky, Sees in two cot-tag-es two maidens A pip p p'pii ^ I day - break steal-ing up the sky, Sees in twWOo cot-tag-ecot-ta s two maidens A ^ i —0— w ^m p .p p I p .p r ^ day-break steal-ing up the sky, Sees in two cot-t'ag-es two maidenms !es ih two cot-tag-ej ^ ± i i * i ^ 2^ Co;2 anima. m E ^ I wait-ing, How diff' - rent - ly! Oueen 6f 4ay, by -mt •-^ ^M—H# ^^ mg' ^. .'^w^ij#' 0 . ill Queen of a day, wait-ing, How diff- rent - ly! bj ^ ^ wait-ing. How didiffl - rent - ly! ^ ^ fe •0 0- wait- ing. How dif^ f - rent - ly! 2 Con anima. 11229 Soprano. j, p p »p p flat - ter-ers car-ess'd, ThMZ-'T^ple one puts on her crosfs and MF^crown. Decks with^ a Q AltoAlio. , • :^ -^/ s k i ^ L A i: ilHl1:Ji ^ IT ter-erJ' s i'car-ess' j'd Tlie ^^^ ^^^^ on her cross and crown, Decks with a flat - ter-ers car A 0 «- f^fi^f * 1^^ # ^ E^ I I IS^hug ^e bouquej pt her^ breast,_ Aiid flaunting, flutt'ring up and down, '^ huge bouquet he A, -i5- ^^^ i^ * J 'AJ 0 ' 0 huge bouquet her breastT nd flaunting, flutt'rmg up and down, I m m ± i m ^1 3^ ^ m Looks at her-self and cannot rest.— ^5 0^H 0 0^-0 Looks at her-selr^f and cannot rest— nY. - - - ^SSi / ^dim. - ~^- ^ .partpa'rt,, TliaThalt in a drawer^s re - cess doth lie. And,'neath her bodice ^f bright (rjii P 1,^ P t0^ P P P 'IPIPP'P P N -part, That in a drawer's re - cess doth lie,. . And, 'neath her bodice of bright li\) ^ M J -^^lflJ)J ^5 scar -'let dye, Con-'vulsive ^blasps ^ 10* 0' it to her heart. <^'- f <^p ir ^^^ JN scar - let dye, Con - vulsive clasps ^it tpo her heart. poco rit. ^ ^a tempo ^ 0 1 M i t i m 4 to- |J^ 1I i P *( j^ Soprano. j^^t^Con mima. ' Mf iritr i I^ I The one, fan-tas-tic, light as air, 'Mid Alto. 11229 81 |?'r r iff ^ ICZIZIII kiss-es ringing, And joy-ous singing41, For-get1 s tou'JT^'. say w, ig, For-gets to say her morn-ing |j jij'j i'l^j^ kiss-es ringing, And joy-ous singingring,. p^^.^JTT.-.. _-lT^- J«9^^l' ] ._^^^j^^_ ...^ . morn-ing ^ i ( i I nt. to^Fvj =6- Un poco meno mosso. prayrl 'nravV'prayr"f! Tenor. x^ ^"^- K ^ -^^'IPP P ^^ ^s The o-ther wdth cold_ drops up-on her brow Joins her two Bass. to' 1 •."^nll^r 1?| P- Fip- [5; ^#» N The o-ther with cold drops up-on her brow Joins her two Un pnrnmmn mnsso. hands, and kneels up on the floor. And whispers as her brother opes the 'JL ' M hfh ^j I r ') Ip p ^p P1^ * ^ hands, and kneels upon the floor, And whispers as her brother opes the 3. 4 Hitli JJ^ i P ^ P ^ ^ U329 G 82 now! God, for - give me now! O God,_ :^ dim. W 0 t 322 -0-^ 0s ^0 0 -0 m now! O God, for - give me now! O God, for- dim., J) J) J) J) IJ I m mnow! O God, forgive me now! God, for- dim. <&>) \i ^ ^ -#-=- »^ now! 0 God, for - give me now! God, for- rail. - - poco poco 11229 83 poco rit. a tempo y EEL ppp plr"^p^ forgive me now!'!. i rf f ^ give me nowF*" m # 0- ^ -give me now!' ^ ^ \ -give me nowi'l- poco rit. fl f^m/>^ ^^n; P ^B •4 0- 1 » ^ tw • 77/ pp —= mf m r^ 'im'i * r: :i bP ^ 6 Co« anima. ^'1> 7 J) J^' J) ^ ^m i And then the or-phan, young and blind, Con- 9^ s ^ 7 h $ ^m The or-phan. Con- ^ E^ i^ ^ ^;)iit>v p- p Ip r I^ And then the or-phan, young and blind, Con- ^ m^ Co?i anima. MM (i wm te m m m mf -r^r,—A- Jtzat 1 1=^ s ^ w o 11229 84 cresc. J)|P '^P =fe ^^p^ J li j)^ - duct-ed byher bro-thers hand, Towards the church, through paths un- ^ cresc. - - _ - ii>.. J) J) ff ji I J. •> Jl ^ *=l* i -ducted byher bro-thers hand, Towards the church, through paths un- • cresc. - - I-^ m p p w I'fpm 0 0. T^ . ducted byher bro - ther's hand, Towards the church, through paths un- cresc. - - 1^^- mm r pip p ^^ Towards the church, through paths un- nttf ^ ^^I'l'f f m ^ fr; fip gI [}jr; t cresc. - k A #. rt j_^ p^ ^ FP^V J'11' scannd With tran - - quil air. her way doth wind. ^ii- r .,i) 0 d scannd With tran - quil air her way doth wind. A "/=. ^>'ih'~pp P p ip- PIP lr Ip i m scann'd With tran-quil air her way doth wind. O - dours of ^^ I r i r ri? • scannd With tran- quil air her way doth wind. 0 - dours of r± ^f I £ ± ^±)k^ ^m I m i m^ ^ i /-J ^^ sa h Jfi-i!: I ri i # 11229 85 ^ p pip r MP ppiP' PIr~p O - dours of lau-rel, mak - ing her faint and pale,_ J ij Jl E te i mak - - - mg her pale,. ^ ^^ lau - rel, mak . ing her pale,. # ft. w i=^ ^^ ing her pale,_ cresc. - WiE=y yipip' fl' |P p^p-^pip Tpi pppp Round her at times ex - hale, And in the sky as yet no sunny cresc. - - ~ /' L . dim. - ^.^'IM JiJilQJ.JIJ: M *='=^ bJ- -ifr Round her at times ex - hale, And in the sky no sun - ny cresc. - _ "- / dim. - - - ^^g SE3 pir ^p IP '^[^^ ex - hale,. And in the sky as yet no cresc. dim. - M / m ppipjc'riy p^^^ Round her at times ex - hale, And in the sky. no 7E% I ^ I>H1 • ^^rn sbtt i ^ I P iffl ^£ / dim. ^ ^^ J ii fei Wi i ^ 3 P P U229 86 ray, But bru - mal va- pours gray. iL W J ^ J) 0* I 0 # J ^ a J) ray, But bru - mal va - pours gray.. Near that cas-tie ^^ ^ ray, But bru - mmal va - pours gray.. f# r ^' p hr p I cJ ray, But bru - mal va - pours gray. ^. ^ ^^^^^^^^^^— •—'~~~~~^ """"^ ffi m w m m Mft CSTE mp ?ff If ^ M M If p' '^ m ^ p ^)^ii'p- fliO'-ip pp ip p ^Tpj'j'i^^ Crowd-ed with sculptures old in ev - ry part, 11229 87 ;77/- pr^ P J)ip p'^fp^ppip vPhp ppiP' 'p Mar-vels of na - ture and of art. And proud of its nsune of jt *? j) I J =^ ^ And proud of its name of |, b'i>^j ^ I p p i|j) I p J) Jl I f V p I r p^ Mar - vels of na - ture and art. And proud of its name of ^ r p^pip ppir-TQi^s ss Mar - vels of na - ture and art, And proud of its name of A -9- ip ^m m w m iin. an p:m ^te p I 11229 88 ^^fe All glo-rious that it Iif ts a ^ fc±^ ^^ i' i'V'O ^M ^ ^i)Li)i) J)J'N- bJ^ base of the rock is builded therei All glorious that it lifts a- g,^''ii-v pPi' pipippTp-^i 11 -.pip r"ip ^ base of the rock is builded there: All glo - rious that it 0 0 _ ^5 & All glo - rious that it ^/ § ^'i> p '^p I r ^^ 0—m 1 ^^ P iPr -^ loof, A-bove each jealous cot-tage roof, Its sa - cred summit, i P'\)> JjJ IliJ. J^ 0' 0 ^m m - loof, A - bove each jealous cot - tage roof, Its sa - cred summit, i^>fjf ir p \h' I'r plf ^p m lifts A - bove each jealous cot - tage roof, ItItss sa - cred summit, W0— ^^Wp- pip- pi'M-^f^-p, si m lifts A- bove each jealous cot - tage roof, Its sa - cred summit, "A fe iJ- =E^ hm m ^ / «g# ^j mI mI 'ii # ^m 11229 89 accel. cresc. 1^ p- ppP ip^ppiTpif pviF'^prr f^f^^ swept by autumn gales Audits blacken'd steeple, high in air, Round which the cresc. - L .:::=- > accel. IA> } ppp'ifvJ'J^kn'ib.LJi>N;jiif hJi'Tl swept by autumn gales Audits blacken'd steeple, high in air. Round which the cresc. ^ J^ \>t e .w 7"^:^-^' '" w irP' PPP ir7pprf-f,rphif^crf^^ swept by autumn gales Audits blacken'd steeple, high in air. Round which the accel. cresc. jT uii'rrrf I * rf accel. - # m ^ ^ f te f ^p I fTp. j w OS-prey shrieks and sails P\>p , ll^' ^ OS-prepiy shriekT s anM"Md sails. f g^g!l^> ijr r I tip PIT I P W OS-prey shrieks and sails b#E>f- fIt-- t>big^'i ^ ^i>- ^ S 5^ 1 N OS-prey shrieks and sails. accel. ass to i * en I i i '^ #. £i ® S i ^ * i 11229 90 Moderato. Soprano Solo. (Margaret.) iMi(\' 4i Jipip pi'ppJvpiT^pi vppi f 'hi<^ '^PaulPaul, laytnlay thy noi-sy rat-tie by! Where are we? we as - cend!!L! Molto moderato. Baritone Solo. (Paul.) Yes; seest thou not our jour - ney's end? Hear'st not the os-prey from the m{"^}' '-^ §^ -^ J2 ::^ j> A A mf fmm W ^ S m m W: 0 0 0 O ^^i V ^ s 1 p p .\ |Hr s^^fT\t F^f r^ bel - fry cry? The hideous bird. That brings ill - luck, we know! fa-ther said, The night we w^atch'd be-side his bed^ "0 daugh-ter, lam h a * * ^^ ^- I rit. m i W poco I mp ^5 mp ^ * ^'•i\> i m -^- 11229 dim. e - rail. 91 pp. 4^"--« r p p ,p| p- p p .,.| 1'--^ ^ weak and low;: Take care of Paul; I feel that mI am dy - ing!" And * i» s «==¥ dim. \e - [rail. ^ &^ t i -' -o- i S^ -e- w W^ vs to'iir .p p .,p lOp p-p thou, and he, and I, all fell to cry ing? n u-j J- ^ T- ^^ f: M IBTE u -e- Un poco pill mosso. rail. t ^••^^ PJ p' p IP p p- Pp "PI 1^ M P^ Then on the roof the os-prey scream'd a-loud: And here they brought our fa-ther 3; ':Tii•0- pf t mf m dim. ^ ^^ ^ Agitato. ^ ^ p' f n ^ i I in his shroud. There is his grave; there stands the cross we set: piu Agitato, cresq^ i.^,».f p p p-»ppijf r«ir rlrVNi Why dost thou clasp me so, dear Mar - gar - et? Come in! The t ^^ a tempo .p ^/ cresc. ^ -=^e= m w ^^ 11229 92 Molto agitato. rail. ^ P p p p r V Pj'^^'Fpt^ iPP'p-pf tfi bride will be here soon! Thou tremblest! 0 my God thou'rt going to swoon!_ /IQ fc^ Soprano . LLS A Alto. ^^^atat « i She Tenor. mp »V p *Am w She Bass. /77p o ^ ^ M N She rail. ffl A (ifc^ ^m ^^: ^ 1^ ^ rg^r [^ • y m i M0 :^ tt Andante. 12 m^l^ ^ ^ S^ " ^ ^P P '^ ^T^S ^ ±=Z3fc She could no more, the blind girl, weak and wea-ry! A voici e seemd ^ ^ hjjj ^> ^J I i]J *^ could no more, the blinFd girl, wea-ry! Avoice seem'd ^ p p p' pip •Esf could no more, the blindgirl,weak and wea-ry! A voice seem'd ^^ 4 4 ^^ could no more, the blind girl, wea-ry! A voice seem'd 12 Andante. k E#rffe i :E« P^#^ w P ^ ^ "'P ^^ * pi$ ^ 11229 93 /^ tf*' P p^J) J^hJ J |J J ^ p p rTPi?i^J) I cry-ing from that grave so dreary. Whatwouldstthoudo, my daughter? tf i^fe H ^5 j j ^ I J J'^ d> JjJ'^^ cry-ing fromthat grave so dreary, What wouldstthou do, my daughter? 1^^ ^'" r p^j0^) J0')I g J y ^ I'lp p -p"pip?pp F^ cry-ing fromthat grave so dreary, Whatwouldstthoudo, my daughter? t)%<* P P7J1;] J J ^ i »r p p p ip^p p cry-ing fromthat grave so dreary, What wouldstthou do, my daughter? f^ ^ ^^ ^ @#=^ ii ^ 1=2 tfFI ^ ^ I «* |¥f P PrTPa^J'J vh r'ppifp^^ iMMip whatw^ouldstthou do, my daughter? " and she started, Andquickre- j& ;77/, whatwouldst thou do, my daughter? ^ ^ and she started, Andquickre- 777/ I" r p pNfoppp '' i^^iM?if g"' i^-'pyf what wouldstthou do, my daughter? ^' and she started, And quick re- A 777/^ --¥ p p p np^ip p P V I M I' I' I r Pw -+'i^'^ whatwouldstthoudo, mydaughter?" and she started. Andquickre- tf= > ni.;rr^ir\fU^lup i if ^ E^ ^ « 11229 94 dim. ^3 Animato. :tf f r pvvJ)iy^p^ fe i ^m coild a - ghast, faint-hearted; But Paul, im- dim. - ^ - - ^ tf izr $ '»" jJ)''''J>IJ>J I J jAi 0' 0 0^ coild a - ghast, faint-hearted; ButPaul,im- dim. mt . :tf ^ r Jj77Pirlviir I lip pv^ 0'0t 0£ 0^J2: coil'd a - ghast, faint - hearted; But Paul, im- dim. ml_ to#iij>7Tir p7r I r p7^ ^1]^ ^p p ^p coild a - ghast, faint - hearted; ButPaul, im- J3 Animato. tf ps^ * ^ ^ ¥ ji^ tt dm. pp *:* ^^; u ^^ # • r u •TET T r : t:rr,rrHM!p,4fF,ffr.fir,rfr«ff!tt ^ j,IiiF*-UU i cresc. M pm It w 11229 95 mf cresc. IJ il JI ^ 7p| p 7 J) I) pi Vj J) ^ steps towards the o - pen door; Andwhen,beneathher feet, theun- mf :^ cresc. - ^ pif^^^^7 J) ^J ) Pn l^J ^ steps towards the o . pen door; Andwhen,beneathher feet, theun- mf ^ <^^^^^- - gg= ^^ MH p Ip-^^ steps towards the o - pen door; And when^beneathher cresc. - ^ M^ t^i* g^feN steps towards the o - pen door; when^beneathher poco - a - poco K ^ ir r' PIr r t^ ^ hap - py maid, Crushes the lau-rel near the house un- poco -a - poco - t J. J" J i J' j'l ^^ hap - py maid. Crushes the lau-rel near the house im- poco - p p IP H ^^ feet, the un-hap-py maid. Crush - es the lau-rel, the poco ^ a - poco - s f-~n^^ P P vP feet, the un-hap-py maid. Crush es the lau-rel, the 11229 96 accel. - poco ^ U P P^P piP ^Pp Pip-p r IP P P p P mor- tal. And with her head, as Paul talks on a-gain. Touch-es the crown of accel. - poco -^ * - a^ ^) T j) i> J)"j)i j" v})>rj)|]:J) J \ii'T=i^> mor-tal. And with her head, as Paul talks on a-gain. Touch-es the crown of accel. - - poco - - a - ^^ r p''ip P lau - rel. And with her head, Touch - es the accel. - - - - poco a (ry/Jir P P P P ir ,p p p ip-p p IP p p ^ lau - rel. And with her head, as Paul talks on a-gain, Touch-es the crown of poco p-pp- p IP p^p-plp p p I p pa fi-li-grane Sus-pend-ed from the low. arch'd por-tal, poco Jhl. J)| J JivJl il j ^ 1 m fi-li-grane Sus-pend-ed from the low - arch'd por-tal. ) p-pp- pip pgj^ S m fi-ii-grane Sus-pend-ed from the low- arch'd por-tal, - poco 11229 97 14 ^ tempo %iU- piiOMrp- Plf lip 1^-=- No more re - strain'd, no more a - fraid. She walks, as for a #^ ^ ^^ :^ ^ sM f p- ^'ir rif p s ^ No more re - strain'd, no more a - fraid. She walks,. as for a ^,^r p- pir PMP p- p f^mi No more re - strain'd, no more a - fraid. She walks, as for a ff^ k «i m fe I^FiTrrif f ^ No more re - strain'd, no more a - fraid. She walks,. as for a A A a tempo ;?r ^g a #i?it iE -0^ w n «i-. b* ^£ ^ ^ m ^ m * ^ dim. K ^pip •'PPP fEfe^ e^ feast ar-rayd, And in the an-cient cha-pels som - bre night They dim. - ^ MJ J M i i , , i i ' g feast ar-rayd, And in the an-cient cha - pels som- bre night They dim. - - - - ppip r "PP •e^ ^m feast ar-rayd, And in the cha pels som - bre night They dim. 0: Hm—0 iqMf= m i m Pn¥ r feast ar - rayci,And in the an-cient cha - pels som- bre night They M ^5p IE I mf: U229 H 98 15 ^ gE ^^^ iE^ both are lost to sight. ^m p^ ^^ both are lost to sight.. ^^ ^ izz» ^^ both are lost to sight. toL'f^ SP ^ both are lost to sight.. 15 m 13 ff^miiiiTffl ^'tonRrr F^ sw *-# tt »/• ly^ m ^g Sfp ^W Ift^ ^i ^E^e W 1 rt s •FiiJ^j|iJiifl *tA* ater'^^'"'•WP' ^ 1*4 f4^ 4 «^ EE II S «5lEES|ijIiS'itfatf i jw^p 11S29 99 rail. 16 Allegro. m ^ '-'J)ji WM ^ ffjjlpvp n Atlengththe bell, With booming sound,— Sends forth,resoundmg round,Its hymeneal rrall. §^* ^TJI /ll>rirp- J) J s p^pr s-^i p pp Atlengththe bell, With booming sound, Sends forth, resoundmg round,Its hymeneal .rail. I i ^^ ^'j)j#' #'i• jripIP"'^ "^ - i)J 0- s Atlengththe bell, With booming sound,— Sends forth,resoundmg round, frail.rail. .. , _ 0' _ m .-r—^ rk m to--t» Atlengthth/pp- epibi'i bell,Withboominr pp rg soundII- , Sendws forth,resoundhig round, Atlengththe Alles^ro.bell.Withboomin g sound, Ser A tf^*Sl 16 f^ tf#7f- ^ tr-etf-f t Ff I ^F P »:« i I « I \ ra/^. - / ^ n jhjf jf Ijfiflji^ i WW ^ r -'P p p •'' p I ri # peal oerrock and down the dell. It is I i' J 7J) J) J> Jl ^ ^^ peal oerrockanddownthe dell. It is ^ppPLflp ^ppiJ ) il JJ i Its hymeneal peal, o'er roick and down the dell. It is r-f^ m iPP^CflP^PP p p ^ Itshymeneal peal, o'er rock and down the dell. It is 1fe^1 M P 1E I ^ fe^--^l> JJJJ^P } ro ^ 100 r^ ^ r ^ cj (^ ^ r broad, day. With sun-shine and with rain; And 3?2Z iE fe «=CE^^¥ 5 broad. day. With sun - shine and rain; And yet. m m r i J HJlP -'H' broad. day, With sun - shine and rain; And yet. s r ftff if - S broad day,. With sun-shine and with rain; bffl^fF^ p^^ i mm B ^ ^ sfczb i b5 *# 5 P- pl'^-^^CJ p p ''pip- jw^rjip- p^p crirpp S yet the guests de - lay not long, For soon £irrives the bri - daltrain,And with it brings the k ^ 00 2M=:t2: j^Ql "^p I ^' ^^ J» ^jlk^j'lj . 0— O —0- i — the guests de - lay not long, For soon arrives the bri-dal train,And with it rpbp ,. pI gipfi^pp ^pIp- i>p#• pigjfgpp p I(^ [^ the guests de - lay not long, For soon arrives the bri-dal train,And with it 5 ^ ^ p^pip- pp p iT yr For soon arrives the bri - daltrain,And with it 11229 101 vil - lage throng. i ^' r ^' i .iJ -^ ^ brings the vil-lage throng.. ^m.brings the vil-lag e throng. X£^-LI> T' ^ brings the vil-lage throng. In sooth, de-ceit mak-eth no mor-tal gay, For Basses A ^m ^^ fe^ In sooth, fde-cei t mak-eth no mor-tal gay, Foi? 17 ^^^A ^ ^. A ^ l> P£ r :;^«z z i P ^ lo!. Baptist^ e on this tri-umph-ant day,. .— A Wf m r pfr PiT ^ lo! Baptiste on this tri-umph-ant day,. ; tffjiFff-^^ 4 i^in * -^f ^Tu}l T*^1 f "^^M .2'M2:w '^ . A ^ s -9 -0- $ mm 11229 103 ^ i \r p 0 P E I Mute as Ian id - iot, sad as yes - ter - inorn-ing, ^^ ippi f r ^JLip riT f , Mute as an id - iot, sad as yes - ter - morn-ing, a If i>>f f "^^ ^^ g ^ m FJ^^ ^^^^^pS7 S P M Hf ^f JjjJ'l ^ i tjJ- (tJ)| ^f J S I Thinks oon-ln - lyy of the bel-dame's words of wsirn - ing. (Ti^ • t I ^ ^r ptip IV r lip- 8p I f r ^ Thinks on - ly of the bel-dame'swords of warn - ing. M^.i^r, .,.tt>i>Hf#0 . J^ ^4 n*^i. t ^U i S p-pp' P ^ be a bride is all! The pret-ty lis - per Feels hef heart swell to tf mf I _ 11 L ' P p p I r itf ^p I I The pret-ty lis - per Feels her heart swell to y ?-j \-^ #-:^ # ^ 1^1 ^^ II fTTI te ^1i>Qli ^ tf S 11229 103 M dim. f f D#-5#f l| - ^ E m hear all round her whis - per, How beau- ti-ful, how beau- ti-ful she But she must calm that giddy head. For al-ready the Mass is Basses cresc. - m^ Tpp pk^p-ppp- ir ippippp ^ But she must calm that giddy head, For al - ready the Mass is te dim. - - rit. - J= ^V^ 7 - E ^# 122 i m At the ho - ly^. ta ble ., stands 1h e priest;_ dim, n - ^ ^^^- - I - 4''"r '^'p S m said; At the ho - ly ta ttf 111".^ ^ said^; - Aut dim. the priest^ 11229 104 20 Tranquillo. S ^j IJ J I The wedding ring is bless d; f=F^=- 0 \ 0 0 ^ 0~t—r. i The wedding ring is bless'd; ^^ i f \n \ The wedding ring is bless'd; /^ . ^ P The wedding ring is bless'd; Tranquillo. 20 r I m Baptiste re-ceives it; Ere onthe O 0 •O 0 Baptiste re-ceives it; Ere onthe Baptiste re-ceives it; 105 -JtHZUOL * I ^^ fingers of the bride he leaves it, He must pronounce one word at least!_ ¥^ Wi •G-^ 0- e; •0—0^ ^ 0w • ^0 ^-^-1 0 ; o—7D— 0—9—w- 331 fingers of the bride he leaves it. He must pronounce one word at least!. PA, -Q &• O ' 0 ^^ f n^f n mfinger s of the bride he leaves it. He must pronounce one word at least!. JEA, ":>« 0 <^h p r fP If p lr r i^r-p^i^=y=f ^ fingers of the bride he leaves it, He must pronounce one word at least! i m W Poco agitato. 11229 106 Soprano Solo. (Margaret.) ^ ^ P77J1I [ ^p ^^=¥gl 'Tis he!. 'tis he!. 'tis H i ^hhi^h& ^ ^ n \i 'l¥ ^ and suddenat the groomsman's side " 'Tis he! 'tis he!" m A A i^,h i 7i)J)J^^ ^E^ #^-6^ ^^ ^ and sudden at the groomsman's side " 'Tis he! 'tis he!" A . ^ i^^h i 7J^iJ)J^^ ^^ ^ n u vp r and suddenat the groomsman's side 'Tis he! 'tis he!" A and suddenat the groomsman's side "'Tis he! 'tis he!" =tfM'it^ ^ % 1^ S ^ w ^I ^* cresc. # ^/ S ^ ^ i^ 21 p i he!'_L M//. P(9^6^ m^//6> mosso. mp fesEi s h I «a nwell-know n voice has cried. And while the mp ^^ 4 4' i W¥f' And while the a well-known voice has cried. :* y^ mp in^^Ta d^ ^ d ^^ i a well-known voice has cried. And while the ^ f^ii - ^^:ip p^^ ^ V » well-knownvoicehas ^cried. And while the jP<9r6> m^/z^ mosso. rail. 21 ^ - ^- ft ^^ ¥ T 77/-W^ =/ ^^fi ^ fe azni^ '^n^JiT^ I • *; Ti^ 7J 77 TJ 11229 107 Soprano Solo. (Margaret.) f- P- i i " Baptiste! Baptiste! / 22 i^n\' P.P ^ fessional, and the blind girl, see!_ ^ l^ m j'j'iiij 'n \ r. fessional, and the blind girl, see!. tUY-JJ\'\' m m fessional, and the blind girl, see!. ^ WfTT ^ -fessional, and the blind girl, see!. 22 ^ 1^ 1^ ff ^ i ^ 11229 108 ad lib. cresc. i S i since thou hast wish'd my death,- As ho-ly wa - ter accel. poco poco 19-^ r-n0 ^0 0 0 -ISLPL ^ i ^ 1 be my blood for thee! as ho-ly wa - ter be my blood for ^ •n n TX T7 ^^ accel. poco ^ E thee!" Molto Allegro. accel. Soprano. imolto -#—^ m i And calm - ly in the air_ a knife sus Alto ???!''l7('' ;9L^ 4=^ :§: •^-=- ^ 1 -j i r ^ And calm - ly in the air. a knife sus- Tenor zzz molto i And calm - ly in the air. a knife sus- Bass. -"mnJfn ^ to:tf /"tl[- I k t ^g^^ And calm - ly in the air_ a knife sus- accel M?//f6> Allegro. ¥7,FfffM '«^ 11229 109 23 Piii moderato. r7\molto rail. %^ ^ ' r^- ^f=^ #-^ ^ Mzat -pended! Doubt-less her guar-dian angel near at - r\ ste 0 0 0 It. muc 0—0- i-pended ! Doubt - less her guardian an - gel at - ^ te '•? 0 ^ m rai ^m -pended! Doubt-less her guar-dian an - gel at - r\ 0 0 to--tf Wf [ i mS O 0 0 -pended! Doubt-lessher guar-dian an - gel at - molto rail. Piu moderato. \]p |i>p ^ m^ -tended,For an - guish did its work so well. That, ere the ^ *z:z32 fJ m 1 r? ^ €» # fe m^^ -tended,For an - guish did its work so well. That, ere the_ tez23 t?]T^=^ r r p hf Efc -tended,For an - guish did its work so well, That, ere the -e—0- iS'-^ i ^ ^^ ^^ -tended,For an - guish did its work so well. That, ere the 11229 no rail.. M ^^ ^^ ^\\9 ^ J J -e- ^ p fa - tal stroke de-scen-ded, Life- less. she fell!. =^^ i ^^^ ^ ¥ fa tal stroke de-scen-ded. Life - less_ she fell!. ZEE: ^ ^JMf f Tp M fa - tal stroke de-scen-ded, Life- less she fell!_ ^ 5 5 i- ^^ O G- fa - tal stroke de-scen-ded, Life - less she fell!_ --—-^ rail. - S^^= r i \- \ - •G- -G- ^ —IZ te z: m: ji ^: ?~^ W 7 cresc. *=« ^m ^ 3 t I'f^fe t;j;j 3 ^ -• J^ l>^ ;g—i te f=a: # ^s 77 1 •"IF » ^s ^ ^ 4^ Jf1_ ^ rj r^^ I ^ ^^ ^ 5 L^ 9 i|7 •«l- -s- 11229 HI Soprano. 25 mp I fe ¥ i ^ At eve, in - stead of_ Alto. mp m ^ ? ^g At eve, in - stead of_ Tenor. mp mb ^ ±dt i At eve, in - stead of_ Bass. mp ^W^ ^=^ At eve, in - stead of_ 25 m i*fci^F* l-t ¥ rt $ f m mp dim. - ?^=? ^ ^^ z: "T t i m ''• fiJijip y~y ? brid - al verse,TheDeProfun-dis fill'd the air;_ ^y {'• 3l J tfwmf f r brid - al verse,TheDeProfun-dis fill'd thr^e air W~0 w [' j3iJ-/ff ^ ^M brid - al verse,TheDeProfun-dis fill'd the air-, tt>'iii> r ^^^ iS^ 0i brid - al verse,TheDeProfun-dis fill'd the air; s fe5Ei es a^ '.zn i ^: 1=1 « *• i i/ rfi?^ '/ l Deck'd with flow'rs, a sin - gle hearse To the churchyard m mp g zr^ w——137 \——^ \ ^-p^1 ^\—I——1 ^ Deck'd with flow'rs, a sin - gle hearse To the churchyard mp m 0 0 $ Deck'd withflowrs,a sin - gle hearse To the churchyard mp Deck'd with flow'rs, a sin - gle hearse To the churchyard ^ ^^ fe33 ^^m mp w§ m 4^ m ^m ^s mm 3=^^ i* &i ^ • ll' m m mp — I Vil - lage girls in robes of forth they bear; te mp — $ forth they bear,-_ Yil - lage girls in robes of ^ forth they bear; ^ f=m forth they bear,-_ 11229 113 m ^E: rJ 0 f' r"'r>iVjij^ snow Fol-low, weep-ing as they go,-___ No - where was a I ^ll^ J_J ^ U g ^.—:• ^ O^^J^0 snow Fol-low, weep-ing as they go;_ 0 - where was a m ^^=f^^ —^ 0 lUrj —r i Fol-low, weep-ing as they go; mp: ^-^—0 ^ m m m. Fol-low, weep-ing as they go;_ i^ i i>f'|j'i ^^ fV-ik f^ 3 S fe S a g -0—« ^=w r^ i- rail. p\> r r i'ir~r^N ^ ji^J niiJ J I.J^\~n ~ smile that day,__ No, ah no! for each one seem'd to say:_ lOI -|^l^f^ f^ hf^^Mff i J|I^J ^ tnc smile that day, No, ah no! for each one seem'd to say: rail = W i J y j. ^ m No, ah no! for each one seem'd to say: rail. A- ^ t f lip >, f 'p rsE^ No, ah no! for each one seem'd to say: rail. :'§3i»: * £ ^ ^ •^ b#5 I i p gfe g ^fe > fl^ ^ -#- ^ -sL 15L 11229 114 Andante dolorosa. 777^ 26 ^ w ^^ K I ^^The roada_ should mp ^ \>V [^ ' ^ '^The roads should mp * ^ ^F^ "The roadsL- should 77in 0 ^m £E* i ^^The roadS- should Andante doloroso. 2,6 tfe^ 11229 115 ^ #=^4--^^fc^ So fair a corpse shall leave_ its ^ So fair a corpse shall leave its jT 0 tyite^ ^m So fair a corpse shall leave its ^ :fE^^ fair corpse shall leave its ^» Ir H i f^# tt0ftf\Tf-\ , f ;^pft JB i cresc. W -A i home! Should mourn and should weep, should cresc. - ^ p fei home! Shoulf d mourn and should weep, should cresc. p ^ > w^ home! Should mourn and should weep. should ^ ^Tf—^ £ S home! Should mourn and should w^eep, should 3^ 11229 116 5« .poco. poco E3 w^m ^^ ^r Ml J. well- - a - way! So fair. a corpse shall ,i>oco. a ^- _ poco fe PS^SE^ ;S5 m i zn -r-w well - a - way] So fair ^poco - _ poco V j J IV ^ ^ f well - - w^ay! So fair a corpse shall ^i)oco , _ ^ 63 t^% p well a - way! So fair a corpse shall ^.fI .^WT ^: tei ^ i ^LBS^^ iS _ ^6>^6> I poco ^^ I "llll^if Ii juji: 11229 117 27 '-^ ^^ i \l i ^ pass. to - day! Should mourn and should ^ m \iJ IH I ^ i^i f-U i u i corpse shall pass to - day! Should mourn and |) ^\> JJ i;"37^ p IJ ^ I^T~V(r]t pass, shall pass to-day Should mourn and should weep, should mourn and should weep, should mourn. So 11229 118 rail. iJ\u .,y'ppirir^^# w weep. So fair a corpse shall pass to - day! ^ 'ip P i^j J ^m ^ fair a corpse shall pass to - day! M 7 p 0- -^ 0 r-0-m fair a corpse shall pass to - day!_ ^ § fair a corpse shall pass to - day, rail. K ^ ^ i ^wi^l P jijiffli ^ mf dim. ^ m — — ^ • 3,. — I _. _. L.,. •# -©• pp ra//. p S ^ shall pass to - day!!^ m— p s fcE shall pass to - day!!l * ^ ^ ss shall pass to - day! -M ^m i ^"ijj \'i ^ shall pass to - day!'. A rail. ] A ^ S P^3 m m WHM i* W PP fp PPP- <:>--i]^ J t|J i]'^- ^ * "jrz: m * i* ^ •s>-* •# Noveilo 8f Compa ny, it^- Engravers 8f Printers. 11229 NOVELLO'S ORIGINAL OCTAVO EDITIONS OF Oratorios, Cantatas, Odes, Masses, &c. Q,« s^ FRANZ ABT. ^'3 BEETHOVEN. a-O ajM 33 MINSTER BELLS (Female voices) 2/6 A CALM SEA AND A PROSPEROUS VOYAGE. 0/4 SPRINGTIME (ditto) (SOL-FA 0/6) 2/6 CHORAL FANTASIA (SOL-FA, 0/3) 1/0 — — SUMMER (ditto) • ... 2/6 CHORAL SYMPHONY 2/6 — — THE FAYS' FROLIC (ditto) 2/6 DITTO, VOCAL PART (SOL-FA, 0/6) 1/6 — — THE GOLDEN CITY (ditto) (SOL-FA 0/6) 26 COMMUNION SERVICE, IN C 1/6 — 3/—0 THE SILVER CLOUD (ditto) 2/6 ENGEDI; OR, DAVID IN THE WILDERNESS 1/0 1/—6 2/6 THE WATER FAIRIES (ditto) 2/6 MASS, IN C ... 1/0 1/6 2/6 THE WISHING STONE (ditto) 2/6 MASS, IN D 2/0 2/e 4/0 MEEK, AS THOU LIVEDST 0/2 J. H ADAMS. MOUNT OF OLIVES (CHORUSES, SOL-FA, 0/6) 1/0 1/—6 2/—6 A DAY IN SUMMER(SoL-FA, 0/6) 1/6 RUINS OF ATHENS 1/6 THE PRAISE OF MUSIC 1/6 2/—0 3/—0 T. ADAMS. A. H. BEHREND. THE CROSS OF CHRIST (SoL-FA, 0/6) 1/0 1/6 THE HOLY CHILD (SoL-FA, 0/6) 1/0 SINGERS FROM THE SEA (SOL-FA, 0/9) - - THE RAINBOW OF PEACE 1/0 WILFRED BENDALL. A LEGEND OF BREGENZ (Femalevoices) 1/6 B. AGUTTER. THE LADY OF SHALOTT (Female voices) 2/6 MISSA DE BEATA MARIA VIRGINE, IN (DITTO, SOL-FA, 1/0) — — (English) (Female voices) 2/6 SONG DANCES. Vocal Suite. (Female Voices) ... 2/0 MISSA DE SANCTO ALBANO (English) ... 3/0 4/0 5/0 KAREL BENDL. THOMAS ANDERTON. WATER-SPRITE'S REVENGE (Female voices) ... 1/0 - - THE NORMAN BARON 1/0 1/6 SIR JULIUS BENEDICT. WRECK OF THE HESPERUS (SOL-FA, 0/4) 1/0 PASSION MUSIC FROM ST. PETER 1/6 YULE TIDE 1/6 2/0 3/0 ST. PETER 3/0 3/6 5/0 J. H. ANGER. THE LEGEND OF ST. CECILIA (SOL-FA, 1/6) ... 2/6 3/0 4/0 A SONG OF THANKSGIVING 1/6 - GEORGE J. BENNETT. EASTER HYMN 1/0 - - W. I. ARGENT. SIR W. STERNDALE BENNETT. MASS, IN B FLAT INTERNATIONAL EXHIBITION ODE (1862) ... 1/0 P. ARMES. THE MAY QUEEN (SOL-FA, 1/0) 3/0 3/6 5/0 HEZEKIAH 2/6 THE WOMAN OF SAMARIA (SOL-FA, 1/0) 4/0 6/0 ST. BARNABAS 2/0 G. R. BETJEMANN. ST. JOHN THE EVANGELIST THE SONG OF THE WESTERN MEN 1/0 - - A. D. ARNOTT. W. R. BEXFIELD. THE BALLAD OF CARMILHAN (SOL-FA, 1/6) 2/6 — — ISRAEL RESTORED 4/0 — — YOUNG LOCHINVAR (SOL-FA, 0/6) 1/6 - - HUGH BLAIR. E. ASPA. BLESSED ARE THEY WHO WATCH (ADVENT) 1/6 - -^ ENDYMION 4/0 — — HARVEST-TIDE . 1/0 - ^ THE GIPSIES 1/0 - - JOSIAH BOOTH. ASTORGA. THE DAY OF REST (Female voices) (SOL-FA, 1/0) . S/6 — - 1/0 1/6 - STABAT MATER E. M. BOYCE. J. C. BACH. THE LAY OF THE BROWN ROSARY ,. 1/6 - ^ I WRESTLE AND PRAY (SOL-FA, 0/2) 0/4 — — THE SANDS OF CORRIEMIE (Female voices) .... 1/6 - - YOUNG LOCHINVAR ,. 1/6 - - J. S. BACH. J. BRADFORD. A STRONGHOLD SURE (Choruses only) (SoL-i ,0/6) 1/0 HARVEST CANTATA .1/6 - - ... 0/6 BE NOT AFRAID (SOL-FA, 0/4) THE SONG OF JUBILEE . 1/6 - - BIDE WITH US ... 1/0 BLESSING, GLORY, AND WISDOM ... 0/6 W. F. BRADSHAW. CHRISTMAS ORATORIO ... 2/0 2/6 4/0 CASPAR BECERRA . 1/6 - - DITTO (PARTS 3 & 4) ... 1/6 J. BRAHMS. GOD GOETH UP WITH SHOUTING ... 1/0 .1/0 - — GOD so LOVED THE WORLD ... 1/0 A SONG OF DESTINY GOD'S TIME IS THE BEST (SOL-FA, 0/6) ...... 1/0 C. BRAUN. JESUS, NOW WILL WE PRAISE THEE ... i/0 SIGURD 5/0 jESU, PRICELESS TREASURE ... 1/0 THE SNOW QUEEN (Operetta) (SOL-FA, 0/6 1/0 MAGNIFICAT ... 1/0 MASS, IN B MINOR ... 2/6 3/0 4/0 A. HERBERT BREWER. MISSA BREVIS, IN A ... 1/6 NINETY-EIGHTH PSALM 1/6 MY SPIRIT WAS IN HEAVINESS ... 1/0 J. C. BRIDGE. O LIGHT EVERLASTING ... 1/0 DANIEL 3/6 THE PASSION (S. JOHN) ... 2/0 2/6 4/0 RESURGAM 1/6 THE PASSION (S. MATTHEW) ... 2/6 3/0 — RUDEL 4/0 DITTO (Abridged, as used at St. Paul's) ... 1/6 THOU GUIDE OF ISRAEL ... 1/0 J. F. BRIDGE. WHEN WILL GOD RECALL MY SPIRIT ... 1/0 BOADICEA 2/6 CALLIRHOE (SOL-FA, 1/6) 2/6 3/0 4/0 A. S. BAKER. ! HYMN TO THE CREATOR 1/0 COMMUNION SERVICE, IN E 1/6 MOUNT MORIAH 3/0 NINEVEH 2/6 3/0 4/0 J. BARNBY. ROCK OF AGES (Latin and English) (SOL-FA, 0/4)... 1/0 REBEKAH (SOL-FA, 0/9) 1/0 1/6 2/6 THE BALLAD OF THE CLAMPHERDOWN ... 1/0 THE LORD IS KING (97th Psalm) (SOL-FA, 1/0) 1/6 2/0 (DITTO, SOL-FA, 0/8) THE CRADLE OF CHRIST (" Stabat Mater LEONARD BARNES. Speciosa") ...... 1/6 THE BRIDAL DAY 2/6 — 4/6 THE FLAG OF ENGLAND (SOL-FA, 0/9) 1/6 THE FROGS AND THE OX (SOL-FA, 0/6) 1/0 J. F. BARNETT. 1/0 6/0 THE INCHCAPE ROCK PARADISE AND THE PERI 4/0 THE LORD'S PRAYER (SOL-FA, 0/6) 1/0 THE ANCIENT MARINER (SOL-FA, 2/0) 3/6 4/0 6/0 THE RAISING OF LAZARUS 6/6 9/0 DUDLEY BUCK. THE WISHING BELL (Female voices)(SOL-FA, 1/0) 2/6 THE LIGHT OF ASIA 3/0 3/6 5/0 Any of the above can be had in Roan, rounded corners, red tr, dcr gilt edges, price 3s. in excess of the marked priee of the paper cover edition. 13/10/00. NOVELLO'S OCTAVO EDITION OF ORATORIOS, Sec—Continued. EDWARD BUNNETT. ANTONIN DVOi^AK. OUT OF THE DEEP (130th Psalm) 1/0 — — COMMUNION SERVICE, IN D 2/6 -_ MASS, IN D 2/6 — — W. BYRD. PATRIOTIC HYMN 1/6 — — MASS FOR FOUR VOICES 2/6 - - DITTO (German and Bohemian Words) 3/0 — — CARISSIMI. REQUIEM MASS 6/0 6/0 7/6 JEPHTHAH ST. LUDMILA 6/U 6/0 7/6 1/0 - - DITTO (German and Bohemian Words) ... 8/0 J. D. CARNELL. STABAT MATER 2/6 3/—0 4/—0 SUPPLICATION 5/0 - - THE SPECTRE'S BRIDE (SoL-FA, 1/6) 8/0 8/6 5/0 DITTO (German and Bohemian Words) GEORGE CARTER. m -— — 2/0 A. E. DYER. SINFONIA CANTATA (ii6th Psalm) - 3/6 ELECTRA OF SOPHOCLES 1/6 2/0 WILLIAM CARTER. SALVATOR MUNDI 2/6 — — PLACIDA 2/0 2/6 4/0 H. J. EDWARDS. PRAISE TO THE HOLIEST 1/6 CHERUBINI. THE ASCENSION ^ 2/6 FOURTH MASS. IN C 1/0 1/6 2/6 THE EPIPHANY 2/0 1/6 2/6 — — REQUIEM MASS, C MINOR (Latin and English) ... 1/0 EDWARD ELGAR. SECOND MASS, IN D MINOR 2/0 2/6 3/6 1/0 1/6 2/6 CARACTACUS 3/6 4/0 6/0 THIRD MASS (CORONATION) KING OLAF (SOL-FA, Choruses only, 1/6) 3/0 5/0 E. T. CHIPP. TE DEUM AND BENEDICTUS 1/0 — JOB 4/0 THE DREAM OF GERONTIUS 3/6 4/—0 5/—0 NAOMI 2/0 - - (DITTO, VOCAL PARTS, 6/0) THE BANNER OF ST. GEORGE (SOL-FA, 1/0) ... 1/6 HAMILTON CLARKE. THE BLACK KNIGHT 2/0 DRUMS AND VOICES (Operetta) (SOL-FA, 0/9) ... 2/0 - - THE LIGHT OF LIFE (Lux Christi) 2/6 — — HORNPIPE HARRY (SOL-FA, 0/9) 2/6 — — PEPIN THE PIPPIN (Operetta), both Notations ... 2/6 ROSALIND F. ELLICOTT. (DITTO, SOL-FA, 0/9) ELYSIUM 1/0 - - THE DAISY CHAIN (Operetta) (SOL-FA, 0/9) 2/6 - THE BIRTH OF SONG 1/6 THE MISSING DUKE (Operetta) (SOL-FA, 0/9) ... 2/6 GUSTAV ERNEST. GERARD F. COBB. ALL THE YEAR ROUND (Female vv.) (SOL-FA, 0/9) 2/6 — A SONG OF TRAFALGAR (Men's voices) 2/0 A. J. EYRE. S. COLERIDGE-TAYLOR. COMMUNION SERVICE IN D 1/0 SCENES FROM THE SONG OF HIAWATHA ... 3/6 4/0 6/0 T. FACER. (DITTO, SOL-FA, 2/0) A MERRY CHRISTMAS (SOL-FA, 0/6) 1/0 HIAWATHA'S WEDDING-FEAST (SOL-FA, 1/0) ... 1/6 RED RIDING-HOOD'S RECEPTION (Operetta).., 2/6 THE DEATH OF MINNEHAHA (SOL-FA, 1/0) ... 1/6 - (DITTO, SOL-FA, 0/9) HIAWATHA'S DEPARTURE (SOL-FA, 1/0) 2/0 — E. FANING. FREDERICK CORDER. BUTTERCUPS AND DAISIES (Female voices) ... 2/6 — — THE BRIDAL OF TRIERMAIN (SOL-FA, 1/0) 2/6 - - (DITTO, SOL-FA, 1/0) SIR MICHAEL COSTA. HENRY FARMER. THE DREAM 1/0 - - MASS, IN B FLAT (Latin and English) (SOL-FA, 1/0) 2/0 2/6 3/6 MYLES B. FOSTER. H. COWARD. 1/6 THE STORY OF BETHANY (SOL-FA, 1/6) 2/6 3/0 SNOW FAIRIES (Female voices) - THE ANGELS OF THE BELLS (Female voices)... 1/6 — — F. H. COWEN. (DITTO, SOL-FA, 0/8) A DAUGHTER OF THE SEA (Female voices) ... 2/0 - - THE BONNIE FISHWIVES (Female vv.) (SOL-FA, 0/9) 2/6 (DITTO, SOL-FA, 1/0) THE COMING OF THE KING (Female voices)... 1/6 — — A SONG OF THANKSGIVING 1/6 (DITTO, SOL-FA, 0/8) CHRISTMAS SCENES (Female voices) (SOL-FA, 0/9) 2/0 THE LADY OF THE ISLES ... 1/6 - - DREAM OF ENDYMION 2/6 ROBERT FRANZ. ODE TO THE PASSIONS 2/0 PRAISE YE THE LORD (117th Psalm) 1/0 - ~ RUTH (SOL-FA, 1/6) 4/0 4/6 6/0 ST. JOHN'S EVE (SOL-FA, 1/6) 2/6 3/0 4/0 NIELS W. GADE. SLEEPING BEAUTY (SOL-FA, 1/6) 2/6 3/0 4/0 CHRISTMAS EVE (SOL-FA, 0/4) 1/0 1/6 SUMMER ON THE RIVER(Femalew.) (SOL-FA, 0/9) 2/0 COMALA 2/0 2/6 4/0 THE ROSE OF LIFE (Female voices) (SOL-FA, 0/9) 2/0 ERL-KING'S DAUGHTER (SOL-FA, 0/9) 1/0 1/6 2/6 THE WATER LILY 2/6 PSYCHE (SOL-FA, 1/6) 2/6 3/0 4/0 VILLAGE SCENES (Female voices) (SOL-FA, 0/9) ... 1/6 SPRING'S MESSAGE (SOL-FA, 0/3) 0/8 THE CRUSADERS (SOL-FA, 1/0) 2/0 2/—6 4/—0 J. MAUDE CRAMENT. ZION 1/0 1/6 2/6 I WILL MAGNIFY THEE, O GOD(145th Psalm) .. 2/6 - - HENRY GADSBY. LITTLE RED RIDING-HOOD (Female voices) ... 2/0 ALCESTIS (Male voices) 4/0 W. CRESER. COLUMBUS (Male voices) 2/6 — — EUDORA (A dramatic Idyll) 2/6 - - LORD OF THE ISLES (SOL-FA, 1/6) 2/6 — — ODE (for s.s.A.) 1/0 — ~ W. CROTCH. F. W. GALPIN. PALESTINE 3/0 3/6 5/0 YE OLDE ENGLYSHE PASTYMES 1/6 - - W. H. CUMMINGS. G. GARRETT. THE FAIRY RING 2/6 - - HARVEST CANTATA (SOL-FA, 0/6) 1/0 W. G. CUSINS. THE SHUNAMMITE 3/0 — — THE TWO ADVENTS 1/6 — — TE DEUM 1/6 - - LA BELLE DAME SANS MERCI 1/0 — — FELICIEN DAVID. R. MACHILL GARTH. THE DESERT (Male voices) 1/6 2/0 - EZEKIEL 4/0 _ H. WALFORD DAVIES. THE WILD HUNTSMAN 1/0 1/6 — HERVE RIEL 1/0 - A. R. GAUL. - AROUND THE WINTER FIRE (Female voices) ... 2/0 - - P. H. DIEMER. (DITTO, SOL-FA, 0/9) BETHANY 4/0 - - A SONG OF LIFE (Ode to Music) (SOL-FA, 0/6) ... 1/0 ISRAEL IN THE WILDERNESS (SOL-FA, 1/0) ... 2/6 3/0 4/0 M. E. DOORLY. JOAN OF ARC (SOL-FA, 1/0) 2/6 3/0 4/0 LAZARUS 2/6 - - PASSION SERVICE 2/6 3/0 4/0 RUTH (SOL-FA, 0/9) 2/0 2/6 4/0 F. G. DOSSERT, THE ELFIN HILL COMMUNION SERVICE, IN E MINOR ... 2/0 2/0 THE HARE AND THE TORTOISE (SOL-FA, 0/6) 10 — — MASS, IN E MINOR 6/0 - — THE HOLY CITY (SOL-FA, 1/0) 2/6 3/—0 4/—0 LUCY K. DOWNING. THE LEGEND OF THE WOOD (Female voices)... 1/0 A PARABLE IN SONG 2/0 (DITTO, SOL-FA, 0/8) — — - - THE TEN VIRGINS (SOL-FA, 1/0) 2/6 3/0 4/0 F. DUNKLEY TOILERS OF THE DEEP (Female voices) THE WRECK OF THE HESPERUS 1/0 — _ 20 — — UNA(SOL-FA. 1/0) 2/6 3/0 \i^ NOVELLO'S OCTAVO EDITION OF ORATORIOS, &c.—Continued. FR. GERNSHEIM. ^^ =^1 35 HANDEL.—Continued. II 11 %i SALAMIS. A TRIUMPH SONG (Male voices) ... 1/6 — — THEODORA 0,0 ft^M 35 THE MESSIAH, edited by V. Novello (SOL-FA, 1/0)... 3/0 3/6 5/0 E. OUSELEY GILBERT. THE MESSIAH, ditto, Pocket Edition 2/0 2/6 4/0 SANTA CLAUS AND HIS COMRADES (Operetta) 2/0 — -- THE MESSIAH, edited by W. T. Best (SOL-FA, 1/0)... 1/0 1/6 2/0 (DITTO, SOL-FA, 0/8) DITTO (CHORUSES ONLY) 2/0 2IB 4/0 THE PASSION 0/8 1/2 — F. E. GLADSTONE. THE TRIUMPH OF TIME AND TRUTH 3/0 3/6 5/0 PHILIPPI 2/6 — — UTRECHT JUBILATE 3/0 3/6 5/0 GLUCK. 1/0 - - ORPHEUS (CHORUSES, SOL-FA, 1/0) 3/6 — — SYDNEY HARDCASTLE. SING A SONG OF SIXPENCE (Operetta) 0/6 DITTO (ACT II. ONLY) ••• 1/6 — — HERMANN GOETZ. BASIL HARWOOD. BY THE WATERS OF BABYLON (137th Psalm)... 1/0 — — INCLINA, DOMINE (86th Psalm) 3/0 — — NCENIA 1/0 — - F. K. HATTERSLEY. THE WATER-LILY (Male voices) 1/6 — — ROBERT OF SICILY 2/6 A. M. GOODHART. HAYDN. ARETHUSA 1/0 FIRST MASS, IN B FLAT (Latin) 1/0 1/6 2/6 EARL HALDAN'S DAUGHTER 1/0 DITTO (Latin and English) ... i/0 1/6 2/6 SIR ANDREW BARTON 1/0 INSANiE ET VANiE CUR^ eLatin and English)... 0/4 SECOND MASS, IN C (Latin) I/O 1/—6 2/—6 CH. GOUNOD. SIXTEENTH MASS (Latin) 1/6 2/0 3/0 COMMUNION SERVICE (Messe Solennelle) 1/6 2/0 3/0 TE DEUM (English and Latin) 1/0 — — DITTO (Troisieme Messe Solennelle) 2/6 THE CREATION (SOL-FA, 1/0) 2/0 2/6 4/0 DAUGHTERS OF JERUSALEM 1/0 — — THE CREATION, Pocket Edition 1/0 1/6 2/0 DE PROFUNDIS (130th Psalm) (Latin Words) 1/0 — — THE PASSION; OR, SEVEN LAST WORDS OF —» — 2/0 2/6 4/0 DITTO (Out of darkness) 1/0 — — OUR SAVIOUR ON THE CROSS GALLIA (SOL-FA, 0/4) 1/0 — — THE SEASONS 3/0 3/6 5/0 MESSE SOLENNELLE (ST. CECILIA) 1/0 1/6 2/6 Each Season, singly (SPRING, Tonic Sol-fa, 66.) ... 1/0 — — MORS ET VITA (Latin or English) 6/0 6/6 7/6 THIRD MASS (IMPERIAL) (Latin and English) ... 1/0 1/6 2/6 DITTO, SOL-FA (Latin and English) 2/0 — — DITTO (Latin) 1/0 1/6 2/6 OUT OF DARKNESS 1/0 — — BATTISON HAYNES. REQUIEM MASS, from " Mors et Vita " 2/6 3/0 2/6 __ THE REDEMPTION (English Words) (SOL-FA, 2/0) 6/0 6/0 7/—6 A SEA DREAM (Female voices) (SOL-FA, 0/6) DITTO (French Words) 8/4 — — THE FAIRIES' ISLE (Female voices) 2/6 — — DITTO (German Words) 10/0 — — H. HEALE. THE SEVEN WORDS OF OUR SAVIOUR ON JUBILEE ODE 1/6 THE CROSS (Filias Jerusalem) 1/0 >_ — - - TROISI£ME MESSE SOLENNELLE 2/6 C. SWINNERTON HEAP. — — 3/6 4/0 5/0 C. H. GRAUN. FAIR ROSAMOND (SOL-FA, 2/0) EDWARD HECHT. TE DEUM 20 2/6 4/0 ERIC THE DANE 3/0 _ THE PASSION OF OUR LORD (DerTodJesu) ... 2/0 2/6 4/0 O MAY I JOIN THE CHOIR INVISIBLE 1/0 — — ALAN GRAY. _ GEORG HENSCHEL. ARETHUSA 1/0 OUT OF DARKNESS (130th Psalm) 2/6 _ A SONG OF REDEMPTION 1/6 — — STABAT MATER 2/6 THE FOE BEHIND 1/6 — — 1/6 — — THE LEGEND OF THE ROCK-BUOY BELL ... 1/0 — — TE DEUM LAUDAMUS, IN C — — THE WIDOW OF ZAREPHATH 2/0 — — HENRY HILES. J. O. GRIMM. THE CRUSADERS 2/6 THE SOUL'S ASPIRATION ^ 1/0 - - FERDINAND HILLER. G. HALFORD. A SONG OF VICTORY (SOL-FA, 0/9) 1/0 1/6 _ NALA AND DAMAYANTI 4/0 6/0 THE PARACLETE E. V. HALL. H. E. HODSON. THE GOLDEN LEGEND 2/0 - - IS IT NOTHING TO YOU (SoL-FA, 0/3) 0/8 — HEINRICH HOFMANN. HANDEL. CINDERELLA 4/0 ACIS AND GALATEA 1/0 1/6 2/6 MELUSINA 2/0 2/6 4/0 DITTO, New Edition, edited by J. Barnby (SOL-FA,1/0) 1/0 1/6 2/6 SONG OF THE NORNS (Female voices) 1/0 ALCESTE 2/0 — — ALEXANDER BALUS 3/0 3/6 5/—0 C. HOLLAND. ALEXANDER'S FEAST 2/0 2/6 4/0 AFTER THE SKIRMISH 1/0 - - ATHALIAH 3/0 3/6 5/0 HUMMEL. BELSHAZZAR 3/0 3/6 5/0 ALMA VIRGO (Latin and English) 0/4 __ CHANDOS TE DEUM 1/0 1/6 2/6 COMMUNION SERVICE, IN B FLAT 2/0 ^ 4/0 CORONATION AND FUNERAL ANTHEMS ... 5/0 DITTO, IN E FLAT 2/0 .— 4/0 Or, singly:— DITTO, IN D 2/0 4/0 LET THY HAND BE STRENGTHENED ... 0/6 _ FIRST MASS, IN B FLAT 1/0 1/—6 2/6 MY HEART IS INDITING 0/8 .— _ QUOD IN ORBE (Latin and English) 0/4 — THE KING SHALL REJOICE 0/8 — — SECOND MASS, IN E FLAT 1/0 1/6 2/6 THE WAYS OF ZION I/O THIRD MASS, IN D 1/0 1/6 ZADOK THE PRIEST (SOL-FA, 0/1^) 0/3 — — DEBORAH 2/0 2/—6 4/—0 W. H. HUNT. DETTINGEN TE DEUM 1/0 1/6 2/6 STABAT MATER 3/0 3/6 DIXIT DOMINUS (from Psalm ex.) 1/0 — — G. F. HUNTLEY. ESTHER 3/0 3/6 5/0 2/0 — HERCULES (CHORUSES ONLY, 1/0) 3/0 3/6 5/0 PUSS-IN-BOOTS (SOL-FA, 0/9) ... ISRAEL IN EGYPT, edited by Mendelssohn 2/0 2/6 4/0 VICTORIA; OR. THE BARD'S PROPHECY ... 2/0 — ISRAEL IN EGYPT.edited by V.NovelIo,Pocket Edit. 1/0 1/6 2/0 (DITTO, SOL-FA, 1/0) JEPHTHA 2/0 2/6 4/0 JOSHUA 2/0 2/6 4/0 H. H. HUSS. JUDAS MACCABEUS (SOL-FA, 1/0) 2/0 2/6 4/0 AVE MARIA (Female voices) 1/0 - JUDAS MACCAB.EUS, Pocket Edition 1/0 1/6 2/0 F. ILIFFE. DITTO (CHORUSES ONLY) 0/8 1/2 SWEET ECHO 1/0 - L'ALLEGRO (CHORUSES ONLY, 1/0) 2/0 2/6 4/—0 NISI DOMINUS 1/0 — — W. JACKSON. O COME, LET US SING UNTO THE LORD THE YEAR ... 2/0 2/6 (5th Chandos Anthem) 1/0 ODE ON ST. CECILIA'S DAY 1/0 1/6 2/6 G. JACOBI. O PRAISE THE LORD (6th Chandos Anthem) 1/0 CINDERELLA (SOL-FA, 1/0) 2/0 — SAMSON (SoL-FA, 1/0) 2/0 2/6 4/—.0 D. JENKINS. SAUL (CHORUSES ONLY, 1/0) 2/0 2/6 4/0 DAVID AND SAUL (SOL-FA, 2/0 3/0 3/6 SEMELE 3/0 3/6 5/0 SOLOMON 2/0 2/6 4/0 A. JENSEN. SUSANNA ...... , 3/0 3/6 6/0 THE FEAST OF ADONIS ^ 1/0 1/6 NOVELLO'S OCTAVO EDITION OF ORATORIOS, Sec—Continued. W. JOHNSON. F. E. MARSHALL. ECCE HOMO 1/0 - - PRIN-CE SPRITE (Female voices) 2/6 H. FESTING JONES. CHORAL DANCES from Ditto 1/0 KING BULBOUS (Operetta) (SOL-FA, 0/8) 2 0 — — GEORGE C. MARTIN. C. WARWICK JORDAN. COMMUNION SERVICE, IN A 1/0 BLOW YE THE TRUMPET IN ZION 1/0 - - DITTO, IN C 1/0 N. KILBURN. J. T. MASSER. BY THE WATERS OF BABYLON 1/0 — — HARVEST CANTATA 1/0 - - THE LORD IS MY SHEPHERD (23rd Psalm) 0/3 — — THE SILVER STAR (Female voices) J. H. MAUNDER. 1/6 - - ALFRED KING. PENITENCE, PARDON, AND PEACE (SOL-FA, 1/0) 1/6 2 0 — THE EPIPHANY 30 — — J. H. MEE. OLIVER KING. DELPHI, A LEGEND OF HELLAS (Male voices) I/O — BY THE WATERS OF BABYLON (137th Psalm)... 1/6 — — HORATIUS (Male voices) I/O — THE NAIADS (Female voices) 2/6 — — MISSA SOLENNiS, IN B FLAT 2/0 — — THE ROMANCE OF THE ROSES 2/6 — — THE SANDS O' DEE 1/0 - - MENDELSSOHN. ANTIGONE (Male voices) (SoL-FA, 1/0) 4/0 J. KINROSS. AS THE HART PANTS (42nd Psalm) (SOL-FA, 0/6) 1/0 >. SONGS IN A VINEYARD (Female vv.) (SOL-FA,0/6) 2/6 — — COME, LET US SING (95th Psalm) (SOL-FA, 0/6) ... 1/0 NOT UNTO US, O LORD (115th Psalm) 1/0 5/0 J. T. KLEE. WHEN ISRAEL OUT OF EGYPT CAME MASS OF ST. DOMINIC 2/0 — — (DITTO, SOL-FA, 0/9) i/oj H. LAHEE. ATHALIE (SOL-FA, 0/9) 1/0 1/6 4/0 THE SLEEPING BEAUTY (Femalevv.)(SOL-FA, 0/6) 2/6 — — AVE MARIA (Saviour of Sinners), 8 voices 1/0 CHRISTUS (SoL-FA, 0/6) 1/0 — — EDWIN H. LEMARE. ELIJAH (POCKET EDITION) 1/0 1/—6 2/—0 'TIS THE SPRING OF SOULS TO-DAY 10 — — ELIJAH (SoL-FA, 1/0) 2/0 2/6 4/0 LEONARDO LEO. FESTGESANG (Hymns of Praise) 1/0 DITTO (Male voices) 1/0 — — DIXIT DOMINUS 1/0 1/6 — — HEAR MY PRAYER (s. solo and chorus) (SOL-FA,0/2) 1/0 — — F. LEONL DITTO DITTO 0/4 — <— THE GATE OF LIFE 2/0 HYMN OF PRAISE (Lobgesang) (SOL-FA, 1/0) 1/0 1/6 2/6 JUDGE ME, O GOD (43rd Psalm) (SOL-FA, OIJ) ... 0/4 — — H. LESLIE. LAUDA SION (Praise Jehovah) (SOL-FA, 0/9) 2/0 2 6 4/0 THE FIRST CHRISTMAS MORN 2'6 LORD, HOW LONG WILT THOU (SOL-FA, 0/4)... 1/0 — F. LISZT. LORELEY (SOL-FA, 0/6) 1/0 — — THE LEGEND OF ST. ELIZABETH 3/0 3 6 5/0 MAN IS MORTAL (8 voices) 1/0 MIDSUMMER NIGHT'S DREAM (Female voices) . THIRTEENTH PSALM 2/0 10 — — (DITTO, SOL-FA, 0/4) C. H. LLOYD. MY GOD, WHY, O WHY HAST THOU FOR A HYMN OF THANKSGIVING 2/0 SAKEN ME (22nd Psalm) 0/6 _ _ ALCESTIS 1/6 CEDIPUS AT COLONOS (Male voices) 3/0 ANDROMEDA 3 0 3/6 5/0 ST. PAUL (SOL-FA, I/O) 2/0 2/—S 4_ 0 A SONG OF JUDGMENT 26 3/0 4/0 ST. PAUL, Pocket Edition 10 1/6 2/0 HERO AND LEANDER 1/6 SING TO THE LORD (98th Psalm) 0/8 ROSSALL 2/0 SIX ANTHEMS for the Cathedral at Berlin. For — SIR OGIE AND THE LADIE ELSIE 1/6 8 voices, arranged in 4 parts 0/8 _ _ THE GLEANERS' HARVEST (Female voices) ... 2/6 SON AND STRANGER (Operetta) 4/0 THE LONGBEARDS' SAGA (Male voices) 1/6 THE FIRST WALPURGIS NIGHT (SOL-FA, I/O)... 1/0 1—6 2/—6 THE SONG OF BALDER i/0 THREE MOTETS FOR FEMALE VOICES 1/0 — CLEMENT LOCKNANE. TO THE SONS OF ART (Male voices) (SOL-FA, 0/3) 10 — _ WHY RAGE FIERCELY THE HEATHEN 06 THE ELFIN QUEEN (Female voices) 2/6 — — HARVEY LOHR. R. D. METCALFE AND A. KENNEDY. THE QUEEN OF SHEBA 5/0 PRINCE FERDINAND (Operetta) (SOL-FA, 0/9) ... 2/0 W. H. LONGHURST. MEYERBEER. THE VILLAGE FAIR 2/0 2/6 NINETY-FIRST PSALM (Latin) C. EGERTON LOWE. DITTO (English) 1/0 LITTLE BO-PEEP (Operetta). (SOL-FA, 0/4) 1/0 - A. MOFFAT. HAMISH MACCUNN. A CHRISTMAS DREAM (A Cantata for Children)... 1/6 — — LAY OF THE LAST MINSTREL (SOL-FA, 1/6) ... 2/6 3/0 4/0 (DITTO, SOL-FA, 0/4) LORD ULLIN'S DAUGHTER (SOL-FA, 0/8) 1/0 B. MOLIQUE. G. A. MACFARREN. ABRAHAM 3 0 3/6 5/0 MAY-DAY (SOL-FA, 0/6) 1/0 1/6 2/6 J. A. MOONIE. OUTWARD BOUND 10 2/6 A WOODLAND DREAM (SOL-FA, 0/9) 2/0 SONGS IN A CORNFIELD (Female voices) 1/6 THE LADY OF THE LAKE 4/0 6/0 xMOZART. (DITTO, SOL-FA, 0/9) COMMUNION SERVICE, IN B FLAT (Latin and THE SOLDIER'S LEGACY (Operetta) 6/0 - - English) 1/6 — — A. C. xMACKENZIE. FIRST MASS (Latin and English) 1/0 1/6 2/6 GLORY, HONOUR, PRAISE ... Third Motet 0/3 BETHLEHEM 5/0 6/0 7/6 — — 2/6 HAVE MERCY, O LORD Second Motet 0/3 DITTO. Act II., separately KING THAMOS — — 2/6 3/0 4/0 1/0 1/6 JASON LITANIA DE VENERABILI ALTARIS (Et?) — 2/6 1/6 2/0 3/0 JUBILEE ODE (SoL-FA, 1/6) LITANIADE VENERABILI SACRAMENTO (Bt>) 1/0 1/6 2/0 3/0 THE BRIDE (SOL-FA, 0/8) O GOD, WHEN THOU APPEAREST. First Motet 2/0 0/3 THE COTTER'S SATURDAY NIGHT (SOL-FA,I/0) REQUIEM MASS — — 2/6 3 0 4/0 1/0 1/6 2/6 THE DREAM OF JUBAL DITTO (Latin and English) (SOL-FA, 1/0),.. 1/0 1/6 2/6 (DITTO, Choruses only, SOL-FA, I/O) SEVENTH MASS, IN B FLAT 1/0 THE NEW COVENANT 1/6 SPLENDENTE TE, DEUS ... First Motet — — 5/0 6/0 76 0/3 THE ROSE OF SHARON (SOL-FA, 2/0) TWELFTH MASS (Latin) — 2— 6 THE STORY OF SAYID 3/0 S/6 50 1/0 1/6 DITTO (Latin and English) (SOL-FA, 0/9) VENI, CREATOR SPIRITUS 2/0 10 1/6 2/6 J. B. McEWEN. E. MUNDELLA. THE VISION OF JACOB 2/0 - - VICTORY OF SONG (Female voices) 1/0 ~ - C. MACPHERSON. DR. JOHN NAYLOR. BY THE WATERS OF BABYLON (137th Psalm) ... 2/0 - - JEREMIAH 3/0 — — L. MANCINELLI. JOSEF NESVERA. ERO E LEANDRO 5/0 - - DE PROFUNDIS 2/6 — F. W. MARKULL. E. A. NUNN. ROLAND'S HORN (Male voices,' 2/6 __ MASS, IN C 2/0 — — NOVELLO'S OCTAVO EDITION OF ORATORIOS, Scz.—Continued. E. CUTHBERT NUNN. £5 ^| 55 C. T. REYNOLDS. Pna MB Oti THE FAIRY SLIPPER (SOL-FA, 0/8) 2/0 — — CHILDHOOD OF SAMUEL (SOL-FA, 1/0) ... 2/0 — — REV. SIR FREDK. OUSELEY. ARTHUR RICHARDS. THE MARTYRDOM OF ST. POLYCARP 2/6 — — PUNCH AND JUDY (Operetta) (SOL-FA, 0/6)... 1/6 - - THE WAXWORK CARNIVAL (SOL-FA, 0/8) R. P. PAINE. 2/0 — — THE LORD REIGNETH (93rd Psalm) 1/0 — — J. V. ROBERTS. JONAH PALESTRINA. MISSA ASSUMPTA EST MARIA 2/6 — — W. S. ROCKSTRO. 2/0 — — MISSA BREVIS 2/6 — — THE GOOD SHEPHERD MISSA "O ADMIRABILE COMMERCIUM" ... 2/6 — — J. L. ROECKEL. 2/6 — — MISSA PAPiE MARCELLI 2/0 — — THE HOURS (Female voices) (SOL-FA, 0/9) ... 2/0 ~ — H. W. PARKER. THE SILVER PENNY (SOL-FA, 0/9) 2/0 — — A WANDERER'S PSALM 2/6 — — HORA NOVISSIMA 3/6 — — EDMUND ROGERS. LEGEND OF ST. CHRISTOPHER 5/0 — — THE FOREST FLOWER (Female voices) ... 2/6 — — THE KOBOLDS 1/0 — — ROLAND ROGERS. C. H. H. PARRY. FLORABEL (Female voices) (Sol-fa, 1/0) 2/6 A SONG OF DARKNESS AND LIGHT 2/0 — — PRAYER AND PRAISE 4/0 - - BLEST PAIR OF SIRENS (SOL-FA, 0/8) 1/0 — — ROMBERG. DE PROFUNDIS (130th Psalm) 2/0 — — ETON 2/0 — — THE LAY OF THE BELL (New Edition, translated INVOCATION TO MUSIC 2/6 — — by the Rev. J. Troutbeck, D.D.) (SOL-FA, 0/8) 1/0 1/6 2/6 JOB (CHORUSES, SOL-FA, 1/0) 2/6 — — THE TRANSIENT AND THE ETERNAL 1/0 JUDITH (CHORUSES, SOL-FA, 2/0) 5/0 6/0 7/6 (DITTO, SOL-FA, 0/4) KING SAUL (CHORUSES, SOL-FA, 1/6) 5/0 6/0 7/6 ROSSINI. L'ALLEGRO (SOL-FA, 1/6) 2/6 — — MOSES IN EGYPT 6/0 6/6 7/6 MAGNIFICAT 16 — — STABAT MATER (SOL-FA, 1/0) 1/0 1/6 2/6 ODE ON ST. CECILIA'S DAY (SOL-FA, 1/0) ... 2/0 — — PROMETHEUS UNBOUND 3/0 — — CHARLES B. RUTENBER. TE DEUM LAUDAMUS 2/6 — — DIVINE LOVE ... 2/6 — THE GLORIES OF OUR BLOOD AND STATE 1/0 — — THE LOTUS-EATERS (The Choric Song) 2/0 — — ED. SACHS. DR. JOSEPH PARRY. KING-CUPS ... 1/0 - CERIDWEN 2/6 — — WATER LILIES 1/0 - NEBUCHADNEZZAR .', 3/0 4/0 5/0 C. SAINTON-DOLBY. DITTO (SOL-FA) 1/6 2/0 2/6 FLORIMEL (Female voices) 2/6 B. PARSONS. CAMILLE SAINT-SAENS. THE CRUSADER 8/6 — — THE HEAVENS DECLARE—CCELI ENARRANT T. M. PATTISON. (19th Psalm) 1/6 — — MAY DAY 1/6 -^ — THE ANCIENT MARINER 2/6 — — W. H. SANGSTER. THE LAY OF THE LAST MINSTREL (SOL-FA,0/9) 2/6 — — ELYSIUM 1/0 ~ - THE MIRACLES OF CHRIST (SOL-FA, 0/9) ... 2/0 — — FRANK J. SAWYER. A. L. PEACE. THE SOUL'S FORGIVENESS 1/0 _ _„ ST. JOHN THE BAPTIST (SOL-FA, 1/0) 2/6 - - THE STAR IN THE EAST 2/6 — "" PERGOLESI. C. SCHAFER. STABAT MATER (Female voices) (SOL-FA, 0/6) ... 1/0 — — OUR BEAUTIFUL WORLD 2/6 - - CIRO PINSUTL H. W. SCHARTAU. PHANTOMS—FANTASMI NELL' OMBRA ... 1/0 — _ CHRISTMAS HOLIDAYS (Female voices) 0/9 - - PERCY PITT. SCHUBERT. HOHENLINDEN (Men's voices) 1/6 — — COMMUNION SERVICE, IN A FLAT 2/0 _ 3/6 V. W. POPHAM. DITTO, IN B FLAT 2/0 3/6 DITTO, IN C — EARLY SPRING 1/0 — _ 2/0 __ 3/6 DITTO, IN E FLAT 2/0 2/6 4/0 A. H. D. PRENDERGAST. DITTO, IN F 2/0 — 3/6 THE SECOND ADVENT 1/6 — — DITTO, IN G 2/0 3/6 MASS IN A FLAT 1/0 1/—6 2/6 E. PROUT. Do., IN B FLAT 1/0 1/6 2/6 DAMON AND PHINTIAS (Male voices) 2 6 _ — Do., IN C ... 1/0 1/6 2/6 FREEDOM i/0 _ — Do,, IN E FLAT 2/0 2/6 4/0 HEREWARD^ " 4/0 _ — Do., IN F (SOL-FA, 0/9) 1/0 1/6 2/6 QUEEN AIMEE (Female voices) .* 2/6 — — Do., IN G 1/0 1/6 2/6 THE HUNDREDTH PSALM (SoL-FA, 0/4) 1/0 — — SONG OF MIRIAM (SOL-FA, 0/6) „ 1/0 THE RED CROSS KNIGHT (SOL-FA,2/0) 4/0 4/6 6/0 — SCHUMANN. PURCELL. ADVENT HYMN, "IN LOWLY GUISE" 1/0 ^ DIDO AND ^NEAS 2/6 — — FAUST 3/0 3/6 5/a" ODE ON ST. CECILIA'S DAY 2/0 — — MANFRED 1/0 — — TE DEUM AND JUBILATE, IN D 1/0 — — MIGNON'S REQUIEM 1/0 DITTO (Edited by Dr. Bridge) (SOL-FA, 0/6)... 1/0 — — NEW YEAR'S SONG (SOL-FA, 0/6) 1/0 — — KING ARTHUR ... 2/0 — — PARADISE AND THE PERI (SOL-FA, 1/6) 2/6 3/—0 4/—0 THREE SCENES, from "King Arthur" ... .".*.' 1/6 — — PILGRIMAGE OF THE ROSE 1/0 1/6 2/6 LADY RAMSAY. REQUIEM 2/0 — — THE KING'S SON 1/0 — — THE BLESSED DAMOZEL 2/6 — — THE LUCK OF EDENHALL (Male voices) 1/6 — — F. J. READ. THE MINSTREL'S CURSE 1/6 — — THE SONG OF HANNAH 1/0 — — REQUIEM MASS 2/0 __ — J. F. H. READ. H. SCHUTZ. BARTIMEUS 1/6 — _ THE PASSION OF OUR LORD 1/0 - ^ CARACTACUS 2/6 BERTRAM LUARD SELBY. HAROLD 4/0 —_ 6/—0 IN THE FOREST (Male voices) 1/0 CHORUSES AND INCIDENTAL MUSIC TO PSYCHE 5/0 — 7/—0 "HELENA IN TROAS" 3/6 THE CONSECRATION OF THE BANNER 1/6 — — SUMMER BY THE SEA (Female voices) 1/6 THE DEATH OF YOUNG ROMILLY 1/6 — — THE WAITS OF BREMEN (for Children) 1/6 THE HESPERUS (SOL-FA, 0/9) 1/6 — — (DITTO, SOL-FA, 0/6) DOUGLAS REDMAN. H. R. SHELLEY. COR UNAM VIA UNA 2/6 — VEXILLA REGIS (The Royal Banners forward go) 2/6 — — NOVELLO'S OCTAVO EDITION OF ORATORIOS, Sic—Continued. Is ^t 1^0 E. SILAS. 33 W. TAYLOR. Z-i'O a.pq 4/0 COMMUNION SERVICE, IN C ST. JOHN THE BAPTIST — JOASH 4/0 MASS, IN C 1/0 A. GORING THOMAS. THE SUN-WORSHIPPERS 1/0 - R. SLOMAN. E. H. THORNE. CONSTANTIA 2/6 BE MERCIFUL UNTO ME 1/0 SUPPLICATION AND PRAISE 2/6 - HENRY SMART. G. W. TORRANCE. THE REVELATION 5/0 KING RENT'S DAUGHTER (Female voices) - (DITTO, SOL-FA, 1/0) BERTHOLD TOURS. THE BRIDE OF DUNKERRON (SOL-FA, 1/6) 2/0 2/6 4/0 A FESTIVAL ODE 1/0 _ THE HOME OF TITANIA (Female voices) 1/6 — J. M. SMIETON. (DITTO, SOL-FA, 0/6) ARIADNE (SOL-FA, 0/9) 2/0 — — CONNLA FERRIS TOZER. _ KING ARTHUR (SOL-FA, 1/0) .. 2/6 BALAAM AND BALAK 2/6 KING NEPTUNE'S DAUGHTER (Female voices) 2/6 •~ ALICE MARY SMITH. (DITTO, SOL-FA, 0/6) ODE TO THE NORTH-EAST WIND 1/0 ODE TO THE PASSIONS 2/0 P. TSCHAIKOWSKY. THE RED KING (Men's voices) 1/0 NATURE AND LOVE (SOL-FA, 0/4) 1/0 - THE SONG OF THE LITTLE BALTUNG (ditto) 1/0 (DITTO, SOL-FA, 0/8) VAN BREE. ST. CECILIA'S DAY (SOL-FA, 0/9) 1/0 1/6 2/6 E. M. SMYTH. MASS, IN D 2/6 — — CHARLES VINCENT. THE LITTLE MERMAID (Female voices) 2/6 A. SOMERVELL. THE VILLAGE QUEEN (Female voices) (SOL-FA,0/6) 2/6 ELEGY 1/6 - - — MASS, IN C MINOR 2/6 — — A. L. VINGOE. ODE TO THE SEA (SOL-FA, 1/0) 2/0 — — THE MAGICIAN (Operetta) (SOL-FA, 0/9) 2/0 - PRINCESS ZARA (SOL-FA, 0/9) 2/0 — — THE CHARGE OF THE LIGHT BRIGADE ... 0/9 — — W. S. VINNING. (DITTO, SOL-FA, 0/6) SONG OF THE PASSION (according to St. John)... 1/6 - THE ENCHANTED PALACE (SOL-FA, 0/9) 2/0 -- — S. P. WADDINGTON. THE FORSAKEN MERMAN 1/6 - - THE POWER OF SOUND (SOL-FA, 1/0) 2/0 — — JOHN GILPIN (SoL-FA, 0/8) 2/0 - THE SEVEN LAST WORDS 1/0 - - R. WAGNER. R. SOMERVILLE. HOLY SUPPER OF THE APOSTLES 2/0 - THE 'PRENTICE PILLAR 2/0 — — W. M. WAIT. CHARLTON T. SPEER. GOD WITH US 2/0 THE DAY DREAM 2/0 — — ST. ANDREW 2/0 — W. H. SPEER. THE GOOD SAMARITAN 2/0 ~ THE JACKDAW OF RHEIMS 2/0 — R. H. WALTHEW. SPOHR. THE PIED PIPER OF HAMELIN 2/0 — CALVARY 2/6 3/0 H. W. WAREING. FALL OF BABYLON 3/0 3/6 PRINCESS SNOWFLAKE (SOL-FA, 0/6) 1/0 - GOD, THOU ART GREAT (SOL-FA, 0/6) 1/0 THE COURT OF QUEEN SUMMERGOLD 1/0 - HOW LOVELY ARE THY DWELLINGS FAIR... 0/8 THE WRECK OF THE HESPERUS 1/6 - HYMN TO ST. CECILIA 1/0 (SOL-FA, 0/6) JEHOVAH, LORD OF HOSTS 0/4 LAST JUDGMENT (SOL-FA, 1/0) 1/0 1/6 HENRY WATSON. MASS (for 5 solo voices and double choir) 2/0 IN PRAISE OF THE DIVINE (Masonic Ode) ... 2/0 THE CHRISTIAN'S PRAYER 1/0 1/6 WEBER. JOHN STAINER. COMMUNION SERVICE, IN E FLAT 1/6 — ST. MARY MAGDALEN (SOL-FA, 1/0) 2/0 2/6 IN CONSTANT ORDER (Hymn) 1/6 THE CRUCIFIXION (SoL-FA, 0/9) 1/6 2/0 JUBILEE CANTATA 1/0 1/—6 THE DAUGHTER OF JAIRUS (SOL-FA, 0/9) 1/6 2/0 MASS IN E FLAT (Latin and English) 1/0 1/6 C. VILLIERS STANFORD. Do., IN G (Latin and English) 1/0 1/6 2/6 CARMEN SiECULARE 1/6 PRECIOSA 1/0 THREE SEASONS COMMUNION SERVICE, IN G 2/6 1/0 — EAST TO WEST 1/6 T. WENDT. EDEN 6/0 6/0 7/6 ODE 1/6 - EUMENIDES 3/0 GOD IS OUR HOPE (46th Psalm) 2/0 S. WESLEY. MASS, IN G MAJOR 2/6 DIXIT DOMINUS .. 1/0 _ CEDIPUS REX (Male voices) 3/0 IN EXITU ISRAEL 0/4 — THE BATTLE OF THE BALTIC 1/6 THE REVENGE (SOL-FA, 0/9) 1/6 S. S. WESLEY. THE VOYAGE OF MAELDUNE 2/6 3/0 4/0 O LORD, THOU ART MY GOD 1/0 - - F. R. STATHAM. J. E. WEST. VASCO DA GAMA 2/6 MAY-DAY REVELS (SOL-FA, 0/4) 1/6 - SEED-TIME AND HARVEST (SOL-FA, 1/0)... 2/0 — BRUCE STEANE. THE STORY OF BETHLEHEM 1/6 - THE ASCENSION 2/6 3/0 4/0 C. LEE WILLIAMS. H. W. STEWARDSON. A HARVEST SONG 1/6 - GIDEON 4/0 GETHSEMANE 2/0 2/6 STEFAN STOCKER. THE LAST NIGHT AT BETHANY (SOL-FA, 1/0) 2/0 2/6 SONG OF THE FATES 1/0 A. E. WILSHIRE. GOD IS OUR HOPE (Psalm 46) , . 2/0 — — J. STORER. 2/0 MASS OF OUR LADY OF RANSOM 2/0 THOMAS WINGHAM. THE TOURNAMENT MASS, IN D (Regina Coeli) , .. 3/0 — — TE DEUM (Latin) , ,. 1/6 - - E. C. SUCH. 1/0 GOD IS OUR REFUGE (46th Psalm) 3/0 CHAS. WOOD. NARCISSUS AND ECHO ODE TO THE WEST WIND . 1/0 - - ARTHUR SULLIVAN. FESTIVAL TE DEUM 1/0 F. C. WOODS. ODE FOR THE COLONIAL AND INDIAN A GREYPORT LEGEND (1797) (SOL-FA, 0/6) ,. 1/0 - - .. 1/6 - - EXHIBITION KING HAROLD (SOL-FA, 0/9) ,. 1/6 - - THE GOLDEN LEGEND (SOL-FA, 2/0) OLD MAY-DAY (SOL-FA, 0/6) T. W. SURETTE. E. M. WOOLLEY. THE EVE OF ST. AGNES 2/0 THE CAPTIVE SOUL . 2/6 — — LONDON : NOVELLO AND COMPANY, LIMITED. FULL ORCHESTRAL SCORES PUBLISHED BY NOVELLO AND COMPANY LIMITED. J. BARNBY. £s.d. HAMISH MACCUNN. £ S. d. THE LORD IS KING (PSALM 97) THE LAND OF THE MOUNTAIN AND THE FLOOD. J. FRANCIS BARNETT. Concert-Overture o 10 6 THE ANCIENT MARINER (English and German words) G. A. MACFARREN. JULIUS BENEDICT. MAY-DAY. A Cantata i i • ST ^ETER 330 A. C. MACKENZIE. THE LEGEND" OF "ST. CECILIA '.'. '.'.'. ','.'. ROSE OF SHARON. Op. 30 ^=10 W. STERNDALE BENNETT. CONCERTO FOR THE VIOLIN. Op. 32 THE MAY QUEEN TWELFTH NIGHT. Overture O 12 BENEDICTUS. From Six Pieces for Violin. Op. 37 ... o 5 S. COLERIDGE-TAYLOR. THE STORY OF SAYID. Op. 34 2 12 SCENES from THE SONG OF HIAWATHA. Complete 3 3 JASON. Op. 26 HIAWATHA'S WEDDING-FEAST (from the above) ... I 5 INTERMEZZO from Ditto THE DEATH OF MINNEHAHA ( „ „ ) ... I 5 THE BRIDE. Op. 25 HIAWATHA'S DEPARTURE (,,,,) ... I 10 PRELUDE to COLOMBA. Op. 28 o 4 FOUR CHARACTERISTIC WALTZES 0 5 BALLET MUSIC and RUSTIC MARCH (COLOMBA) o 10 BALLADE IN A MINOR o 7 LA BELLE DAME SANS MERCI. Ballad for Orchestra. Op. 29 076 I F. CORDER. RHAPSODIE ECOSSAISE. Op. 21 050 PROSPERO. Concert-Overture SECOND SCOTCH RHAPSODY ("BURNS"). Op. 24 050 MICHAEL COSTA. MENDELSSOHN. GOD SAVE THE KING 026 ATHALIE. Op, 74. (English words) i i o THE DREAM o 12 o „ The Overture F. H. COWEN. „ Priests' March A HYMN OF PRAISE. Op. 52. (English words) . FOUR ENGLISH DANCES O 10 RUTH „ „ The Symphony 3 3 ELIJAH. Op. 70. (English and German words) SLEEPING BEAUTY 2 2 WALTZ from Ditto ST. PAUL. Op. 36 o 5 HEAR MY PRAYER „ SYMPHONY, No. 4 (THE WELSH) o 15 F. DAVID. M. MOODY. THE DESERT OVERTURE, "DER STERBENDE KRIEGER" 040 OVERTURE IN A 050 H. WALFORD DAVIES. " THEMISTOKLES." Overture for a Military Band 050 PRO SPICE (Strings) MOZART. ANTON DVORAK. TWELFTH MASS 0 15 0 ST. LUDMILA (English, German, and Bohemian words) THE SPECTRE'S BRIDE. Op. 69. (English, Bohemian, E. MUNDELLA. and German words) VICTORY OF SONG (Female Voices) A PATRIOTIC HYMN. Op. 30. (English, Bohemian, and 053 German words) F. A. G. OUSELEY. STABAT MATER 2 5 MARTYRDOM OF ST. POLYCARP REQUIEM MASS 3 3 1 5 0 SYMPHONY (No. 4) IN G MAJOR I 10 H. W. PARKER. E. ELGAR. HORA NOVISSIMA 220 VARIATIONS. Op. 37 INTERMEZZO (from the above). Small Orchestra C. H. H. PARRY. ~ MAZURKA BLEST PAIR OF SIRENS 076 SERENADE MAURESQUE .*.'.* .'.'.* .*.'.' .'.*.' Z JOB 220 CONTRASTS (The Gavotte, 1700 and 1900) SYMPHONIC VARIATIONS o 10 0 CONCERT-OVERTURE, "FROISSART" PERCY PITT. H. GADSBY. AIR DE BALLET (for String Orchestra) ... THE FOREST OF ARDEN. Orchestral Scene 076 BALLADE (for Violin and Orchestra) ... O 10 EDWARD GERMAN. E. PROUT. THREE DANCES from Henry VIII 076 SYMPHONY IN F (No. 3, Op. 22) CH. GOUNOD. MESSE^ SOLENNELLE (Ste. Cecile) C. SAINT-SAENS. TROISIEME MESSE SOLENNELLE THE HEAVENS DECLARE (Latin and English words) BY BABYLON'S WAVE MORS ET VITA W. H. SPEER. JUDEX from Ditto FESTIVAL OVERTURE 8 o REQUIEM from Ditto THE REDEMPTION SPOHR. MAtlCH TO CALVARY from Ditto THE LAST JUDGMENT (English and German words)... 1 II „ „ The Overture o 5 i HANDEL. „ „ The Second Overture THE MESSIAH, with Mozart's Accompaniments. Cloth, o 5 GOD, THOU ART GREAT (English and German words) o 10 kilt edges CALVARY (English and German words) ACIjS AND GALATEA (English and German words), with 2 2 Mozart's Accompaniments I II 6 C. V. STANFORD. SAMSON, with E. Prout's Additional Accompaniments ... 330 THE REVENGE. Op. 24 ISRJAEL IN EGYPT. Edited by Mendelssohn IRISH SYMPHONY IN F MINOR. Op. 28 I 10 HAYDN. PRELUDE to the CEdipus Rex of Sophocles ... O 6 THlE CREATION. Cloth, gilt edges SUITE for Violin Solo and Orchestra SYMPHONY (No. 4) IN F. Op. 31 t G. HENSCHEL. TH:E MUSIC TO HAMLET I 10 o A. SULLIVAN. STABAT MATER. Op. 53 220 OVERTURE DI BALLO O 12 O IN MEMORIAM. Overture 0 15 O ADOLF JENSEN. TE DEUM 1 5 o THfe FEAST OF ADONIS (English and German words).. o 15 o THE GOLDEN LEGEND 2 12 6 OLIVER KING. MUSIC TO "THE TEMPEST" I 10 o «A10NG THE PINES. Concert-Overture. Op. 36 040 NIGHT. A Symphony in F. Op. 22 o 10 6 TSCHAIKOWSKY. PIANOFORTE CONCERTO, No. 3 o 15 o C. HARFORD LLOYD. MARCHE SOLENNELLE ... 076 HERO AND LEANDER MARCHE MILITAIRE (Military Band) 040 ORCHESTRAL ACCOMPANIMENTS ARRANGED FOR HARMONIUM & PIANOFORTE. To obviate the difficulty experienced by such country Choral Societies as are unable to procure the assistance of an orchestra for the performance of complete works, Messrs. Novello and Company, Limited, are publishing arrangements of the Orchestral Accom paniments of many popular works for Pianoforte and Harmonium. For the convenience of performers the parts for the two instruments are printed together, and two copies are therefore necessary for performance. s. d. ATHALIE—Mende/ssokn .... Arrd. by J, W. ELLIOTT 7 6 CALVARY—5/^^r „ KING HALL 7 6 CRUSADERS—A^. IV. Gade .... „ J. W. ELLIOTT 7 6 DAUGHTER OF JAIRUS—/. Stainer „ W. HODGE 5 0 ELIJAH—Mende/sso/ifi „ E. PROUT 10 6 FIRST MASS—Mosar^ „ WINDEYER CLARK 5 0 GALLIA—O. Gounod .... „ T. E. AYLWARD 2 6 GOD, THOU ART GREAT—^^^^y^;- „ KING HALL 2 6 HEAR MY V^AS.E'R—Mendelssohn „ MYLES B. FOSTER 2 0 HYMN OF FRAlSE—Mende/ssoAn „ J. W. ELLIOTT 7 6 JOAN OF ARC-^. R. Gaul .... „ „ 7 6 LAST JUDGMENT—5/^;^;' .... „ KING HALL 7 6 LAUDA SION—Mendelssohn .... „ WINDEYER CLARK 5 0 MAY-DAY—a ^. Macfarren , „ 5 0 MAY ^^3EEY{~Bennett .... „ J. LEMMENS 7 6 MORS ET VITA—C>^. Gounod .... „ KING HALL 10 6 'REE>EY.AH—J. Bantby „ „ 5 0 REDEMPTION—C^. Go^mod .... „ J. W. ELLIOTT 10 6 ST. MARY MAGDALEN—/. Stainer „ W. HODGE 7 6 STABAT MATER—Rossini .... „ J. LEMMENS 6 0 THE CREATION—i/^ja';^ .... ., WINDEYER CLARK 10 6 THE MESSIAH—Handel .... „ KING HALL 10 6 THE RED CROSS KNIGHT—Rrozit „ J. W. ELLIOTT 10 6 THE ROSE OF SHARON—.^. C. Mackenzie And. by KING HALL 10 6 TW^ELFTH MASS—Mozart .... „ WINDEYER CLARK 7 6 LONDON: NOVELLO AND COMPANY, LIMITED. PRODUCED AT THE NORTH STAFFORDSHIRE MUSICAL FESTIVAL, OCTOBER 26, 1899, SCENES FROM LONGFELLOW'S "THE SONG OF HIAW^ATHA." THE DEATH OF MINNEHAHA A CANTATA FOR SOPRANO AND BARITONE SOLI, CHORUS, AND ORCHESTRA THE MUSIC COMPOSED BY S. COLERIDGE-TAYLOR. (OP. 30, No. 2.) PRICE ONE SHILLING AND SIXPENCE. TONIC SOL-FA, IS. VOCAL PARTS, IS. EACH. WORDS ONLY, 5s. PER 100. STRING PARTS, 7s. Co. WIND PARTS AND FULL SCORE {in the Press). DAILY TELEGRAPH, ATHEN^UM. Mr. Taylor possesses the rare gift of expressing his thoughts and " Minnehaha" is, in its way, as complete and adequate a musical feelings in a simple, direct manner; with a few characteristic notes, e sion as the " Wedding-Feast," and from the very nature of the a few expressive chords, he achieves more than some composers with ( ne much more moving and impressive. . . . There is in it the their pretentious themes and startling progressions. He has not so frequent repetition of a few short themes presented under much set to music as illustrated the lines of the poeni; there is plenty V g conditions, such as relieve the strain of their persistency; of skill in the music, and it is all wisely hidden behind the notes ; or t is the same aptness of expression in the phrases, the same in other, and perhaps better terms, the vivid soul of the music shines J lity for diatonic melody, the same wealth of resource in the through its body. . . . "The Death of Minnehaha" is hitherto Mr. itration, and an equal measure of the persuasiveness which Taylor's highest effort, and if the final section of his trilogy shows us to think that thus and thus, and in no other way, are the no falling off, then, indeed, he will have produced something leaving t thoughts best clothed upon with musical beauty. The fact just powerful footprints on the sands of time. sttti ; embodies the highest triumph of the composer's means and methods, and is the more remarkable because, apart from harmonies BIRMINGHAM DAILY POST. and colours that show the freedom of modern treatment, the melodies The young Anglo-African we may claim as our own. That he is a i;- • ' "ch the real and true spirit of music always lies have the simplicity genius I do not hesitate to declare. He is in gorgeous imagination, c older time. About them there is nothing artificial. They never a second Tschaikowsky; in economy of thematic material, another s 3t that they have been sought after, but rather that they have Dvorak. . . -. Fine as is *' Hiawatha's Wedding-Feast," the " Death of £ of themselves. Handel is hardly more natural than Mr. Cole- Minnehaha "is finer. One stands for comedy, the other represents r Taylor in this regard, or his subjects, so to speak, more tragedy. . . . Few things in poetry are more pathetic and heart i: able, though, of course, their treatment by the old master, on the breaking than the description of the famine in the story of 0 and, and the young aspirant, on the other, is in the broadest Hiawatha—his fruitless quest for food in the snow-clad forest; the F le contrast. I do not in the least degree underrate the value of delirium of poor Laughing Water, the victim of fever and starvation; L aylor's powerful and expressive harmonies or the picturesqueness and the devotion of the old Nokomis. These are treated by the young 0 . J orchestration, but I contend, all the same, that the secret of his composer with a power of pathos that no one can listen to unmoved. music's moving force lies in the happy phrases upon which he insists I must confess to being so overcome more than once that I could .' With such remarkable iteration. When sorrowful, there are tears in scarcely control my feelings. The themes are few, but they are so c ' me, and with a few notes he can touch the springs of emotion in varied in treatment that every page is a fresh revelation. Hiawatha's a ee refused to many who labour strenuously and with elaboration prayer for food, and his farewell to Minnehaha, are nobly expressed, t is the same end. Than this I can say nothing more conclusive and are infinitely more touching than even the scene between Wotan c fact that the youthful Anglo-African is a man with a mission, and Briinnhilde. V gift of free and natural eloquence in a domain which is the f ed home of that priceless quality, and with a potentiality such BIRMINGHAM DAILY GAZETTE. a st draw to himself the hope and expectation of all who wish well " The Death of Minnehaha " touches a higher level than " Hiawatha's t glish art. Wedding," and the reason is not hard to discover. In the " Feast " we have lightness and something like revelry In " Minnehaha " we have DAILY CHRONICLE. tragedy, not, be it observed, the deep, and, so to speak, scientific and '•The Death of Minnehaha" made a deep impression on the studied tragedy of the Greeks, but a human, tender, touching tragedy, listeners. It certainly realised the expectations no less kindled by which is all the more effective by reason of its simplicity. From the arqugintance with the first section, " Hiawatha's Wedding-Feast," first bar the music takes hold. . . . Those who only see the pianoforte t ly the rumours of its pathetic character. As its position in the score cannot realise the tremendous effect of the unaccompanied F imme was the reverse of favourable for such a work, the effect it call: " Minnehaha ! " on pages 20 and 21, where the utmost passion of d was specially gratifying. Mr. Coleridge-Taylor avails himself human desolation is expressed by the unaccompanied chorus. the resources of the modern orchestra, the scoring being ionally full—and to emphabise certain passages he freely uses MANCHESTER GUARDIAN. ss drum, cymbals, and harp. Both chorally and instrumentally It is a story of despair, desolation, and death, and the composer has 'ening passages are rather weird, as they presage the approach fully realised its tragic interest, every phase of it being vividly aivatha's wigwam of the spectres of Famine and Fever, whose pictured. He employs the same devices, he startles again by his _ ' is indicated in a gf^nuinely dramatic manner. Additional rhythmic innovations ; some of his themes are almost barbaric in sugfc, .wtiveness is imparted by the dread visitors being respectively their wildness. In contrast with the joyousness, the fun, and the represented by the two soloists—baritone and soprano—who are thus humour of its predecessor, the new work is very striking. A great heard for the first time. The chorus quickly resume, and the line effect is produced by the composer's treatment of the poet's awful d nng how the doomed Minnehaha " Lay there trembling, personification of Famine and Fever, and there is something wonder f g, burning," is graphically, but thoroughly legitimately dealt fully pathetioin Minnehaha's death-song. V 'ike in the voice parts and the accompaniment. Hiawatha's F (for baritone solo), " Give your children food, O Father," and STAFFORDSHIRE SENTINEL. t il breathing by Minnehaha (soprano soloist) of the name of her Mr. S. Coleridge-Taylor's new work is magnificent. No less a term 1 nd, are so agonising in their poignancy, that it is impossible to will describe it. It has proved to be an all-round improvement on the unmoved. " Wedding-Feast." The choruses are more varied and beautiful, and the solos are inexpressibly affecting. . . . Many were deeply touched MANCHESTER COURIER, by the dramatic story and its wonderful treatment. . . . This work tragedy of Minnehaha's death and the sadness of Hiawatha's distinctly classes Mr. Taylor as one of the very finest composers i ill were brought out with an intensity that profoundly affected who have seen the light in what some people will persist in describing tu^ . -dience. an unmusical country. LONDON: NOVELLO AND COMPANY, LIMITED AND NOVELLO, EWER AND CO., NEW YORK. COMPOSITIONS BY EDWARD ELGAR. CANTATAS. s. a. SONGS. THE DREAM OF GERONTIUS (Op. 38). THE SWORD SONG (" Caractacus"). For For Mezzo-Soprano, Tenor, and Bass Soli, Baritone 2 Chorus, and Orchestra ••• 3 6 THE ANGEL'S SONG: " My work is done" Paper boards, 4s.; cloth, gilt, 5s.; Vocal Parts, is. 6d. each. ("Gerontius"). For Mezzo-Soprano ... i Book of Words, with Analysis, is. String Parts, 20s. ; Wind Parts and Full Score, MS. ORCHESTRA. CARACTACUS (Op. 35). For Soprano, VARIATIONS ON AN ORIGINAL THEME Tenor, Baritone, and Bass Soli, Chorus and Orchestra 3 ^ (Op. 36) :- Paper boards, 4s.; cloth, gilt, 5s.; Full Score, 25s.; String Parts, los.; Wind Parts, 22s. Vocal Parts, is. 6d. each. Words onlv, 25s. per TOO. PRELUDE AND ANGEL'S FAREWELL String Parts, 24s.; Wind Parts and Full Score, MS. (" Gerontius ") :— THE BLACK KNIGHT (Op. 25). For Chorus String Parts, 3s.; Full Score and Wind Parts, MS. and Orchestra ...... 2 o IMPERIAL MARCH (Op. 32) :— String Parts, gs.; Wind Parts and Full Score, MS. String: Parts, 2S.; Wind Parts, 7s.; Full Score, MS. KING OLAF (Op. 30). For Soprano, Tenor, MEDITATION (" The Light of Life ") :— and Bass Soli, Chorus, and Orchestra ... 3 o String Parts, 2s.; Wind Parts, 5s. 6d.; Full Score, MS. Cloth, gilt, 5s.; Vocal Parts, is. 6d. each ; FROISSART (Op. 19). Concert-Overture:— Tonic Sol-fa (Choruses only), is. 6d. Words only, 25s. per 100. Full Score, 7s. 6d.; String Parts, 4s. 6d.; Wind Parts, gs. String Parts, 23s.; Wind Parts and Full Score, MS. TRIUMPHAL MARCH ("Caractacus"):— THE BANNER OF ST. GEORGE (Op. 33). String Parts, 2S. 6d.; Wind Parts, los. 6d.; Full Score, MS. For Chorus (Soprano Solo ad lib.) and SMALL ORCHESTRA. Orchestra i 6 Tonic Sol-fa, is. Words only, 12s. 6d. per 100. CHANSON DE NUIT (Op. 15, No. i) :— String Parts, ics. 6d.; Wind Parts and Full Score, MS. Score and Parts, In the Press. CHANSON DE MATIN (Op. 15, No. 2) :— SACRED WORKS. Score and Parts. In the Press. THE LIGHT OF LIFE ("Lux Christi") THREE PIECES (Op. 10) :— (Op. 29). A Short Oratorio. For Soprano, I. Mazurka. Full Score, 5s.; String Parts, 2s. 6d.; Wind Parts, 5s. Contralto, Tenor, and Baritone Soli, Chorus 2. Serenade Mauresque. and Orchestra ... Full Score, 5s.; String Parts, 2S. 6d.; Wind Parts, 4s. 3d. Words only, los. per 100; String Parts, 13s. 6d.; 3. Contrasts (The Gavotte, A.D. 1700 and 1900). Wind Parts and Full Score, MS. IN F Full Score, 5s.; String Parts, 2s. 6d.; Wind Parts, 5s. 3d. TE DEUM AND BENEDICTUS NOTE.—These pieces may be effectively performed by an (Op. 34). For Chorus (S.A.T.B.), Orchestra, Orchestra consisting of i Flute, i Oboe, i Clarinet, and Organ ...... -.. ••• i o I Bassoon, 2 Horns, i Trumpet (Cornet), Drums, String Parts, 4s. 6d.; Wind Parts and Full Score, MS. and Strings. Any other instrument in the Score may be added with correspondine gain in effect. ANTHEMS. INTERMEZZO (" Dorabella") from the Varia LIGHT OF THE WORLD ("The Light of tions, Op. 36, for Strings, Wood-wind, and Life"). S.A.T.B. o 3 Drums:— SEEK HIM THAT MAKETH THE Full Score, 3s.; String Parts, 2s. 3d.; Wood-wind SEVEN STARS ("The Light of Life"). and Drum Parts, is. 6d. Tenor Solo and Chorus for T.T.B.B o 6 ORGAN. DOUBT NOT THY FATHER'S CARE SOLEMN MARCH (" The Black Knight ") ... i ("The Light of Life"). Duet, s. and c. ... o 2 MEDITATION (" The Light of Life ") i IMPERIAL MARCH 2 THREE-PART SONGS. TRIUMPHAL MARCH ("Caractacus") ... 2 THE SNOW. ForFemaleVoic.es (s.s.c). With Accompts. for Two Violins and Pianoforte ... 06 MILITARY BAND. Tonic Sol-fa, ijd.; Violin Parts, 6d. each. IMPERIAL MARCH 9 FLY, SINGING BIRD. For Female Voices CHANSON DE NUIT (Op. 15, No. i) 3 (s.s.c). With Accompaniments for Two CHANSON DE MATIN (Op. 15, No. 2) ... 3 Violins and Pianoforte o 6 MAZURKA 5 Tonic Sol-fa, ijd.; Violin Parts, 6d. each. SERENADE MAURESQUE 5 PART-SONGS AND CHORUSES. CONTRASTS (The Gavotte, A.D. 1700 and MY LOVE DWELT IN A NORTHERN 1900) 5 LAND. For S.A.T.B Tonic Sol-fa, i|d. PIANOFORTE. O HAPPY EYES. For S.A.T.B VARIATIONS ON AN ORIGINAL THEME Tonic Sol-fa, id. (Op. 36) 3 6 SPANISH SERENADE ("Stars of the Summer INTERMEZZO (" Dorabella ") from the above 2 o night"). For Chorus (S.A.T.B.) and Orchestra THREE PIECES (Op. 10) :— (or Pianoforte) 1. Mazurka 2 o Full Score and Orchestral Parts, MS. 2 O THE CHALLENGE OF THOR (" KingOlaf") 2. Serenade Mauresque ... 3. Contrasts (The Gavotte, A.D. 1700 and 1900) 2 O Tonic Sol-fa, 2d,; String Parts, 2s.; Wind Parts and 2 O Full Score, MS. MEDITATION (" The Light of Life") AS TORRENTS IN SUMMER ("KingOlaf") o 2 IMPERIAL MARCH (Op. 32) Tonic Sol-fa, id. CHANSON DE NUIT (Op. 15, No. i) IT COMES FROM THE MISTY AGES CHANSON DE MATIN (Op. 15, No. 2) (" Banner of St. George") o 4 Tonic Sol-fa, 2d.; String Parts, 2s.; Wind Parts and VIOLIN AND PIANOFORTE. Full Score, MS. CHANSON DE NUIT (Op. 15, No. i) 1 6 LITANY (" The Dream of Gerontius") ... o 2 CHANSON DE MATIN (Op. 15, No. 2) 2 O BE MERCIFUL, BE GRACIOUS, LORD (" The Dream of Gerontius")...... o 3 VIOLA AND PIANOFORTE. GO FORTH UPON THY JOURNEY ("The CHANSON DE NUIT (Op. 15, No. i) I 6 Dream of Gerontius ") o 4 SOFTLY AND GENTLY, DEARLY VIOLONCELLO AND PIANOFORTE. RANSOMED SOUL {Finale from "The I CHANSON DE NUIT (Op 15, No. i) 1 6 Dream of Gerontius ") 6 CHANSON DE MATIN (OP. 15, No. 2) 2 O LONDON: NOVELLO AND COMPANY, LIMITED.