ÀҾ˹éÒ˹ѧÊ×Í
PDF
ePub
[graphic][subsumed][subsumed][ocr errors][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][merged small][merged small][ocr errors][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][graphic][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][ocr errors][subsumed][subsumed][ocr errors][subsumed][subsumed][subsumed][subsumed][subsumed][ocr errors][subsumed][subsumed][subsumed][subsumed][subsumed][ocr errors][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][graphic][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][ocr errors][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][ocr errors][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small]
[merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][ocr errors][merged small][ocr errors][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][ocr errors][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][ocr errors][merged small][merged small][merged small][merged small][merged small][ocr errors][merged small][merged small][merged small][ocr errors][merged small][ocr errors][merged small][merged small][merged small][merged small][merged small][merged small][merged small][ocr errors][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][ocr errors][merged small][merged small][ocr errors][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][ocr errors][ocr errors][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small]

hold seemed on sand. The Castilian-like "Bolero" gave much pleasure, while Miss Kellogg seemed to enter heart and soul in it. It took me back to the land of Olives and Andalusian maidens with their large, luscious eyes. Bella donna! Sweet, yet fearful associations connected with two such musical words! In all such music as this, the Moorish element looms up, and one cannot help recalling Arab words and African consanguinity. Not the finest, the grandest, nor the most important vocal piece of the evening, but the prettiest, and certainly the most enjoyable to the many was this

same.

Just at the close of Miss Kellogg's first cavatina, General Butler and suite entered a private box. Three cheers with deafening applause greeted him, and in return he bowed again and again. I think sixteen in number joined in the Soldiers' chorus from "Don Cæsar de Bazan," which was very effectively sung by amateurs, of whom Hartford should be proud. At the close a unanimous encore was insisted upon. This not being immediately acceded to by the gentlemen who had just assumed military dress, and therefore hardly cultivated military promptness; the audience subdued its demand in the shape of a gentle request to General Butler to favor them with a speech. With a shake of the head he declined, and retired further back in the box. Ah! concert-audience of Hartford, you asked too much. It was too much of a good thing to expect a speech from one who came to listen to good music after dinner. Must thoughts of the camp, battles, and the lamentable strife in which this country is engaged, obtrude even where the sweet muse of harmony presides? Could not concord lull you into forgetfulness of jarring conflicts? I think I hear you answer there were some discords. Yes, they were licensed, but your attempt to extort a speech was unlicensed.

The Aria from "Zaira," was well sung by Monsieur Rivarde, a baritone with a flexible, but not powerful voice. His roulades and actions betrayed the Frenchman, while his mode of singing indicated thorough acquaintance with the art. I never heard this aria until then, but was much pleased with the patrician-like dignity of the andante. In the allegro there reigned a conservatism which with mercadante never degenerates into compliance with the current fashion and necessities of the times. Mr. Mills accompanied this piece very ably, and developed the orchestral obligato passages very distinctly and effectively. He is one of the few solo pianists who accompanies carefully. He played exquisitely during the evening, and it is a matter of regret that his two first pieces were performed on a Steinway square-the grand piano being on board the in-coming boat from New York, and momently looked for-with the disadvantage of being seated on a low chair. When will "folks" of country cities learn to consider the comfort of well-bred pianists, and value good piano playing higher than mechanical arts? Nothing during the whole concert could excell the beautiful simplicity of Mills' Welch air; the intelligent audience enjoyed attentively the variations with the everpresent air.

almost speaking in the exquisite delivery of the tenor notes, and now-but stay, listen and attempt no description. Drink deep from thy inmost soul and remember the words of Jean Paul Richter. Mills ceases to play, immense applause greets him, and the scene closes. "Plaudite amici comedia finita est."

I forgot to mention that the duo by Kellogg and Rivarde was loudly encored, but the singers responded only with bows. Numerous were the encores to Kellogg especially, and others.

The solo in the Marseillaise was sung by Rivarde, assisted by the Hartford chorus, composed of ladies and gentlemen, who aided in a very effective manner. Au revoir, Mr. Review. I am

EAST BOSTON, MASS.

QUIEN SABE?

Nov. 5th, 1861.-As items of musical intelligence are so scarce here, I improve the first opportunity to chronicle a few that have recently come to light. Last Friday evening, the singers from the various religious societies met at Sturtevant Hall, and organized themselves into an Association, under the name of the " Union Singing Society." Mr. Mark Googin, one of our most substantial citizens, was elected President, and Mr. Levi Arey, Secretary. After adopting a few by-laws for the government of the Society, and electing other officers, Mr. W. O. Perkins, of Boston, who had been selected as Conductor, and had been invited to be present, presided at the piano, and the remainder of the evening was pleasantly spent in rehearsing from the "Union Star," a collection of glees and choruses. Mr. Perkins, who is one of our most successful teachers and directors, is, also, teaching a singing class here; and under his supervision we are glad to see that East Boston is musically "looking up." Yours truly, QUI EST.

P. S. Since writing the above, we learn that attempts are making to secure the services of Mr. Perkins (who now conducts the music at the Boston Music Hall), at the Maverick St. Church. We are much pleased with "Asaph."

Miscellaneous.

Q. E.

SOME PASSAGES IN THE LIFE OF LORENZO
DA PONTE.

CONTINUED.

THEIR deceitful conduct increased our mutual hatred, and Mozart and myself were not free from apprehension lest a combination might be got up against us by our two opponents, and a certain Bussini, the wardrobe-inspector, an individual capable of any business except that of an honorable man. When Bussini heard of the ballet I had introduced into my "Figaro," he hurried off to the Count, and said, in a tone of disapprobation: "Your Excellency, the poet has introduced a ballet into his opera." The Count sent for me, and the following conversation took place between us :"You must be aware, Sir, that his Majesty tolerates no ballets in his theaters. Consequently, I order you, Mr. Poet, to strike out

"Here."

I will give you a short scene. The first part is over, and the proscenium is down. Here comes the Steinway grand, borne by nine hardy fellows, who place it on the stage, superintended by the indefatigable Wilson. Every body looks pleased and is anxious to hear it. The nine hardy fellows seem quite at home and familiar on the stage, but their presence is no longer the ballet you have introduced into your piece. Where is the scene?" needed, and one by one they leave Wilson and the tuner alone. An individual steps forth and gladly announces that Mills' will next play on the newly arrived instrument. The square is pushed behind, and now Thalia claims to preside over the concert. The key for the grand cannot be found. An anxious gentleman leaves his seat in the center of the gallery, and goes towards the stage in the neighborhood of which he hands a huge bunch of keys which-had they been larger, people would have suspected him of being a heavy-bearded jailer at large,-on being tried not one would fit. An individual again steps forth and begs the audience to have patience while a key is being made. After some fuss, the rejected square is again brought forth, and the grand retired to the back. A look of disappointment shades the fair features of anxious ladies, when a hurrah and shouts of joy announce the opening of the "big one." The poor despised square is for the last time rolled away, and before the grand sits the distinguished pianist. The man whose keys would not fit is very much pleased, and every body looks delighted except some old fellows behind, who want to know "what is the meaning of all this fuss, keeping people late out of their beds, and all for a piano."

He tore two leaves out of my manuscript, and flung them into the fire. He then returned me the libretto with the words: "You see, Sir, how far my power extends." He then honored me with a "Good day!"

The pianist plays Henselt's Fantasia on "Io son ricco e tu sei bella," charmingly. The coquetry, caprice, and ideal fancies, the execution now bold, large and heroic, now coy, soft and dulcet, now the moderato movement

I immediately went off to Mozart who flew into such a passion, that he wanted at once to go to the Count, to give Bussini a sound drubbing, and then hurry off to the Emperor and take back his manuscript. At length I begged he would keep quiet for two days, and leave the management of affairs to me.

Meanwhile, the grand rehearsal had been called. Before it took place I went to the Emperor, who promised to see about the matter. He condescended to be present at the rehearsal, and all the high aristocracy of Vienna accompanied him. The first act met with unanimous approbation. It concluded with a pantomime, during which the band was to play the bal"What is let music, as the dances were prohibited. The band was silent. the meaning of this pause?" the Emperor inquired of Casti, who was sitting behind him. "That is a question to which only the author can give your Majesty an answer," replied the Abbate, with a malicious smile. I was summoned. Instead of justifying myself, however, I laid before his Majesty a copy of my manuscript, in which the scene, as originally written, was retained. The Emperor read it through, and asked why the dances were not

de

executed. I still remained silent. He saw I would not state the facts, and, therefore, turning to the Count, requested of him the explanation I hesitated giving. "The dances are omitted," replied the Count stammering, "because there is no corps de ballet in your Majesty's theater." "But there are corps ballet in the other theaters; and it is my desire that Da Ponte shall have all the dancers he may wish." Half an hour afterwards we had four-and-twenty persons, dancers and figurantes. The ballet was performed. "Very good," exclaimed the Emperor; and this fresh proof of favor redoubled the thirst for revenge in the heart of my powerful persecutor.

At last the day of the first performance arrived. The performance took place to the great abashment of the maestre, and the by no means diminished vexation of the Count and Casti. The opera itself was brilliantly successful; it pleased the Emperor especially, as well as all true lovers of music; it was considered a lofty and divine work. The libretto, likewise, obtained its share of applause, and my modest competitor, Casti, was the first to point out its beauties. But what was his praise? Censure concealed under the semblance of good nature. "It is true," he remarked, "that this is only a translation from Beaumarchais; but it contains fine verses and several very pretty things."

The Count von Rosenberg, whose favor he was very apprehensive of losing, asked him to write a drama for Salieri, who was dying with envy to beat Mozart's opera. It was at this period he wrote "La Grotta di Trofonio," the second act of which is any thing but satisfactory, as far as art is concerned.

The music was very beautiful, a fact which the friends of the poet trumpeted forth everywhere; but this could not induce the Emperor to change his mind. There was still one stroke to be played, but that stroke completely ruined Casti with the Emperor, who very much admired his verses, it is true, but by no means admired him. Casti had just given the finishing touch to his "Dschingis-Khan," a Tartar poem, which, however, ranks far beneath his "Novelle Galanti," and especially "Gli Animali parlanti." This poem expedited his disgrace. He had it carefully copied out, and presented it with his own hands to the Emperor. Justly or unjustly, Joseph II. thought he saw in it a biting satire on Catharine II., whom he esteemed and admired. He sent for Casti to his box, and handed him a hundred sequins, with the words, "For your traveling expenses!"—a delicate method of dismissing him. Casti understood what the words meant, and a few days afterwards left Vienna.

II.

DA PONTE'S FURTHER STAY IN VIENNA.-LIBRETTOS FOR MARTINI AND MOZART.

After the departure of my persecutor, Casti, I determined to play my envious critics a trick, by writing two dramas at the same time-one openly, and the other in secret. Martini* complained of my idleness in not furnishing him more speedily with a subject, while, on the other hand, the Storace, who had surmounted her prejudices against me, prevailed on the Empress to ask me for a libretto for her brother. The opportunity was, therefore, a good one. I took the subject intended for Storace from one of Shakspeare's comedies, and, calling on Martini, got him to promise that he would not tell a living soul that I was writing anything for him.

In order to be agreeable to him, as well as the wife of the Spanish ambassador, I thought of taking a subject from the history of Spain. Martini liked the idea exceedingly, and so did the Emperor. I had confided the secret to the latter, and he had deigned to encourage me with his approbation. I began, therefore, perusing a number of Spanish plays, in order to familiarise myself with the dramatic character of the Spanish nation. At last I found a subject that pleased me in every respect; it was by Calderon, and bore the title, "The Moon of the Sierra." I sketched out my piece. The plot was simple.

While out shooting on the mountains, the Infant of Spain becomes enamored of a shepherdess; but the latter, being a virtuous girl, and deeply

* Martini, properly Vincenzo Martin, but commonly called "lo Spagnuolo," (the Spaniard,) because he was born, in 1754, at Valencia, went to Italy in 1781. His operas soon established his reputation, which he increased in Vienna, where he resided during the years 1785-1788. His most celebrated operas were "La Cosa Rara," (Lilla, or Beauty and Virtue,) and “L'Arbore di Diana," (The Tree of Diana.) Da Ponte wrote the libretto of both. As we shall presently perceive from what he says, the subject of "La Cosa Rara" is the same as that subsequently turned to account by Conradin Kreutzer, in the "Nachtlager von Granada." Martini's "Cosa Rara" is forgotten, but, to judge from the opinions of all his contemporaries, including even Mozart himself, unjustly so. The fact of his having been ranked with Cimaroso, Paesiello, and Mozart, and of his standing high in the opinion of the Emperor, who esteemed him very greatly, is a proof of the value of his productions. He died at St. Petersburg, in 1810.

in love with a mountaineer, withstands all the seductive arts of the prince. I entitled my piece "La Cosa Rara, or Virtue and Beauty."

Whether I was spurred on by a feeling of tender partiality for the composer, to whom I owed the first rays of my dramatic fame; whether it was a desire to put all my detractors to the blush at one stroke; or whether it was, perhaps, the nature of the subject itself, which was so poetical and consequently so attractive, I cannot say. I only know the libretto was finished in thirty days. The maestro then composed the music to it. I had arranged so that the best talent in the company should be employed in this opera. But the Italian artists, always unruly and difficult to manage, began their wretched machinations against the composer, even before the parts were distributed. This time they could not direct their attacks at me, because they did not know I had written the book. Sic me servavit Apollo.

After the parts had been distributed, the storm burst forth. One person had too much recitative, while the other had too little. This one found the music too high, and that one complained of its being too low. A third did not come in properly in the concerted music; and a fourth sang far too much. The state of anarchy had reached its extreme. At the same time, however, as it was not known that I had anything to do with the matter, people said the verses were pleasing, the characters well-drawn, and the subject newin a word, that the book was a master piece, but that the music was weak and trivial. "Signor da Ponte," a singer observed to me one day, as you are a poet, take a lesson from this work. It is a model which every one should imitate. This is how an opera buffa ought always to be written."

66

I laughed in my sleeve. At last, however, the volcano burst forth. Nearly all the artists sent back their parts, and refused to sing such music. The head of the cabal was the first buffo, who had a special feud with Martini on account of some rivalry in an affair of gallantry. The noise of this revolution penetrated to the Emperor, who expressed a wish to hear the particulars from Martini and myself. I took the liberty of assuring him that never had the singers had a better opportunity of distinguishing themselves than in this opera, and that Vienna had never heard such charming and catching music. He asked for the libretto, which, as a matter of precaution, I had put in my pocket. As he was carelessly turning over the leaves, his glance fell upon the first finale, which terminated with the words,

[merged small][merged small][merged small][ocr errors]

This note was instantly dispatched to Rosenberg.

On the evening of the first performance the house was crammed to suffocation, though most of the audience had come with an inclination to hiss; but in the very first airs they found so much grace, charm, and melody in the music, and so much that was unexpected and interesting in the dialogue, that they appeared inclined to pronounce a more favorable judgment. Hereupon, after a silence such as had never been known before at the performance of an Italian opera, there followed tumultuous manifestations of applause. At the conclusion of the first act, a call was raised for the author. Some of Casti's partisans seized the opportunity, and set his name in circulation. In the whole house, Kelly was the only person who suspected the truth. He was sitting next me, and whispered in my ear, "I will lay a wager that the libretto is by you." I begged him not to say anything. The only person to whom I had divulged the secret, was Herr von Lerchenheim, a secretary in the Imperial Cabinet, and my dearest friend. He was present, together with some ladies of the highest rank, at the first performance. The conversation turned very naturally on the piece, and the ladies inquired whether he did not know the author? He answered that he did. Their curiosity was now still more excited, and they wanted to learn the author's name. He told them the author was a Venetian, then residing in Vienna, and that he would introduce him to them at the end of the performance.

"All the better," they replied; "he is the only poet suited for our theatre. Should it be necessary, we ourselves will use our interest with the Emperor for his appointment." "I do not think you will have to do that," replied my friend, "for his Majesty has already engaged him." At this they expressed the greatest satisfaction. The second act began, and achieved as great a success as the first act, if indeed it did not achieve a greater. One

duet, in particular, electrified the whole house, and the Emperor demanded its repetition, by hand and mouth, contrary to the usual practice, introduced by himself, of having no concerted pieces sung twice.

After the performance, Herr von Lerchenheim kept his word, and presented me to the ladies. I cannot say which was the greater, their astonishment or my satisfaction. They wanted to know why I had so carefully concealed my name. "In order not to put the cabal to the blush," answered Herr von Lerchenheim, in a friendly tone.

The Germans, who were good by nature, but had been influenced by my calumniators, and who perceived the wrong they had done me, now endeavored to atone for it. I was the object of praise which really passed all bounds. The ladies, especially, would speak of nothing but my opera. They invented a fashion, a la cosa rara, and looked upon Martini and myself as two phoenixes. The opera had completely transformed us, and endowed us with a degree of merit and an array of good qualities which had previously never been suspected to exist. I resolved to write a still better piece, especially as the Emperor, after giving me unmistakable marks of his satisfaction, was continually advising me to write a new work for his beloved Spaniard. I zealously set about finding another subject worthy of Martini; but far too many composers begged me to give them a libretto, and backed their entreaties by the recommendations of some of the most distinguished personages among the nobility at Vienna. Out of respect for these recommendations, I was induced to write two librettos, one for Righini, and the other for Peticchio.

(To be continued.)

TAMBURINI IN DISGUISE.

THERE existed, in times past, an odd custom in Palermo. On the last day of the Carnival, the people went to the theater with all sorts of instruments -trumpets, trombones, drums, cornets, &c., &c., and played thereon an obligato accompaniment to the performances. It was a most abominable racket, which would have deafened ears not used to it. As to the singers, Stentor himself could not have sung down such an uproar. One day when "Eliza e Claudio" was being performed, Tamburini made his entrance, and was saluted by an abominable charivari, against which he would need a cannon's throat to succeed. After thus saluting their favorite, the audience ceased its noise to bestow a real and hearty applause upon the first notes of the singer. Tamburini, seeing that it was a time for licence, conceived the idea of executing his part in a woman's voice. His falsetto was remarkably clear and extended, and even more flexible than his ordinary voice. The public was so astonished, that the blatant instruments were relinquished, that the novelty might be listened to. The jest took at once, and was received with great applause. The basso cantante continued to the end of the first duet with the same success, and the audience remained quiet during his performance. When Mme. Lipparini appeared, the tumult recommenced. The sensitive lady supposed that it was an intentional insult to her, and was so much affected that she could not sing, but retired to her room, took off her theatrical garb, and left the theater.

When Tamburini went to the green room, he found that Mme. Lipparini had disappeared, and that the manager could not continue the opera he had begun. The public, not very accommodating in such cases, might be inclined to make a serious disturbance. He ran to Mme. Lipparini's room, but she had gone, leaving her costume spread upon the floor around. Tamburini was as much astonished as Pyramus when he found only the veil of his Thisbe. The basso retreated in surprise from this disordered feminine gear, but suddenly stopped, and, crossing his arms, gave himself up to philosophic reflections on the mutability of human affairs. A sudden shout from the audience announced the desire for the prima donna, and sonorous voices were calling, through the corridor, for that personage.

"La prima donna!" screamed the crowd, with a menacing tone of voice. "Ah! you want a prima donna!" said Tamburini. "You shall have one, and a better one than you imagine-one after my own fashion, one that all the managers in the country can't furnish you!"

The oddest thought had flashed across the mind of the joyous Dandini, the sparkling Figaro, the noble Giorgio. Piece by piece he picks up the discarded costume of the retreated virtuosa, doffs his own dress, and contrives, by no little stretching and some tearing, to invest himself with the feminine attire. He placed Eliza's satin hat on his curly wig, adjusted the veil coquettishly, and, thus disguised, rushed toward the stage. The dress did not give him any inconvenience; it only reached mid-leg, and left exposed a robust calf, which his silk stockings exhibited to great advantage, and the buckle of a

shoe which covered the biggest foot that ever a prima donna displayed to the admirers of her perfections.

The audience was becoming stormy; the orchestra had played the introductory measures at least ten times, and the most fractious spirits were for invading the stage, when Tamburini made his appearance in this grotesque rig. It would be impossible to describe the shouts of laughter, the bravos, the storm of applause, the hurrahs, the roars, the perfect tempest of delight which shook the house. When the prima donna had curtseyed, acknowledged the reception, raising her eyes to heaven and pressing her hand on her heart; when she had testified her delight at this ovation, she sang her cavatina, and she sang it to perfection. Tamburini, with his woman's voice, was far better than the prima donna assoluta whom he replaced.

So long as there were only solos to sing, he got along admirably. Eliza's part was done in falsetto, and his own in his natural voice. But when the duet came, the public feared that the double personage would be destroyed. Not at all-for he sang both parts, changing from bass to soprano as occasion demanded, and even changing his place on the stage, so as to mark the change of personage. When the opera was over, he was recalled a dozen times, and this carnival representation was finally brought to a crisis by his dancing in a pas de quatre with Taglioni, Mme. Taglioni, and Mlle. Rinaldini. How different from ours must have been the tone of the audiences and the character of the people, for such things as these to form their amusement or their gratification.

Special Notices.

TERMS ON WHICH WE LET BOOKS FOR THE USE OF MUSICAL CONVENTIONS. For the use of Collections of Church Music by a Convention lasting not over three days, ten cents per copy.

For the use of Glee Books by a Convention lasting not over three days, fifteen cents per copy.

All expenses, such as boxing, freight, &c., from and to our store, must be borne by the party ordering the books.

The books must be very carefully used, and returned to us unsoiled, and free from damage, within ten days of the close of the Convention, or paid for at the wholesale prices.

The books must be ordered from us by some party of known responsibility, who will be responsible to us that our terms are complied with.

Any books sent for the use of a Convention, may, of course, be retained, and paid for at the wholesale prices, thus saving the charge for their use.

Much experience proves to us that these prices are barely sufficient to cover the actual expenses and losses incurred by us in thus loaning books, and it is our purpose to adhere, hereafter, uniformly to these terms, which, we think, will be admitted to be reasonable. A list of the books which we will furnish Conventions, the present season, on these terms, is annexed:

COLLECTIONS OF CHURCH MUSIC. ASAPH; Or, THE CHOIR-BOOK. A NEW COLLECTION OF VOCAL Music, Sacred and Secular, for Choirs, Singing-Schools, Musical Conventions, etc. By Dr. LOWELL MASON and WM. MASON. Wholesale price, per doz., $8 00

[merged small][merged small][merged small][ocr errors][ocr errors][merged small][ocr errors][ocr errors][merged small][merged small][ocr errors][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][ocr errors][merged small][merged small][merged small][ocr errors][merged small][merged small][merged small]

WE

[blocks in formation]

E HAVE JUST PUBLISHED A SELECTION OF MUSIC, ARRANGED IN Four Parts, for MALE VOICES, from the "Young Men's Singing-Book," entitledPATRIOTIC SONGS;

Containing the following:-Star-Spangled Banner, Hail Columbia, Firmly Stand My
Native Land, The Source of Joy, Freedom's Day, Men of My Country, Never Forget the
Dear Ones, Up, Brothers, Up, The Might with the Right, Come Soft and Lovely Evening,
and God Speed the Right. The whole making a Pamphlet of 16 octavo pages, and Sold
for SIX CENTS.
Also,

A HYMN AND TUNE BOOK FOR THE VOLUNTEERS.
The Sabbath-School Hymn and Tune Book contains more than 200 appropriate
Hymns, with Tunes (melodies only), selected from the Sabbath Hymn and Tune Book.
This little book has been pronounced by the Chaplains of several Regiments as just the

« ¡è͹˹éÒ´Óà¹Ô¹¡ÒõèÍ
 »