La Capricieuse
Valse
BASILE BARÈS. Op. 7.
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Au Clair de la Lune
(Variations et Final Sur L’Air.)
LUCIEN LAMBERT. Op. 30.
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Respectfully Dedicated to Mrs. Amelia Nahar.
“Lauriett.”
Ballad
Composed by H.F. WILLIAMS. 1840.
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1. Lauriett!
Ah! my dearest,
I will often think of thee,
When far, far away o’er the deep and gloomy sea;
Lauriett, thou’lt ne’er forget the happy morn when first we met,
When I saw and lov’d thee dearly;
My charming Lauriett,
When I saw and lov’d sincerely,
My charming Lauriett.
But thou, thou wilt ne’er forget me,
Ah no, thou wilt not forsake me,
For thee, my love, my life, my dearest,
I ne’er will forget.
2. Fare thee well:
Ah! my dearest,
Wilt thou often think of me,
When I’m far from my home, yes, my love, when far from thee;
Lauriett, Ah! canst thou tell the grief that in my heart doth dwell,
For my love, we soon must sever;
But say, love, ere we part,
Wilt thou be mine forever?
Are we but one in heart?
Once more my love wilt thou embrace me,
For hark! the signal calls to duty,
I must away my love, and leave thee,
Fare well, fare thee well.
Footnotes
1 Hooker.
2 Bertini.
3 Reference is supposed to be made to this in the Book of Job, in these words: “When the morning stars sang together, and all the sons of God shouted for joy.”
4 For an able criticism of the composers and some of the performers mentioned, the reader is referred to Professor Ritter’s very valuable History of Music, in two volumes.
5 In the Library of Entertaining Knowledge, vol. iii. p. 76.
6 Anonymously contributed to the Boston Folio for May, 1877.
7 It would, perhaps, be better at present to except those of Wagner, upon the surpassing merits of which the best critics are as yet divided.
8 It should also be here remarked, that there has been, too, a remarkable improvement made in the construction of most all musical instruments; they having been brought to a nicety and beauty of form and tone probably not dreamed of by the makers of the past.
9 The church-bells of the city were also employed in rendering some of the music.
10 From a writer in the New-York Herald.
11 She was a vocalist of rare powers, and was considered the equal of the celebrated Miss Greenfield, or, as the latter was frequently called, the “Black Swan.”
12 Eugene L. Brown. He was possessed of very promising histrionic ability, had frequently taken a leading part in amateur theatricals at Dover and elsewhere in New Hampshire, and was the author of a drama which was highly spoken of by the press of Dover. Unfortunately, in 1875 he died.
13 The writer considers it proper to precede the sketch of the virtuoso, Joseph White, by a brief account of that wonderful instrument to which the latter has given his chief study, and in the playing of which he has become in at least four countries so deservedly famous.
14 By permission of Mr. White, I quote now, and to some extent shall do so hereafter, from his Biography, published in Paris in 1874 by Paul Dupont. For the excellent translation used I am much indebted to my friend Mr. Joseph W. Hendricks of Boston.
15 For further accounts of his career in Spain, the reader is referred to La Correspondencia of 23d December, 1863; La Epoca, La Discusion, &c., of about the same date.
16 The same opera was performed here a few days before with the following cast: Miss Howson, Mrs. Seguin, and Miss Phillips, and Messrs. Seguin and Chatterson.
17 St. Louis is placed in this section of the record because the latter is devoted to such localities as before the war were within slave territory.
18 Only to those who have not read the introduction to these sketches will it seem strange that the titles of these, and of the works hereafter mentioned, although they are the creations of Americans, are yet given in the French language. For the information of such persons, I repeat in substance what has already been said, that these authors, in adopting the course just referred to, have only followed a custom which is most generally observed in the highest art-circles of New Orleans, “the Paris of America,”—a custom, too, which, no doubt, is in harmony with the tastes, as it is with the acquirements, of the authors themselves, all of whom speak and write the French language quite perfectly. It may be well to here say also, that all of the above-mentioned works, and all others (not otherwise specified) mentioned hereafter, bear the imprint of some one of the principal music-publishers of the day, from whom, of course, copies may be ordered, if desired.
19 This composer has been previously mentioned in these sketches. “Le Bohémien” is one of several of Professor Snaer’s pieces that show him to be a writer of fine abilities.
Les Clochettes
Fantaisie Mazurka
SYDNEY LAMBERT. Op. 9.
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Alphonse Leduc. Paris.
“Rays of Hope.”
March
Composed by WALTER F. CRAIG. Op. 1.
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Scenes of Youth
Fantaisia for Piano
By F.E. LEWIS, Op. 3.
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