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COMPOSED EXPRESSLY FOR THE WORCESTER MUSICAL FESTIVAL, 1887. 


A DBA Daatastatee ANRATADLOA 
THE WC 


PRE 


d. 

Vocal Score, C oO 
9 6 

) ; Oo 
Vocal Parts oO 
String Parts fe) 
Wind Parts ; 49 0 
Full SCof@ te - {63 0 
There are choruse nt observer, 
to whom the natural , indeed, we 
have the handler of 1 of Thor and 


ision for the 
now remains 
d upon the 
ly attentive 


bringing it down to: 
exact measure of w 
only to congratulate 
favour with which 
audience. 


There is beautiful the com- 
poser had it not alre: 


No better subject 1 Yhe 


has chosen. The pr for 
the exercise of his gi his 


skill in delicate pictu 


Mr. Frederic Cow ish 
musical art. Itisav ak 
with the enemies in 1 


There could be no ce 
achieved. . . . Ith fon 
honourably won by its composer. : , 


SUNDAY TIMES. 
As regards originality, loftiness of aim and achievement, and freedom and force 
of expression, it is head and shoulders above any choral work that has previously 
issued from the same pen. 


LONDON & NEW YORK: NOVELLO, EWER AND co: 


— 


JUDITH 


’ 


THE REGENERATION OF MANASSEH 
AN ORATORIO 


C. HUBERT H. PARRY. 


s2Ud. 

Vocal Score, papercover ... oh e ie Pus ee ne) 
5 paper boards ... oe. es ae 26 oO 

‘ cloth ‘ ees ist a ic “7410 
Vocal Parts _ xa! ree e. ad ... Seach ae 26 
String Parts 29 6 


Full Score and Wind Parts, MS. = 


THE TIMES. 

The Finale of the first act, in which the two hosti 
conflict, is masterly and fyi! of impetys. . . . Th 
again splendidly develop-d, but the -e of that act is 
the orchestral Nocturne, iz 

RAI PH 

The success. of ‘Fras t] was 
being recal pt | sly att 
but at the ¢ 

T! ARD. 

Without ; m -e that Dr. Hubert Parry’s oratorio 
“Judith”  .s produ n¢ the most favourable conditions and 
with emph .-ic success 

ny EePrOsT. 

The musician who could proc a work as ‘‘ Judith,” so full of power, 

character, and expression, b } 1 his last word. 
LWS. 

That Dr. Parry is a consui - of all the resources of the orchestra, 
lovers of music need not ile particularly in the “* Moloch”’ scenes 
he has treated the chorus » 2 uch not infrequently shows a touch of true 


genius. 
THE ATHENZEUM. 
No finer oratorio music than this has been written for many years. 


GUARDIAN. 

The success of Dr. Hubert Parry’s new oratorio was of the most unequivocal 
kind, the audience finding it impossible to obey the printed injunctions concerning 
applause at the morning performances, and cheering the composer heartily after 
both parts of a work which will not be long in being recognised as among the 
highest achievements of English music. 


LONDON & NEW YORK: NOVELLO, EWER AND CO. 


THE DREAM OF JUBAL 


A POEM WITH MUSIC 


FOR SOLI, CHORUS, ORCHESTRA, AND 
ACCOMPANIED RECITATION 


WRITTEN BY 
JOSEPH BENNETT 


THE MUSIC COMPOSED BY 


AwCr MACKIE NZ 


Octavo, paper cover, 2s. 6d.; paper boards, 3s.; cloth gilt, 4s. 
Vocal Parts, each 1s.; String Parts, 18s. 6d.; Wind Parts (in the Press). 
Full Score, MS. 


DAILY TELEGRAPH. : 
There was no mere pretence of listening ; from first to last the piece held the attention 
of its auditors, and compelled their hearty applause, which culminated at the close in an 
emphatic andappgrently unanimous chorus of approval. 


ce ead 
2 Seg DAILY NEWS. 

It is in his accompaniments to the dialogue that Dr. Mackenzie is at his greatest. 
Here all the resources of the orchestra are brought into play, and free use is made of 
‘leading motives,’’ including (in association with the idea of the Divine Power) an 
extremely happy quotation of the phrase given in the ‘‘ Hallelujah Chorus” of ‘‘ The 
Messiah,” to the words ‘‘ And He shall reign for ever and ever.” 


MORNING POST. 

Few composers living could have written more beautiful music than that with which 
Dr. Mackenzie accompanies the spoken words. . . . The contrast to the simple gaiety 
of the.scene in the fields is presented in the magnificent Funeral March and Chorus, 
which stands as the finest number in the work—deep in expression and strikingly original 
in treatment. . . . There can be no doubt that ‘‘ The Dream of Jubal” is not only his 
best work, but it is also the best work of the kind produced by any modern composer. 


: DAILY CHRONICLE. 

The choral writing is worthy of the composer who penned the magnificent series 
forming the ‘‘ Procession of the Ark,”’ in the ‘‘ Rose of Sharon,” whilst the instrumenta- 
tion is throughout picturesque and vivid, as well as highly interesting to those who wish 
to go below the surface and critically analyse Dr. Mackenzie’s method of workmanship. 

VANITY FAIR. 

For once the poet has been allowed to take his place side by side with the musician, 
and not, as usual, occupy a merely subordinate position. . . . Mr. Joseph Bennett has 
produced a work which in every way does him infinite credit—a work full of graceful 
imagery, tender thoughts, and poetic language. Throughout, the orchestration was 
most charming. 


SUNDAY TIMES. 
All Dr. Mackenzie's strength and individuality and wealth of resource come to the 
surface in the three magnificent concerted pieces now alluded to. . . . they attain, 
indeed, to as lofty an eminence as any English composer has yet reached. 


LIVERPOOL COURIER. 
During the performance the audience was spell-bound. 


LIVERPOOL DAILY POST. , 
It is an entirely worthy and noble conception, quite original, and of a fibre which 
arouses interest at the outset, and holds it enthralled until the last chord is heard. 


LONDON & NEW YORK: NOVELLO, EWER AND CO. 


THT 


TENTH THOUSAND. 


NOVELLO, EWER AND CO.’S MUSIC PRIMERS. 


EDITED By Dr. STAINER. 


THREE HUNDRED & NINETY-SIX 


TWO-PART EXERCISES 


FOR 


CHOIRS AND SCHOOLS. 


BY 5 


JAMES GREENWOOD: — > 


MAY BE USED WITH ANY SYSTEM OF SOL-FA. 


eS 
PRICE ONE SHILLING. a ae 
In paper boards, One Shilling and Sixpence. Os aaa at 


LONDON & NEW YORK 
NOVELLO, EWER AND CO, 


M7 
S35 
G7 


PREFACE. 


Tue following Two-part Exercises are intended for the use of 
singing-classes; the plan on which they are constructed being, 
it is thought, unique. The Author, after a lengthened experience 
in class-teaching, believes it to be the plan best adapted to pro- 
duce good, independent, readers of vocal music. A sight-singer, to 
be thorough, must be able to sing with readiness in all keys and 
in all sorts of time; and in order to attain this readiness he must 
have practice in scale and time exercises, of such a character as 
can be mastered by one whose familiarity with the lines and 
spaces has to be gradually acquired. Now the way in which 
scale-exercises are usually presented to the members of singing- 
classes is so unattractive, that large numbers of students soon 
grow tired of practising them; while the plan of exercising pupils 
in beating time without any connection with tune, although 
perhaps necessary at the very outset, soon becomes irksome. But 
by combining time with tune, and the scales with such contra- 
puntal devices as are to be found in the following pages, the 
interest of the pupils is sustained, the greatest possible amount 
of useful practice is obtained at the smallest cost of tediousness ; 
practice and pleasure go hand in hand, and progress is the result. 
In using this book teachers may adopt any system of solmiza- 
tion they may deem best, and also their own methods of explaining 
time and key-signatures, the relative durations of notes, &c. 
One direction, however, is necessary. The teacher must first 
teach the whole of his class to sing a scale. Then the scale in 
time. Then he must divide the class into two sections. Then 
direct those on his right hand to sing the scale, and those on 
his left the counterpoint. Then get those who before sang the 


Vv PREFACE. 


counterpoint to sing the scale, and vice versd, and keep them 
reversing in this manner until each exercise has been completely 
mastered. The Author believes that no other plan can be 
adopted by which the habit of singing in tune can be so well 
acquired ; because by the plan recommended each half of the 
class will in its turn be doing that which will be wel! within its 
power, viz., singing a scale, and thus giving support to those 
members of the class who are practising the counterpoint. The 
support thus afforded will be much more valuable for ultimate 
Eurposes than that which can be obtained by the strumming of 
every note on a pianoforte ; as it will be the support resulting 
from the harmonic relationship suggested to the minds of the 
pupils, and not merely that of sounds to be imitated. 


BrRIsTOL, Aug. 28th, 1883. 


Exerc 


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99 


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major 

sharp minor 
major 

sharp minor 


major 


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Digitized by the Internet Archive 
in 2011 with funding from 
University of Toronto 


http://www.archive.org/details/threehundrednineOOgree 


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No. 238. 


No. 239. 


No. 241. 


TWO-PART EXERCISES 


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No. 242. 


FOR CHOIRS AND SCHOOLS. 53 


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FOR CHOIRS AND SCHOOLS. 55 


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No. 286. 


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No. 294. 


No. 295. 


No. 296. 


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NOVELLO'S PRIMERS OF MUSICAL BIOGRAPHY 
JOSEPH BENNETT. 


Price One Shilling ; Cloth, Gilt, Two Shillings each. 


NOW READY. 


PEC yOkR BERLIOZ 
Pee PERIC-CHOPIN 
ROSSINI 
CHERUBINI MEY PRE EER 


PROSPECTUS. 
—-“é-— 
SomE years have passed since Mr. Joseph Bennett began, in the Musical 
Times, a series of biographical notices which are still far from ended. 
The original purpose was a limited one—namely, to throw light upon 
the personality of famous musicians by means of extracts selected and 
arranged from their letters and other writings. Hence the series had 
for first title ‘‘ The Great Composers, sketched by themselves.” 

Consequent upon the remarkable favour with which the notices were 
received, it was determined to extend their scope, and while making 
prominent the Masters’ own testimony, to deal with each subject in a 
complete biographical form, as far as allowed by the limits necessarily 
imposed. The words “ sketched by themselves” were therefore dropped 
from the title. 

It was further resolved to make additions in the case of the composers 
dealt with under the original idea, and to issue the notices separately 
as ‘Primers of Musical Biography.” 

The intention of ‘‘ Novello’s Primers of Musical Biography” is to 
convey, as clearly as the limits of an elementary work will allow, a just 
idea of each composer’s personality, and to record the principal events 
of his life. Knowledge of what a man is helps the understanding of 
what he does. These little books may serve, therefore, as a first step 
towards acquaintance with the genius and composition of the masters 
to whom they are devoted. 

For the copious extracts made from letters, &c., throughout the series, 
no apology is offered. They are the best material upon which to base 
an estimate of character. 


LONDON & NEW YORK 
NOVELLO, EWER AND CO. 


Novello, Ewer & Cos Music Primers 
Edited by Dr. STAINER. 


PRICE ONE SHILLING. 


THE SOL PA Sa lem 


OF TEACHING SINGING 


AS USED IN 


LANCASHIRE -AND YORKSHIRE 


BY 


JAMES GREENWOOD. 


AUTHORS PRE EACH. 


In bringing this little book to the notice of the Public, I am 
complying with a wish that has been expressed to me by 
many professional and other musical friends, who have wit- 
nessed the good results produced by the Lancashire and 
Yorkshire:system of Sol-fa. Being convinced of its superiority 
over all other systems, I earnestly recommend an investigation 


of its merits. 


LONDON & NEW YORK: NOVELLO, EWER & CO. 


ire” OFU MOZART 
OTTO JAHN. 


TRANSLATED FROM THE GERMAN By PAULINE D. TOWNSEND. 


With five Portraits, and Preface by George Grove, D.C.L. 
Three Volumes, Cloth, price £1 11s. 6d. 


“Mr. Grove, in his brief and able preface, calls the publication in an English 
dress of Otto Jahn’s famous biography of Mozart ‘an event in our musical history,’ 
and his statement cannot be considered an exaggeration. . . . The English public 
is to be congratulated upon a translation of his monumental effort which may 
without exaggeration be called excellent. Miss Townsend has done her work with 
skill and conscientiousness, and we doubt whether a much more careful comparison 
with the original than we have thought it necessary to undertake would discover 
many, or any, serious blunders.” —The Times. 


JOHANN SEBASTIAN BACH 


HIS WORK AND INFLUENCE ON THE MUSIC OF GERMANY, 1685-1750 


PHILIPPE SPLITS 


TRANSLATED FROM THE GERMAN BY 


CLARA BELL AND J. A. FULLER-MAITLAND. 
Three Volumes, price £2 2s. 


‘‘ Of the translation we can speak most favourably. Not only is it, so far as we 
have compared it, very faithful to the original, but it is thoroughly readable. .. . 
Nevertheless, his book is a sterling work which ought to be on the shelves of every 
musician; and we congratulate the translators and the publishers on having 
successfully completed the arduous task of presenting it in an English dress.”— 
The Atheneum. 


FREDERICK CHOPIN 


AS A MAN AND MUSICIAN 


ERE DERG aa TG ics: 


WITH A PorRTRAIT, ETCHED BY H. R. ROBERTSON, AND FAcC-SIMILES OF THE COMPOSER’s MS. 


Two Volumes, Cloth, price £1 53s. 


‘Mr. Niecks’s work at once takes its place among standard biographies. Great 
Musicians—the first complete and wholly satisfactory life of Chopin that has been 
written. Mr. Niecks may be assured that its successful achievements places him in 
the front rank of musical biographers; while, at the same time, the production of 
so able and adequate a work adds one more to the laurels earned by the distinguished 


firm that has already given us in English form Otto Jahn’s ‘ Mozart’ and Spitta’s 
‘ Bach.’”—Sunday Times. 


LONDON AND NEW YORK: NOVELLO, EWER AND CO. 


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‘Three hundred & ninety- 
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