choirs. St. Bartholomew's, which possesses a superb quartet, backed by a large and excellent chorus, is perhaps the most famous as a resort for lovers of very high-class church music.

Among the Roman Catholic choirs that of the Cathedral, W. F. Pecher, organist, is not only the most famous, but has the most direct bearing on American music. In St. Peter's, Barclay St.-the oldest Roman Catholic church in New York-there were, early in the forties, excellent English organists, among them Geo. Loder. The quartet choir sang many important works, such as masses by Haydn and Mozart.

The Redemptorist Fathers in East 3rd St., among whom originated the Paulist Fathers, did fair work in Gregorian music. They maintained a choir of men and boys. The Paulist Fathers have a similar choir, also restricted to the Gregorian tones. The old St. Patrick's Cathedral in Mulberry St. possessed in its time a few well-known singers, but the germ of New York Roman Catholic choir music was in St. Peter's, where Mrs. Easton, Miss Henne, Mr. Christian Fritch, Mr. Himmer, the famous tenor of German opera, Mr. Staud, a fine basso, sang, and where a double quartet, and a chorus of twenty voices, existed in 1870.

In May, 1879, the present Cathedral was opened with Haydn's Mass, No. 16, sung by a chorus of a hundred voices, accompanied by an orchestra. Since then have been sung all the principal masses by Haydn, Mozart, Beethoven, Righini-masses by Cherubini, Kalliwoda, and Bach—and among modern composers by Gounod, Guilmant, Saint-Saëns and Dubois; masses by Palestrina, Paccini; the famous Misereri by Allegri, etc. This choir gave Liszt's Graner Mass entire, for the first time at church service in this country. It has also sung masses and other

works by American composers. On great days the noble compositions of the great composers have usually been given with orchestra. On these occasions every ticket is disposed of day's beforehand, and hundreds are refused admission. Mr. Pecher has a full mixed choir of sixty voices, and a boy-choir of sixty, the latter carrying out the rubric exactly, singing the introits, graduales, offertories and post-communion; and at vespers the antiphons, hymns and psalms of the day, all Gregorian. However varied according to the season, all is strictly carried out according to the rubric. The Cathedral music, therefore, offers a model of Roman Catholic church music to the entire country.

The fact that New York is the one place in the United States where new dramatic works are habitually staged and launched has given it the monopoly of a special class of operatic jeux d'esprit. Here De Koven has written and produced "Robin Hood," "Rob Roy," "La Tzigane," etc.; Victor Herbert, "Prince Ananias," "The Wizard of the Nile," "The Serenade;" Ludwig Englander, "The Caliph," and "Half a King;" Sousa, "El Capitan." Here in more serious dramatic work Xaver Scharwenka wrote "Mataswintha." Here, too, Dudley Buck, Harry Rowe Shelley, E. A. MacDowell, Bruno Oscar Klein, Platon Brounoff, Edgar S. Kelley, Silas G. Pratt, C. B. Hawley, Henry Holden Huss, R. Huntington Woodman, Frederick Schilling, George F. Bristow, Homer N. Bartlett, William K. Bassford, live and write; and here S. P. Warren, and the long list of choir-composers that have followed him, bring year by year excellent choral works before the public.

New York has also contributed her quota to the modern musical library.

The valuable "Cyclopædia of Music and Musicians," published by Charles Scribner's Sons; Mr. H. T. Finck's "Wagner and His Works;" Mr. H. E. Krehbiel's 66 How to Listen to Music," and the large pictorial work, Music of the Modern World," edited by Anton Seidl, assisted by Fanny Morris Smith, being recent additions to the literature of music. To these may be added "A Noble Art," by Miss Smith; "The Wagner Story Book," by W. H. Frost; Frederick L. Ritter's historical works, including his "Music in America," and a rather longer list of excellent theoretical works on music and musical pedagogy.

The city of New York was for a long time the heart of organbuilding. With the dissolution of the Roosevelt Organ-Works one of the highest developments of the art passed away. A. Stein, of Baltimore, and Müller & Abel, of New York, went out from this house to begin new industries; and the Ferrand & Votey Organ Co., of Detroit, bought up most of the patents. Two very old firms, however, remain to usGeo. Jardine & Co., and J. H. & C. S. Odell & Co. The latter is a great figure in this department of music. To it have been entrusted the care of all the organs in Trinity Parish, for over a quarter of a century. The organ at Fifth Avenue Presbyterian Church, of Calvary Church, of the Jewish Temple Beth el, and the chancel organ at the Roman Catholic Cathedral are evidences of its skill. St. Louis, Kansas City, Detroit, Washington, Hagerstown, Toronto, Pontiac, Selma, Mobile, New Orleans, San Francisco, evidence the wide distribution of these New York manufactured organs. Hook & Hastings, of Boston, and Johnson, of Westfield, Mass., also have offices here. The Guild of Organists, of which Dudley Buck is honorary

president, is by this fact identified with New York.

TEACHERS.

It would be impossible within the limits of a literary article to name all the excellent teachers who make New York their home. Among orchestral instruinents men like Richard Arnold, Aug. Roebbeln, Sam Franko, Leopold Lichtenberg and Edward Cahn give violin lessons; men like Victor Herbert and Emile Schenck teach the 'cello,-all artists who have made fine reputations as soloists.

No better musicians exist than can be found connected with the leading orchestras, and almost without exception all of them teach. New York possesses at least three well-equipped. conservatories of music: The National Conservatory, where artists like Joseffy, Herbert, Dr. Dvorák, Adèle Margulies give careful lessons to advanced pupils; the Metropolitan College, presided over by Dudley Buck, Albert R. Parsons, Harry Rowe Shelley, and Herbert Wilber Greene; and Alexander Lambert's Conservatory, where a great deal of very careful teaching is done by excellent musicians. These are all real schools of music in all its branches. Each probably bestows a greater degree of careful training, well-considered method, and allround musical culture upon each individual pupil than the average conservatory pupil receives abroad.

The entire lack of camaraderie, characteristic of American scholastic institutions without dormitories, however, makes a fatal difference in the result. However much American students of music learn from their teachers, they seldom learn much from one another. Or, in other words, they have no musical atmosphere. Much and fine as is the music New York offers to the hearer, it lacks the stimulus which the association of

a dozen budding geniuses gathered about some great master abroad will give each other. The necessary reserve of manners characteristic of a great metropolis is in itself a powerful hindrance to such free and easy associations. The addition of E. A. MacDowell to the corps of professors at Columbia University is, however, a move in the right direction. Under his genial guidance it is quite possible that a genuine and very high school of musical culture (as disassociated from the technical standpoint of the conservatory), a school of intellectual musical culture, may arise.

New York is the headquarters of many of our finest artists. Joseffy, Xaver Scharwenka, Bern. Böckelmann, William Mason, S. B. Mills, Alexander Lambert, Jacques Friedberger, H. R. Shelley, Paul Tidden, Leopold Winkler, Albert Lockwood, Fred Brandeis, Richard Hoffman, Albert Mildenberg, and Miss Adèle aus der Ohe, Mrs. Jessie Pinny Baldwin, Misses Rachael Hoffman, Amy Fay, Katharine R. Heyman, Lotta Mills, Bessie Strauss, and Harriet Cady are all well known to the public.

New York teachers of music have always stood very high. Some of the piano-teachers are Dr. William Mason, Bern. Böckelmann, Ferdinand von Duten, Richard Hoffman, S. B. Mills, A. R. Parsons, Claude Crittenden, Howard Brockway, Max Liebling, Bruno Oscar Klein, John Bayer, Arthur Whiting, Mrs. Agnes Morgan, Etelki Utassi, Miss Kate Chittenden, Miss Fanny Hartz, E. M. Bowman and Mrs. A. K. Virgil.

Among the vocal teachers may be mentioned, Charles Abercrombie, Emilio Agramonte, L. May Alden, Mr. and Mrs. Carl Alves, Mrs. Frida Ashforth, Perry Averill, W. H. Barber, Mme. Olive Barry, Walter J. Bausmann, Henrietta Beebe, Conrad Behrens, Emilio Belari, Max Benheim, Marie S. Bissell, Mr. and Mrs. Th. Bjorksten, Mme. Clara Brinker

hoff, Frederic E. Bristol, Guiseppe Campanari, Mme. Luisa Cappiani, Tom Karl, Mme. Adelina Murio-Celli, Mr. and Mrs. Charles Herbert Clarke, Henriette S. Corradi, Mme. Louise Gage Courtney, Mme. Ogden Crane, Frank Damrosch, Mme. Florenza d'Arona, Mme. Sara de Lande, Laura Carroll Dennis, Frank de Rialp, Mr. and Mrs. Emilie de Serrano, Mme. Lena Doria Devine, Albano S. Doda, Frank G. Dossert, Kate Percy Douglas, Carl E. Dufft, Ferdinand Fechter, Gottlieb Federlein, Townsend H. Fellows, Alice Garrigue, Nora Maynard Green, George M. Greene, Herbert Wilber Greene, Grace Gregory, Walter J. Hall, Victor Harris, W. Elliott Haslam, C. B. Hawley, Adelina Hibbard, Fannie Hirsch, John Howard, Emma Howson, Ida W. Hubbell, Leo. Kofler, Mme. Anna Lankow, Alberto Laurence, Wm. H. Lawton, Mrs. Gertrude Luther, J. Henry McKinley, Helene Maigille, Mary H. Mansfield, Carl Martin, Mrs. Elizabeth Churchill Mayer, Julius E. Meyer, Heinrich Meyn, Emma Müller, Edmund J. Myer, Mrs. Bella ThomasNichols, H. R. Palmer, Mme. Eugenia Pappenheim, Marie Parcello, A. A. Pattou, Harry Pepper, Mme. Louise Powell, Francis Fischer Powers, J. W. Parson-Price, Charles A. Rice, P. A. Rivarde, Louis Arthur Russell, Oscar Saenger, Sumner Salter, Romualdo Sapio, James Sauvage, Mrs. Antonia H. Sawyer, Wm. J. Sheehan, Jennie Slater, Mrs. Gerrit Smith, Royal Stone Smith, George Sweet, Joseph Tamero, Albert Gerard Thiers, Emma Thursby, Mr. and Mrs. Theodore Toedt, Frank Herbert Tubbs, W. T. van Yorx, Carl le Vinsen, J. F. von der Heide, Jeannette Van Buren, Stella M. Waldo, Emily Winant.

HISTORICAL INSTRUMENTS.

It would be a manifest omission to close this review of the musical

resources of New York without reference to the Crosby-Brown collection of musical instruments in the Metropolitan Museum of Art. This very complete collection of the instruments of modern music the world over has been the labor of years. Scarcely an existing race or tribe is unrepresented, and to the student of ethnology or of musical history, to the lover of the art of musical instrument-making, to the designer in search of quaint and artistic forms, the collection is simply invaluable. The Cristofori piano, one of the only two now existing, made by the inventor of the piano, the upright

spinet, and the excellent models of piano-actions are perhaps most valuable to pianists.

I may add since the habit of introducing a harp into the services of the church is much in favor here, that the revival of this instrument in America is largely due to the efforts and genius of Miss Maud Morgan, of this city. Since the début of this excellent artist as solo harpist and teacher, the enthusiasm caused by her playing and the pupils favored by her instruction have made the harp a frequent addition to secular concerts and high-day church music throughout the country.

N Byrd's Collection of Psalms and Sonnets, bearing date 1588, that quaint old fellow, endeavoring to im press on his readers the moral obligation they lie under of learning music, makes use of the following arguments:

"Firstly," says he, "it is a knowledge easily taught and quickly learned, where there is a good master and an apt scholar. Secondly, the exercise of singing is delightful to nature, and good to preserve the health of men. Thirdly, it doth strengthen all parts of the breast, and doth open the pipes. Fourthly, it is a singular good remedy for a stuttering or stammering in the speech. Fifthly, it is the best means. whereby to procure a perfect pronunciation and make a good orator. Sixthly, it is the only way to know where nature hath bestowed a good voice; and in many that excellent gift is lost because they want the art to express nature. Seventhly, there is not any music of instruments whatsoever comparable to that which is made by the voices of men, when the voices are good, and the same

The recitative is a species of musical declamation in which the singer interweaves the inflections of the speaking-voice. If melody is the poetry of music, recitative may be considered as the prose; a discourse in which the performer is restricted neither to sound nor to measure, so long as he keeps to the harmony upon the bar. The perfection of recitative depends upon a happy choice of words, in which contrary emotions are expressed; nor should the melody of the words betray the singer into those cries and psalmodic tones which render the language flat and inarticulate. Its character should be that of force and distinctness, and it may be said that we recite the best when we sing the least.

YE

́ESTERDAY we studied. What do we know to-day? What has it profited us? Excessive effort pitiably wasted is the fin-de-siècle extravagance in attempts at culture unwisely directed or unfortunately dispersed. The old saying "not how much, but how well" has lost its keenness of point. It is rather with us: How much can we do? To how many clubs can we manage to belong this season? How many courses of study can we take? To how many lectures can we go? In the end, there is, as might have been expected, a mental indigestion-the unavoidable result of dissipationrather than any well-ordered advancement in thought-life, which should be the object of all study.

The present wave of enthusiasm for club-undertakings and special study courses, and the popularity that many proposed courses immediately achieve, are encouraging indications of what may be accomplished by effort wisely directed; but the reckless hurrying from this subject to that, and from that to another with no sequence and no prearrangement to fit individual needs, results in the discouragement that naturally comes from misused enthusiasm and interest.

Consider the different departments of study in which the mind has sought to exercise itself and to which it has devoted its powers of research or of invention. Consider what return one may with reason expect from a devotion to science, or history and biography, or philosophy, or art. Science presents many phases of

interest in these days, when the mysticism of the Orient has found in the Occident its scientific explanation; when chemistry and physics are bringing their contributions of phenomena showing the operations of matter and force, or, more strictly, of force on matter, to sustain the boldest theories regarding man's psychic power and its operation.

The sciences, whether we call them exact or inexact, abstract or concrete, reveal to the investigating mind vast regions to explore. What does science yield as payment to the worker? Take astronomy, the most tremendous of all subjects, tremendous as to space and matter. We may possibly gain from this study a reverent awe for the Maker of all space and all matter, because the stars serve to show us the depths of space and the immensity of matter. They give a glimpse in miniature of the proportions of God. The reverent mind can acquire much to add to its reverence, from a consideration of vastness, and it must be acknowledged there is often a peculiar reverence among the students of the stars, but there is danger of the eye growing rigid in its persevering peering through a peephole at the mysteries of God. This study often begins and ends at the greater and the lesser end of the telescope, and the student is not unlikely, if he studies far enough, to lose himself in a maze of mathematical complications of no value to practical everyday life. A life of pure devotion to this uplifting science presents to the inquiring mind peculiar attractions