114 SONGS By CHARLES €. IVES10 1" 2 13 4 as 16 7 18 19 20 a 2 4 2s 26 a 28 2» 30 3 32 3 ey 3s 36 a 10 u 13 15 16 18 19 23 27 28 29 3 36 31 40 43 a 0 50 56 sr 9 ot 0 n ” 6 n n 8 aL INDEX Masossry Evensc ¢ : ‘Tae Last Reaper Ar Sea Dovorrauiry Tus New River Discrosvee ‘Tus Ratnow Dory Vira Canute Runace Lincoun, THe Great Commoner (From) Rewexorasce ResoLuti0N ‘Tae Ipians ‘Tae Housatowic at Stocksxince (From) Reticion GrantenestER Incastarion, (FRom THz) « Tat Greatest Man Hye Luck ax Worx “Nov. 2, 1920" Marte Leaves PREwonitioNs Ax StaEEt Lime A Sick Eaote Tar Swnosers (Frou) Ow tHe Counter ‘Tae See'a Frou “Paraceisus” Wart Warman Ta Swe-Suow Caaptx-Sone La Fie Avcvst Seeteupen }From Early Italian Poets | Decemper ‘Author Milton Oliver Wendell Holmes Robert Underwood Johnson Wordsworth Emerson Manlius (Cowboy Songs) ‘Markham Charles Sprague Robert Underwood Johnson (Bixby (quot) Rupert Brooke Byron ‘Anne Collins Ghutter (quot) Robert Underwood Johnson ‘Thomas Bailey Aldrich Robert Underwood Johnson Maurice Morris Keats Louis Untermeyer Browning Whitman ALL. Ives Ariosto (Geminiano (Rossetti)38 40 a 2 4B 45 46 ” 48 50 st 82 53 st 55 56 7 38 9 6 o o 63 65 66 or 8 0 nm n B ” 18 Page 85 86 a7 88 89 ot 93 95 0 99 103 104 107 112 115 119 122 126 128 131 133 135 136 138 139 142 148 145 147 149 153 155 158 159 160 161 163 166 INDEX ‘Tue Couecrion AFTERGLOW Tue Invare eta) ee Senexiry ‘Tae Turwos Our Faruzrs Loven Waremuan eee 4 Songs Based on Hymntune Themes His Exavtation Tue Came-Mpenixc ‘TworEAU Ty FLaNpers Fists He 1s Tuere! 3 Songs of the War Tou Sais Away Ow Howe Dav Iy Tur Aue A Sox oF A Gaunouier } 5 Street Songs and Pieces Down East ‘Tue Circus Bax Mists Evipence ‘Touenace Avrumn Nature's Way ‘Tue Warninc Sout Tuose Evesine Beuis ‘Tae Cace SPRING Soc ‘Tue Lica mat 1s Fer Wateixe : ItaceNau (Over All the Treetops) Rouca Wixp Mrmace ‘Tuene 1s a LANE Tansant Moss Hazratus ‘Tae Cunpren’s Hour (Frow) I TRAVELLED AMONG UNKNOWN MEN ‘Author (Stanzas from old Hymns) James Fenimore Cooper, Jr. Whittier Bowring Lowry Robinson Elliot Col, McCrae (Traditional) (Quotation) Cowper Moore Whittier Goethe Shelley Rossetti Kipling Percy's Reliques Longfellow Wordsworth16 n 78 ” 80 at a2 83 85 86 87 88 9 90 ot 2 93 94 95 96 7 98 99 100 101 102 103 108 105 106 107 108 109 10 ut 2 113 4 Page 168, 17 am 178 180 183 186 190 193 195 197 202 208 206 207 210 212 a4 21s 216 219 21 Pry 228 234 235 236 240 242 m4 247 249 250 252 253 254. 256 287 259 INDEX Qu’. M'rratr BIEN Exéoire 4 French Songs CHANSON DE FLoniaw Rosamunpe, Wert! aur arm ‘Tue Oup More 4 German Songs Is Suwmerrteios { ex Groute wicur NicHT oF Frost 1v May (FRoM) Darras Oness ano Onactes AN Otp FLAME, ‘A Niour Soxc 8 Sentimental Ballads A Sonc—For Asvrmixe~ ‘Tue Wors’s Hionway Kinew Mamie Bencevse Wuene 1H Excus AutecRo Romanzo (di Central Park) Tue Soura Winp Navcut THat Country Forwarp into LIGHT From a Cantata A-Curistmas CAROL My Nariwe Laxo {o: Vory Pleasant |b. Rather Sad Tas Waite Guiis (From the Russian) ‘Mewortes Two Litre Flowers West Lonpox (A Sonnet) Amenion A Nicut Trovcnt Soxcs My Morner Taucut Me Wate : ‘Tue Wortp's Wanperess Canon To Evira Waen Stars Axe IN THE Quist Skies Stow Manca Author Gallet ide Florian Bélanger Lenau Vinje |Almers Heine Meredith Porteous (Unknown to Composer) Moore (Various) (Unknown to Composer) Gottschall Turnbull Leigh Hunt Alford St. Bernard (Traditional) (Traditional) Maurice Morris Matthew Arnold ‘Tennyson Moore Heyduk Shelley Moore Bulwer-Lyttonl 4 Majority Slowly re (1924) * Slowly — = ——S= SS Fine Mas ~ sex! * Preferably for a unison chorus; it is almost impossible fora single voice to hold the part against the score. Printed in s80U.8.A. Copyright 1896, Merion Mute, Ine. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in US.A ‘Al ightsreterved including the right of public performance for profit,ses have toiled Faster ‘The Mas - ses ded) Faster. nf Inthis and in some of the following soags, all aotes are natural unfess otherwise marked, except those immediately following an accidental antural signs are thas used more asa convenience than of necessityModerately, with an even rhythm Ny - ing, are sing ~~ ings alittle slower mp — ~~ ing, Whencecomes the Art of the World! The Mas- ses are yearn-ing, are LA. Slowly th. aes vpule seat youn. vouyearn-ing, are yearning. Whencecomes the J hope. of the World. Slowly 2P — Slowlydream-ing,Whencecomes the at = PP largemente / a a | ee6 2 Evening (i924) Milton Prom" Paradise Lost Le and Twilight ‘gray LA. had in her so-berliv-ery all things clady LA, L rh th. eu Si- lence ac-compan-ied;—__ for the beastand bird— ha _ SS — ne SSS SSS Copyright 1939 by A Copyright Renewed Aialittle faster to their nests were slunk, but the wake-ful night - in - === gale; She all night long, all night long her8 3 The Last Reader (t924) Oliver Wendel! Holmes read my own sweet songs: Andante con moto ‘SChertth? Spoke died IT some-times sit be-neath a tree and xy by —- == = Ss others be, Each hum-ble tine prolongs 8 tone that rh er ith oF iB 7 ter Be rh. Slower might have passed a-way, But for LAL LA. its that scarce re - mem - bered lay. Copyright 1933, Merion Musi, Inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in US.A, ‘All rights reserved including the right of public performance for profiThey lie upon my pathway ‘Those flowersthatonce ranwild, £ den p Slower but evenly - thers care - worn cheek ‘The ring gold - en ming - ling with 1A, ppp r10 4 At Sea Robert Underwood Johnson om ir Jlagony book ef Pera? i aici ahatons waht Pend i eecerd Mate P PP [== = SS jt 7 4 : ates é jet Some things are un diwined ex = cept by love La, point of yon hor-i = —_zonline La. Lh. La, aS pial ie | rp 1 The verses by the same author, to. ‘songs 15, 21, 24, are also taken from the above book. International Copyright Se Printed in USA, Til pits served including the right of public performance Yor prof5 Immortality as28) mp(Adagio) dares to spring is dead, un mp (leeato) glow! == a ¢ r: ==} = SS HT Copyright 1933, Merion Music, Inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in U.S.A, llrightsreserved including the right of public performance for profit —<12 piu agitando dares to say our Of Lester and in ageradually excited way) a AAA our child is Ty) quietly but firmly God had meant she6 13 The New River (as24) Fast and rough comes a is not the voice Copyright 1933, Merion Music, Inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in USA. ‘All rights reserved including the right of public performance for profit.a - ly thesounds of man, phon - o-graphs andgas - o-line, - cing halls and tam -bour-ine Killed is the blare—___. of the hunt-ing horn { pp # : fast again =F Roop NR 222—87 45 Disclosure (1924) Andante moderato mf Thoughts;which deeply restateveningat sunrise gayly thrilled themind:Songs whose Lhd. ge animando Tay d wig =P slower Be zi Spite beauty nowonly lies inmemo-ry ‘Youth would sing with rapture,sing fromjoyousbouyant impulse animando__ PE, aster —— PP mp Knowing naughtbut he was sing-ing, ThuswouldGod re - veal the range of nf slower & broadly I b ——— » a go SS } | nf maestoso AKA AK 4 eX? Copyright 1954 by PEER INTERNATIONAL CORPORATION, Copyright Renewed International Copyright Secured Printed in U.S.A, {All Rights Reserved Including the Right of Public Performance for Profit16 8 So may it be! (4924) Wordsworth My (Moderatly fast) with animation heart leaps up when iy moto SP. te Sowas it when my life be-gan; th 2 Coovriaht 1893, Merion Musi. Inc. Bryn Mawr, PA 19010 Copyright Renewes International Copyright Secured ined in USA, ‘Ail hts reserved including the right of public performance for prof17 Hy fh tar Ee st Sh oe ee > es , oe he a ‘hall grow old, or let me diel The ranguilly = uL bx child is fath-er of the man; And I could wish my days18 9 a) Duty (4924) Catan rb th ea oe = je a an : @ f = ees dbd) 8 OB bees x aes [4 = maestoso lth = 4— 6 “He i = = = pa ee = = ~~ Gm "e — wane & ——_ m — ==> Ss 2a When Du-ty whispers low“Thou must” The youth re__- plies “1 cant” Lh. th. Lh. Pl yd 4 oes re PP ————— == 5 = = Fr R—T TT “4 IOC Sain a, Moor Ma pan need ran Ca Sr tpn ptermme es sm ——_aaagi b) Vita sania SS nf, me PP PPP “Nascentesmor-i- mur fin-isquefin-is - que, ab or-i ~ gi-ne pen-det” Oe aa = SEP Ret nf10 19 Charlie Rutlage "(from Cowboy Songs) An - oth-ergood cow-punch-er has gone to meet his fate, 1 hope (In moderate time) mp a rest - ing place,with-in the gol-den gate, the gol - dengate. An- ofthe X I T, "Twill be hard tofind an-oth-erthat's liked aswell as he. e first that died was Kid White, a manboth tough and * cowboy Songs and other Frontier Ballads Collected by John A.Lomax, M.A. University of Texas) The Macmillan Co. N.Y. Copyright 1939 by Arrow Music Press, Inc. Copyright assigned 1957 to Associated Music Publishers, Inc., New York Copyright Renewed International Copyright Secured Printed in U.S.A, All rights reserved including the right of public performance for profit.20 bravé,-WhileCharlie Rutlagemakesthe thirdto be sent_ tohis grave, Caused. faster half spoken) by a cow-horsefalling, faster 7 bos. ad lib) (hold back) while place where death men mock, (hold back here) cir-cle through the hills, Whoopee ti yi yo, etc.) recite. following the piano running af-ter stock; "Twas on the spring round up, fast He went for-ward one morn-ing on fast (Whoopee “ti yi yo, git a-long lit-tle dogies, tr and full of glee, and2 free fromearth-ly ills; ee (alittle slower) (fast again) work on which he went, Noth-ing came back fromhimhistime onearthwasspent. "Twas 4 t Gast again) (alittle slower) asherodetheroundup, a XITturnedbacktotheherd; Poor Char-lieshoved him in a-gain,his wf ‘- | Pid ® fj faster and faster. - - Sf louderandlouder- -- --------- cut-ting horse he spurred; + oth-er turned; at that momentae ee ee en are == SS SS SS = SSE aay =) horsethecreature spied andturoedand fellwith him, beneathpoor Charlie mp loco 4s in the beginning relations in‘Texas his face never more will see,But I ____ hope he'll meet his loved ones beyond in eterni- about the time at the beginning — eternity, 1 of, =———- pp grasphim by the righthand at the shining throne,theshin - ing throneythe shining throneof grace. PP nf =—— PP In these measures,the notes are indicated only approximately; the eof course, is the main point.11 2a from “Lincoln, the Great Commoner” (4924) The storm and stress of life! ‘The curse of war and strife! ‘The harsh vindictiveness of men! The cuts of sword and pen! What needed to be borne_he bore! ‘What needed to be fought_he fought! But in his soul, he stood them up as_naught! CRD Edwin Markham pd SI ret fo maestoso, but not too slowly 5 * SS Sas = - . = — ae vend x0 hecame from the peai - rie ca > bin to the Cap-i - tt, te qf Poems used by permission. Copyright 1952 by PEER INTERNATIONAL CORPORATION Copyright Renewed International Copyright Secured Printed in USA, All Rights Reserved Including the Right of Public Performance for Profit Bo= Si — bn he Se “ES ¥ =F SS SSS He held hie place hg__ held. the long pur - poselike a grow-ing tree alg fg 4. ——S SF = cos26 thrd blame and fal-tered not at praise, andwhen he fell majestically —F7 ‘ __ wentdown aswhen a King - ly ce oe Sfa tittle slower) ama > re a ~~ SS ESS green with boughs goes down. withagreatshout, up - on the hillst a12 21 “The music in my heart I bore Long after it was heard no more” Wordsworth. (to2t) 8 use both pedals shad-owed fath - er song. me Pa td fT Copyright 1954 by PEER INTERNATIONAL CORPORATION, Copyright Renewed International Copyright Secured Printed in US.A, {All Rights Reserved Including the Right of Public Performance for Profit,28 13 Resolution 92) Moderately ing strong - er un-der dis - tant skies, needs to mark the sen - ti-men - tal pla - ces; —_. > Copyright 1995, Merion Music, inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in USA, ‘All rights reserved including the right of public performance for profit14 2 The Indians as2) Very slowly —— aa crese.e pitt moto = > no more for them the wild deer bounds, The orese. ¢ pit moto is on their hunt-ing grounds;— || _——————, Copyright 1932 by Cos Cob Press, Inc. Copyright assigned 1957 to Associated Music Publishers, Copyright Renewed International Copyright Secured All rights reserved including the right of publie performance for profit. 18, New York inted in US.A15 at The Housatonic at Stockbridge azn) Robert Underwood Johnson (by permission) PRP \e E | slowly and quietly | aoe eee 4a } = =e = ee “Hs Sy dream += oy real The cloud-y wil - low and the —— : arpa Fe Ht ee = je eh op EE NOTH:-The small notes intheright hand_may be omitted, but if played should be scarcely audible. This song was origin. ally written as a movement ina setof pieces for orchestra, in which it was intended that the upper strings, muted, be lis - tened to separately or sub-conciously-as.a kind of distant background of mists seen through the trees or over a river Val- ley,their parts bearing little or no relation to the tonality,etc. of the tune. It is difficult to reproduce this effect with piano Copyright 1954 by PEER INTERNATIONAL CORPORATION Copyright Renewed International Copyright Secured Printed in USA. [All Rights Reserved Including the Right of Public Performance for ProfitBe wan-ders with theea3 = ‘Con - ten-ted ri - ver! And yet 0 - ver-shy Tomaskthybeau - ty from the ea- ger ey qe a ee 2 i #3 aay E dala LY oo is is Hast thou a thought to hide from field and town? -—_In-some deep__ AL 42 4aa — is eh pie Lig a Eyed = He =€ SS alittle faster — ooo Abt theres a res - tive rip-ple, and the swiftred leaves Septem-bers —_ = Se ee fi tes ba >. 's inagtadually animated way firstlings faster drift;...Wouldst thou a-way,dear stream? Come,whisper near! _al-so of much —=a5 z rest-inghave a fear: SS iy —— a 3 2 LEFnondeorese. a to theadventurous sea! —SSS_36 16 Quotation from asso) Dr James T. Bizbys"Modern Dogmatiom” in his “Bssayi8The New World te (Thos.Waittaker, ¥.¥.) es =| day byday and night bynight, — un- Lyd SN Sa — {God knows the why. m4? ‘maestoso * “The Shining Shore”. Geo. F Root Copyright 1954 by PEER INTERNATIONAL CORPORATION Copyright Renewed International Copyright Secured Printed in US.A. ‘All Rights Reserved Including the Rieht of Public Performance for Profit17 a Grantchester (ith a quotation from Debussy) ee 20) “from the Collected Poems of Rupert Brooke “ by the courtesy of John Lane Co. ¥. Adagio non tanto ~~ o—= would were in Grant-ches -ter, th. a /S Sas SSS SS in Grantchos - ter rr ae Pp Fj a i x + re Tr a + F v ‘- o a be F e pe SS ee ee eee WJ Na-ture there or Earth or such. And clev-er mod - ern men have seen a Pp — er fll =. icy se SSS = te Fi © copyright 1956 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in U. S.A. All rights reserved including the right to public performance for profit ala38 — SS $ pe SS = # a Faun a ing through the green, and felt the Clas-sice were CATR Gee Fa ! Tt Ss =H Fy glimpse a Nai-ads reed-y head or (spoken) the Goat foot pi-ping low. wm But these are things 1 eine Pp = ‘*CAprés-midi d'un Faune? Claude Debussy). By courtesy and special authorization of the publisher: Jean Jobert, Paris, 44 Rue du Colisée.a9 SSE Plento con grazia I on-ly know that you may lie slowly and calmly Lae > ae ee ee aoa = phe = + oe: + = = Zi Cam-bridge sky,and,flower lulled insleepy grass, hear the cool lapse of hourspass, un-til the ¢ jg eo — FP. PRP. = blend and blur —_—in Grant-ches-ter,___in Grant-ches-ter, — inn BP PPP, deoresc.e ritard.40 18 from the“Incantation” cas24) Byron Allegretto moderato (lege iero) When the moon is the glow - worm the grass, k Nors:- Both pedals are used almost constantly. Copyright 1933, Merion Musi, Inc. Brya Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in USA, ‘All rights reserved including the right of public performance for profit,at pitt moto —_* the wisp the mo - rassy ing stars aaa swered owlsaz meno mosso ee slower ae slower Shall my slower up-on thine, with a power andwith a19 43 The Greatest Man (924) . ‘Anne Collins Moderato aahalf boasting and half wistful way) (Un the Buening Sun MY. 1924) (Not too fast or too evenly) (by permission) mp, ‘My teacher said us boys should write a - boutsome great man, so I ——* thought last night ’n thought a - bout—— he - roes and men__ that had —————— pi ten.e rit, a tempo 2 done great things, ‘n then I got —. Tl eee Copyright 1993, Merion Musi, Inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in USA, All rights reserved including the right of public performance for profit.aa aidt a he - ro 'r an-y-thing— but pubaw! Say! I — piu ten, <> wild - est hoss ’n find min - ners near the moss down by — the creeks 'n he can swim ‘a fish, we ketched fivenewlights, me ‘a himt_ a go eosaS Dad's some hun-ter ton mytMiss Mol - ly Cot-ton-tall—— sure does fly___ > > ? wa Copyright 1935, Merion Music, Inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in U.S.A, ‘All rights reserved including the right of public performance for profit.BL mp rel pie ten. ea Spoken) Ee = a: i o * ana that bet - ter things might bd bg e B- _ = 4 te v ae one gradually slower es \ ~ tle things talked loud and fo - ble, mp faster SS got in the way; Too man-y rea-ders SSS SS Goa 5 Gee oh =e eee go by the head-lines, par - ty men will =— aye ee # = —- ane i. ag = te52 SS ————————S SS — aos SS SS mud-dle up the facts, So a good man-y ci - ti- zens vo i = eS 7! ese Se SS fe grand-pa al-ways did, or thought a change. ie the ake of change seemed Sas se ur-al e-nough.‘It's rain - ing, lets throw out the weath-er abn ced SS 7 fe P353 Kick him out! Kick him out! Kick him out! Kick him out! Kick him!” —_—_—_— Q i = SS a ] ae ret pe sretnte abalt pelebe oe te — —_ ~ —— = St 4 os =|Ba and looked___ relieved, ‘We've got e-nough to eat, to f of Patan with_ i - deals? All the oldwomen,male and female, % heavily hadthierday to-day, and the hog - heart out of his holes (a weak cheer) Lh.55 If ————_ fff (cone ne But he wont stay out long, God al-ways drives him back! On ALA im aos taint Cap - tain, Cap her - i-tage +. A é a Semeetrare But wellfind it a = gain, my Cap - tain, Gap - tain, oh my Cap - taint NOTB:~The assumption, in the text, that the result of our national election in 1020, was a definite indication thatthe coun- try, (at least, the majority-mind) turned its back on a high purpose is not conclusive,Uafortunately election returns com- ing through the present party system prove nothing conclusively. The voice of the people sounding through the mouth of the parties, becomes somewhat emasculated. [tis nat inconceivable that practical ways may be found for more accurately registering and expressing popular thought at least, in relation tothe larger primary problems,which concera us ail A suggestion to this end (if we may be forgiven a further digression) in the form of a constitutional amendment togeth- ex with an article discussing the plan in some detail and from various aspects, will be gladly sent,by the writer,toany one who is interested enough to write for it Ger.56 23 Maple Leaves (4920) “Thomas Bailey Aldrich Andante PB. . = eee —S ee = = ott + oe = Octo - berturnedmy —-ma-ple’s Teaves to olds ‘Themostaregone now;. ——here__andthereone — lin - gers: Soon__these will 1A. J LA. twigs'weak hold, Likecoins betweena dy-ing mi-ser’s fingers. J dod, sen slip_ from out the i dol * by courtesy of Houghton, Mifflin Co. Boston Copyright 1932 by Cos Cob Press, Inc. Copyright assigned 1957 to Associated Music Publishers, Inc., New York Copyright Renewed International Copyright Secured Printed in USA. All rights reservad including the right of public performance for prof.24 57 Premonitions Robert Underwood Johnson den) rom Mr. Johnson’ book of “Poems” dedicated to Rickard Watson Gilder Century CaN. 5 ao ee There's ashad - ow on the grass that was nev-er there be-fore; deradle HP re oe and the rip - ples as they pass whis-per of an un - Seen oary And the & . Ht oe = % = : ; Pye 5 f= £ == ree a International Copyright Secured Printed in USA ‘All rights reserved including the right of public performance for profitSSS - mens that wereonce but jest, abe Now are mes - sengers of Fate;and thebless-ing held the best com heavily "Pp = BP th not or comes too late. er life may lack, a blown leaf beck - dns back, aS p SE For-ward! isthe sum-mons, For-ward! Wherenew hor - i - zons wait, I pt =25 59 Ann Street sz) Maurice Morris Fast and noisily lower Broadway ALA row, yes. Ann street, But busi-ness, Both feet. b. pslower Sun just hits Nassau crosses Ann St. Th. a ; it i r a : ” a cr cr A , P SN P fol Some greet! Rath - er short, Annstreet... Ann street, then it quits— slowly26 6L Like a sick eagle (4920) en Slowly p Very slowly, ina weak and dragging way rysloety na weak end ee = o iad ty weighs heav-i- ly “on me like un - will-ing sleep, and = each i -ma-gined pin - “nacle and steep Sf God -like hard - ship tells_me ie = I___must die, ~~ _?. Copyrehe 1253,Maon Mas, ne. Bryn Mew, PA 19010 Cope Rares International Copyright Secured Printed in U.S.A. “All rights reserved including the right of public performance for prof62 27 from The Swimmers (4921) Louis Untermeyer Yale Review slowly (As a Barcarolte) of oS eS aS “*Until the figure changes\(2nd measure page 68) the left hand continues the phrase (prestissfmo) but not necessarily the exact number of times or in the relation,tothe right hand, indicated. Copyright 1933, Merion Music Ine. Bryn Mawr, PA 19010 Copyright Renewed Intemational Copyright Secured Printed in U.S.A. ‘Al rights reserved including the right of public performance for profit.f — * plunge. as fastas itcan be’played rhea somewhat slower the sensegradually faster J a Swift “ly 1 rose to_meet___the255 tur - bu-lent strife, ten- si - ty of lower i. si : ———— a aS —— = Out of the foam = I lurched and alittle slower67 = _ = A pe oe = Swimminghand o-verhand, o-ver hand, against the wind;I__ felt the sea’s a eee ao ear oj) a taal » 2 a * tT F spoken vain pounding, and I grinned —know- ing I_____was itsmaster, _not its slave... =. = a Poe Eos me es ne ES er ad 7S ee So fr =68 28 On the Counter Andante mp 1920) Tunes weheard in con molto sentiment. alwaysend-ing “I” love you phras - esfice and Aad, 2 “nine - ty two! soft and sweet, >< = awe Te same dldchordsthe sime old time, the same old son-timen-fal sound, meen =~ ee aT pin rit Shades of in new songs alt notes ad lib, ‘NOTE: Though there is little danger of it,it is hoped that this song will not be taken seriously,or sung, at least,in public. Copyright 1955 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in US.A. All rights reserved including the right of public performance for profit,29 69 The See’r 14920) Moderately fast An old. man straw in his mouthsatall day long be the vil - lage gro - cery store; Jorma the Copyright 1932 by Cos Cob Press, Inc. Copyright assigned 1967 to Associated Music Publishers, Inc., New York Copyright Renewed International Copyright Secured Printed in US.A All rights reserved including the right of public performance for profit70 — things a30 u un) from “Paracelsus” Browning nergy meno mosso “Taken from the latter part of SceneV {Copyright 1935, Merion Music ne. Bryn Mawr, PA 19010 Copyright Renewed Taternational Copyright Secured inted in USA. ‘AW gs Fcored Ynluding the cght of public performance for pro.72 mf with less energy glo - ry vowed I souland limb. Yet, con-sti-tu-ted thusandthusendowed, I failed: uh SS te = 7 Es = Y Oy easter arse el reas con moto giusto aH E | ‘ f_edla Suge prepienes ede — =p mpstower —— > power till I grew. ‘What wonder if Isaw no way to shun despair?The th th Ue dA. Id. dias mp ro => — »~——— slowernf ped molto power I sought seemed God's... f ia maestoso su learned myowndeep er- ror; And ~~ =i i - tu-tion; Al ~ ways pre- pad what propor-tion loveshould hold withpower in_mar's rightcon- ce-ding power, And with much power, al-ways,al- waysmuch more i — des S aa tape ‘ off ,” 31 Walt Whitman (4924) (from 20th Stanza) Whitman In Leaves of Grass Fast and in a challenging way é Sig = a Who goes there’ a, ide; How is tex ~ tract, strength from the beef I an-y-how? A sae a . “vet SA opyrigs 1093, Merion Muse, te, Bryn Mow, PA 18010 Copyright Renewed International Copy! inte in "Ai ght ested including the right of public performance for sot.set it with your accel.non decrese. 5 All I mark asmy own, you shall > Else it were time lost _a-listening to gradually faster butnodecrease in volume76 32 The Side Show Ina moderate waltz time nf. (4924) “Te thatMister Riley, who Keepsthe ho - tel?” isthe tunethat ac - comphies the trotting track bell; An old horse un ~ sound,turnsthe t mer-ry-go - round, mak-ing poor Mi Ri-ley look a dit Some Speak Copyright 1954 by PEER INTERNATIONAL CORPORATION, Copyright Renewed International Copyright Secured Printed in US.A. All Rights Reserved Including the Right of Public Performance for Profit33 n asi9) «. Cradle Song AcLilves Sognando +) yp asse) ——— 1. Hush theedear hid to slum-bers; We will sing slowly and with 2° Sum-mer’ is slow -ly “dying; Au = tumnal anevensway 3Brightly. the Wil-lowsquiv-er; Peace = fully Uy = LL softest aum-bers; winds are sigh- ing; flows the riv- ery So shall Nought thy sleep - ing en - cum-Ders. Fa - ded leaf - lets are fly - ing— flow for ev - er. Notes:.Bpd songon m: This chord m be repeated very quietly atthe ead of verse sung last Fitwitl be obsorved thata g of these Powasuretvad oftile fand nota a: Copyright 1925, Merion Music, Inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in U.S.A, ‘Al rights reserved including the right of public performance for profit, 34 (1920) La Fede Ariosto Lento maestoso da-ta aunso,O da - ta an. A a ma - i nondeb-be es - sercorrotta, Sti fe - ae bi rite dim. fi — da-tain una grottaa————" cenfo, Da-ta_in—— pa - lese, vou 7B]? at aA, = fnp non rit.non dim. ‘Copyright 1995, Merion Music, Ine. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed InUSA ational Copyright Secured she right of public performance fer avafit;18. 35 August 4920) Folgore da San Geminiano Con grazia 4 gust, for Au - gust; Be your dwell- ing thir - ty towers - ley moun a Whereney = the sea any. In this and other songs where bars mark the phrase or sections instead of measures, all notes are natural, unless otherwise marked, except those immediately following a note with an accidental — Natural signs are thus used more as a convenience, than of necessity. Copyright 1954 by PEER INTERNATIONAL CORPORATION Copyright Renewed International Copyright Secured Printed in US.A.vex Fourhousebut.c life sep - "rate, like a star, de yours. i hours, ‘That Je maymount at morn or st eve; On ap. = ft = each, hand ei - ther ridge__—ye shallper-ceive a fn Bs oe Meno mosso which soon a good__ beast___ scours. Le oe eS ee80 ee ee —| wards, ye shall tread your val-ley par-ted by a riv- u-let which day andnight shall flow sedate and smoothThere all throughnoon ye may pos-sess the36 at aa20) September Fatgore da San Geminiano Presto from Rassetts Barly Hatian Pret ee ae dasa ey ins sparrowshawksDecoy birds that lure your f Pest rat + of hows hooting out of Copyright 1933, Merion Music, inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in USA. All rights reserved including the right of public performance for profit.Be <> = et a SSS ———— still in gifts; and rob-ber = y find no fe you meet Lh. ts cd a and Av - ar- ice - ly out - cast thing! aA st ——37 83 December 4920) Folgore da San Geminiano oe om Rossetite-"Beriy Teatian Poets” Allegro con spirito From Rosset iy Halien Poet Last, for Decemberhousex onthe plain groind florsto ive inogsheapémountanhighearpets street Roughly and in a half spoken way) aka’ ¥. sat 7 marcato sempre and newest gamestotry,torches lit,andgifts frommantoman, Your host a drunk-ardand aCata-lan; i Tu And wholedead pigs, and cunningcooks toply each throat with tit - bis that sat Measures may be marked off to suit the taste. Copyright 1933, Merion Music, Inc, Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in U.S.A, ‘All rights reserved including the right of public performance for profit.84 fy!s AndwiticbuttsofStGal-ganus’brave span.And be your coats well Jd +; — = —* —+ = + ‘and tightly bound,and wrap your-selves in cloaks of strength and weight, With gal-lanthoodsto put your fa - ces through. make your gameof abject ‘vagabond abandorld mis-er-a-ble repro-bate mi- sers3 dont let them have achance with yout Fist Fist85 38 1920) The Collection In moderate time “The Organist an “the Soprano” * :Nowhelpus, Lord, Thy yoke to 2°0" hasten, Lord, the promised and joy to do Thy willjEachoth-ers burdens glad-ly bear, _andlovessweet chen all the na fionsshallrejoice;AndJewand Gen-tile join in praise, with one un- ——— ee eo 3 == SOR C3 law ful - fill, ‘And loves Sweet law ful - fill. i et ee With ‘one wes int ~ ted ” voice P —~ ronnie eetiecsieet aw At - —— "Response by And lovebsweet law ful - fill. i fF 7 ilies Gioteotwien one w= ai - ted voice! —_F RIF AI™N fad Wrote TN] Ctorit aS 2 = a = = * Kingsley x Ff —__$ © Copyright 1958 by PEER INTERNATIONAL CORPORATION Intemational Copyright Secured Printed in USA All rights reserved including the right of public performance for profi.80 39 Afterglow Slowly and very quietly hora] sas James Fenimore Cooper. Jr Gyre por. I | dew *\ppp | ikfoughoud yi SP quietly, slowly and sustained throughout <3 en, : . See PPA, thequi-etelosoof day, Gent-lyyet thewillowseway;When the sun - set light is ip @a . -d 4a. Th. PP less audibly, but no slower here ve Preauty tarries loth to die, ia moto armen low,_Lin-gers still the af - ter - giow; decrese, nonrall. Th d od A. th. pita ten e rall. — > ery lightest fan-ta-sy love - lier grows inmem-o-ryWhere the tru-er beau-ties lie, Ly 4 piisten, pie rall, ‘PP ———— PEP — A. rh. rail, . pre—_ Hors. The piano should be played as indistinctly as possible, and both pedals used almost constaatly. ¥ Copyright 1933, Merion Music, Inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in U.S.A. ‘All rights reserved including the right of public performance for profit.40 87 The Innate (49106) Slowly ‘Voi-ceslive in everyfinitebe -ing, In oa ev-ery God-less life-time. Hear them! th. rh. piieorese. “Pp——_ They sense truth deep__ _in the Soul; They know the things true Christiansstand for, pis oreso. Nors:-For the most part,use both pedals. (If played on an organ,use chiefly the lighter string-stops,on an enclosed man- ual. Hold all notes their full value, regardless of dissonance.) Copyright 1935, Merion Music, Inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in U.S.A, ‘All rights reserved including the right of public performance for profi.88 th —~ Stand out! Come to Him with-out thethingsthe world brings; Come _——_ broadly decrese,__ slower decrese. Sf. ave all, ———_ “Nettleton” — LA. slower asin the beginning —~, mp=p Lh. ZS more broad more broadty Copyright 1950 , Mercury Music. Ine. Bryn Mawr , PA 19010 Copyright Renewed International Copyright Secured Printed in US.A All rights reserved including the right of publie performance for profi.89 nf aa one, two, three 42 z Serenity (1949) Aunison chant Very slowly, quietly and sustained,with little oro changein tempo or volume throughout. a, ‘PPO, Sab-bathrest of Gal-i-lee! 0, calmofhillsa bove, Where Copyright 1942 by Arrow Music Press, Inc. Copyright assigned 1957 to Associated Music Publishes Copyright Renewed Internatioan! Copyright Secured All rights reserved including the right of public performance for profit Inc., New York inted in USA.90 ee a= jsknelt to. share with. Thee, the si- lente of e-ter-ni-ty_ In - ter-pre-ted by moo, OR EE love. Drop Thystilldewsof qui-et-ness, till allourstrivings cease:Takefromoursouls the strainand stress,43 a The Things Our Fathers Loved (and the greatest of these was Liberty) Slowly and sustained Pp (1917) think there must be a place in thesoul all made of tunes, of _ a Ly tunes of long a - gos hear the or- gan on the Main Street cor - ner, alittle Sa - rah humming Gos - pels; Sum - mer evesnings, The ten, — = at SS Jaster and with more emphasis ina gradually excited way village cor-net band, play - ing in the square, The town's Red, Whiteand Blue, crese, Copyright 1955 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in U.S.A. [All rights reserved including the right of public performance for profit.+; + ee 2 : = = = == = =e = =$ all Red, White and Blue Now! Fi Hear the pits accel. a ry —s poco ral, But they sing P much slower AAG iiss and = = sustaine ° PP — PP 2p oe PPP | PrP ——44 93 Watchman! from 2nd Violin Sonata (4913) John Bowring Andante con moto Clon ase ded a Mae Watch-man, tell us ™p —— of the night, what its signs of prom-ise— e: Traveller, der yon — ef 44, 45,46, 47,comprise a group of songs, based on hymn-tune themes. Copyright 1985 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in USA. [All rights reserved including the right of public performance for profit.94 ———* moun- tains height, that glo - ry beam-ing sta pi rit. iis pit ten, —— tony? Pit moto Travel - ler Yes! joy or hope? a u axe Traveller yes; it brings the day, Promised day of Is - ra-el. Dost thou see ‘pri animato —~, ——_ pitrit. Travel ler, ea piri45 95 At the River from 4th Violin Sonata (i916) Robert Lowry, Allegretto VOICE — mfShall we gath-er at the ‘Where bright an - gel feet have trod, rit, crys-tal tide for by thethrone of ‘The piano part must not be played heavily. 44, 45, 48, 47, comprise a group of songs based on hyma-tune themes. ‘Copyright 1933, Merion Musi, Ine. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in U.S.A. ‘All rights reserved including the right of public performance for prgath - er at the river! Yes, we'll gather at the tiv. - eau-ti-ful, thebeau-ti-ful riv - be by the throne of — we gath-er?shall we gather at pit rit46 87 His Exaltation Adapted from 2nd Violin Sonata (4943) Robert Robinson: Slowly (maestoso) 44,45, 48, 47, are a group of songs based on hyman-tune themes. ©copyright 1956 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in U. S.A, All rights reserved including the right to public performance for profit,98 (Astuma) Pos tne grantor. of Thy na - ture, (preferably for a unison chores} grand beyond a secaph’s For the won - of | Cre-a-tlon,47 90 The Camp-Meeting from a movement of Symphony No. 3 (4912) Charlotte Elliott (in part) Largo cantabile _—_———__ — we —. fo ——— 44,45, 46, 47, are a group of songs, based on hymn-tune themes. ‘© Copyright 1958 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in US.A All rights reserved including the right of public performance for orofit100 there comes _——__ prayer, ra = diant 2 ly _—_———_101 the world, pf Ae iit rit power of God! Ex-alt-ing Faith in life above but humbly, yeild-ing, yeild ————— ee Lh ate: Ege = a th wfda (Woudworth-Bradbary) ape loco hi.102 NS one plea, But that. Thy blood was. shed ee — that Thou biddst— me come to The 0 Lamb of God, —————_~__ soa * eS ac q ——— aloe ——— [Pit T_comet I48 103 Thoreau Adapted from themes in a Second Pianoforte Sonata (i918) Uh, Lh 1A, th wie pPstoly. he ten slag of earth iateroiing tthe sper teas > == Soria = a = Td both pedals dowa to @ OEP tp Sa. Renee eee _ Se Hegrew in those sea - sons like corn ——— ree _ rapt in rev-ery, onthe Wald-en shore, amidst the sum-ach, meschy Ba. Sos RG = Sees: ————————— pines andhick-o-ries, inun - disturbed sol - i - tude. 1938, Marion Music, ne. Bryn Mawr, PA 19010 Copyright Renewed ted iN USA al Copyright Secu "i ght eseted inclong the right of pubic performance fr profitton 49 In Flanders Fields 4si9) McCrae Maestoso (but with energy and not too slowly) ten, In Flanders fields the pop - pies blow, Be - tween the cross-es, (Baritone or Male Chorus) saster > rowon row. That mark our place; And inthe sky the larksstill bravely sing-ing fly,Searce hold back a tittle Pitt moto ~~ =. Rs i 49, 50, 54-“Three Songs of the War” Copyright 1955 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in US.A. Alt rights reserved including the right of public performance for profit,105 hold back here (less restrained) td Short days a heard a-midst the guns be - low We are the. atempo 1h, hold back 7 Sf tang slower — go we lived,felt dawn, saw.sun-set glow, Lovedand were loved, andnow we lie inFlanders LA. ah. ~! ff oe fields our quar-rel with the foe! To Take up. decisively,evenly and broadly (largamente) ad i fam! with marked even rythm oe re106 SDF, fall - ing hands we throw,we throw the torch. Be yours to hold faith with slower shall not sleep though the pop- pies Vevey ¥ P Dp oe ‘The Gt's should sound aft50 107 He is there! (lay 80, 1917) In march time Cot 8 ad tid. of = Fif-teen yearsa - go to-day Ait tle Yan-kee, lit -tle yan- kee boy Fif-teen yearsa > go. to-day A__ ‘fit’ - tle Yan-kee, with a Ger -man name ‘Theresa. time in ev’ ry lifeWhenits do or die Andouryan- kee boy Marched be - side his grand-dad-dy____In the _dec- or - a - tion day pare Heard the tale of “for - ty-eight” Whyhis Grand-dad - dy joined Un - cle Does his bit that = we -maylive, ‘In. a worldwhere all may have @ 49,50, 54-“Three Songs of the War” ‘© Copyright 1956 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in US.A. All rights reserved including the right of public performance for profit,108 vil = lage band would play those olds war tunes, and the fath - ers fought that med - i e+ val stuff) and con scious al - ways of his country’s. aim which is —_ == fF wr «Hip Hip Hoo-ray!” in the “Hip Hip Hoo-ray! this “Hip Hip Hoo-ray” is al G& A. R. would — shout, he will fight it now; —— Lib- er - ty for >> >> me ‘as ft sound-ed on the old camp ground. ‘When hell fin - ish up that ag- ed job. As he march-es to the Flanders front. ER pitt decrese,109 obitgat Feteor CHORUS boy has is there, he is there, he is f Col Biad Hib) the right, but when itcomes to might, He there, he is there, he is there; the Al - lies beat up all the NOTE:-If the obligato is used, or if there are several voices, the pianist may reinforce his part in thefollowing manner:-Oct. 1b, —st _ == a ———_———_ there, hell be there, and then the world will a = = Se SSS = == == == ae a a SIF srowt the Bat-te ery of — Free-dom Tent-ing on a new campau "ard Verse —_— rd Perse Voice in small notes, to be sung ad lib. Tent-ing on a ground. Tent-ing to night ——. ont-ing on a new camp ground For its ral-lyround the Flag boys Pea ees bf &, 1g Ral-ly once @-gain, Shout-ing the bat-tle cry of did TF bs kj Of the tunes suggested above,"Testing tonight” was written and composed by Walter Kittredge, in 1862,a farmer and soldier, from Mer. ‘inact, Hy WeDatte Cry of Freedomiwae also composed daring te Civil war.by Geo.F. Root a composer and publisher in Bostoa;Hoo- TUGE Ail Mrenotouedof-harehi through Gebepat wae Born a Middletown, Cia 1982 _51 Tom Sails Away (4947) slowly and quietly PP—F 7 a Scenes ffommychilihoodare with me, I'm —F 7 $ jd slow again a springday’s: sun in the lot alittle faster our_house up be-hind > somewhat faster, but evenly - ting, moth - er with Tom in her arms is com-ing towards the 49,50, 54-"Three Songs of the War” Copyright 1935, Merion Music, Inc. Bryn Mawr, PA 19010 Copyright Renewed Tinternational Copyright Secured Printed in U.S.A, ‘All rights reserved including the right of public performance for profit,113 o_o —_ PP = gar - den;thelet-tucerowsare show-ing_ green. Thin - ner grows the smoke lightly e —_ SC thetown, strong - er comes, the breeze from the ridge) — — ee >. —— ™P the whistles have blown, the milk train's Faster and gore animated down the ‘val - ley is com-ing up the hill = > >aa ——— slowly but firmly We run down the lane to Dr ee day! Tn freedoms cause Tom sailed a - way for o-ver there, o-verthere,o-ver = Very slowly, as in beginning J“ te ‘Scenes frommychildhood are float-ing_—_ be fore my eyes. rail, ie be Jue PPEP52 115 Old Home Day “Ducite ab urbe domum, mea carminaducite Daphnia’ (4920) Slowly mp my songs! Draw. Uh. Ii 4 Daphis 4 1h, i = =—_ BP [_——— ol the ci-ty. decrese. Ontigato(aa 1 6 un onistrieh CHORUS march a- long down Main street, be - hind the vil - lage march a- long on Main street, of that “Down East”Yan- kee = ditt = SSS ms ts ~ = SS] SS SS BS SS =e = : =3 dear old trees,with their arch of leavesseem to graspus by the hand. sign of life, from the “SrdCorps"fife,- strains of an old break - down; z _ : aye a= SSS SS Sa f ? == While we step a-long to thetune of an I-rishsong, Glad but wist-ful sounds the While we step a-long to thetune of it's I-rish song, Comes an-oth-er sound we du fs 4, 32 $ 2 5 2 = SS a dl gechttee _18 old church bell, for ua-derneattis a note of sad-ness, “Old home town” fare- all ‘know well, It. takes us way back for - ty years, that’ little red. schoot - house a ar owpanpbak nein bana use going back to @ for 2nd verseafter repeat of Ast verse chorus for chorus repeat in each verse w53 119 In the Alley After a session at Poli’s Not sung by Caruso, enny Lind, John McCormack, Harry (4898) Lauder, George Chappel! or the Village Nightingale. Moderato sy = Sj = ————— SSS SF ‘On my way to work one stim-mer day, just off the main high _ a Attention! \Geo,Fetsburg!—eth. £ pe ‘Through a win-dow in an al-leysmiled a F “This song (and the same may be said of others is inserted for association's sak alse,o help clear epa long disputed poiat namely ‘onthe ground that that will excuse any thing; ‘which is worse? the musicor the words? Nos. 52 to 56,“Five Street Songs” © Copyright 1958 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in USA, {All rights reserved including the right of public performance for profit.420 could it bel O could it smiled on me! All that day, —be-fore myeyes, a pitt moto midst the bus-y whirl,came the im-age of thatlove-ly I-rish girl, hopes would seem torrise,asthecloudsriseintheskiesWhen I thought of her_ and those beam-ing vee Sat.aight ——set wan - dereddown her eyes. So that eve - ningdressed up smart and neat, pit fen, street, At the cor-nor of the al-ley was an - oth - er manwith Sal-ly, and my rit en eyes grew dim,She smiles on him,and on - ty on him! —— = p change"swipe’ad lib. P422 54 A Son of a Gambolier (1895) Ina fast two-step time Nos 52 to 56 are a group of “Five Street Pieces” ©Copyright 1956 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in U, S.A, All rights reserved including the right to public performance for profit.join my hum - ble dit- ty; From Tip-per-y town I steer, wish IT had a bar-rel of rum, And su-garthreehun - dred —_pound,. ev - ‘ry hon - est fel- low, 1 take my la- ger beer, col-tege bell to _mix it in, ‘The clap-per to stir it round; ev - ry hon - est fel- low, T_— take my _whis - key clear drink thehealth of dear old Yale, And friends both far and near. ram-blingrake of pov- er- ty, And a son of a Gam-bo- lier, (2)TaI Bad lib, Rad lib = Gad lib. , Pad tid, 7 aoe z S| grmarcato> >125 ‘Kazoo Chorus Flutes, fiddles and flageolets Bap add plocolosocarines and fifes wD126 55 Down East 1919) Very slowly P ice 4 SS Songsl—__ PyisTions of | myhome - land, Very slowly silt a Gee eee ee 2 j ppplsashatowtothevicg iZiyy Piri come with strains of childhood, a little faster, but witha slow even rythm fay down east se stands an old, red farm house thatwatches der the lea Nos. 52 to 56 are a group of “Five Street Songs” © Copyright 1958 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in US.A, All rights reserved including the right of public performance for profit127 a : oe = ly-ing deep in mem-o - ry, drawsmyheartwhere Iwould be, near-er to thee— re Slower Fe SSS SS SS Sa Ba — oe * Hag a i ‘Ev'ry Sunday tone, fs Ty pe st a > P : ene = why Withthosestrainsa stron ger Hop ZA. th th, 4d. tad 7 : : = f BOP pcan ne = ’ = Lt !128 56 sew The Circus Band In quickstep time aboot d -4s2 > > sat LE ay 7 a = sum-mer long; boys. dreamed "bout big cir-cus joys! repeat > ad tibs aps ah pees Piior.ses are prancing, Knights ad-van-cings Helmets gleaming, Pen-nantsstreaming, —— Detedower notes carry tune! ahle NGG GGG Gale repeat (ad lit) > ~ nr own. Cle - o-pa - tras on her throne! That golden hair__ is all. 40 ~ = > — 6 ay) ay Nos. 52 to 56 are a group of “Five Street Pieces” Copyright 1953 by PEER INTERNATIONAL CORPORATION, Copyright Renewed International Copyright Secured Printed in US.A.429 alittle slower ‘about #2120 ay all inpink? al ooo F oe ia lowe year she waved tome I think, Can she___havedied? Can! that! rot! ee eo 80a lower.130 ‘marcato we = Hoar the trombones! year__ shewaved tome I hhavedied? Can! that She_ ispass.ingbut she sees me dot! aid. 1Piie > =57 131 Mists sto) Largo sostenuto = oe lie the. mn See foot note iad 3 2, rity tt, q dll = a fe ; = es each hill and dott; skies weep with — Aida da otis The groop of notes inthe rh. in measares 2, low, may. 5 and 11,18 may be omitted in which axe the Lh-partwith the exceptionof the may be doubled an octave higher. If the r.h.notes are used they should be scarcely audible. Copyright 1932, Marion Muse, Inc. Bryn Mawr, PA 19010 Copyight Renewed International Copyright Sec “il gts reserved incloding the right of public performance for profit.132 SS But hap - pier days. through mem-dry weaves. pit animando La) | poco rile dim —~ ie gs ad) ber f es | = = = = — = hope hearts who bid fare ga" GAY a a wrrre “a reas ald all|||He58 133 Evidence (4910) Andante tenuto dolce —— comes oer the val - ley a shad tops still are ©copyright 1956 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed ia U, S.A, {All rights reserved including the right to public performance for profit.194 tains bathed in light; There comes o'er the moun - ne re =a er shines thro’ _the59 135 Tolerance rom a quotation in Pres, Hadiey's Lectures, Some Znftuencesin Modern Philosophio Thought.” Yate University Press.) (4909) Slowly _ 7 an-y manshearth iE can I turn from an-y fire, or stone? T know the long - ing” and de-sire, I _—_———— know the long-ing and de - sire, +9 — Fr | PS ee (Adapted trom a plece for orchestra to the above words, 1921) Copyright 1933, Merion Music, Inc. Bryn Mawr, PA 19010 Copyright Renewed Taternational Copyright Secured Printed in USA ‘ll rights reserved ineluding the right of public performance for profit.136 60 Autumn 4908) Adagio P Earth rests! = y sempre legato I a = Her work is done, her fields liebare, Ss at eee and bre thenight of win-ter comes tohushhersong and closebertired eyes, ~™ ©Copyright 1956 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in U. S.A. Al Fights reserved including the right to public performance for profit.v Sheturns her face for the sun tosmile up-on pitt animato = and SF = slowly he smiles P, rr edagio138 61 Natures Way 4908) Adagio Moderato P When _thedistant_eve- ning bell See 2 i a == =k calm - lybreathes its bless- ing; ‘When themoon-light to thetrees speaks in words car- —— - Wty ii = =F ra 5 AS RL Se SSS ess- ing; When thestarswith ra-diancegaze —_—_towardsthesleeping fa a © ) Ss > ez Ez z — 4 f _— ea = nla 5 _— Fl gb, 46 ay nature bare her soul, _giv-ingstrength to ours. S > Copyright 1985 by PEER INTERNATIONAL CORPORATION Internationat Copyright Secured Printed in U.S.A All rights reserved including'the right of public performance for profit.62 130 The Waiting Soul 4908) Cowper > poco rit. whileoth-er bardsshall walkthesedellsand sing yourpraisesweet evening bells. LA > SS, tiled hal an? + rit,144 64 The Cage (1906) Bh SS yee ee ly and mechanically, leop-ard went ~ rot is omone side sorriyand peckentealiy,,, 7-A eop-ard went a-round his. cage fromonostd (repeat 2 or 3 times) ee back to the oth - er side; he stopped on-ly when the keep-er came a - round with meat; Ss A. hoy Whohadbeentherethreehours began to won-der, “Is tife an-y-thing likethat?” NOTE: All notes not marked with sharp or flat are natural. Copyright 1955 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in USA, [Al rights reserved including the right of public pertormance for profit,145 65 Spring Song dtsoa) Allegretto as the hill of late, came spring and stopped and A cross. — ee called. and called. and in-to this wood and called “te 8% looked Sie s a> fp fv" Copyright 1954 by PEER INTERNATIONAL CORPORATION. Copyright Renewed International Copyright Secured Printed in USA, ‘All Rights Reserved Including the Right of Publie Performance for Profit,146 agitato all the dry brown things are ——, ——. mie ——d ans - ‘wring, here a leaf and there a fair blown flow’, rit on-lyheard her66 447 The Light that is Felt (4904) Whittier ten - derchild of sum-mers three, at night, while seek - ing ‘her lit-tle Paused on thedark stair tim - id-ly, - er_takemy hand, said she, Oh,moth - er_ take my hand ——_ a a Copyright 1950, Mercury Music, Inc. Bryn Mawr, PA 18010 Copyright Renewed International Copyright Secured Printed in US.A, All rights reserved including the right of public performance for profit.148 = mp? xe then thedark will all be light ‘We old- er chil-dren — == And on-lywhen our orese. in Thine, _—--O God!_thenight is night is day, and there isdark-nessnev-er — more._ LA. —“B tal67 149 Walking 1902) Allegro con spirito - (marked and not too legato) a big Oc-to- ber morn-ing, the vil - lage church-bells, the road a-long the ridge, the chest-nut burrand su-mach, the hills a - bove the > z= Copyright 1939 by Arrow Music Press, Inc. Copyright assigned 1957 to Associated Music Publishers, nc., New York. Copyright Renewed International Copyright Secured Printed in U.S.A. Al rights reserved including the right of public performance for profit.150 —_. bridge with au-tumn col-ors glow. = Jet - ting past and "How we strike > stea-dy gait, walk-ingtowardsthe fu-ture, > 7 > > > pres-ent wait, we push on in the sun, Nowhark! Something bids us arkl Someoa oD) 9! £ z = (down the valley,-a church,-a funeral goingon.) BP fe i apes mp slower tepthe valley.-a road house,a dance going om) mp (faster)- = we keep on a -walk-ing, 'tis yet noon-day, the road stillcalls us to live and walk. pitt decresa non rallen.68 158 Ilmenau Over All the Treetops (4902) Lento ben tenuto yp Trans. HTL Us = ber al - ten © - ver all the ppsempre pianissimo Wip -feln spiir- est breeze_ scarce-ly JT “a = ——s, Sete eee a a = Copyright 1952 by PEER INTERNATIONAL CORPORATION, Copyright Renewed International Copyright Secured Printed In US.A. All Rights Reserved Including the Right of Public Performance for Profit,154 —— schwei-gen, die Vo - gel - ein War-te nur, are si - lent each in his qui - et nest. So my heart, eS —. iit animando —~ pitt animando itu orese. war-to nur bal - dv, ruh - est du,— So my heart, wait - ing, soon will, rit, du auch, du auch, will rest, will rest. ppmolto tranguillo ——| —69 455 Rough Wind 4902) Shelley Allegro maestoso Rough wind, ee Copyright 1933, Merion Music, Inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in USA. ‘All rights reserved including the right of public performance for profit156 ten cloud. night tongs157 all night__ longs sul - ten cloud 2K cae whose tears are vain, —S=yEs ES SES —— ee oreso. pooo accel. drear. = ys main; branch - es stain, Deep caves and # I~) 4 — the worlds158 70 Mirage Moderato Pp S oe a <—————— = — ot === EE SSE je W dreamed of wae a 3 = se ie reamand now wake ex-ceed Ing com = fort. 7 core fe ie , Li id dreams sake | My —_si-lentheart liestilland breal fea) a pte Life, and the world, and my own self_ arechanged, for a dreamssake. I Copyright 1953 by PEER INTERNATIONAL CORPORATION, Copyright Renewed International Copyright Secured Printed in U.S.A. ‘All Rights Reserved Including the Right of Public Performance for Profit71 139 There is a Lane 4902) Adagio sostenuto (psostenuto ia AE Ee Eee Pass-ing a wood where the lit-tlechil - drei — play; ‘There, sum - mer of _days long pasha Learned 1 a love song, and my ;heart____still_ holds 2 ©copyright 1956 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in U. S.A. All rights reserved including the right to public performance for profi160 72 Tarrant Moss (4902) Kipling Allegro maestoso f Permission to use this verse had not been obtained from Mr. Kipling at the time of going to press. ©Copyright 1958 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in US.A. All rights reserved including the right of public performance for profit.73 161 Harpalus (An Ancient Pastoral) from “Reliques" Thomas Perey aso2) Allegretto be a On, Har - pa-lus! (thus sy eas 2 yd it were sunnel flame;—___ der piest un in - to hap frost of thine un - hap - py day, By love was first Fi for to turne a fro. - -wardehert, © Whom thou so faine wouldit Copyright 1933, Merion Music, Inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in USA. ‘All rights reserved including the right of public performance for prof,162 went - est first by — sute rin, he ‘liv - eth care not by thy leapes a-mong the -_—ileaves: He eats the frutes of, 2 a leeke; But makes thy griefe her game re-dresse: ‘Thou “reapst” he takes the sheaves,74 102 The Childrens’ Hour aso) Adagio sostenuto the dark z night is beginning to lower, Copyright 1933, Merion Music Ine. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in U.S.A, ‘All rights reserved including the right of public performance for profit.164 pa - tions, as Childrens’ Hour pie moto (me Beal Fs oa hear in the cham-ber_a-bove me z of a door that is o-pened and i - cessoft and sweet. 7, Fe 2 SiS ded stu-dy I see in the lamp-light De - scend-ing the broad hall stair, Grave165 Al-ice and laugh- ing Al - le - gra E - dith with gold - en be. iit orese.e moto as ea Be-tween the dark and day-light, 7 comes a pause, ‘That is known as Chil - drens a SS ie rit —_=~166 75 I travelled among unknown men don Wordsworth Andante con moto mp trav-elled a - mong un-knownmen, Ta lands beyond the sea;Nor Eng i know till. 01 1, the sea;NorEng-land did — I ki {HiL then, Nor ¢ piu moto P Eng-land did 1 know till then,What love I bore to thee. "Tis. past, that mel- an _ bay chol- y dream!Nor will I quit thy shore_ A — sectond time, for still I seem : ee yay a — Ne Le Copyright 1953 by PEER INTERNATIONAL CORPORATION, Copyright Renewed International Copyright Secured Printed in U.S.A. ‘ANI Rights Reserved Including the Right of Public Performance for Profit167 AA A A _ AAA To love thee more andmore. A - mong thy moun-tains did I feel the joy of my de- _ — broaden| ff > =m z z o — sire;____ And. anEng-lish fire, Thy > piurit she _I_cher-ished, turned the wheel, Be - side ae mornjngsshowed.thy nights conecated the bowers where Lu - cy played; And thine , is_too the < nit. a168 716 Quil mirait bien (1904) Allegretto vivace oS Quil mirait_ bien, ce rubanvert! Cesoir a la strait moins fie,Ain_ si ta voix ———. ex. pri-mait un na- Nos.6,77,78, 79, comprise a group of French Songs ‘Copyright 1954 by PEER INTERNATIONAL CORPORATION Copyright Renewed International Copyright Secured Printed in U.S.A. (Als Riches Mesarver Incistire the Wiehe of Public Merlormance for Pesfie169 vif dé~ sir: Le voi-la dou-ce a - mi - 4 Va-mour vout to Vof - frin pitt animato Poco a pooo crese.170 af at Aux tresses de tes beaux che-veux que co rf - seau sen-la - ce, quil bril-le_plein de oes fou - le sui-vrai des yeux. Dans cet - te gra-co; — par-tout jo le a ran - ce, fais la ré- ver @ moi! Jp suis per - du pour toit Sym - bo-le des - pe =17 Am Elégie gon) Gallet Largo sostenuto prin = temps—— vor tes sai - sous,Vous a-vez fui pour tou-jours!Vous a-vez fui pour tou jours! Je ne vois plus le ciel bleu; Je ne vois plus le ciel ge Nos. 76 to 79, Four French Songs © Copyright 1956 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in U. S.A. All rights reserved including the right to public performance for profit.a7 -tends—plus les chants aie Hy + seaux!173 tour a - vee toi par - tis! Comme en mon coeur tout est Tempo primo = as Tout est flé - trilATA 78 Chanson de Florian ason LP Claris de Florian Allegro (Tempo di Scherzo) uf Fis Aht— sil est dans—__vo- tre vil-lage Un ber-ger sen- si - ble, sen-si-ble et char - mant, =—-- ¢ mant, Quon ché - rise a. pre = mice. mo - ment, Quon me ee Nos. 76 to 79, Four French Songs Copyright 1950, Mercury Music, Ine. Bryn Mawr, PA. 19010 Copyright Renewed International Copyright Secured Printed in U.S.A. “All rights cocerved inghadina the riaht nf public nortoreanee tan nentit175 Moderato mp ; = Si pas-sant pres do sa chau-miére Le pauvre,en voy-ant son trou - peau, —™~176 animato Et quill ob - tienne en- cor rall.e dim. LSS Ont rendez la moi w voix ten-dre, plain- tivea7 Si les ae - conts_ de son_haut bois, Ren - dent 4 vg ED Oni Cost en - cor Ini son a - mour,— il118 719 De la dram: . ages) Rosamunde Bélanger Prom v.Che2y Py ‘at == ~— tends, he - las la ta longue viens, re- viens: sans ta pré- sence, pour pov accel. ——— En vainfleurit Je doux prin-temps tout fier de sa Nos. 16 to 19, Four French Songs Copyright 1985 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in USA All rights reserved including the right of public performance for profit,Feion no me plait Flen no me plait dans A — AS 2p. 2s <—* a a a Dieu! quejai pleu-ré long——————— temps _—— "Pour - tant_siil ne doit ba_td = See If PP. pe. ee een Fr = nix? Mon Dieu! toi que jim - plo PP peut en-core an moins nous180 80 Weil auf mir (4902) Lenau Westbrook-trans Moderato sostenuto nf = oN gan - zo Macht, em. nil te, all yourmight. With grave and Nos. 80, 81, 82,83, comprise a group of German Songs. Copyright 1955 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in U.S.A. All rights reserved including the right of public performance for profit,181 ri sche un ~ hich iis sweet-ness thine omed won em dei. nem Zau - ber dun - kel aie se__ now with thy som - bre mies gic from my. GN i182 ‘Welt von hin - nen mir, sight_— this world a- way, oe — a mei ————__ Le - ben coin ev-er Oer81 183 The Old Mother ‘as00) conde trss Andante con moto, quasi allegretto = qe a “lor bist ko arm utd sehatst im Schwoss, fm Schweiss we Blut, doch dear old mother, poor thou aftiland “toll est day and toll ent aight, But tt bee - | =P = ee fee oe ei ml t 7 ¢ or a 7 se ee $i == SS poco a poco accel. 7 = at 7S SSE im- mer noch ists Herz dir warm—— und du gabst_ mir den star - v-er warm re - mains my heart, ‘Twas thoumy cour-age didSt Nos. 80 to 83, Four German Songs © Copyright 1958 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in U.S.A. All rights reserved including the right of public performance for profit,184 “ken Arm und die-sen wil -den impart,myarm of stur- dy 7 S legato, Jargamente wisch «test ab die Thr, ne wipd a m_ ikisg test mich don kiss thy lit - tle Kna - ben dein, und lad - die dear, and Tall kA sie-ges-froh-en Sang. ev-’ry man-ly breast. tf a tempo mein, wars mir -way each child-ish tear, When = I im Herz - en bang, und was sore dis - trest, And poco rit. Brust hin- ein den ban-ish fear from auch - test in div taught him songs that — erese.e rall. poco a poco185 Du gabst mir, was be - se-ligt mich, das a And more__than allthoust giv A Poo a pooo accel. woi-cho HOFZ—(das) Herz da- zu; drum Al - te Will ich Hie-ben dich, wo - humble true and ten-der heart; So, dear old moth- er, I'l love thee Where broader hin mein Fuss auch rich tet sich, wohl son- der Rast und eler_my foot — may. wan der free, Till death our lives — shall pp sotto voce Mut ‘Moth186 82 In Summer Fields (1900) Feldeinsamkeit Almers Allegretto molto tranquillo Sharmaascene he still im ho - hen, grii - mon Gras IT lie where green the grass and tall nen Blick nacho to depths un - bound 2 Nos, 80 to 83, Four German Songs Copyright 1935, Merion Music, Inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in U.S.A, All rights reserved including the right of publie performance for prot,Jen rings cos of Un - ter-lass, con - stanteall, = der-sam of Heavh ohn Un - ter-lass, con- stant call, sur 4187 um - schwirrt the wood - land Him - melsbliu - e— the won - drous von— and. by188 =—— shd - nen, weis - sen fol -ken zich da-hin durch tie - fe Blau wie love = ly snow white cloudsdriftfarandwide, like si - lent dreams through P ted! sohd-ne stil-le Triu - mo, sch deeps of a-zurewend-ing, like Meno mosso. mir PP YS als ob ichlingst go - T feel as thoughI tong ‘a. ben bin, mir ist, als ob ichliingst go - stor - bendin und haddied, 1 feel as thoughI long a - go haddied, to189 a zie - he so - lig mitdurchew’- go Rin-me, zie - he se lig drift with them throughrealmsof bliss un-end- ing, to drift through ot —, 7 i — a tempo mit durchew-geRau - PP, he still im hoh- en eri - nen realms of bissunend - ing still I Tie where green the grass and a tempo PP ge mei - non Blick me in - to depths190 83 Ich Grolle Nicht (4899) Heine SF "Pin erol-le = 7 — und wenn das Herz auch E —= = = nf e-wig ver - lor’- nes Lieb! Ich grol-le nicht Teh grol-le nicht, Wie du auch Nos. 80 to 83, Four German Songs Copyright 1933, Merion Music, inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in U.S.A. ‘Al rights reserved including the right of public performance for profit.191 pitt animando pias SSeS SSes ee strahlst,_ in Di- a - man-ten pracht, os fillt kein Strahl. in dei -nes Herz-ens Nacht, in Herz - ens Nacht, das weiss ich lingst, das weiss ich Teh grol-le nicht, und wenn das Herz auch bricht, Teh sah dich animatoNacht in dei - nes die Schlang'dio dir am Hors - en frisst, ich sab,mein ieb, wiesehr du pitt rit, —— oF ia pa tempo PP rit, ——— ppp ——— © - lend bist. Ich grol-le nicht, Teh grol-le nicht. = i ‘The writer has been severely criticized for attempting to put music to texts of songs, which are masterpieces of great com- posers. The song above and some of the others, were written primarily as studies. it should be unnecessary to say that they Frere not composed in the spiritof competition;neither Schumann, Brahms or Franz will be the one to suffer by a comparison; another unnecessary statement, Moreover, they would probably be the last to claim a monopoly of anything—especially the Tight of man to the pleasure of trying to express in music whatever he wants to, These songs are inserted not so much in spite of this criticism as because of it.84 193 from “Night of Frost in May” 4899) Meredith Andante con moto ‘There was the lyre of earth be - Then heard by me: it holds me shores I on, my blood thrill. Copyright 1935, Merion Music, Inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured. Printed in USA. ‘All rights reserved including the right of public performance for profit,194% = stores. But would I con-jure in - to P throb'of_ expect-an - cy; And =F aos fl = all.85 195 Porteous ‘Trans. (4897) Moderato P comes,—when twilight comes withshad-ows drear,— dream of thee, of thee dearone; 2.back,—when I look back on hap-pier days," myeyes are filled,arefilled with tears, and growsmy soul so dark and sad, sad___— as. shadows 1 “see_thee thea in vis - ions plain,so true, so fullof, pits rit a drear, They tell _me not to grievelove, for. thou wilt come, love. But now I fear to ask. them if__thou art_‘live; piurit, a. Dl fR_YV Nos. 85 to 92, a group of Sentimental Ballads” ©Copyright 1956 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in U. S.A, All rights reserved including the right to public performance for profi.196 — ‘Ont But Ont 1 can not tell why I fear theirwordsare false: tell me not to grieve love! For thou wilt come at last: dream of thee, Idream of thee, _lovelAndthouart near, art near till I a- dream of thee, Idream of thee, _lovelAndthouart’ near, art near till I a- oN ee a — $ 2When I look ——_— -—,,, = Am did a atompo wake. Idreamof thee, Idreamof thee__andthouart nearartneartillI a-wake. PrP — —— = PP,86 4197 Omens and Oracles (about £900) Author anknowa ‘to composer Andante moderato Nos. 85 to 92\‘Sentimental Ballads” Copyright 1953 by PEER INTERNATIONAL CORPORATION Copyright Renewed International Copyright Secured Printed in U.S.A. “All Rights Reserved Including the Right of Public Performance for Profit198 animando eines wake. fulnghicancrounime sigh”. lag oly log’Fool tecture, Pool beware? Checktte Se yates der thee steal - ing, tayleast this fa = tal love200 Vivace animando molto == "row ‘ihe dark breaks, tow ‘the lark wakes; Now. the voi - ces fleet a-way, Now thebreeze a - bout the blos- som; Now the poco animando birds be gin and say,208 SS= ¥ loves thee, pitt lento mezza voce = —3— sostenuto202 87 An Old Flame (4896) Con moto (not slowly) rl Whendreamsen-fold me, P xz fA aa fa ‘Then I be-hold thee, See thee, the same tov-ing sweet-heart of ‘Through seasons gtid-ing, Thowart a-bi-ding In_ thedepths of my heart un-told; te zs —— For I do love thee, MayGod a-bove His guard-ing care un - fold. a tempo 2 ag ‘Nos. 85 to 92,‘Sentimental Ballads” © Copyright 1958 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in US.A, All rights reserved including the right of public performance for profit,208 Ahlcould Imeet thee, andhave thee greet me,Come tome,Stand by me, am |? ft == ————- SS OS = Love me as yore, Sad-ness out-done then, New life would come — then,__ eI es a - 7 iid a. bene : 1 = = ———F $F _— piitten. Such joy nev-er known be-fore; For 1 do love thee, May God a-bove thee, = = =P piurit=—— |p 2p a less thee! Love, — es el Love, God bless thee! Love, — Bless theelLovg204 88 A Night Song 4895) : Moore Allegretto vivace bw The young May moon is, ae sempre staccato beam-ing, love, The gleam. ing, gleaming, How sweet to nals grove, When the drow- sy_ dream-ing, dream - ing-lovel ‘Then a - wakel The heavhs look bright, — — Ree == Nos. 85 to 92,‘Sentimental Ballads” Copyright 1952 by PEER INTERNATIONAL CORPORATION Copyright Renewed International Copyright Secured Printed in USA. [All Rights Reserved Including the Right of Public Performance for Profit205 — my— dear, ’Tis néer too late for de-light, and best of. aT i a =— PP eopeer ea : Meals few Boure night, my_ dear, to drow - sy_ world dream - ing, dream- ing, dream ——— >_—206 89 A Song- tor anything 4892) Andante moderato ‘When the waves soft - ly sigh, When thesunbeams die; YaleFare-welll we must part, But inmindand heart, © ‘have mer-cyLord, on me, Thou art ev-er kind, con espressione (per verse) ‘When the night shadowsfall, Eve -ning bells call, Mar-gari - tal Margari - tal We shallev-erholdthee near, Be life gay or drear. ‘Al-ma Ma-ter! Al-ma Ma - ter! ©, let me_oppressiwithguilt, Thy mer-cy find. The joy Thy fav - or— gives,— T__ thinkof thee! Whilethe sil - -vermoonis gleaming, of __ thee,lm dream-ing. We willthinkof theel © May thestrengththougav-est_ev-er be shownin ways, fairto see Let me regain, Thy — free spir-itSfirm support my fainting soulsustain. RF 7:-The song above is a common illustration (and not the only one in this book) of how inferior music is inclined to ted last,iand the dest of Braver, Phe congrogation or follow interior words and-vice-verea? The msi was originally written to the sacred words pi fhe tron) Some thirty years ago was ung in acountry Such ead even asa response after ol ony dolerated in but accepled it apparently with satisfaction. That mesic ofthis character I loss frequently heard in felegious services tow-adays isone ofthe sigasf the wholesome progress of music thiscouatry. An‘Amen'wasiackod on to the end of this song; a felative of the composer remarked, at the fime, that it was about as appropiate to this Kind of ‘tine as a benediction Would be after an exhibition of thoCircassian Beauty"at the “Danbury Fair? Nos, 85 to 92,‘Sentimental Ballads” Copyright 1955 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in U.S.A. All rights reserved including the right of public performance for profit.90 207 The World’s Highway Allegretto (but not too fast) ftps a heart was brave for— pe = ft Pit mosso watcha the gay bright —peo-ple dance, ee at v r F Nos. 85 to 92\‘Sentimental Ballads” ©Copyright 1958 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in U.S.A. [Al rights reserved including the right of public performance for profit.208 roadwas good. But Sagitando Meno mosso ti T tired grew,— on theworldéhigh- My heart was sad Tempo T° Pp, far - away, the far - —— when one day, O sweet-est209 to (a garden small, A voice my heart knew ans - wered its bless - ed call; I left my_wan-dring > Hi ‘The free - domandfar-a - way. But my gar-den blooms with —— — sweet content Thats not on the worlds high- way. —— — PeELeer fa210 91 Karen uses) Aathorsntaowen incomposst Allegro moderato mp fields, How oft thy blue eyes Nos. 85 to 92,"Sentimental Ballads” Copyright 1954 by PEER INTERNATIONAL CORPORATION, Copyright Renewed International Copyright Secured Printed in US.A.ait a -eross my mind, That till then Thad been blinds animato (deed ot preceding) lit - tle Kir - enate 92 4896) Gottschall Poco andante = rie, I see thee fair-est one, as in a gar - den fair, 2.sweet - ly now the flow-retsraise theireyes to thy dear glance, to =F a gar-den thy dear fair. Before thee flowers andblos-soms play tossed _by. soft evening air. The glance;Thefair-est flower onwhich I gaze is thy. dear counten-ance. The aae a Ss Nos. 85 to 92,"Sentimental Ballads” Copyright 1955 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in US.A, All rights reserved including the right of public performance for profit.213. By —— pil-grimpass - ing on his way, Bows low_ be-fore thy shrine; eve-ning bells are greeting thee, With sweet - est mel-o - dy, art, my child, like one sweet prayer, So good, so fair, so pure al-most di may no storm eer crush thy flowers,Orbreak thy heart, orbreak thyheart, Ma- —~., <—__ iI |a4 93 Berceuse (4900) Adagio ¥ Obr the moun-tain towards the west, as the children go to = mt — Faint - ly comes a sound, a song of na -turehovers round, ‘Tis the = ES eS beau - ty of the night; Steep thee welltill morn -ing light. =~ = = ial amnnee Sleep thee welltillmorn-ing light. =~ — =~ rd es ©Copyright 1958 by PEER INTERNATIONAL CORPORATION. International Copyright Secured Printed in USA, All rights reserved including the right of public perfarmance for profit,94 215 Where the Eagle Adagio molto mp 4900) M.P. Turnbull ——_ = ‘Where the ea-gle can-not see, Where cold winds can Tete OO tk > ralk—— pp never be, Where the_ sunlsbrightcourse doth glow very, wer - y broader ‘There, in_ev-er last - ing rest, Dwellthosesaints whom asses Eats tg — ‘Death hath blest, e last_-_ing_ rest. Copyright 1936 by Associated Music Publishers, Inc., New York Copyright Renewed International Copyright Secured Printed in USA, ‘All rights reserved including the right of public performance for profit.216 95 Allegro (4900) Allegro of By morn - ings bright - est beams, By ‘eve - nings pale gleam, Se : my heart_ light - est seems, still__ the fan - cies teem, thoughts gayhopes do shine; Be-fore me lies the day; ing, new hopes I sees Be-fore me lies the night, ©copyright 1958 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in US.A All rights reserved including the right of public performance for profitand and ere it dies a- way, the morn - ing light, 217 Who knows_____ what may be ‘These hopes. may come to straight straight218 “~~ think with. rap - pate with rep] oun FL ___ —— f re Largo Largo a PP And what may be96 219 Loigh Hunt, in his Escays,*Rhyme and Reason’ says:...*yet how many ‘poems’ are there....of which we require no more than the rhymee,to be acquainted with the whole of them? You know whattherogueshave done by the ends they come to. For instance, what more is necessary to inform usof all the folowing gen- ‘tHeman has for sale, than the bell he tinklos atthe end of his cry? We are as sure of him as themuffinma ‘Then he quotes the beautiful text, found in the song below. It is called a ‘Love Song’ but thi is ot enough; ‘when attached to music, it becomes a “Morceau du Cocur;’~ a “Romanzo di Central Park’ or an*Intermer- 10 Table d’hote.”#...Was there ever peroration more eloquent? Ever a series of catastrophes more explan- atory of their previous history?” (4900) ‘Andante con grazia,con espressione e con amore. P Grove,—___ ‘N0T:- Men with high, liquid notes, and lady sopranos may sing an octave higher than written. The voice part ofthis “Ariay however, may be omitted with good effect. To make deeper impression, a violin may play the right-hand tune, and may be ‘omitted, for the same reason. Copyright 1955 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in US.A, All rights reserved including the right of public performance for profi.220 ro? a Some twenty years ago,an eminent and sure-minded critic of music in New York told a young man that ____was one of our great composers; what he meant by “our” is not recorded, nor is it remembered that this profound statement was qualified by the word “living”— probably not, as this arbiter of tears and emotions is quite enthusiastic over his enthusiasms.The above col- ind heartbeats would show, but does so very inadequately, the influence,on the youthful mind,of the master in lection of notes question.97 224 The South Wind (sea) Andante con moto Pp 4.When gen - tly blows the Dic Totorotume, Heine. Die Lo - ‘tos - blu me SouthWind fifst_ through the Northern Wood, With ea - gerness he ‘ing-stigt sich vor der Son- ne Pracht, Und mit ge-senk-ten > go'- eth | where long a tree Haup - te er-war-tet sic iru - mend Der ba ae | ro ‘Norn:-Composed originally to “Die Lotosblume” but as thesetting was unsatisfactory, the other words were written for it. Copyright 1933, Merion Music, Inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in US.A, ‘All rights reserved including the right of public performance for profit,222 the lea - fy cov-’ring that_ lies close at its base, and der ist thr Buh- le, er week. sio mit sei-nem Licht, und ——— ayo gee piu ten, ‘there withsweet-est wel - come, looks_____uphis old tove’s face. ihm entschleiert sie____freund - lich ihrfrom-mes Blu - men ge - sicht. pitt animando eka oy TS ma —T P. 2.Be-neath —thesnow she waitshim and keeps her leaves brave dregs, Sie bliht © undglidht und leuch-tet, starret stumm— in die Hoh} —™~, —— —~ — Cr228 7 Her fair blos-som 0 ~ pens at _his_ first ca Sie duf-tet.woi-net und ait - tort vor _Lie-be und —_Lie-bes XP aoe eee > thatflow-er greetshim, For him, for him a-lone her heart with love's und gliht und leuch-tet,’ und starretstumm in dio Hoh; sie duf-tet,.weinet und >a — > P pits animando. z ——— p pit rit — a beau - ty,throughherbrief day has ait - tert vor Lie-be und Lie - bes — NOTH: The music for the second verse may be used for both.Rea 98 Naught that Country needeth Aria for Baritone (froma Cantata“The Celestial Country”) (4899) Alford from St.Bernard Moderato of those aisles of stone; —______ Nos. 98 and 99, from a Cantata Copyright 1955 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in U.S.A. All rights reserved including the right of public performance for profit,225 Wherethe God- head dwell - eth, s— tem - plethereis none. All__saints that in these courtshave stood, f,—~ aaa saints that in these courts have stood feeding onchil-drens food, babes ____and feed-ing’ on chil-drens food. On —226 ——_ mp a through signand to - ken, stars amidst thenight, pooo espress. On through sign and to - ken, light, for-ward in -to ——= = ‘po00 orese.e accel,227 pgtempo On throughsign and stars amidst the —_— ken, night. guts 3 a dy Pi Quasi recit. CC ————— Forward,forward in-to Pp ——_| a agp me Forwardforwardin-to lightt_________ Onthrd signand =pd F / yy 2P. dim, po00 a ooo Onthroughsignand to - ken, Onthroughsignand to - ken, stars amidst thenight. ate _— P= |——228 99 Forward into Light Aria for Tenor (or Soprano)from a Cantata“The Celestial Country”) fa (4808) from St Bernard Allegretto Zz iota earthy Tin each yearn - ing pur - —<— —~ zs NT aN a t Nos. 98 and 99, from a Cantata Copyright 1953 by PEER INTERNATIONAL CORPORATION, Copyright Renewed International Copyright Secured Printed in U.S.A. {All Rights Reserved Including the Right of Public Performance for Profit229 =— PP springs birth; Sick they they — grope, up-on na-tions wis-doms lov-ing, poco rall, e cresc. —_= spr rR230 they grope, they grope wis-doms tov-ing ray, ‘poco rail, pit animato234 hind___ the in - fant mind,R82 t animando ed orese. height to height! sity oa na —= sound ae233 ————_— == ——$—$—$———— Soroader Climb height —to_—height! ith,. largemente = + = = = E SSS SR,_ 100 A Christmas Carol Larghetto P — Lit- tle Star of Beth - le - hem! Do__ we see Thee now? Obr the cra- die of a King, Hear. the An-gels sing: ns a_i. om ——— P Do— we see Thee shin - ing der t In— Bx-cel- sis Glonri-a,— Glo - —S> —__ Lit - tle Child of From His Fa- thers — v pik ten P Beth-le-nem! Do we hear Thee in 1s? Hear the An- gels sing - ing: home on high, Lo! for us He came ie; Hear the An- gels sing: Ve - ae —_~_ on ‘Peace on earth good will to meal ai - te a dor - e - mus Do - - _— ee Copyright 1935, Merion Musi, Inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in USA. ‘llrightsreserved including the right of public performance for prot.285 101 My Native Land 4897) (Traditional) Adagio P———, My nactiveland now meetsmy eye, The oldoaksraise their boughs on high, ——— a — _— S a piluten. Vio-lets greeting, violets greeting seem,Ah!'tis a dream,Ah! tis’ a eee dream, lands I roam, | Myheartwillwan-der to —“-miy home; ie \F = —=— = Oo Geno = these vis-ions and” aream, o~ White fanciesteem,Stilllet me dream, still let _me ae PP Copyright 1954 by PEER INTERNATIONAL CORPORATION Copyright Renewed International Copyright Secured Printed in USA, [All Rights Reserved Including the Right of Public Performance for Profit236 102 i |A,.Very Pleasant Memories ipskogee Sad sez) Presto A. We're sit-ting in the op-erahouse,the As fast as it will go.) e op -erahouse,the op - erahouse;We're wait-ing for the cur-tain to a-rise withwon-ders band is tun-ing up and soon will start to play.” ‘We whis-tle and we hum, Copyright 1953 by PEER INTERNATIONAL CORPORATION Copyright Renewed International Copyright Secured Printed in US.A. Al Rights Reserved Including the Right of Public Performance for Profit237 beat time with thedrum, Whistle - whis-tle and we hum, beat time withthe drum, Whistle. . . - ‘We're sit - ting in the op -erahouse, the op - erahouse, the ad (Octaves ad lib.) op - era house, a-wait-ing for the cur-tain to rise with won-ders for our eyes, a238 feel-ing of ex-pec-tan-cy, a cer-tainkind of ec - sta-sy, ex- pec-t ec-sta-sy, ex-pec-tan-cy and ec-sta-sy__ tune as threadbare asthat “old red is tattered, it is torn, itshows239 signs of be-ing worn, Its the tune my Un-cle hummedfromear - ly morn, — =— : ae PaaS 5 ee = SSS com-monlit-tle thing and kind ’a sweet, Bat twas sad and seemed to slow upboth his SS SS SS5 SS SS see nae lingdown to the barn or to the town, a = ——— ar SE SS = =a0 103 The White Gulls (from the Russian) 924) Maurice Morris white gulls dip and wheel pitsten. © - ver watersgraylikesteel. ‘The white gullscaltand cry as they spread their wings and white gullssink to rest. On the poeaee by permission of the author and the “Evening Sun’ New York. Copyright 1933, Merion Music, Inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in USA, ‘Al rights reserved including the right of public performance for profit,zat nf pit animando Souls of menthat turn and wheel mf Pit animando bs ‘Povo erese. © - ver wa-terscold as steel. Souls of men that calland ory As they know not where to r of by men that sink to rest On an re-ceiv-ing breast: adj urd wayed 104 Two Little Flowers (and dedicated to them) (4924) Allegretto mp On sun-ny days in (the pedal following thepiano phrasing aot thatof the voice) it - tleflowersare seen, One dressed, at times, in bright-est pink and ‘Copyright 1935, Merion Music, inc. Bryn Mawr, PA 19010 Copyright Renewed Fnternational Copyright Secured Printed in. US-A, ‘All rights reserved including the right of public performance for profit.rose! passing fair; ‘Theres lov - li- ness in wild —_ flows of ao™~ es field or wide sa-van - nah, But fair-est, rar - est of them alll Etaaa 105 West London (A Sonnet) as2t) Matthew Arnold Moderato =p — saw, ill, mood-y,- and tongue - tied. A_ babe was in herarms,and ee an ather side a girl; clothes were rags, their feet were bare. Some nal Copyright Secured Printed in USA, ts reserved including the right of public performance for profit.245 work lay some - where there, op - pos-ite; Shetouchahergirl,who hied arcross, andbeggd and came back — — > S- fied, The rich she had let__ pass with a fro-zen stare. aa > aonpan aoatsa aoas Fi 5 sentra eaaclras c2Bea (eae rrr 0 ————> mp rit, Thought I: A= - Bove her state this slower and with dignity nfwill not ask A liens, but of friends, Of shar-ers in a common not ask—of f td sie Bag es > tS hu-man fate. She turnsfromthe cold succour,which attends the unknown lit - tlefrom the — ¥ oo ~ un-know -ing great, And points us to a bet-tertime, and points us to alittte slower wf. a bet-tertime,And points us to a bet-ter time than ours! ® wn souly =—————pm, PE,247 106 from “Amphion” ‘Tennyson f. (4896) Allegretto con spirito rh, 1 ue rh. Blk th. bush-y crown,and as tra - di Co-quet-ting = et-ted down — co-quet-ting,— Copyright 1953 by PEER INTERNATIONAL CORPORATION Copyright Renewed International Copyright Secured Printed in US.A. {All Rights Reserved Including the Right of Public Performance for Profit248 with young beech - es;.... shepherds from the moun-tain-eaves,Lookeddown,half pleased, half of fright - ened, As dashed a-bout the drunk-en leaves, The sunshine pis wit 4 tempo light - ened, The ran-dom sun - shine light -107 249 A Night Thought (1895) Moore Adagio ro How oft a cloud, with en-vious veil, Ob - scures yonbash-ful — Ad light Which seems so mo - dest - ly _tosteal_a - long thewaste ‘of thus the worlds ob - trusivewrongs ob - scare, withmal-tee db ot dim.¢ rail. keen, Some tim-idheartwhich on-ly longs to live and die un-sees—— — we a ——e dim. rail, Copyright 1933, Merion Music, Inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in U.S.A. ‘Al rights reserved including the right of public performance for profi.250 108 Songs my Mother taught me 4895) ‘translation adapted Largo : Songs my mother taughtme in thedayslong van-ished, 24) 1 nh : : + Sel - domfromher eye-lids were theteardrops ban-ished, were the tear drops iW sf cS F ban - ished fow Iteach my chil- dren Par Copyright 1985 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in USA Al rights reserved including the right of public performance for profit.dim. 000 ral ——— each mel-o-dious meas - ure———_of-tentearsare rep —— indays tong van - ished. Set = domfrom her eye - as thetear-drops ban-ished, = = - 5 ae il eee Aris. ul 2 — rit, were the tear - drops ban - ished 4 — S aad Ad rit.252 109 Waltz 4898) dance ground, | Wentthewhirl-ing throng, movedwithwineandsong;— _Lit-tle An-nie bride, Al'- so of her beau, every onekaowsitS'Joe;— —_Lit-tieAn-ale e RP" nom octs) ie Rooney, (now. Mrs. Moon - ey,) Was as gay asi in MayOherWed-ding Day —— Rooney, (Mrs. J. P Moon-ey,) Allthat day,— held full swayoer Av’- nue AIL ry We iu fem “An old_sweet - heart” piu ralk, a Pep item, Copyright 1954 by PEER INTERNATIONAL CORPORATION Copyright Renewed International Copyright Secured Printed in U.S.A,110 253 The World’s Wanderers 4895) Shetiey Adagio sostenuto P me, star whose wing of light fe, moon,thow pale and grey — ad speed thee in thy. fie-ry flight, In— what cav-ern of ‘the night pil- grim of heavnshomeless wa} In_ whatdepthof night or day, add _ ¢ Bid & tempo i a ‘will thy pin-ions close seekest thou re - pose t Copyright 1953 by PEER INTERNATIONAL CORPORATION Copyright Renewed International Copyright Secured Printed in USA. {All Rights Reserved Including the Right of Public Performance for Profit254 111 Canon (4894) Moore Allegro Sonthe anys are gone, when beauty bright. a d — My hearts chain__wove; When my d d a morn till night love, still love, still love. 4 4 Oh! thedaysare gonewhen beauty bright,When my_ dream of. life, from morn till night 4 d a a Copyright 1935, Merion Musi, Inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in U.S-A, ‘Al ights reserved including the right of public performance for profit,eee —— = <—— ove,still love, from morntill night, My dream of life was love. id New hope may bloom, and days may come SS) erbeam, But there's noth-ing half sosweet in octiad lib). of mild - er, calm - loves young dream, es young dream. 24256 112 To Edith sez) Andante moderato ¢gyietly) P sotike a flowerthy lit-tiefour year face in itepurefreshness a itepe nit. F af it O, lit-tle flower-like face thatcomes to me,each morn for kisses ~. u Gide Yt Ae aoe we LT PP rit, —— "Bend thounear me while 1 Inhaleits fragrance sweet_ And put a blessing there — ee ee diol 1 73 q SfEPF —=_=> Words and revised piano part,te4s. a Copyright 1953 by PEER INTERNATIONAL CORPORATION, Copyright Renewed International Copyright Secure Printed113 257 When Stars are in the Quiet Skies case4) Bulwer-Lytton Adagio 2 ‘When stars are There is an in the qui - et skies, Then most 1 long for thee. hour when ho - ly dreams Throughslum - ber fair - est glide. — der eyes, As stars, look down up-on the it. seems, Thou shouldst be ev - er, ev-er Copyright 1933, Merion Music, Inc. Bryn Mawr, PA 19010 Copyright Renewed International Copyright Secured Printed in U.S.A, ‘Al rights reserved including the right of public performance for profit.258 For thoughts likewavesthat glide by night The thoughts of thee too sa- credare still - estwhen they shine; All my love lies hushed in light be-neath the day - lightscom-mon beam, 1 can butknow thee hheav'n, be-neath the heavn of star, my an - gel as my star, my guid-ing114 259 Slow March Inscribed to the Children’s Faithful Friend asses) See eee S——= tee zs = Poss eve-ning just at sunset we laidhim in the grave; Al-though a hum-ble an- i-mal his heart wastrueand brave. All thefamily joined us, in sol-emnmarchand slow, from the Copyright 1953 by PEER INTERNATIONAL CORPORATION Copyright Renewed International Copyright Secured Printed in USA. |AN\ Rights Reserved Including the Right of Public Performance for Profit[None of the songs in this book have been published. Where the words are covered by copyright, permiasion has been given to use the verse in thia volume oaly. ‘The texte to Nos. 16, 20, $9 are from Books or Emays indicated, which do not give the source of the quotations ‘The authors of the words to Now. 76, 86, 91, are unknown to the composer; but as the book ia not being put to any commercial use it in thought that no particular harm will be done if they are included. ‘Where no author ia indicated the words are by Harmony Twichell Ives or her husband, ‘Nom 5, 17,8, 9a, 16,20, 30, 40, 42,44, 48, 46, 47, 62,66, 94, 98, 99, 10, 108, 107, may be found suitable for some religious services. ‘Now. 28,53, 85, 86, 87, 89, 90, 96, have litte or no musical value—(a statement which does not mean to imply that the others have ‘any too much of it). These are inserted principally because in the writer's opinion they are good illustrations of types of songs, the fewer of which are composed, published, sold or sung, the better iti for the progreas of music generally. It is asked—(probably a superftuous request)—that they be not sung, atleast in public, or given to students except as examples of what not to sing Nos. 15, 47, 59, 9, are adapted from orchestral score, Now. $4 $6, are bram-band marches. Now, 44, 45, 46, are from viola sonatas. © Copyright 1975 by The National Institute of Arts and Letters, International Copyright Secured Printed in USA. All rights reserved including the right of public performance for prof, (Used by PermissionGreek philosophers, ward-politcians, unmasked laymen, and others, hhave a saying that bad-habite and bad-gardens grow to the “uni tendedables"; whether these are a kind of “daucus carots,” “men, “alls” or “mechanistic theories of life” ia not known,—but the state ‘ment is probably or probably not true. The printing of this collection ‘was undertaken primarily, in order to have a few clear copies that could be aent to friends who, from time to time, have been interested enough to ask for copes of tome of the songs: but the job has grown {nto something diferet,—it contains plenty of songe which have not ‘been and will not be asked for. It stands now, iit tands for anything, as a Kind of “buller state,"—an opportunity for evading a ques: tion, somewhat embarrassing to answer-—"Why do you write $0 ‘much ——, which no one ever aces?” ‘There are several good reazons, fone of which are worth recording: ‘Another, but unconvincing, reason for not asking publishers to tsk ‘their capital or singers their reputation, may be charged to a theory, (perhaps itis little more than a action, for many do aot agree with it —to be more exact, a man did agree with it once: he had something 10 sell —a book, as I remember, called, “The Truth about Something,” ‘or "How to write Music while Shaving!") Be that as it may,—our theory has a name—it is, "The balance of values," of “The circle of sources: (in these days, of chameleon efcieney, every whim must be ‘name, to save it from investi Te stands something like this: That an interest in any art- classed under a scientife sound ation) fsctiviy, from poetry to baseball is better, broudly speaking if held as 8 part off, of ofa life, than if it sete tell up asa whole,—a condition verging, perhaps, towards a monopaly or possibly a kind of atrophy of the other important values, and hence reacting unfavorably upon itse. In the former condition, this interest, this instinctive impulse, this desire to pass from “minor to major,” tis artistic intuition, of whatever you call it, may have a better chance to be more natura, more comprehensive, pethaps, frer and so more tolerant,—it may develop more muscle in the hind legs and so find a broader vantage round for jumping to the top of a fence, and more interest in looking sround,—if it happen to get there. [Now all this may not be #0; the writer certainly cannot and does not try to prove it a0 by hin own experience, but he likes to thik the theory works Out somewhat in this way. To illustrate further (and to become more involved): if this incerest, and everyone has it is a component of the ordinary life,—i it is free primarily to play the part of the, or 8, reflex, aubconsciour-expression, or something of that tert, in relation ¢o some fundamental share in'the common work of the world, ax things go, i it nearer Co what nature intended it should be, than ify a8 suggested above, it sets itself up as a whole,—not a dominant value only, but a complete one? If a fiddler or poet docs ‘nothing all day long but enjoy the luxury and drudgery of i ‘reaming, with or without meals, does he or does he not, for chia rea- sen, have anything valuable to express?—or is whatever he thinks fhe has to expres less valuable than he thinks? ‘This ia a question which cach man must answer for himself. It depends to a great extent, on what a man nails up on his dashboard fan “valuable.” Does not the sinking back into the soft state of mind © Copyright 1975 by The Nationa International Copyright Secured All rights reserved including the right Uses by Permission (or pousibly a non-state of mind) that may acoopt “art for art's sak, ‘tend to shrink rather than toughen up the hitting musles,—and ia- Cidentally those of the umpire or the grand stand, i there be one? To ‘quote from a book that isnot cend:—"Ta not beauty in music too often ‘confused with something which lets the ear lie back in an easy-chair? ‘Many sounds that we ae used to, do not bother us, and or that reason. ‘are we not too eaily inclined to cll them beautiful? .... Pomibly the Tondness for personal exprestion,—the kind in which sellindulgence dresses up and miscallsfreedom,—may throw out a skin-leep arrange ‘ment, which is readily accepted at frst as beautiful—formula that weaken rather than toughen the musical-museles, If a composer's ‘conception of his art, its functions and ideals, even if sincere, coincide to such an extent with these groovecolored permutations’ of tried ‘ut progressions in expediency, so that he can arrange them over and ‘over again to his delight—has he or has he not been drugged with an ‘overdose of habit-forming sounds? And aa a result do not the muscles ‘of his clientele become Rabbier and flabbier until they give way al- together and find refuge only in exciting platitudes, even the sensual outbursts of an emasculated rubberstamp,—a "Zaza," a ‘Salome! ‘or some other money-getting costume of effeminate ranhood? Ia ‘many cases probably not,—but there is this tendency.” 1 the interest, under discussion, is the whole and the owners wii tollet it ret asthe whole, will it not preduce something ese vital thaa, the ideal which underiea, or which did underlie it? And isthe reault- ant work from this interest as free as it should be from a certain in- fluence of reaction which is brought on of, atleast, is eloscly related to the artis’ over-anxiety about its effect upon others? ‘And to this, also, no general answer must be given,—each man will answer i fr himself,—if he fees like answering questions. The whole matter is but one of the personal conviction. For as Me. Sedgwik ‘ys in his helpful and inspiring little book about Dante, “in judging ‘human conduct,"—aad the manaer ia which an interest in artis used has todo with human conduet,—"we are dealing with subtle mysteries ‘of motives, impulses, feclings, thoughts that shif, meet, combine and ‘eparate like clouds" ‘Every normal man,—that it, every uncivilized or civilized human being aot of defective mentality, moral sense, et., has, in some de agree creative insight (an unpopular statement) and an incorest, desive find ability to exprew it (another unpopular statement). There are ‘aay, too many, who think they have none of it, and stop with the ‘thought or before the chought. ‘There are a few who think (and en- ‘courage others to think) that they and they only have this insight, interest, ete... and that (a a kind of collateral security) they and they only know how to give true expression to it, te- But in every human soul there isa ray of eeestial beauty (Plotinus admits that), ‘and a apark of genius (nobody admits that). If this isso, and if one of the greatest sources of strength, —one of, the greatest joys, and deepest pleasures of men, is giving rein 0 it i tome way, why should not every one instead of a few, be encouraged, land (cl jutifed in encouraging everyone including himself to make this a part of every one’s ifeand his life,—a value that will supplement the other values and help round out the substance ofthe woul? | Institute of Arts and Letters Printed in U.S.A. of publie performance for profit.Condorcet, jn his attitude, towards history.—Dryden,, perhaps when he sing Irom heavenly armony, Thi univer mee Sin ia the “Overasul” and “eommon-heart”acem tor lend srength forthe choughe chat this gern-paam of creative art aterst and work. 12 Universal and that sts selection theory is bated om any condition that has fo'do with universal encouragement.” Encouragement here [Staten in the broad sense of something akin to unprejuaieed and {nuelligent examination, to sympathy and ‘unconscious iiluence a thing tele father than seen,” The problem of tect encouragement ixmore complex and exciting but tot as fundamental or import it seers to the writer that the attempts to stitute interest by labo: tate systems of conteste prises etes are a litle overdone nowadays Something of real benedt fo art may’ be accomplished im this way.— butpethaps the prises may do the donors more good than te donates yt pure and wtiicton ofthe fer having done ‘what they consider a good deed, may be far greater than the improve rent in the quality ofthe latter's work In face, the process may have fn enervating effect upon the latter it may produce more Roderick Hudsons than Becthovens. Perhaps something of ereaer value could te caught without thia Kind of batt. Perhaps therchil value of the Dian rocstablish a “course at Rome” to ease fe standard of American fnusic for the standard of American composers--which ist?) may De inning man nto enough co sree t,o arth nnn 8 tan has ut co get upeaty, and he can slwaye have Bach in his osket Fee the amount ycirk ean receive pet onal instruction (rom Beethoven, and other living “conservatories.” Possibly, the more our composer accepts from his patrons, “etal” {he lem be will cept trom humsell TE may be pousbte hat a month in'a'"Kamas wheat fehl” will do more Tor him than three years 10 Ronen He may be, tht many men-“porhap some o gene you ton admit thoe all are geniuaes) Have been atarted-on the down Stara pat of subsidy by trying to write a thousand dollar riz pom bra ten thousand dollar poze opera.” How many master-pices have teen prevented trom blossoming in thie way? A cocktail wil make ‘mast cat more, but will not give him a healthy, normal appetite i fread noe that already). It's bishop should offers {0 the curate who wil fove God the hardest for Bee kets the prize would love God the leat, FeStakes’us, end to industialize ar, father than develop a spiral Sshurdinewsa sturdiness which Mir Seigwick anys. shows Ril ina ‘lose union between apcitual lite and the ordinary business of fe, pains spiritual feebleness which shows ise in the separation of the two. "And for the most of us, we beieve; this sturdiness would be Encouraged by anything that will Keep or help us keep anormal al Snce between the spiral le and the ordinary ie If for every ‘houssnd ella prize a potato fkd bc substitute ao that these can {lates of "Clio" ean dig ite in eal ie, perchance dig up ¢ natural {nepiration, avai might bea litle clearer=a ite freer from certain {tonal dl gos fox nian, that fice tho and reve ways go to the saive ealé—that atmosphere and diligence are syn: enon fo quote Tore incorrectly “When hal Gas a the s' Beryone should have the opportunity of not being ‘vervliuenced. But these unpopular convictions should stop," O8 ‘donne ten i iberalement que ses consis” ‘Arnecessary part of this por! of progressive evolution (For they tell, es now that evolution it not always progressive) ib that every One sould pe as ree au poaible to encourage every one, including Nise, {o'works and to be willing to work where thi Interest dicéta= "0 ‘Stand and be wiling to stad, unprotected, from all the showers of the ‘tbsalute which may beat upon him,—to se or lear to use ar a east, to be unafraid of trying to te, whatever he can of any and all leasons of the'inite whieh Mymanity Has received and throws fo Rima ‘ature har exposed and stridced for him—that life and death have pee living” days, whoever tal Such atin mista areal Ge mtdce etch feria eat Spe ome be calle, which Gol has given mane a ‘Everything from a mule to sn eak, which nature has given fife has aright tp that life and aright to throw into that life all the wala ie fam, Whether they be approved ty’ human ind or cen with & Fuman eyes no concern ofthat right. ‘The right of tre, wherever icetands to grow an strong and as beautfulas ie can whether acon ‘oe unaeen,-whether made immortal by 2 Turner,~transated ito fut Senge architecture ort kitchen ea The ante and ive interest of every mah inart, we are willing to afr with no ‘ualcation, will goon and on, ever falling hopes ever building new ‘nes, ever opening new horizon, until the Say will come when every Perhaps tothe waste basket rman while digging his potatocs wil breathe his own Epics, his own Syphon Coarse kn 1; and au he wt ofa cening in in ackeyard and shirt sleeves smoking ‘his pipe and watching hie brave ehikden in their fun of building thet themes, for ear sonata of thet fe, he will look up aver the mountains and see his visions, ia thet reality, “anil heat the transcendental stains of the day's symphony, Fesounding in their many choi, and in all their perlestion, through the west wind and the tee tops! Te'war not Mark Twain but ehe “Danbury News Man" who be ‘came Convinced that aman never knows his vices "and virtues stl that greae and solemn event, that frat sunny day ia spring when he Wants to go fahing, but stays home and help his wie ctan house. AS Felis on'his back under the bet—under al the bods,—with nothing Breath but tacks and bs pat emit i sol cosy nothing of his vision), ull'of that glorious dust of mortale and carpets, wil Kis finger pa ony-with the caress of his mothersnsiaws hammet (her annal'sgument),mat he lies there taking orders [rom the hired i, a sudden and tremendous vocabulary comes to him.” Its power Eromnipoten, ie consumes everything,—but the rubbish heap. Before {his virtuce quai estate and crawl Carclally out ofthe ella window: bis vices;even they go back on him-even they can't stand thin he secs them marci with stately grace (and others) out of the froat ‘door. At this moment there contes a whisper the stil sal Voie ef a “parent on, his father side™"—Viees apd Virtues!" Vices and Vistues! they aint no ace things —but there A\tarnal lot of "em Wesiged in Beeween the sewing machine and the {wrure he examines imei a everyman fa his position should dos="What has brought me to this2Where am 12 Way do T do this?'—"thewe are natural Inquiries.” They have assailed thousands before our days they wil alfice thoysands in years to come and probably theres no Torn of Jocerrogation to tnd wth sue torre unin ic banked for a light in-a strange depot by aman you've just selected out of fseventoen thousand aa the ane man the mast Hikaly to Rave a match, ‘rious authors have various reasons for bringing out a ok, and this reason may or may’ not be dhe reason they give to the work: | know hot and care not.” isnot for me to jadge the world unless T'am tected. ‘it isa sitter which lies between the composer and his own ‘conscience, and I-know of ‘no-place where it f leer likely to be gueded ‘Some have written 2 book for money: T have not Some for fame; I have not. Some for fove: T have got. Some Tor Kendtingy: T have not. T have not writen a book for any” of these elton or for llof them together” fact, gentle borrower, f have fot writen a buoie at all'--f have merely cletned hawse. All that is Ite is out on the clothes line,—but it's good fora man's vanity to have the neighbors ace hiryon the elothes fine. For'some such oF different reason; through some such or diferent ‘proces hie volume,=—this package of paper, ancallecible motes, Marks Bi respec and exprin is now thw, so spe at the mone fraternity, who for this rcasom wil feel ree to dodge & on its Way te IC i submitted as mich of moce in the hance dha some points for the beteer education of the composer may ie'thrown back at him, than that any of the points the music may contain may be valuable to the recipies Some of the sgn ths boo particulaely among the Inter one cannot be sunig-—and if they could perhaps might preter, Sy rei hy atcha he bea “enh he Fepiain in thie peaceful state is more than presumable, "An excuse {one he ate are god en for thr exenc, mich aes its at thin point, that a song has afew eights the same a9 ther Ogdinary cata." eke ie waking along he lle Band side Ki the aereet~passing the door of physiology oF atting on the cur. wh fot lett? It it fels lke kicking over am ash can, a poet caste, or {he provdic Ine, oil you stop i Must fe alwayy bea polite triad, a Mprdve paudium"a rigbon to match the woe? ‘Should wt got be fee at times from the dominion ofthe thorax, the diaphragm, the ear and ‘ther points of interest? Tf fe wants to beat around ta the valley, to throw stones up the pyramids, orto sleep tn the pak, should ic not have some immunity from a” Nemesis, a Rameses, of a policeman? Should it ot haves chance to sng to itell ite can sing?—to enjoy itself, without making a bow, iit sant make a bow?—to swim around imanyoncan, ic swiiy without having C0 wallow “hook and ‘thie oe bedng sunk by am operatic greyhound? Ii happens to fed Tike trying to fy wheve humana cannot By,—to sing what cannot be ‘tune to ral a eave, on all fourm—F to tighten up its girth in Ute nope and faith, and try to scale mountains that are not—Who shall stop In short, must a song. always bea song oe