Contents: Arne, T. A. Act 2, scene 5. Under the greenwood tree; scene 7, Blow, blow thou winter wind; Act 5, scene 4, Hymen's song; Then is there mirth in heaven. Smith, S. Act 4, scene 2, Glee: What shall he have that killed the deer. Stevens, R. J. S._ Act 5, scene 3, Glee: It was a lover and his lass. Arne, T. A.

Arne, T. A. Blow, blow thou winter wind. (In his Twenty songs. n. d.) 784

Fisher, W. A. Blow, blow thou winter wind.

(In Vincent, C. J., ed. [c1906.]) 784.1 Hopkins, F. Blow, blow thou winter wind. (In his Shakespeare album. c1913.) Sargeant, J. Blow, blow, thou winter n. d.

For alto or bass.

784 wind.

784

Leighter, H. C. It was a lover and his lass. (In Vincent, C. J., ed. Fifty Shakspere songs. [c1906.] 784.1

Morley, T. It was a lover and his lass. n. d. 784 For soprano or tenor.

-It was a lover and his lass. (In Hatton, J. L., and Faning, E., eds. Songs of Eng. n. d. v. 1.) 784.1

-It was a lover and his lass. (In Vincent, C. J. ed. Fifty Skakspere songs. [c1906.])

784.1

785.5

KING HENRY VIII.

786.49

German, E. Three dances from the music to Henry VIII. [c1892.] 786.45 Saint-Saëns, C. Henry VIII; opera en 4 actes; poème de L. Détroyat & A. Silvestre; traduction allemande de H. Wolff; traduction Ital. de A. de Lauzières; partition chant et piano par L. Delahaye. n. d. 782.12

Strauss, R. Macbeth; Tondichtung für grosses Orchester, nach Shakespeare's Drama; op. 23. [c1904.] (Universal ed. no. 1075.) 785.2 Miniature full score.

Verdi, G. Macbeth; melodramma in quattro atti di F. M. Piave. n. d. 782.12

MEASURE FOR MEASURE.

Bishop, Sir H. R. Take, oh take those lips away. (In Hatton, J. L., and Faning, E., eds. Songs of Eng. n. d. v. 3.) 784.1

MERRY WIVES OF WINDSOR. Nicolai, C. O. E. Merry wives of Windsor; overture; ed. and fingered by A. Fraemcke. [c1915.] 786.48

Nicolai, C. O. E. Merry wives of Windsor; comic opera in 3 acts adapted by S. H. Mosenthal; tr. and adapted by H. E. Krehbiel. n. d. (Opera librettos. v. 6, 11.) 782.1 The overture is familiar to everyone; but the opera as a whole is far below the plane of Verdi's.

Verdi, G. Falstaff; lyrical comedy in three acts by A. Boito; complete arrangement for voice and pianoforte by C. Carignani. c1893. 782.12 Italian and English words.

This opera is noted, outside of the intrinsic merit of the music, for two things: first, that Verdi was eighty years of age when he wrote it; and secondly, the masterly libretto of Boito, the Italian poet and musician. The only liberty the librettist took was that of including a passage or two from Henry IV.

It is the very incarnation of youth and high spirits. Verdi told an interviewer that he thoroughly enjoyed writing it. He has combined a schoolboy's sense of fun with the grace and science of Mozart.

The action in Falstaff is almost as rapid as if the text were spoken; and the orchestra the wittiest and most sparkling riant orchestra I ever heard,-comments upon the monologue and dialogue of the book. When the speech becomes rhetorical so does the orchestra.. No one can ever approach Verdi with lack of ideas in Falstaff. They are never ending. The orchestra flows furiously, like a stream of quicksilver, tossing up repartee, argument, facts, amplifying, developing and strengthening the text. -James Huneker.

Falstaff is the greatest masterpiece of modern Italian music.-Richard Strauss.

-Overture. (In Collection of Italian overtures for piano, four hands. [c1895.] v. 1.) 786.49

Who would listen now to Rossini's "Otello"? Yet, in its day, it was immensely popular. A careless day it wasthe day of pretty singing, and little else; the day when there was so little concern for the dramatic element in opera that the gruesome dénouement of Rossini's opera is said once to have caused a listener to cry out in astonishment: "Great God! the tenor is murdering the soprano!"' H. E. Krehbiel in his Chapters of opera.

Verdi, G. Ave Maria. (In Opera songs. 784.2 c1901. v. 2.)

Otello; a lyrical drama by A. Boito; Eng. version by F. Hueffer; complete arrangement for voice and pianoforte by M. Saladino. [ded. 1887.]

Notable passages and scenes in the play:
End of act. 1, duet, Othello-Desdemona.

Act. 2, Iago, scene Credo.

782.12

Finale, Othello appealing to heaven to punish the wife he believes untrue.

Act. 3, Othello accusing Desdemona of unchastity.
Act. 4, Willow Song.

His (Verdi's) inexhaustible stream of melody remained as pure and full as ever, while the more declamatory parts of the opera, down to the slightest piece of recitative are informed by a richness of suggestion, and an unerring instinct for truth, such as it would be vain to seek in his earlier work. In Othello the action is rapid for the most part, and in many scenes the music only aims at furnishing a suitable accompaniment to the dialogue.—Streatfield, in The opera.

From the opening scene to the strangling scene, the music flows swiftly, as swiftly as the drama. Rich, varied and eloquent, the orchestra seldom tarries in its vivid and acute commentary.- Huneker.

-; libretto by A. Boito; Italian and English text. c1888. (Grand opera librettos.)

RICHARD III.

Smetana, F. Symphonische Dichtungen; Clavierauszug zu vier Händen; Richard III. c1896. 786.49

ROMEO AND JULIET.

Berlioz, H. Roméo et Juliette, symphonie dramatique avec chœurs, solos de chant et prologue en récitatif choral, Op. 17. [pref. 1900.] (Eulenburg's kleine Orchester-Partitur-Ausg. Symphonien, no. 24.)

Full score.

785.1

Dramatic symphony with choruses, vocal solos, and a prologue in choral recitative.

A distinguished critic, speaking of this work, says: "[In] Romeo and Juliette, Berlioz produced a work which shows his genius and craftsmanship at their highest pitch; but which as a whole is a monstrous jumble of incongruities-a compound of all styles and genres, where symphony and cantata, the narrative, the lyrical, the dramatic and the programmatic are intermixed in defiance of taste and reason. The five pieces that form the predominating symphonic portion are of unequal valuethree of them belong to the composer's very best achievements and most commendable specimens of programme music; and two to his least happy achievements and most doubtful specimens of programme music.'

The three notable orchestral pieces are: The first and then exceedingly brilliant Romeo alone; Sadness and Concert and Ball (Grand festival at the house of Capulet); the enchanting Love scene-a serene night, the silent and deserted garden of Capulet: and the indescribable Scherzo, Queen Mab, or, the dream fairy.-T. J. Irwin in A guide to the operas, etc., based on Shakespeare's plays.

German, E. Pavane from the music to Romeo and Juliet. c1895. 786.45

Gounod, C. F. L'amour! oui. son ardeur a troublé. (In Opera songs. c1901. v. 3.)

-Ariette; Je veux vivre dan ce reve. Opera songs. c1901. v. 1.)

784.2

(In

784.2

784.18

-(In Hatton, J. L., and Faning, E., eds. Songs of Eng. n. d. v. 1.) 784.1 Altered from speech beginning "Say that she raile." Act II, scene 1. Greenhill, J. H., W. A. and Furnivall, F. J. List of all the songs and passages in Shakspere which have been set to music.

Goetz, H. Der Widerspaenstigen Zaehmung; komische Oper in 4 Akten. n. d. 782.12

TEMPEST.

Paine, J. K. Symphonische Dichtung, nach Shakespeares Sturm. Tempest, für Orchester. [c1907.] 785.1 Thomas, A. Ballet fantastique la Tempête, en 3 actes et 6 tableaux de J. Barbier et J. Hausen; d'après Shakespeare. n. d. 782.9 Tschaikovsky, P. I. La Tempête; op. 18; [fantasie]; piano à 2 mains par M. Lippold. n. d. 786.48 Banister, J. Come unto these yellow sands. (In Bridge, J. F. Songs of S. n. d.) 784.1

-(In Vincent, C. J., ed. Fifty Shakspere songs. [c1906.]) 784.1 Johnson, R. Full fathom five. (In Bridge, J. F., ed. Songs fr. Shakespeare. n. d.) 784.1

-(In Vincent, C. J., ed. Fifty Shakspere songs. [c1906.]) 784.1 Purcell, H. Full fathoms five thy father lies. (In his Selected songs. n. d.)

Act I, scene 2.

784

Arne, T. A. Where the bee sucks. (In his Twenty songs. n. d.) 784 -(In Hatton, J. L., and Faning, E., eds. Songs of Eng. n. d. v. 1.) 784.1

(In Vincent, C. J., ed. Fifty Shakspere songs. [c1906.]) 784.1 Humfrey, P. Where the bee sucks. (In Bridge, J. F., ed. Songs fr. Shakespeare. n. d.) 784.1 Johnson, R. Where the bee sucks. (In Bridge, J. F., ed. Songs fr. Shakespeare. n. d.) 784.1 -(In Vincent, C. J., ed. Fifty Shakspere songs. [c1906.]) 784.1

Act I, scene 1.

784.1

(In Vincent, C. J., ed. Fifty Shak[c1906.]) 784.1

784.1

spere songs. Act II, scene 4. Epilogue song; When that I was a little tiny boy. (In Vocal music to Twelfth night. n. d.) Paine, J. K. When that I was a little tiny boy; Twelfth night. (In Hatton, J. L., and Faning, E., eds. Songs of Eng. n. d. v. 2.) 784.1 Epilogue.

Schumann, R. A. When that I was a little tiny boy. (In Vincent, C. J., ed. Fifty Shakspere songs. [c1906.])

784.1

Vernon, J. When that I was a little tiny boy. (In Vincent, C. J., ed. Fifty Shakspere songs. [c1906.]) 784.1 Epilogue.

Arne, T. A. Which is the properest day to drink; catch; arr. by J. Addison. (In Vocal music to ... Twelfth night. n. d.) 784.1

Act II, scene 3.

TWO GENTLEMEN OF VERONA. Gould, M. Who is Sylvia? (In Vincent, C. J., ed. Fifty Shakspere songs. [c1906.]) 784.1