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THE MUSIC AND WORDS
POPULAR, STANDARD, AND ORIGINAL SONGS, &e
ARRANGED SO AS TO BE EQUALLY ADAPTED FOR
VIOLIN, OR OTHER TREBLE INSTRUMENT.
G. H. DAVIDSON, 19, PETER'S HILL, DOCTORS: COMMONS.
She appearance of such a volume as this is of itself conclusive evidence of the progress made in this country, within the last few years, in the cultivation and appreciation of the science of Music. Till the delusion was dispelled by the appearance and triumphant success of “The Musical Treasury," the musical public had been accustomed to rate themselves as so insignificant a section of the public at large, as to be induced to believe that while the greater class, from its immensity, could be supplied with literature of a high order at a price almost nominal, the lesser one was so limited in number, that nothing short of shillings for the quantity of paper and print vended to others for their pence, could possibly repay those who were magnanimous enough to minister to their circumscribed demands ;—and this notion continued to prevail for a length of years, although there is hardly in England at this time a respectable house which does not count a Piano-forte in its inventory of furniture. At length, however, appeared “The Musical Treasury," with the declared object of furnishing the Piano-fortist with Songs at Threepence each, instead of Eighteenpence; Quadrilles at Threepence, instead of Three Shillings ; Overtures and Waltzes at Sixpence, instead of from Three to Five Shillings each ; and all other Pieces in like ratio. The ancients of the Music Trade took their first exception to the intruder on the ground that Cheap Music could not be correct, forgetting, or not choosing to admit, that correctness is a matter of capacity, not of expense that the cost of engraving, paper, and printing, is the same for incorrect as for correct work ;-and this insinuation no doubt had its influence among small minds, till the intellectual began to compare the cheap with the dear Music, when they were rewarded by the discovery of the fact, that the one was as far above the other in general accuracy as it was below it in price. This point unwillingly conceded, the next assertion was, that correct Music at such a price must result in the ruin of those foolhardy enough to produce it. The production, however, has continued on to the extent of considerably more than 400 different Pieces , the proprietor has demonstrated the capability of paying largely out of small profits, by engaging on the work whatever talent he has thought likely to advance its ultimate importance; and “The Musical Treasury” is now the self-chosen medium of bringing before the public the writings of some of the most esteemed composers of the day-Mr. Henry Russell alone having contributed to it above Sixty of his popular Songs and Scenas.
It is the experience derived from this speculation that has given rise to the following pages. A few years ago the project would not only have failed for want of support, but the mechanical means of accomplishing it did not exist. The old-fashioned style of printing from dirty pewter-plates, clumsily punched, is wholly at variance with the production of a handsome library volume ; and the uneducated character of the poor people employed in punching pewter-plates is an utter denial to their producing the literary portions of Vocal Music in a condition at all satisfactory to educated persons. Until lately, Music Type, aiso, was so imperfect, that its inefficiency was hardly counterbalanced by the more scholastic character of all Music Printing emanating from Letter-Press Printers, as distinguished from the Printer from pewter plates. But, through the enterprise of the English Type-Founders, the Letter-Press Printer is now supplied with Music Type perfectly capable of delineating every mark and direction required for the most recondite compositions; and, although the first cost of Music thus produced, instead of being cheaper, as those interested against the system would wish to be believed, amounts to about five times as much as that created under the olden system, its mathematical precision and elegance recommend it so strongly, and its great durability holds out a prospect of profit, if not large at first, yet so long-continuing, that the Publisher has felt himself justified in incurring the great outlay necessarily occasioned in the collecting, revising, and printing of above 800 Songs, with the Music adapted alike for the Vocalist and the Performer on most Treble Instruments, and in laying them before the Musical World at the unprecedented price of Eight Shillings, in an elegant and durable binding.
Another volume of similar dimensions will follow in due course, extending the collection to above 1600 Songs, printed into volumes suitable for the shelves of the library, yet easily portable to musical unions. Simultaneously, the Publisher's Edition of “The Songs of Charles Dibdin" is reprinted for the fifth time, with numerous additions in the Musical Department--the paper, typography, and dimensions corresponding with those of this volume, and care being taken that none of the Songs of either work shall appear in the other; so that, while each has an entirety in itself, the subscriber to the whole will not be tacumbered with any thing in duplicate.
Bachelor's Fare-Henry West, R.A..
dy, Moore's Whene'er I see those smiling Eyes,'
clining-Scena in Fra Diavolo' ............. 55
A Cavalier gallop'd..
Can native Scenes delight me..
Come, dance, and put your Work away ......page 97
dielorly, Moore's 'She is far from the Land,' the
of Caroline-As sung by H. Russell 25
German of Prince Ernest, Music by Prince Albert 412
Fair Lake! whose bright Crystal
Moore's 'I'd mourn the Hopes,' Poetry by L. Rede 46
'Love's Young Dream,' Poetry by Leman Rede., 129
Early Days ! how fair and fleeting !-Stevenson 213