raveling Theater that visited
Germany, Holland, Belgium, Italy, Austria, England and Russia. Vivid
personal glimpses of Wagner acting his own characters and many humorous
and dramatic episodes of life behind the scenes.

"The most important biographic contribution to musical literature
since the beginning of the century, with the exception of Wagner's
Letters to Frau Wesendonck."--_H. T. Finck in New York Evening
Post._ (Circular with complete review and sample pages on
application.)

WAGNER'S ART, LIFE, AND THEORIES

Selections from his Writings translated by E. L. BURLINGAME, with a
Preface and drawings of the Bayreuth Opera House, etc. _5th printing._
12mo. $1.50 net.[*]

WAGNER'S RING OF THE NIBELUNG

By G. T. DIPPOLD. _Revised Edition. 6th printing._ $1.50.

The mythological basis is explained. (76 pp.) Then the stories of the
four music dramas are given with translations of many passages and some
description of the music. (160 pp.)

BANISTER'S MUSIC

A hand book on musical theory. _7th printing._ 80 cents net.[*]

"One would have to buy half a dozen volumes to acquire the contents
of this one little book."--_N.Y. Times._

JOHNSON'S (Helen K., _ed._) OUR FAMILIAR SONGS AND THOSE WHO MADE THEM

300 standard songs of the English-speaking race, arranged with piano
accompaniment, and preceded by sketches of the writers and histories of
the songs. _12th printing._ $3.00.

[*: Postage 8% additional on net books.]

KREHBIEL'S CHAPTERS OF OPERA

By the musical critic of the _New York Tribune_, author of "Studies
in the Wagnerian Drama," "How to Listen to Music," etc. With over 60
full-page illustrations. Second printing, revised. 435 pp., 8vo.
$3.50 net. By mail, $3.72. (Illustrated circular on application.)

Mr. Krehbiel's most important book. The first seven chapters deal with
the earliest operatic performances in New York. Then follows a brilliant
account of the first quarter-century of the Metropolitan, 1883-1908. He
tells how Abbey's first disastrous Italian season was followed by seven
seasons of German Opera under Leopold Damrosch and Stanton, how this was
temporarily eclipsed by French and Italian, and then returned to dwell
with them in harmony, thanks to Walter Damrosch's brilliant crusade,--
also of the burning of the opera house, the vicissitudes of the American
Opera Company, the coming and passing of Grau and Conried, and finally
the opening of Oscar Hammerstein'