rately or by the club together in a
sort of preliminary rehearsal by a competent person, who will both play
the works in fragments and comment upon their peculiarities. As an
illustration of a program arranged on the plan last mentioned, the
following is presented:

1. Bach, Prelude and Fugue in C-sharp major, Clavier No. 3. Chopin,
Fantasia Impromptu in C-sharp minor, Valse in A-flat, opus 42.

2. Beethoven, "Sonata Appassionata," opus 57.

3. Grieg, "Butterflies." Wm. Mason, "Reverie Poetique," "The Silver
Spring."

4. Schumann, "Traumes Wirren," "End of the Song," opus 12. Liszt,
Second Hungarian Rhapsody.

This could be played in two numbers, pausing after the sonata; or,
better, in four, pausing after the Chopin valse, the sonata, and the
Mason "Silver Spring." Each number is pleasing by itself.

A certain amount of care has been taken in the easy program to
illustrate different phases of all the writers; accordingly, the Bach
illustration begins with the Prelude and Fugue in D major, which is a
very pleasing one, followed by the short Saraband in E minor, and this
again by the Loure in G major. The saraband is of a very serious and
melodious turn, and is about as near a sustained lyric melody as Bach
ever got upon the piano. In writing for the violin he reaches a higher
flight in several cases.

In the most difficult program of all, we open with the Bach-Liszt
Fantasia and Fugue in G minor, which, having originally been composed
for the organ with a difficult pedal part, becomes very much more
difficult when put upon the piano for two hands alone. This is a very
remarkable work indeed, the fantasia being full of chromatic changes
and very expressive and thoroughly modern modulations and sequences.
It is almost as modern a work as the "Chromatic Fantasia." The fugue
is remarkable for having a very long subject, which is almost a gavotte
in its rhythm; and the splendid subject is developed with charming
freedom. It is one of the greatest favorites of all the Bach fugues,
and when arranged for orchestra--as has been done by Abert--it is one
of the most pleasing numbers in the entire orchestral repertory, never
failing of delighting an audience. The Beethoven sonata in this
program (opus 111, in C minor) is the last one which that great master
wrote. Opinions of artists differ in regard to this sonata; some, like
the present writer, holding it to be, on the whole, the most expre