HEROLD B.

LEE LIEURY
BRIGHAM YOUNG UNIVERSITY
PROVO, UTAH
 Digitized by the Internet Archive
in 2012 with funding from
Brigham Young University

http://archive.org/details/schoolofetudesfo01khne
 Y
SCHIRMER'S LIBRARY Y
Y
OF MUSICAL CLASSICS Y
y
Y
Vol. 481 Y
Y
Y
Y

KHNER Y
Y
Y
Y
y
y
y
y
School of Etudes y
t
a
For the Pianist a
A
Book I
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(Lower Elementary Grade)
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75 cents

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Vol. /
SCHIRMER'S LIBRARY
OF MUSICAL CLASSICS

CONRAD KHNER
School of Etudes
For the Pianist
A Selection of

Standard Etudes in All Styles

Progressively Arranged

Translations by

DR. THEODORE BAKER

Book I (Lower Elementary Grade) Library Vol. 481

Book II (Higher Elementary Grade) Library Vol. 482

Book III (Lower Medium Grade, Section I) Library Vol. 483

G. SCHIRME R, INC
New York
Copyright, 1898, by G. Schirmer, Inc.

Maud In th* U. S. A.

E.G. COUNCIL
"The Music Man"
MUSIC TEACHERS
SUPPLIES
1009 ELM ST. BALLAS, TEXAS
 HAROLD B. LEE LIBRARY
BRIGHAM YOUNG UNIVERSITY
PROVO, UTAH
 PREFACE.
The
question was recently raised and less. Selection is, consequently, of great
discussed in a musical periodical, whether importance.
the study of "Etudes" is, on the whole, As the real study of carefully selected
necessary and useful for the art of Piano- etudes is so decidedly beneficial, and as
forte-playing; or whether it would not the playing of etudes totally unfit for the
be better wholly to dispense with them, purpose, or the practise of exercises in
using purely mechanical finger-exercises general without plan or aim meets with
in their place. After many pros and so little success, I have been moved to
cons, a wiseacre finally advanced the compile a collection of standard etudes
idea that, in his opinion, the question of real value and utility to the art of
should not read: "Are etudes useful?" pianoforte-playing.
but rather: "Which etudes are useful?" The "School of Etudes" will, I be-
And he hit the nail on the head; for lieve, fulfil the highest reasonable expec-
the question, whether etudes are neces- tations concerning a work of this kind.
sary or not, is instantly answered in the The Six Books included in the present
affirmative by every teacher of skill and edition not only cover the technics of
experience. piano-playing up to and including the
After all, it was not entirely unprofit- Higher Medium Grade (forming an ex-
able that this question was raised and cellent preparation for Cramer's "84
earnestly discussed; for this discussion Studies"), but these technics are repre-
has, at least, pointed out where thought- sented exclusively by such model etudes
less practising, and aimless groping as are well adapted to raise both the
about in the province of etudes lead to, intellectual and the technical standard of
namely, either to no result, or to the the player. And herein lies the kernel of
injurious influence, by people who have the entire study of etudes that success
derived no profit from certain etudes, can be obtained only when the intellectual
that the entire literature of etudes is use- goes hand in hand with the technical.

13891-6
 DIRECTIONS FOR THE PRACTICE OF ETUDES.

do not claim
In the following directions I tion of the piece, especially with pupils of
to advance from those
different principles limited capacity. One should, however, at
already established by the most prominent thisvery stage, be unrelentingly severe with
pedagogues. Yet, in accordance with the regard to "correct" execution. When
maxim that "the good and right cannot be the "correct" has already become so well
repeated too often in order to defeat the grounded as to be a matter of course, the
contrary," I will give some directions which student may then apply himself to the spe-
willprove useful to many. cifically musical contents of the composition
(1) Before an etude can be played as a with all the more minuteness, ease, and
piece of music, so to speak, each hand must success. "First the form, then the con-
be able to execute its part alone without tents."
technical mistakes; and, as a preparation, (6) One should not advance too quickly.
the separate technical figures must have After the study of about six etudes, a brief
been analyzed and practised as "finger- halt should be made, in order to confirm
exercises," according to their difficulty. the standpoint by the repetition of certain
This is by no means a loss of time, but etudes. Herein lies greater advancement
is, rather, the surest and swiftest way of than in the incessant chase after new studies.
attaining the object. (7) Practice of the finger-staccato is the
(2) The tempo during practice must al- most excellent means of giving elasticity to
ways be, comparatively speaking, moderate. the touch, and that pearly coloring to the
If the etude has been found not too
itself passages which can never be acquired
difficult from the standpoint of the pupil, through /ega/o-exercises alone. It is, there-
and he yet makes mistakes while giving fore, recommended that most of the legato
strict attention, then the tempo is too fast, etudes be also taken staccato from the
in spite of all favorite excuses; hence is finger-joint, after having been previously
deduced the necessity of practised legato. However, the practice of
(3) Faultless practice. staccato presupposes a well-grounded tech-
(4) Of great importance for the playing and, on this account, it is not of so
nic,
in general is rhythmical practice. Even a much use in the elementary stages as in the
slight exaggeration in this direction is pref- medium and higher grades.
erable to the contrary, because such exag- (8) The use of the pedals study of
in the
geration usually wears very
itself off fast, etudes, is, in general, to be regarded as
whereas monotony of rhythm does not
mischievous excepting, of course, those
change so easily to the opposite. etudes in which the use of the pedal is
(5) In the Elementary Stage one expressly indicated, and its application
should not begin too early to require too intended.
high a standard for the musical interpreta- Conrad Khner.

1389 1-6


Untere Elementarstufe. Lower Elementary Grade.

Allegretto. CONRAD KUHNER.

4

ii jt? legato

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Allegretto. CONRAD KUHNER.

P^ .? 3 3

2:>
mf legato

~0
3 4

3 3 3 3
2Z
1

#
I1 -6^

*) Ruhige Hand, lose Fingergelenke! Erst wenn *) Quiet hand, loose finger- joints! Only when both these
Beides vollkommen erreicht ist, kann die Begleitungs-Va have been acquired, may the alternative accompaniment be
riante statt der Originalbegleitung gebt werden. practised instead of the original one.

13891 X Printed in the U. S.A.

 Allegro
C. CZERXY.
legato

Allegro. C. CZERNY.

K
jfew iT
# i i

w/
s =( # # a #

legato

m
s
3 1
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^^
Allegro. C. CZERNY.

m r r r r
1
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^^
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 Allegro C. CZERNY.

k
t t r
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3 ^m
Allegro moderato
C. CZERNY.

Allegro C. CZERNY.

13891
 Allegro.
[EINR. WOHLFAHRT.
ii i 3 a l a *-H8 1 ft-
ft

10.

* 1 3gj 3
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IS I
Lebhaft. EDM. PARLOW.
Animato.

11.
is 7 7 =1 *
^i s 7 7 =1 ^^
's

sewpre legato
legato
s 4i a

*) Die Sechzehntel -Figuren sind lose aus den Pingergelenken *) The sixteenth -notes are to be played with loose fin-
und mit durchaus ruhiger Hand zu spielen; nicht die ge- ger-joints and perfectly quiet hands. The latter must not
ringste Drehung der letzteren darf stattfinden. be turned in the least.

13891


i i m s

m ^=^
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sempre f
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legato

13891
 C. CZERXY.
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13891
 Allegro moderato H. WOHLFAHRT.
8

fk
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ffif ^m 0
m M dim.

t ^^
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8.

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13891
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8
Moderato. C. CZERNY.

-3-

? :

r p
16. a V leer a to cresc. dim.

5 4 3

Allegretto. F. le I

*) 5

j!ii^:j- p
y r
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83
i\ #
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j/?^6 cresc. i>

PP ^^f
k *
> H * * *

*) Bei der rollenden" Figur dieser Etde ist besonders *) With the "rolling" figures of this study special care
darauf zu aehten, dass die Finger mit gleichmssiger must be taken that the fingers play with equal force
Strke und Deutlichkeit ansehlagen. and distinctness.
13891
im
5,

ores'c.

+=+&
I ^r
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m
I 3 5 j
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Allegro comodo C. CZERNY.

fe^j i>
LUX-LI

pi 77"
4

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13891

10
Andante. Le COUPPEY.

^
F.
*) -=- 4 a

* h< J a i ^ " S xs:

dolce.
19
*>lh rfrf i i -

sempre legato.

-
i 1

Ii i i
^
eresc.

rgf
I * i =
i.
i *2I

4
te
^e-
3
Q-.

4 a 4
g
ri $ m mz m
2

xs:
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Allegro. 5 MORITZ VOGEL.

5 1
1 4 3
1 5
14 3
1
1 4 5 5
-14- -14-

I
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p legato j0<? # j6? eresc.

pF^E i=FU '* i f^^E

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dimin.
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f*-F
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4
3 3 3
1
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3
*
i

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t U
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<7.

*) Die Pausen sind hier mit besonderer Genauigkeit *) The rests in this piece are to be most exactly
zu beachten. observed.

13891
 > r

11
Walz er -Tempo.
Tempo di False. H. WOHLFAHRT.

21.

*^

4 3 3
5 4

ffh^f
5H* 5 5

p ^r =^
-p-
5

p f
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4
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22.
m Allegretto.

V
4

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5
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H.WOHLFAHRT.

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13891
 1 _

12

Allegro moderato. F. LE COUPPEY.

Moderato F. LE COUPPEY.
11 4 ~-~"
1

m 3-0-2
legato

\Jl^
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f rr
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nf

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f f rffn
* 3 -0- 2-0- 3*
5 5 5 semp 7V legato

*) Bei dieser Etde sei auf ein sorgfltiges ben mit der *) In this study the left hand must practise carefully a-
linken Hand allein ganz besonders hingewiesen. Keinerlei lone. No undue motion of the left hand is permissible;
Unruhe der linken Hand ist zulssig; nur die Fingerms- the* fin g-er - join t s only must be loose and free.
sen sieh lose und frei in ihren Gelenken bewegen.
13N91
 ' "

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13891
14
Allegretto.
H. LEMOINE.

m SB SP g j

25.

m
P
t
I i 1 I
ere sc.

t
I 4
I y
Fine.

i
%
W\ i m ? P A
2

3 *
j>
i k

i E
gj
^~
j^ fTi^ ri
P ?
i 1

wi W: k
^ k i, i.

es
1
tw m E
* -pVi s*

P
P
1>
A
en \ er esc.
/
tt
-
i
B.C. sin a I Fine.

Moderate H. LEMOINE
3 --T~ <^_
%

26. i P

m T"
legato
3==?
* 3
~m
4
i^ 2
g- ^ fr -9-
5
^ ^SfS
*) Fr die 32^1 Figur dieser Etde gilt dasselbe, was bei E- *) The remark on Study N9 17 applies to the groups of 32d-
tde Nr. 17 gesagt ist. notes here.
13891
 15

a 5 .
3

4
*E ii 45 #=
i

jSL-
9^ :2j -9- 121
ffi
i j I 1
5

rallent.

g1 4
3 8 3
i
i PI
V
P P i p S
eresc.
J
i

hi tu iii tu ili b
r>
m -m=m
3-^4 i tf Pi
# tempo
au
1 4

i
li
* T ' 3 4 f 2 *? 2 * Tit* 'I 1
legato

41'

j i 1 -Pt^-
s s it
i i I II
3:
i
1>

'S-5-

!4
^g s l
5
i P at i
13891
16

MORITZ VOGEL.

M V*4* 4
p-p-y
S .
tfr r r r ^r r
i ^^ 1>
S

i=
=t^
2
4
^^ -3-
5
i f ~g
tit
ff
legato

^
4 3
2

i
er esc.
&
2

i
P i

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sps 1^5 #- iL
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t
4 k
m
dimin.
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4-

m S 1
2
4
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4

i *** _ ffdi -
10 iS im r r r ii

^
^^"^ ^^
4
-2
4
^
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5
^3
13891


17

H. BERTINI.

Allegretto.

.
t :_
4 1 .,

S^
3

g - *-
*

oresc. -
i
*

i V* A** If
P ^^ J ^-^ -y
i J ^^ I y y 9=^=r :

P ? P 3
4
2
3
5

i :2z2:
l

^^ ^^ F^
E g
^^ t I ^y-^y- x
3=

V :

y J
P i^
s g f
s?^
4
P3 a
7

^^ 4

^^
5
fe k * 1
^-^- at - 5= PFT
cresc.
dimin.

4v r- icp
/ m
16 i
4
/?. # al Fine.
13891
 * ^

18

Allegretto. F. Le COUPPEY.
3^

m 3_ . 3

up
3 r-^-
^
31
K=^ W=l
-0-

29. p

s 5 3
g

i ^r
izf a=j

/fe
7=1
P_
5 3 e %=*t
s5
1

p
^1
5 3
j
/Vw*.

i 1 7 b>T> jz:
^
V
m
il
'
l

U w
er esc.
^ *=z A
m^
& t
2 2
7^"

pp ^ 21
7 3=^7 s

dimin.

3
5 3
^ Zl
5
4-
3
r\
i
5 3 5 2' 5 3

*=
2>
3
2 I

i

z:
I

P
Xf
5 3
=
?3i" 7 nr^- :
3
E cl
ere sc.

?

s ^ ^3 2
4 2 5 3

m -y^

M
/
3C
NT

r-f i

sempre ere sc

I i
r*
2
^
5 3
2
5 3 DC.
*) Einhndiges ben markirtem Zhlen
bei lautem, *) Practise with each hand alone, with emphatic counting
und genaueste Beachtung der Pausen sind bei dieser E- aloud, and the strictest observance of the rests, is of es-
tde von besonderer Wichtigkeit. pecial importance in this study.

18891
 I

19

30.
M
i i
Allegretto^

!=
A

i>
I

e
i e
5
H. LEMOINE

r r

i
I
^ PF^
^m
^4 i

i S -

i s
i
I
r r r =:
T
^

I
*
I 5
/
4

I
1. i i 3

F^
^
1 I
i E
6* I*
a

f * * '

Pi ^^^

iI I

r
iS=fc

T

y

r
^
Fine.

*
i
m
p
7
A

s ^
gj
A
*
7
A ri%

\fi
g^a
jg
i^
M
m 2 .

$
I ^3
: y >'
i I
g= S

/?. ". V / /V#tf.

13891
 ^ J
20
MORITZ VOGEL.
Allegretto.
q g 4 3 B 1 3 4 3 5
A 1 3 4 3
J5

13 2 4 3 6
1
IJJJjJ 1 -^tp-j^ p *

31 P? *""

i):
2 i>
It
4
r
<-
1
X
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i
J
i
L
f
" .
\%
^
\
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I
l
v.

M.
5

3
2
4 3
a 4 3 5
3 4 3 5
4 3 5
i *_*_, -

i i EL

v bJ
:

8 t
/
L P
GL
E

5
2*3
i
1 3 4
3

2_
5

as
3 9 * 3
3

/
* B 4

zSi:

/
2

*>
W t t p^p^ fe
--

u 3 4 g 3

13S91
 j 21

H.LEMOINE.
___&

i it r H
i
f^i r f f\ .

i
tef
S 8 ^ 3- s

/
^
A
s

i S =1
?=f 8#
>~.-^_

4 &
tei
m-^
- 3

i n^i?: 5
iz3:
tin ran cresc ._
5

/
7~ Tl"]r * ^$ 2^; ^pJEEfe^
T
3
1
2
^S Fine.

5
3

&8s
\l 6.
-* f= g -1*
J / e i
e 1
1 M ig M -lyi
" 7 f j
e
/// *-

9 /-T
s

rTr
5
Tp c P f P r #it l^Tf 'rrEr LCJJ-UrLj
Tffffr / 7 *-^U

I g=f~T^TT ^^
^
2
cresc
f

.
):
g g pnt
=5:

Sg=

#^#
a. 3

I S^t I SB s
i

5^ ^
k

-s-
i s :^^
<#/w. _ teft. _

Sfe
1 i
D.C.sitC al Fine.

13891
22

A.KRAUSE.
Allegro.

4 5
5 2 5 2 2
3. 1 3 3
rs:
w 9-6
JL_

I p
re
5:
g
i
I eg' a to

4 3 5 2 5 4
1 1 2 2
3 1 3

9-6
~o
fc
za 1
1.

M w

N3 Keine Drehung der Hand. N3 No turning: of the hand!

I3N9I
 23
4

e
5 5
1 2 3 1
I

g
*
I
/ 2>

m i

im s 7 if --m--

2>

g -#
3?:
-fi>-

3
5

Pi
^:
^
3S 121
^ ^2=
f^
13891
 f

24
Allegretto. H.LEMOINE.
a /
^i " * 3 3 *^

34 J J) i)
k i
4V
ji;

S 5

V 2 *

mm m
* > 3
i it
z3bd
P= s

J) j-- J) /
3 i s-y-
b
? r i

4 Fine.

t 5-+- P=^z= z
f
J S 5 ^
f
t 5
m-
2>

iJt hd *

M * *
i=

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2
H =? :2=t Se

** /
SE ^^
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13891
 1 ^

25

Allegretto. F. Le COUPPEY.

35.
I
43

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legato.
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B 2 1 2

cresc.
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sempre legato
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18691
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26
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4 5 A. KRAUSE.
M
W
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37.

*) Die
zm tU i
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5 4

Terzenpaare mssen genau zusammen er-

*$*
i m *)The
m* **

must sound exactly together,

pairs, of thirds
gfe
klingen, ohne geringste Brechung. Terzen drfen ja nicht without the least break. Thirds should not be prac-
zu frh gebt werden; zie setzen eine verhltnissmssig tised too early, as they require a (comparatively speak-
gut entwickelte Selbstndigkeit der einzelnen Pinger ing,) well -developed independence of the individual
voraus. fingers.

13891

27

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Moderato. USO SEIFERT.

5

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legato

legato

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13891
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28
THEODOR KIRCHNER

39

$
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l-
w
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4*A
er esc.
f
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4 !
i
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s
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if ? 2z=>
p 7
^
i
te gg r^ ; i e*

^
?

*
? *
P#
f /'tft ^ ;
ur
^

hk

P s i i
sp im*
iti
5=
3 1

*) Das Ablsen der beiden Hnde ist genau zu beachten. *) The alternation of the two hands must be perfectly exact.

13891
 #

29

40.
I
FpFf
i
Risoluto.

E
poco
i

3
m^im
/
9 f

S3
^ THEODOR KIRCHNER.

&

e P.P,
5^ )7
=*3=fl

4

j j

r
m
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j
fe j
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non legato

j j

3:
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j
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3
5

fe
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r~T
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2

1= = = -
a
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I j

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tfj j-*
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3^* *ii
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t
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Fi^ i

4 &

I 1
3 =

*-
rrfc
m P^ "P^f
ir
i

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,

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=35=i==3
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p^
13891
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w w 3 5 I
1
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 1
30
THEODOR KIRCHNER,
Allegro

te ^jgrw
m # ^
41 /
%m -*-

2 3 4 f

sz
g=^
\>

'*^JJ dimin. F P
f
5

p
r ^v^ ^m Li
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P

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7. L J J 7
r?
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* f 1 for nt

IT,
? B

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gjjj y p 7 g i i
p
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P 1 f tJ i t
G-.

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II S s
^
dimin.
/

tffffgj i *

9:
7^7
* t t P 5 | ? P i P 7 P

f \4
h
t4 1
g: ^
^2
i
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m p ?
p
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13891
 31

Poco Allegro. THEODOR KIRCHNER.

i

5 3 3
5

^
>

^
3 1
# (

|i Y lip
^
*'
s
Siehe die
^

Anmerkung
>>!
/
fe
bei Etde Nr. 39.
4
igS
5

I
*)
S^ /
3 2

See the remark on Study N9 39.

1
J ? j j y

I3HM
^vvvv^^^^v^*-v^^^
Sch irmer's Library
of Musi cal Classics
PIANO METHODS, STUDIES, AND EXERCISES
SERIBS TWO
The Library Volume Number is given in brackets: (651]

DRING, C. H. HERZ, H.
Op. 24. Exercises and Studies in Staccato Octave-Play- Scales and Exercises (Vogrich) (170]; sp. e. (1083]. .75
y ing [651] 75

Y Op. 25. 8 Octave Studies [1035] 75 JENSEN, A.

Op. 32. 25 Etudes.
y DUVERNOY, J. B. Bk. I (763); Bk. II [764]; Bk. Ill (765] .ea. .50
Op. 120. The School of Mechanism. 15 Studies pre-
y paratory to Czerny's "School of Velocity" (Klauser). KESSLER, J. C.
Complete (316) 75
Op. 15 Selected Studies (Deis) [1416]
y Thesame. Bk. I 11292]. 50
20. 1.50

Op., 176. Ecole Prlmaire. 25 Elementary Studies [50]. . . .60 KHLER, L.

Op. 50. First Studies (Klauser) (317] 60
y GERMER, H.
Op. 60. 20 Studies in Continuous Scale- and Chord-
Rhythmical Problems (1279] 1.00
Passages [543] .60

GURLITT, C. Op. 85. 12 Studies in Easy Passage-Playing [540] 75

v Op. 50. 24 Easy Melodious Studies [798J 75 Op. 112. Special Studies (Deis), sp. e. [1454] 1.50

24 Melodious Studies of Medium Difficulty Op. 120. TechnicalVirtuosity Studies (Deis). sp.e.[1463] 1.50
y Op. 51.
(801] .75 Op. 151. 12 Easiest Studies [318] 60
Op. 82. The First Steps of the Young Pianist.
y Bk. I (534]; Bk. II [535] ea. .75
Op. 157. 12 Easy Studies (Klauser) [425] 60
Op. 163. 16 Elementary Studies [196] 60
y Op. 83. The Easiest Studies in Velocity [536] 75
Op. 190. The Very Easiest Studies [480] 60
Op. 85. 24 Studies on Scales and Arpeggios [807] 75
Op. 218. 40 Children's Exercises and Melodies [490] ... .60
Op. 100. 24 Octave-Studies [539] 1.00
"Op. 242. Short School of Velocity without Octaves (321] .60
Op. 107. Buds arid Blossoms. 12 Melodious Studies [3231 .75 Op. 249. Metodo Practice sp. e. Bk. I [1082] 50
Op. 117. The First Lessons [324] 50
Op. 300. Practical Method (Oesterle). Bk. I [935];
Op. 130. 35 Easy Studies without Octaves [339] 1.00 Bk. II [936] ...ea. 1.00
Op. 131 24 Melodious and Progressive Studies [206] ... 1 .00
.

Op. 141. School of Velocity. 24 Short Studies for KRAUSE, A.

Beginners [326] 75 Op. 2. 10 Trill-Studies [553] .75

HABERBIER, E. KHNER, C.
i Op. 53, 59. Etudes-Poesies (Ruthardt) (191]. 1.00
School of Etudes. Bk. I: Lower Elementary Grade [481];
Bk. II: Higher Elementary Grade [482]; Bk. Ill: Lower
HANDROCK, J. Medium Grade [483] ea. .75
Mechanical Studies [299] 2.00

HANON, KULLAK, T.
A C. L.
The Virtuoso Pianist in 60 Exercises. Complete [925]. . 1.75
Op. 48. The School of Octave-Playing. Bk. I: Pre-
liminary School [475]; Bk. II: 7 Octave-Studies [476]. .ea. 1.00
A Thesame. Bk. I [1071] 60

A Thesame. Bk. II [1072]; Bk. Ill [1073] ea. .75 KUNZ, K. M.

The same. sp. Complete [1081] 1.50 Op. 14. 200 Short Two-Part Canons. For the Be-
ginner [939] 1.00
HELLER, S.
Op. 16. The Art of Phrasing. 26 Melodious Studies. LE CARPENTIER, A.
'
Bk. I [179]; Bk. II [180] ea. 1.00
A Piano Method for Children, sp. e. [1133] 1.50
Op. 45. 25 Melodious Studies. Complete [176] 1.00
Thesame. Bk. I (1117] 60 LE COUPPEY, F.
Op. 46. 30 Progressive Studies. Complete [177]..... 1.00 Op. 17. The Alphabet. 25 Very Easy Studies (Scharfen-
Thesame. Bk. I [1120] 60 berg) [430] 75
Op. 47. 25 Studies for Rhythm and Expression. Com- Op. 20. L'Agilite. 25 Progressive Studies for Mechanism
plete [178] 1.C0 and Light Touch [67] 75
Thesame. Bk. I [1123] 60 Op. 26. 15 Preparatory Studies to Czerny's "School
Op. 81. 24 Preludes [130] 75 of Velocity" [69] 1.00
Op. 119. 32 Preludes (Oesterle)[748] 1 .00
Op. 125. 24 Studies for Rhythm and Expression (Schar- LEMOINE, H.
fenberg) [766] 1.25 Op. 37. Etudes Enfan tines (Scharfenberg) [175] 75
50 Selected Studies. From Op. 45, 46, 47 (Oesterle) [24] . . 1.25
i LISZT, F.
HENSELT, A. 6 Grand Etudes after N. Paganini (Gallico) [835] 1.25
A Op. 2. 12 Characteristic Concert Studies (Jonas) [44] . 1.25 12 Etudes d'execution transcendante (Gallico) [788] 2.00

Any Schirtner Library volume may be obtained in cloth binding. Prices will be quoted on request.

t G. SCHIRMER, INC. NEW YORK

Y A-1008

DdlON COPYRIGHT,
VVV^^^^^^y^^^^^^^^LSi
lilt, BY G. SCHIRMER INC
3 1197 00344 637