THE SPORTIISra LIFE. cv.

THE STAGE.PIANO MUSIC.

Carious and Interesting Facts About the Development of Piano Music and Piano Literature.Franz Ruminel, the famous pianist, who is

pending the winter in New York City, to the benefit of art and the delectation of art lovers, has a plan to give seven historical re­ citals of pianoforte music, «aya the New York Times. He has been discouraged by the gloomy forebodings of those who say that a damper would be put on the..whole series by the dismal character of the first pro­ gramme, which would necessarily include mnch antique music written under the. dom­ inance of the old church tones. It is to be hoped, however, that Mr. Hummel will not abandon his plan. The study of the develop­ ment of piano music is extremely interesting, and there is none too much material at hand. It seetus curious that the best work ou the subject, Weitzmann's "Geschichte dcs Cla- vierspicls und der Clavierliteratur," is not translated. It is the only work extant which gives a satisfactory account of the beginnings of pi:mo music. Except where otherwise stated the following facts are from his work:

In the early part of the fifteenth century flourished (lie celebrated organists of the Church of San Marco at Venice, and thither went great numbers of students and famous musicians from all parts of Europe. As far back as 1364 we find that Francesco Landini, a blind poet and organist, was in high repute. But the first great light of this Venetian school was Adrian Willaert, born in 1480 at Bruges. Itappears, according to Weitzmann, that he did not escape the fate of modern pianists. He had to teach young ladies who wished to learn the fashionable instrument of the time, the monoehord. In 1529, Elena, daughter of the poet Pietro Bimbo, wrote to her father for permission to learn to play. His reply is happily preserved. He says:

"As regards your request to be. permitted to learn to play the monoohord, I reply that be­ cause of your tender. age it is iiniossible for you to know that such playing is fit only fur vain and frivolous women. I, however, desire that you shall be the most amiable and tho purest girl on earth. Moreover, it would give you little pleasure or fame to play ill, but in order to play well you would have to spend from ten to twelve years in practice, without having time for anything else. Now, consider whether this would bo worth while. If your young friends desire you to learn to play in order to give them pleasure, say that you do not wish to make yourself ridiculous before them, and bo content with your scientific studies and your fancy work."

To Willaert is due the first movement of music toward freedom from the old ecclesias­ tical modes, and his pupil, Cypranio di Itore, went far forward in the study of chromatic linisie, publishing in 15-14 his "Chromatio

. Madrigals." Willaert 's fniitasiar- and riccr- cari are for the most part founded on original themes. In his strictly contrapuntal music, however, he follows the custom of his prede­ cessors and uses the canti fermi of the church. In his treatment he employs the dominant, sub-dominant and octave, and makes much use of imitation. Willacrt'a successors, pre­ viously mentioned, all followed his free style. and to their united labors we owe the gradual liberation of instrumental music from the vocal-ecclesiastical style. The first instru­ mental form to be clearly established was the toccata, which, with ils quick passages, was designed for the speedily-vanishing tones of the clavichord. The first of these compositions to be printed were those of ClaudioHIcrulo, a Venetian organist, published at Rmne in 1598, under the title of "Tocf.ate d'lntavolature d'Orgauo." Tlie title, of course, implies that they were designed especially for the organ. At that time there was m> distinct clavichord Ityle, however, and compositions for the or-

' gan and piano of the period were pretty much

Left baixi

timi between th\s good contrast between tTietions and the passage work.

tfl mark the thumb 1, the index finger 2, <tc. Majers' rules for fingering are as follows:

(2'Jfl aaceadtn* f Index and thumb, j 2<1a de>ceudlijg uh | middle aod ring, j 3ds «uil llln . ,, J, ring »nr) Index. I 6thsauil6ih« I ring and thumb. [Tttig anil 8tha [lltileand thumb. f 2ds a^ceodtnO ' f mirtdla ftcd rinfr.

2>li ileiwn<iin< ,. I middle and index. 3d«.nd4tbs w ' tb .{ ring and InoVx. "itha anil 6tha j Index atd little. 7tb« aud 8iha (littie and taumb.

A little experimenting will show you how different these rules are from those of those of to-day. The first rational rules are those published by Emmanuel liach, at Berlin, in 1753; but the great Sebastian Bach's fingering was not bound by such absurd laws as those of Mfljers'.

It is worth while to go back a little in order to study the development of the harpsichord style in Rome, where we first meet with the works of Girolamo Frescobaldi (1591-1640). He was a great organist, and in all his com­ positions we find ftigal writing, but his ricer- cari show development of a fixed subject, while his canzoni contain bits of choral-like melody. The principal melody of the can- zona is always recognizable. Again, his capriccii differ materially from those of his predecessors. Tlie capriccio before his time consisted of a movement in common time, in which different themes were developed, fol­ lowed by a second movement in triple time, shorter and in the dance style. A new move­ ment of fugal character acted as coda to the ?ntire composition. The capriccii of Fresco- bald! are always based on a peculiar prelude, containing some striking suggestions, and here the composer especially distinguishes himself by the wealth of his inventive power and by <his treatment.

In his "Capriccio di Durezze" are exam-

? les of intentional harshness of harmony, n his "Cnpriccio Chromatico con Ligaturi al

Contrario" there are passages of chromatic nature with ascending resolutions, a piece of daring new at that time. His contemporaries always used the church scales; but he made attempts toward approaching our present keys by use of the leading tone. He was also the first who tried to write music that could- he easily read. He published in 1S15 at Rome "Toccate e partite d'intabulatura di cembalo." In this the notes for the right hand were written on six, and those for^ the left on eight lines.

Hernardo Pasqiiini, born 1637, died 1710, was one of the great Jights of the Roman school in the latter half of the seventeenth century. In the few of his compositions which "have been printed there is shown a tendency to leave the former strict style iind to adopt a manner clearer than that of Fres­ cobaldi. His toccatas are no longer contra- puntally written for fonr voices. We occa­ sionally find arpeggios in the full chord, and sometime an attempt to disguise and prolong the short tones of the clavichord by a sus­ tained trill. He writes flowing passages for both hands, an.l in his fugues, which are formed strictly according to rule; we find in the second part some of the livelier passages of the first introduced for the purpose ot bringing the composition to an end.

This brings us to that point in the growth of the Italian school from which the develop­ ment of the classical forms of piano music are distinctly traceable. We have Been .that the tendency of the school has been, first, to escape from the fetters of the ecclesiastical modes and to acquire the wealth of chro­ matics; second, to throw of}" the shackles of contrapuntal rules and compose with freedom of style; third, to abandon writing for four voices and to compose a melody with sub­ ordinate, yet independent accompaniment; fourth, to employ contrasted movements, and fil'th to establish the difference between the technique of the organ and that of the clavichord and harpsichord. The man who completely established the tendencies of the Italian school and fully achieved what his predecessors had attempted was Domenico Scarlatti (lb'83-1757).

Attempts had been made previous to his day to establish equal temperament, render­ ing it possible in play in all the modern keys. This end w:is attained by Scarlatti's contem­ poraries, Bach and Rameau. At the same time the influence of the Neapolitan school of opera composers, founded by Alessandro Scarlatti, father of Domenico, was the ruling power in Italian music, anil the chief merit "- this school was the fluency of

Dr..

PhillipBpitta, in his great "Life of Bach," says that Mcruio found in the toccata "a kind of com­ position in which he endeavored to give full play to the wealth of tone possessed by the organ by alternating combinations of bril­ liant running passages with sostenuto se­ quences of harmonies." The canxona and sonata (of that period) were developed by Aiulrea and Uiovanni Gabrielli. In their works the melody became more important. In Giovanni's canzone we meet with interest­ ing forms, with essentially melodic subjects always forming their foundations, and with subject and counter-subject regularly alternat­ ing. The fugue, which has become so import­ ant a study, was originally an imitation of the voices in vocal music. Zarlino christened it canon, because it followed a canon, or fixed law. The entrance into music of the folk Hong at the time of the Renaissance, caused a richer development of these old studies. The

_ instrumental writers began to take up the dance forms of the people and to write cour- antes, chaconnes, galliards, etc. These com­ positions were received with favor. Subse­ quently the giga was added, and a set of these dances was called a suite or partita.

At first instrumental music wns simply a doubling of voiue parts for the purposes of accompaniment. Then compositions were written to be played or sung. Consequently we find that in 154" came the first publica­ tion, that of Jacob Buns' "Riccrcari da can- tare e sonarc." Two years later Willaert's fantasies for three voices (vocal or instru­ mental) were printed, and in 1551 was issued the "Intabulatura nova di vari^sorte di balli da sonare per Arpichordo, Clavicembalo, Spi- netti e Manachordi," by various authors. The upper voice of the dances in this collec­ tion is supported by a simple harmony in chords. In later works the accompaniment is worked out in a much more^interesting manner. These dances, too; were written in the church modes, and have a very dry and ecclesiastical air about them, as if they be- lontced to some ancient religious ritual, which, indeed, all dances originally did.

It was in Venice that the first systematic orgiin and piano method appeared. It was written by Girohxmo di Kutu and was called ' Prima parte del Transilvano <!ia!ogo sopra il vero m«ro di sonar' organo ed instrument! da penna" (1593). The second part appeared in Iti09. "Transilvano" refers to the prince to whom it was dedicated. Di Ruta's work tenches the keyboard, shows the position of the hand and use of the fingers, explains the score and illustrates the necessity of bis rules by toccatas, original and selected. In the second part he tells how to write a song, gives suggestions for improvising, with ex­ amples, treats of the church tones und the accompaniment of chorals, and gives some suggestions about singing. Weilzmanti, how­ ever, gets a good deal better information about fingering as it existed at that time and for n century Inter from a book which was pub­ lished at Bologna in 185i!, and reached its fifth edition ut Antwerp in 16UO. It was writ­ ten by Lorrnzn Penna, organist, and its title is "Li Prinii Albori Musical!." lu it he lays dnwn the following rules:

In ascending, the fingers of the right hand move one after another first the middle, then the ring finser, again the middle, and so on in alternation." Care must be taken that the fingers do not strike against one another. In descending the middle, followed by the index finger, is used. The left hand simply reverses this process. The rule for the position of the hands is that they should never lie lower thmi the fingers, but shall be held high, with tlm fingers stretched out. In the following century, which brings us into the days of Handel and Bach, the fingering is more ra­ tional. There is an old work by J. F. B. Caspar Majera, published at Nuremberg in 1741, and quoted approvingly by Matbeson. He gives the names of the white keys as c, d, e, f, g, », and so on through four octaves. He gives the names of the black keys also. In giving his rules for fingering he numbers the thumb 0, the index finger l,the middle finger f, and so to the end. This is notable as being similar to the system employed in this country, where the thumb in marked X and the iud'ex finger 1. In Germany it ia the rule

.. .. { «uijK!"UC""more natural than Domenico's endeavor to transfer this melody to the in­ strument of which he was master, Knd to en­ rich it with all those technical embellishment* in which he was an expert? This, then, is just what Domenico Scarlatti accomplished. Hesettled for all time the dominance of homo phonic music over polyphonic in compositions for the piano.

Lnnghans says pertinently in his "History of Music" that Scarlatti did not realize the significance of the sonata, but commended his compositions of this class to the indulg­ ence of the public, with the remark that "in them not deep design would be found, but the ingenious pleasantry of art. In fact," con tinues Langhans, "he makes more account of technics than intellectual contents; yet his application of the principle ol tripartition, prescriptive for the modern sonata and by a number of effective innovations of a technical kind, such as running passages in thirds and sixths, the quick stroke of one and the same key with different fingers, broken chords in contrary motion fur both hands, etc., he leads us di­ rectly into the modern age." These things were new and original.

We must return to the indefatigable Weits- mann to get a more detailed account of this man's work. The exhaustive German his torian says that Scarlatti's compositions main tain throughout a characteristic principa motive, sustained by a well-elaborated bass The first movement of the real sonata form ii outlined in them.

There are two parts, each of which is re peated. The first contains the exposition o the thematic material of the composition. I begins with the principal theme in the chic key, moves to a related key in the followin: passages and closes with a cadence in the sec ond key. If the first part is in a major key the dominant is used for tho modulatory pas sage by which the second part is reached; i it is in n minor key, then the relative majo or dominant minor is used. The second par then develops the material of the first, an modulates back to the fundamental key, take up the beginning of the composition, or some times a later passage in the exposition re peats the motive of the first part in th origin;:! key, and closes generally with cadence like that of the first part.

An important peculiarity of Scarlatti' form, foreshowing that of much later writers is that frequently in the modulatory portioi of the first part he introduces a new though or second subject, essentially different f'ror: the first. Add to all these novelties in trcal ment the fact that he was original, and eve daring, in his modulations and rhythms, an yon have a general view of the importance o Domenico Scarlatti.

There are three more composers of th Italian school who may as well be mentions here, because they bring us into direct con nertion with our own times. The first <i these is Francesco Durante, (1684-1755). II wrote studies in the free style, consisting o flowing passages and broken chords, some times for two,sometimes for three and ever fonr, voices or parts, following by a sort o divertimento for two voices, in the same key less laboriously worked out.

The second is Domenico Alberti (about 171 to about 1740). His compositions consisted o a long allegro in two parts in the sonata Corn already suggested, followed by another, move ment, sometimes long and sometimes shor in the same key. Alberti did not treat h accompaniment contrapuntably,but invente the well-known Alberti bass. Tliis was muc easier than the older basses, and the abuse o it did much to retard the development of th left hand. "~~

Pietro Domenico Prardies (1710-1702) wrot twelve "Sonate di Clavicembalo." His work are musically and technically fur more val: able than thoso of Alberti. They consist c two movements in the same keyjfiit ditierin in tempo. The first movementjs the longe It is in two parts, the first of which regular] closes in the dominant of the chief key. It i either an allegro followed by a shorter movi ment vivace, or it is an aria. Sometimes h begins with an andante followed by aminu title or a giga. This composer's works wer studied by the celebrated Miuio Clement

'his master taught John Field, one of whose upils was Alexander Villoing, the teacher of

Vnton Rubinstein.It seems impossible that any lover of mu- c can undervalue the importance of a prac- cal knowledge of the works of these old iasters.

CAMPANIN1 HIMSELF AGAIN.

'he Great Tenor Tries Ills Recovered Voice In Public and Scores a New Tri­ umph.Not in many years has there been such a

urprise to musical audiences as that given t the Lenox Lyceum, New York, on the ight of Nov. 23, when Sig. Campanini made is reappearance. The house was crowded. t listened with due interest to the first part f the programme and to the piano playing f Mine. Bloomfield-Zeisler. But it had ome for another purpose; it wanted to know whether it was really true that the once so imous Italian teiior had really recovered ot only the use of his vocal powers, but the cauty of his voice as it was remembered welve years ago.The number selected by Campanini was

le great "Narrative" from tho third act of Vagner's "Lohengrin," an opera in which he ras once the ideal Knight of the Swan, when e sang under the management of Col. Ma- leson, and Etelka Gerstcr was the Elm. And : must be admitted that since Campanini :iere has been no Lohengrin who could be ailed really ideal. Alvary canie nearest to lie ideal but he had not the voice of Cam- anini of years ago.It is a mystery how the change has all

ome about, but the fact has to be recorded hat Campanini seemed to be himself again, lis selection of the Lohengrin "Narrative"

was a very wise one. It is true that it ia itficult of rendition on account of the neces- ityof sustaining the voice at a high pitch 11 the way through, but it does not necessi- ate the accomplishment of the high C. A is lie highest note in the number. But the Narrative" is nevertheless a test number

or tenors, and Campanini stood the test with marvellous success.

He was received with warm welcome, but he audience, though full of subdued antici- ation, was determined to give applause only ' it were due. Campanini bowed pleasantly n response to his welcome and began withnil orchestral accompaniment,

verses showed that the singer'sThe first voice was

was an intimate friend of the late Ole Bull and waa with him at hi* first and la«t appearance n this country. He retired from public pl»y- ng about six years ago.

Agnes Huntington anl her opera company lad a thrilling escape at Westmorland, Vt., while en route to Boston, Nov. 18. The ileeping ear occupied by Mitt Huntington and ler company, among others, jumped the track while the train was going at a rapid rate of speed and was almost completely wrecked. Vliraoalonsly, though, no one on board wa» in­ ured, and after the pasaengers had recovered ;bem!elves they walked to tho station, about a mile distant, and proceeded on their journey, minus some of their baggage.

Mrs. Charles Friedman, an opera singer, was arrested at Pittsburg, Pa., Nov. 16, just as she was boarding an eaatbound train with Mr. Vol- covitch, the baritone of the company with which Mrs. Friedman was recently connected. Mrs. Friedman's husband, a Cleveland tailor, was the instigator of the arrest, alleging that ais wife was about to elope with Mr. Volcovitoh. Mrs. Friedman eays that ehe had no thought of elopin/r, but was going to New York with Mr. Volcovitch to organize an opera company of her own. She attributes her arrest to her husband's ealoasy.

THE DRAMA."THE INSPECTOR."

seautiful. He kept himself well in reserve, is the "Narrative" demands, and with each uccessive stanza his vocal powers came put rue and beautiful, with the artistic phrasing tnown of old and with a truthfulness of ex- ression in tenderness and dramatic intuition hat was delightful. It was a victory of art estored to its pristine beauty that has never

jft been recorded in the history of musical art in New York.

Campanini's rendition of the "Narrative" wns as near a realization of Wagner's dreamt- f ideal as has ever been reached. He not

only sang the "Narrative," but really con- Hided the score until the farewell to i'.'sn, lis voice retaining all its strength and beauty :o the end.

The singer was recalled four or five times with shouts of bravo and applause. He seemed to feel that he was compelled to re 'pond to the enthusiasm, and then, to piano- "orte accompaniment, sang "La Donne's Mobile" from "Rigolctto."

Musical Notes.Madarae Patti has recovered from her recent

attack of bronchitis.Frank Blair and Edith Murilla have left the

Boston Ideal Opera Co.Lillian Russell appeared in concert Sunday

evening at-Boston Muaio Hall.Patti'a religion continues to be a subject of a

5reat deal of interact to everybody except Patti.Herman Leopold, the well known orchestra

leader, died at Cincinnati November 13, of heart disease.

The B.'Ston Ideals are having a tough time of it in the West, 'tis reported, owing to the low state of Col. Foster's finances.

Isabella Urquhart is singing in the Madison Street Theatre in Chicago in a company kuown as the Hglen Leater Opera Company.

The Bostonians are carrying all beTore toem u the AVcstern citief, and "Robin liooa" has >roren the hit of the season thus far.

' The Gypsies," a one act operetta by Basil Elood (the music bv Wilfred Beodall), was orig­ inally sung Oct. 25 at the London Prince of Wales.

L. Maurice, musical director, has resigned Vom the ''Lost in London" Co., and has signed witii Edgar Selden, under Dan'1 Snelby's man­ agement.

The National Conservatory of Music has added to its list of professors that admirable artist, Af me. Camillo Urao, an instructor of vto- in playing.

Mrs. Arthur Nikiseh, wife of the conductor of the Boston Symphony Orchestra, sang for the irst time before an American audience, at Provi­ dence, K. I., Nov. 19.

Henry Pettitt is writing the libretto of a three-act English opera, based on the old-time ballad, "The Bailiff's Daughter of Islington." Kdwari Solomon will set it to musio.

Camillo D'Arville is delighted with her part in the travelling "Poor Jonathan" Co. Miss D'Arville will sing the role intrusted in tins city to Lillian Russell. J. H. Ryley has been engaged for the part of the impresario.

Louise Kellogg will rest for the balance of this season, with her husband, W. E. Rockwell, lit Seattle, Wash. Miss Kellogg refused n good offer for the Chicago spectacle, "The Babes in the Woods."

Tire Marie Tempest "Red Hussar" Company, will close its tour Nov. 29 at Washington, D. C. Miss Tempest will then rest a week or so, after which she will join Duff and Leslie's "Babes in the Woods" Company.

"Dolly," a two-act comic opera by John Ban- nisfer (the music by Kerr Pelzer), was sung for the first time on any stage O^t. 27, at Her Majesty's Theatre, Carlisle, Eog. The libretto is founded on "The Country tti.-l."

The Gilbert Open Co. report prosoerous re­ sults through Ohio. Bert St. John left the com­ pany tempornrily at Toledo, Nov. 18. II. II. Iloward is filling the vacancy. Harry Leonard and Jennie Miller joined Nov. 24 at Ironton.

Mme. de Pacbomnn has written a violin solo for the interesting concerts given in Leed 1 , Eng., by Mr. Ederar Haddock, who will intro­ duce it to public notice on the 25th inst. The work will doubtless attract some attention as that of a gifted artist.

The report that Lour.i Moor* ii to leave F ranvia Wilson's Company ond retire to private life with her husband, Mr. Snyder. is contra­ dicted by Maniger A. H. Canby, who says that she will not leave tlie stage until the close of Mr. Wilson's season, in June cost at least.

Juhn J. Streuii, a musician of excellent repu­ tation, died ut San Francisco, Cal., October 25, at the age of thirty-one years, and his remains B*re interred at the Masonic cemetery. The Musicians' Union attended the funeral in a body. Mr. Streuii wus taken ill about throe months ajo, while playing at Tacema.

"There is much to bo said." observes a con­ temporary, "about music that needs r.n explan­ atory key and an analysis and a diagram and a full drawing of plans ond specification.". What's the necessity for so ardently concealing the in­ tent of the work that a civil engincer'n services arerequiied in trying to understand it?"

The next thing on the boards in the way of comic opera, will he a piece written by Hurry Paulton, to which Pbnquette has composed the musio. The libretto and the score are in the author's snd composer's best vein,and the opera gives a big sc'ipe for elaborate scooery. When produced, Harry Billiard will play the leading tenor role.

Grnttan Doneliy's new comic opera, "Ship Ahoy," was produced at Allentown, Thanks­ giving Uuy, and fcoied a big hit. Tho new opera will be produced at the Grand Opera House, in this city, Monday night, and will run two weeks. Much interest is felt in the new work and crowded hcuses will doubtless be the result. The company is a strong one, headed by the popular singer, Bertha Rioci.

J. II. Steinman, a musician of much repute, died Nov. 6 at Cambridge, Mass. He was bort at Hoya, Germany, eixty-eight years ago ano came to this country at the age of eighteen. lie

Story of Thl» New Tiny Just Produced In New York.

"The Inspector," a five act melodrama, by Will E. Wilson, was performed for the first time on any stage Thursday night, Nov. 13, at the New Park Theatre, New York City. Thfl story is episodic, rather th»n narrative. Years prior to the opening of the play tiila.t Vandercere, a merchant, had been involved in the scuttling of a ship for the sake of the insurance. He has grown wealthy, but he is in constant fear of the betrayal of his crime. There turns up, in the first scene of the drama, a witness and an accessory in David Drake, who has since become a Whitehall boatman. He makes his appearance at JVoi- dercere's Madison Avenue house one night, and demands money as the price of his silence. In a heated altercation between the men Vandervere. draws his revolver, fires and kills Drake. This crime also, is witnessed.

Sea La Brce, an English burglar and bogus nobleman, had entered Vundercere'a house just prior to the appearance of Drake, and was in the act of stealing all that he could lay his hands upon, when Drake and Vande.reere, coming in, had forced him to hide behind a screen. He therefore, sees the murder, and gains possession of Vandervere't double secret. Before the inmates of the house rush In, La, Brec strips off his mask, fastens it upon Drake's head, places a jimmy, dark lantern, etc., beside Drake's body, and then flies, having forced Vandervere to promise to take him (La lircc) into his homa as a guest and friend. The police naturally infer at first that Drake is a burglar, who had been shot by Vandervere in self defence. The inspector, however, takes the case in hisown hands and resolves to clear up its mystery.

Drake's face is not familiar to the detectives as that of a house breaker, and from that starting point they work clearly to catch their man. Ben La JJree is shadowed and I'ander- vere himself is led to receive the inspector into his house, disguised as a physician. In the meantime Drake's mysterious disappear­ ance has alarmed his pretty daughter, Sylvia, who has recently become the wife of V'andcr- i-ere's son, Jiobert. They figure unimport­ antly in the exposition of the plot, though Sylvia has an encounter with La Brec, who wishes her to elope with him. In the end the inspector's vigilance brings about a solu tion of the mystery. Vandcnere conveniently dies of heart disease; Lu Bree is captured and led away, and the young people are left to enjoy the dead millionaire's wealth.

CHAMBERS' NEW PLAY.

"Tbe Idler" InTho Reception Accorded New York.

At the Lyceum Theatre, New York City, Nov. 11, C. Haddou Chambers' domestic

-' Vli

uci VCU ft 3JI1J u UUJldfuo ptl iwi ulau\.l. ... «jw..vor the Knglish copyright. The name 'The Idler" is Mark tVoss. He has

in America.' We believe that it re­ ceived a simultaneous performance in London,

- - e ofnot

been always idle^because he was once married, and not agreeably. He has, furthermore, visited Colonel Watterson's ection of the United States, and has played

cards there, He has suffered a bereavement, and is a widower. His lacerated bosom turns low toward Lady Harding, wife of Sir Jo/in Harding, II. P., of London, a young woman vho had, in earlier days, seemed to encourage lis suit, but who had changed her mind and

wedded another.He seeks Lady Hording, and explains him­

self. He meets Sir John Harding, and in _ . recognizes an old acquaintance of the prairie days, affectionately entitled "Gentle- nan Jack" an associate whom be knows to lave shot and killed one of his acquaintances in Western America. He apprises Sir Jti/m Harding that the slain man's brother is at land, and bent upon vengeance, and pres­ ently, when the avenger has arrived, he re­ quests Lady Harding to become his paramour, on condition that her husband's life is saved that being the one life that chiefly stands in his way and the one obstacle that most of all he would wish to see removed. His pro­ position is that she shall come fo his house in the evening, and that in case he has by that time succeeded in persuading the avenger to desist, she shall elope in his company.

Briefly, he acts tbe part not only of a scoundrel, but a cur calculatingand trading on a woman's weakness to ruin her life and blast her reputation. And this he calls love. He is prospered. Having once saved the avenger from drowning, he is now able meanly to extort from that spineless Neme­ sis a promise that Harding shiill be spared; while thoughtlessly and hoping to shield her hnsband, the lady proves silly enough to come to his lodging. There, also, her hus­ band comes a little later, and she is then eou- caled in a balcony, soon to have her pres­

ence disclosed by the accidental discovery of her fan.

Explanations are subsequently attempted, but, of course, are attempted in vain, i'ic Jn/in Hard ing proposes to Mr. Cross that they shall fight a duel without witnesses, and this they are about to do when their encounter is delayed by the inopportune advent of the avenger, and it ia finally frustrated by tbe persuasive eloquence of the entangled wife, Sir John admitting his error, Mr. Cross as­ severating Lady Hard-ing's innocence and de­ claring his intention to proceed to the North Pole.

Footlight Fliekerlngs.Burr W. Mclntosh baj resigned from Daly's.Louise Lcstcr-Natali is now the wife of E. 11.

Graham."A Perilous Voyage" closed its tour Nov. S at

Chicago.Dot Clarendon is now with "An Irishman's

Love" company."The Hcd Flash" is tho title of a new play

by A. L. Fanshnvo.Henry K. Dixey continue.; to do an Immense

business in the West."The Editor" closes tho season on Saturday

night at New Haven, Ct.-Florence Arnold recently replaced Florence

Roberta in "Raglan's Way."Charles S. Dicksou is now with the "All tbe

Comforts of Home" Company.Lydia Thompson is to go a starring in a mu-

fiical comedy called "The Dazzler."Margaret Leighton is soon to go to England

under engagement to Wilson liarrett.Virginia Marlowe is playing Constance in

"Shenandoah," Mina Oleason being ill.Mine. Moiljeskn will make a tour of the

United States next season. She is now in I'o- land.

Ileljn Dauvray has bought a new comedy entitled "II« Held tho Proxy," by Ralph A Weill.

Julia Marlowe is convalescing, and the phys­ icians now £oeak hopefully of her ultimate re covery.

Effie Ellsler expects to play "Hazel Kirke" through the South. As Miss Ells'" via the

original Haiti, this will be a good move on her part.

Charles Forbea has been engaged by Mattie Vickers as her manager for the balance of the season.

Mason Mitohell, now playing Jack Adamt in "Money Mad," dropped out of the company on Saturday last.

Sudermann's new play, "Sodom's End," has been produced in Berlin, and is said to have been a failure.

Marie Wainwright is to play ''Amy Robsart" next season, one of the plays of Adelaide Neil- fion's repertoire.

H. M. Graves has retired from Edgar Selden's "Will o' the Wisp" Co.. to take the manage­ ment of tbe "Two Thieves" Co.

Mary Shaw, the famous English whistler, has left London for St. Petersburg under a apegiai contract to whistle to the Czar.

Clara Belmont closes her engagement with the "Reuben Glue" Co., Dec. 6, after which she will go to Boston for a brief rest.

It would seem that a notable road success has been gained thus early in the season by Marie Hubert Frohman, in "The Witch."

Minnie Soligman is drawing salary from Man­ ager Hill for doing nothing. She says she finds it the hardest work she baa yet done.

Louise Hamilton is no longer with "Muggs* Landing." Fanny Delano is now playing the part made vacant by Miss Hamilton.

OJell Williams has thrown up his contract with "The County Fair." lie has rejoined his old love, Colonel Clay Calhoun, in "Beacon Lights."

E. Coleman has written a new play for Hat- tie-Harvey. The little star hiis also accepted a play by Mervyn Dalla?, entitled "Broken to Harness."

"A'Bocket," Tennyson's gloomy tragedy, ii being rehearsed by Lawrence Burrett and his company. It may be brought out in New York this season.

As there are not enough theatres to go round in London, all the leading men who are unable to figure as actor-managers are emigrating to this country.

Fred Leslie, of the London Gaiety Company, is shortly to sail for Australia to regain his health, which has been in a shattered condition for some time.

Bronson Howard writes that ho is actively at work now upon his new play, which is to por­ tray American society life. It will be ready for next season.

Clara Morris produced OJette in San Fran­ cisco November 17 for the firs: time. The play gave satisfaction, and will hereafter bo one of her principal plays.

Dr. S. J. Bumstead, of Dccatur, III., author of "Tho Ryerson?," has written a cooicdy, "Tho Elixir of Life." Its plot is said to be similar to that of "Liltlo Puck."

"Miss McOinty" was produced by tho new company of comedians under tho management of John H. Russell, and headed by Fay Teua- p'eton, at Omaha, Nov. 14.

Frederick Warde, although bat thirty-nine, has been twenty-three years an actor, and a prominent tragedian for over ten. His business this season has been the best of his career.

Mrs. Langtry produced "Anthony and Cleo­ patra" at the London Princess Theatre on Tues­ day last with some success. Tho settings and costumes are said to have cost the Lily over $8000.

The Bernhardt doesn't want to fulfill her con­ tract with Abbey for an American tour in tho spring. She wants to act in Germany. Abbey will have trouble in inducing her to cross the briny Atlantic.

Ezra Kendall had only five people In his company when be played Sterling, 111., Nov. 14. Ho bad seven when be played Dixon, but dis­ charged two. This is rather a light company for farce company.

It is quite likely that Francis Wilson will secure the Broadway Theatre, New York, lor tho entire season of 1SU1-92. After completing the run of "The Merry Monarch," he is tc pro­ duce a new play at that house.

Emma Field, who was with the "Mr. Barn**_of NewJ^ork" Co. last season, and w ho, although

gain engaged this your, had been unable toilay, owing to illness, will join the organization.t St. Louis, replacing Annie Haines.

Helen Fcrreo has been compelled, from pri- h ate reason?, to give up the part of Calice, in 'ower's "Ivy Leaf" company. She remains mh the organization, resuming the character lari that she successfully played last season.

A few of the authors of "The Ugly Duckling" are engaged in a squabble over their respective hurei in its authorship. The question interests

nobody outside of their own cirole, the eeneral opinion being that tho play u not worth a [itarrcl.

It is stated on good authority that there is to >e very soon an afternoon theatre in London, that is to say, a theatre in win ill malineos only will bo given. Such nn undertaking will spell ruin from the start, meritorious though its object be.

Ned Forreat, stock comedian at the National Theatre, Tacoma, Wash., was drowned at Puget Sound at that place Nov. 17. He was endeav­ oring to rescue a drowning woman when tlie swell from a passing steamer capsized his boat, and both were lost.

There doesn't seem to be an overflow of confi- lenco in the genuineness of the break-up be­ tween Minuio Palmer and John R. Rogers. People appear to think that "years merrily" is at present engaged in giving them a largo and srilliant razzle-dazzle.

John R. Rogers and Minnie Palmer have en­ tered into nn amicable arrangement about the division of property. The flat in the Gramcrcy building will bo sold, with all that it contain?, and tho proceeds will be divided equally after the payment of a few debts.

Russell's Company of Comedians, headed by the famous Fay Templeton in "Miss McGinty," will open for % week's engazeuient at tbe Wal­ nut Street Theatre Monday eight. The piece bas caughton everywhere, and in it Miss Tem­ pleton haj made the biggest hit of her career.

W. J. Scanlan has written and composed four new songs for his Irish play, "Myles Aroon," which ho will sing during its performance at the Walnut Steeet Theatre in Pniladelphia Christmas week "You and I, Love;" "My Maggie;" "Live, My Love, Oh Live," and "Tbe Swing Song."

Mrs. Langtry his tried "Cleopatra" in Lon­ don, and. it appears, made a failure of it. If Sarah Bernhardi couldn't make it a success isn't likely that Mrs. Langtry could. The fact of the mat'er is that "Cleopatra" was over-ad­ vertised and has failed to come up to the publio expectation.

Beerb'jhra Tree is doing a creditable thing in London with his special "Monday Nhjhts,'- tvhcn no plays are tried at the Haymarket. Tho manifold" disadvantage* of the author's matinee are avoided by this arrangement, the productions having the benefit of representative evening assemblages.

Robert Mantell makes an almost complet change in the dressing of the part of Otkelli, lie appears in a costume after tho n^nnor and style of Venice in Oihetlo'n day. His wig i made of long flowing black hair, such as the Arabs wear, and his arms are a straight awon and dagger, ana not a cimeter.

"A Knotty Affair" is the taking title of a new farce-comedy which is to bo put on ti next season. John C. Rice, of Monroe and Rice, is t%tiead tho company and the people in support are to be the very best to be bad. Th farce-comedy is by Herbert Hall Winslow, am it takes three acts to tell the story.

"There are few'skit' performers at liberty There are many actors and actresses withou engagements. Is it difficult to reach the con elu.-ion that tbe so-c-illcd farcial absurdities monopolizing a large share of publio attention have driven numbers of professionals into - willing idleness?" Dramatic Mirror.

Ed C. Stevens, the favorite comedian of the Now York Casino, signed a contract with Ru dolph Aronson last week for two years. Mr Stevens has mado a deci'lod hit as the Im prcsnriu in ''Poor Jonathan," and is rcgarUi by the New York critics as the best einging low comedian that has ever appeared at the Casino

Richard Mansfield is credited with sayinz that he wrote and arranged moat of "Boa

Brurnmcl" or, anyway, that he made it tho play it is. Mr. Fitch, on the other band, avers that Mr. Mansfield mutilated his piece fright­ fully. When Mr. Fitch's later plays are pro­ duced, it will probably be seen who is respon­ sible for the better part of 'iBrummei."

Manager Gilmore, of the Central Theatre, Philadelphia, jealous of the great ftuccess achieved by Manazer Kelly, of the National Theatre, ha« Inaugurated '.(. new policy of play­ ing melodrama at the Central, hitherto entirely devoted to vaudeville performances. The open­ ing attraction Monday was "The Great Metropo­ lis." The experiment was not flatteringly suo- ce.isful.

IJiin Packard, the popnlar and well-known comedian, opens early in December in his latest faroe comedy, "The Boomer," under the direc­ tion of R. Davis & Co. Mr. Packard haa sur­ rounded bimself with a large company com­ posed of FreJ Queen. Wallace Jackson, Harry Goodwin, George Reed, Maude Harris, Ell» Gardner, Sadie Stringham, Eleanor Markill, Mamie West, Lilly Arlington, Bertie May.

In-theatrical, as well as other fields, publin taste is whimsical. A few years ago raflodrama was the craze, then came Shakes; earian revi­ vals, followed by a veritable tidal wave of grand opera. To-day there are but two grand opera organizations in existence. Booth and Barrett may be said to be the only successful presenters of tragedy, while the melodrama, at least in tho metropolis, is already a thing of the past. Comic opera and farce comedy are at present the great publio favorites, and will doubtless re­ main so for two or three seasons to come.

Agues Herndon closed her tour most uncere­ moniously at Columbus, 0., Nov. 8, and, with her leading man, left for New York. The sea­ son opened well, and continued so for some time. Then it went from b;id to worse, with the com- piny left in the lurch as the finale. Hard things are said of the way Miss Herndon levied on every dollar she could, seeming to care only for her own high living and enjoyment, think­ ing nothing of how her company lived or whether they had salaries or not. The com­ pany were left without a dollar, and even thoir trunks were seized for board.

One i f the queerest outgrowths of the public's desire for news about theatrical people and things is St"ye Xricv, issued weekly in New York by A. P. Duulop. This is a drarnatia newspaper, printed on one sile only, and furnished to no one but dramatic editors and jiritics. It ii made up of notes and news of the) stage which editors are likely to desire to print, put in attractive form and all ready for their u-e. There i* h:irdly a newspaper in America of any importance whose columns do not contain from time to time matter taken from this little sheet which could be obtained in no other way.

Just before leaving for Europe lastsuminer J. C. Williams, the Au.-traiiAn manager, listened to the reading of two acts of a new comedy and tho skeleton of the third act whieh was then ia the course of construction. Oa tho strength of what he had henrd he at onoe purchased tha

"lights to the play for Australia, paying for them, a good round sura. This play has now been completed, but is still unnamed. It is to be pre­ sented soon at a prominent New York theatre, ami negotiations aro now pending with Mi-s Helen Barry to create tho leading female role. The piece is to be presented by a stock company formed on the English plan of securing for every production the best talent available.

The new play, "Therraidor," written by Sardou for the company of the Theatre Francaise, Paris, and which has been secured for America by Charles Frohman, is finished. Sardou read "Thermidor" recently to the assembled company of the Theatre Franeaiso. Ho began reading, in his best voice, at 2 p. «., acting every part, but after the third act he broke down. Coquelin then finished the reading amid excitement and applause. Tho play is in four acts. The story starts at six in the morning and ends the same night at seven o'clock. The acts \vill illustrate, first, an island on the Seine. Tho second, the private apartment of Zeile, the female dresser of the Cotnedie Franchise. Third, the Bureau of Labusicre. Fourth, the Cour of the Con- ciergerio. One of the most curious things about the play is that, although it takes place at the end ot tbe Reijn of Terror, July 17'J4, and is historic in_»Jl its details, neitheror .St. Just appears, although the sayings and >ingti of both are constantly discussed during

10 action of tn« drama.

QUESTIONS ANSWERED.HA.IKS, Belding, Mich. Your best method

would bo to go in person to the manager of some ne club of the many minor leagues to ba or­ ganized in your section and show what you can lo. If the manager knows his business and you laven't overrated your ability, you should have no trouble to secure an engagement, tortns being 'easonable. Mere writing won't do for an un- tnown player.

MERCANTILE. The opener not having openers sould not win. In some coteries the Dian mak- ng such a mistake would have to make the

centre good; in others not. It all depends upon the general rules of the h«uso or of the party

aying.H. B., Philadelphia. The averages of tha

Tri-State League have not yet been published. tVe do not know when President MoUermith will have them ready.

SPILLMAV, Memphis, Tenn. (1) Not if he is n his posif'on. (2) The batsman can only be given a base on illegal delivery.

SUOOART, Columbia, S. C. We do not know ais precise address. A letter through THE SPORT­ ING LIKE willl reach him. ~*

W. J. R., West Bay City, Mich. The manho takes the last trick wins if his opponent

neglects to call his out.THOMAS, Traverse City. T. Brown, Seory,

Van Haltren, Beckley, Sutcliffe, Counor are left-handed battiuen.

LINHART, Allegheny, Pa. Wo do not know bis precise address. A letter care of this paper will reach him.

LINK, Baraboo, Wis. We cannot give you the information. Address some one of tho Chi­ cago papers.

C. A. C., Chicago, III. Le'tcrs for tho parties mentioned if left ia care of SPOUTING LIFE will reach them.

MKNO, Baltimore. (I) Joe Somtner played with Cincinnati the year tbe Association wa« organized.

JAS W. HATSS, Meriden, Conn. Boston woo 11 and lost 7 during the period mentioned.

KAUFMANS, Washington, D. C. Danny O'Brien, of New York, we believe.

LEEDOM, Freemont, Neb. Address Porter & Coates, booksellers, 1'biladeluhia.

JACKSON, Cincinnati, 0. We shall publish » picture of the man shortly.

J. C. M., Bradford, Pa. The batsman makej a force hit.

DALY-TER".Y. Daly wins to all intents and purposes.

D. F. C., Wickf.ird, R L Thirty-six.

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