V*->^i ^.A. >*»ii ^V^- irAr* ? 5RsPi&*( : * '*&#t wwriraii uuivcinij kiwiaiy ML 50.J25E7 1887 The greatest of all comic opera successe 3 1924 022 471 100 ERMINIE. Music libretto EX). JAKOBOW8KI. HAREY FATJISTON. fl% pepfoprrpcd at the l^ew |J©pk ©agin© - upward of §00 Rights, Under the Management of RUDOLPH HRONSON. MERIT AND ENTERPRISE. REMARKABLE RECORD OF SUCCESS! THE PIANO OF THE MUSICIAN* The firm of Sohmer & Co. are regarded not alone by the piano trade, but in business circles gener- ally, as one of the most enterprising and deser- vedly successful houses in the business. Starting in 1872, with limited facilities, and passing safely in the early stages of its existence through a. period of unprecedented financial depression, this house, though it has had to contend with estab- lished concerns of many years' experience and' almost unlimited resources, has by the exercise of business tact and through the merit of its instru- ments won for itself a leading position in the piano trade. It is due to the skill and care exhibited in the construction of these instruments and their consequent strength, durability and unsurpassed musical qualities mat the limited production of 15 years ago has expanded into its present large production. Where they then made four pianos their present average production reaches the high figure of 40 pianos per week, and is yet insufficient to supply the extensive demand, and the firm is to-day largely in arrears of its orders. The Sohmer piano combines a rich, pure tone of great volume and sympathetic qualify with a precision, delicacy and responsiveness of touch seldom found in other instruments, and these charac- teristics have not only made it popular with per- formers generally, but have also made it the prime favorite among artists for both conceit and private use. This firm makes every variety 1 of instruments — square, upright and grand — ana, constantly striving to meet every demand, has produced the Bijou Grand, the smallest grand piano ever made — the most practical novelty yet pre- sented to the public. This instrument, while occupying little space, has great power and volume of tone, together with the tone-sustaining quality and elastic touch heretofore only found in the concert grand. Exceptional durability, com- bined with perfection of tone and touch, make the Sohmer piano peculiarly adapted to the use of pupils and teachers in establishments where piano playing is taught. The writer some time since, through the courtesy of Mr. Chas. Fahr, who has general charge of the financial affairs of the house, had an opportunity of visiting the fac- tory, and the tour was a source of as much sur- prise as gratification. When in 1879 the old factory on Fourteenth street was found to be too small to accommodate the business, it was enlarged by taking in the houses numbered from 149 to 155 on that street Very soon this was found to be insufficient to meet the demand, and the works were transferred to Twenty -third street, but on a considerably larger scale, while the salesroom, which now requires considerable space, re^nains on Fourteenth street. While Sohmer & Co. have relied upon the inherent value of their instrument rather than upon the ofttimes factitious advertise- ments obtained from Exposition awards, they have yet received the highest distinction in many exhi- bitions — notably Philadelphia, 1876; Montreal, 1881-2; and at Minneapolis and Sacramento — and they can point with pride to the magnificent en- dorsement their instruments have received at the hands of the best native and visiting musicians prominent among whom are Ed. Neupert and Gottschalk, the celebrated composers and pianists, and other native and visiting artists. It is not, therefore, surprising, that the name of Sohmer & Co. upon a piano has become a guarantee for its •mellence.— New York Times. „____. JOUSE. Almost immediately after the birth of the now great firm of Sohmer & Co., in 1872, came tha memorable business depression of a year later. This fatal year proved the disastrous ruin of many long-established firms, but when the sun burst clear once more above the clouds of business panic this young firm came out unharmed. This house, which now occupies a separate and absolutely unique po- sition in the piano trade, was striving manfully without pretense to supply instruments of strength, durability and unsurpassed musical qualities. And It was not long before the critical patrons of other establishments recognized the merits of the young firm and the Sohmer piano had gained its merited fame. From a limited production of four pianos the business rapidly outgrew its bounds, until now no less than forty beautiful Instruments stand ready for shipment each week. To keep pace with the ever-growing demand an enormous factory has been built in Astoria, L. I., occupying 250 feet of the river-front, facing Eighty -fifth street, New York, while the great salesrooms number from 149 to 155 East Fourteenth street. Around this six-story giant of masonry has grown up a little village of work- men. Here they labor and here they have their homes, under the shadow of the great industry; which earns a livelihood for hundreds of men. Scattered through the town are the various auxiliary workshops which have been added as the pressure of business increased. It is at Astoria that v* famous Sohmer pianos are made. They combin rich, pure tone of great volume and rare qta" with a delicacy and sympathetic responsivenei touch seldom found in other instruments. " especially true of the Bijou Grand— the grand piano ever made— which has already alone earned a proud reputation for its makers. The history of this firm in later years and the wonderful durability, combined with perfection of tone ana touch of the square, upright and grand pianoB, are; known, to hundreds of musicians and in thousands of homes all over the world, while the collection of prize medals from scores of expositions attest the ind orsement of the ablest critics. — [New York World. « — * \* *3tX- tt i + • ONLY HUTHORIZED EDITION. library « — wr*-*- =^c=-» t> THE GREATEST OF ALL orqie v^/pepa ^)ueee%%e% f m wimmm n w- iuiw i in itMiiiffliiwrri™ ERMINIE. Will tl1Jllll:llll-il!]il1l1l:llillttlMIIIillliiillM i Music ED. JAKOBOWSKI. Libretto HARRY PAULTON. yf§ pepfopnpeel at the l^ew ijopk ©agirao apwapel of §00 l^igkU, Under the Management or RUDOLPH HRONSON, iiiiii ■1: CHARACTERS. Marquis de Pontvert Eugene Marcel The Marquis 1 Secretary. VlCOMTE DE BRISSAC '. Delaunay A Young Officer. Sergeant Dufois, Landlord of the Lion d' Or Simon Waiter at the Lion eT Or. Henri } >• .,. Peasants. Pierre) Chevalier de Brabazon Marquis 1 Guest. Ravannes ) v Two Thieves. Cadeaux ) •' , Cerise MArcEL Erminie's Companion. Javotte Erminie's Maid. Marie ) ' > . . . '. ■. .Peasant Girls. Clementine ) Princess de Gramponeur -. Erminie de Pontvert Soldiers, Peasantry, Guests, Waiters, &»*. Copyright, 1887, by O. Ditbon & Co. ERMINIE. ACT I. No. i.— OPENING CHORUS. Around in a whirl We skip, dance and twirl ; Let each boy and girl Make merry ! Old men in a string May scorn at mirth's fling. Make merry ! Old wives in a row May flirting forego, But maidens cry " No ! " Make merry! Let grieving go borrow Its fare from to-morrow ; Away with all sorrow., Make merry ! From your path troubles fling ; Let us join in a ring, Let us dance, let us sing. Make merry ! Ha! ha! ha! Ho ! ho ! ho! Come, sport while we may, Making merry ; ha ! ha ! Making merry; ho ! ho! Enjoying to-day Our mirth, while we may. Mar. - Here comes javotte ! here comes Javotte! Of gossip she will have a lot. Cho. Yes, yes ! oh, yes ! No doubt ! no doubt ! She'll quickly tell us all about The chateau and its guests, the fun, What's doing, and what's to be done. , Enter Javotte. Javotte ! Javotte ! you 7 won't refuse To tell us, if you've any news. You won't refuse ! — The news ! the news ! Jav. Impatient 1 — La ! do give one breath ! Don't crush and pester me to death. Some little moderation show. Now — tell me what vou wish to know. Cho. The news ! the news ! You can't refuse; You must have some, Jav. Indeed I've not ! Cho. Oh, what a shame ! Jav. Except — Cho. What! what! Jav. Except that shortly you'll see The Marquis, Ma'mselle Erminie, Chevalier de Brabazon, Of our distinguished guests — the one You most should see, Of high degree, A beau of beaux ! From top to toe. They're coming here to view the 1 fair. Cho. How nice ! — Oh, here's excitement rare ! Come, join the ring ! Come, dance and sing ! &c. No. 2.— CHORUS AND CONCERTED PIECE. Cho. Vive le Marquis ! vive le Marquis ! ,. Welcome ! welcome to the fSte ! Tis of graciousness a mark we 1 Thoroughly appreciate. „ « At village feast, here meeting' you, With duteous service greeting you, With cheery voice, repeating, you Are welcome to- our fete. Marq. Thanks, dear children — bless you, bless you 1 To respond would but distress you. Erm. That it would, dear papa, — spare us, , Don't such agony prepare us. Cerise. True, indeed 1 Experience teaches There's much anguish in set speeches. Erm. My father's feelings you know well. Cho. We do, we do, we do, ma'mselle ! Erm. Well; and what's the latest tattle? Is it character or cattle ? Wh° is ailing ? Who is thriving ? Have the busy bees done hiving ? Is the fodder cut and carried? Who is buried? Who is married? What's the latest gossip ?~- say ! Tell me, pray ! come, tell me, pray ! Mar. Ah ! ma'mselle, you're quizzing ever, Always merry, gloomy never. Omnes. Viva ma'mselle ! vive le Marquis, -&c. No. 3. — SONG. Erminie. 1 Ah ! when Love is young all the world seems gay, Tra, la, la, la, &c. He sips its sweets as he goes his way ; Tra, la, la,, la, &c. His heart in the sunlight of love abides; 6 No pang, not a thought of deceit, For youth's rosy tint every blemish hides, And the dream of young Love is sweet Tra, la, la, la, &c. X Ah ! but Love hath soured with advancing yeari, Tra, la, la, la, &c. He knows no joy, for he's torn by fears ; Tra, la, la, la, &c. His aim is foibles, not charms, to seek, His taste so fastidious grows ; He doubts and misgives if his love but speak, And the bliss of young love ne'er knows. Tra, la, la, la, &c. No. 4.— DUET — "PAST AND FUTURE." Eugene and Erminie. Euc. (1) There is a sweet remembrance of the past, A treasured dream I fondly store, A mem'ry that within my heart will last, r To cheer and comfort evermore. A solace sweet, a blessing still, The hope which time can ne'er fulfill. The past has fondest dreams that live, Which in the future ne'er can be ; The present knows not, cannot give, Restore the happy past to me ! Erk. (a) Our destinies the unseen future hides, ^The coming gloom we cannot see, And cheering hope with us for e'er abides, Instilling thoughts of joy to be. The past, though blest, may not compare With future transports, we may share. The future hath its golden show'rs, And store of pleasing, brightest toys, Which hope declares may yet be ours, Eclipsing past and present joys. No. 5. — CHQRUS OF SOLDIERS. All for glory the sbldier's life, From the conflict scorning e'er to flee, The hero's aim is fame in strife ; In love, in war the victor he. No. 6.— MARTIAL SONG. Marquis. I Dull is the life of the soldier jn peace, With hateful routine until war brings release. Harsh discipline trammels the freedom, we know; What better than that in the face of the foe ? The soldier has learnt he must bridle his will, Submit without murmur to rigorous drill ; But the summons to war is the soldier's reward, Joy to brighten his corslet, his helmet and sword. Cho. All for glory, the soldier's life. From the conflict scorning e'er to flee, The hero's aim is fame in strife ; In love, in war the victor he. 3 Glad is the heart at the sternest campaign, (For we've nothing to lose, and we've plenty to gain.) To rush midst the steel, midst the smoke and the' flame, To carve with our sabres a pathway to fame. We've learnt to obey^ and until we are told We dream not of leaving the posts that we hold ; We'd' fall where we stand, till the warning sound cornea Of recall, in the music of bugles and drums. Cho. All for glory, &c. {See No. 6.) 8 Rav. Cad. Cad. Rav. Cho. Rav. Cad. Rav. Cad. Rav. Cho. No. 7. -.THIEVES' DUET. , Ravannes and Cadeaux. (1) We're a philanthropic couple, be it known, Light-fingered, sticking to whate'er we touch. In the int'rest of humanity alone Of wealth relieving those who have too much. The sour old gent, whose worship vile is dross, We hate to see a wallowing in tin ; It ain't cos gain to us to him is loss, We eases him cos avarice is sin. Downy jail-birds of a feather, > We are shifters, we are lifters, Working skillfully together. Through the wicked world we roam, Easing many a mortal burden, Kinder coves we never heard on ; But a truth you'll take our word on, Charity begins at home. (2) When the masher's on the spree, we often prig , From pocket ev'ry stiver — nothing less ; He'd only drink, and fight, and go the rig, His constitution ruin — nothing less \ His rings and things, fin'ry we expecs, . For stuck-up pride in such things isn't good And when his watch we carefully annex, ■ It's only cos we know the policeman' would. Downy jail-birds, &c. & No. 8. p Moderate • DREAM SONG. Erminie. iS^ £^!=E^ 5S 1= ££=* At midnight on my pil - low ly - ing, mf S^=± S -£- By mydai-ly toil op - press 'd To mewea ry £* p ^ - fe 'h 4> = IF -K— *- • «i =t care de-ny»- ing Deep profound that giv-eth restp Kfr & *=£ -H Pk-i-Kc— A' -0 1 ' p | ■ IF 2 5J=t When a ti - ny bird a- light- ed, On niy lattic'd window P ±= qt ^ fcc sill, Wei - come guest tho' un - in- vit - ed, m/ i ^ T »t Cheer - ing by his joy-ous trill, : Call ing sweetly, few? *= ^ *t 3*: i £* hov'ring o'er me, Rise and come with me a - long, cres. ' f molto =ap= m =&£ m fP=ig d i =^ Swift thro' fai - ry glades i rf«*. ritard. bore me, s W: r = r ^_ Realms of pure trans - cen - dent song. IP Allegretto. *i ± ^^=^=^=^3 •»-^ i^^ s -£ — »- Song of joy, ' song of cheer, Song of ' prom-ise 10 ^ -$t m -fat FSj5± H soft and clear, Sweet sounds that fill the tran-quil grove, N J I -&- ^jpgf=P =8* Glad joy -ous trill of hope and love, Song of joy, 35 3^ ^F^F =t -T ^ song of che^r, Song of prom - ise soft and clear, P £**= ^ Sounds that rail. fill the tran s quil' grove, a tempo. I EE£ Glad joy - ous trill of hope and love. How blissful was the wondrous pleasure ? Ah ! such happiness was mine ; The remembrance I will treasure In my bosom's inmost shrine ; But what grief was mine at finding, On awakening with a scream, Earth's surroundings all reminding Me 'twas but a happy dream. Yet his joyous, mellow singing Echoes faintly, lingers still In my ears with gladness ringing, Seems my heart with hope to thrill. 11 No. 9. — CONCERTED PIECE. Rav. The blissful pleasure, I profess, Of such a meeting overjoys me ; I have not language to express The joy I feel, and that annoys me. Though with blessings beset, As I roam the world through, I never can forget My first meeting with you. Erm. I beg that you'll not trouble now, Some other day, when more collected, You may declare, protest and vow With metaphors most unexpected. Though with worries beset, v It is equally true, I shall never forget My first meeting with you. Marq., Chev., ") With whatever beset, Cer., Erm. ) It is equally truey &c. Enter Cadeaux, slightly intoxicated. Cad. Hello ! What's the row, the rumpus ? . < Rav. Silence ! Cad. Stow it ! — don't you thump us ? Rav. We've a bold game on to-night ! Mum ! be steady ! Cad. Fly!— all right! Rav. Since hospitably you extend Your favors, I'll present my friend, My friend, the Baron. You will find him quite an' oddity, Strange in his habits, in his manner, and address, Priz'd as a curio, a saleable commodity, Erratic and original, you see, Omnes. Yes, yes ! Cad. I'm proud to meet yer. How d'ye do? Old Cockalorum, how are you ? 12 Chev. Cockalorum ! Cockalorum ! Cer. Somewhat vulgar, scarce decorum. . Rav. My friend, the Baron's quite a feast Of custom and phase of the east, Acquired the Arab's tribes among. Mar. Expressive ! — what one might call strong! Omnes. ' My friend, the Baron, &c. No. io.— FINALE. Cho. Away to 'the chateau ! away to the throng, Where bridegroom and the bride willbe plighted ere long, Where welcomes shall meet them, Where cheering shall greetthem, Where friends shall entreat them All blessings in song. Erm. Marriage is a holy union, * Angel guided from above ; Marriage should be sweet communion, Governed by the god of Love. Erm. Though there may be oceans rolling Stormily between two lives ; Some remembered word controlling, Often hope of love revives. Eug. When the clouds are black as raven, When the sun of hope has set, Oft the storm-tossed gain a haven. Why not love? It may be yet. Omnes. Marriage is, &c. Hark ! hark ! The\soldiers here return. What can it mean, we soon shall learn. [Soldiers' chorus heard. Eugene and Cerise exunt as soldiers enter.] Del. (Recit.) Be not alarmed. We're of two thieves in chase, From goal escaped. We've tracked them to this place. Mar. Thieves ? Then they are the same depend That stopped and robbed my noble friend And his companion; see their plight. 13 * Erm. Poor things ! No doubt papa is right, 'Twas they molested, rifled, mobbed, Despoiled, ill-treated, beat, and robbed. Del. They^are doubtless the men ; Should you know them again ? Rav. Oh, yes, the one is a gentleman quite. Del. He's the worst of the two. Cad. He is, that's right. Ern. (Entering.) Thank fate ! at last I've found the way. Is this the Golden Lion, say ? Rav. Quick, sergeant ! seize the villian ? pray Cad. Be careful he don't get away. Rav. Of those who robbed us he's the chief. Ern. No, no, believe me ! Mar. Seize the thief. [Soldiers seize Ernest. Cho. Seize him, seize him, bind the thief ! Make secure the robber chief. Mar. With that yjle wretch to goal begone, And to the chateau now, lead on. Cho. Away to the chateau, &c. Soldiers. For his country, &c. End of Act I. 14 AOT II. Scene I. No. ii.— INTRODUCTION — CHORUS AND ENSEMBLE. Cho. Here on lord and lady waitings Court gallants and nobles all, Ev'ry one importunating To and fro, at beck and call. Mar. No intermission, Give exhibition, What good tuition, Though hurried has brought: And compensations, Remunerations, Pay for the patience With which you've been taught. May we stay to fetch or carry Stitch or fasten, tie and lace, Every toilet necessary, Powder, puffs, for arms or face. Cho Here on lord or lady waiting, etc. SONG — "WOMAN'S DRESS." Marie. i The simple maid From village green, Unused to rich attire Is not afraid Of silken sheen : To conquests she'll aspire. Her fingers deft Are never slow To fashion a success From finest weft. Who does not know A woman's fort is dress ? 15 Refrain. Yes, though fashion often ranges, We are equal to its changes, Though the waist prevailing's high up, Or the skirt accepted short, Alter bonnet, cap or head-dress, Tuck of lace confine, or spread dress Branching pull back, puif or tie-up, And improving quick as thought 2 On flounce or train The female mind From babyhood is bent ; Her infant brain Be sure you'll find On dressing dolls intent. A woman's will To change less apt Than fashion's waywardness. But dext'rous skill Will soon adapt Itself to change of dress. Yes, though fashion, &c No. i \a. — CHORUS. Here on the lord and lady waiting, &c. No. 12 — SONG — "THE DARKEST HOUR. Eugene. (i) Darkest the hour ere light of dawn beameth, Deepest the gloom ere the storm, clouds divide, Be that my faith. In the adage there seemeth, Hope, to be cherished, whate'er may betide. Vain, vain the dream, my loved one can never Mine be ; as vain is the once plighted vow, What pow'r can change the doom ; we must sever Ah, could the future look blacker than, now ? Darkest the hour, &c. 16 (2) How shall I cheer my heart's sad repining ? Where seek the trust in my bosom should dwell? Where will appear the cloud's silver lining? Whence come the radiance my grief to dispel? ^Life's light has gone ; my pathway is lonely, Dreary! the star of my life's brightness gone, Set ne'er to rise. 'Twould seem my hope only Rests in the thought — the belief, there is, none. Darkest the hour, &c. No. 13.— CHORUS AND SOLO.. Cho. Joy attend on Erminie, Hers be every earthly bliss, May her direst sorrows be Oft returning days like this. Let our poorest wishes be Joy attend on Erminie. Erm. Thanks, dear friends, my thanks receive, With good wishes you confuse, , That I'm grateful, pray believe, But at loss what words to use, I confess — to express How your wishes my heart touch, But I thank you. Thanks so much. Cho. Joy attend on Erminie, &c. No. 14.— LULLABY. 1 1 Erminie. calm, And hear her voice With love re - joice When g H-n - ^ 17 iiflg y -^ Jj-Jt # F^F^ JT I 1 L J^ =«3 nest -ling on her arm. I think how she soft - ly P J I 1 w - 2 & fc=3£ -•— *- press'd me, Of the tears in each glist'ning eye, As hej" £*= 3f= I & watch she'd keep, When she rock'd to sleep, Her mf ^S -• r =tc child with this lul - la - by. P $ gee Bye, bye, bye, bye, bye, h-t-r^^ ^ ES =fc= g^ bye, bye, bye, bye, bye, bye, bye, bye, bye.. p Vistesso tempo. £=*- N— N- £ m s=s= =*=st "5=-S *-iT *= jtazatzaCDC Bye, bye, drowsiness o'ertak-ing, Pret-ty li t-tle eye - lids -p-r 4-^- sleep, & Bye, bye, Watching till thou 'rtwak-irig, mf ?— y g— £^ =tz= 5fc5- Vr-rt$\ Darling be thy slum-ber deep. Bye, bye, i£*3E£ ^ Drow-si-ness o'er-tak- ing, Pret-ty lit - tie eye - lids sleep. M-- 18 fee Bye, bye, watching till thou 'rtwak-ing, rail, dim.^ ^.ftp^^". ^ i rat =£** Darling be thy slumbers deep ! bye, bye, bye, bye. 2 Ah, e'en when -her life was ebbing Her words were all of me, My future years, were all her fears Her fate 'twas not to see. 1 My father, I hear you weeping, As in sorrow you're standing nigh ; And my mother's plaint, in her accents faint Was this tender sweet lullaby. [Repeat chorus. No. is. — BALLAD — "THE SIGHING SWAIN," Erminie. A Ibver in his mirror gazed With visage wan and glare half dazed, * To see if thinner he had grown With love ; to hope, alas, unknown; He brushed his unkept locks aside With careless haste, and viewed with pride And morbid joy the lines of care That blighted dreams had planted there; With sigh and groan his bosom heaves, Desponding plaint alone relieves. 19 Ah me! Ah woe!' The deep-drawn sigh. Alack! Heigho ! -Oli love I die, Heigho I Ah woe ! Depressed, his spirits lower sink As wandering near the lakelet's brink, And in its surface — gazing on Once more his visage woe-begone, He brushed away the silent tear, But ne'er looked up to see, quite near, The goddess', Hope, with sweet desire To bid the hapless swain aspire ; He groaned and moaned, nor looked around, But drooping o'er, fell in and drowned, Ah me ! Ah woe ! &c. , Ko. 16.— SONG AND WHISTLING CHORUS- "WHAT THE DICKEY-BIRDS SAY." I I'm not too free an angent like all the rest of you, There's them as look arter my fate, I arks 'em for advice when I've anything to do, Their longing for my welfare's very great. Whenever I wish to steal from the night A few hours for to use in the day, Afore that I knows I'm a doin' what's right, I sees what the dickey-birds say. Chirp, chirp, chirp, chirp, In the shrillest tone — Chirp, chirp, chirp, chirp, In a tongue of their own. What their warbles and twitters convey, Taking their study and thought Ere the mind can be brought To define what the dickey-birds say. Chirp, chirp, chirp. 20 When brought before his beakshi^ my evidence to give, I'm alius in a dreadful state For fear I'll have to go to a settlement to live^ A penal one is sure to be my fate. Now, juries ain't 'very well up to their job, They for fear of confinement all day The verdict agree on by spinnin' a bob ; At least so the dickey-birds say. Chirp, chirp, chirp, chirp. i No. 17. — VOCAL GAVOTTE. mf Allegretto. ^E & =t ^ 1. Join in pleas - ures, dance a ^ =** =£3= fl^Z measure — Fond-ly treas ■ ure hours so bright, Prim se - i ^ — N-fr- 3Sfc £ ^ — I- 33 ¥ _^ J. 1 tv- =# - date - ly, Not too state - ly, Coldness great - ly mars de - I *= &be£ $=^ -*=& i? - light, Light-ly step with grace-ful bear-ing, Sui - ta - , & -\ — f — H P—P- =ti 5E -#*- ble pre- ci - sion show, Fin- ish comes of long pre ■ m ■¥■ -N— fS- ?Br ^ n - -TT - — -1 1 y~ a ' " Bf — tr =F par ing, "Vis-a - vis" and "dos a dos," * ^m 21 m fair -est belle with bravest beau, State-ly but with hearts a g.nir r - 3= * -JB»- 3* glow, In thrall sub - lime but meas - ured time, ^ •**=** jTm X» r •^t =rf ^E — » — »r Mat-ed all e - lat - ed go! O fair- est belle with i =5=?: S ' H— £ ±Zt -v— v- V- •^y-^ i fc; bravest beau, State-ly but with hearts a - glow, la i * * w=t m- thrall sub - lime but meas - tired time, I -+- Mat - ed all lat - ed go!. 2 Stepping sprightly, laughing lightly, Noisy chatter fills the throng, \ Animation cloaks flirtation, , Festive joys we'll still prolong, ' When the din of music's loudest ' Sighing swains may dare their fate, ^lead with meekest, dare the proudest In the mazy tete-a-tete. Fairest bells, &c. End of Act II. .A.OT TTT. No. 18.— CHORUS — "TO SUPPER.' Come, 'to supper let's repair, Dancing gives a zest For the viands, rich and rare ; Nimble feet must rest. Gaily have the hours flown Imperceptibly, Light fantastic bliss unknown, Sweetest melody. The table gay With justice claims \ Our mortal frames ; Away ! away ! No. 19. — "MELOS." [Music for change of scene. No. 20. — CONCERTED PIECE. — "GOOD-NIGHT." Cho. 'Tis growing late, 'tis growing late, And time indeed to end the fSte, Principals. Or we shall see the morning's light, Before we say to you good-night. Good-night, good-night, May dreams be bright, Good-night, good-night. 23 No. 2i. — FINALE. Erm. Should we gain, every heart is gay, Tra la, la, la, la, la, la, la, la ! And all rejoicing we shall go our way, Tifa la, la, la, la, la, la, la, la ! Erm. Let grace, not ire in your hearts abide, Let your smiles all our efforts guide ; In councils mild your decision guide; For "the taste of success is sweet. Erm. Tra la, la, la, la, la, la, la, la ! ■ Turn, i Deign, pray, to cheer each heart Kindly ere you depart ; A weight of care dismaying,, allaying, Say, with our efforts we gain here a victory, And Erminie triumphantly may long contrive to reign. The End. THE CELEBRATED SOBMER Grand, Square and Upright Are at present the most popular AND PEEFEEEED BY THE LEADING AETISTS, Tie SOHMER Hanos are used in tie Mowing Institutions: (Sonvent of the Sacred Heart, Manhattanville, iN.Y. Vogt's Conservatory of Music. Arnold's Conservatory of Music, Brooklyn. Philadelphia Conservatory of Music. Villa de Hales Convent, Long Island. N. T. Normal Conservatory of Music. Villa Maria Convent, Montreal. Vassar College, Pougbbeepeie. And most all the leading Srst-class theaters in NEW YOKE and BROOKLYN. THE WONDERFUL BIJOU GRAND (lately patented) by SOHMER & CO., the JSmMllest Grand ever manufactured (length only 6 feet) has created a sensation among musi- cians and artists. The music-loving public will find it in their interest to call at the warerooms °f SO HMER & CO. and examine the various Styles of Grands, Uprights and Square Pianos. ' The original and beautiful deBigns and im- provements in Grands and Upright Pianos de. serve special attention. Received First Print Centennial Exposition, Philadelphid, 1878. Received First Prize at Sxhioition, Montreal, Canada, 1881 and J.882. SOHMER & CO. MANUFACTURERS OF GRAND, SQUARE AND UPRIGHT PIANOFORTES, Warerooms, 149, 151, 153, 155 East 14th St., N. Y. *** >£te**t S-v^J* T » firm ' • »» *^ ^- P v- -> v - ■*■ " • * ■*" "'♦4 ^ * v> • J** *■ > . i ' *£ *. -«-