of thou know that fair land? from Mignon, the Jewel Waltz from Faust, the Page's Song from Les Huguenots, the Miserere, the Prayer from Cavalleria Rusticana, the Bach-Gounod Ave Maria, Depuis le jour from Louise, the Gavotte from Manon, Pleurez mes yeux from Le Cid, the Drinking Song from La Traviata, the Ave Maria from Otello, Plus grand dans son obscurité from Gounod's La Reine de Saba, and Che faro senza Euridice? will be as familiar to his little ears as Dixie or the stolen strains of America.
In like manner he will accustom himself to the delights of Kreisler's Caprice Viennois and Tambourin Chinois, Beethoven's two violin Romances, the Bach air arranged for the G string, the Preislied from Die Meistersinger, arranged for violin by Wilhelmj, Pierné's Sérénade, Dvořák's Humoresque. . . . As for the concert repertory, he will hear the overtures to Euryanthe and Oberon, Il Barbiere di Siviglia, Tannhäuser, Sakuntala, Semiramide, and such concert pieces and tone-poems as the Danse Macabre, Phaëton, Mephistowaltzer, Les Préludes, the orchestrated rhapsodies of Liszt, Rimsky-Korsakoff's Spanish Caprice, the Arlésienne Suite, the Peer Gynt Suite, a number of Strauss waltzes, Massenet's Elégie, the entr'actes from The Jewels of the Madonna, certain ballet airs of Gluck, etc.
