ENTREAT ME NOT TO LEAVE THEE Song of Ruth CHARLES GOUNOD Piano VOICE Sheet Music

ITEM 1.) Charles Gounod; ENTREAT ME NOT TO LEAVE THEE (Song of Ruth); Sheet Music; Piano / Voice; Complete Sheet Music; ????; G. Schirmer, Inc. #8744;

Dedicated to and sung by Mrs. Weldon;

Small Format;

English throughout;

From a "Songs Sacred & Secular by Charles Gounod";

Front Cover Artwork featuring text;

High Voice, Key of E;

Preprinted Cover Price of $ .85;

Inside Front Cover is first page of music;

No Title Page or Table of Contents;

Entreat me not to leave thee (Song of Ruth); From the Oratario "Ruth"; Words and Music by Charles Gounod;

Treble (Voice and Piano) and Bass (Piano) Clef;

1 Tune Total;

6 Pages of Music; With Lyrics;

Inside Rear Cover is last page of music;

Rear Cover has ad for "Sacred Songs";

Folded Panel Format;

Published by G. Schirmer, Inc.; New York, New York; Copyright ????;

Condition Good for age and the fact that it was "on display" for some time; Covers May Show Storage Wear; Pages Clean, Tight and Unmarked; PART of HINGE HAS FAILED;

The primary item was part of the collection of Henry J. Hauschild Jr., who billed himself as a “Physiognomist – Bibliopolist – Cognoscente di Eccellentissimo”, and was the very proud owner of the world famous "Nose Gallery” at “The Oldest House” in Victoria, Texas. Henry Senior founded the Hauschild Music Company which was later owned by his 8 children and eventually the four brothers before being closed in 1980; After the Opera House Restaurant failed, the space became the Bible Book Store and later Opera House Antiques; This item was mixed with the leftover inventory of the Music Store and at one time was on consignment at the Bible Book Store;

"Musicologist and historian, Delmer Rogers, longtime member of the staff of the Department of Music at the University of Texas, is of the opinion that the Hauschild Music Company, founded in Victoria, Texas in 1891, was the second oldest institution to commercially publish sheet music in Texas. (Thos. Goggan of Houston being the first.) Also, his extensive research indicates that Hauschild's was the first in Texas to issues music with Spanish titles. About thirty were published, many by talented writers, and sold in large numbers. In addition, probing seems to prove that Hauschilds was the first to publish the efforts of several of the music-loving Germans of the area. Most interesting, too, is that the spritely composition, the Cowboy Rag offered in 1904 possibly was the purcursor of this genre of popular music." taken from "The Cognoscenti Collections";

HISTORICAL NOTE: "THIS PIECE IS OFTEN CONSIDERED TO BE WEDDING MUSIC !!!";

HISTORICAL NOTE: "Charles-François Gounod (17 June 1818 – 17 October or 18 October 1893) was a French composer, known for his Ave Maria as well as his operas Faust & Roméo et Juliette. Gounod was born in Paris, the son of a pianist mother & an artist father. His mother was his 1st piano teacher. Under her tutelage, Gounod 1st showed his musical talents. He entered the Paris Conservatoire, where he studied under Fromental Halévy & Pierre Zimmermann (he later married Zimmermann's daughter). In 1839, he won the Prix de Rome for his cantata Fernand. He was following his father; François-Louis Gounod (d. 1823) had won the 2nd Prix de Rome in painting in 1783. While in Italy, Gounod studied the music of Palestrina & other sacred works of the 16th century; these he never ceased to cherish. Around 1846-47 he gave serious consideration to joining the priesthood, but he changed his mind before actually taking holy orders, & went back to composition. In 1854, Gounod completed a Messe Solennelle, also known as the Saint Cecilia Mass. This work was 1st performed, in its entirety, for the church of Saint Eustache in Paris on Saint Cecilia's Day, November 22, 1855; from this rendition dates Gounod's fame as a noteworthy composer. During 1855 Gounod wrote two symphonies. His Symphony No. 1 in D major was the inspiration for the Symphony in C, composed later that year by Georges Bizet, who was then Gounod's 17-year-old student. In the CD era a few recordings of these pieces have emerged: by Michel Plasson conducting the Orchestre national du Capitole de Toulouse, & by Sir Neville Marriner with the Academy of St. Martin in the Fields. Fanny Mendelssohn, sister of Felix Mendelssohn, introduced the keyboard music of Johann Sebastian Bach to Gounod, who came to revere Bach. For him, The Well-Tempered Clavier was "the law to pianoforte study...the unquestioned textbook of musical composition". It inspired Gounod to devise an improvisation of a melody over the C major Prelude (BWV 846) from the collection's 1st book. To this melody, in 1859 (after the deaths of both Mendelssohn siblings), Gounod fitted the words of the Ave Maria, resulting in a setting that became world-famous. Gounod wrote his 1st opera, Sapho, in 1851, at the urging of a friend of his, the singer Pauline Viardot; it was a commercial failure. He had no great theatrical success until Faust (1859), derived from Goethe. This remains the composition for which he is best known; & although it took a while to achieve popularity, it became one of the most frequently staged operas of all time, with no fewer than 2,000 performances of the work having taken place by 1975 at the Paris Opéra alone, not counting other theatres. The romantic & melodious Roméo et Juliette (based on the Shakespeare play Romeo & Juliet), premiered in 1867, is revived now & then but has never come close to matching Faust's popular following. Mireille, 1st performed in 1864, has been admired by connoisseurs rather than by the general public. The other Gounod operas have fallen into oblivion. From 1870 to 1874 Gounod lived in England, becoming the 1st conductor of what is now the Royal Choral Society. Much of his music from this time is vocal. He became entangled with the amateur English singer Georgina Weldon, a relationship (platonic, it seems) which ended in great acrimony & embittered litigation. Gounod had lodged with Weldon & her husband in London's Tavistock House. Later in his life, Gounod returned to his early religious impulses, writing much sacred music. His Pontifical Anthem (Marche Pontificale, 1869) eventually (1949) became the official national anthem of Vatican City. He expressed a desire to compose his Messe à la mémoire de Jeanne d'Arc (1887) while kneeling on the stone on which Joan of Arc knelt at the coronation of Charles VII of France. A devout Catholic, he had on his piano a music-rack in which was carved an image of the face of Jesus. He was made a Grand Officer of the Légion d'honneur in July 1888. In 1893, shortly after he had put the finishing touches to a requiem written for his grandson, he died of a stroke in Saint-Cloud, France. One of Gounod's short pieces for piano, "Funeral March of a Marionette", received a new & unexpected lease of life from 1955 when it was 1st used as the theme for the television series Alfred Hitchcock Presents. His secular piano-accompanied songs were numerous & much praised by Ravel, but are seldom heard in recitals today. Operas: Sapho (1851, revised 1884); La nonne sanglante (1854); Le médecin malgré lui (1858); Faust (1859, revised 1869); Philémon et Baucis (1860, revised 1876); La colombe (1860); La reine de Saba (1862); Mireille (1864); Roméo et Juliette (1867, revised 1888); Cinq-Mars (1877); Polyeucte (1878); Le tribut de Zamora (1881); Maître Pierre (incomplete, 1877–84). Oratorios: Tobie (1854); Gallia (1871); Jésus sur le lac de Tibériade (1873); La rédemption (1882) (commissioned for, & premiered at the Birmingham Triennial Music Festival); Christus factus est (1842); Mors et vita (1884); Requiem (1891). Symphonies: Symphony No. 1 in D major (1855) (probably begun around 1843); Symphony No. 2 in E flat major (1855). Chamber music: String Quartet in A minor (1895); String Quartet No. 1 in C Major "Le petit quatuor" (discovered in 1993); String Quartet No. 2 in A Major (discovered in 1993); String Quartet No. 3 in F Major (discovered in 1993); String Quartet in A minor (published as No. 3) (discovered in 1993); String Quartet in G Major (discovered in 1993); String Quartet in G minor (discovered in 1993); Petite symphonie pour neuf instruments à vent (1885) 'Little Symphony for Winds'. Other instrumental: Marche pontificale composed for Pope Pius IX's silver jubilee of priestly ordination in 1869. Since 24 December 1949 it has been the official Papal Anthem; Funeral March of a Marionette for piano solo (1872), orchestrated (1879), well-known for being the theme music to the TV series Alfred Hitchcock Presents & The Alfred Hitchcock Hour.; Works for organ.";

HISTORICAL NOTE: "Georgina Weldon (24 May 1837 – 11 January 1914) was a British campaigner against the lunacy laws, a celebrated litigant & noted amateur soprano of the Victorian era. Georgina Weldon (née Thomas) was born at Tooting Lodge, Clapham Common in 1837, the eldest of three daughters & two sons of Morgan Thomas (1803–1867), a member of the Welsh landed gentry, & his wife, Louisa Frances, daughter of John Apsley Dalrymple of Mayfield in Sussex. Her father was a non-practising barrister, having inherited a large sum of money from his father & uncle, & concentrated on becoming Conservative Party MP for Coventry. She spent most of her childhood in Florence in Italy, & her soprano singing voice was trained by her mother, except for a few lessons she had in 1855 with Jules de Glimes in Brussels. The Thomas family changed its name to Treherne in 1856, the surname of Morgan Thomas' ancestors up to the mid-18th century. On 21 April 1860, & against her father's wishes, she married William Henry Weldon, a lieutenant in the 18th Royal Hussars, causing her father to promptly disinherit her. Georgina Weldon hoped to follow a career on the stage but her husband, like her father before him, refused to allow her to appear as a professional & she was restricted to performing in amateur theatricals & charity concerts. By 1869 Weldon's childless marriage was breaking down. At this time she devised a scheme for a National Training School of Music to teach music to poor children. The Weldons took over the lease of Tavistock House in London's Bloomsbury, which she filled with orphans, following a then highly progressive plan of education. She joined Henry David Leslie's famous choir, through which she met the French composer Charles Gounod in March 1871. That year Georgina Weldon sang the solo in Mendelssohn's Hear my Prayer at several venues in London, & took the solo soprano part in Gounod's cantata Gallia at the Conservatoire de Paris & the Opéra-Comique in Paris. By November 1871 Gounod, who was in poor health, had moved into Tavistock House with Mr & Mrs Weldon. This close association with the composer benefitted Weldon's singing career. It has been suggested that Georgina & Gounod were lovers, & that he had promised her the title role in his opera Polyeucte when it opened in Paris. However, Gounod became increasingly disturbed by the gossip about the ‘Weldon Affair’, & in June 1874 he returned to his wife in Paris. Feeling slighted by Gounod's departure, Georgina Weldon refused to send on his personal belongings, including the draft of his opera Polyeucte. When he asked her to return these belongings to him, she insisted that he return to London to claim them from her in person. Only when he had virtually reconstructed the musical score nearly a year later, did she return the original draft to him with her name scrawled diagonally across each page in crayon. She then instigated a number of lawsuits against him for libel, attempting to sue him for £10,000, but none of the actions was successful. Instead, in 1880 & again in 1885, she herself was imprisoned for libels connected with her musical career. By 1875 Harry Weldon had tired of his wife's orphanage scheme & her growing interest in spiritualism. The couple separated & he gave Georgina the lease to Tavistock House & £1000 a year as a financial settlement. In 1878 Harry Weldon wanted to reduce or stop this payment, & he tried to use Georgina's interest in spiritualism to prove that she was insane in an attempt to have her confined in a lunatic asylum kept by L. Forbes Winslow. Georgina was seen by the necessary two doctors, who obtained an interview with her under false pretences, pretending they were interested in her musical orphanage, & they signed the lunacy order. Georgina realised that something was wrong &, when people from the asylum arrived to take her away by force, she escaped & evaded capture for the seven days that the order remained valid. She then went to Bow Street Magistrates' Court to press charges for assault. The magistrate sympathised with her situation & was convinced that she was sane, but, under Victorian law, a married woman could not instigate a civil suit against her husband. However, having proved her point, Mrs Weldon publicised her story by giving interviews to the daily newspapers & the spiritualist press in an attempt to provoke her husband & the two doctors into suing her for libel. In 1882 Georgina Weldon successfully sued her husband for the restoration of her conjugal rights, but he refused to return to Tavistock House, the marital home. The passing of the Married Women's Property Act in 1882 allowed her to instigate the civil suit against her husband she had wanted to pursue in 1878. Between 1883 & 1888 she successfully sued all those involved in trying to have her committed in 1878, at one stage in 1884 having seventeen cases in progress at the same time. She always represented herself & conducted all her cases without legal counsel. She became known as the 'Portia of the Law Courts', & her image appeared everywhere, even in an advertisement for Pears Soap. To finance her legal actions in 1884 she would sing two songs an evening at the London Pavilion music hall, & in 1886 appeared in a brief run of the melodrama Not Alone, but this was not a success. By the late 1880s Georgina Weldon's popularity had waned. In her latter years she was a paying guest for 12 years at a convent in Gisors in France where she became a keen gardener & where she wrote her memoirs. She was thrust into the spotlight again through her association with the descendants of Karl Wilhelm Naundorff, a pretender to the title of Louis XVII of France. By now tired of her, the public ignored Weldon's book Louis XVII, or, The Arab Jew, & her eight volumes of legal memoirs. She took part in a series of séances during which she claimed to have contacted the recently deceased Gounod. Becoming increasingly impoverished, she returned to London in 1905, where she began an unsuccessful libel action to clear her name with Gounod's biographers. Her final years were spent in London & Brighton, where she died at 6 Sillwood Street on 11 January 1914.";