Souvenir of Liberati's Concert Band and Grand Opera Company of N.Y. City

              SOUVENIR
OF
LIBERATI'S
CONCERT BAND AND GRAND OPERA COMPANY of N. Y. CITY

Figure


SEASON 1908–9


UNDER THE PERSONAL DIRECTION
OF
ALESSANDRO LIBERATI THE IMPERIAL CORNET VIRTUOSO and BAND MASTER




Figure


Figure

SOUVENIR of LIBERATIS CONCERT BAND
AND
GRAND OPERA COMPANY
OF NEW YORK CITY
SEASON 1908–9

70 Talented Musicians 70

20—Great Vocal Artists—20

And a Grand Array of Instrumental Soloists

In a Series of Musical Festivals

Under the personal direction of the Imperial Cornet Virtuoso and Band Master

ALESSANDRO LIBERATI



A. B. MORSE CO., ST. JOSEPH, MICH.




FOREWORD
THIS modest brochure, intended as a souvenir for his friends throughout the world, contains portraits of Signor Liberati reproduced from photographs taken at varied periods of his remarkable career; also scenes at the ancient and picturesque Italian city of Frascati, the place of his nativity, as well as a few of the many scenes from Operas produced under his direction, and portraits of the principal artists of his Company.  It will also serve to remind those desiring a first-class musical attraction that there is no other attraction organized upon similar lines; that Signor Liberati, in addition to a clear record of 36 years as Virtuoso, Conductor and Impressario upon this side of the Atlantic, always presents vocal soloists such as are heard elsewhere only in first-class grand opera companies, and never fails to attract and entertain to perfection large and remunerative audiences; and it will give admirers of high-class music an idea of what they may have an opportunity to see and hear during the season of 1908–9.

In this brochure will be found several interesting press comments which were not given space in the first edition already exhausted.





Scene at Frascati, Birthplace of Signor Liberati.



The Capitol, Des Moines, Ia., Aug. 28, '05.
Liberati and his band gave a large audience a program which was faultless from the artistic standpoint and was appreciated by every one present.  The cornet solos by Liberati revealed the man's mastery of his instrument and showed that the reputation which he has had for so many years has rested on a firm foundation.



Some Other Scenes at Frascati, Showing Gardens of Ancient Villas.



The Capital, Des Moines, Iowa, Monday, August 27, 1906.
MUSIC DAY IS POPULAR.
Yesterday's record breaking attendance demonstrated that rapidly growing popularity of Music Day at the State Fair.  When the first Sunday band concert was given at the State fair grounds, the attendance was only 1,664.  Yesterday there were over 10,000 people during
 the afternoon to hear the great Liberati Band, an increase of nearly 2,500 over last year and over five times as many as two years ago.
Liberati and his famous band were no disappointment to the great crowd, either.  Liberati himself also favored the audience with several cornet solos, and showed that he still must be ranked as one of the greatest cornetists in the world.  A feature of the program, however, was the introduction of the Liberati American fanfare detail in the opening marches.  The singing of the quartet which accompanies the band is also of a high order.



Figure



The Capital, Des Moines, Ia., August 24, 1908.
LIBERATI.
Liberati is a favorite with the people of Iowa.  He is one of the great band masters of the world.  He is not only a wonderful cornetist, but he knows what constitutes a splendid band and he spares no expense in surrounding himself with the best musicians.
The playing of Liberati and his band at the Iowa state fair this week will be a revelation to the people.  The instrumental music, supplemented by the singing of his grand opera stars, will bring the people in touch with the very best known to the musical art and will make the musical features of the event something long to be remembered.
This portrait of Sig. Liberati was taken in a village in the Tyrol when he was serving as a private soldier in the Ninth Regiment, Italian Volunteers, under Col. Menotti Garabaldi, 1866.
This and the foregoing portraits of Sig. Liberati will explain why he has had thirty-six years of success as conductor of a Military Band.  He has carried a gun himself, and blown a bugle that inspired his comrades in more than one battle.
It is to be regretted that photographs of Sig. Liberati taken when serving in the Papal Guard and later in the U. S. Navy, cannot be found at this time.  It is hoped they may be secured for a later edition.




A Few More of the Beautiful and Inspiring Scenes at Frascati.




As First Cornetist in First Reg't King's Brigade, Italian Army, 1867.



The Republic, St. Louis, September 2, 1889.
THE EXPOSITION—LIBERATI GIVEN A GRAND RECEPTION
Liberati's Band is all that could be asked for.  And to prove the utter fallacy of the cold-water thrower, it can be said that never before has the attendance at the beginning approached nearly to that of this season.  The receipts of the first three days of this season lack only $200 of being double that of the first days of the best year previous to this.



The Republican, St. Louis, September 26, 1884.
LIBERATI AND HIS CORNET BLOWING UP THE RECEIPTS.
It is in no wise too great an estimate of the cash receipts of the Exposition yesterday made from a partial count of the boxes at half past eight last night that the total of the day will exceed $3,400.  The actual receipts of the day before were $2,500.
The cornet playing of Liberati was received with the utmost enthusiasm.  He is an artist of the first quality, not merely a trickster with an instrument he has studied, but a musicion who knows how to bend his instrument to his will.  He is the superior of any of the famous men who have made fame and fortune in their art.




Post-Despatch, St. Louis, September 6, 1888.
Liberati has won his way through the ears of his auditors straight to their hearts, and he need have no fear that his melody enters one ear only to go out the other.


Democrat, St. Louis, September 9, 1888.
Yesterday was the last day of the Liberati military band at the Exposition.  Liberati and his musicians have departed for other fields where their engagements must be met, but before going they furnished some grand music.  The audience knew that it was the last they would get of the Liberati music for the season, and recalled the players again and again at both the afternoon and evening performances.


Cleveland Plain Dealer, Cleveland, O., July 28, 1907.
LIBERATI IS HONORED—LUNA PARK MANAGEMENT PRESENTS SUCCESSFUL BAND LEADER WITH LOVING CUP.
The management of Luna park presented Sig.  nor Liberati a silver loving cup as a token of appreciation for his services at the park for the last eight weeks.
The presentation speech was made by Wilson G. Smith from the bandstand.  The people cheered after Liberati's response to Mr. Wilson's remarks.
Liberati's engagement was the longest ever fulfilled by a visiting band in this city.  The band took the boat for Detroit last night.



As Volunteer in the Foreign Legion, Fifth Battalion, in the Franco-Prussion War. Photo taken at Regensburg, Bavaria, while a prisoner of war, 1871.




As Bandmaster of Artillery and Cornet Soloist to His Excellency, Earl Dufferin, Governor-General of Canada, 1873.



Boston Herald, Aug. 16, 1886.
OPENING OF THE MID-SUMMER FESTIVAL AT THE PINES.
Signor Liberati, the cornet soloist, however, created the sensation of the day, and this great artist surpassed all his previous achievements on this occasion, carrying the audience to the very heights of enthusiasm in their demonstrations of delight at his superb performances.  Recall after recall was responded to at the conclusion of each of his announced numbers, and the variations of his own added as his final number in the evening concert exceeded, as an illustration of his command of the technique of his instrument, any exhibition he has ever given here of his surprising abilities as a cornet player.




The Oregonian, Portland, Oregon, July 5, 1905.
The Oregonian of Portland thus comments on Liberati:
Liberati is a 'safe and sane' master of bands.  After the frenzied gyrations and mane-shaking, it is a relief most blessed to see him in the very act of leading his musicians.  He wields his baton with such dignity as might have invested the baton of a marshall of France in the days of Wagram.
And when Liberati plays his inspired cornet, no one may question the genius of him.  His spirit is a fellow with the spirit of music, the one knowing and loving and confident in the other.  That's why he is a great master, above the affectations that make mere acrobatic tune players of so many musicians of the hairy cult.  He is 'safe and sane.'



The Capital, Des Moines, Ia., Aug. 24, 1908.
LIBERATI TRIUMPHS—CONCERT BAND AND OPERA SINGERS CHIEF ATTRACTIONS.
Music day at the fair Sunday was a tri umph of music for Signor Liberati, his admirable concert band and his eighteen grand opera singers.
Both programs began with Liberati's own swinging heroic Our Iowa.  Each time it was encored and the repetition of it but increased the spirited appreciation of the thousands.
By 5 o'clock in the afternoon, before the evening crowd had really commenced to gather, the gate receipts for the day exceeded that of last year by over $ 1,000.  The total gate receipts yesterday was $ 3,040.25, as compared to $ 1,876.75 one year ago.



At the Present Time.




The Morning Call, San Francisco, April 26, 1886.
SIGNOR LIBERATI SERENADED.
Despite the late hour.  11 o'clock, a large number of persons assembled at the Palace Hotel last night to hear the serenade tendered to Sig.  A. Liberati, the celebrated cornetist.  After the band had rendered Bronze Horse (Auber) and a selection from La Vestale (Mercadante), Sig. Liberati, in response to a unanimous call, came forward and returned thanks for the welcome.  He then played Souvenir de la Suisse, a composition of his own, and in response to a determined encore gave a romanza, Non e ver (Tito Mattei).  His execution and phrasing showed the true artist.



Daily Record-Union, Sacramento, Cal., June 5, 1886.
COMPLIMENTARY SERENADE.
Sig. Alessandro Liberati, who enjoys the reputation of being one of the best cornet soloists living, is stopping for a few days at the Golden Eagle Hotel in this city, having come to the coast on a pleasure trip.  Last evening the First Artillery Band complimented the distinguished musician with a serenade in front of the hotel about 10 o'clock.  After the band played a couple of pieces, Signor Liberati made his appearance, and, giving the band some sheet music of his own composition, played with them, he carrying the solo parts, Souvenir de la Swiss, and afterwards the old plantation song, Massa's in de Cold, Cold Ground.  The music attracted the attention of all passers-by and those residing in the neighborhood, and soon an assemblage was gathered of several hundred citizens.  Liberati's ability as a cornet player fairly electrified his hearers.  Such playing is seldom heard.  The purity of tone, technical skill and remarkable expression stamp him as an artist of the first rank.  His music
was greeted with a tremendous burst of applause, to which he quietly bowed his acknowledgments.  The management of the open air concerts has prevailed upon Sig. Liberati to give an exhibition of his skill at the open air concert at Capitol Park on Sunday evening.  This will give all an opportunity to hear this great musician.



San Jose Mercury, May 19, 1886.
A MUSICIAN'S WELCOME.
Signor Liberati, an eminent cornetist, arrived in this city from San Francisco on Monday evening.  The event created quite a stir among the local musicians as the visitor ranks with such masters of the cornet as Levy and Arbuckle.  The Signor's visit to the coast has been prompted by a desire for rest, his services in the east being constantly in demand.  At 11 o'clock last night, in response to a charming serenade tendered by Parkman's Band, the artist gave a splendid exhibition of his talent as a soloist upon his favorite instrument.  The entertainment took place where the gentleman is visiting friends.



The Oregonian, Portland, Oregon, July 2, 1905.
Liberati's Band, by the way, has already won Portland by its excellent music, and it is the peer of any musical organization that ever appeared in the city.


An incident in the G. A. R. National Reunion in Philadelphia, September 5th, 1899.


Liberati, Premier Cornetist, with his band of 112, playing his Kansas City Star March, as the head of the great procession reached President McKinley's reviewing stand.  (Sig. Liberati, on horse-back, at the left of the picture.)



Liberati looked the incarnation of a premiership of military music.—
“The Times,” September 6, 1899.


Liberati passes the Inquirer amid scenes of enthusiasm.—
“The Inquirer,” September 6, 1899.


The largest band that ever paraded in this country.—
“The Record,” September 6, 1899.



From the Minneapolis Tribune.
THE WONDERFUL MUSIC OF LIBERATI INSPIRES A ST. PAUL MINISTER—HIS SERMON.
On Sunday evening Rev. Dr. H. C. Mabie, D. D., lectured upon the more important features of the Art department, of which he spoke in very complimentary terms.  In the morning sermon, at the First Baptist Church, after speaking from the subject, The World's Imperialism at Messiah's Feet, he closed by paying a very handsome tribute to the wonderful musician, Liberati, now playing daily to thousands who visit the great exposition.  He said:—
I wish to refer to that wondrous leadership which some few have witnessed in the past few weeks in our sister city.  We have seen one of those prodigies of musical interpretation stand before this band with a control which is sublime, and while his soul interpreted the whole majestic composition of one or other of the great masters, his majestic wand has compelled the several parts of the great orchestra to give to him their parts according to his interpretation.
As I have watched the baton of Liberati, and seen his susceptible soul quiver through every muscle of his form like some mighty engine in a slightly timbered vessel, and heard the strains of the many instruments melt into the one accented harmony of the sublime whole, as if it all floated from the wand of the single Liberati,, I have thought of the Sor of Man in some coming millenniel age, standing thus among the players on Life's instruments—a countless multitude, with each instrument so tuned and each personality so responsive to His magnetic glance, so prepared by divine affinity to anticipate His faintest wish, as though He would draw from the redeemed universe one grand oratorio of life.  I can think of no higher heaven, there could be no grander earth than one in which all instruments of life were tuning and rehearsing for the final oratorio.
Now think you, will there be more than one Liberati in that final choir—a Liberati, indeed, setting free the harmonies of all the spheres?  Can any instrument which God has made be spared from the final orchestra?  Will any foreign instrument, that has not been voiced to the unique whole, and harmonized with that of the Director, think to break in upon that last great composition?  Why, in that famous band yonder Liberati is the one composite personage.  There was a time when each performer sought to perfect his control of his own instrument, but afterwards there came a time when
 each sought to blend his instrument with the whole orchestra, and especially with Liberati.  You don't go to hear this or that individual.
You go to hear 'Liberati.'  Every member of the band has sought, or rather found, his proper individuality in the master artist.  He wears upon his very cap the name 'Liberati.'  All individualism melts into him, is proud of him, glories in him, and his glory is upon them all.  John in Revelation says: 'And His name shall be in their foreheads;' because His name was first in their hearts and in their life pursuits—all woven into the pattern of the one divine man.  'God over all blessed forever.'  Christian, do your utmost to perfect your part, but don't forget the blending for which all the drill of life is but the preparation.  Do you want to know what you are?  You will never know until you see your 'Liberati,' and feel him draw you out and interpret you in relation to himself and to your brother artists.  Do you want to know what Christ is?  You will never know until you see assembled His mighty orchestra of the eternities, and see Him live, and throb and look, and hear Him speak in the th
ousand times ten thousand players, reflecting the harmonies of his divine soul back upon himself, and dissolving with the sunshine of his own rapture forever.



The St. Paul Pioneer Press, Sept. 9th, 1887.
Liberati's appearance was the signal for universal and uproarious applause.  And such music!  Liberati in particular receiving a perfect ovation from the directors, management and a number of enthusiastic newspaper men, who carried him in triumph to their headquarters.  All testified that they had never heard such music.  Liberati was the hero of the hour, and one and all, both great and small, rivalled each other in singing his praise.


Sacramento Bee, September 20, 1890.
THE FAIR PECUNIARLY SAVED BY THE GREAT ATTRACTION OF LIBERTI'S BAND.
Liberati's Band outdid itself last night.  * * * * This has not been an auspicious year for fairs.  * * * * * So that, taking everything into consideration, and remembering the fair has been pecuniarly saved by the great attraction of Liberati's band, it may be stated that the result of the California State Exposition this year will exceed the not over sanguine expectations of the directors and citizens generally.




Evening Telegram, Jan. 28, 1902.
SIG. LIBERATI IN PORTLAND.—HE OPENED THE PORTLAND EXPOSITION IN 1889 AND APPEARED HERE AGAIN IN 1890 AND 1893.
Portland is today honored by a visit from its old friend, Sig.  Alessandro Liberati, the world renowned bandmaster and cornetist.  Sig. Liberati is called the friend of Portland, advisedly for no musician is better known here, and certainly none has ever won a warmer place in the hearts of Portland music lovers.
It was Sig. Liberati, with his silver voiced cornet and excellent band, who opened the Portland Exposition and won the plaudits of the thousands of visitors who attended the opening year.  This was 1889.  It was Sig. Liberati who was prevailed upon to return the following year and again in 1893.  His genius as a bandmaster, skill as a cornetist, and peerless band took Portland by storm.
Since leaving Portland, Sig. Liberati has continued upon his triumphal career, adding laurels to his reputation wherever he appeared.  He still carries the gold watch presented him by the citizens of Portland, gold medal presented him by the exposition management and gold match box presented by ex-Governor Sylvester Pennoyer.  He has 14 medals.
The noted bandmaster is on the Pacific Coast for recreation, having had a busy concert season in the East and South last summer.  He now has two bands, the larger one numbering 56 musicians, wintering in New York.
Like wine, Sig. Liberati has improved with age as a cornetist.  This was eloquently attested by a few friends who prevailed upon him to let loose a few clarion notes on his gold cornet in his rooms at the Portland this morning.  He himself says that he would be ashamed to play now as he did when he was last in Portland.  He feels that he has improved with practice.  The laudatory press notices given him throughout the East the past three years are evidence that he is not deceived in his own measure of himself.
Perhaps the greatest triumph achieved in this country by Liberati was in September, 1899, when, with his band of 112 musicians, he passed the reviewing stand of President McKinley at the G. A. R. re-union in Philadelphia.




Some of the many tokens of esteem presented to Sig. Liberati by admiring friends.




Kansas City Journal, Sept. 31, 1888.
The important event of the evening was reached when Signor Liberati took the stand to play his famous cornet solo, Past and Future, by request.  He was loudly applauded in advance, and when he had finished the great building rang with thunders of applause.  After waiting some minutes for the applause to subside, Mr. T. B. Grasty ascended the rostrum and requested the audience to restore order.  He then introduced Augustine Gallagher, who presented the signor with a beautiful badge, making the following address:
SIGNOR LIBERATI: Obeying the request of the Exposition management and the ladies of Kansas City, I now assume the pleasant office of tendering to you the congratulations of a people, grateful for the excellent music you have given them.  Upon you we bestow the title and honor of being one of the foremost exponents of the talent for which your native land is famed, and we turn to Italy with gratitude for having sent Alessandro Liberati.  Never forgetful of those they love, I am instructed to invest you with this memento of your sojourn among us, and coming, as it does, from the ladies of Kansas City, I count you more than fortunate in possessing the talent necessary to draw out such appreciation and for being accorded what is due to you.
You may wear costlier emblems of your greatness, given to you with more pomp, but you will never wear a badge of purer metal, set with brighter gems, given by a people who desire to remember and be remembered more happily than this, and we will deem it a special pleasure to welcome you back again.



The Daily News, Denver, Colo., July 26, 1905.
Liberati.  To those who heard him and his grand military band and concert company last night at the Broadway Theatre the one word is enough—the imperial cornet virtuoso and bandmaster, Signor A. Liberati.
Denver has listened to other great military bands, but never until last night has a Denver audience listened to better music from a band.
Liberati's is truly a concert band, unlike most bands playing classical music with the artistic finish of a great orchestra, and the audience was appreciative and demonstrative in spite of the sultry night.




Cleveland Plain Dealer, Cleveland, Ohio, June 29, 1908.
LUNA PARK.
It demands more or less bravery upon the part of a band master to undertake grand opera selections in the open air, especially after nightfall.  After seeing and hearing what Liberati has achieved along this line the principal surprise is that he has been able to secure so many singers of quality for the undertaking.  The programs offered yesterday afternoon and evening showed good singing material and gave excellent results when the difficulties are taken into consideration.
Liberati's band is one of the most efficient musical organizations in the country.  The leader has shown no inclination to sacrifice the artistic side of his work for the popular acclaim.  It must not be understood that his programs are without the elements of popularity for he has shown due regard for both sides of the question.  Last night his offerings included selections from Pagliacci, Tchawaikolsky, Mendelssohn and Verdi and his encores were of the type that set the feet to tapping and caused lips to prepare for whistling.
In technic Liberati has a way of handling his band that makes it far superior to the average musical organizations to be heard in summer parks.  He differentiates with much clarity between a musical sound and a noise.  Where quiet is called for, Liberati gives ample attention to the requirements.  It is to this as much as to any other factor that the beauty of his musical selections is due.  It is a distinct treat to hear the overture from Ruy Blas as rendered by this band.  If there are 50,000 teachers in Cleveland this week none of them who appreciates good music can afford to miss hearing Liberati's band.



The Seattle Times, Jan. 30, 1902.
LIBERATI AT THE PLYMOUTH.
When the editor of the Times was one of the directors of the Minneapolis Industrial Exposition—the greatest ever undertaken in the central west—the best military bands of the world were employed to furnish music during the years intervening between 1886 and 1893—as will easily be demonstrated when attention is called to the fact that the famous Mexican band of sixty pieces furnished the music at the first industrial exposition in 1886—the 69th New York Regimental of 70 pieces, Pat Gilmore's great musical organization and the Austrian Orchestra from Vienna under the leadership of the renowned Edward Strauss in other years—and Sig. Liberati during the season of 1887.
Such musical organizations with their famous leaders furnished ample opportunity for comparison and the people never differed as to the superiority of the consummate skill and splendid leadership of Sig. Liberati.
There have been a few great cornetists before the American people in the last quarter of a century, but we believe that it is the verdict of those who have heard them all that Liberati stands at the head.




Liberati's American Fanfare Detail (one of the features that must be seen and heard to be properly appreciated—an original idea with Sig. Liberati and a positive novelty, the embodiment of inspiring military music.)


In the following pages will be seen one of the many selections in which the above Fanfare Detail is introduced and also it represents one of the musical souvenirs which are presented to every lady attending the souvenir performances during the Liberati engagement.



SOUVENIR
CHARACTERISTIC MARCH.
By A. LIBERATI.

Figure


Copyright, 1905, by A. Liberata.

In order to accommodate many brother musicians throughout the country who have requested military band arrangements of the above and other similar selections, we have decided to publish a few of the most striking and popular compositions in which the fanfare effects are produced.  Among others the following: Our Commander-in-Chief, Our Hero in Command, Our Governor, Our Alaska-Youkon Exposition, Our Iowa.



Figure


These are the very latest productions.  While they are effective, yet they are simple and unpretentious.  The simplicity of the melody renders them easy to play.  They will be of great value either in small or large military bands.  The effect of the martial strains is majestic and full of military dash.





MISS SPERANZA LIBERATI
Daughter of Sig. A. Liberati and Conductor of the Vocal Contingent




Lincoln, Nebraska, Daily Star, September 1, 1908.
STATE FAIR DRAWS BIG CROWDS.—LIBERATI BAND.
The chief attraction in the musical line on the grounds is the military band and concert company led by Signor A. Liberati.  They give three programs every day in the auditorium and one in the evening at the quarter stretch before the grand stand.  At the first sounds of the music in the auditorium the people began to gather from all parts of the grounds and all the concerts are well attended.  Both the vocal and instrumental selections are liberally cheered.



The State Journal, Lincoln, Nebraska, September 7, 1907.
SOME LAST DAY SCENES AT THE FAIR.
Liberati loves the dramatic.  After his last performance at horticultural hall where the large crowd listening would not be content to let him go but kept encoring and encoring until the obliging Signor was compelled to refuse, this band leader from sunny Italy led his orchestra up to administration building where all was hustle and hurry in the efforts to settle up business so that exhibitors would be able to get away.  He lined them up in front, took a position on the steps and played—played three of the most popular pieces which Americans can choose.  The applause of the hastily gathered crowd was deafening, every office was emptied of its occupants, work was temporarily stopped while the strains of Star Spangled Banner,America, and Auld Lang Syne floated through the air.  At its conclusion the managers who had seized the opportunity to make a fitting close of the fair presented through Peter Youngers, the president, the check for $ 2,500 that had been his stipend.  Mr
.Youngers also thanked the musician for the pleasure he had given the people of Nebraska by his rare talent.



The Cleveland News, Tuesday, June 12, 1906.
AT LUNA PARK.
Liberati gave a Wagner program at Luna Park, Monday night, and proved that he could please musicians as well as the crowd.




MISS KATHERINE KLARER
as Santuzza in Cavalleria Rusticana



SIG. GIULIANI
as Turiddu in Cavalleria Rusticana




Cincinnati Enquirer, Cincinnati, Ohio, July 27, 1908.
LIBERATI AT LAGOON.
Under ordinary circumstances the price of admission has so little to do with an artistic achievement that it is cheapening that effort to mention the fee.  Now and then exceptions are so noticeable that a departure from this rule, inevitable, and such is the case at Lagoon with the Liberati Band and concert singers, that opened here yesterday.  If the insatiable American love of a bargain holds good, Lagoon will not be able to accommodate the rush from this afternoon forward.  There have been bands and concert choirs, but never before in the past dozen or more years was so much that is genuinely worth while offered as Liberati presented yesterday in the Lagoon amphitheatre and at the ridiculously low scale of prices that prevails for his engagement.  It is a bargain offering, indeed, of music played, sung and rendered in various forms or individual and collective styles by the artists under the direction of the distinguished Italian virtuoso, who was not one whit niggardly himself in the sprinkling
of his inimitable cornet solos through this splendidly varied program.
It set a new standard for summer band concerts.  Heretofore we have been content to hear the anvil chorus with electrical effects and some six instrumentalises, or to thrill again to the sextet from Lucia as allotted its numerical strength, but Liberati introduces a triple sextet, and, my, how they make the furthest nook and cranny of the amphitheatre echo with that marvellous and ever fresh melody!  Hardly has the insinuating sextet been stilled when forth troops a perfect charge of trumpeters and trombone players, and, with Liberati himself leading the van, such outbursts of harmony are not often heard.  It was not the usual blatant, noisy demonstration of a brass choir, but a musically effective combination, swelling in great sounds until a startling climax is attained.
Liberati is the same debonair director and virtuoso.  His cornet is to the wind instruments what the perfect throats of his people are to the art of vocalization.  The tone quality and the feeling are the hope and despair of less fortunates than these inspired children of sunny Italy.
Band music has individuality when Liberati is on the stand, and a cornet is no longer a mere twist of brass and keys in his hands.  They are means to an end, and that end is in the realm of harmony and wonderful execution.  There were so many soloists and the program was so mixed that it is impossible to make distinctions.  All sang well and the combination is a treat without exception.



The Enquirer, Cincinnati, O., Aug. 14, 1888.
Liberati's great New York band began their two weeks' engagement at the Exposition yesterday afternoon, and aroused the wildest enthusiasm by their splendid work.
THE GREATEST OF ALL LIVING PLAYERS—SIG. LIBERATI.
The band played several numbers with remarkable execution and effect.  Particularly charming was the Athalia Overture, by Mendelssohn.  Signor Liberati's solo was encored enthusiastically, and he was compelled to respond with two or three additional selections.  This splendid band is certain to be a drawing card during the next two or three weeks.




Cincinnati Times-Star, Cincinnati, Ohio, 1908.
LIBERATI'S BAND OF PLAYERS AND SINGERS MADE GREAT HIT AT THE KENTUCKY PARK.
It is no exaggeration to say that since summer concerts have been given in the parks around Cincinnati there has been no more artistic musical treat arranged for the public that the four concerts daily that are being given this week by Signor Liberati, his tuneful band and the 20 grand opera singers who add the beauty of human voices to the instrumental strains.  The whole combination blends into the most pretentious and acceptable treat ever offered Cincinnati music lovers for summer digestion.  The Liberati band fills the stage of the Lagoon auditorium and the singers in their presentation of grand opera airs and choruses form a line that reaches from one side of the stage to the other in front of the foot lights.  Their work both as soloists and in chorus is delightful and there was scarcely an idle hand in the auditorium when the applause started Sunday after the ensemble work in rendering selections from Trovatore, Lucia di Lammermoor, La Gioconda, Ernani, and Rig
oletto.  An especial treat is promised for Monday night, when a large part of Cavalleria Rusticana will be rendered by the singers in costume with Katherine Klarer, a Cincinnati girl, in the role of Santuzza.  Especial arrangements for increased car service have been made during the Liberati engagement.



MR. GEO. CRAMPTON
Baritone




MISS MAE ADELE RANKIN
Soprano, as Lola in Cavalleria Rusticana



Cincinnati Times-Star, Nov. 9, 1888.
LIBERATI'S CLOSING CONCERT.
Music Hall was packed with people for an hour before Liberati's final concert began.  Liberati was presented with a handsome gold medal by President Allison in Treasurer Kuhn's office a few moments later.
Mr. Allison told Liberati that his great band and his own great services were duly appreciated, and he was thanked again for his accommodating spirit and vim and grand music.  Liberati replied that he already well understood the appreciation felt for his artistic work.  That was proven, he said, in the second engagement accorded him, and the fact of his third engagement was worth more to him, in an artistic sense, than all the medals they could bestow upon him; but he appreciated the mark of honor just the same.




MISS ALPHEYE AUBREY
Contralto



SIG. DE LUCHI
Baritone




Chicago Evening American, August 15, 1908.
White City has a very big attraction this week and next.  And that big attraction is Liberati's band assisted by grand opera singers.
Every afternoon and evening Liberati's band, soloists and chorus, give two concerts.  The band selections alternate with scenes from grand opera rendered by excellent solists and full chorus.  The second concert, both afternoons and evenings, ends with opera in costume.
This week the program closes with Cavalleria Rusticana rendered in its entirety.  Just the gate money lets you in to hear Liberati and his company, and every body goes.  Musical enthusiasts are massed thick through the great tree-roofed inclosure in front of the band stand half an hour before the concerts begin.
Liberati's singers are men and women with large, full-toned, melodious voices.  They can be heard clearly through the whole enclosure.  The chorus is strong and well balanced.
You have paid a dollar many a time for opera that could not compare with what Liberati gives you for nothing, once you have got by the White City gatemen.
Perhaps the opera attracts you most.  But it is not the whole thing in Liberati's concerts.  By no means.  There is Liberati himself—one of the finest cornetists who ever blew his way to fame through a brass tube.
It is an inspiring thing to see Liberati playing his cornet while directing his band of seventy-five men with his left hand.
You get the best of Liberati's band in its military and national selections.  Last night Libareti played American patriotics till he lifted the crowd off its feet, yes, literally.  That mass of people surged up into the air and shouted when Liberati's cornet led the way for The Star Spangled Banner.
He has an interesting history—this same Liberati.  He has been a bandmaster on this side of the Atlantic for thirty-six years.  He has enough medals to make him a suit of armor if he strung them all together.
This year Liberati's Band is better than ever—as the daily and nightly crowds at White City testify.  There is only one more week of Liberati's Band and Opera Company.  It is something you can't afford to miss.



Terre Haute Tribune, Terre Haute, Indiana, Sept. 17, 1908.
The Liberati Band has won the hearts of fair visitors and is compelled to recognize the prolonged applause by repeated encores.  The grand opera chorus sang a selection from Lucia de Lammermoor this afternoon.  Other numbers which were rendered were from the opera la Giaconda.  A special feature of the program was the Grand Military Tattoo by Saro.  This evening Cavaleria Rusticana will be played in response to a request by citizens of Terre Haute.
A new stand, built especially for the Liberati Band and chorus has been completed.




SIG. DAUCHE
Tenor



Minneapolis (Minn.) Tribune, Sept. 6, 1905.
There is no lack of music at the State Fair this year.  In Liberati's great concert band, famous for two decades, one of the strongest drawing cards of the fair is represented.  The band comes to Minneapolis direct from the Portland exposition, where, in spite of 180 applications by different bands to play at the great fair, Liberati and his band were engaged without solicitation on the

SIG. DRAGONI
Basso


SIG. ZANGARI
Basso
 manager's part.
The famous leader, who is well known to Menneapolitans and whose special pride is the richly jeweled baton which was presented to him several years ago at the exposition by his enthusiastic Minneapolis audiences, occupies, together with his band of fifty trained musicians, a band stand near the main building and gives a splendid program of music every morning and afternoon.




The Des Moines Register and Leader, Des Moines, Ia., Aug 24, 1908.
LIBERATI'S BAND AND CONCERT CO. MAKE HIT.
All previous Sunday state fair crowds were surpassed yesterday.  Attracted principally by the first Liberati concert fully 15,000 people were on the grounds during the afternoon.
On account of the threatening weather the afternoon concert was given in the stock pavilion instead of in the open air, as intended.
Promises of the fair management that the Liberati Band and Concert Company would prove the greatest musical attraction ever brought to the state fair were fulfilled to the satisfaction of everyone before the opening program was half completed.
The reception accorded Miss Katherine Klarer, soprano, yesterday afternoon makes it certain they will prove immensely popular with state fair audiences.  The other soloists were also warmly received.  Sig. Liberati himself was given an ovation and he won the audience from the start.
Sig. Liberati was seen after the concert in the afternoon.  He was receiving the congratulations of those he met on the excellence of the concert.
At the gates yesterday $ 3,040.25 was taken in, while last year on Sunday the gates netted $ 1,876.75.  It indicates the comparative sizes of the crowds at the concerts.  At the afternoon performance $ 2,471 was taken in at the gates as against $ 1,876.75 a year ago, in the afternoon and evening of Sunday.



Birmingham News, Birmingham, Alabama, October 29, 1902.
SHORT STORIES OF FACTS AND FICTION.
Liberati, the celebrated band conductor and cornetist, now playing at the State Fair, is one of the most famous cornet soloists in the world.  He played at the Louisville (Ky.) Exposition several years ago and drew immense crowds.  Thousands of people attended the exposition solely to hear Liberati's solos.  He has played in all the large cities of this country and in many of the musical centers of Europe, and has always been received with enthusiasm.  He possesses a touch that is firm and yet delicate and refined, full of expression and exquisite in effect.  As a bandmaster he possesses remarkable power, and exercises a wonderful control over his men.  They all seem to understand as well as appreciate him, which is not usually seen as a combination.  Liberati's solo cornet is said to be one of the most costly in the world.  It is one of the sweetest and mellowest instruments ever heard in this country, possesses remarkable strength of tone and is capable of the most delicate shading.




Scene from Rigoletto One of the many different Opera scenes presented by the Liberati Musical Organizations.