were sung with little expression, but with commendable precision in attack and articulation. The soloists were Madame Clara Samuell, Miss MacDougall, Mr. Ben Davies, and Mr. Norman Salmond, all of whom gave expressive interpretations of their respective parts. On New Year's Day Mr. Wood conducted a performance of Mendelssohn's "Elijah," the choral portions of which were sung with admirable appreciation of their dramatic character, with the exception of the first of the "Baal" choruses, in which a return was made to the stiff and wooden accentuation accepted as orthodox in "The Messiah." Mr. Santley was the exponent of the part of the Prophet, and sang the famous air, "Is not His word like a fire," with a vigour and fervency that aroused the enthusiasm of his listeners. The soprano and contralto solos were effectively rendered by Madame Henson and Miss Ada Crossley, and Mr. Lloyd Chandos was the principal tenor vocalist. Miss Winifred Wynne, Miss Anita Sutherland, Mr. James Leyland, and Mr. Mervyn Dene formed an efficient second solo quartet, and Mr. Percy Pitt played the organ with admirable discretion and skill. SATURDAY SYMPHONY CONCERTS. MR. ROBERT NEWMAN has earned the thanks of those interested in the welfare of British music by including at least one work by a native composer in most of the programmes announced for performance during his new season of symphony concerts at the Queen's Hall. The opening concert, on the 15th ult., attracted a large audience, which was regaled with fine performances of Tschaikowsky's "Pathetic" Symphony, the "Parsifal" Prelude, with the Finale to Act III., Mr. Cowen's "Four Old English Dances," and a new suite from Johan Halvorsen's music to an old Indian drama, "Vasantasena." This novelty proved distinctly disappointing, for the Norwegian composer presents nothing new or striking. We have heard all his sham Hindoo music with its cheap local colouring in melody and crchestration before, and we are heartily tired of this and all similar absurd attempts at reproducing the characteristics of Indian music on European instruments. We hope Herr Halvorsen, who is undoubtedly a clever composer, will in future devote himself to Norwegian music and write as he feels, not as he thinks a Hindoo ought to feel. As for Mr. Cowen's delightful little dances, we were once more struck with the charm of their dainty subject-matter and the pellucid orchestration. The treatment of the wood-wind especially is quite suggestive of the "unpremeditated art' of Schubert. The dances were beautifully played and greatly enjoyed. A successful début was made by Miss Emma d'Egremont, a contralto singer gifted with a capital voice and unmistakable musical feeling. She sang the florid air "O toi qui m'abandonnes," from Meyerbeer's "Le Prophète," and Schubert's superb song "Die junge Nonne" with much expression and thorough mastery over their difficulties. At the second concert, on the 22nd ult., Mr. Cowen's "Scandinavian" Symphony received a splendid interpretation. As we listened to the many beauties of the opening Allegro, as revealed by Mr. Wood's sympathetic and highly-finished performance, we wished that all those students could have been present who, some weeks ago, rattled through this fine movement at the Royal College concert in the most casual way. They would have learned a valuable lesson. Mr. Wood's reading of the beautiful Adagio, the delicious Scherzo, and the vigorous Finale displayed his rare gifts and the fine qualities of the music to the fullest advantage. The "Pilgrims' March," from Berlioz's "Harold in Italy" Symphony, was included in the programme, and the concert opened and closed with the "Meistersinger" and "Lohengrin" Preludes respectively. M. Achille Rivarde gave a refined performance of Mendelssohn's Violin Concerto, and Mr. Orme Darvall sang the elaborate scena, "Die Frist ist um," from Wagner's "Flying Dutchman." He has a fine bass voice, and sang with good effect, dramatically and emotionally; but he does not yet form his notes with all requisite firmness, and his pronunciation of the German text was far from distinct. MONDAY AND SATURDAY POPULAR CONCERTS. feature of the concert. Miss Isabel On the 8th ult. Beethoven's Septet, performed by Lady Halle and Messrs. Gibson, Clinton, Paersch, Wotton, Reynolds, and Paul Ludwig, attracted, as usual, a large audience, and Haydn's Quartet in G (Op. 64) closed the afternoon. The soloists were Miss Fanny Davies, Mr. Paul Ludwig, and Mr. Meux, the last-named singing with admirable expression and finish. M. The following Monday, Lady Halle and Messrs. Haydn Inwards, Gibson, and Paul Ludwig opened the evening with Dvorák's Quartet in E flat (Op. 51), and Lady Halle, aided by M. Slivinski and Mr. Paersch, gave a highlyfinished reading of Brahms's delightful Trio in E flat (Op. 40) for pianoforte, violin, and French horn. Slivinski contributed a brilliant performance of Schumann's "Etudes en forme de Variations" (Op. 13), but seemed to labour under the impression that speed was the most important attainment. Madame Medora Henson sang an attractive selection of songs by Grieg and Schubert. of Schubert's charming Quartet in A minor (Op. 29), by An exceptionally refined and highly-finished performance the same string players as those of the preceding Monday, opened the concert on the 15th ult., which was concluded with Saint-Saëns's Quartet in B flat (Op. 41). Miss Fanny Davies was thoroughly at home in Schumann's "Kreisleriana," and Lady Halle was heard once more in the familiar Romance in G from Dr. Joachim's "Hungarian" Concerto. Mr. Francis Harford, who made his first appearance at these concerts on this occasion, made a favourable impression in songs by Schubert, Berger, and Villiers Stanford. attractive feature of the following Monday concert and was Smetana's characteristic Quartet in E minor formed an conscientiously interpreted, although with lack of intensity of expression, by Lady Halle and Messrs. Haydn Inwards, Gibson, and Hugo Becker. A very fine performance, however, was subsequently given by Miss Fanny Davies, Lady Halle, and Herr Becker of the revised version of Brahms's beautiful Trio in B (Op. 8). Mr. Whitney Mockridge was the vocalist. rendered in a most finished manner, on the 22nd ult., by Schubert's magnificent Quintet in C (Op. 163) was Lady Halle and Messrs. Haydn Inwards, Gibson, Herbert an admirable performance of Chopin's Impromptu in F Walenn, and Hugo Becker. Mr. Frederick Dawson gave (Op. 36) and took part in Schumann's Pianoforte Trio in D minor (Op. 63), in which he preserved a praiseworthy balance of tone with the strings. Some songs, tastefully sung by Mr. James Leyland, completed the selection. RECITALS FOR CHILDREN, YOUNG AND OLD. THE two recitals announced by Madame Blanche Marchesi and Mrs. Kendal, and which took place respectively on the 4th and 17th ult., at St. James's Hall, proved so attractive to "children, young and old," that very few seats were vacant on either occasion. The programmes consisted of an excellent selection of songs having reference to children and childhood's days, and a no less admirable choice of fairy tales. Madame Marchesi was prevented by ill-health from taking part in the second recital, but at the first she sang with her usual exquisite finish Massenet's Les Enfants," Gabriel Fauré's "En Prière," and other appropriate lyrics by Taubert, Brahms, ard Chaminade. At the second performance her place was taken by Miss Esther Palliser, who proved a most able substitute, and who rendered Wagner's "Dors, mon enfant," Schubert's "Haiden Röslein," Brahms's "Sandmännchen," and other lyrics with the utmost charm and sympathy. Comment is scarcely necessary concerning Mrs. Kendal's reading, but it may be said that this talented actress was manifestly at one with her subject, and was singularly happy in her expression of the earnestness and quaint humours of childhood. Her most successful efforts were in Hans Andersen's amusing story "The Butterfly" and in "Little Pictures of School Life," by Miss Maude Valérie White, the effectiveness of the latter being enhanced by that lady's musical illustrations at the pianoforte, and the singing of an incidental "Evening Hymn" by Mr. Stedman's choir boys. Other accompaniments were played by Miss Miriam Timothy on the harp, Mr. J. M. Coward on a Mustel organ, and by Mr. Henry Bird on the pianoforte. HIGHBURY PHILHARMONIC SOCIETY. developed Eastern music as far as we knew. That of other nations might be more so, but it was only of Indian music that we possessed reliable information. Before the appearance of Captain C. R. Day's work on "The Music and Musical Instruments of Southern India and thei Deccan,' even this was practically a sealed book to Europeans. Thanks to this volume, and the labours of a still more comprehensive but unhappily uncompleted work on Oriental music by A. M. Chinnaswami Mudaliyar, the basis of Indian music was now capable of being understood. The system was most developed in Southern India, which, from geographical reasons, had been less disturbed i by hostile invasions than the North. The scales were seventy-two in number and were divided into two chief branches, the one being based upon a combination of two tetrachords whose extreme notes formed a perfect fourth, as in our major scale C-F, G-C; while in the other the F was sharpened. The extreme notes of these tetrachords were never altered, but only the two intermediate notes. Thus the lower tetrachord of the DISTINCTION was given to the second concert this season first great division, say C to F, was treated as follows: of the Highbury Philharmonic Society (which took place (1) C, D flat, E double flat, F; (2) C, D flat, E flat, F; on the 18th ult., at the Highbury Athenæum) by the first (3) C, D flat, E natural, F; (4) C, D, E flat, F; | performance in London of Mr. Arthur Somervell's cantata The upper "The Power of Sound," specially written for the Wakefield (5) C, D, E, F; and (6) C, D sharp, E, F. Musical Festival of 1895, and produced, in April of that and, as any combination of these tetrachords was pertetrachord was treated in precisely the same manner, year, at Kendal, where these festivals or competitions-mitted, there resulted thirty-six scales, each possessing are annually held. Mr. Somervell has selected his text distinctive intervals. The same method was pursued with from Wordsworth's poem "On the Power of Sound," and the other great division of the octave (C-F sharp, has set it in eight musical numbers. The first of these is F sharp-C), the total number of scales being seventy-two. a chorus, which is preceded by a short instrumental This remarkably comprehensive system, of course, included introduction. The chorus is bold and diatonic in character, our major mode, but the favourite scales of Indian the intervals of the principal theme striding over the scale musicians were those which had the semitone between with an assured step. This opening portion is effectively the first and second notes of the tetrachord. Further contrasted by a second section in the subdominant, in tonal variety was obtained by a complex method which the measure is changed from common to six-eight, of omission or selection and use of certain notes of and the music, following the spirit of the text, becomes more the seventy-two scales. suave in character. A solo for tenor or soprano follows, the and seventh notes would be omitted, which had given In some melodies the fourth words of which are the fourth stanza of the poem "Blest scale was be the song." This contains some charming passages and rise to the assumption that the Indian gives place to a chorus, "When civic renovation dawns," in ascending, but employed in descending passages, or vice pentatonic. In others, certain notes would be avoided in which effective use is made of musical idiom common to versa. The series so formed were called "ragas," and old English songs. The next number is laid out for the ingenuity of Indian musicians had been devoted for mezzo-soprano solo and chorus in four parts, for first and centuries to the development of these tonal variations, second soprano and first and second contralto. The most until there were said now to be in existence a thousand and memorable portion of the work, however, is the chorus one, none of which could possess less than five notes. The pipe of Pan," laid out in the form of an old English Native players were, however, more famed for the skilful country dance, and possessing immense vigour and rhythmic force. The stanza, "By one pervading spirit," use of a particular "raga or "ragas" than for the is also set as a solo for tenor or soprano, and the last knowledge of a large number; and probably very few knew them all. It was remarkable that the names of the number concludes with an effective and well-developed choral fugue. In its entirety the cantata is a favourable notes of the scale had affinity with our system of example of its composer's talent, and will be found well Ri, Ga, Ma, Pa, Da, Ni, being the first syllables of the suited to small choral societies. It was excellently words Shadjama (peacock), Rishaba (ox), Gandhava (goat), interpreted on this occasion by Mr. Betjemann's intelligent Madhyama (heron), Panchama (cuckoo), Daivata (horse), choir and orchestra, the solos being sympathetically sung and Nishada (elephant). by Miss Nina Faliero. The remainder of the programme Jacques pointed out that the most important notes, With regard to these, Mi was occupied by the concert-room version made by the first, fourth, and fifth, were named after birds, C. O. Sternau, and translated into English by the and the others after animals. Indian rhythms were Rev. J. Troutbeck, of Weber's opera "Preciosa." This work contains some of Weber's most graceful melodies, were five, seven, and nine, the latter not counted in three very different from European. and the chorus "The stars in their gladness' 18 probably one of his widest known compositions. The threes, but alternate five and four. overture is too popular to need comment. In this At the second lecture, delivered on the 19th ult arrangement the story is chiefly told in melodrama, Mr. Jacques showed the difference which existed between which was excellently delivered by Madame Rose Dafforne. the Preciosa's song was charmingly rendered by Miss Faliero, Whereas the proclivities of the Hindoos were to use scale systems of India and ancient Greece and full justice was done to the extremely melodious and and develop everything, those of the Greeks were selective, vivacious choral and instrumental portions, under the able and thus the latter only adopted certain Eastern scales direction of Mr. G. H. Betjemann. which appealed to their keen sense of proportion. dispensed with double flats and only depressed by a semitone the second and third notes of the tetrachords. Thus their first scale, called "Dorian," corresponded to the white notes on the keyboard from E to E the second, the "Phrygian," from D to D; and the third, the "Lydian," from C to C. The inversions of the tetrachords of these scales were respectively named " Hypo-Dorian," "Hypo-Phrygian," and "Hypo-Lydian." The Lydian scale looked like our major mode, but it had the important difference that the key-note was not C, but F; the same system being applied ROYAL ACADEMY OF MUSIC. MR. E. F. JACQUES began, on the 12th ult., at the Royal Academy of Music, a series of three lectures of exceptional interest on Eastern music. Mr. Jacques, who must have made a special study of the subject for some time past, spoke extemporaneously throughout, and in his first discourse gave a singularly clear explanation of the Indian system of music. In his preliminary remarks Mr. Jacques said that the music of Southern India was the most sol-fa titles. The Indian names were as follows:- Sa, was no less distinctive. The most favoured Their accentuation They to the "Phrygian" and "Dorian" scales. Many other details were described with admirable lucidity, and the interest of the lectures was further increased by the rendering of a number of Indian songs by Miss Ethel M. Wood and Mr. Ranalow, whose admirable singing of the singularly difficult music merits hearty praise. Some Greek songs were also finely sung by M. Aramis, the Greek baritone, and two of the most popular Indian airs and variations were excellently played on the violin by Mr. P. Miles. It should be added that the Indian songs at the first lecture were all sacred (Kruthis) and composed by Tagarajayya, who might be termed the Schubert of Southern India; and at the second discourse were taken from a selection of popular tunes made by Rajah Surindro Tagore. some effect. ROYAL COLLEGE OF MUSIC. STUDENTS' Concerts do not, as a rule, inspire in the critic's breast the hope of combining the performance of his duty with the enjoyment that should come of listening to great masterpieces. Indeed, the prospect of hearing, say, Beethoven's B flat Pianoforte Trio played by three young students is generally the reverse of pleasing. The great work we have just named is one of those efforts of genius which one would rather not hear interpreted by pupils. But since it was included in the programme of the 258th College concert, on the 20th ult., we must mention the fact that Ada Thomas (pianoforte), William Read (violin), and Robert Grimson (violoncello) were the performers, and played the notes and observed the expression marks in their parts with conscientious care and Schubert's String Quartet in A minor (Op. 29) is a less trying work, and accordingly was given with more satisfactory results by Mary Noverre, C. Barré Squire, Edward Behr, and R. Purcell Jones, the emotional qualities of the beautiful music being well reproduced. Lallie Hodder's singing of Marcello's air Quella Fiamma" was a distinct improvement upon her previous efforts. Her voice is growing strong and beautiful throughout its wide range. She sings with much feeling and dramatic impulse, and her enunciation, especially her treatment of the vowels, deserves high commendation. She may be warned against a slight tendency to tremolo and exaggerated expression. Gwilym Evans, who has a genuine light tenor voice of agreeable quality, sang Mendelssohn's Rhenish Folk-song smoothly and unaffectedly, his intonation being delightfully true. Ethel Wilson, a very young pupil, was asked to battle with the tremendous difficulties of Brahms's pianoforte variations on a theme by Paganini (Op. 35, No. 1). To say that she overcame them all would not be in accordance with facts; but we can readily forgive some wrong and missed notes in view of the many good qualities which her performance displayed-e.g.; an excellent touch and wrist action; a rich, full tone, and such breadth and strength as well as refinement as are not often found in one so young. Altogether a highly promising pupil. THE INCORPORATED SOCIETY OF MUSICIANS. THE annual conference of the Incorporated Society was this year held in London, the head-quarters chosen being the Hotel Cecil. The opening meeting was held at the Mansion House, on the 4th ult., the Lord Mayor occupying the chair to receive the Society, but subsequently giving place to Sir John Stainer. After Mr. Edward Chadfield, the general secretary, had read the annual report, from which it appeared that 190 new members had been elected during the year and £500 had been added to the reserve fund, Sir John Stainer delivered an address, in the course of which he commented upon the utility of the Society to ts members, the immense advance made in recent years by the art in this country, and dwelt upon the harm done to the progress of music by incompetent and amateur teachers. It was this class who largely supported the trade in valueless certificates and unfairly competed with the capable and efficiently trained musician. In conclusion, the speaker expressed a hope that this matter of musical teaching would receive Government attention. In the afternoon Mr. Joseph Seymour read a paper, in the grand hall of the Hôtel Cecil, on "The Irish Feis Ceoil." The words "Feis Ceoil" (pronounced "Faysh Kyole") were explained as signifying "Festival of music," or "Musical Festival," the former, Feis," being associated with the ancient gatherings of the bards at Tara, presumably referred to by Thomas Moore in the line, "The harp that once thro' Tara's halls." The modern Feis Ceoil," first celebrated in Dublin in May of last year, lasted six days, and was a musical gathering consisting of prize competitions for composers and performers, and four concerts. At the next meeting, to be held at Belfast on May 2 of this year, the scheme includes the performance of Sir Arthur Sullivan's cantata "The Golden Legend." The "Feis Ceoil" was now a registered association, having its head-quarters at Dublin, and had caused the formation of a large number of musical societies in various parts of the country. Much more that the Feis Ceoil" is doing excellent work and is interesting information was given, which went to show deserving of every support. In the discussion which followed, Dr. Prout testified to the musical feeling shown in many of the compositions sent in by Irish candidates, which only needed proper development to contribute to the fame of Irish music. which does not call for comment. Dr. Swinnerton Heap was the chairman of the following day, and in his opening remarks expressed a regret, widely shared by music-lovers, that so many new works of sterling merit by British composers were rarely heard after their first production. Dr. Frank J. Sawyer subsequently read a paper on "The tonic basis of Music," in which he exhaustively proved what has been long accepted by practical and thoughtful musicians. His listeners were complacently satisfied with this demonstration until he attacked the tonic sol-fa notation, which he vigorously and totally condemned, and declared "we can never sufficiently deplore." This, of course, led to a lively discussion, and Dr. Sawyer, in replying to a vote of thanks, said that, as usual, the least important point had been seized upon, but that he was glad to have found such an excellent red herring to draw across the track at this meeting. In the afternoon a large number of the members accepted an invitation from Messrs. Broadwood to visit their pianoforte factories, and to listen to an address at Pulteney Street from Mr. Walter Macfarren, who, in a genial manner, related some of the notable facts connected with the development of the business and its connection with famous executants. This dissipation was corrected on the following morning by a paper from Dr. Iliffe on Bach's " Forty-eight Fugues," in which their construction was exhaustively analysed and explained, and followed by a discussion, taken part in by Professor Prout, Dr. Hiles (who presided), Dr. Frost, Mr. Isaacs, and Mr. H. Davies. In the afternoon Mr. George Langley followed with a paper on "Wagner's musical expression of human emotion, as exemplified by 'Lohengrin,' scarcely a well chosen subject for such an occasion, but worked out with painstaken detail that would doubtless have surprised the composer had he been present. Still less happy was Mr. Howard Swan's subsequent account of a discovery" he had made regarding the relation between sound and light, which he explained to be the existence of a force which circulated through the nervous system. If Mr. Swan pursues this subject in the light of modern science he will doubtless make other "discoveries." Perhaps the most notable event of the conference was the performance, during a concert in the evening, of Tallis's Forty-part Motet by a choir of about 400 voices, under the direction of Dr. Mann. It is not a work that one yearns to hear twice, but it is a remarkable example of the glorification of early contrapuntal ingenuity. The last performance was on May 20, 1890, at the Holborn Restaurant, when Dr., now Sir, Frederick Bridge was the conductor. The musical doings of the conference were closed with the interpretation of a toy symphony, in the execution of which fifteen doctors of music and twenty-nine musicians took part, conducted by Professor Prout. The conference was closed on the 7th ult. by a banquet, at which Mr. W. H. Cummings presided with his usual geniality and happy flow of speech. Everybody seemed well pleased with everybody else during the week, but it is obvious that there is room for advance in the selection of subjects brought forward for consideration and discussion on these occasions. MUSICAL ASSOCIATION. had no thought of sensationalism when composing, but merely strove to express the Slavonic temperament. Dr. Harding thought that Dr. Maclean had fallen into the error he had striven to describe, and that his paper was one of the most sensational which had ever been read before the Association. At the conclusion of the discussion, Mr. Standish exhibited the recently-invented flute by M. Georgi. The advantages of this instrument are that it entirely dispenses with all keys and is held like the oboe and clarinet. Mr. Arthur Green played several solos on the Georgi flute, and, subsequently, Mr. Finn followed on the Boehm flute. In richness of tone in the third octave the comparison was decidedly in favour of the latter instrument, but allowance must be made for the greater experience and skill of the player and possible improvements still to be made in the Georgi flute. The exhibition excited much interest, and Mr. Welsh, in describing previous efforts, said that the advantages offered by the Georgi flute would undoubtedly cause it to have a fair trial. WORKINGTON COMPETITIONS AND MUSIC "MODERN Sensationalism" was the promising title of the paper contributed by Dr. Charles Maclean to the meeting, on the 10th ult., of the Musical Association. As the writer was detained on the Continent, the paper was read at short notice by Mr. T. L. Southgate, who must have found it a somewhat uncongenial task, as the view taken of the subject was not that generally accepted. Dr. Maclean began by stating that "the term sensationalism need not necessarily be used in a bad sense and that "all speech was sensational at early stages of society." These statements were passable, although they indicated a different meaning of the term sensationalism than that commonly conveyed by the word to-day. The writer was not happy in his estimation of the great masters. Meyerbeer was declared to be "the archsensationalist, in a bad sense, of his day." Berlioz "was no doubt a sensationalist of the most aggravated type." THE little town of Workington (Cumberland) enjoyed Liszt "never emerged from the false atmosphere" of a veritable feast of music on the 1st, 2nd, 3rd, and 4th ult. "empty flashiness" and "extravagance." Tschaikowsky For many years past similar gatherings have been held, but "belonged to that class of writers . . who write an the present festival far exceeded in importance all its emptiness one day and, soaring high the next day, expect predecessors. All day long, on the 1st, 3rd, and 4th, there their reputation to attach to the latter while the former is were competitions of junior and senior choirs, solo singers, ignored." Rubinstein "was a much greater man than Tschaï- quartets (instrumental and vocal), violinists and pianists in kowsky, simply because his leonine genius came out even several classes, cornet players, trombone players, harpists, in the smallest thing he did, and in fact because he was an sight singers, &c. The number of competitors and the original composer." Only Wagner met with entire appro- eagerness they displayed were amazing. In all, about 900 bation. Verdi was apparently forgotten, and Richard individuals competed for the £125 prizes, medals, &c., offered. Strauss, beyond the statement that he was obviously a The St. Cuthbert's Choir, from Carlisle, won the chief "sensationalist" and 66 probably the most powerful choral prize, the Seaton Wesleyans coming second. The wielder of the orchestra now alive," was left to the challenge shield, given by Canon Rawnsley, in the junior adjudication of the audience." Dr. Maclean's opinions choir section, was held last year by the West Seaton School were more acceptable in reference to sensationalism in Board Choir, but on this occasion it was gained by musical design and orchestration. In the former it the Carlisle Fawcett Boys (Mr. W. H. Reid), who sang naturally is found chiefly in programme-music and in the with great delicacy the trio arrangement of Barnby's latter it is observable in "neglect of the mezzo-tint, patchi-"Sweet and low." West Seaton had to put up with ness of colour without reference to design, and tricks on the sight singing prize. The Derwent folk (Mr. Hannah) individual instruments." Most music lovers will agree were successful in the male-voice section. On the evening also that "the dignified school of Joachim still seems to of the 1st ult. "Elijah" was performed with a small produce the best violinists," and that with regard to professional band, imported for the occasion, the soloists pianists "the school known in this country as that of being Miss Bertha Rossow, Miss Bellas, Mr. G. Richards, Sterndale Bennett still produces the players who give the and Mr. W. Cradock. On the 2nd ult. (Sunday) most pleasure." It is also obvious that "the question of "The Messiah" was performed with the same cast, except operatic sensationalism is practically in effect very little that Madame Belle Cole replaced Miss Bellas. On the else than the question of operatic realism"; but the state- 3rd ult. a popular miscellaneous concert was given with ment that Wagner "did little more than substitute one set much success. Dr. McNaught adjudicated the competitions of conventions for another" is calculated to excite the and conducted the oratorios. Mr. Owen Lloyd and Miss wrath of Bayreuth. The paper concluded with some Annie Patterson (Mus. Doc., of Dublin) assisted in the remarks on criticism, and would be critics may ponder harp section, which was a most attractive feature. Miss with advantage over the following requirements of Patterson also gave a lecture on "Irish music," in which the position: "A critic must have powers imaginative she was assisted by the harp-playing of Miss Kathleen and analytical; a quick sympathy, untrammelled by con- Purcell, of Bath. Mention is due of the successful labours vention or technical precept; a natural sensibility; force of Mr. Scott in preparing the chorus for the oratorios, and and kindly affections; a vigorous and well-disciplined of Mr. Goddard, another local professor, for his frequent understanding; a judicial composure, dwelling above the assistance throughout the festival with the accompaniments. fitful region of prejudice; above all, he must have experi- But when all is said regarding the work of the promoters. ence." This being Dr. Maclean's commendable definition the main credit for the existence and life of the scheme of a critic, it was very satisfactory to hear his opinion that, must be given to Mr. W. Griffiths. He should be supremely "in point of fulfilling these conditions, our country satisfied with the widespread importance of the scheme he compares, on the whole, favourably with any other." initiated many years ago and has assiduously laboured at ever since. The effect of these gatherings upon the taste and the whole life of the hundreds of young people who take part cannot be over-estimated. As may be anticipated, many of the foregoing opinions were combated in the subsequent discussion. Mr. Cunningham Woods, who presided, said that Dr. Maclean seemed to think that as soon as a man became national in his music, he became a sensationalist--a sentence that neatly explained the basis of many of Dr. Maclean's opinions. Mr. Southgate manifestly gave expression to the sentiments of those present when he said that, considering the period in which Meyerbeer lived, he thought we had more reason to be grateful to Meyerbeer for his operas than to find fault, and that although some of Berlioz's orchestral effects were sensational, he was undoubtedly a national composer. In his opinion, also, Tschaikowsky BRITISH MUSIC IN BRUSSELS. A CONCERT, devoted chiefly to music by British com posers, was given, on the 9th ult., at the Alhambra Hall Brussels, by the Ysaye Symphony Orchestra, this being the first of a series of performances, each similarly dedicated to the musical productions of a particular nation, to be given here during the next few weeks. Professor C. Villiers Stanford, as a distinguished representative of contemporary British art, had been invited to conduct. The programme included works by Sir Alexander Mackenzie, Dr. Hubert Parry, Professor Stanford, and some few examples from the old English masters; the solo interpreters were Mr. Leonard Borwick and Mr. Plunket Greene, both making their first appearances in the Belgian capital on this occasion. The same may be said as regards the works produced. English music, except amongst the British residents here, had, in fact, been hitherto almost entirely unknown in Brussels, and the existence of a vigorous, characteristic and independent modern British school, as revealed by the present performance, came as a surprise to many amongst the numerous audience, who showed their appreciation throughout by most hearty applause. The concert, in short, was a complete success. Nor should we omit to add a word in praise for its important share in so satisfactory a result of the orchestra, the excellent qualities of which Professor Stanford took occasion to specially acknowledge, both at the rehearsal and at the conclusion of the concert. A highly appreciative notice of the performance, from the pen of M. Maurice Kufferath, is published in the leading Brussels musical journal, Le Guide Musical, of which he is the editor, and the following extracts from which, as emanating from the pen of so distinguished a musical author and critic, cannot fail to prove interesting to our readers : time. ་ THE issue of this series goes on with undiminished flow. No. 339 is a hymn entitled "How shall we teach our children to proclaim," the words written by Dean Hole, of Rochester, and the music composed by Sir George C. Martin. The hymn is in commemoration of " Queen Victoria's Nurses" and the music is calculated to enforce the spirit of the words. School teachers will do well to take notice of this simple but effective work. No. 340 is the Te Deum composed by Sir John Goss for the thanksgiving service at St. Paul's Cathedral, on February 27, 1872, for the restoration to health of H.R.H. the Prince of Wales. The setting is one of the best examples of this composer's church music and is admirably suited for festival services. Six settings of the Kyrie eleison, by J. Clippingdale, forms No. 341, and will doubtless be acceptable in churches where this is the only part of the Communion service which is sung. No. 342 is a re-issue of the Magnificat and Nunc dimittis in unison, by Sir John Goss, and is an excellent specimen of its class. A simple arrangement in chant form, by M. B. Elliott, of the Benedicite provides No. 343, and the two following numbers are settings of the Magnificat and Nunc dimittis, by Charles E. Tinney and G. F. Wrigley respectively. The former is of festive character, and would interest a capable and well-trained choir. The latter is more simple in nature, but it is very bright, and, although presenting a few difficulties, it is effectively written for the voices. Nos. 316 and 347 have been supplied by Herbert Brewer, and consist of the Te Deum and Jubilate, composed for the Gloucester and Bristol Diocesan Choral Union, in June of this year. In both these settings Mr. Brewer has made much and effective use of voices in unison, and the music is of that broad and diatonic character suitable to large bodies of singers. In No. 348 the Apostles' Creed will be found set to music in monotonic recitation, by Edward Cruse. The harmonies for the organ are simple and appropriate and have already won wide acceptance. Singing Verses for Children. Words by Lydia-AveryCoonley. Music by Eleanor Smith, Jessie L. Gaynor, F. W. Root, and F. H. Atkinson. Pictures by Alice Kellogg Tyler. [Macmillan and Co.] "One of the principal works in the programme," says M. Kufferath, "was Professor Stanford's Irish' Symphony, a very fine composition, broadly conceived, clearly developed, richly instrumented, and deriving its specially characteristic features from the legitimate use made in it of the racy popular melodies of Ireland. Altogether, the symphony is a work of high value, destined, we are persuaded, to remain on record as one of the most finished examples of English musical art of the present Dr. Hubert Parry's Symphonic Variations' enlisted the interest of the musicians present rather than of the general audience. They are essentially a production of science, a masterly exercise of thematic elaboration, interesting more particularly on account of the ingenuity of its developments. The 'Britannia Overture of Sir Alexander Mackenzie represents a fine piece of orchestral writing, effective in its sonority and exhilarating in its rhythms. As regards the soloists, Mr. Plunket Greene, the possessor of a fine and most flexible baritone voice, completely justified the great reputation enjoyed by him on the other side of the Channel; while Mr. Leonard Borwick proved himself a CONSIDERABLY more than "a rattle and a straw" are most delightful pianist, whose playing possesses an almost feminine charm, which enthrals the listener. The now apparently deemed necessary to meet the requirements Andante from Schumann's Concerto, as interpreted by of childhood's amusements, much thought and skill are him, was a perfect thing, replete with subtle poetic lavished on efforts to cultivate artistic perception in the brains of little folks, and of such endeavours the suggestion, chaste, reserved, altogether in keeping with the spirit and character of the work.... Not less handsomely got up volume of "Singing Verses for charmingly rendered were a number of short pieces Children" is a striking example. The verses are neatly by Purcell, Mendelssohn, and Chopin, at the con- turned, and are distinguished by poetical fancy. The clusion of which the pianist was recalled four times. settings, with regard to the capabilities of children, are not The series of ancient Irish and Welsh songs, so satisfactory. Comparatively few young singers can sing charmingly sung by Mr. Plunket Greene, ranked not least effectively below the treble stave, especially down to amongst the surprises afforded by this concert, and were B and C as demanded in several of the songs, while three immensely appreciated, especially those entitled All lyrics are made impossible to the majority of those for through the night' and 'Hugh Maguire.' Effectively whom they are intended by the requirement of a vocal instrumented by Professor Stanford, these form part of a range of an octave and a fourth. If, however, the music highly interesting collection of Irish and Welsh songs doubtless come to the rescue, and in so doing will find is not always well suited to the children, Mamma will published by Messrs. Novello and Co., of London, repre- much that will prove pleasurable to herself as well as her senting a perfect treasure store of beautiful and fascinating listeners. The tinted illustrations are excellent. They melodies. A very characteristic air by the seventeenth century master, Greene, also formed part of the programme. are admirably drawn, possess the humour inseparable To sum up, the English concert was a novel experience for us, and a most interesting one." AN English festival concert is to be given at Monte Carlo on the 20th inst. The programme will be entirely composed of orchestral works by British composers. M. Tivadar Nachèz, who has been specially engaged for this concert, will play Sir Alexander Mackenzie's Benedictus and Frederic Cliffe's Violin Concerto, which, it will be remembered, was composed for the last Norwich Festival and played by M. Nachèz on that occasion. from all true delineations of childhood, and are characterised by a lively and pleasing fancy. Original Compositions for the Organ. Nos. 255-258. [Novello, Ewer and Co.] THE first of these four numbers is a commemoration march, "Victoria-our Queen," founded on themes from Barnby's patriotic chorus. This bright and effective composition is by Mr. John E. West, who is not only an excellent musician, but a skilful organist, and therefore it is admirably set out for the instrument. The violin-which |strict Scotch folk used to designate "the sinfu' wee fiddle" |