long way. No doubt other reasons as well as this my transatlantic colleague proves its possession. I influenced the voting, to say nothing of the general only regret that it is not associated with better principle that it is better to bear the ills we have than judgment. fly to others which we know not of.

MR. WILLIAM ARMSTRONG informs me of the gratifying reception given in America to his lectures on English music and composers. He says: "I shall keep on in this line. Thursday next I leave on a tour as far as the Pacific coast. The plan made for me covers about 6,000 miles. At the Leland Stanford University in California I shall give the British Song Composers,' and at other points as well. I want to make English compositions better known in America, and the American ones better known in England." In this enterprise I heartily wish my able transatlantic colleague all the success he can himself desire.

ONE evening not long since, I found myself in an opera box with ten or a dozen French critics. We were gathered to hear some new compositions, published in the morning of the same day, and it struck me as very curious that not one of my companions had a copy of the works. The fact put me to shame and confusion of face. I was bound to assume that my Parisian brethren had somehow or other become familiar with the novelties, and needed not, as I did, to follow the performance score in hand. It is true that, on reading their articles the next morning, I found little evidence of such intimacy.

MADAME MELBA appears to have enlisted in the noble army of those who hoax. A discussion having arisen as to whether a certain eminent violinist then present could earn a dollar an hour by playing in the street, Madame Melba took the negative side and is reported as saying

"I have my own experience to base my opinion upon. Why," continued the great singer, laughing, "we tried just such an experiment last summer at my country home in England. Joachim was visiting us and a certain celebrated 'cellist, when one afternoon the idea of a great frolic occurred to us. We put on old clothes and out we sallied, all three, and took up our positions on one of the locks on the Thames and there we made music for two whole hours; Joachim and the 'cellist played and I sang And now how much money do you suppose we took in? Just seven shillings and sixpence, or $1.87!"

The eminent violinist was nicely "had." He believed the story.

ONE of the Vanderbilts - Jessie Vanderbilt McNamee of that ilk-has written and composed a song. She is not a descendant of the Old Commodore, that famous millionaire having been, in fact, her great-uncle. But the advent of a Vanderbilt in music and verse seems to open up a new field of solace for those whom wealth weighs down.

It is stated that the Arion Society of Milwaukee has abandoned the idea of performing Dr. Stanford's "Requiem" and taken up with Goring Thomas's "The Swan and the Skylark." No reason is assigned, but probably the Society found the sacred work more than it could master.

A PLAY in one act, entitled "Adelaide," and written around Beethoven's song of that name, has recently been produced in America. It is the work of a German, who introduces the great master as one of his dramatis persona, the others being Frau Lachner, Beethoven's housekeeper; Clara, the landlady's daughter, who is also a musician and copyist; and Adelaide, a great lady with whom the master is in love. Of course the famous song is introduced, and its recorded history, what there is of it, enters into the scenes. Beethoven has nothing to sing; but he fills an important place in the drama, and was represented, at the production of the play, by Mr. Bispham, in a manner "pathetic, dignified, and touching."

FORMIDABLE indictments have been repeatedly brought against Frau Wagner's management of the Bayreuth Festivals, and Wagnerians have taken part in them. Now we have Herr Weingartner writing as thus: "This lady, not a German, does not know how to preserve the sacred traditions of the great master, nullifying his ideas, turning Bayreuth into a simple speculation, and importing strange singers, so as to attract the money of all sorts of foreigners." How much truth, if any, there is in these statements I do not know, and, to say sooth, I do not greatly care; but in any case, Herr Weingartner would have done better to refrain from polemics, especially from attacking a woman who has to bear the burden of a great name and an immense responsibility. Since when, by the way, has it been an offence to attract into Germany the money of "all sorts of foreigners"?

We may expect shortly to hear what Aggressive Feminity thinks of the writer who, in the Sketch, is now discoursing serially upon "The Failures of AMERICAN critics are scarcely expected to pay Women in Art." No doubt it will reply with indiscriminate homage to venerable and illustrious emphasis, and at some little length; especially on names. They are free and independent, especially reading this sentence: "Yet, upon looking back one of them, who writes as follows: "The Beethoven calmly and judiciously along the whole range of Sonata, Op. 110, is by no means among the most modern music, I do not think that you will find one popular of the great composer's works, nor is there name of one woman who by a musical creative any reason that it should be. The opening movement genius has attained to any summit of greatness." is devoid of interest to the general listener. The This judgment is rather awkwardly expressed, yet it cantabile molto espressivo does not seem to express is sufficiently definite, and Woman must meet it, it anything in particular. It suggests an exercise. The awful thought that Jupiter sometimes nods comes to mind when one reflects that this is a Beethoven work." Real courage was required to say this, and

at all, with convincing facts. The writer goes on to deal with particular cases, but I need not follow him. My opinion upon the whole matter was expressed in these columns some years ago, and I have since

found no reason to change it. In music, as in other things, some are apostles and some prophets; some bear the seed and others carry the fruit to the ends of the earth. After all, I think, Woman may be satisfied with her brilliant position as an interpreter of great musical thoughts. But whether or no, nothing can change what is, apparently, an order of

nature.

COLONEL MAPLESON is the phoenix of the operatic world. He may be burnt to ashes in the flame of bad luck, but in those ashes live his wonted fires, and, sooner or later, he rises from them majestically. There is a present example in the "New Italian Opera Syndicate, Limited," which is to start this season at the "New Italian Opera House," otherwise the New Olympic Theatre. I recognise here the work of the redoubtable and indestructible impresario. The scheme is, of course, a large one; and, should it succeed, will do much good. For this it is welcome, and amateurs will hope that managerial wisdom and public support may bring it to a happy issue.

I MET Dr. Richter in Paris during his engagement at the Colonne concerts, and we fell to talking of the situation at Covent Garden consequent upon Seidl's death. The Doctor then used language which encouraged no hope of his accepting the vacant post. "I must have rest," he said emphatically. The next day I met Mr. Schulz-Curtius in the street. It was not difficult to divine his mission.

LOVERS of Chopin's music will rejoice at the promised visit of Vladimir de Pachmann. Where the Polish composer's works are concerned it may be said, "There is none like him, none."

JOSEPH BENNett.

CHURCH MUSIC. OBVIOUSLY at the close of the greatest epoch of the Church's year, one's first duty is to note the marked increase in the earnestness and artistic thoroughness with which the musical offices have been rendered far and wide during the closing weeks of Lent and of Eastertide. Regarding the selection of music, it is satisfactory to note the abiding and, in fact, increasing interest, taken by lovers of Church music in those masterpieces of sacred art, Bach's settings of the "Passion according to the gospel narratives of St. Matthew and St. John.

In connection with the former work, the fine and impressive rendering under Sir George Martin's direction in St. Paul's Cathedral claims special record. Of the latter, the performances in St. Anne's, Soho, and Marylebone Parish Church, to name only two typical churches, also claim notice.

was composed for the "Society of Ancient Musick," in London, and given in Oxford as long ago as 1713, possibly at or about the time of the composer's visit to this country.

Of works which have come more to the fore or have been first heard in our midst in connection with the solemn season recently passed, mention should be made of Graun's "Der Tod Jesu," an oratorio still retaining the respect of many German lovers of sacred music, after the popularity of more than a century, and the chief work of a musician who practically commenced and closed a notable career by the composition of two "Grosse Passions-Cantatas." Other Church oratorios given of late with more or less frequency have been Mendelssohn's "Christus," Haydn's "Seven Last Words," Gounod's "Redemption," Spohr's "Calvary" (at St. Paul's, Kilburn, under the direction of the Rev. H. G. Bonavia Hunt), and the first act of Wagner's "Parsifal," under the direction of Mr. E. H. Lemare, at St. Margaret's, Westminster, and also at the Church of the Annunciation, Old Quebec Street. Stainer's "Crucifixion " has been impressively given at Marylebone Parish Church; St. James's, Forest Gate; St. George's (Presbyterian Church), Brondesbury; St. Peter's, College Park; and at many other churches. Stainer's "St. Mary Magdalen at St. John's, Grantham, &c. One satisfactory feature of Church oratorio and festival services-and especially on Easter Day-has been a large increase in the employment of orchestral accompaniments.

In dealing with the recent rendering of the "Vorspiel" and half of the first act of "Parsifal" at the Church of the Annunciation, Old Quebec Street, under the direction of that able organist, Mr. Cuthbert Hawley, with organ and brass instruments, the Pall Mall Gazette has some observations of special interest. The following are among the

remarks thus made:

When "Parsifal" was first produced, the subject with which it dealt naturally involved it to a certain extent in religious controversy. On the one hand, there were those who found in it the most poignant and reverent allegory of the Christian conception of the redemption of the world, and, on the other hand, there were many pious people who turned away from it with a kind of horror as though it ventured upon an excessive familiarity with sacred things. This feeling, including a sentiment which confessed itself strongly upon the Graal festival of the first by Dr. William Barry. Wagner was accused not only of act, was voiced pretty vigorously, if we remember rightly, these particular enormities, but also of a deliberate travesty of the service of the Mass. That was of course absurd; and fervent Roman Catholics like the Marquis of Bute and Mr. C. T. Gatty rushed into the fray, waving high the banner of Wagner; so that a very pretty little controversy raged for some time upon the question of the moral and religious tendency of "Parsifal." On the whole, even at that time-it is now more than six years ago—the defenders of Wagner had very much the best of it, although we rather the opinions and motives which his admirers fitted into his doubt if he would have been exceedingly delighted with all festival drama. But since then the voice of the scoffer has

Settings of that noble old twelfth century Hymn, the been almost dumb; and the only quiet objectors to the "Stabat Mater," have been very frequently heard in reverential spirit of "Parsifal" are the few excellent Church our churches of both Anglican and Roman Com- people, scattered here and there, who, admiring the music munions, and, it may be noted, frequently in the hugely, "think that such a representation upon the stage original Latin in Anglican churches. Whilst goes a little too closely towards associating the profane Rossini's melodious and somewhat sensuous "Stabat and the vulgar." In immediately recent days, however, Mater" maintains its hold upon public favour, other the Church in England has adopted an entirely different finding increased recognition-as, view of the matter, thanks chiefly to the vigour and for instance, Dvorák's noble setting. In this capability of several among the younger organists, whose connection one regrets that Pergolesi's beautiful minds are not warped and whose judgments are not version for soprano voices and stringed instru- narrowed by prejudice.

versions are

ments is SO little heard, and that Astorga's At a recent meeting of the Society of Antiquaries, setting is so unworthily overlooked; though it has Mr. E. M. Simpson reported the discovery, owing to been stated, with apparent authority, that this work the removal of the old organ, of the remnant of a

semi-octagonal flight of steps, originally leading to a to support the Cathedral authorities and their distinplatform projecting Eastwards towards the chancel of Lincoln Cathedral, from which the Epistle and Gospel were intoned on Festival days. This interesting discovery gives some slight insight into the elaborate and grand methods of conducting public worship in the days of old. The priest thus elevated and intoning in simple yet stately plain-chant inflections the inspired words in the great church, would present a figure of prophetic dignity before a great assembly of worshippers. We have probably yet much to learn regarding the grandeur and picturesque nobility of the services once held in our stately cathedrals.

recently played at St. Stephen's, Upton Park, by instinct and taste of the Latin peoples; that is to Mr. A. Eaglefield Hull, included an effective Toccata say, picturesque, impassioned, strong in colour, and by Mailly, and other movements by the excellent powerful in appeal to the senses. professor of the organ at the Brussels Conservatoire.

"STABAT Mater."

At the Cathedral Church of St. Mary, Edinburgh, This setting of the beautiful old Latin Hymn Mr. T. H. Collinson gave as one of his recitals a is for a single chorus and orchestra, without solo selection of music "cast in the form of an aid to passages. It runs to no great length, being all conmeditation." In consonance with this suggestive tained within twenty-five pages of pianoforte score. and novel idea, the pieces included the "Good The key is G minor; the tempo, crotchet = 80, and Friday" music from Wagner's "Parsifal," one of the the general direction for performance, is simply few of the master's works which, on the whole, can | Sostenuto. The work opens with three bars of the be effectively reproduced as organ transcriptions; and tonic chord without its third, the indeterminateness movements from Haydn's "Seven Last Words," of the bare fifth at once exciting interest and expectaoriginally written in instrumental form as aids to tion. Ceasing at bar 4, the D leaves the G to meditation for a Good Friday service in Cadiz prolong itself through four bars (sempre morendo), Cathedral. while the voices in unison have the following

An interesting series of recitals, given by Mr. John Lomas at the English Church of St. John's, Montreux, has recently terminated. The programmes included: Festival March (E. H. Thorne); Andante Religioso (No. 1), Thomé; Ricercare (No. 9, Op. 174), Rheinberger; Dudley Buck's "Evening and "Triumphal March," together with organ works by Bach, Mendelssohn, and sundry modern German and French composers.

Mr. B. Jackson has given, during the past few weeks, some very interesting recitals at the People's Palace and elsewhere. His programmes have included Fantasie, Saint-Saëns; Cantilène, Wheeldon; March in C, Calkin; Benediction Nuptiale, d'Evry; a Fantasia on a Welsh Hymn, Roberts; Mr. Jackson's own variations on "St. Theodulph," and Fragment Symphonique, Lemaigre. A series of excellent performances has been given at St. Mary's, Newington, by Messrs. E. C. Bairstow, J. Capener, S. Chipperfield, Dr. A. Madeley Richardson, and Mr. B. Jackson. Mr. B. C. Thorne played a good programme at Sherborne School, on Easter Day. The new three-manual organ at Old Kilpatrick Parish Church, built by Messrs. Vowles, of Bristol, has been inaugurated by Mr. W. A. Donaldson. Mr. A. H. Brewer gave a recital in Gloucester Cathedral, on the 14th ult., with an excellent programme.

Mr. R. Sharpe gave a recital, at Romsey Abbey, on the 15th ult. His programme included Boëllmann's Gothic Suite. The programme of Mr. W. Blakeley's recital, at Queen's Park Church, Glasgow, included Delbruck's Berceuse in A.

NEW SACRED WORKS BY VERDI.

in close contiguity being a sharp contrast on the words "Mater Unigeniti," where loud, majestic dominant and tonic chords in C major strike a triumphant note. The next stanza, "Quae moerebat et dolebat," is attended by a new syncopated figure of accompaniment

molto legato.

(BY OUR SPECIAL CORRESPONDENT.) Ar a "Concert Spirituel " given on the 7th ult. by the Société des Concerts du Conservatoire, at the Grand Opéra, three compositions by the Grand Old Man of music were performed in public for the first time. Why these works should receive notice in some degree special must be obvious to everybody. It is not alone that the composer ranks as the most against which, after three bars, the bass voices place illustrious of living musicians, but also that he has a broadly phrased and sustained melodynow given us the fruits of labour at eighty-five, and -which is absolutely remarkable-that these productions of venerable age have the spirit and power of youth.

The works in question were a "Stabat Mater," a setting for four female voices (unaccompanied) of the Hymn to the Virgin in the last Canto of Dante's "Paradiso," and a "Te Deum" for double chorus and orchestra. Before considering these things sepa rately, it may be well to say that the first and third bear a general resemblance in character and treatment to the Manzoni "Requiem." They are distinct examples of sacred music according to the

Pespress.

Quae moe

re

bat

et

39

do

le

bat,

during the closing bars of which the syncopated figure is carried, in octaves, far up the heights of the violin scale, but always as softly as possible. Ending