! A PUBLIC SCHOOL HYMNAL. ORGANIST AND CHOIRMASTER APPOINTMENTS. Mr. W. Adams, St. Saviour's Church, Shepherd's Bush. Mr. Alfred W. Gerrett, Amhurst Park Wesleyan Church. Bath. The long-promised Public School Hymn Book,' prepared by a committee of the Headmasters' Conference, will make its appearance in the course of the next month or two. There will be two editions, one with, the other without, tunes. The committee has been at work upon the book for some three years, and it is hoped that it will be widely adopted in schools which have no hymn-Mr. Haydn Hunt, Christ Church, Guildford. book of their own. It will be sold either bound or in sheets, so that any school which desires to add an appendix of local or other hymns may be able to do so. The work has been entrusted to Messrs. Novello. ORGAN RECITALS. Sir Walter Parratt, All Saints', West Dulwich. Opening Dr. Walford Davies, Christ Church, Newgate Street. Overture, Arminius, Handel. Mr. A. Herbert Brewer, Holy Trinity, Stroud.—Variations on a theme by Beethoven, Merkel. Mr. Ernest H. Smith, St. Bede's, Liverpool.-Intermezzo in D flat, Hollins. Mr. W. T. Irons, St. Margaret's Church, Rainham. Mr. B. J. F. Picton, organ scholar, Worcester College, Mr. A. Sydenham Rouse, St. Peter's Church, Hammer- Mr. John L. Timmins, United Free Church, Thornlie bank, near Glasgow. Reviews. Mr. Franklyn J. Mountford, St. James's, Handsworth.-Haydn. By J. Cuthbert Hadden. The Master Musician Cuckoo and Nightingale Concerto, Handel. Mr. R. E. Parker, Parish Church, Wilmslow.-Double Mr. I. H. Stammers, St. Agnes's, Liverpool.-Triumphal Mr. C. J. C. Boddington, Presbyterian Church, Stoke Mr. Thomas Lane, Parish Church, Littleborough.- stenholme. Mr. C. F. Abdy Williams, St. Mary's, Winchfield.- Mr. F. Isherwood-Plummer, Hawkshead Street Congre- Best. Series. [J. M. Dent and Co.] Mr. Hadden has turned out a very readable 'life' of the Papa' composer. He builds upon the sure foundations of the late Dr. Pohl, and expresses his obligations to Miss Pauline D. Townsend, authoress of the monograph on the master in the Great Musicians' series. The omission of one rather important book in the bibliography (Appendix C), the interesting little volume entitled A Croatian Composer: notes towards the study of Joseph Haydn, by W. H. Hadow' (Seeley and Co.), gives us the impression that Mr. Hadden has not seen this valuable sidelight on the subject of his theme. If so, he would probably have made use of Mr. Hadow's information in the Croatian reference on p. 127 of his (Mr. Hadden's) book. The author is on surer ground in his biographical than in his critical capacity. For instance, in his estimate of the Haydn quartet, Mr. Hadden says (p. 174): His [Haydn's] quartet-writing is often bald and uninteresting'; and yet a few sentences later we are told: they [the quartets] are all characterised by the same combination of manly earnestness, rich invention and mirthful spirit. The form is concise and symmetrical, the part-writing is clear and well-balanced, and so on. Although Haydn may be rightly designated as the most genial of all the great composers,' it must not be assumed that he was so Mr. Reginald Goss-Custard, St. Margaret's, Westminster. -Hymn of Praise Symphony, Mendelssohn (by request). Mr. Louis H. Torr, Church of the Ascension, South-lighthearted as to be incapable of touching the deeper ampton.-Fantasia in C, Tours. Mr. John E. Borland, St. Botolph, Bishopsgate.-Intro- Mr. W. G. Whittaker, St. Paul's Presbyterian Church, Mr. Maughan Barnett, St. John's, Wellington (N.Z.).— Mr. J. C. M'Lean, Salem Chapel, Portmadoc.-Postlude in D, Smart. Mr. W. W. Starmer, St. Mark's, Tunbridge Wells. Mr. F. Midgley, St. John's (East) Parish Church, Perth. Mr. T. W. Musgrove, Cromer Church. Nachspiel, Kirkcaldy.-Fantasie Mr. J. Gray, Adam Smith Hall, Mr. W. C. Webb, the Downs Chapel, Clapton.-Grand springs of emotion, passion, and even grief. Some of his slow movements bear marked testimony to this souldepth attribute, and as Mr. J. S. Shedlock, in his valuable volume on The Pianoforte Sonata,' has observed: The opening allegro of the great Sonata in E flat (written for Frau v. Genziger) shows earnest, deep feeling, while at the close of the recapitulation Haydn makes us feel the full power of his genius; the passage irresistibly recalls moments in the first movement of the Appassionata"; those stately reiterated chords, those solemn pauses, have a touch of mystery about them.' ་ passage. The two glees under notice have never before Mr. Coleridge-Taylor's part-song will be remembered been published. This seems strange considering their by those who attended the production at Her Majesty's Gossian attributes. But better late than never. The Theatre of Mr. Phillips's Ulysses,' for it was one of independence of the part-writing places them well in the the most charming numbers of the incidental music category of the glee, and all the voices are well provided to the play. It is in three vocal parts, and was sung at with tuneful phrases. O! little harbinger of day' is the opening of the second act by the nymphs on Calypso's the more extended composition of the pair. The cheer- island. The accompaniment will require a little practice fully, but not too quick' opening movement in quad- from ordinary pianoforte players, but will well repay any ruple rhythm gives place to a charming andantino grazioso trouble it may entail. in three-four time. This not only forms a delightful contrast, but the triplet treatment of the words tuneful sprite, and wave thy wing' is exceedingly happy O how amiable. Full Anthem, for four voices. Composed in its appropriateness. The semiquavers which are made by Eaton Faning. use of to 'charm Astrea's morning hour' give further variety to a composition which, with its companion, will doubtless be warmly welcomed by male-voice choirs and quartet parties. go, Edited by A Book of British Song for Home and School. verse: A bag for my oatmeal, And a-begging we will go, &c. On this ground one has just the feeling that the book will go a-begging' in girls' schools and not a few homes. The time has long since passed by when the words of a song 'don't matter.' One of the main difficulties that beset earnest-minded teachers of school singing-classes is the selection of songs that contain words above reproach in every respect. The importance of this aspect of the subject cannot be over-estimated, especially when so much attention is given (or ought to be given) to the clear enunciation of the words as well as their poetic import. The editor of this volume has found it necessary to insert a rather extensive glossary of the obsolete words used in his pages. The notes on the songs are a commendable feature of a not altogether satisfactory volume, and, moreover, one that leaves room for improvement in its music-typographical presentation. From the green heart of the waters. Words by Stephen [Novello and Company, Limited.] The first two of the above three-part songs are laid out for first and second soprano and contralto. 'Out of the Darkness' might have been entitled Contrast,' the first verse dealing with night, and the second with the dawn of day. The scheme of the text is enforced by the music, the two verses being respectively in E minor and E major, and in melodic and other respects being designed to effectually accentuate the portrayal of darkness and light. The moral of the second part-song would seem to be that love comes from everywhere, but more particularly from the North and the South. Here again an effective contrast is presented, of which good use has been made by the composer. Love from the North comes in three parts, but love from the South in two, being only concerned with the first and second sopranos, but all the voices agree in the statement that love flies at will.' Towards the close there is some simple and very effective part-writing showing skilled musicianship. [Novello and Company, Limited.] Dr. Faning always writes in sympathy with his choristers, and the grateful character of the vocal parts is the distinguishing feature of bis anthem 'O how amiable.' The work will present no difficulties to ordinary choirs, and the entrances in imitation are ingeniously devised to secure the maximum of effect with the minimum of difficulty. When, in 1894, I had occasion to carefully consult most of the existing authorities (MS. and otherwise) on the 'Messiah,' I was much struck with the extraordinary differences existing in the various copies; so much so, that I contemplated publishing a critical full-score edition of the work, adding copious notes and explanations of the many variants to be found in each of the authorities consulted. On consideration I felt that I might possibly tread upon the toes of the late Dr. Chrysander. Now, Sir, an ordinary toe is bad enough to stamp upon, but the effect of such on an enthusiastic toe is too dreadful to contemplate. Therefore I did not proceed, but waited for the Chrysander edition to be published. It is now out, and, I am grieved to say, terribly disappointing in the way it is done. Therefore I should like to suggest that a full score of the great work be published, making the autograph and a few (I think about two only) of the Foundling parts the groundwork of the score, adding all the varieties and differences existing in the various MSS. and other works of information of unquestionable authority. I only know of twelve such authorities at present; probably you, Sir, or somebody else know of many more. Of course, a full account would be given of all works consulted. I am firmly convinced that such a thorough critical edition would be highly acceptable, because it is greatly wanted. Yours faithfully, King's Field, Cambridge. A. H. MANN. AN AYR INSTRUMENT. SIR, The Burgh records of Ayr state that in 1583, The maester of the Sang Schooll shall instruct the youth in singing and playing on the "pynattis", and other instruments, etc.' Can you inform me what sort of instrument this was?—Yours faithfully, H. G. [We have submitted the inquiry of our correspondent to an expert in Edinburgh, through the friendly offices of Professor Niecks, and he is of opinion that the word is Spynattis' (Spinets spinet). The initial letter 'S' has very likely been taken for a flourish to the P,' hence the odd designation pynattis.'-ED. M.T.] Mr. E. G. Mercer, organist of St. Michael's Church, Chester Square, has been appointed acting-organist of Carlisle Cathedral. THE CORONATION CHOIR DINNER. Some of them went there with an idea of seeing all they could, but he thought their tricks had been trumped pretty well in that direction. Their natural feelings as musicians and their patriotism as Englishmen at the last moment prevented them staring at the processions. They tried to look at the conductor, though many of them failed, because the organ was in the were in the habit of singing without a conductor, and had been trained for emergencies to take up an 'Amen' that the parson could not intone, and to take up the right note when the parson had given them the wrong one. He had tried for some time to be discreet and dull in his after-dinner speeches, but it seemed he did not succeed, and certainly should not make the attempt now. He had been inundated with applications from people who had desired to sit in the Choir. One lady wrote: 'Can I bring my dear mother into the organ loft? She has never seen a Coronation, and I should like to give her that treat before she dies.' Several gentlemen wrote to say that they were accustomed to sing at coronations and jubilees with efficiency and punctuality. A dinner in honour of Sir Frederick Bridge, M.V.O., Director of Music at the Coronation and Organist of Westminster Abbey, and given in commemoration of the Coronation Service, took place at the Holborn Restaurant on November 28. Mr. George Wyndham, M.P., presided, and those present included Viscount Knutsford, Earl way. It was an advantage, indeed, that many of them Lytton, Mr. W. Johnson Galloway, M.P., Sir Hubert H. Parry, Bart., Colonel Bagot, M.P., Mr. Stuart Wortley, M.P., Mr. Ian Malcolm, M.P., the Precentor of Westminster Abbey, Canon Duckworth, Sir G. C. Martin, Sir Charles Stanford, the Hon. Spencer Lyttelton, C.B., Mr. A. K. Hichens, Mr. Alfred H. Littleton, Mr. Augustus Littleton, Dr. J C. Bridge (Chester), Dr. E. H. Turpin, Mr. John R. Clayton, Mr. Otto Goldschmidt, Mr. C. Mylne Barker, and nearly 200 members of the Coronation Choir. Letters of regret had been received from the Duke of Argyll, the Prime Minister, the Earl Marshal, the Dean of Westminster, Sir Walter Parratt, Sir Alexander Mackenzie, Dr. Saint-Saëns, and others who were unavoidably prevented from being present. Byrd's Grace Non nobis Domine,' having been most impressively rendered by the whole of the company after dinner, the chairman proposed the health of the King; this was followed by a similar tribute of loyalty to the Queen and the other Members of the Royal Family. The Chairman, in proposing the toast of Sir Frederick Bridge, said that the number of persons who had been reluctantly compelled to absent themselves was so large that the tribute paid to Sir Frederick was much greater than was indicated by the size of the gathering. In the course of the afternoon Mr. Balfour said to him, 'I wish I could be there; please convey to all who are present my affectionate regard, and express my regret for my absence. It would have been more in accordance with the fitness of things that the Prime Minister should have occupied the Chair, but after all it was not so unfitting that someone should preside, not as a musician, but in the capacity of a fellow-citizen, who felt, as all who were in the Abbey at the Coronation Service felt, how great, how moving, how necessary was the part played by music on the gravest and most exalted occasions of a nation's life. Such occasions left a deep impression on their minds, and led to an association of ideas between three things-in the first place, music, of which Sir Frederick Bridge was the exponent; in the second place, those immemorial fanes; and, in the third place, the great occasions of national mourning or national rejoicing. In regard to their honoured guest he would say that the material cause for this dinner was the whole career of Sir Frederick Bridge. Sir Frederick Bridge, who was most heartily received on rising to respond, declared that in organising this festival they had been moved by a desire to do something to show their gratitude and joy at being able to take a part in making the Coronation Service successful, both as Englishmen and as musicians. The Choir and Conductor were glad to have an opportunity of placing on record their delight and satisfaction at finding that their efforts had been so highly appreciated. Cathedral choirs had left a mark on the history of music. It was their schools which had enabled him to make that selection for the Coronation Service which had met with such universal approval. If he took credit to himself for anything, it was for having been able to make a selection of music which covered centuries of time, and included the names of Tallis, Gibbons, Henry Purcell, Croft, Handel, Wesley, Arthur. Sullivan, John Stainer, Hubert Parry, Walter Parratt, and Charles Villiers Stanford. He had been anxious that the Coronation Service of the English King should be done justice to, and should be made glorious, if possible, by the compositions of English musicians. But they could not forget also those admirable contributions from foreign musicians which lent a glory and splendour to the great processions which music had made to go so well. He was well served by musicians; how well served he was by the Choir he would let their own consciences say. Whatever they did individually, collectively they made a very fine effect. He had been looking into the financial accounts of old Coronation Services, and found that everybody was paid; some exceedingly well. That was quite different from the present case. Many of the Choir came from great distances, and paid their own expenses. A grateful country would not complain of that! At the Service they played every note they intended to perform, and Sir Hubert Parry had the unique experience of having his anthem encored, owing to some mistake of the officials in giving the signal of the arrival of the procession. Such an event had never occurred before, and if only the delay could have been foreseen, he should have asked Sir Hubert to write a longer anthem than he had contributed. It was expressly laid on him to keep the music short; indeed, he was prepared to omit a portion of his own anthem, but Lord Esher brought a note from the King saying this was not to be done. His Majesty desired that all the music arranged for should be performed, and therefore every note was sung at the ceremony in August that had been prepared for the postponed June service. It seemed to him that the Chairman must have been mainly impressed with the trumpets and drums to which he had referred; at any rate he had said nothing about the special anthem he (Sir Frederick) had written for the great occasion. He thought that rather too bad. All the same, he gloried in the trumpets and drums, for he had noticed at the Jubilee Thanksgiving Service for Queen Victoria what a splendid effect the four State trumpeters created, and he determined this time to augment their number, so he got some of the young persons in training at the Government School of Military Music at Kneller Hall. They came and blew fanfares in the Abbey till they nearly drove wild the workmen engaged in the Abbey; but happily he attained the effect desired, and the grandeur of this notable brass was a feature of the music never to be forgotten. I myself tried those trumpets at the outset,' the merry speaker continued, and the Clerk of the Works came to me and said, If you don't stop that row we shall have to do something. You are stopping all the men working, and it means a loss of £5 a minute.' Some of them might think he knew very little about the brass, but he begged to say that as a boy in the Rochester Volunteers he played a second cornet. He remembered that he saw Queen Victoria for the first time at a review in Hyde Park, but for some reason he could never understand his band was not allowed to play! Perhaps the Bandmaster of the Coldstreams was jealous. At any rate, he claimed to know something of the brass, and he had used it to good effect. In conclusion, Sir Frederick said he should never forget this great honour which had been done him, and he begged to tender a grateful and warm tribute of thanks for the cordial assistance he had received from the musicians, the Choir, his assistants, the Secretaries, Lord Esher, the English Cathedral School of Music, the Master of the King's Music, the King's Band, and all those with whom he was brought into relation in connection with the Coronation dinner. Service. He incidentally remarked that the beautiful never, we believe, received the direct sanction of the design of the cover of the music edition of the Coronation composer. For the Heldenleben,' however, one such Service was drawn specially by Mr. John R. Clayton, has been issued. An explanatory analysis' has been who also designed the special card of invitation to this supplied by Herr Friedrich Rösch. So far as it helps us to understand the musical structure it is welcome, but the explanation of the poetic basis seems to us to halt between realism and idealism. The brief explanation | 'given by the author himself,' which serves as a kind of text, is reasonable enough, yet does not appear to us sufficient for the music with its many themes and suddenly changing moods. The score, however, has been published, even without the author's explanation just mentioned. Does he, then, think the music sufficient in itself, or, to use the hackneyed expression, satisfactory as abstract music? That is the question which must present itself to thoughtful minds. The toast of 'The Visitors' was proposed by the Rev. H. C. Daniell-Bainbridge, the Precentor of the Abbey, and responded to by the Rev. Canon Duckworth, the SubDean, who created some amusement by telling the company that Sir Frederick's name and fame must be known far away, for once when on a tour in the south of Europe he was asked how Westminster Bridge was?' He really thought that it meant the structure that spanned the Thames, instead of a local distinction between the Abbey organist and his brother at Chester. Sir Hubert Parry also responded, and in the course of his speech told an excellent story in relation to the remarks made by the Chairman in regard to the incapacity of Tennyson to appreciate music. Sir Hubert said he once heard the old Poet Laureate remark, They say Browning must be a musician because he has written on Music. Well, there is no music in his verse; but there is music in mine!' Mr. Wyndham in replying to the toast of his health proposed by Mr. W. J. Galloway, M.P.-said how glad he was to have been present, and take a part on so memorable an occasion. He thought Sir Frederick had attributed to him too much fondness for the trumpets and drums; perhaps that was to counterbalance his own failure to sound the keyed-bugle ! Thanks were given to Mr. Henry King, the Hon. Secretary, for his valuable help in making the successful arrangements, and in the course of the evening Mr. Watkin Mills sang very finely two songs by Handel, accompanied by Mr. J. H. Maunder. Sir Frederick Bridge has presented all those who took part in the music at the Coronation Service with a handsome booklet commemorating that event. It is a reprint from the article which appeared in THE MUSICAL TIMES of September last, which contains a list of the orchestra, chorus, and those who assisted. A photograph of Westminster Abbey, as prepared for the Coronation, forms the frontispiece of this Coronation memento. EIN HELDENLEBEN.' The production of Heldenleben' was an event of no small importance. Among modern works for orchestra it occupies a prominent place. Exceptional skill, wonderful tone-colouring,-for Strauss is past-master in the art of orchestration-and broad, beautiful themes, are features which can be at once recognised and felt ; what lies below the surface will only gradually reveal its full power. The performance of the tone-poem was excellent, and the ovation bestowed on the composerconductor at the close was of the most enthusiastic kind. Mr. Henry J. Wood made his first appearance since his severe illness. He conducted Beethoven's C minor Symphony, and the reception accorded to the popular conductor was of the heartiest and sincerest nature. Madame Carreño gave a magnificent rendering of the solo part of Tchaikovsky's Pianoforte Concerto in B flat minor. a THE DUAL THEORY IN HARMONY. At the Musical Association meeting held on the 9th ult paper with the above title was read by Mr. Herbert Westerby, Mus. Bac. The lecturer in introducing the subject remarked that it was one which was practically unknown in this country; at the same time it was one which had claimed a good deal of attention on the Continent, its most powerful exponent being Professor Riemann, of Leipzig. The essence of the Dual Theory lay in the double way of looking at the major common chord, which consisting downwards, identical with the construction of the minor as it did of a major and minor third was, when viewed triad in which of course the minor third came first, thus: - We have had to wait patiently for the latest and most characteristic of the tone-poems of Richard Strauss. A Hero's Life' was produced on March 3, 1899, at Frankfort, but only performed in England for the first time at Queen's Hall on the 6th ult., also under the composer's direction. When Wagner's music first became known, many shook their heads and declared that a great Thus the minor triad was considered as a major triad man had gone wrong; that his music was extravagant, turned upside down, and as the major third was at the and for the most part incomprehensible. Something of the same kind is now taking place with regard to top in the minor triad, the third itself became the startStrauss, but as the latter has written no polemical ing point of the scale thus derived, as well as of the whole so-called phonic system. pamphlets, neither so far as we are aware stirred up anger by hard remarks concerning his contemporaries, his art-career is being watched and criticised with fair philosophical calm. 'Ein Heldenleben' is clear in outline, but there is so much detail in it, that from a first hearing only a general though a strong impression can be gathered. There are many themes in the work, and much elaborate polyphonic writing; in addition there are strange and at times harsh harmonies, to the novelty of which the ear must grow accustomed before the true effect of the music can be gauged. The history of the art has shown over and over again that what is new is at first condemned as bizarre and extravagant, but afterwards accepted as the hall-mark of genius; hence the necessity for caution in pronouncing judgment. There is, however, enough clear, broad music in Heldenleben' to induce musicians to trust Strauss even where as yet they cannot follow him. All, except prejudiced musicians, must feel that they are under the influence of a strong composer. Strauss in previous works has given music which seems to require the aid of a written programme; and yet those which from time to time have been furnished have This phonic or inverted system of harmony as artificially produced was not the minor system after all, as the scale on which it was based coincided exactly with the ancient Phrygian mode, i.e. :— into service, based upon them the minor triad and named the top note as principal note, and thus completed the system. The lecturer however deprecated any connection between the physical phenomena of overand under-tones and the asthetic fabric of harmony, since it was equivalent to dragging in the laws of matter to explain the laws of mind. The dual theory was further developed by Professor Riemann, Bernhard Ziehn, and Oscar Fleischer, but the latest contribution was a work entitled 'Symmetrical Inversion in Music,' by Hermann Schröder (Breitkopf and Härtel, 1902), from which the lecturer played a harmonised inverted version of God save the King' the melody of which appeared thus: Hauptmann's magnum opus, of which the lecturer gave a critical analysis, was a very difficult work to understand, partly owing to the Hegelian dialectics in which it was steeped. The three main points upon which the work was based were: (BY OUR SPECIAL CORRESPONDENT.) Thanks to the energy and enterprise of five musiclovers desirous of furthering native talent, Dr. Joseph Parry's musical play The Maid of Cefn Ydfa' was produced by the Moody-Manners Company on the 15th ult. at the Grand Theatre, Cardiff. Mr. Joseph Bennett who, it should be recorded, generously presented the libretto on learning the artistic purpose of the promoters, has based his book on the familiar Welsh romance, dating from the early part of the eighteenth century, of Miss Ann Thomas, who died of a broken heart consequent on her being prevented by her mother from marrying the bard Will Hopkin, the composer of the beautiful air * Watching the wheat.' This melody forms the central idea of the music. With it, in the Eisteddfod scene, Will defeats his rival somewhat after-a long way after-the manner of the Franconian knight in Die Meistersinger,' and phrases from it constantly recur during the progress of the work. Dr. Parry, however, has made no attempt to treat it as a leit motif in Wagnerian style, and 1. The development of the whole of the asthetic the contrapuntal writing throughout, while being harmonic material (major and minor) out of one central scholarly, is of the most obvious kind. Reliance triad by the mechanical processes of convolution, involu- has indeed been placed almost wholly on simple and tion, &c. The central triad C e G becoming in the first easily comprehended melodies, and of these Dr. Parry place a triad of triads Fa Ce G b D by which the limits has invented several of expressive and attractive of the key were fixed, the series could progress either character. Amongst the best are Will's ballad I met a way (the centre shifting), as in the minor series maid,' Ann's song 'Spirit of Love,' and the subsequent a Ce Go Df, any chord beyond the triad being duet of the lovers Ah! glorious the mission of the formed by overlapping of triads as in the chord of the bard. These, with an excellent chorus for harvesters, seventh, a C e G, or by transposition of a portion (called which includes the old Welsh tune Hunting the hare, are the chief features of the first act. In the second, *joining the limits) as in the last series, where the a C Dr. Parry has made adept use of Welsh folk-songs, but was added to the F on the dominant side to form a C/f by harmonizing in modern manner the traditional airs sung the augmented Sixth. at Eisteddfodau he has lost a means of effective contrast. There is a pleasing serenade for male voices in the last act, and the heroine, according to operatic tradition, sings her farewell to this life in graceful and expressive phrases. The choral epilogue sung in the heroine's room is dramatically absurd, but it is an effective and impressive piece of vocal part-writing. added that most of the dialogue is spoken, and that the form of the work is that of the English ballad opera; doubtless for this reason it is styled by Mr. Bennett a musical play.' 2. An intermediate factor, the triad, was adopted in explanation of all harmonic phenomena, instead of the paramount factor key or tonality, as for instance in the case of consecutive fifths, which were explained as one triad setting itself against another. As a result of this triad unit, purely mechanical explanations of out-of-date views of Rameau were offered, and it followed that the Hegelian interpretations of the same were formed on a false basis. 3. The so-called pure note system was introduced, by which duplicate notes of the scale were adopted, as in Bd Få Ce Gb DfA, where the third & is to A as 80 is to 81, necessitating for instance two different tonics for the keys of A major and A minor; this duplication was against all principles of modern tonality as founded on equal temperament. The lecturer pointed out that the process of reversion, a natural result of the triad unit, assumed a faculty for hearing harmonic combinations downwards, but significantly enough that no system of hearing or tracing major harmony downwards had been devised; also that as the artificial phonic scale did away with the harmonic minor scale, Hauptmann had perforce to invent others to endeavour to account for modern minor harmony. The system, again, involved also the partial recognition only of the complete series of thirds on one of the two centres of all harmony-viz., the dominant. The lecturer, while enunciating the various false premises on which the work was based, nevertheless advocated the compilation of a simplified Hauptmann (as in the case of Helmholtz), and its inclusion in the course for University degrees of music as a branch of æsthetics which deserved more attention than it secured in this country. Dr. McNaught occupied the chair, and an interesting discussion followed the reading of a very thoughtful and learned discourse. It should be The hero and heroine were admirably embodied by Mr. Joseph O'Mara and Miss Fanny Moody. Miss Enriqueta Crichton appeared as the implacable mother, and Mr. Charles Manners as a wicked solicitor. The choruses were brightly rendered and the orchestral portion well played under the direction of Mr. Eckhold. At the close there was much enthusiasm, and much speech-making by Dr. Parry, Mr. Manners and Mr. Eckhold, and consequent more enthusiasm. ROYAL CHORAL SOCIETY. The performance of Berlioz's Faust' by the Royal Choral Society at the Albert Hall on the 4th ult. fully realised the expectations raised by the fine singing of the choir in 'Elijah,' with which the present season com menced. The choice of Berlioz's work was commendable, for it is some years since it was heard at Kensington Gore; moreover, it affords special opportunities to the tenors and basses, who are this year particularly good. The soloists were Madame Sobrino and Messrs. Charles Saunders, Andrew Black and Harry Dearth. Frederick Bridge conducted with his usual generalship. Sir THE ROYAL ACADEMY OF MUSIC. Much talent and skill were in evidence at the concert given by the Royal Academy of Music at St. James's 'The Bi-centenary of Samuel Pepys: his musical Hall on November 24, these attributes being particularly contemporaries, criticisms and compositions,' will form noticeable in two movements from a sonata in B minor the subject of three lectures to be delivered, with musical for violin and pianoforte by Mr. York Bowen, and in the lustrations, by Sir Frederick Bridge at the Royal first movement of a pianoforte trio by Mr. Benjamin Institution on Saturdays the 17th, 24th, and 31st inst., J. Dale. The former, effectively rendered by at 3 p.m. Miss Margaret S. Holloway and the composer, |