SIX SONATINAS FOR VIOLIN (WEBER).

Nos. 1 to 3. First to Fourth Position

5. SIX SONATINAS FOR VIOLIN (WEBER).

Nos. 4 to 6. First to Fourth Position

7. EIGHT MOVEMENTS, from the String

Quartets (MOZART). Arranged for Violin

(First to Third Position) and Pianoforte

(with 2nd Violin ad lib.). Nos. I to 4

3. EIGHT MOVEMENTS, from the String

Quartets (MOZART). Arranged for Violin

(First to Third Position) and Pianoforte

(with 2nd Violin ad lib.). Nos. 5 to 8

I 6

No. 2. Minuet

COMPOSED BY

No. 3. Waltz.

BATTISON HAYNES.

Price One Shilling and Sixpence each.

London: NOVELLO AND COMPANY, Limited.

Just Published. In separate form.

VALSE BOHEMIENNE

(No. 1 of FOUR CHARACTERISTIC WALTZES")

VALSE RUSTIQUE

(No. 2 of "FOUR CHARACTERISTIC WALTZES")

VALSE DE LA REINE

(No. 3 of "FOUR CHARACTERISTIC WALTZES")

VALSE MAURESQUE

(No. 4 of "FOUR CHARACTERISTIC WALTZES")

BY

S. COLERIDGE-TAYLOR.

Arranged for Violin and Pianoforte by THE COMPOSER.

Price One Shilling and Sixpence each.

London: NOVELLO AND COMPANY, Limited.

Just Published.

SIX

HIGHLAND DANCES

I 6

No.

2

LONDON: NOVELLO AND COMPANY, LIMITED.

FOR

VIOLIN AND PIANOFORTE

COMPOSED BY

JOHN B. McEWEN.

Price Two Shillings each.

1. In D minor. 4, Adagio; Vivace; Poco meno mosso.
2. In F., Allegretto; &, Poco Adagio.

3. In D minor. g, Allegro con molto moto; 2, Meno
mosso, un poco rubato.

4. In D., Andante con molto espressione; 2, Allegro

di molto.

5. In D minor. . Allegro molto marcato; Largamente,
con gran espressione.

6. In D., Con moto; Meno mosso, molto espressivo.

London: NOVELLO AND COMPANY, Limited.

THE TIMES.

It was far easier to realize and enjoy the beautiful Ode performed for the first time at the Albert Hall on Thursday night than it is to put into words a record of the impression it made. Sir Hubert Parry's music is always straightforward, vigorous, and masterly in design; but he has seldom given us a work so easy to follow at a first hearing, and yet so intricate in the development of its themes as "War and Peace," an ode set to remarkably fine words. the words and music seem to have grown up together, and the first impression, the musical picture of Hate and Pride, is more definitely produced by the prelude for orchestra than by the words sung by the baritone soloist. The texture of the choral writing is amazingly rich; and in the orchestration-so far as it could be properly heard in the Albert Hall-there are numerous touches of genius, notably a reiterated phrase on the horn in an accompaniment to a beautiful passage, "Out of the reach of cares and fears," occurring in the Dirge.

DAILY TELEGRAPH.

Written for a choral society, we naturally find in "War and Peace" a liberal allowance of choral music, each chorus dealing independently with its own particular subject, as also do the solos. So far this is the old fashion and, in our opinion, the best fashion. ... His music is always interesting, often beautiful, and effective in a high degree. This fully appears in the "Peace" section where number after number, by directness of expression and freedom from unnecessary complication, carries not only sensuous pleasure but intelligent conviction. The composer excels, as we all know, in elegiac music. He has the touch which calls for tears, and in the present case we are disposed to dwell lovingly upon such tender and sympathetic strains as those of the Dirge, "Out of the reach of cares and fears," of the tenor solo, "After tumult, rest," and of the final ensemble, with its long-drawn and touching ending. For these, and others like them, "War and Peace" will live. They plead an exalted argument in the language of beauty, without which all art is worse than a tinkling cymbal.

PALL MALL GAZETTE.

Let us at the outset give the composer all words of praise, from a general apart from a distinctive and individualized point of view. His libretto is strenuous and full of determination. He does not attempt to write what Matthew Arnold once called "poetical poetry." His is rather the art of the rhetorician, so far as the words are concerned; and we are bound to add that the same point of view steals into his music. That music is, nevertheless, altogether excellent. There is really much genuine emotion in the end of the first chorus, "Strike now." The chorus for female voices, "Be strong, O brothers," is a piece of work that shows Sir Hubert Parry in one of his genuinely exalted moods, in which his really elevated emotion is exactly and precisely related to his profoundly felt technical accomplishment.... Later, there was a special note of courageous nobility in the chorus, "Hands together"; the tenor solo, "After tumult, rest," is a peculiarly beautiful number, the end possessing a fine and fresh quality of feeling, Towards the end there was an odd little reminiscence of Gounod, which, however, came to be forgotten in the final chorus, which is in the best sense Lausically significant and sincerely felt.

MANCHESTER GUARDIAN.

Sir Hubert Parry is a master of contrapuntal forms, and in that direction shows his power, especially in the latter part of his symphonic ode. The orchestration is both delicate and rich in colour, qualities which are at once revealed in the lengthy introduction.

GUARDIAN. Pride and Hate, joint authors of war, is a lurid and powerful piece of The bass solo in the prologue, descriptive of the fallen angles declamation, and its climax at the words "And all the splendid panoply of war," where the swinging march-tune first bursts upon the ear, is a dramatic touch of the finest quality. Admirably expressive, too, is the contralto solo "Aye, let hate and pride conspire," and it is rich in phrases of eloquent and pathetic beauty. Almost the finest section in the whole work is the Dirge; above a slow-moving figure in the accompaniment the chorus sing a series of solemn diatonic chords, then the soprano voice takes up the lament, and the chorus enter once more with a hymn-like phrase, accompanied by a mys terious figure on the horn, the whole passage being most touching in its manly simplicity. . There is a charming melody at the words, irresistibly recalls the immortal tune which adorns the last pages of "O for that day when all men's hearts shall beat," which in its outline "Blest Pair of Sirens," and on it the composer constructs a short fugato with wholly delightful effect. Then the prayer returns, and the words "Grant us thy peace are softly breathed by alternate quartet and chorus in solemn antiphony. The whole passage is devoid alike of new rhythmic devices and of recondite harmonies. and is a striking instance of the sublime effect that a master hand can produce by the simplest possible means. Speaking of the Ode as a whole, we may point to the striking skill with which the two fundamental motives, in ever varying forms and settings are made to permeate almost every bar of the music, and thus to convey that sense of unity which is so essential to the best works of art.

YORKSHIRE DAILY POST.

The composer has been his own librettist, and while the diction of his poem shows a literary instinct and poetic feeling entitling it to consideration on its own merits, it furnishes also, as might be expected, a fertile and suggestive theme for musical treatment. A very slight acquaintance with Dr. Parry's character enables one to recognise his individuality in the high aspiration towards all that makes for righteousness, and in the love for his fellow men and the optimistic belief in their capacity for goodness that colour the poem. In that it presents a series of moods, even more than a series of pictures, its fitness for a musical setting is obvious. The nobility

of thought in this Ode may be imagined, even from this hasty summary of its leading features, and this characteristic seems to be reproduced in the music, which is vigorous and masculine, yet tender and sympathetic, and makes one, after perusing it, eager for an opportunity of hearing the work.

BIRMINGHAM DAILY MAIL. The Ode opens with a lengthy orchestral intrada, containing the chief leading motive which predominates throughout the work. This prelude lends itself to rich orchestral colouring, The chorus that follows the bass song is for male voices, vigorous and stirring, and of virile power. . . . . The section "Comradeship" is expressed in a chorus for female voices of great dramatic intensity, and is finely written. The section of the Dirge is a chorus in four parts, with soprano solo, and here the composer shows his majestic and powerful vein that always characterizes his orchestral accompaniments. The final section of the War, the "Home Coming," is eloquently dealt with in a chorus and soprano solo, " Ring the tidings far and wide,” full of varied contrast and impressiveness. The Peace section is preceded by an orchestral prelude, after which there is the tenor solo, After tumult, rest," a truly lyrical and finely-written number, enhanced by delightful harmonic changes. This is followed by a quartet, "Sing the glories of peace," with important solo passages, constructed in a tuneful and captivating manner. The next number is a choral march, "Forward through the glimmering darkness," one of the most stirring sections of the entire work. The Ode concludes with a chorus and quartet, "Grant us Thy peace," in which eight-part writing strongly figures, the accompaniment being built upon the chief motive of the prelude.