The Brixton Oratorio Choir intend to perform during the coming season at Brixton Church the following works-Elijah, Creation, Messiah, Hiller's Song of Victory, Last Judgment, St. Peter, &c., all of which will be accompanied with full orchestra. Mr. Douglas Redman will conduct as heretofore, and Mr. Welton Hickin will be at the organ.

Mr. John E. West is orchestrating his cantata The. Story of Bethlehem.' The score, which will be laid out for full orchestra, with a separate organ part, will be ready for Christmas performances of this popular work.

Mr. Reginald Goss Custard will resume his Saturday afternoon organ recitals at St. Margaret's Church, Westminster, on the 3rd inst., at 5.30 p.m.

ORGAN RECITALS.

Dr. A. L. Peace, Glasgow Cathedral.-Marche Pontificale (Organ Symphony, No. 1), Widor. Miss May Lord, St. David's Cathedral.-March of the Crusaders, Liszt.

Master Frank Percy Haines, St. Saviour's, Leicester.The Storm, Lemmens.

Mr. Richard Seaton, Hexham Abbey Church.-The Storm, Neukomm.

Mr. Franklyn Mountford, St. James's, Handsworth.Fantasia in C, Tours.

Mr. R. E. Parker, Parish Church, Wilmslow.-Grand Choeur, MacMaster.

Mr. Richard W. Handley, Wesleyan Church, Runcorn. Melody in C, John E. West.

Mr. Louis H. Torr, Parish Church, Emsworth.Allegro in B flat, Lemmens.

Mr. Alfred W. V. Vine, All Saints', Clovelly.-Postlude in D, Smart.

in C sharp minor, Harwood.
Mr. George Rathbone, Cartmel Priory Church.-Sonata

Perth.-Fantasia on the Vesper Hymn, Turpin.
Mr. Frederick Midgley, St. John's Parish Church,

Mr. Munro Davison, Northern Polytechnic.-Prelude in C sharp minor, Rachmaninoff.

Mr. J. C. Clarke, St. John's, Boulogne-sur-Mer.— Fantasia on the hymn O Sanctissima,' Lux.

Mr. E. Slater, St. Paul's Cathedral, Calcutta.Allegretto, Nevin.

Mr. J. Job, St. John's, Felixstowe.-Air with Variations, in A, Smart.

Mr. Frank Pullein, Wrexham Parish Church.-Marche Triomphale, Moscheles.

Mr. H. E. Piggott, All Saints', Alton.-Trumpet Voluntary, Purcell.

Mr. Fred Gostelow, Luton Parish Church.-Overture to Oberon,' Weber. (In a church!)

ORGANIST, CHOIRMASTER. AND CHOIR APPOINTMENTS.

Mr. Arnold Bagshaw, Cherry Tree Hill Free Church,
Sheffield.

Mr. C. W. Bridson, Parish Church, Liverpool.
Mr. J. A. Copeland, St. Paul's Church, Middlesbrough.
Mr. W. G. Everleigh, Cork Cathedral.

Mrs. Probert Goodwin, Parish Church, Stanton Drew..
Mr. F. W. Hughes, Parish Church, Richmond,
Yorkshire.

Mr. Thomas Lane, Parish Church, Darwen.

Mr. Albert Orton, Parish Church, Woolton, near Liverpool.

Mr. E. V. Pickersgill, St. Oswald's New Church, West Hartlepool.

Mr. Percy Rider, Wesleyan Church, Albion Road,. Lewisham.

Mr. N. Story, Parish Church, Bridge-of-Allan, Stirling. Mr. A. J. Todd, Parish Church, Thirsk.

Mr. Healey Willan, St. John's Church, Kensington. Mr. W. Brown (tenor) and Mr. H. Finch (bass), Layclerks in St. Asaph Cathedral.

Reviews.

ANTHEMS.

Anthem for Lent or

Why art thou so heavy, O my soul?
general use. By Orlando Gibbons.
Hide not Thou Thy face. By Richard Farrant.
Almighty God, Who hast me brought. By Thomas Ford.
Father now Thy grace extending; and O God of Wisdom.
By Willem Coenen.

Morn's roseate hues. By G. W. Chadwick.

[Novello and Company, Limited.]

It is well not to forget the past, and Mr. John E. West is to be commended for editing the above three anthems and for the manner in which he has so reverently discharged his congenial task. The first and third settings are appropriate for Lent, as well as for general use, and Farrant's Hide not Thou Thy face' is a devotional setting of supplicatory words. These fine examples of old-world English Church music deserve to become widely known and appreciated if only for their devotional beauty.

beginning pianissimo, is worked up to a fortissimo climax,

Music by Clarisse Mallard.

[Breitkopf and Haertel.]

Trois

PIANOFORTE MUSIC.

Morceaux pour Piano (Op. 44, 45, 46). By E. Jacques-Dalcroze. Quatre Petits Morceaux pour Piano. Par Dirk Schäfer. Süddeutscher Musikverlag, Strassburg.

[E. L. Robinson, Wigmore Street.] The composer of the first-mentioned pieces writes with appreciation of the capabilities of the pianoforte which will appeal to players thereupon. In some of the compositions the harmonic scheme is somewhat involved, and in one or two instances the modern definition of a signature as the key in which the piece is not written' is certainly applicable; but the composer has something to say, and he says it in a scholarly manner, not without graceful and sympathetic touches which testify to a lively imagination,

Herr Schäfer has severally named his pieces Pastorale (all' antica),'Alla Minuetto,' Chant Mélancolique,' and Deuxième Valse,' titles which fairly indicate their character. While they present few difficulties to the average trained executant, they are melodious and effective.

The above title savours of a paradox, but it is all righ if you think it out. The songs are severally named Memories' and 'Petite, the words of the former telling being a serenade to a lady who, in the singer's estimation, of a love that somehow has gone wrong, and the latter seems to linger unjustifiably. The music is well written and refined, but Miss Mallard is most successful in he Memories.'

Several

A Short Account of our Great Church Composers, 1540-18 By Agnes E. Done. Specialy (Henry Frowde.) written for choristers,' this little book is a collection of brief biographies pleasantly penned by Miss Done daughter of the late Dr. Done, a former and much esteemed organist of Worcester Cathedral. portraits of the composers discoursed upon by the authoress add to the interest of her very readable pages. -Musical Education. By Albert Lavignac. (D. Appleton and Company.) An English translation, from the French by Esther Singleton, of an interesting and useful book recently reviewed in these columns.Confessions of a violinist. By Dr. T. Lamb Phipson. (Chatto and Windus.) A reminiscent and chatty book by an author who has before given proof of his anecdotage resources Music and its influence on life and character. B the Rev. H. F. Kelvey. (Charles H. Kelly.) A series of eight thoughtful addresses delivered at varicas times by the author, a Wesleyan Methodist Minister They range from that which furnishes the title to the book to The observations of an organ-blower.' Modern Organ Tuning: the How and Why? By Hermann Smith. (William Reeves.) These 120 pages contain

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[Novello and Company, Limited.] These arrangements make excellent pieces for the household instrument. The first, entitled Valse Bohemienne, although very easy to play, is full of character; the third, Valse de la Reine,' if a little more difficult, will well repay any extra practice it may require. It is the best of the set, but the second and fourth, respectively called 'Valse Rustique' and Valse Mauresque,' are well worthy of the attention of pianists.

Weary wind of the West.
by Edward Elgar.
A Spring Song. Words by Aubrey de Vere.
Arnold D. Culley.

Music by

[Novello and Company, Limited.] Dr. Josè has made a most effective part-song arrangement of the old Irish melody which Thomas Moore has allied to lines which appeal with peculiar sympathy to musicians; and part-singers will find in this composition the truth of the poet's remark that music's strains can sweetly soothe.' Although both of Mr. Pullein's compositions are short, they are excellent examples of the modern part-song. The music to As through the land' is very simple, but is not this the most natural treatment suggested by Tennyson's exquisite lyric?-lines that are perfect in themselves. Dr. Elgar expects much from English choristers, and his setting of Weary wind of the West will test the metal of its exponents. The music is not, however, exceptionally difficult, but it is exceptionally effective; and the setting of the last line, directed to be sung ppp, is most touching. Mr. Arnold Culley's Spring Song' is very gay, not to say jovial; crisply sung it would be very stirring.

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and the system of equal temperament, together with an historic record of the evolution of the diatonic scale from the Greek tetrachord.' We learn therefrom that dist is the great enemy of the organ.' The Ring of the Nibelung. By Alice Leighton Cleather and Basil Crump. (Methuen & Company.) This little book, so convenient for the pocket, claims to be an interpretation embodying Wagner's own explanations of his great creation. The interpretation' is therein lucidly, concisely, and analytically set forth, illustrated with music-type examples. A recently discovered and characteristic portrait of the master, taken in 1869, forms an interesting frontispiece to an acceptable contribution to the everextending field of Wagnerian literature,

THE HEREFORD MUSICAL FESTIVAL.

(BY OUR SPECIAL CORRespondent.) It is always a little difficult to give an instant verdict. in a few words, on any of the great annual Festivals which signalize provincial musical activity in Englan be unfair, because it would have to be balanced o during the Autumn. In fact such a verdict would indeed one side or the other either by the virtues or by the defects of the various performances. Instead therefore of attempting any smart precision of judgment, one may take more or less in order the most prominent features c the Festival as they appeal to one by reason of the importance. First, then, the chorus has to be considered The grand opening service on Sunday afternoo (September 6) gave promise of very exceptional chera work during the week: Elgar's Te Deum in F, ic example, was sung with a sheer purity of sound and af accuracy of tone that belonged to the very highest orde of the best sort of choral singing; therefore when Tuesday morning arrived, bringing with it Mendelssohn's Elijah. expectation was necessarily tuned to the highest pitch To a large extent that expectation was thoroughi justified. The early part of the work went, so far as the chorus was concerned, with the utmost spirit and even fire of determination; in the course of the day, however, a certain sense of fatigue seemed to creep over the singers, and the end left them very much behind the level of their

original achievements. To jump straight from the first day to the last day, the Messiah' found the same chorus just about midway between the two points which it had reached at the beginning and at the end of 'Elijah.' It will thus be seen that there was considerable fluctuation in the meritoriousness of this choral singing, but that when these singers were at their best they were worthy to compare with the really great choirs that have made for success during so many years of various provincial Festivals: when they were at their worst they were not so bad at all events as not to ensure a certain amount of definite respect and admiration. Of individual performances it will be possible to speak when treating definitely of the various compositions in succession.

The Festival proper opened with Mendelssohn's 'Elijah' on Tuesday (September 8). Mr. Andrew Black took the part of the Prophet, and was in his very best form. Mr. Black's rendering is extremely dramatic, and his voice seems to betray the passionate personality and the intense fervour which Mendelssohn designed for his Elijah; it may be said that not for a long time has Madame Albani sung, one will not say with so much fervour exactly, but with so much vocal beauty and singleness of style; she also took the place of Miss Agnes Nicholls who, owing to indisposition, was prevented from appearing throughout the entire Festival. At the same performance Miss Muriel Foster and Mr. William Green sang with considerable distinction.

The evening of Tuesday brought a novelty in the shape of Mr. Granville Bantock's Orchestral Interlude from 'Christus,' entitled The Wilderness.' In that it is obviously unfair to make too sweeping a judgment of a work which is only a detail in an important general whole, it was surely a mistake to give us such an extract for appreciation and criticism. But still one can only judge by that which was actually heard. As an absolute work it does not seem to contain any very deeply serious elements of vitality; at times it strikes a somewhat dreary note, and the end (though of course this part may have relation to other portions of the work) seemed to be more than a little without significance. It was extremely well played under Mr. Bantock's own direction. That work was followed by a selection from Israel in Egypt.' Here the chorus was partly excellent; those two great tone-pictures 'He gave them hailstones' and 'He sent a thick darkness' were not by any means realized to the fulness of the composer's intention, whereas certain other less famous numbers were almost ideally interpreted. The duet The Lord is a man of war' was assigned to Mr. Andrew Black and Mr. Lane Wilson; it was sung extremely well, the final page indeed possessing in the interpretation an extraordinarily beautiful effect.

MR. COLERIDGE-TAYLOR'S CANTATA THE ATONEMENT.'

Wednesday morning (September 9) brought what was perhaps the most important novelty of the week, Mr. S. Coleridge-Taylor's The Atonement.' The book deals with the sacred history of the Passion and Resurrection of Christ, though as the name of the work implies it is the Passion which chiefly occupies the energies of the composer. Had Mr. Coleridge-Taylor selected his words from Holy Writ we are convinced that he would have found a far better source of inspiration than from the book provided for him by Mrs. Alice Parsons. The librettist has turned the scriptural narrative into a set of verses which are by no means at all times consonant with the reverence which one is accustomed to entertain

towards the narratives of the New Testament. In fact very often the actual words of the Saviour are altered, and in one or two instances indeed the scriptural sense is entirely distorted. Take for example the words of Christ to the Holy Women of Jerusalem: Daughters of Jerusalem, weep not for me, but weep for yourselves, and for your children.' This becomes translated into :Women, weep not for One Who soon will be at rest. Weep rather for the fate Of fair Jerusalem.

Another instance may be quoted in the utter misrepresentation of Scripture involved in Christ's cry upon the Cross, which of course in the Scripture runs: ' Why hast thou forsaken me?' and in this version is turned to

Hast thou forsaken me?' It is with this libretto then that Mr. Coleridge-Taylor has had to contend, and though he has laboured almost fiercely to overcome difficulties of sentiment and difficulties which reverence casts in the way, his score must certainly be called unequal. One supposes that the necessity for feminine interest was so strong that a love duet between Pilate and his wife was the only resource left to the librettist; in any case, it is here that Mr. Coleridge-Taylor seems to be quite at his best, where he becomes purely natural. There is little doubt that in the more spiritual parts of the work Mr. Taylor has not identified himself with Western thought and Western sentiment. Oddly enough, apart from the duet of which we have spoken, it is often those passages which remind one of Hiawatha' that are the most successful in the score.

Mr. Coleridge-Taylor is, however, as a musician, very much in earnest, and this must be immediately recognized. The Prelude, -to give just one instance where many examples might be taken-which introduces the scene of Gethsemane. is an extremely well-woven piece of musical texture; and a good deal of the choral matter is finely poetical and significant. The scoring too is often so 'instinctive '-to use the favourite word of Berlioz-as to prove its own necessity, a very different matter from proving its composer's ingenuity. There is no reason to suppose that, under the happier auspices of a more felicitious libretto, Mr. Coleridge-Taylor's Muse may not achieve the success of another Hiawatha.' Assuredly the Prayer of Christ, O little flock,' is a musical page of keen and intense beauty.

Bach's lovely motet Jesus sleeps' was admirably sung, Mr. William Green especially distinguishing himself in the extremely difficult aria In billows the rivers of Belial.' Mozart's ever welcome G minor Symphony brought the morning's music to a close.

On Wednesday evening a grand concert was given at the Shire Hall, most of the numbers of which are familiar enough to amateurs. Dr. F. H. Cowen's new orchestral work Indian Rhapsody,' conducted by the composer, was given for the first time on this occasion. It is a work of brilliant accomplishment and of singular ingenuity. The melodies upon which it is based are quite authentic, and they range from grave to gay, and from gay back again to tragic; the scoring is admirable, and the orchestral playing of it was altogether worthy. Dr. Elgar on the same evening conducted his now wellknown Variations on an Original Theme.'

Dr. Elgar's 'Dream of Gerontius' was given on Thursday morning (September 10). One does not want to pass a hasty judgment upon the performance of the work, which was clearly a labour of love to everyone concerned. It began well, one may say extremely well, and all the first part was without any question a great artistic pleasure to hear; but at the end the chorus was by no means up to the promise of the beginning. Of course it is an extremely difficult work; nevertheless one had really looked forward to a greater sustained effort on the part of the chorus than was here made evident. The Chorus of Demons may be taken (as Macaulay would have said) as proof-charge. But the Chorus of Demons was singularly wanting in spirit and in audacity; it became almost academic in form, and as near as could be professorially correct in its mode of expression. In a word the Dream has had better performances before, and we trust will have better to

come.

Miss Muriel Foster, Mr. Lane Wilson, and Mr. Plunket Mr. John Coates was an admirable Gerontius, and Greene sang extremely well. After the usual interval came the production of Sir Hubert Parry's Motet Voces Clamantium,' an excellently written work, possessing a deeply true and intimate musical spirit, and constructed with a singular sense of fine equipoise. Madame Emily Squire and Mr. Plunket Greene took the solo parts therein, and Brahms's C minor Symphony followed the new Motet.

Thursday evening brought with it the first performance in the English language of Philip Wolfrum's 'A Christmas Mystery,' a work which has had considerable vogue in Germany. It is practically a modern adaptation of the

With Handel's Messiah' on Friday morning, sung on the whole very well (the soloists being Madame Albani, Miss Hilda Wilson, Madame Emily Squire, Mr. John Coates, and Mr. Watkin Mills), and with a general concert at the Shire Hall in the evening at which a young violinist, Miss Evangeline Anthony, distinguished herself, the Festival came to a close.

Dr. Sinclair, organist of the Cathedral, not only conducted the Festival with his customary alertness, but to his tireless energy, painstaking enthusiasm, and programme-making insight, not a little of its success was due. Mr. Ivor A. Atkins and Mr. A. Herbert Brewer, of Worcester was and Gloucester Cathedrals respectively, efficiently shared the duties of organist at the various performances, while Mr. P. C. Hull rendered excellent service at the organ at the grand opening service.

PROMENADE CONCERTS.

BRITISH NOVELTIES.

The number of new works by British composers introduced at the Promenade Concerts at Queen's Hall has imparted unusual interest to the programmes, and certainly will form a distinctive feature of this year's series, which commenced on August 22. The first important novelty, produced on August 25, was a Symphony in A minor (Op. 22) by Mr. Cyril Scott, a young composer born at Oxton, Cheshire, in 1879. Several compositions by this musician have attracted favourable notice, notably a pianoforte quartet heard at one of the Broadwood Chamber Concerts, consequently the Symphony excited curiosity and expectation. The design of this work is unusual, the plan comprising two Andante and two Allegro movements, each played alternately. The first slow movement is poetically conceived and appeals to the imagination of the listener. It is succeeded by an Allegro con brio, a tersely-written and vivacious number which elicited the heartiest applause. The second Andante is less distinctive, although it possesses a broadly-designed and graceful melody. The Finale opens with an introduction of serious expression, but this is soon dismissed by the Allegro into which it leads, and which concludes the work in a spirited manner. The slow movements would be improved by compression, but the work in its entirety is a remarkable production for so young a man.

On August 27 was heard for the first time in London a Pianoforte Concerto in F minor (Op. 36) by Mr. Josef Holbrook, who played the solo part. This work consists of three movements, the most significant and effective of which is the first. The second number, an Adagio, provides an excellent contrast, and leads without break into a Finale which is less satisfactory, but contains many brilliant passages for the solo instrument.

A work of still greater promise and achievement was produced on the 1st ult., in a Symphonic poem entitled The lament of Tasso' by Mr. Edwin York Bowen, who has had a brilliant career at the Royal Academy of Music. It is an illustration of Byron's poem, which has inspired the composer to write music of genuine poetical character, and moreover music possessing a suggestion of power of expression remarkable in so young a writer.

Two nights later was heard a Pianoforte Concerto in D, by Mr. Harry Farjeon, first performed at one of the students' concerts of the Royal Academy of Music at Queen's Hall, on December 13, 1900, and duly noticed in these columns. It is unnecessary to say more now, save that the good opinion then expressed was confirmed, and that Mr. Farjeon's Concerto was cordially received. Opinions were very much divided on the merit of Signor Wolf-Ferrari's chamber Symphony in B flat,

heard for the first time in England on the 4th ult. In its entirety the Symphony is not a satisfactory composition, although it testifies to the composer's artistic aims and skill in scoring. Signor Ferrari is a native of Venice and Director of the Bologna Conservatoire.

A very clever Orchestral Suite of dramatic character, by Mr. William Wallace (produced on the 8th ult), is entitled 'Pelléas and Mélisande,' and deals with episodes in Maeterlinck's drama. The five numbers are severally headed The lost Mélisande,' 'The King's march,' 'The love of Pélléas,' 'Spinning song,' and 'The death of Mélisande,' all of which gain in significance by a knowledge of the play.

On the roth ult. a Pastoral Suite, entitled Ewelme,' from the pen of Mr. Garnet Wolseley Cox, was brought forward. The Suite-which takes its name from a village in Oxfordshire where it was composed-consists of four movements, severally designated On the downs,' By the brook,' Shepherds' Song,' and 'Rustic fête,' all of which proved to be very pleasurable to the ear.

A work of unusual character was performed for the first time on the 12th ult. This is a Concerto for Viola and Orchestra by Mr. Cyril Forsyth, who was born in Kent in 1870, and studied composition under Sir Charles Stanford at the Royal College of Music. There exist so few works for viola that this composition will doubless be hailed with satisfaction by many players of the instrament, the more especially as Mr. Forsyth writes with great sympathy for its peculiarities as well as brilliantly. The music is also interesting for its own sake, and the Finale, distinctly Scotch in idiom, is a most vivacious and melodious movement.

An orchestral composition styled 'Introduction to an operatic poem,' The Bretwalde,' by Ernest E. Blake, was played for the first time on the 15th ult., but although testifying to a lively imagination and skill in scoring, the work failed to make a satisfactory impression owing to want of cohesion and clearness of design.

While recognition has been given to British art, the chief compositions by foreign composers have been constantly performed. It says much for the capabilities of the orchestra that Dr. Strauss's exacting symphonic poems have been excellently interpreted under Mr. Henry J Wood's direction, and a specially commendable feature of the scheme is the several performances given of Mozart's symphonies and his 'wind chamber-music, for amidst the stress and turmoil of modern orchestral works it is refreshing to hear the lucid, graceful and pure music, so redolent of naturalness, associated with the name of Mozart.

A large number of vocalists, many of them new-comers, have contributed in more or less degree to the enjoyment of the evenings. Amongst the most successful were Miss Eva Rich, of Sheffield, the possessor of a pleasing soprano voice, Mrs. Ada Vyvyan, another soprano with a particularly refined style, Miss Violet Ludlow, and Messrs. Hugo Heinz, William Lavin, and Elwes. The Alexandra Part-Singers (Messrs. Frank Peskett, Edwin Bryant, William Rivers, and George Burgess) again proved their ability to give pleasure by their excellent interpretations.

ENGLISH OPERA AND A NEW OPERA.

Messrs. Frank Rendle and Neil Forsyth's five weeks season of grand opera in English at Covent Garden Theatre (which commenced on July 24) has been distinguished by an excellence of ensemble meriting the warmest praise. The company provided by Mr. Charles Manners consisted of the combination of his three travelling troupes, and it would be difficult to surpass the chorus (over a hundred strong) in beauty of vocal tone, intelligence, and appreciation of its duties. The orchestra was a decided advance on that of last season. Two-thirds of the seventy players travel with Mr. Manners's companies, and the remaining third were members of the Grand Opera Season Orchestra. The instrumentalists consequently were thoroughly familiar with their work, and under the direction of Herr Eckhold much admirable playing has been heard.

The solo artists have comprised Mesdames Fanny Moody, Zelie de Lussan, Blanche Marchesi, Alice Esty, Teify Davies, Toni Seiter, Enriqueta Crighton and Messrs. O'Mara, Maclennan, Louis Arens, Dever, Shallard, Magrath and Charles Manners, all of whom have contributed to the success achieved.

The repertory has been confined to familiar works, the only English operas mounted being Wallace's 'Maritana' and Balfe's 'Bohemian Girl, and the new opera now to be commented upon.

THE CROSS AND THE CRESCENT.

music

It is very rare that a prize-competition has resulted in the production of a work of great artistic value; but any methods calculated to encourage British composers are to be warmly commended. Mr. Charles Manners, in offering a prize of £250, plus other advantages, for the best English opera is deserving of unstinted praise. The successful competitor, Mr. Colin McAlpin, is a native of Leicester. He studied at the Royal Academy of Music for three years. At our oldest school he had as his professor of composition Mr. F. W. Davenport; but he subsequently received guidance in his creative studies from Professor Prout and Mr. Henschel. For the last four years he has held the office of organist at Trinity Presbyterian Church, Clapham, where he is as greatly esteemed for his personal qualities as for his musicianship. Besides the work now under notice, Mr. McAlpin has written an opera entitled King Arthur,' a sacred cantata and numerous songs, in addition to some pianoforte and

organ music.

The libretto of The Cross and the Crescent-produced by the Moody-Manners Company at Covent Garden on the 22nd ult.-is an arrangement by the composer of Mr. J. Davidson's English translation of François Coppéé's tragedy Pour la Couronne,' produced by Mr. Forbes Robertson early in 1896 at the Lyceum Theatre. The action takes place in the Balkans about the end of the 15th century, when the Sultan was endeavouring to subjugate Bulgaria. In emotional force the story, which need not be set forth in detail, is one well suited for musical illustration, but the composer has largely adapted Mr. Davidson's blank-verse which, besides being conducive to monotony of rhythm, does not sufficiently provide the necessary lyrical element. There is indeed only one lyric, Militza's Butterfly' song,

in the whole work.

The Music-Mr. McAlpin has adopted a Wagnerian style, with a certain stiffness of melodic form, but without the leitmotif system. If his themes are somewhat deficient in significance and characterization, his earnestness and industry are distinctly manifest. Moreover, he shows that he has the gift of inventing tuneful phrases. In a word, this opera testifies on the one hand to Mr. McAlpin's talent, and on the other to his, so to speak, natural inexperience; to the loftiness of his aims, and to his present inability to realize them. In all this, however, there is distinct promise. The strongest writing is to be found in the choral portion of the work, in music that is admirably conceived and realistic in style. In the duets between Militza and Constantine there are some charming phrases, and the manly utterances of Michael are well set. The Butterfly' song begins well, but its interest diminishes towards the close in proportion as the composer stifles his own individuality by adopting Wagnerian methods. The orchestration is complex, but it is well balanced, and testifies to unsparing pains and musicianly skill.

The interpretation of the opera was chiefly remarkable for the impassioned singing of Madame Fanny Moody as Militza, and Mr. Joseph O'Mara as Constantine. The vivacity and intelligence of the chorus, to whose efforts the genial reception of the opera was in a great measure due, also deserve high praise. The other characters were capably sustained by Miss Toni Seiter as Bazilide, and Messrs. Dillon Shallard, William Dever and Charles Magrath, who severally appeared as Stephen, Michael and Ibrahim. Herr Eckhold conducted.

At the close of the performance the prize was handed by Madame Moody to the composer on the stage amidst hearty and well-deserved applause.

MUSIC IN BIRMINGHAM. (FROM OUR OWN CORRESPONDENT.)

The approaching Triennial Musical Festival places all other undertakings in the background, and until that function is over there will be nothing to report. Choral rehearsals were resumed on August 17, and the second part of Dr. Elgar's oratorio The Apostles' was taken in hand two days later. The Voyage of Maeldune' rehearsal (on the 14th ult.) was directed by Sir Charles Stanford in person. At the close he expressed himself as being delighted with the work of the chorus, and complimented Mr. R. H. Wilson, the chorusmaster. On the 21st ult. Dr. Elgar paid a visit for the purpose of going through the choral portions of his new oratorio. composer had a fine reception, and the singers gave an admirable reading of The Apostles.' There was an enthusiastic demonstration at the close. The constitution of the orchestra as tabulated in last month's MUSICAL TIMES has given rise to some newspaper correspondence, but it is too late to expect any modification or concession to local sentiment on the subject.

The

The only event calling for notice is the performance of Mendelssohn's Hymn of Praise on the 17th ult. at St. Agnes' Church, Cotteridge, King's Norton, with band and chorus. Davies were the principal vocalists, Mr. T. Johnson organist, and Mr. A. E. Walker conductor.

Miss Rosina Buckmann and Mr. T. E.

Owing to the Festival, the various concert-giving bodies are late in issuing their prospectuses. It is understood that the Festival Choral Society will open its Hiawatha,' and give Handel's 'Israel in Egypt,' Dvorák's season with Coleridge-Taylor's Scenes from the Song of The Spectre's Bride,' and some work by Dr. Elgar at later concerts.

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The City Choral Society promises Elgar's Coronation Ode, Dvorák's 'Patriotic Hymn,' and Liszt's St. Elisabeth.' Messrs. Harrison announce a brilliant array of artists for their concerts, and the engagement of the Queen's Hall Orchestra, with Mr. Henry J. Wood; while Mr. Halford promises many important novelties.

At the annual meeting of the Birmingham Amateur Orchestral Society, held at the Midland Institute on the 17th ult., it was decided that the concerts should be the means of making known the compositions of unbroken record of more than forty years, and the new comparatively untried men. The Society has an policy should attract the attention of young composers.

MUSIC IN GLASGOW.

(FROM OUR OWN CORRESPONDENT.)

Most of our musical societies have resumed rehearsals, and in some cases works of much interest will be given during the coming season. The scheme of the Choral and Orchestral Union is practically on the same lines as formerly, and will include eleven orchestral and four choral concerts, and in addition the usual series of Saturday Popular Orchestral Concerts. Dr. Cowen has been re-appointed conductor of the Scottish Orchestra. On the occasions of his absence the performances will be directed by Messrs. Henry Wood, Richard Strauss, and Edouard Colonne. Mr. Henri Verbrugghen will occupy the leader's desk in place of Mr. Maurice Sons, who temporarily breaks his connection with the Orchestra.

The Choral Union, conducted by Mr. Joseph Bradley, will give Elgar's 'The Dream of Gerontius,' Haydn's Creation,' Brahms's 'Requiem,' and Mendelssohn's Walpurgis Night.' The Pollokshields Philharmonic Society, under Mr. John Cullen, makes a departure from the beaten track by taking up Gluck's 'Orpheus,' which, with Stanford's The Revenge,' will be performed in association with the Scottish Orchestra. The Glasgow Glee and Madrigal Society, a recently - formed choir, conducted by Mr. B. W. Hartley, has in hand a programme of madrigals, historically arranged, giving examples of the works of Belgian, Italian, and English writers. Later on the Society will essay motets by Palestrina, Tallis, Allegri, &c. The programme of the Glasgow Amateur Orchestral Society's first concert will