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HECTOR BERLIOZ.

CHORAL WORKS

PUBLISHED BY

BREITKOPF & HÄRTEL, 54, Gt.

Gt. Marlborough Street, London, W.

FAUST. A Dramatic Legend, for Solo Voices, Chorus, and Orchestra. English version by
WILLIAM WALLACE.

Full Score, 40s.; Orchestral Parts, 49s. 4d.; Extra Parts, each, Is. 4d.; Vocal Score, arranged b
J. HOLBROOKE, 3s. 6d.; Chorus Parts, each, 8d.; Book of Words, 2d.; Concert Guide, 2d.
"This new edition comes at an opportune moment, when the echoes of the celebration at Grenoble are hardly stilled,
and when an era of revived interest has been ushered in for the works of the great French composer. Its special appeal
to us lies in the fact of its English dress. Mr. Wallace's version appears unencumbered by the original French or German.
The aim of the translator has been to provide a text to which the voice parts can be sung exactly as Berlioz wrote them,
that is to say to provide a text which should correspond exactly with the accent and note values of the criginal French
This Mr. Wallace has been able to do, although it was a task beset with special difficulties, chief among which
were Berlioz's somewhat loose manipulation of the French language, and the fact that the French translator had himself
taken great liberties with the German original. The crux throughout,' as Mr. Wallace says, has not been to translate
a text which can be read, but to provide words which can be sung, and conscientious effort incessantly has been confronted
with the fact that this is not a translation of Goethe's "Faust," but an English version of a French translation of Goethe's
text set to music by Berlioz.' Judged from this standpoint, Mr. Wallace deserves the highest praise for the excellence of
his work. He has produced a version which is intelligible, often eloquent, from a literary point of view, and which fits the
music like a glove. It is indeed safe to say that no one but a musician could have produced a version so delicately
sensitive at all points to the nuances of rhythm and accent; and English singers may well be grateful for the help thus
afforded them. Mr. Holbrooke has also done his work well, his preparation of the score and the indications he gives of
the orchestration should be helpful to the intelligent student and hearer. The format is Imperial Svo, and the work is
produced with the excellence which characterises all the publications of this house."-The Musical Age, October, 1903;
"This is a new edition, designed to celebrate the centenary of Berlioz, by being new in respect of a revised text, which
has been most effectively translated by Mr. William Wallace, and new in the editing of the vocal score, which has been
left to the most competent hands and enthusiastic care of Mr. Josef Holbrooke. So happy a combination of talent could
hardly fail to produce a work of great significance, and it is not hard to foresee that this version will speedily attain first
rank and supersede others that are in customary use. The printing is of the best, and the whole work looks well inside
and out. For the greater convenience of conductors and singers the different points to which it may be convenient to return
or from which study may begin are printed in unmistakable figures thus: [56], [132], and so forth, so that every aid is
given to those who would engage upon a study of this noble and entrancing work. As a tribute to the composer none could
have been finer of its kind, and we heartily wish this edition the success it deserves."-The London Musical Courier,
October 10, 1903.

"This is quite a splendid edition of the Berlioz Cantata, a work so popular among our leading choral societies. Rarely does one see such white paper and such clear black type, and such an absence of crowding in the notes, the latter result being obtained by the expenditure on occasion of a whole page upon exactly one bar of music. The spacing, too, is perfect. The reading of this score, thus rendered so easy, can therefore be only a pleasure. This edition also boasts a new English version by Mr. William Wallace, which is by no means unworthy of so good an issue. In the first place we may offer our congratulations to Mr. Wallace in that he has refrained from re-composing the music after the manner of so many translators of libretti. It is a curious paradox in respect to certain editions of classic works that, extraordinary pains having been taken to get a perfectly authentic musical text, by the searching in libraries and museums, by examination of manascripts, comparison of passages and theoretic analyses, the whole thing is then handed over to some wretched hack poet, who proceeds to cover his own incompetence by altering not only time values, but the pitch of notes and whole melodic phrases, to make them fit the metres of his verse. In the present translation, on the other hand, regular metre has been sacrificed to faithful adaptation to the music. Yet the rendering is at once vivid, forcible, and poetic, and makes, when sung, a fine text for the music. Instead of the more usual system of lettering the score for convenience of rehearsal, this work is plainly numbered. This permits as many as 156 references without the use of such hieroglyphics as Aa. Bb, or Zz. The répertoire of our choral societies is restricted more than one thinks by the lack of cheap, legible and well translated editions, and the present production being all this, and much besides, should place one more work within the reach of fully-fledged choral societies."-Music, October, 1903.

THE CHILDHOOD OF CHRIST. A Sacred Trilogy, for Solo Voices, Chorus, and Orchestra Full Score, 20s.; Orchestral Parts, 23s.; Extra Parts, each, Is.; Vocal Score, 3s.; Chorus Parts, each, THE FIFTH OF MAY. A Short Cantata, for Bass Solo, Chorus, and Orchestra.

Full Score, 3s.; Orchestral Parts, 7s. 8d.; Extra Parts, each, 4d.; Vocal Score, Is.; Chorus Parts, each, REQUIEM. Grand Mass for the Dead. Latin words. For Solo Voices, Chorus, and Orchestra.

Full Score, 15s.; Orchestral Parts, 26s. 8d.; Extra Parts, each, 8d.; Vocal Score, 3s.; Chorus Parts, each, ROMEO AND JULIET. A Dramatic Symphony, for Solo Voices, Chorus, and Orchestra.

Full Score, 15s.; Orchestral Parts, 36s.; Extra Parts, each, Is.; Vocal Score, 3s.; Chorus Parts, each TE DEUM. For Solo Voices, Chorus, Organ, and Orchestra. Latin words.

Full Score, 20s.; Orchestral Parts, 34s.; Extra Parts, each, Is.; Organ Part, Is. 6d.; Vocal Score, 35
Chorus Parts, each, 8d.

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Full Score, 6s.; Orchestral Parts, 9s. 4d.; Extra Parts, each, 4d.; Vocal Score, Is. ; Chorus Parts, each, t IMPERIAL HYMN. A Cantata for Double Chorus and Orchestra.

Full Score, 3s.; Vocal Score, 2s.

CHORUS OF THE MAGI. For Chorus and Orchestra.

Full Score, 38.; Orchestral Parts, 5s.; Extra Parts, each, 4d.; Chorus Parts, each, 4d.

HERMINIA. A Lyric Scene, for Soprano Solo, with Orchestra.

Full Score, 9s.; Orchestral Parts, 14s.; Extra Parts, each, 8d.; Vocal Score, 38.

CLEOPATRA. A Lyric Scene, for Soprano Solo, with Orchestra.

Full Score, 9s.; Orchestral Parts, 15s. 4d.; Extra Parts, each, 8d.; Vocal Score, 3s.

TANTUM ERGO. For Female Solo Voices (s.s.A.) and Female Chorus, with Organ Accomp. Full Score, IS.; Solo and Chorus Parts, each, 4d.

VENI CREATOR. Motet, for Female Solo Voices (S.S.A.) and Female Chorus, unaccompanied.

Full Score, IS.; Solo and Chorus Parts, each, 4d.

THE DEATH OF OPHELIA. Ballad for Female Voices, with Orchestra.

Full Score, 2s.; Orchestral Parts, 4s. 4d.; Extra Parts, each, 4d.; Chorus Parts, each, 4d. RELIGIOUS MEDITATION. For Chorus and Orchestra.

Full Score, IS.; Vocal Score, Is.

PRODUCED AT THE BIRMINGHAM MUSICAL FESTIVAL, 1903.

THE APOSTLES

(PARTS I. AND II.)

AN ORATORIO

BY

EDWARD ELGAR.

PRICE FIVE SHILLINGS.

Paper boards, 6s.; cloth, gilt, 7s. 6d.

Vocal Parts, Is. 6d. each; Full Score and Orchestral Parts (in the Press).

Book of words, with Analytical and Descriptive Notes and nearly 100 musical examples, by A. J. JAEGER, IS. The right of representation and performance of this work is reserved; all applications with reference to performances should be addressed to the Publishers.

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DAILY TELEGRAPH, OCTOBER 15, 1903. is a good omen that at last a man of our own race and nation has e to the extreme front and drawn to himself the wondering iration of all who profess and call themselves musicians and rs of the art. There is something impressive in the position now pied by Elgar. He is not an intriguer. He does not compass en and earth making proselytes to believe in his own powers, er does he trim his sails to catch the varying breezes of popular ion. Having something to say in the fashion which appears to best, he says it straight out, and leaves the issue to the Fates. though sturdily independent, courting nobody, he now occupies osition of a man with whom most people are determined to be sed. There must be something in him-much more than com-to bring about this result. This remarkable Oratorio is h any amount of care in the handling. It is not a work of a mere cker in musical goods. Its sincerity is unquestionable, the ness of its aim cannot be denied, and its strength must be taken account, whatever may be thought of its methods.

DAILY TELEGRAPH, OCTOBER 16, 1903. aving consideration of method for the greater satisfaction of hing upon evidence of the lofty powers with which the composer idowed, and by the strength of which he has taken a foremost e amongst the composers of the world-perhaps even more than in rontius," where the subject was less varied and expansive-those ers assert themselves in the new work. . . . Whether he shows us neffable gentleness and dignity of Christ, the penitence of Mary dalene, the despair of Judas-whether he picture storm or calm, ests the tragedy of Golgotha or the glory of the Ascension, we are cious of power, sincerity, and truth.

STANDARD, OCTOBER 15, 1903.

ere can be no question concerning the lofty purpose of the comr and his consummate mastery of the resources of his art. The k is the product of fervid imagination controlled and guided by intellectual perception, a masterful expression in music of tual convictions, and in its essence a sacred music drama perted with the spirit of the preacher. The keynote of Dr. ir's work is lofty mysticism, suggesting the spiritual in a peculiar often strangely beautiful manner.

MORNING POST, OCTOBER 15, 1903.

e deep sincerity which pervades the work, the splendid technique, power, and, in many instances, the great charm that are revealed and immediate recognition before any criticism be passed. . . an expression of lofty purpose, as an example of consummate icianship, and as revealing both imagination and originality e can be but one opinion. The instrumentation of the work is a ly in itself.

GLOBE, OCTOBER 15, 1903.

r. Elgar's command of every orchestral resource is proverbial, and 'The Apostles" he handles vast choral masses with no less signal cess, and his solo writing, if not exactly melodious in the olddoned sense, is always dramatic and expressive. Those who

Dr. Elgar's music best will understand how fully he has availed self of the many opportunities given him by the most moving y the world has ever known, what treasures of musical science as expended upon it, and with what dazzling resources of orchesion he has enriched it. The work must be pronounced a thy successor to "The Dream of Gerontius."

PALL MALL GAZETTE, OCTOBER 15, 1903.

A masterpiece; an invaluable contribution to the art of the world; a score of pure gold throughout--a work so great, so remote from the common things of the earth, that to follow the composer into the distant fastnesses of his mind is, at all events, on a first hearing, something of a heroic virtue. He tries one, not because he wishes to compel endurance, but because he has carved out his way, and it is There is the secret of his nothing to him whether you follow or not. wonderful art: it is nothing to him if you take his score or reject it; and there follows the inevitable result that immense indifference however, implies a sort of personal work which, granted a powerful invariably conquers those who are eager. Immense indifference, brain as the origin from which that work springs, makes for ultimate triumph; and such power was certainly displayed to-day.... I write And such music as rises to Elgar's-to this great master's-heart is of in this somewhat ecstatic strain because the work deserves it. the finest possible quality; it is of "meaning most decisive."

WESTMINSTER GAZETTE, OCTOBER 17, 1903.

Without any doubt "The Apostles" is worthy of great and admiring attention, a superb instance of English imagination and musical craftsmanship. I yield to none in my satisfaction that we have a composer so able and so masterful that he compels inquiry and commands applause. I find The Apostles" in some respects in advance of anything Elgar has previously done; as a specimen of mere mastery of material it shows a surer grasp, and though there is the same effort to impress by prodigies of polyphony, which amount to but little in the end, the effort here is more successfully made.

OBSERVER, OCTOBER 18, 1903.

As the days pass since I was one of a closely-packed and deeply in my mind that I was present at the birth of not only a masterpiece, attentive audience in the massive town hall the conviction increases but an epoch-marking work in the history of oratorio. Musically it may be described as a sacred drama on the lines of Wagner's "Parsifal." That the motives are always appropriate may unhesitatingly be said; that the passages in which they are used with special purpose carry conviction is undoubted, and that the composer has gone beyond all forms and reached the bedrock of musical expression is incontrovertible.

SUNDAY TIMES, OCTOBER 18, 1903.

The choral writing in the "Apostles" is among the finest ever written, at any time, by any musician. Its difficulty, as those who know the trend of Dr. Elgar's genius will need no telling, is enormous; but the complexities he so delights in inventing are so obviously the outcome of a desire to express convictions (artistic and spiritual) that none who value sincerity in art would dare suggest that this great representative of British music should curb the fire of his Pegasus, or (to change our metaphor) attempt to trim his sails to the breeze of critical opinion. "The Apostles" is real music-that is to say, music which means something; music which expresses the inner sense of the words to which it is set.

REFEREE, OCTOBER 18, 1903.

I very much doubt, however, if two-thirds of those who were present apprehended the greatness of the music they were listening to. Small blame to them, however, for the work is laid out on the same lines as Wagner's "Parsifal," and the themes have consequently to become familiar before the significance of the music can be wholly understood. That which may be said to have been apparent to all was its spirituality. It is this which gives the music its distinctive individuality. The deep impression made by the work was shown by the momentary silence which ensued after the last note had died away, for although a stupendous tonal climax is worked up, the end is calm and gentle, as the spirit of the faith the music illustrates.

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HECTOR BERLIOZ.

ORCHESTRAL WORKS

PUBLISHED BY

BREITKOPF & HÄRTEL, 54, Gt. Marlborough Street, London, W.

SYMPHONIES.

SYMPHONIE FANTASTIQUE.

Full Score, 9s.; 34 Orchestral Parts, 22s. 8d.; Extra Parts, each, 8d.

HAROLD IN ITALY.

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FUNERAL AND TRIUMPHAL SYMPHONY.

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ROMEO AND JULIET. A Dramatic Symphony, with Soli and Chorus.

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OVERTURES.

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ROB ROY.

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*HUNGARIAN MARCH, from "Faust."

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* These Works are also published for the Pianoforte.

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