obtained separately; The Ancient Mariner s. d. s. d. do. (Choruses only) ANTHEMS, &c. The Lay of the Last Minstrel May Day The Miracles of Christ (Sacred) ach two sections together in one book, price One Shilling. All Thy works praise Thee (Harvest) Orchestral Parts may be purchased, or Hired from the Publishers. Thou visitest the earth (Harvest) I know that my Redeemer liveth (Easter) Te Deum laudamus (in F) ORIGINAL ORGAN COMPOSITIONS. London: NOVELLO AND COMPANY, Limited. NEW ORGAN COMPOSITION INTRODUCTION, VARIATIONS, AND FUGUE ON THE "ADESTE FIDELES " FOR THE ORGAN BY ARTHUR S. HOLLOWAY (MUS.D., OXON.). Price Two Shillings and Sixpence net. London: NOVELLO AND COMPANY, Limited. ESU, THE VERY THOUGHT OF THEE TWO SETTINGS of the GENERAL THANKS AN ANTHEM or Bass Solo, Quartet or Chorus, S.S.A.A., and Full Chorus, S.A.T.B., with independent Organ Accompaniment By T. EVERARD W. HULTON. HOIRMASTERS giving Name of Church, can have Free Specimen Copies of NEW CHRISTMAS ANTHEMS and SIX NEW CHRISTMAS CAROLS, also the charming new Christmas Pastorale, THE STORY OF BETHLEHEM HE COMMUNION SERVICE, set to music in (“Cradled in a Manger"). These New Compositions are most the Key of C, by G. F. LE JEUNE. Price Two Shillings. attractively written. They are exceedingly pretty, and have that brightness and swing that will ensure popularity, and are full of inspiration and melody. The 4th Edition is already issued of the immensely popular New No. 6. VOLUNTARY BOOK, 17 pieces complete for Organ or Harmonium, Price 1s. 6d., post-free. An Organist writes: I have all your Voluntaries, and during my long experience of more than 36 years, I have never seen better." (Over 50 Editions now issued.) Address:-CALER SIMPER, "Kilbirnie," Barnstaple. 4. Andantino calmo (G major) 5. Minuet and Trio (G major) 6. Be not afraid (" Elijah"). (G major) 7. Thanksgiving (B flat major) 8. Minuet and Trio (B flat major) John Pullein Weber London: SMITH, Elder and Co., 15, Waterloo Place, S.W SINGING QUADRILLES ON NURSERY RHYMES THREE SETS, ARRANGED FOR S.A.T.B. COLLINGWOOD BANKS. Price Sixpence net each Set. ALSO: VOCAL WALTZ "PRETTY FLOWERS" ARRANGED FOR TREBLES AND ALTOS COMPOSED BY COLLINGWOOD BANKS. Price, Folio, One Shilling net. Voice Parts, id. each. London: NOVELLO AND COMPANY, Limited. THE SONG OF THE TEMPEST. Words by S SIX MORCEAUX MÉLODIQUES, for Violoncel ROMANTIC SUITE, for Violin and Pianoforte, br PIANOFORTE ALBUMS.-THREE LIGHT PIECES, br HERBERT SHARPE. 1. Air de Ballet; 2. Arietta; 3. Invitat to the Gavotte. 2s. net. JUGEND-ALBUM (Six Bagatelles). Book. By FRITZ KIRSCHNER. Is. net. Op. 311. In Cae S. J. Rowton VOCAL ALBUMS.-TWELVE SONGS. 2. Accompaniments to The Apostles' Creed, The Lord's Prayer, and The Nicene Creed... Book 36. Henry Smart G. C. Martin ... 3. Ditto, ditto Price One Shilling each Book. ... These two books complete Vol. 6 (Books 31 to 36). Cloth, gilt, 6s. A FROG HE WOULD A-WOOING GO. By A. B. ALLEN, Composer of "Dickory dock." Price 2d. KEITH, PROWSE AND CO., LTD., 48, CHEAPSIDE, E.C.; PUBLISHING DEPOT: 42, POLAND STREET, W. ILL'S EASY VOLUNTARIES.-"Messia "Judas,' 'Elijah," "St. Paul," "Creation." IS. each book London: NOVELLO AND COMPANY, Limited. NOW READY. NOVELLO'S OCTAVO EDITION OF FAUST (LA DAMNATION DE FAUST) A DRAMATIC LEGEND BY HECTOR BERLIOZ. THE ENGLISH VERSION BY PAUL ENGLAND. TWO SHILLINGS AND SIXPENCE. Tonic Sol-fa, One Shilling; Vocal Parts, Eightpence each; Book of Words (in the Press). The Full Score and Orchestral Parts may be hired. NOVELLO'S OCTAVO EDITION OF THE CHILDHOOD OF CHRIST (L'ENFANCE DU CHRIST) A SACRED TRILOGY BY HECTOR BERLIOZ. THE ENGLISH VERSION BY PAUL ENGLAND. TWO SHILLINGS. Tonic Sol-fa, Eightpence; Vocal Parts, Sixpence each; Book of Words (in the Press). The Full Score and Orchestral Parts may be hired. LONDON: NOVELLO AND COMPANY, LIMITED AND NOVELLO, EWER AND CO., NEW YORK. 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). should be addressed to the Publishers. THE TIMES, OCTOBER 15, 1903. Dr. Elgar has treated his subject with a fitting sense of dignity and awe, and everywhere his reverence, sincerity, and conviction are clearly manifested. Much of his writing is in the best manner of genuine Church music, much of it is in the right sense mysterious, as it should be. And precisely because it is the direct outcome of conviction so it carries conviction with it. Dr. Elgar has succeeded in a huge task before which most composers might well have quailed. DAILY TELEGRAPH, OCTOBER 15, 1903. It is a good omen that at last a man of our own race and nation has come to the extreme front and drawn to himself the wondering admiration of all who profess and call themselves musicians and lovers of the art. There is something impressive in the position now occupied by Elgar. He is not an intriguer. He does not compass heaven and earth making proselytes to believe in his own powers, neither does he trim his sails to catch the varying breezes of popular opinion. Having something to say in the fashion which appears to him best, he says it straight out, and leaves the issue to the Fates. Yet, though sturdily independent, courting nobody, he now occupies the position of a man with whom most people are determined to be pleased. There must be something in him-much more than common-to bring about this result. This remarkable Oratorio is worth any amount of care in the handling. It is not a work of a mere trafficker in musical goods. Its sincerity is unquestionable, the loftiness of its aim cannot be denied, and its strength must be taken into account, whatever may be thought of its methods. DAILY TELEGRAPH, OCTOBER 16, 1903. Leaving consideration of method for the greater satisfaction of touching upon evidence of the lofty powers with which the composer is endowed, and by the strength of which he has taken a foremost place amongst the composers of the world-perhaps even more than in "Gerontius," where the subject was less varied and expansive-those powers assert themselves in the new work. . . . Whether he shows us the ineffable gentleness and dignity of Christ, the penitence of Mary Magdalene, the despair of Judas-whether he picture storm or calm, suggests the tragedy of Golgotha or the glory of the Ascension, we are conscious of power, sincerity, and truth. STANDARD, OCTOBER 15, 1903. There can be no question concerning the lofty purpose of the composer and his consummate mastery of the resources of his art. The work is the product of fervid imagination controlled and guided by keen intellectual perception, a masterful expression in music of spiritual convictions, and in its essence a sacred music drama permeated with the spirit of the preacher. The keynote of Dr. Elgar's work is lofty mysticism, suggesting the spiritual in a peculiar and often strangely beautiful manner. MORNING POST, OCTOBER 15, 1903. The deep sincerity which pervades the work, the splendid technique, the power, and, in many instances, the great charm that are revealed demand immediate recognition before any criticism be passed. As an expression of lofty purpose, as an example of consummate musicianship, and as revealing both imagination and originality there can be but one opinion. The instrumentation of the work is a study in itself. GLOBE, OCTOBER 15, 1903. Dr. Elgar's command of every orchestral resource is proverbial, and in "The Apostles" he handles vast choral masses with no less signal success, and his solo writing, if not exactly melodious in the oldfashioned sense, is always dramatic and expressive. Those who know Dr. Elgar's music best will understand how fully he has availed himself of the many opportunities given him by the most moving story the world has ever known, what treasures of musical science he has expended upon it, and with what dazzling resources of orchestration he has enriched it. The work must be pronounced a worthy 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 nothing to him whether you follow or not. There is the secret of his wonderful art: it is nothing to him if you take his score or reject it; and there follows the inevitable result that immense indifference Immense indifference however, implies a sort of personal work which, granted a powerful invariably conquers those who are eager. brain as the origin from which that work springs, makes for ultimate triumph; and such power was certainly displayed to-day. ... I write in this somewhat ecstatic strain because the work deserves it. And such music as rises to Elgar's-to this great master's-heart is of 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 attentive audience in the massive town hall the conviction increases in my mind that I was present at the birth of not only a masterpiece, but an epoch-marking work in the history of oratorio. Musically 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 musica 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 consequent 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 bad 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. LONDON: NOVELLO AND COMPANY, LIMITED. NEW HAWKES & SON'S EDITIONS. AND SUCCESSFUL COMPOSITIONS FOR LARGE AND SMALL ORCHESTRAL BANDS. F.O., Full Orchestra; S.O., Small Orchestra; P.S., Piano Solo; E.P., Extra Parts; P.C., Piano Conductor. STEWART, LESLIE.-" The School Girl." Selection from the Musical JONES, SIDNEY.-"The Medal and the Maid." Selection from the HOWGILL, RICHARD.-Three Country Sketches. Orchestral Suite 6 RICKETT, EDMOND.-Capricieuse. Valse Moderé VOLLSTEDT, R.-" Tanz Geister." BLON, F. vON.-" Sounds of Peace." March PRYOR, ARTHUR.—" Coon Band Contest." Cake-Walk MARIE, G.-Serenade Badine CAPUA, E. DI.-"'E Bersagliere." March + 8 O I 4 4 2 2 O I 4 2 но 33 +6 OOO 8 8 I 6 8 ∞ ∞ 6 но 2 O 4 6 No. 4 is the March played as the Pageant Music in Richard II., produced by MEZZACAPO, E.-" Napoli." Tarantella MUSIC PUBLISHERS AND MAKERS OF MUSICAL INSTRUMENTS, |