Church and Organ Music. TWO BRISTOLIANS-ORGAN-BUILDER AND ORGANIST. 6 a As a sequel to our note, in last month's issue (p. 533), on the early C compass organ built by John Smith, of Bristol, Mr. E. T. Shellard, of the Bristol Times and Mirror, sends us the following further information. It appears that Mr. Smith was remarkable man-a man of genius, of large capacity; inventive turn of mind, of indomitable will, and withal a gentleman, in the true sense of the term.' He was not 'put' to the organ-building business, but he picked up' his technical knowledge in the factory of Messrs. Brice and Richard Seede, organmakers in Bristol at the beginning of the last century. Mr. Smith started in business on his own account in the year 1814. suggesting to him an individuality that might prove difficult to control.' This Sartor Resartus objection was applied to Hodges; but perchance the Very Reverend divine was favourably impressed with the waistcoat worn by young Elvey. No indication of blue tail-coat with its brass buttons, and the yellow the individuality of the present organist of St. George's Chapel could possibly be divined from any 'broad-brimmed' or other hat, as, within the than that with which nature has provided him. Precincts, he never wears any other head-covering Anthem His most important instrument was that which he erected in Bath Abbey. Organ-building, however, did not entirely absorb his energies, inventive and mechanical. He it was who built the first steamboat in Bristol, named after the place of its construction. This vessel made many trips, carrying both passengers and merchandise, between Bristol and Bath; she plied also to and from Gloucester and Worcester, quite Cathedralesque voyages, in fact. Mr. Shellard says that Mr. Smith invented the life-saving rocket apparatus used at the Coastguard stations, but as one Captain Manby added the finishing details to this, he has received much of the credit due to the Bristol organ-builder. A road-cleansing machine was another of his ingenious productions, therefore it may safely be asserted that he really was a remarkable man. Smith, who died in 1847, was, like Father Willis, an organist; he played for many years at the Countess of Huntingdon's Chapel in Bristol. Mr. Monday, his step-son, succeeded him in the business, which in 1857 came into the hands of his (Mr. Monday's) son-in-law, Mr. W. G. Vowles. Thus we arrive at the origin of the well-known organ-building factory in the West of England associated with the name of Vowles. Dr. Edward Hodges was also of an inventive turn of mind. As a young man he made a study of chemistry, mechanics, and acoustics. He seems to have evolved all sorts of ingenious devices in regard to musical instruments, inventions for teaching the blind, &c. He claimed to have worked out a project for the prevention of the destruction of ships by fire or leakage by means of sections'; but his 'shipdividing into compartments' scheme was improved upon by others, and they, as in so many similar instances, were awarded the kudos resulting from the development of an earlier idea. their ... O Lord, the Maker King Hall in E flat. King Henry VIII. This juxtaposition of names rather tickled the fancy of the Canon-in-residence, 'Ah!' quoth the Canon, this is surely a little joke of the organ-loft: King Hall in company with King Hal!' 6 6 THE BRUSH AWAY' CONCERTO. Every organist knows the fourth concerto of Handel, with its sprightly first movement. The late Sir George Grove as a boy often heard it called the Brush away' concerto. This designation originated in a story that a juvenile sweep of former times-one of those innocent blacknesses,' as Charles Lamb called them had been seen early one morning emerging from a chimney-pot, and that on exposing his grimy visage to view he sang :— Allegro. Up the chim ney, Brush a way, brush a - way, Up the chimney, Grove says: 'It must be admitted that the words fit the notes like a glove, and that the sweep had a quick ear for tune.' As only the two opening bars are given in association with the words, we venture to suggest that the boy sweep might have continued his 'sootable' strain thus : Up the chimney, Brush the chimney, Up the chimney, up, up, up! THE CHURCH ORCHESTRAL SOCIETY. Dr. Hodges, who was an excellent extempore X. Y. and Z. were discussing English Church player and contrapuntist, in all probability suggested Music, when X. exclaimed: Some organists of to Smith the plan of that early (in England) Cathedrals are not Cathedral organists.' This C compass organ, with its 32-feet pipe, erected in paradoxical statement raises the question: What is 1824 in St. James's Church, Bristol, of which Hodges a Cathedral organist ? was then chief musician. To mark their approval of this achievement, the Vestry voted organist a gold snuff-box, and the recipient thereof records in his diary that 'The Right Worshipful the The ninth Annual General Meeting was recently held at Mayor intends filling my new box with snuff for me.' the Church House, Westminster, the Bishop of Rochester The greatest disappointment to Dr. Hodges in his in the chair. The Report for 1902-03 stated that ' In reviewcareer was his failure to obtain the organistship of ing the work of the past year the Committee desire to St. George's Chapel, Windsor, in 1835, when George members in particular, on the improved quality of that congratulate the members generally, and the playing Job Elvey, a youth of nineteen, was elected in work. Fourteen engagements were fulfilled during the preference to him and to Samuel Sebastian Wesley! year, including services held at Horsham Parish Church Hodges records that in the debate in the Chapter Last Judgment'); Holy Trinity, Sloane Street (Baden House on the appointment, the Dean interposed by Powell's Pange Lingua); St. John the Evangelist, saying that he did not fancy the broad-brimmed hat Wilton Road (Pergolesi's Stabat Mater '); and white necktie, and boots with pointed toes, Winchester Cathedral ('Hymn of Praise'). Twenty-four and weekly rehearsals were held during the season, exclusive of those for special services. The membership of this useful Society now numbers 212 (127 performing and 85 honorary members). Dr. G. F. Huntley, organist of St. Peter's Church, Eaton Square, is its able conductor, and the Hon. Secretary and Treasurer is the Hon. Richard Strutt, Rayleigh House, Chelsea Embankment, from whom all particulars may be obtained. DR. J. C. MARKS. We regret having to place on record the death of Dr. James Christopher Marks, organist of Cork Cathedral (St. Fin Barre's Cathedral), which took place very suddenly on July 17, at the Grand Spa, Clifton, during an examination tour for the Incorporated Society of Musicians. Born at Armagh on May 4, 1835, he became a chorister in the Cathedral there in 1842, and was for some years chief solo boy, his beautiful voice and great musical ability attracting much attention. He studied the organ under the then organist, Robert Turle, brother of James Turle, organist of Westminster Abbey, and the violin under Francis Hart. After holding the post of deputy-organist of Armagh Cathedral from 1852 to 1860, in the latter year, at the age of twenty-four, Dr. Marks was appointed organist and choirmaster of Cork Cathedral, an office he worthily held for forty-three years. Dr. Marks formerly conducted the Cork Harmonic Society, the Musical Festival of 1862, the Cork Musical Society, many important concerts, &c., and in various ways upheld the cause of music, not only in Cork but in other parts of the South of Ireland with artistic zeal. He occupied a distinguished position in Irish Masonry, and held the position of Organist of Ireland in the Grand Lodge. Dr. Marks, who excelled as an organist, took the degree of Bachelor of Music at Oxford in 1863, and his Doctor's degree (for which he composed the oratorio 'Gideon') at the same University, in July, 1868. The funeral took place, amid many tokens of regret, at St. Fin Barre's Cemetery, the mourners including the lamented organist's second son, Mr. James Christopher Marks, organist of St. Andrew's Church, Pittsburg, U.S.A., and the brother of the deceased musician, Dr. Thomas Osborne Marks, organist of Armagh Cathedral. It should be mentioned that a Full Choral Service had been allowed to fall into abeyance at Cork Cathedral from the end of the 17th century till it was re-established shortly after Dr. Marks's appointment. At the consecration of the present Cathedral, in 1870, the Dean publicly presented Dr. Marks with a gold medal in commemoration of the event. ORGAN RECITALS. Mr. W. E. Belcher, St. Asaph Cathedral.-Concert overture in F, by E. D'Evry. Mr. F. J. Livesey, St. Bees Priory Church.-Toccata, Mr. F. H. Sawyer, College Church, St. Andrew's. ORGANIST AND CHOIRMASTER APPOINTMENTS. Mr. Leonard Barber, Christ Church, Wanstead. Mr. G. H. Harvey, St. Matthew's Church, Montreal. Mr. Charles Hylton-Stewart, Organ Scholar of Peter- Mr. Thomas Lane, Darwen Parish Church. Mr. T. W. Lardner, All Saints' Church, Upper Mr. J. H. Lilley, St. Edmund's Church, Downham Mr. J. Owen-Jones, Tredegarville Baptist Church, Mr. Seymour Powell, St. Peter's Parish Church, Mr. Henry Taylor, Edgbaston Parish Church. THE COUNTRY OF BERLIOZ. Roman noses and no Jews. If one might preach The river of mightiest volume next after the Rhone in what is now called France, and beginning with this important Isère land straight across to the Gulf of Venice is a great belt of country which is the true home of the Latin race. Grenoble, the capital of Isère, once the capital of the whole Dauphiné, is in the same parallel with Verona, Virgil's Mantua, and Venice. Only lying among the foot-hills of the juvenescent French western Alps, this Isère land has many of the attributes of mountain regions; and they have given to it its distinctive national character, its loyalty to itself, its impatience of any controlling exterior power, even its narrowness. The Roman nose is no figure of speech. It meets one in every street, in every public conveyance. This, the grave long faces of the men, and the very beautiful eye and brow of the women, show the traveller that he is in effect in Italy. A few days ago at a public banquet I sat opposite Berlioz appallingly redivivus. The classic features, the very high crest of hair over the right temple, were Berlioz himself startlingly in the flesh. It was M. Charles Berlioz, grandson of the uncle of Hector Berlioz; an amiable painter, with whom much conversation. In a toga he would have been exactly a typical Roman patrician senator. And as to the Jews. With the dawn of electricity, and the huge waterpower here awaiting use, it cannot be doubted that sub-Alpine countries like this have their commercial future. But for the moment they are shut in undeveloped. The Isère country is as yet content with its vineries, its distilleries, its glove-making, and so forth. In such conditions the Jewish race, Church.-powerful in commerce, all-powerful in musical art, does not step in. The absence of Jewish physiog Mr. R. Cecil Rodham, St. Michael-and-All Angels', Mr. C. G. Thomas, Elland Parish Church.-Abendlied, Goltermann. Mr. Howard Moss, Gravesend Parish Church. Voluntary in D, Samuel Wesley. Mr. Fountain Meen, Wesleyan Church, Sidmouth. Andante in D, Silas. Mr. H. Matthias Turton, Otley Parish Musette in G, J. Francois Dandrieu. Mr. W. Wolstenholme, Methodist Free Church, nomy in the streets is very striking to one who has Blackpool.-Intermezzo in D flat, Hollins. left European capitals. Racially, Berlioz had far ore occasion to feel himself opposed to Judaism firs and pines, mixed with alder, ash, aspen, beech, an had Wagner, though he does not seem to have birch, maple, oak, willow, and what not; through oubled himself on the subject. Artistically, almost all, the stately Isère running. This is the home of e chief significance of his music lies in the fact the serpent-fairy Mélusine. A contrast to the at it was wholly free from Judaic influence. Add verdant but uniform-level plain which met Berlioz' all this that Berlioz is the only creative musician eye at his own home of la Côte or vineyard-slope of 10 has ever proceeded from the Dauphiné, and the St. André. A dozen years later in the Campagna esent sermon will have been displayed. Lombardy he learnt to open his heart to nature, as before he s done or is doing its work, but this is the sole had opened it to passion; but for him nature was ort so far of the westernmost limb of the purely still always focussed in the memory of Meylan and tin country. A lutist to Anne of Austria, one the gorges of Graisivaudan. Round this inmost nemond Gaultier of Vienne, is not countable. feeling raged all the storms of his ambitious And what made Berlioz a poet? It is the heart intellect. re than the head which makes the poet. Berlioz Those good friends of our short-jacket memories, ind his sensibility in red boots and a winning eye, the Albigenses, were the earliest known inhabitants Estelle Gautier at the village of Meylan in the of the Isère country; and very stiff opponents the ley of Graisivaudan, in a three-weeks' holiday Romans found them, in their mountains now called ch year with his uncle Colonel Marmion, late of Pelvoux, Grandes Rousses, Belle Donne, and Grande Lancers, and then eleven months for cherishing Chartreuse. Rome colonized them at two centres; short-lived romance, a very old and very Vienne to the west, and Cularo or Gratianopolis or nmon story indeed. Red boots can still be seen Grenoble to the east. Then succeeded Burgundians ssing the Grenette square at Grenoble, and boys and Merovingians. Then five great mediaeval thirteen will fall in love with girls of nineteen, and baronies. Then the priest Bruno founded the nsume themselves with passionate regrets during Chartreux order (1084). Then the counts of sence, as long as the world lasts. But the beauty Graisivaudan in the 12th century took a dolphin Berlioz' heart lay in that he never forgot those into their arms, and the whole country was sold to re powerful impressions. He married two women, the French crown in 1349 on condition that the ither of them particularly worthy; and when he heir-apparent called himself the Dauphin. The d done his fullest duty by both, his heart attorned Revocation of the Edict of Nantes under Louis ain to one who was worthy enough, but perhaps XIV. drove out all the Protestants. When Louis significant. She was free to indulge his respect, XVI. tried to suppress its local Parliament, Grenoble t scarcely realized that the greatest musical on June 7, 1788, went into revolt, and sounded the tellect France had ever produced was at her feet. first note of the great French Revolution. On the le most luxuriant ivy clings to dull masonry. An other hand in March, 1815, it re-opened France ustice may be done, but so it seems from her to Napoleon returning from Elba. Since 1830 it blished letters. A young gentleman who is a has had little history. Personages of the Dauphiné ver musician and a successful man of letters, has best known to us are:-Pierre de Terrail, seigneur cently described this exquisite passion of Berlioz as of Bayard (1476-1524), the Calvinist F. de Beaumont alf senile.' The greatest punishment to wish him (1513-1587), the statesman Boissieu (1600-1683), the that he should feel the same at sixty, and be so philosopher Condillac (1715-1780), the engineer To those whose life has not been Vaucanson (1709-1782), the novelist Stendhal (1783oked with tares, love can be fresh at sixty as at 1842), the glove maker Jouvin (died 1844), and Hector I have wandered through the lanes of Berlioz himself (1803-1869). The indigenous language eylan in that valley of Graisivaudan which is the is the romane provençale,' the religion almost wholly st gorgeous, and one of the most fertile, in France. Catholic. It is a centre of practical botany. Its le valley is marvellous with its snow-capped chief industries, cement-making, glove-making, and elle Donne, its rocks of Saint-Eynard, its enormous the concoction of those most noxious disguised terpreted. teen. brandies called 'liqueurs.' Grenoble has an uninteresting Cathedral with a heavy 11th century tower; it is called the capital of the French Alps. It is a bright sparkling town in a magnificent mountain horseshoe, and it is rather shrewd than intellectual. Such is the native country of Berlioz-a Latin of the Latins, a Dauphinois of the Dauphinois plus passion. It is more difficult to be an original Frenchman than an original anything else. The speech alone of the French shows them swathed in convention. Though when quite natural they speak like the rest of mankind and very musically, the conventional mode of speech in the middle classes is a perfectly accentless mock-timid chip-chop; perhaps more striking than our society drawl, certainly more universal. Berlioz' power consisted in that no conventionality could hold him. A grown-up young man (he was inscribed on the Paris Conservatoire books on August 26, 1826), he left his native country an absolute know-nothing on the technique of music, but with a mature soul and himself a very firebrand of originality. If he was not a 'natural musician' (as some say), the words have no meaning. He became one of the greatest musicians of all time. His originality has made him subsist to this day; indeed he is now beginning. The Grenoble administration put their Berlioz birth-centenary Fêtes (August 14 to 17, 1903) four months in advance, because it would have been absurd to hold them in mid-winter. They must put the town en fête; they must have an audience. The chief amusement of this part of the country is the competition of open-air bands and unaccompanied choral societies (Orphéonistes). Now and then a large competition attracts 'societies' from all parts of southern France, as from Switzerland, Italy and Algeria. The bands are of all composition, from cavalry trumpet bands' to what we should call sea-side open-air bands. One hundred and fifty-seven Societies came on this occasion, eighty-four jurors were drawn from all parts, and competition (gradually converging) went on in selected localities of the town according to an elaborate classification and organization. The whole were disposed of in three days. Not much grumbling, and a great deal of excitement. The chief prizes were taken by Geneva, Lyons, Tunis, and Turin. But medals were given passim. Then the business of unveiling, in the Place Victor Hugo, the new Berlioz statue, from the cast of an excellent Grenoblian violinist-sculptor Urbain Basset, which won a Paris Salon prize in 1885. It is really very fine, and quite as good as Lenoir's now in the Place Vintimille, Paris, and at la Côte St. André. Berlioz has his hand to his head as if listening. The unveiling ceremonies were performed in atrocious weather, which seems to pervade the world. Then came a representation of Faust' in the Theatre, by the Aix les Bains chorus and orchestra under Jéhin, with principals Lina Pacari, Laffitte, Dangès, and Ferrand. The best of the principals was Laffitte, the tenor. The performance, wholly given over to expression in detail, yet controlled in block by an excellent conductor, was distinctly a revelation. If this be a standard, the vocalizations of Berlioz music heard in England are a parody. There was not a moment of excess in effect, yet a surcharge of emotion. This is undoubtedly the true Berlioz, given by those of his own race and country, and we have to learn. The only distressing point was the frequent falling in pitch of the female singers; of which the musicians were aware, and the critics not at all. A quantity of miscellaneous Berlioz works were given at the other concerts, which to save space will here be passed over. Again in the instrumental pieces it was evident how the Berlioz omnipresent solo differed from the Wagner omnipresent diffusion and broad lines of tone-colour, and how all depended the spirit of the individual. Yes, even here we have to learn. Weingartner took from the band a most stimulating rendering of the Fantastique.' Whe they gave him a crown, he put it round the score: upon which great applause. If the Dauphinois are. as Berlioz said, innocent of music, they have managed this affair very well. It is not known why Colonne did not come; it is still less known why the French Government (in contrast to the Germa Emperor with Wagner) took so little trouble to be represented. One place has been well-nigh forgotten, la Côte itself. It is 30 or 40 miles from here, and is to have its own Berlioz fêtes on the 22nd and 23rd. I did not omit to go there; nor indeed 9 miles farther to Beaurepaire, for the great-grandmother of Berlioz was a Dauphinoise and a de Beaurepaire. The Cote resembles its kind, as a long, straggling, fairly well built, and monstrously dirty provincial French village-town. The inhabitants are handsome and polite. Berlioz' statement that he lived in a small way over a farriery, whence his rhythm, was a joke. The Berlioz house is exceedingly fine. top to bottom, in and out, and the farriery (now no more) was over the way. The house is in Rue de la République. Sold by the family to one Paillet. By him sixteen years ago to M. Manquat, a merchant, whose indulgent lady showed every corner of it. The little room where the boy slept, next the large handsome drawing-room, was very affecting. Berlioz museum now being formed in a room in the house. Immediately after his Monday evening concert in Grenoble, Weingartner, due in Munich on Wednesday, dashed forth with the Mayor of la Côte St. André, M. Meyer, covered the 35 miles in automobile at a rate probably greatly exceeding the law, and laid a wreath at the foot of the Lenoir statue in Berlioz' real birthplace. Midnight scene. Illuminations. Weingartner embraced the Mayor! CHARLES MACLEAN. MR. COLERIDGE-TAYLOR'S SACRED CANTATA THE ATONEMENT.' COMPOSED FOR THE HEREFORD MUSICAL FESTIVAL. Although Mr. Coleridge-Taylor has now reached Opus 53 in his various compositions, he has hitherto, with the exception of a few anthems, selected secular subjects for the exercise of his muse. This, his first attempt at a sacred composition of importance, should therefore be regarded with interest, if not indeed with sympathetic curiosity. The subject chosen by him is the great one of the Atonement-a subject which naturally includes the tragic event in the life of our Lord so magnificently treated by John Sebastian Bach. Mr. Coleridge-Taylor has not however wedded his music to Bible words, but to a well-constructed libretto from the pen of Miss Alice Parsons, who, we understand, is a lady residing at Cheltenham. The cantata is divided into five sections, viz. :— III.-Prayer of the Holy Women and Apostles. V. Calvary. The work is laid out for orchestra, chorus, and organ, together with parts for the following six solo voices-Mary, the mother of Christ (soprano), Mary Magdalene (contralto), Mary, the wife of Cleophas (mezzo-soprano), Pilate's wife (soprano), Pilate (tenor), and Christ (bass). At Hereford the two soprano-voiced characters are assigned to one singer, and this example will doubtless be followed at other places. The chorus impersonate both Narrator and the People, a dual opportunity which should afford them full scope for their artistic skill. THE ROYAL NATIONAL EISTEDDFOD. THE IMPRESSIONS OF AN ADJUDICATOR. The part played by Eisteddfodau in Welsh National life is well known. They are the salt of life, a raison d'être to a great proportion of the race. Even when Welsh people leave their native country they strive in far-off lands to keep alive this national custom. Deep founded in the Welsh soul there is a The Prelude (for orchestra) is built upon themes fervid, seething, ebullient emotion which finds vent subsequently heard in the work. The Gethsemane in religion and music. So we get the enthusiasm section is cast in an antiphonal form-the Chorus and intense eagerness to excel manifested in an regularly alternating with Christ in the familiar extraordinary degree at these gatherings. There is scene of the Agony in the Garden. The music is a seamy side of it all just as there is of human nature now reflective, as in the opening chorus In the itself. Sordid mediocrity may be rewarded, conceit soft moonlight glow-now dramatic, as in the may be fed, insularity perpetuated in the sacred vigorous ejaculations Away with Him!' and so on. name of nationality, the executive side of musical art The Prayer of the Holy Women and Apostles' may be glorified disproportionately compared with But when all is totted (Section III.) is set as an eight-part chorus-Andante the creative side-and so on. con moto, in E minor-very lightly accompanied, up on both sides of the account, the balance to the judging from the vocal score, and in many bars even good provides a substantial dividend. Eisteddfodau without the support of the orchestra. The moveare intended to encourage art, literature and handiment should present no difficulty in performancecraft of all kinds, but it is the music that attracts. indeed the words, of which we give the first of three Nothing but music could have drawn the audience stanzas, hardly admit of over-elaboration :of over 20,000 people that was again and again present at the Royal National Eisteddfod held at Llanelly, South Wales, from the 3rd to the 7th ult. The ' National' is the Mecca of Eisteddfodites, if there is such a word. Success here is considered a blue ribbon. Father Omnipotent, to Thee Out of the gathering gloom we cry ; Christ is silent in the Pontius Pilate' section (IV.). The questions of Pilate are dramatically answered by the Chorus. After the Barabbas' demand of the angry multitude, Pilate's Wife imploringly intercedes with her husband on behalf of the falsely accused Prisoner standing before the weak-minded Governor. Previous to the condemnation, Pilate and his wife sing a duet, in which they call upon 'Ye mighty gods of ancient Rome' to show mercy if he (Pilate) should not judge aright, through want of light.' A mocking chorus at the leading forth of Christ brings this dramatic scene to a strenuous conclusion. The finale episode in the great tragedy begins with the march to Calvary. Here, as before, the chorus have assigned to them a dual rôle. The journey along the Way of Sorrow' is chorally narrated; but after the utterance of Christ, Weep not for Me!' the chorus are unsparing with their Ha! Ha!' ejaculations, uttered in strident and mocking tones. Pleasant relief is afforded by a trio from the lips of the faithful and sorrow-stricken women, the three Marys. Each in turn sings a stanza, and then they all three join their tearful voices in the words: Son of Man and Friend of Sinners, Llanelly rose bravely to the importance of the occasion. A handsome, airy, light, commodious market hall, with a fine show of bright colour was an ideal venue for the great function; especially in view of the vast crowds expected. True there was an element of the absurd when some little in dumb show to an ofttimes turbulent and not pianists, and violinists, and small choirs performed unnaturally impatient multitude, interested only in large events. The scheme of the musical side of the Eisteddfod, notwithstanding its unavoidable limitations, was in many respects broad, enlightened, and interesting, and calculated on the whole to make for progress. No doubt some items were included more because they were Welsh productions than because of their intrinsic superlative merit; but in view of the prime aim of the institution, to afford every possible encouragement to native talent, it would be unsympathetic and querulous to object to this bias. Some of the pieces chosen as competition tests presented considerable difficulties, both technical and interpretative, and their choice showed the confidence of the committee in the ability of likely competitors; a confidence fully justified by the event. Thus, the great quartet Un, di si ben' from 'Rigoletto' was admirably performed by several parties, and airs from Don Giovanni' and 'The Marriage of Figaro' were effectively sung by an astonishing number of solo singers. Other tests were Mendelssohn's Violin Concerto and the same composer's E flat Quartet (but there were no competitors in this class), and the chief choral class had to prepare the whole of the choral portion of the first part of St. Paul.' The darkness of the sixth hour and the subsequent It is not possible here to give a detailed account of development of the final scene afford solemn the five days' proceedings. A mere enumeration of suggestiveness to a composer, and place upon him a pieces and performers would fill pages. Fortunately great responsibility. As to how far Mr. Coleridge- for the adjudicators-Mr. William Shakespeare, Taylor has succeeded, and, speaking of the work as Mr. C. Francis Lloyd, Mus. Bac., Mr. R. C. Jenkins a whole, to what extent he has risen to the heights and myself, and, in the Brass Band section, Mr. of his great theme, we must withhold judgment W. Swingler-a good many of the entries were until after his music has been heard in Hereford cancelled by non-appearance. Cathedral on the 9th inst. In the meantime we may wait in hopeful expectation, and wish for him all success in this new field of creative art. There were 310 entries in the solo-singing, vocal duet, trio and quartet sections, about one third of whom did not appear. Preliminary examinations in |