Skip to main content

Full text of "Musical notes : an annual critical record of important musical events"

See other formats






An Annual Critical Record 




)ermcmn Klctn. 





HITHERTO the scope of MUSICAL NOTES has been confined to a 
record of the year's Music in London, together with an account 
of the various leading Festivals as they occur. 

In the present issue a new departure is essayed. The ordinary 
contents are supplemented by a series of articles, embodying in 
concise form the history of the past year in all the important 
musical centres of the kingdom. This fresh material, as the 
signatures will in most cases testify, has been furnished by 
writers of recognised ability, possessing a perfect knowledge of 
the proceedings in their respective districts. It is, therefore, to 
be relied upon as being accurate and, so far as is possible, 

My object is primarily to increase the value of this Year-book 
by making it a more comprehensive work of reference. I hope, 
at the same time, that I am widening its sphere of usefulness by 
imparting to its contents a national as distinguished from a 
metropolitan interest. To keep pace with the ever-active growth 
of musical life and labour in this country may be no light task ; 
but I feel that these NOTES still the sole " brief or abstract 
chronicle " of our musical year ought no longer to exclude from 
their pages some regular record of the work that is accomplished 
among the great music-loving population of provincial England. 


1 074075 



ALBENIZ, Senor. Debut 69 

,, at Crystal Palace 104 


Carter, William 6 

Patti Concerts 6, 107, 119 

State Concert in the Shah's honour 78 

AMES, J. C. Pianoforte Concerto in C minor (Op. 8) 35 

ARIOSTI. Third " Lesson " for Viola d'amore 114 

BACH CHOIR 20, 46 

BACH, Emil. Pianoforte Concerto in C minor 71 

BACH, J. Sebastian. Church Cantata, " Wachet auf! " 20 

,, ,, " Halt' im Gedachtniss " ... 20 

Prelude and Fugue, arranged for orchestra 105 

BACKER-GRONDAHL, Madame. Debut 23 

Suite for Pianoforte 84 

BARNETT, J. F. Sonata for Pianoforte, in A minor 127 

BARRETT, Dr. W. A. Madrigal, " On a Mossy Bank," at Bristol ... 138 

BEETHOVEN. Allegretto in C minor, for Pianoforte ... 53 

"Bagatellen" ... ... 53 

" Unfinished " Pianoforte Concerto in D ... ... ... ... 81 

BELLINCIONI, Mdlle. Debut 60 

BENOIT, Peter. Oratorio, " Lucifer " ... 31 

BERLIOZ. Marche Funebre, for " Hamlet " ... 23 

" L'Enfance du Christ " revived ... 126 

BIZET. " Pecheurs de Perles " revived ... ... ... ... ... 42 

BLAUWAERT, M. Debut 33 

BONAWITZ, J. H. "Requiem" 34 

Introduction and Scherzo for Pianoforte and Orchestra 127 

BRAHMS. Variations, with Fugue, on a Theme by Handel 17 

Four Trios for Female Voices (Op. 17) 51 

" German Requiem," revived 33 

,, ,, at Leeds 100 

Symphony (No 4) at Crystal Palace 24 

Sonata for Pianoforte and Violin in D minor (No. 3, Op. 108) ... 48 

viii INDEX. 


BRAUN, Charles. Cantata, " Ritter Olaf," at Liverpool 167 

BRERETON, W. H. Debut at Philharmonic 35 

BRIDGE, Dr. J. F. Overture, " Morte d' Arthur," at Crystal Palace ... 24 


BUCK, Dudley. Cantata, " The Light of Asia " 19 

CARMICHAEL, Miss Mary. " Four Songs of the Stuarts " 49 

CARPENTER, Miss Nettie. Debut at Crystal Palace 112 

CATANEO, Signora. Debut 77 


Bauer, Ethel and Harold 29, 41 

Carrodus, J. T. ... 29 

Cusins, W. G 70 

Eissler, Mdlles. Marianne and Clara 50 

Gardner, Charles 70 

Halle, Sir Charles 47, 68 

Hann, Messrs. ... ... ... ... ... ... ... ... 118 

Heckmann, Robert 119 

Kiver, Ernest 49 

Lohr, Harvey ... ... ... ... ... ... ... ... 39 

Ludwig and Whitehouse 50, 69 

Meyer, Waldemar 51 

Musical Artists' Society 119 

Musical Guild 52, 69, 117 

Nicholl, William 49 

Ralph, Mrs. Francis 128 

Robinson, Miss Winifred ... 51 

Sarasate, Senor 47, 68, 104 

Sergison, W. de Manby 6,29,71 

Shinner Quartet 53 

Thomas, John ... 71 

Thorne, E. H 71 

Tua, Signorina Teresina 70 

Wurm, Miss Mathilde 118 

CHERUBINI. Posthumous Quartet in E 47 

,- in F 48 

in A minor 68 

CLIFFE, Frederic. Symphony in C minor (Op. i), at Crystal Palace ... 35 
,, ,, Philharmonic ... 65 

COBB, Gerard F. Pianoforte Quintet in C 118 

COCKLE, George. Comic Opera, "The Castle of Como," produced ... 108 
CORDER, Frederic. Cantata, " The Sword of Argantyr," produced ... 95 

COWEN, Frederic H. Re-appearance in England 22 

Old English Idyll, " St. John's Eve " 122 

CRESER, Dr. William. Cantata, " The Sacrifice of Freia," produced ... 96 

CROTTY, Leslie. Debut in Italian Opera 59 

CRYSTAL PALACE CONCERTS 10, 23, 35, 64, 103, in, 122 

INDEX. ix 


D'ANDRADE, Antonio. Debut 43 

DUNCAN, Mdlle. H61ene de. Debut 85 

DUNKLEY, Ferdinand. Prize Orchestral Suite 87 

DVORAK, Antonin. String Quartet in E (Op. 80) 39 

" Silhouettes " for Pianoforte (Op. 8) 40 

DYER, W. Fear. Cantata, " Second Advent of the Redeemer," at Bristol 143 

ELLICOTT, Miss Rosalind. Cantata, " Elysium," produced 89 

Pianoforte Trio in G, at Bristol 144 

Reverie for Violoncello and Pianoforte, at Bristol 143 

Romance and Polonaise for Violin, at Bristol 141 

EWAN, Miss Minnie. Debut 60 

FACCIO, Signer. Debut 77 

FERGUSON A. F. Deb ut at Oxford 176 


Easter Oratorios at Mile End 34 

Gloucester 88 

Leeds 93 

Lincoln and Peterborough ... 72 

" Reid " (Edinburgh) 151 

FILLUNGER, Fraulein Marie. Debut 15 

GARGANO, Madame. Debut 59 

GEISLER-SCHUBERT, Fraulein. Debut 16 

,, at Philharmonic 21 

GOLDBECK, Robert. Comic Opera, " Newport," recited 55 

GOLDMARK. Overture to " Sakuntala" 122 

GOUNOD. " Rom6o et Juliette " at Covent Garden, in French 58 

GRIEG, Edvard. Re-appearance at Popular Concerts 13 

" Landkjending " (Op. 31) 123 

GRIEG, Madame. Debut at Philharmonic 22 

GUILDHALL SCHOOL OF Music 39, 72, 84, 127 


HALL, Charles J., Mus. Doc. Cantata, " Dante's Vision," produced ... 18 

HALLE CONCERTS. Manchester Band in London 113,124 

HALL, Miss Marguerite. Philharmonic Debut 35 

HAMPSTEAD CONSERVATOIRE OF Music. Inaugural Concert 2 

HANDEL. Music to Smollett's "Alceste " 52 

Oratorio, " Theodora," revived, at Manchester 173 


HATTERSLEY, F. Kilvington. Pianoforte Sonata in G minor, at Leeds 183 



HAYDN. Oratorio, " The Seasons," revived... 2 

Symphony in B flat ... ... ... ... ... ... ... 44 

HEAP, Dr. C: S. Cantata, " The Maid of Astolat," at Birmingham ... 136 

HEGNER, Otto. Debut at Crystal Palace ... 10 

Orchestral Concerts at St. James's Hall ... 102 

Suite for Pianoforte, in G 103 

HERKOMER, Hubert. Music-Play, " An Idyl " ... 60 

HESS, Willy. Debut in London 2 


HOFFMANN, Heinrich. Serenade for Flute and Strings (Op. 65), at 

Birmingham ... ... ... ... ... ... ... ... 136 

HOPKINS, Jerome. Dialogue-Oratorio, " Samuel " 6 

HUDSON, J. W. Pianoforte Trio in D, at Bristol 141 

HUMMEL. Sonata in F sharp minor (Op. 81), at Popular Concerts ... 15 

HUNTINGTON, Miss Agnes. Dlbut 7 


ISNARDON, M. Debut ... 80 

JOACHIM, Dr. Re-appearance at Popular Concerts ... ... ... 25 

Presentation of Testimonial ... 38 

KINSEY, Haigh. Pianoforte Trio, at Liverpool ... ... ... ... 170 

KREUZ, Emil. " Liebesbilder," for Viola and Pianoforte, at Cambridge 148 

KRUSE, Johann. Debut 15 

LALO, Edouard. Overture, " Le Roi d'Ys " 10 

Rhapsody for Orchestra in 

LAMOND, Frederick. Two " Clavierstiicke " (Op. i) ... ... ... 40 

Pianoforte Trio in B minor (Op. 2) 40 

Sonata for Pianoforte and Violoncello, in D major... ... ... 40 

Symphony in A, at Glasgow 164 

LANGER, F. Concerto for Flute and Orchestra ... ... ... ... 127 

LEEDS CHORUS. Appearance in London 14 

LEMMENS-SHERRINGTON, Madame. Re-appearance 33 

LESTELLIER, M. Re-appearance ... ... ... ... ... ... 57 

LITA, Mdlle. Debut ... 57 


LOHR, Harvey. Pianoforte Quartet in E minor (Op. 15) 39 




INDEX. xi 


MACBETH, Allan. Cantata, " The Land of Glory," produced at Glasgow 162 

MxcCuNN, Hamish. Cantata, "The Lay of the Last Minstrel," at the 

Crystal Palace 10 

MACFARREN, G. A. Opera, " Robin Hood," revived 87 

MACKENZIE, Dr. A. C. " Dream of Jubal " in London 8 

,, ,, at Gloucester... 88 

,, ,, at Liverpool ... ... ... 166 

Cantata, " Cotter's Saturday Night," produced at Edinburgh ... 152 

" Pibroch " for Violin and Orchestra at Leeds 97 

,, in London ... ... ... ... ... ... ... 105 

MACPHERSON, C. S. Symphony in C 2 7 

MANCINELLI, Luigi. Sacred Cantata, " Isaias," in London ... .. 8 

Orchestral Suite, " Cleopatra" 21 

MARTUCCI, Giuseppe. Pianoforte Trio in E flat (Op. 62) 48 

MARX, Madame Berthe. Debut 47 

MASSENET. Interlude from " Esclarmonde" 103 

MASSIMI, Massimo. Debut 43 

MATTEI, Tito. Comic Opera, " The Prima Donna," produced 108 

McGucKiN, Barton. Debut in Italian Opera 58 

MENDELSSOHN. " Elijah," on the Handel Orchestra 64 

Fugue intended for " Athalie " 72 

" St. Paul" at the Crystal Palace ... in 

MONTARIOL, M. Debut 42 

MONTEITH, Miss Zippora. Debut 9 

MORGAN, R. Orlando. Cantata, " Zitella," produced 39 

MOZART. " Notturno-Serenade " for four Orchestras 124 

MUSICAL GUILD. Formation 52 

NEAL, Miss Lizzie. Debut in Oratorio ... ... ... ... ... 2 

NEVILLE, Oscar. Comic Opera, " Faddimir," produced 41 



Atkins, Robert A. 87 

Bottesini, Giovanni 86 

Bridgeman, John V 92 

Clay, Frederic ... ... ... ... ... ... ... ... 121 

Colborne, Dr. Langdon ... ... ... ... ... ... ... 92 

Cooke, Grattan ." 92 

Farnie, H. B 92 

Formes, Carl 130 

Gungl, Josef 18 

Henselt, Adolph von ... ... ... ... ... ... ... 109 

Hueffer, Francis 7 

Marriott, Charles H 130 

Mason, T. Monck 92 

xii INDEX. 


OBITUARY. continued. 

Metra, 109 

Monk, Dr. W. H 30 

Moscheles, Madame 130 

Murska, lima di ... ... ... ... ... ... ... ... 7 

Ouseley, Sir Frederick A. Gore 41 

Patti, Carlotta 73 

Puzzi, Giacinta ... ... ... ... ... ... ... ... 87 

Romer, Francis 86 

Rosa, Carl... ... ... ... ... ... ... ... ... 41 

Smith, Sydney 30 

Steinway, Charles F. T. ... ... ... ... ... ... 30 

Tamberlik, Enrico 30 

Tamplin, Augustus L. ... ... ... ... ... ... ... 55 

Varesi, Felice 30 

Vaughan-Edwardes ... ... ... ... ... ... ... 30 

Watson W. Michael ... 109 

Winterbottom, William ... ... ... ... ... ... ... 92 

Zoeller, Carli 86 


Comic 7, 41, 54, 85, 108, 120 

English, at Olympic Theatre 6 

,, at Princess's Theatre 87 

Italian, at Her Majesty's ... ... ... ... ... ... 59 

at the Lyceum 74 

Royal College of Music ... ... ... ... ... ... ... 82 

Royal Italian, at Covent Garden 42, 56, 78 

State performance in the Shah's honour ... ... ... ... 78 

OSBORN, Miss Marian. Debut at Crystal Palace 122 

PACHMANN, Madame de. Re-appearance at Popular Concerts 25 

PACINI, Mdlle. Regina. Debut 60 

PALERMINI, Signer. Debut 60 

PARKER, Henry. Comic Opera, " Mignonette," produced 54 

PARRY, Dr. Hubert. Symphony in E (" English ") 44 

Symphony in E minor 81 

"Ode on St. Cecilia's Day," produced at Leeds 98 

,, ,, ,, in London no 

PEARCE, Dr. C. W. Choral Scena, " Enceladus," at Bristol 143 



Albeniz, Senor 69, 85 

Backer-Grondahl, Madame ... ... ... ... ... ... 84 

Barnett, Miss Emma 127 

Bartlett, Miss Agnes 119 

Bonawitz, J. H. ... ... ... ... ... ... ... ... 69 

Bradley, Orton ... 41 

Bright, Miss Dora ... ... ... ... ... ... ... 5, 29 

Douste, Mdlle. Jeanne 17, 54 

Frickenhaus, Madame 53 

INDEX. xiii 



Friedheim, Arthur, and Tivadar Nachez 85 

Geisler-Schubert, Fraulein ... ... ... ... ... ... 16 

Goldbeck, Robert : 28 

Grieg, Edvard 28 

Hegner, Otto 5, 16, 103 

Janotha, Mdlle 54 

Lamond, Frederick ... ... ... ... ... ... ... 40 

Pachmann, Vladimir de 54,69,85 

Pauer, Max ... ... ... ... ... ... ... ... 28 

Schirmacher, Miss Dora 53 

Schonberger, Herr ... ... ... ... ... ... ... 53 

Schubert, Johannes ... ... ... ... ... ... ... 85 

Stavenhagen, Herr 29 

Wild, Miss Margaret 28 

Wurm, Miss Mathilde 41 

Yates, Mrs. Charles ... ... ... ... ... ... ... 29 

Zimmermann, Miss Agnes 40 


Armbruster, Carl. " Tristan und Isolde " ... ... ... ... 6 

Max Heinrich and Emanuel Moor ... ... ... ... ... 6, 17 

,, ,, and Schonberger 119 

PIATTI, Alfredo. Sonata in F, for Violoncello and Pianoforte (No. 3) ... 5 
PLANQUETTE, Robert. Comic Opera, " Paul Jones," produced ... ... 7 

POPULAR CONCERTS : ... 3, 14, 25, 37, 106, 114, 125 



PROUT, Ebenezer. Overture, " Rokeby " 24 

Cantata, " Damon and Phintias," produced at Oxford ... ... 178 

RAFF. Pianoforte Quartet in C minor (Op. 202) ... ... 68 

REEVES, Sims. Morning Concert 84 

RICHTER CONCERTS ... 45, 66, 81 

RoGER-MicLos, Madame. Debut 87 

at Crystal Palace 103 

ROSA, Carl. Death 41 

ROYAL ACADEMY OF Music 39, 83, 117, 126 


ROYAL CHORAL SOCIETY i, 8, 20, 31, 34, 106, no, 122 

ROYAL COLLEGE OF Music 38,82,107,126 



SAINT-SAENS, Camille. Poeme Symphonique, " Phaeton," at Crystal 

Palace 24 


xiv INDEX. 


SARASATE CONCERTS ... 46, 68, 104 

SARASATE, Senor. Duet, " Navarra," for two Violins ... ... ... 68 

SCHLA'GER, Mdlle Toni. Debut ... 59 

SCHLESINGER, Seb. " Reed Songs " ... ... ... 18 

SCHOLZ, Dr. Bernhard. Symphony in B flat (Op. 60) 104 

SCHUBERT, Johannes. Debut ... ... ... 85 

SCHUTT, Eduard. Pianoforte Trio in C minor (Op. 27) ... 39 


SEQUIN, M. Debut 57 

SEMBRICH, Madame. Re-appearance 71 

SHEDLOCK, J. S. Pianoforte Quartet in A minor ... ... ... ... 29 

SIMPSON, F. J. Overture, " Robert Bruce " ... in 

SINDONA, Signor. Debut ... 60 

SITT, Hans. Violin Concerto at Gloucester 89 

SLAUGHTER, Walter. Comic Opera, " Marjorie," produced ... ... 85 

SOLOMON, Edward. Musical Version of " Area Belle " ... ... ... 54 

Comic Opera, "The Red Hussar," produced ... ... ... 120 


SPARK, Dr. Oratorio, " Immanuel," at Leeds ... ... 183 

SPIES, Fraulein Hermine. Debut ... ... ... 66 

SPOHR. Sonata for Harp and Violin (MS.) ... ... ... ... ... 50 

"Fall of Babylon, 1 ' revived ... ... no 

STAINER, Sir John. Elected Professor of Music at Oxford ... 73, 180 

STANFORD, Professor C. Villiers. Symphony in F (No. 4, Op. 31; ... 12 
Choral Ballad, " The Voyage of Maeldune," produced at Leeds... 99 
,, ,, ,, in London ... ... no- 
Pianoforte Trio in E flat, at Oxford 177 

Sonata for Pianoforte and Violoncello, in D minor (Op. 39) ... 115 

Suite in D, for Violin and Orchestra (Op. 32), at Manchester ... 23 

j, ,, ,, ,, in London ... ... 23 

STEPANOFF, Madame. Debut ... ... ... ... ... ... ... 82 


STRAUSS, Richard. Two Movements from Symphonic Fantasia, " Aus 

Italien" 113 


SULLIVAN, Sir Arthur. Oratorio, "The Prodigal Son," revived... ... 91 

Comic Opera, " The Gondoliers," produced 128 

"Macbeth" Music at Leeds ... ... ... ... ... ... 101 

,, Crystal Palace 112 

SYMPSON, Christopher. Thirteen " Divisions " for Division Viol ... lift 

TALAZAC, M. Debut in Italian Opera ... 42 

TAMAGNO, Signor. Debut 76 

INDEX. xv 


THOMAS, A. Goring. Contralto air for " Nadeshda " ...... ... 71 

TONIC SOL-FA CHOIRS, Association of. At Crystal Palace ... ... 72 

TOULMIN, Miss Mary. " Christmas Carol " for Solo, Chorus, and 

Orchestra ... ... ... ... ... ... ... ... 126 

TSCHAIKOWSKV. Solemn Overture, " 1812 "... ... ... ... ... 2 

Orchestral Suite in D (Op. 43) ............ ...... 34 

Pianoforte Concerto in B flat minor at Philharmonic ...... 34 

Re-appearance at Philharmonic ... ... ... ... ... 34 

VERDI. " Otello " produced at the Lyceum ............ 74 

VICINI, Signer. Debut .................. ...... 59 

VIGNE, Mdlle Jane de. Debut ............ ......... 56 

VINCENT, Dr. Charles. Cantata, " The Mermaid," produced ... ... 51 


Heinrich, Max ... ... ... ... ... ... ... ... _j.i 

Henschel, Mr. and Mrs ................... 17, 127 

Kellie, Lawrence... ... ... ... ... ... ... ... 54 

Lara, Isidore de... .................. 29, 41, 85 

Spies, Fraulein Hermine ... ... ... ... ... 70, 85 

WADDINGTON, Sidney P. Pianoforte Concerto in G minor ... ... 38 

WAGNER. Overture to " Die Feen " .................. ^ 

Album-Sonata in C flat ... ... ... ... ... ... ... 48 

Closing Scene, Act I., " Die Walkiire " ............ 67 

Closing Scene, Act I., " Siegfried " ......... ...... 67 

" Die Meistersinger " produced in Italian ......... ... 78 

Duet from " Die Feen "... ... ... ... ... ... ... ij 

Excerpts from " Parsifal," with chorus ............ 67 

WARMUTH, Signor. Debut ... ... ... ... ... ... ... 6 O 

WEBER. Entr'acte from "The Three Pintos " ............ 3 

Hymn, " In constant order " (Op. 36) ............ 83 

WESTMINSTER ORCHESTRAL SOCIETY ............... 27, 52, 127 

WILLIAMS, C. Lee. Cantata, " Bethany, 1 ' produced ......... go 

WIND INSTRUMENT CHAMBER Music SOCIETY ... ... ... 27, 50, 117 

WINGHAM, Thomas. Andante from E flat Serenade, at Crystal Palace 35 

String Quartet in G minor .................. 49 

WONSOWSKA, Mdlle. Debut ..................... y 

WOOD, Charles. String Quartet, at Cambridge ... ... ... ... i<z 

WOOLNOTH, C. Hall. Choral Ballad, "The Skeleton in Armour," at 

Glasgow ... ................... r 6 

YSAYE, M. Debut at Philharmonic 

ZANDT, Miss Marie Van. Re-appearance ............... 56 

ZAVERTHAL, L. Symphony in C minor ............... ^ o 




ONE musical year in London starts very much like another,, 
and these Notes must perforce open once again with the record 
of a " Messiah " performance at the Royal Albert Hall on New 
Year's Day. On the present occasion Madame Albani, Madame 
Patey, Mr. Charles Banks, and Mr. Watkin Mills were the 

At the next Concert of the Royal Choral Society, on the i6th, 
M. Peter Benoit's Oratorio "Lucifer" was to have been given, 
but that event being postponed, Berlioz's " Faust " was substi- 
tuted, the performance deriving a special interest from the first 
appearance under this Society's auspices of Miss Marguerite 
Macintyre. The young Scottish vocalist, who was destined in 
course of the year to considerably advance her reputation as an 
Oratorio and Concert singer, gave the music of Margaret a highly 
satisfactory rendering. Her clear, sympathetic tones fairly filled 
the vast building, while her phrasing was marked by singular 
purity and charm. The audience honoured Miss Macintyre with 
a hearty greeting, and bestowed upon her liberal applause. Mr. 
Tver McKay was the Faust and Mr. Watkin Mills the Mephis- 
topheles. The choruses were, as usual, magnificently sung under 
Mr. Barnby's guidance. 

The performance of " Elijah " at the Novello Oratorio Con- 



certs on the 23rd was the first of the season heard in central 
London. It was an exceedingly good performance, the choir 
being in superb form. Madame Nordica, Madame Patey, Mr. 
Edward Lloyd, and Mr. Henschel were the principal singers, 
while a new contralto, Miss Lizzie Neal, created a decidedly 
favourable impression by her rendering of " Woe unto them." 
Dr. Mackenzie conducted. 

On the I4th Haydn's charming but neglected Oratorio " The 
Seasons" was revived by the Borough of Hackney Choral 
Association, under the able direction of Mr. Ebenezer Prout. 
It had not been given in its entirety in the metropolis 
since 1877, when it was performed by the Sacred Harmonic 
Society. The Hackney choristers sang as well as usual, and 
the solos were safely entrusted to Mrs. Hutchinson, Mr. Henry 
Piercy, and Mr. Robert Hilton. 

A series of Concerts in the newly-erected Hall of the Hampstead 
Conservatoire of Music was inaugurated on the 28th by a perform- 
ance of " The Golden Legend," given in a Concert-room capable 
of accommodating an audience of 700, and band and chorus of 
nearly 300. Mr. G. F. Geaussent, the Principal of the Conser- 
vatoire, conducted, and Mr. Carrodus led the orchestra. The 
solos were sustained by Miss Annie Marriott, Madame Marian 
Mackenzie, Mr. Lloyd, Mr. Henschel, and Mr. J. T. Hutchinson. 
On the 26th Dr. J. F. Bridge's Cantata " Callirhoe " was given 
at the Bow and Bromley Institute, Mr. McNaught conducting. 

At the London Symphony Concerts, on the I5th, Mr. Henschel 
introduced at the end of a not very interesting programme a 
Solemn Overture, entitled " 1812," by Tschaikowsky, who has 
herein endeavoured to illustrate the events of that memorable year 
so fatal to Napoleon, so glorious for the Russians. But it 
seemed a noisy, bombastic composition, and sadly needed an 
explanatory analysis. Far preferable items of the Concert were 
the performance of Wagner's " Siegfried Idyll " and the violin 
playing of Mr. Willy Hess, Sir Charles Halle's Manchester chef 
d'attaque. On the 22nd there were included in the scheme an 


Entr'acte from Weber's posthumous Opera " The Three Pintos," 
and Mendelssohn's " Hear my prayer," the solo in the latter 
being sung by Mrs. Henschel and the choruses by Mr. McNaught's 
Bow and Bromley Choir. The Entr'acte, heard for the first time, 
proved to be a graceful, delicately-scored piece. Weber left this 
comic opera in an unfinished state, and the work of completing 
it was carried out, at the request of the composer's descendants, 
by Herr Mahler. "The Three Pintos" was only produced in 
course of the year 1888 at Munich. At the Symphony Concert of 
the 2Qth Mr. Hamish MacCunn conducted his Overture "The Land 
o' the Mountain and the Flood," which was finely played and 
rapturously applauded. Herr Hans Wessely gave a finished 
rendering of a Ballad in F sharp minor (Op. 39), for violin, com- 
posed by Mr. Henschel, who also conducted a first-rate perform- 
ance of Brahms's Symphony in D (No. 2) and Glinka's 
" Komarinskaja," a Fantasia on two Russian national songs. 

The resumption of the Popular Concerts on Monday, the 7th, 
after the customary Christmas recess, was marked by no features 
of particular interest. Beethoven's Quartet in E flat (Op. 74), 
executed by Madame Neruda, Messrs. Ries, Straus, and Piatti, 
opened the Concert ; Rubinstein's Sonata in D (Op. 18), per- 
formed by Mdlle. Janotha and Signor Piatti, brought it to a 
termination. The solo works were of unusually trifling dimen- 
sions. Mdlle. Janotha was down only for Chopin's Barcarolle, 
but added his Berceuse as an encore, playing both beautifully. 
Madame Neruda gave pieces by Spohr and Leclair, and, in spite 
of four recalls, declined to play again. Mr. Santley sang a couple 
of Lieder by Brahms and Gounod's " Nom de Marie," accom- 
panied by Mr. Sidney Naylor. On the Saturday following a large 
crowd went to hear Beethoven's " Kreutzer " Sonata, played by 
Madame N6ruda and Sir Charles Halle. The " Kreutzer " came 
last in the scheme, first place being worthily assigned to Mozart's 
glorious Quintet in G minor (No. 6), which was executed by 
Madame Neruda, Messrs. L. Ries, Hollander, Gibson, and Piatti. 
Sir Charles Halle was heard alone in Schubert's Fantasia Sonata 

B 2 


in G (Op. 78), and merited, by an admirable performance, the loud 
applause he received. Mrs. Henschel sang Purcell's " Nymphs 
and Shepherds," Goring Thomas's " Midi au Village," and 
Massenet's " Serenade de Janette." All three were given to 
perfection, Mr. Henschel being at the piano. Madame Haas was 
the pianist on Monday, the I4th. She gave a conscientious and 
refined interpretation of Chopin's Impromptu in F sharp major, 
and sustained the pianoforte part in Brahms's A major Quartet. 
Beethoven's first " Rasoumouski " Quartet opened the Concert. 
The vocalist was Miss Florence Hoskins, a student at the Royal 
College. In marked contrast to the small attendance at this 
Concert was the crush on Saturday, the igth, when Beethoven's 
Septet was played by Madame Neruda, Messrs. Hollander, 
Lazarus, Paersch, Wotton, Reynolds, and Piatti. The scheme 
opened with Haydn's famous Quartet in C (Op. 76, No. 3), which 
contains the variations on " God preserve the Emperor." 
Madame Haas added to the favourable impression already created 
by her rendering of Beethoven's Sonata in A flat (Op. no). Mr. 
Santley sang. On the succeeding Monday Madame Haas joined 
Signor Piatti in Mendelssohn's duet Sonata in B flat (Op. 45), and 
performed Bach's Organ Prelude and Fugue in A minor, as 
arranged for piano by Liszt. The piece de resistance of this 
programme was Schubert's Octet (Op. 166), gloriously given by 
Madame Neruda, Messrs. Ries, Straus, Lazarus, Paersch, 
Wotton, Reynolds, and Piatti. Contrary to latter-day custom, 
the Octet was put last in the programme, and given without 
break. Miss Helen d' Alton was heard to advantage in Maud 
Valerie White's charming song, " Come to me in my dreams." 
The audience at the afternoon Popular Concert of the 26th 
was large but not crowded. Beethoven's Quintet in C (Op. 29) 
was magnificently rendered by Madame Neruda, Messrs. Ries, 
Hollander, Gibson, and Piatti. Mdlle. Janotha played Schu- 
mann's " Carnival " ; and, as an encore, the same composer's 
" Arabeske " ; being also heard with Madame Neruda in Beet- 
hoven's Sonata in G major, for pianoforte and violin (Op. 30, 


No. 3). Mr. Brereton was the vocalist. An interesting Concert 
was that of the 28th, when Miss Fanny Davies made her 
rentree> and executed Schumann's " Fantasiestucke " (Op. in), 
of which three strikingly original pieces only the third had 
hitherto been heard at the " Pops." They were beautifully 
played; and, an encore being insisted upon, Miss Davies gave 
Mendelssohn's Capriccio in E minor. On the same evening 
a new Sonata for violoncello and pianoforte, in F (No. 3), 
by Signer Piatti, was performed for the first time. As in his 
previous Sonatas, the composer here shows a strict adherence to 
orthodox form, and lays out his materials with the skill of an 
accomplished musician. The themes are melodious and effective, 
notably in the slow movement, a Romanza full of feeling and 
passion. The Sonata met with emphatic favour, the composer 
and his talented coadjutor, Miss Fanny Davies, being recalled 
amid loud applause. Miss Marguerite Hall, who had only just 
returned to England, appeared and sang, with entire acceptance, 
songs by Schubert and Goring Thomas. 

On the 28th little Otto Hegner gave the first of a series of 
Recitals at St. James's Hall. He played with neatness and 
decison the first of Bach's six Partitas (in B flat), and also 
attempted Beethoven's " Waldstein " Sonata in C (Op. 53). 
There were passages in the Sonata which, owing to the size of 
his hands, he could not grasp, but it was altogether a phenomenal 
performance for a boy of twelve. In the opening movement he was 
somewhat excited ; but, by the time he arrived at the Finale, he 
had fully recovered his self-possession. He was heard besides in 
Schumann's " Vogel als Prophet " and in a Nocturne and Waltz 
by Chopin ; and concluded the Recital with one of the well- 
known Rhapsodies by Liszt. There was a large but not very 
enthusiastic audience. 

Miss Dora Bright, a pupil of the Royal Academy of Music, 
gave the first of three Recitals at Princes' Hall on the 3Oth. 
Among other works she was heard in Schumann's Fantasia in C 
(Op. 17). She made, however, the best impression in some new 


Studies by Mr. Walter Macfarren, and in two effective little 
pieces from her own pen. 

A series of three Recitals, given by Mr. Max Heinrich and Mr. 
Emanuel Moor, began at Steinway Hall on the i6th. On the 
following day Mr. W. de Manby Sergison gave the first of ten 
winter Concerts at 62, Warwick Square. 

Madame Patti appeared at the Royal Albert Hall before 
crowded audiences on January 8th and 22nd, and February 28th, 
these being the last Concerts in which she took part in London 
previous to her leaving for a tour in South America. 

At the London Ballad Concert, on the i6th, new songs by Miss 
Hope Temple, Mr. Molloy, and Mr. Stephen Adams were intro- 
duced. The birthday of Burns was commemorated as usual, on 
the 25th, by Concerts at the Albert Hall and St. James's Hall. 

A "dialogue-oratorio," "Samuel," composed by Mr. Jerome 
Hopkins, was performed for the first time at Princes' Hall, on the 
28th, under the composer's direction. The characteristic feature 
of this work is that it requires " a singing and a speaking troupe" 
for its interpretation, declamation in the speaking voice entering 
largely into its scheme. 

Mr. Carl Armbruster commenced, on the 28th, a series of three 
Afternoon Recitals at the Portman Rooms, in course of which 
Wagner's " Tristan und Isolde " was sung, with a pianoforte 
accompaniment, one act being given at each Recital. As a " set- 
off" against the disadvantage of there being no orchestra, the 
" friends of Wagner's musical dramas," to whom Mr. Armbruster 
specially appealed, were vouchsafed a rendering without a single 
cut. The chief solo parts were sustained by Miss Pauline 
Cramer (Isolde), Miss Margaret Hoare (Brangdne), Mr. William 
Nicholl (Tristan), Mr. W. Cunliife (Kurwenal), Mr. B. H. Grove 
(Marke), and Mr. Henry Phillips in the three minor characters. 

A short season of English Opera began at the Olympic Theatre, 
on the 26th, under the direction of Mr. Valentine Smith. " Mari- 
tana," " The Bohemian Girl," and other favourite operas were 
given, and low prices of admission were charged. Mr. Valentine 


Smith was supported by a tolerably capable troupe, including 
Miss Clara Perry, Miss Susetta Fenn, Mr. C. H. Victor, and Mr. 
Henry Pope, with a good band and excellent conductor in Mr. 
Isidore de Solla. The chorus and mise en scene were not all that 
could be desired, and, on the whole, the venture failed to prosper. 
" Paul Jones," which successful comic opera ran throughout 
the year, was brought out by the Carl Rosa Light Opera Com- 
pany, on the i2th, at the Prince of Wales's Theatre, under the 
management of Mr. Horace Sedger. " Paul Jones " was an 
English adaptation of M. Robert Planquette's " Surcceuf," pro- 
duced on October 6, 1887, at the Folies Dramatiques Theatre, 
Paris. The French libretto of Messrs. Chivot and Duru, freely 
adapted by the late Mr. H. B. Farnie, embodied a picturesque 
story ; and the music, if not equal to the composer's " Cloches de 
Corneville" or "Rip van Winkle," proved sufficiently bright and 
pleasing to satisfy the general ear. It may, however, be asserted, 
without fear of contradiction, that the attraction chiefly account- 
ing for the long run of the piece was furnished by the representa- 
tive of the hero, Miss Agnes Huntington, an American contralto 
new to the English stage. Miss Huntington's beauty and com- 
manding presence, her fine voice and sympathetic artistic style, 
won for her an immediate triumph. The other chief characters 
were impersonated by Miss Wadman, Miss Phyllis Broughton, 
Mr. H. Ashley, Mr. H. Monkhouse, and Mr. Frank Wyatt. 

OBITUARY. lima di Murska (operatic singer), Munich, I4th ; 
Francis Hueffer (musical critic of The Times), London, igth. 



THE Sacred Cantata " Isaias," written by Signer Luigi Man- 
cinelli and produced under his direction at the Norwich Festival 
of 1887, was performed for the first time in London by the Royal 
Choral Society on the aoth. Comparatively slight interest was 
evinced in this event, and the Albert Hall was by no means well 
filled. Yet this ought not to have been the case, remembering 
the curiosity which the work excited at Norwich, and the enthusi- 
astic reception accorded it there. The music of " Isaias " is of 
that bold, unconventional character which must ever make it 
interesting to musicians, and, despite certain inequalities, it is a 
composition of undoubted merit. The beautiful numbers that 
come early in the Cantata once more made a deep impression. 
A finer rendering of the choruses could not have been wished for; 
and the solos were, on the whole, satisfactorily given by Madame 
Nordica, Miss Lena Little, Mr. Barton McGuckin, Mr. Alec 
Marsh, and Mr. Lucas Williams. The Cantata was conducted 
by Mr. Joseph Barnby, whose Psalm, " The Lord is King," 
opened the Concert. At the performance of " Elijah," given by 
this Society on the 2nd, Madame Nordica, Madame Belle Cole, 
Mr. Charles Banks, and Mr. Henschel constituted the leading 
solo quartet ; and the contralto solo, " Woe unto them," was 
expressively rendered by Miss Julia Neilson. 

The " Dream of Jubal," a "poem with music," written by Mr. 
Joseph Bennett and composed by Dr. A. C. Mackenzie for the 
Jubilee of the Liverpool Philharmonic Society, was heard in 
London, for the first time, on the 26th, at Novello's Oratorio 
Concerts, and received with every sign of favour, the Lancashire 


verdict being endorsed with emphasis by a large and representa- 
tive audience. In this very original work the author depicts 
Jubal, " the father of all such as handle the harp and pipe," as being 
discontented with his powers and thrown into a deep sleep, wherein 
an angel appears and reveals to him in a series of visions the 
varied possibilities that attend the after-development of his art. 
Amid appropriate scenes, he hears in turn a chorus of praise in 
Divine worship, a song of comfort in bereavement, a patriotic 
march and chorus of victory, a song of a labourer in the harvest 
field, a funeral march and chorus in honour of a hero, and a duet 
of lovers. At the conclusion of all this he awakes, and, bearing 
his " chorded shell " to the altar, dedicates the wondrous gift to 
God, a chorus of invocation ending the work. The peculiarity of 
this composition is that the story is recited in spoken verse, the 
reciter being accompanied throughout by the orchestra, while the 
choruses and solos are restricted to the events of the dream, as 
above set forth, and the final invocation. The effect is striking, 
and to some extent new. Mr. Bennett's " poem " is worthy to 
be so called. His verse is elegant, his diction refined, and his 
language in all cases poetic and expressive. The music may be 
described in a word as in Dr. Mackenzie's best vein. Always 
original, forcible, and appropriate, it is full of melodic charm and 
technical resource, while more than one climax rises to a height 
of veritable grandeur. Thanks to a magnificent performance, 
the beauty and dramatic power of the work made an unmistak- 
ably deep impression on all who heard it. The choruses were 
superbly sung ; the soprano and tenor solos were rendered to per- 
fection by Miss Macintyre and Mr. Edward Lloyd; and the 
difficult task allotted to the reciter was fulfilled with conspicuous 
ability by Mr. Charles Fry. The composer, who conducted, was 
awarded a hearty ovation at the close. The new work was 
preceded by Saint-Saens's Psalm "The Heavens declare," in 
which Miss Liza Lehmann sang with fervent feeling the soprano 
solo ; Miss Zippora Monteith, an American soprano, made her 
debut; and Miss Lizzie Neal, Messrs. Lloyd, Andrew Black, 


Lucas Williams, D. Hughes, and L. Huxtable assisted in the 
concerted music. 

The first Saturday Concert (eleventh of the series) at the 
Crystal Palace, after the customary recess, took place on the gth. 
Mr. Manns was warmly greeted by a crowded audience attracted 
chiefly by the announcement that Otto Hegner would play. This 
veritable " wonder-child " was heard in Beethoven's C minor 
Pianoforte Concerto (No. 3), the same work that Josef Hofmann 
played here at the opening Concert of the winter season, October 
8th, 1887. Otto's performance, however, was as far superior to 
his rival's as was his rendering of the C major Concerto (No. i) last 
April, when compared with that given by Josef at the Philharmonic 
Concert of June, 1887, even allowing in each instance for the 
respective differences of age. Hegner was perfectly at ease from 
the moment he sat down. From a technical standpoint the 
Concerto was "child's-play" to him; by far the most difficult 
thing in it was the elaborate though ill-fitted cadenza written for him 
by his harmony master, Herr Glaus, of Bale. His exquisite 
phrasing of the slow movement, and the crisp, pearly delicacy of 
his touch in the Rondo, sent the audience fairly into raptures,, 
and he was recalled with enthusiasm. Hegner afterwards played 
some solo morceaux, and added an encore without evincing the 
slightest fatigue. The programme opened with a novelty the 
Overture to Lalo's Opera " Le Roi d'Ys," which clever though 
unequal work had been very frequently given at the Paris Opera 
Comique since its production there in May, 1888. Lalo stands high 
among modern French composers ; he is a man of original ideas 
and distinct creative power. Unfortunately he was already sixty- 
one, and " Le Roi d'Ys " was his first real success. The 
Overture, which is in irregular form, is based on themes heard in 
course of the Opera, and is a picturesque, cleverly-scored piece. 
Miss Emily Spada was the vocalist. At the Concert of the i6th 
was produced for the first time in England Mr. Hamish Mac- 
Cunn's Cantata " The Lay of the Last Minstrel," written 
expressly for the Glasgow Choral Union, and performed by that 


Society in December, 1888. This work is Gaelic to the core, as. 
well befits a composition founded on one of Scott's poetic master- 
pieces, and written by a young Scotch musician who has from 
the very outset betrayed a marked predilection for the use of 
themes inspired by the national melodies of his country. The 
libretto, written by Mr. MacCunn's father, is somewhat dis- 
jointed, but the shortcoming could scarcely have been avoided 
without adding considerably to the length of the Cantata, which, 
from a dramatic standpoint, has at least the merit of being con- 
cise. The central figure of the story is the gallant Sir William 
of Deloraine. He rides from Branksome Hall, at the bidding of 
Lady Buccleuch, to Melrose Abbey, and there, with the aid of 
the Monk of St. Mary's Aisle, obtains from the tomb of the 
Wizard, Michael Scott, the " Mighty Book " that shall prove a 
charm and defence against the English invaders. On his way 
back Sir William interrupts a clandestine meeting between Lady 
Margaret of Branksome and Lord Cranston, whose family is at 
feud with the Buccleuchs ; and in the combat that follows 
between the Knights, Deloraine is wounded. Later on, when the 
English Borderers appear at Branksome and are met with 
defiance at the hands of its noble mistress, it is agreed that their 
dispute shall be settled by single combat, Sir Richard Musgrave 
representing the English and Sir William of Deloraine the Scottish 
sides. The wounded Deloraine is unfit to fight, but, through the 
influence of the Mighty Book, Lord Cranston is enabled to per- 
sonate him and overcome the English champion, whereupon 
there is a reconciliation, and Cranston is accepted by Lady 
Buccleuch as her daughter's affianced husband. In his setting 
Mr. Hamish MacCunn once more makes manifest the marked 
peculiarities of style and powerful grasp of his subject that 
characterised his previous works. His distinctive melodies serve 
here a double purpose. They emphasise the Scotch surroundings 
and they supply a chain of Leitmotives that enhance in a notable 
degree the dramatic interest of the story. The orchestra plays a 
highly important part, and the masterly skill with which it is 


written for throughout again excites mingled admiration and 
wonder at the command of orchestral resource possessed by this 
young musician. The narrative is carried on by the chorus, and 
number after number surprises by the extraordinary variety and 
intensity of its descriptive power, the finest of all being that 
which depicts the midnight visit of the monk and the knight to 
the wizard's tomb a grandly-impressive scene. The " storm 
and stress " pervading most of the music are agreeably relieved 
by the duet between the River and the Mountain Spirits, 
who foretell that the feud will not end " Till pride be quelled and 
love be free " ; and also by the charming number describing the 
stolen meeting of the lovers. The solos, however, are compara- 
tively few and unimportant, while the treatment of the final 
chorus, " Caledonia ! stern and wild," scarcely rises in dignity 
or power to the general level of the work. Mr. MacCunn was 
enthusiastically applauded when he came upon the platform at 
the conclusion of the performance. Mr. Manns conducted, and 
the solos were sung by Madame Nordica, Miss Marie Curran, 
Mr. Iver McKay, and Mr. Andrew Black, the last-named artist 
particularly distinguishing himself in the baritone solos. The 
band did its work splendidly, but the choir sang out of tune and 
with very little spirit. Another important novelty, brought forward 
at the Concert of the 23rd, was the Symphony in F major (No. 4, 
Op. 31), composed by Professor Villiers Stanford, and first pro- 
duced under his direction at Berlin, on January 14. It was now 
conducted with characteristic energy and skill by Mr. August 
Manns, who secured an exceedingly fine performance. Dr. Stan- 
ford has prefaced this Symphony with the motto, " Thro' Youth 
to Strife, Thro' Death to Life." It is an extremely interesting 
work, revealing rare breadth of conception, elaboration of detail, 
and musicianly resource ; but the listener must not expect to 
find in its four movements a clearly-defined illustration of the 
various conditions which the motto indicates. It was, indeed, 
expressly declared that the composer's aim had been "only to reflect 
the general sensations of the motto." He has at least been success- 


ful in the opening Allegro, which plainly suggests the joyous 
animation and bright aspirations of youth. The Intermezzo and 
Trio, in which Dr. Stanford has embodied some phrases from his 
music to " yEdipus Rex," form a graceful and interesting section, 
but, beyond a slightly agitated character, the music has in it little 
that conveys the idea of " Strife." Thenceforward it is as well to 
ignore the purport of the motto and appreciate for their own 
beauties alone the singularly beautiful slow movement and the 
remarkably elaborate, powerfully-wrought Finale. These two 
divisions comprise by far the finest portion of the Symphony. 
Mr. Manns took unsparing pains to secure a good performance, 
and fully accomplished that object. The new Symphony was 
loudly applauded by a large audience. Other noteworthy items 
of the Concert were Miss Fanny Davies's rendering of Carl 
Reinecke's Pianoforte Concerto in F sharp minor (Op. 72), and a 
splendid delivery of Beethoven's Air, "Ah perfido," by Fraulein 
Marie Fillunger. 

Mr. Max Pauer appeared at the London Symphony Concert on 
the 5th, and gave a capital reading of Beethoven's " Emperor " 
Concerto. Tschaikowsky's ugly Solemn Overture, " 1812," was 
repeated, and the remainder of the programme was familiar. At 
the Concert of the following week one of the largest audiences of 
the season attended to hear Beethoven's " Eroica " Symphony 
and a Wagner selection performed in commemoration of the latter 
composer's death-day, the I3th. The Bayreuth master was again 
represented at the Concert of the igth by the Overture to his 
Opera " Die Feen," written in 1833, when he was a young man 
of twenty. This piece, now heard in England for the first time, 
betrays a curious diversity of styles. In the slow introduction 
appear a stately martial theme and a chorale-like passage, both 
gems of the Spontini-Meyerbeer influence that was to be developed 
at its fullest six years later in " Rienzi." The opening subject of 
the Allegro is distinctly suggestive of Weber alike in its romantic 
character and symphonic style of treatment ; but the graceful 
second subject given out by the flute brings to mind " Tann- 


hauser" and "Lohengrin" showing that amid the contending 
influences now at work the composer's individuality had already a 
place. The "working-out," again, is suggestive of Beethoven, 
and it is marked by strong dramatic colouring, though lacking in 
clearness. The Coda so distinctly foreshadows that of the " Flying 
Dutchman " Overture that one can scarcely help thinking 
Wagner had it in his mind when he wrote the later work. Both, 
anyhow, belong to the romantic style of Weber. From the above 
remarks it may be gathered that the Overture proved interesting 
to Wagnerian students, and Mr. Henschel earned deserved 
thanks for bringing it to a hearing in this country. On the same 
evening Beethoven's Violin Concerto was performed by Mr. 
Johann Kruse, a young Australian artist, whose debut at the " Pops " 
this month is referred to below. The regular series of the 
London Symphony Concerts now terminated, but an extra Con- 
cert was given on the afternoon of the 27th, the feature of the 
occasion being the London debut of a portion of the Leeds Festival 
Chorus, under the direction of their able conductor, Mr. Alfred 
Broughton. A large crowd attended and did not go away 
disappointed. The singing of the famous Yorkshire choristers in 
Mendelssohn's " Walpurgis Night" and the Finale of 
Beethoven's Choral Symphony was a thing to be remembered. 
The bright, penetrating tone and rich quality of the voices 
{numbering in all 160), their clean, simultaneous attack, and the 
marvellous vigour and precision with which they followed the 
beat, constituted quite a revelation for London amateurs. 
Altogether, the visit was an immense success, and it crowned in 
worthy fashion the long series of artistic endeavours that marked 
Mr. Henschel's undertaking. 

The programme of the Saturday Popular Concert on the 2nd 
contained nothing calling for mention, beyond Emmanuel 
Bach's Sonata in C minor, for piano and violin, executed by Sir 
Charles and Lady Halle. Mr. Max Pauer re-appeared on the 
following Monday, and gave a masculine, but not, as regards 
poetic sentiment, a wholly satisfactory rendering of Schumann's 


4i Etudes Symphoniques." The same evening the new German 
soprano, Fraulein Marie Fillunger, made a favourable debut in 
London, displaying a powerful, well-cultivated organ and excep- 
tional dramatic feeling and intelligence. Mr. Johann Kruse, 
who made his first appearance at the Popular Concerts on 
the gth, is a native of Australia and a pupil of Dr. Joachim. 
He had visited London the previous season, when his playing 
in private circles was greatly admired, and led to his present 
engagement. Mr. Kruse is a thoughtful and capable inter- 
preter of Chamber music, his method and style being distinctly 
redolent of the Berlin " Hochschule." His intonation was 
at times faulty, but this was thought to be due to nervousness. 
Mr. Kruse was leading violinist in Schubert's D minor Quartet, 
and here, as in Beethoven's String Trio in C minor (Op. 9, 
No. 3), played with Mr. Straus and Signer Piatti, he infused 
considerable vigour and feeling into his performance. Mr. 
Max Pauer brought forward for the first time at the "Pops" 
Hummel's Sonata in F sharp minor (Op. 81), a work distinguished 
by exacting mechanical difficulties and constant succession of 
bravura passages rather than musicianly interest of a deeper 
kind. Miss Marguerite Hall sang, Miss Mary Carmichael 
accompanying. On Monday, the nth, the same violinist and 
pianist again appeared. Mr. Kruse "led" Beethoven's Quartet 
in E flat (Op. 74), and introduced a Sonata in G minor by Tartini ; 
and also took part with Mr. Max Pauer and Signer Piatti in 
Brahms's Trio in C minor (Op. 101). Miss Liza Lehmann was 
the vocalist. The programmes of the i6th and i8th consisted 
wholly of well-worn materials, save that at the latter Concert 
Signer Piatti's new Sonata in F was repeated, and at the former 
Mrs. Henschel introduced a charming setting, by Mr. F. Corder, 
of Tennyson's lines, " O sun that wakenest." On the 23rd the 
re-appearance of Edvard Grieg and his accomplished wife caused 
an enormous attendance. An apology was made for Madame 
Grieg on account of sore throat, but her artistic singing of her 
husband's songs proved nevertheless delightful. The Norwegian 


composer played two of his " Scenes from National Life" (adding 
another piece as an encore), and joined Signer Piatti in his Sonata 
in A minor, for piano and cello (Op. 36). These distinguished 
artists also took part in the Concert of the 25th. Grieg's solos 
consisted of the " Improvisata," from his Op. 29, the " Albumblatt," 
from Op. 28, and the " Stabbe-Lat," from the set of twenty-three 
Norwegian Dances (Op. 17) ; while with Madame Neruda he 
played his well-known Pianoforte and Violin Sonata in F major 
(Op. 8). How all these things were given it is needless to say. 
Grieg has been aptly described as the " Scandinavian Chopin,'* 
and he deserves the name, not only in virtue of the tender poetic 
sentiment and ineffable grace of his compositions, but the 
exquisite charm and perfection of touch and technique that he 
brings to bear upon their interpretation. 

For Recital-givers and their patrons this was a busy month. 
The average attendance at Otto Hegner's Recitals grew larger as 
they went on. On the i8th he played Beethoven's Sonata in E 
flat (Op. 31, No. 3). The Minuet was a trifle hurried, but, taken 
for all in all, it was an amazing exposition of precocious musical 
intelligence. Among Otto's other achievements were a brilliant 
performance of Weber's Rondo in E, a neat and delicate reading 
of Chopin's Nocturne in D flat, and a delightful display of sure, 
even fingering in one of Bach's English Suites. The third Recital 
of the series took place on the 25th. 

Fraulein Geisler-Schubert, a grand-niece of the famous com- 
poser, gave a Pianoforte Recital at Princes' Hall on the i3th, and 
proved herself worthy of the great name she bears. She is a 
pianist of a very high order, and interprets Schubert's music to 
perfection. Her reading of his romantic Fantasia Sonata in G 
(Op. 78) was technically all that could be wished. But, in 
addition to digital skill, Fraulein Geisler possesses a charming 
touch, and she plays with feeling and intelligence. Moreover, 
without any trace of exaggeration, she gives a vivid and 
sympathetic rendering of the work in hand. Among other 
things she took part with those excellent artists, Messrs. Straus 


and E. Howell, in the master's Pianoforte Trio in B flat 
(Op. 99). 

Mr. and Mrs. Henschel gave two of their enjoyable Vocal 
Recitals on the i5th and 22nd. The selection at the first 
included a duet from Wagner's youthful opera " Die Feen," an 
interesting novelty, listened to with curiosity by an audience that 
crowded Princes' Hall. Like the overture referred to above, the 
duet recalls the style of the composer of " Der Freischiitz " in a 
singularly marked degree. It deals with a sufficiently trite 
dramatic situation an unexpected reunion of two lovers, who 
tease each other about their doings since they parted, a pretended 
quarrel ending up with a happy reconciliation. It is just one of those 
bright, joyous duets, interspersed with neat and effective dramatic 
touches, such as Weber himself might have penned. The voice 
parts and the accompaniment are brimful of tripping melody, and 
a spirit of gaiety and humour pervades the whole. Needless to 
add that the piece was delightfully sung by Mr. and Mrs. 
Henschel, Mr. Frantzen being at the piano. The programme of 
the second Recital consisted wholly of compositions by Mr. 
Henschel, including his " Serbisches Liederspiel," the Trio from 
his Both Psalm, and several new songs. Mr. and Mrs. Henschel 
were assisted by Miss Marguerite Hall, Miss Lena Little, Mr. 
Shakespeare, and Mr. Max Heinrich. 

The scheme of Mdlle. Jeanne Douste's Recital at Princes' Hall, 
on the i4th, was made up of compositions by Schumann and 
Brahms. The former master's Sonata for pianoforte in G minor 
(Op. 22) received an especially good rendering. Included in the 
Brahms selection was a set of twenty-five Variations with 
Fugue on a theme by Handel, marked in the programme " first 
time." Whether an absolute novelty or not, this composition 
proved full of interest as well as scholarly resource, and was 
admirably executed by Mdlle. Douste. The vocalist was Herr 
Oscar Niemann. 

At his third and last Recital at Steinway Hall on the I3th, Mr. 
Max Heinrich sang a selection of songs by Brahms, and was 



associated with Miss Lena Little in duets by Dvorak, Cornelius, 
and Schumann. He also introduced a cleverly-written and 
interesting set of " Reed Songs " by Mr. Seb. Schlesinger, a 
talented amateur composer well known in New York, and now 
residing in London. 

In the theatre of the University of London, on the 23rd, was 
performed a Cantata, entitled " Dante's Vision," composed by 
Mr. Charles John Hall as his exercise for the degree of Doctor of 
Music. The event was of more than ordinary interest, inasmuch 
as it was the first occasion of a work being performed with full 
orchestra at the London University. The solos were sustained by 
Miss Kathleen Grant, Mr. Percy Palmer, and Mr. C. Ackerman, 
and the choruses were sung by the choir (men and boys) of St. 
John's, Waterloo Road. 

OBITUARY. Josef Gungl (dance-music composer), Weimar, ist. 

MARCH. 19 


AT the Novello Oratorio Concerts on the igth was performed 
a Cantata, entitled " The Light of Asia," the composition of an 
American musician, Mr. Dudley Buck, the words being taken 
from Sir Edward Arnold's richly imaginative poem of the same 
name. This work attracted considerable attention, not merely on 
account of its subject, but because it was the first choral compo- 
sition of important dimensions by a leading American composer 
yet heard in this country. " The Light of Asia " is not cast in the 
mould calculated to win for it popularity with general audiences. 
One great defect, to begin with, is that an acquaintance with the 
original poem is requisite in order to thoroughly understand the 
motive of the story, and to realise the nature of such beings as the 
divinely-sprung Sidddrtha and the pure, noble, womanly Yasod- 
hara. Another difficulty is the total absence of dramatic incident 
and contrast ; the entire work is in narrative form, and this 
engenders a sense of monotony before the end is reached. The 
solos, which should afford the necessary relief, are inferior in 
interest to the choruses and concerted numbers. Oratorio lovers 
found plenty to admire in the scholarly counterpoint and fugue 
of Mr. Buck's choruses ; they enjoyed his massive, flowing har- 
monies and graceful, expressive melodies ; they admired his 
refined instrumentation, and marked many a delicate touch of 
fancy in his ensemble writing. On the other hand, for individuality, 
power of characterisation, and dramatic effect (save in the use 
of representative themes) they looked in vain. The numbers 
that made most effect at St. James's Hall were the picturesque 
scene of Sidddriha's temptation, the Spring-song, and the Wedding 

c 2 



hymn, the dreamy chorus, " Softly the Indian night sank o'er the 
plain," and the two really charming duets for Yasodhara and 
Sidddrtha. These duets lost nothing in the hands of Madame 
Nordica and Mr. Edward Lloyd, who threw all possible fervour 
and expression into their music. The bass solos had an admir- 
able exponent in Mr. Andrew Black. The band and chorus did 
their work in a manner that earned the highest praise ; while Dr. 
Mackenzie conducted with infinite care and zeal, making the 
most of his opportunities, and altogether securing a highly poetic 
reading of the work. 

On Ash Wednesday, the 6th, there was a performance of 
Gounod's " Redemption " at the Albert Hall, with Miss Robert- 
son, Madame Patey, Mr. Charles Banks, Mr. Robert Hilton, and 
Mr. Watkin Mills as soloists. Sacred Concerts took place on the 
same day at the Crystal Palace and St. James's Hall, and the 
crowd that attended the latter was agreeably surprised to find 
Mr. Sims Reeves able to fulfil his engagement. This was the 
first time the veteran tenor had been well enough to sing in public 
for several weeks. 

The Bach Choir gave a most interesting Concert at St. James's 
Hall on the 5th, the scheme including two Church Cantatas by 
the Leipsic Cantor, now introduced for the first time. They 
proved to be worthy examples of a numerous family, particularly 
the Cantata framed upon the hymn " Wachet auf!" The 
choruses in this are after Bach's best manner. The two duets 
for soprano and baritone (sung by Miss Liza Lehmann and Mr. 
Plunket Greene) were also interesting. In the second Cantata, 
" Halt' im Gedachtniss " the opening chorus set to these words 
is singularly fine the solos were sung by Miss Emily Himing 
and Mr. Charles Wade. The best piece of choral singing heard 
during the evening was in the splendid eight-part Motet, " Singet 
dem Herrn." At this Concert Dr. Joachim (who had made his 
rentree at the "Pops" on the previous evening) gave a magnificent 
performance of Sebastian Bach's fine Concerto in A minor, and 
the equally fine, though more familiar Sonata in G minor. Both 

MARCH. 21 

works were given from memory, and with an energy and feeling 
and a mastery of detail characteristic in the highest degree of the 
performer's individuality. After each effort he was recalled again 
and again amid spontaneous and hearty plaudits. Professor 
Stanford conducted the Concert with judgment and tact, and Mr. 
Frederic Cliffe presided with ability at the organ. 

At the fourth Concert of the Highbury Philharmonic Society, 
on the 25th, the chief feature in the programme was Frederic 
Clay's Cantata " Lalla Rookh." This graceful work was well 
given under Mr. G. H. Betjemann, the chorus singing well, and 
the orchestra showing a very creditable degree of efficiency. 
Following the Cantata came three movements from " Cleopatra," 
an Orchestral Suite written by Signer Luigi Mancinelli a 
Funeral March, Barcarolle, and Triumphal March performed 
for the first time in London. 

The Philharmonic Society inaugurated its seventy-seventh 
season on Thursday evening, the 25th, with more than usual 
eclat. The large and brilliant crowd that attended was attracted 
in a great measure by the co-operation of the distinguished Scan- 
dinavian musician, Edvard Grieg, whose popularity was just now 
extraordinary. The Prince and Princess of Wales, with Prince 
Albert Victor and Princess Victoria, arrived just after the com- 
mencement of Sterndale Bennett's " Parisina " Overture, wherein 
the magnificent Philharmonic orchestra was not heard to the best 
advantage : nor did its real form stand revealed in the Schumann 
Pianoforte Concerto, which came next. Indeed, the entire 
rendering of this most fascinating of pianoforte works was 
distinctly unsatisfactory. The soloist, Fraulein Geisler-Schubert, 
was either indisposed or paralysed by nervousness. She played 
innumerable false notes, and, save in the Intermezzo, never 
seemed to have a firm grasp of her theme. Yet had Schubert's 
grand-niece proved herself an artist of such undeniable capacity 
that it was impossible to visit her present shortcomings with 
severe criticism. The piece de resistance of the Concert, however, 
was the performance of Grieg's " Peer Gynt " Suite (Op. 46). It 


was subsequently stated on authority that Grieg was amazed by the 
playing of the Philharmonic band. Never had he heard before 
such a pianissimo, such nuances, such transitions from light to 
shade ! His astonishment was fully shared by the audience, 
who enjoyed the additional pleasure of realising for the first time 
(thanks to Mr. Joseph Bennett's admirable analysis) the true 
significance of these poetic, exquisitely - scored movements. 
Ibsen's hero, Peer Gynt, was now understood to be a peasant lad 
with fantastic ideas and great ambitions, who travels far, has 
many loves, goes home to find his mother on her death-bed, 
wanders forth again, and ultimately returns old and grey to settle 
down with his faithful betrothed Solveig, who has waited for him 
since his youth. To know the exact source of Grieg's inspiration 
was to enjoy his music the more ; certainly the delicious 
" Anitra's Dance " and the wondrously tender passage illustrating 
the " Death of Aase " dying as her wayward son sits by her 
bedside and relates his adventures impressed as they necessarily 
failed to impress in a mere abstract sense when Mr. Henschel 
introduced the Suite at the London Symphony Concerts. The 
final "Dance of the Imps" chasing and tormenting Peer Gynt 
in the subterranean halls of the King of the Dovre Mountains 
made a tremendous effect, and after three recalls Grieg returned 
to the Conductor's desk and repeated it. The Concert was an 
unqualified triumph for the Norwegian composer and his wife, 
who made her Philharmonic debut, and sang in her usual quaint, 
impulsive, and expressive manner. Dr. A. C. Mackenzie, who 
conducted the Concert in Mr. Frederic Cowen's absence, secured 
excellent performances of his " Burns " Rhapsody and Beet- 
hoven's Fourth Symphony. 

At the second Philharmonic Concert, on the 28th, Mr. Cowen 
resumed his duties as Conductor of the Society, and was very heartily 
welcomed on his return from Australia, where he had directed the 
whole of the musical performances given in connection with the 
Melbourne Centennial Exhibition. The only works he now had 
to conduct were Schubert's " Unfinished " Symphony, Mendels- 

MARCH. 23 

sohn's " Midsummer Night's Dream " music each admirably 
given and the vocal pieces sung by Mdlle. Antoinette Trebelli. 
The novelty of the evening, Professor Villiers Stanford's Violin 
Suite in D (Op. 32), enjoyed (as at Berlin last January, and still 
more recently at Manchester) the advantage of an interpretation 
at the hands of Dr. Joachim, to whom it is dedicated. This 
work impressed by merits of a technical kind rather than the 
charm of spontaneous grace or attractive melody. In it Dr. 
Stanford has employed the titles, and to a certain extent the 
form and rhythms, of the old Suite movements, but his themes, 
save in one or two instances, are not striking, while the task set 
the leading instrument cannot be said to possess interest in a degree 
commensurate with its difficulties. The dulness of the Overture, the 
Allemande, and the Ballade is only partially relieved by the livelier 
Tambourin and the final Gigue in Rondo form. Dr. Joachim played 
the Suite with marvellous skill, and was recalled, together with 
Dr. Stanford, who conducted. A distinct success was won by a 
Norwegian artist, Madame Backer-Grondahl, in Grieg's A minor 
Pianoforte Concerto, which the composer now came forward to 
conduct. Madame Backer-Grondahl, who finished her studies 
under Von Billow and Liszt, possesses a superb technique, and 
adds to rare brilliancy of style the charm of a full, rich tone and 
singularly delicate, sensitive touch. The beauty of the perform- 
ance, materially enhanced as it was by the exquisite refinement 
with which the accompaniments were executed under the master's 
guidance, made such an impression that both composer and 
interpreter met with an ovation, and had to return thrice to the 
platform. Mdlle. Antoinette Trebelli greatly pleased in her two 
operatic airs, one the " Non mi dir " from " Don Giovanni," the 
other "Sombres forets," from " Guillaume Tell," her efforts 
being loudly applauded by the large audience that filled the hall. 

The only fresh items at the Crystal Palace Concert, of the 2nd, 
was a short but impressive " Marche Funebre," written by 
Berlioz for the last scene of " Hamlet." It is the third of three 
pieces for orchestra and chorus, published during the lifetime of 


the composer as " Tristia " (Op. 18). The choral element in it 
is of a simple kind : it consists of the repetition of an " Ah " on 
a note passing from forte to piano. The March has, as superscrip- 
tion, the last nine lines in the play, beginning " Let four captains 
bear Hamlet like a soldier to the stage." The piece was admir- 
ably executed and warmly received. Fraulein Marie Fillunger 
sang " With verdure clad," to the German words. The Concert 
concluded with Beethoven's Choral Symphony, with Fraulein 
Fillunger, Madame Belle Cole, and Messrs. Chilley and Watkin 
Mills as solo vocalists. On the following Saturday Brahms's 
Fourth Symphony was played for the first time before a Sydenham 
audience, as was also Dr. Bridge's Overture " Morte d' Arthur " ; 
and Madame Neruda was heard in the Beethoven Violin Concerto. 
Mr. Plunket Greene sang. At the Concert of the i6th M. Ernest 
Gillet played Raff's Violoncello Concerto in D and a couple of 
solos. The orchestral selection embraced Beethoven's Pastoral 
Symphony, and the Overtures to " Oberon " and " Die Meister- 
singer." Mr. Edward Lloyd sang an air from Gluck's " Iphigenia" 
and some songs by Dvorak. The scheme of the 23rd was of a less 
familiar order. Included in it was a new Overture to Sir Walter 
Scott's " Rokeby," written expressly for these Concerts by Mr. 
Ebenezer Prout. It is a clear, straightforward, musicianly work, 
full of graceful ideas, and orchestrated with the skill of a master. 
Splendidly played, the Overture was received with emphatic 
applause, in response to which the composer bowed his acknow- 
ledgments from the gallery. Raff's " Lenore " Symphony, not 
played here since 1881, afforded the audience a more or less 
interesting forty minutes ; and Liszt's Pianoforte Concerto in A 
received an attentive hearing, for the sake of Herr Stavenhagen's 
extraordinary manipulation of the solo part. This artist, who is 
deemed the greatest of all Liszt's pupils, treated every tour 
de force as though it were a trifle. Saint-Saens's Poeme Sym- 
phonique " Phaeton," new to this repertory, closed the Concert. 
It is a striking bit of "tone-painting," and as closely suggestive 
of the fate that befel the son of Apollo as anything in music could 

MARCH. 25 

very well be. This, like everything else in which the orchestra was 
concerned during the afternoon, received a splendid rendering, 
and Mr. Manns put down his baton covered with laurels. 
On the 3oth Dr. Joachim went down to Sydenham and 
delighted a large audience with a masterly performance of his 
"Hungarian " Concerto and some Bach solos. Miss Lena Little 
appropriately sang a contralto scena from the great violinist's 
opera " Marfa." Schumann's D minor Symphony, Mendelssohn's 
" Hebrides " Overture, and Beethoven's " Leonora " Overture 
(No. 3) completed a strong programme. 

At the Saturday Popular Concert, on the 2nd, Madame de 
Pachmann was the pianist, now making her first appearance here 
since the days when she was Miss Maggie Okey. Her delicate 
touch and irreproachable mechanism were delightfully manifested 
in some short pieces by Raff, Rubinstein, and Weber, after which 
she was thrice recalled. Madame Neruda led Brahms's fine 
Septet in G, and Miss Liza Lehmann sang, among other things, 
Dessauer's pretty bolero " Le Retour du Promis." Dr. Joachim's 
re-appearance on Monday was as usual the occasion of a gala 
evening. A larger crowd may have been associated with this 
annual event, but never a heartier display of warmth. The 
great violinist and his companions, Messrs. Ries, Straus, and 
Piatti, were recalled twice after a magnificent interpretation of 
Beethoven's E minor Quartet (Op. 59), and they wound up the 
Concert with an equally fine rendering of Haydn's Quartet in B 
flat (Op. 64, No. 5). Dr. Joachim's glorious playing in the 
Adagio from Spohr's Sixth Concerto roused a perfect storm of 
applause, and he added for an encore the Scherzo (Op. 135), by 
the same composer. Miss Agnes Zimmermann was the pianist, 
and Miss Lehmann again sang. At the succeeding afternoon 
Concert the combined appearance of Grieg and Joachim drew one 
of the largest crowds ever seen at a Popular Concert. It was the 
first occasion on which these eminent musicians had been heard 
together in a London Concert-room. Dr. Joachim led off with 
Mozart's String Quintet in D (No. 8), with Messrs. Ries, 


Hollander, Gibson, and Piatti for his coadjutors. Next came 
Madame Grieg, accompanied, of course, by her husband, whose 
songs, " A lovely evening " and " Hope," she sang charmingly. 
Then the composer returned alone and played his deliciously 
quaint Suite " in the old style " (" Aus Holbergs Zeit "), which, 
as arranged for string orchestra, was given at the last 
Birmingham Festival. His lovely touch and refined phrasing 
found ample scope for display in this clever imitation of harpsi- 
chord music. The succeeding item was that which brought the 
two heroes of the afternoon together viz., a Sonata by Grieg in 
G minor, for pianoforte and violin (Op. 13), not previously given 
at these Concerts. Although not less characteristic of its 
composer's style than the familiar work in F (Op. 8), it scarcely 
conveys the same impression of spontaneity and freshness ; it is 
more elaborate in treatment and development, and presents 
greater executive difficulties. Nevertheless, the Sonata is 
piquant and interesting, while the rendering it now received was 
only to be expressed by the word perfection. The composer and 
his gifted associate vied with each other in the brilliancy and 
charm of their playing, and roused their auditors to a display of 
unrestrained enthusiasm. Afterwards Madame Grieg sang more 
songs, and this memorable Concert concluded with a fine perform- 
ance of the Fragments from an unfinished Quartet (Andante and 
Scherzo) by Mendelssohn. Another attractive constellation was 
provided at the evening Concert of the nth, when Madame 
Neruda and Dr. Joachim performed in their own incomparable 
manner Bach's D minor Concerto for two violins. The pro- 
gramme further included Beethoven's Quartet in F minor 
(Op. 95), Schumann's " Faschingsschwank aus Wien," played by 
Miss Fanny Davies, and some songs artistically interpreted by 
Miss Marguerite Hall. On Saturday, the i6th, Beethoven's 
Quartet in C minor (Op. 18, No. 4) received an ideal interpreta- 
tion at the hands of Messrs. Joachim, Ries, Straus, and Piatti ; 
and the same master's " Sonata Pastorale" was given by Mdlle. 
Janotha in her best manner. Dr. Joachim was heard with Mr. 

MARCH. 27 

Straus in Spohr's Duo Concertante for two violins in A minor 
(Op. 67), and with Mdlle. Janotha and Signer Piatti in Schu- 
mann's F major Pianoforte Trio (Op. 80). Fraulein Fillunger 
sang songs by Schubert and Brahms. On the Monday fol- 
lowing Dr. Joachim gave Tartini's " Trillo del Diavolo," while 
Madame de Pachmann played three Chopin Studies. Mr. Santley 
was the vocalist both at this and at the afternoon Concert of the 
same week, the programmes of which were wholly familiar. On 
Monday, the 25th, Miss Davies and Dr. Joachim played the 
" Kreutzer" Sonata ; and on the 3oth Herr and Madame Grieg 
appeared for the last time. The Norwegian musician introduced 
his characteristic " Lyric Pieces " (Op. 43), and with Madame 
Neruda he played his duet Sonata in C minor (Op. 45), already 
heard more than once, but a fresh addition to the Popular reper- 
tory. It has never, perhaps, been so splendidly performed. The 
" Queen of Violinists " also led Dvorak's String Quartet in E flat 
(Op. 51) and Schubert's Allegro assai in C minor. 

The Wind Instrument Chamber Music Society, an institution 
newly formed under the Presidency of Lord Chelmsford, for the 
purpose of performing works written for wind and stringed 
instruments, started operations this month. The Society, in 
addition to giving Concerts, aimed also at promoting the publica- 
tion of works and offered prizes for new compositions. Thus 
twenty guineas were now offered for a Quintet for flute, oboe, 
clarinet, bassoon, and horn. Three Concerts were given during 
the season at the Royal Academy of Music, and the first of these 
took place on the 22nd. Three works were then given 
namely, Beethoven's Quintet in E flat (Op. 16), a Quintet in the 
same key by Mozart, and a Sonata, bearing the title of " Undine," 
for pianoforte and flute, by Reinecke. The executants were 
flute, Mr. Vivian ; oboe, Mr. Malsch ; clarinet, Mr. G. A. Clinton ; 
horn, Mr. Borsdorf ; bassoon, Mr. T. Wotton ; and pianoforte, 
Mr. Eugene Dubrucq. 

The Westminster Orchestral Society gave a Concert on the 
1 3th, at which was performed for the first time a Symphony in C, 


written by the Society's Conductor, Mr. C. S. Macpherson. It 
proved to be a work of unequal merit, the two middle movements 
being the best of the four. At the same Concert Miss Winifred 
Robinson played Dr. Mackenzie's Violin Concerto, the composer 
conducting, and Miss Kate Norman and Mr. Ernest Birch sang. 

The Annual Festival of the London Sunday School Choir took 
place at the Royal Albert Hall on the evening of the 23rd. The 
executive forces occupied the whole of the available space, and, 
in addition to a body of some 1,500 voices, selected from the 
various metropolitan districts, there was a band of eight)' 
instrumentalists, whose co-operation furnished a new and valuable 
feature in the proceedings of the Society. To this was partly 
attributed the marked advance now shown over the performances 
of previous years. The Conductor, Mr. Luther Hinton, made 
manifest a perfect control over his executants. The first part of 
the programme consisted of sacred music. 

Perhaps the most attractive and eventful of the month's 
Recitals was that given at St. James's Hall, on the 2Oth, by Herr 
Grieg, with the assistance of his accomplished wife and M.Johannes 
Wolff. This excellent violinist joined the composer in the duet 
Sonata in C minor (Op. 45), while the latter was heard alone in 
his Suite " Aus Holbergs Zeit," and some short solos namely, a 
delicate Berceuse in G, the Humoreske (one of his earliest 
pianoforte pieces) in G sharp minor, and the " Norwegian Bridal 
Procession." The clever and genial Norwegian Dances (Op. 35), 
for four hands, were charmingly rendered by the husband and 
wife. Madame Grieg sang besides some of the best known of the 
composer's songs. 

Mr. Max Pauer gave a Recital at Princes' Hall on the 7th. 
Mr. Robert Goldbeck, a pianist from New York, gave a soiree 
musicale at Steinway Hall on the igth, and exhibited elegance and 
refinement of style in various pianoforte works, including a 
Concerto of his own composition. On the 2Oth Miss Margaret 
Wild executed a long and exacting programme of pianoforte 
music at her Recital at Princes' Hall. 



Mr. Carrodus gave a series of " Drawing-room " Concerts at 
the new Hampstead Conservatoire Hall, assisted by his sons and 
other talented artists. Among the works performed may be 
mentioned a Quintet in A, by Kuhlau, for flute and strings, 
wherein the wind instrument was played by Mr. W. O. Carrodus, 
a young executant of much promise ; also a Pianoforte Quartet 
by Mr. H. R. Rose, who himself presided at the piano. At the 
Concert of the i8th Mr. Carrodus " led " a Piano Quartet in E 
flat by his master, Molique ; and another of his sons, Mr. E. 
Carrodus, distinguished himself in a solo for contra-bass. 

Herr Stavenhagen, an incomparable interpreter of the music of 
his late master, Liszt, gave at his Recital at Princes' Hall, on the 
27th, magnificent performances of the difficult Sonata in B 
minor and two of the Paganini-Liszt Studies. Herr Stavenhagen 
also gave Haydn's Variations in F minor, Schumann's Papillons 
(Op. 2), and Beethoven's Sonata in A flat; and though at times 
too demonstrative, his playing showed intelligence and feeling 
of a high order. The programme concluded with an unprinted 
version of Liszt's Rhapsody (No. 13). There was a large and 
enthusiastic audience. 

The programme of Miss Dora Bright's third and last Pianoforte 
Recital, on the 2/th, comprised pieces by Sir G. A. Macfarren, 
Dr. Mackenzie, Mr. G. J. Bennett, and others. Miss Bright 
played the last four of Mr. Walter Macfarren's twelve new 
Studies, and gave a satisfactory reading of Beethoven's Sonata in 
D minor (Op. 31, No. 2). 

Miss Ethel and Master Harold Bauer gave a Concert of 
Chamber Music at Princes' Hall, on the 26th, when, among other 
items, they performed Sonatas for piano and violin by Brahms 
(Op. 100) and Grieg (Op. 45) both difficult works and exceedingly 
well played. Concerts and Recitals were also given this month 
by Mr. Isidore de Lara, Mr. de Manby Sergison, and Mrs. 
Charles Yates. 

An interesting Pianoforte Quartet in A minor, by Mr. J. S. 
Shedlock was played for the first time on Sunday evening, the 


loth, at one of the South Place Institute Concerts, given under 
the direction of that talented musician. The work, which is in 
the usual four movements, created a highly favourable impression, 
and was warmly applauded. 

OBITUARY. Dr. W. H. Monk (organist, composer, and teacher), 
London, ist ; Sydney Smith (pianist and composer), London, 
3rd ; Enrico Tamberlik (operatic singer), Paris, I3th ; Felice 
Varesi (operatic singer), Milan, i8th ; Charles F. T. Steinway 
(pianoforte manufacturer), Brunswick, Germany, 25th ; Vaughan- 
Edwardes (concert singer), Kingston-on-Thames, 26th. 

APRIL. 31 


CONSIDERABLE interest attached to the production, by the 
Royal Choral Society, on the 3rd, of M. Peter Benoit's 
Oratorio, " Lucifer." As the first important choral work that 
emanated from the " leading light " of the new Flemish musical 
school a work composed in 1865, produced at Brussels in 1866, 
and given in Paris in 1883 with marked success " Lucifer " had 
special claim to a hearing in a country so peculiarly the home of 
oratorio as this. It is not, perhaps, the form of oratorio we most 
like or are most accustomed to. It lacks the relief afforded by 
regular solo numbers interspersed amid choruses, concerted 
pieces, and declamatory passages a shortcoming that must be 
partly attributed to the Flemish poet, Emanuel Kiel, whose 
picturesque verse stops short at many a point where descriptive 
or reflective utterances for a single voice would supply the neces- 
sary relief, besides creating links between the various scenes. 
There is no connected story, and little, if any, dramatic action. 
Lucifer is the only personage who appears, mankind being unre- 
presented save in a collective sense as the recipient of the 
blessings and gifts of nature. The three Elements, Earth, 
Water, and Fire, whose aid Lucifer invokes in his attempt to 
incite man to rebellion against God, are embodied by solo singers 
Earth by a bass, Water by a tenor, and Fire by a soprano and 
a contralto in combination. The supreme climax of the subject, 
which would be the actual battle between the forces of Lucifer 
and Heaven, is passed over altogether. Perhaps the author did 
not think music capable of describing it, or perhaps it was the 
composer who regarded as sufficient the task of illustrating the 


means employed by the elements, without venturing to depict the 
struggle itself. Unfortunately the result of this omission is to 
deprive the work of what coherent dramatic interest it might 
possess, and to leave it a more or less disconnected series of 
"tone-pictures." M. Benoit's music possesses the originality 
which comes of systematic striving after the unconventional 
rather than a natural and spontaneous inspiration. He splashes 
his colour upon the canvas with an effect that may sometimes be 
striking, but is more often crude and coarse. His capacity for 
developing his themes is extremely limited, and he is thus led to 
indulge in excessive repetition, with a result that is undeniably 
monotonous. Benoit makes comparatively sparing use of the 
lighter materials of his art, preferring to rely upon massive choral 
effects, elaborate antiphonal treatment, and contrasts and sur- 
prises of the most startling kind. The better to carry out this 
purpose, he has written nearly the whole of the choruses for 
double choir, a device which enables the composer on occasion to 
fling his exclamatory phrases, like re-echoing thunderbolts of 
sound, from side to side of the orchestra. In this manner some 
remarkable effects are obtained, as, for example, in the number 
that describes Lucifer's defeat, where Death mocks him with a 
weird " Ha ! ha ! ha ! " Benoit's infelicitous employment of 
Leitmotives serve to recall the fact that " Lucifer " was written a 
quarter of a century ago, when Benoit knew more of Berlioz than 
of Wagner. On the other hand, that he then knew how to write 
graceful, rhythmical melody is clearly manifested by the charming 
solos for the tenor and bass voices. If " Lucifer " did not satisfy 
as a work, it at least supplied the medium for an interesting 
experience, for more striking choral effects have rarely, if ever, 
been heard in the Albert Hall. The ease with which Mr. 
Barnby's intelligent singers surmounted every formidable obstacle 
evoked the warmest admiration. The placid beauty of the 
opening chorus, the tumultuous agitation of the number that 
follows, the noble impressiveness of the " Hosanna " in the third 
part, and the broad, massive grandeur of the final chorus of 



praise were, indeed, very finely realised. The performance, on 
the whole, was excellent. Of the Belgian vocalists who came 
over to take part in it, M. Blauwaert, who sang the part of 
Lucifer, displayed a superb low baritone voice and good declama- 
tory method. M. Constantin de Bom (an amateur) undertook 
the tenor, and M. Henri Fontaine the bass solos. Madame 
Lemmens-Sherrington and Madame Patey jointly sustained 
the music allotted to Fire ; the former re-appearing after a 
lengthened absence her organ wonderfully well preserved, and 
her style as artistic as ever. There was a moderate attendance, 
but no lack of applause, certain numbers being very warmly 
received. Mr. Barnby conducted in masterly fashion. 

A first-rate performance of Handel's " Saul" was heard at the 
last of the Novello Oratorio Concerts on the gth. Mr. Lloyd was 
not well enough to sing, but his place was efficiently filled by Mr. 
Henry Piercy, who has rarely been heard to such good advantage. 
The other solos were well sustained by Miss Anna Williams, 
Madame Patey, Mr. Gawthrop, and Mr. Watkin Mills. The 
band and chorus were in their best form. During the " Dead 
March " the audience remained upstanding as a mark of respect 
to the late Duchess of Cambridge. Dr. A. C. Mackenzie, who 
conducted with his usual care and spirit, received a hearty 
ovation at the end of the evening. The subsequent decision not 
to resume these Concerts occasioned widespread regret. Distin- 
guished throughout by high artistic aim and exceptional com- 
pleteness of execution, the discontinuance of this undertaking 
constituted a serious loss, so far as the Metropolis is concerned, 
to music generally and oratorio in particular. 

On the I5th the Borough of Hackney Choral Association 
revived Brahms's " German Requiem," not heard in London since 
its performance by the Bach Choir some years before. The solos 
were sung by Madame Eleanor Farnol and Mr. W. G. Forington, 
and Mr. Ebenezer Prout conducted. On the 6th the Popular 
Musical Union gave their first performance of Gounod's " Re- 
demption " at the People's Palace, Mile End, under the leadership 



of Mr. W. Henry Thomas. A Concert of Sacred Music was 
given at Princes' Hall on the i7th, at which Mr. J. H. Bona- 
witz's " Requiem " and a selection of miscellaneous pieces were 
performed. The solos were undertaken by Miss Alice Steel, 
Miss Louise Bourne, Mr. Charles Karlyle, and Mr. Max Heinrich, 
who proved equal to their somewhat exacting task. Mr. Bona- 
witz conducted. In the miscellaneous part the ladies' choir 
(trained by Mr. Charles Karlyle) sang a difficult "Ave Maria," 
by Lachner. Another " Ave Maria," for soprano solo, by Luzzi, 
was neatly sung by Miss Alice Steel, who joined Messrs. Karlyle 
and Heinrich in a Trio by Astorga. Mr. Heinrich's rendering of 
" With joy the impatient husbandman," from the " Creation," 
was warmly applauded. 

The Good Friday musical entertainments in and near London 
were eagerly patronised. The Royal Choral Society gave its 
usual " Messiah " performance, the solos being sung by Madame 
Nordica, Madame Belle Cole, Mr. Banks, and Mr. Mills. This 
was the Society's last Concert of the season. At the Crystal 
Palace and the Alexandra Palace there were capital Sacred Con- 
certs, and in the evening an immense crowd assembled in St. 
James's Hall at the bidding of Mr. Ambrose Austin, to hear 
Rossini's " Stabat Mater " and a selection of " Gems from the 
Oratorios." The newly-arranged Easter Musical Festival at the 
Great Assembly Hall, Mile End Road, started with "The 
Messiah," Miss Anna Williams, Madame Marian McKenzie, Mr. 
Harper Kearton, and Mr. Egbert Roberts being the soloists. 
This highly creditable undertaking continued with performances 
of " St. Paul," " Elijah," and " Belshazzar." 

A large and enthusiastic audience greeted the famous Russian 
composer, Tschaikowsky, on his re-appearance at the Phil- 
harmonic Concerts on the nth. He was accompanied this time 
by a protege, M. Sapellnikoff, who played his Pianoforte Concerto 
in B flat minor (Op. 23), first introduced at the Crystal Palace in 
1876, and therein displayed a technique of astonishing brilliancy 
and vigour. Tschaikowsky also conducted his Orchestral Suite 

APRIL. 35 

in D (Op. 43), a work of considerable charm and rare musicianly 
resource, now heard by an English audience for the first time. 
Of its five divisions, the Fugue, the quaint Divertimento, and the 
characteristic Intermezzo proved most deserving of admiration ; 
but the greatest effect was made with the curiously-scored 
" Marche Miniature," an apparent attempt to imitate a musical- 
box, the repetition of which was insisted upon. The final Gavotte 
movement and its noisy, inappropriate Coda are decidedly weak. 
The work was splendidly given, and at the end the composer was 
recalled. Mozart's Symphony in E flat and the Overture to 
" Lurline " respectively opened and closed the Concert, these 
items being conducted by Mr. Cowen. The vocal element was 
supplied by Miss Marguerite Hall and Mr. W. H. Brereton, who 
made their debuts at the Philharmonic Concerts, and were 
both recipients of loud applause. 

Berlioz's " Faust " was given at the Crystal Palace Concert on 
the 6th before a full audience. Mrs. Hutchinson took Madame 
Valleria's place as Margaret at the last moment, Mr. W. H. 
Brereton was the Mephistopheles, and Mr. Edward Lloyd the Faust. 
There was only a moderate attendance at the next Concert 
the last of the series. The programme included the Andante from 
Mr. T. Wingham's graceful Serenade in E flat (first time here), 
and a new Pianoforte Concerto in C minor, by Mr. J. C. Arnes, an 
English pianist and composer, who had studied in Stuttgart and 
Dresden. The Concerto introduced by that admirable player, 
Mr. Oscar Beringer, is marked Op. 8 in the list of Mr. Ames's 
works, which further embraces such ambitious efforts as a String 
Quartet, a Choral setting of a Psalm, a Pianoforte Trio, and a 
Violin Concerto. However, the composition now heard did not 
create a very lively impression. Schubert's Symphony in C and 
Sterndale Bennett's " Naiades " Overture were also in the scheme. 
Miss Macintyre sang. 

One feature in Mr. Manns's annual benefit Concert at the 
Crystal Palace, on the aoth, alone sufficed to render it memorable. 
This was the production of a new Symphony in C minor (Op. i), 

D 2 


composed by Mr. Frederic Cliffe. Mr. Cliffe, a native of 
Bradford, was one of the students at the National Training School, 
and is a Professor at the Royal College of Music. He came 
forward with little, if any, reputation as a composer, and, that he 
had never written any serious works of importance was suffi- 
ciently indicated by the Opus number of his present effort. 
Surprise that a young musician should offer a Symphony as his 
Opus i deepened into astonishment when the coup d'essai proved 
to be worthy in all respects of the eulogium of the eminent 
analytical writer who described it to Sydenham amateurs. The 
latter were genuinely delighted. They scarcely waited for the last 
chord before calling up the composer, and then, after cheering him 
heartily, they paid him the rare compliment of bringing him 
forward a second time. Truth to tell, Mr. Cliffe's Symphony in 
C minor is a work of surpassing merit, so rich in promise that if 
the young composer can only go on as he has begun, there must 
be a brilliant future in store for him. No appreciative listener 
could fail to be struck with the beauty and originality of Mr. 
Cliffe's themes, the clearness and power that mark their develop- 
ment, the rare sense of symmetry and contrast pervading each 
movement, and the fertile command of orchestral resource dis- 
played throughout. Mr. Cliffe is a man with ideas, and he knows, 
it is evident, how 10 express them. The musician who can take 
a simple- phrase out of his slow movement, and enlarge and 
glorify into the wonderfully grandiose Coda that forms the ending 
of this Symphony, must be made of more than common stuff. 
Not that this is the only device imparting homogeneity to the 
various sections of the work. Perhaps some day an "analyst" 
will discover the frequent recurrence all through of the two beats 
which start the opening Allegro, and try to invent a meaning for 
them, as was done for the " four taps " in Beethoven's Symphony 
in the same key. Of the four movements, the Scherzo is perhaps 
the least striking, while the slow movement, or Ballade, is the 
most attractive and spontaneous. Madame Nordica, Madame 
Tremelli, Mr. Brereton, and Herr Stavenhagen took part in the 

APRIL. 37 

Concert, and Mr. Manns received a hearty farewell greeting at 
its close. The famous Conductor had deserved well of his 
supporters. He had conducted an interesting series of Concerts 
with indefatigable energy and consummate skill ; and he had 
wound up his labours by bringing to the front a young native 
composer of exceptional promise. 

Madame Neruda and Dr. Joachim repeated at the Monday 
Popular Concerts of the ist their matchless performance of 
Bach's Concerto in D minor, for two violins. Both at this and 
the following afternoon Concert the work done was of an entirely 
familiar nature, Miss Fanny Davies playing short compositions 
by Mendelssohn, while Mr. Max Heinrich and Miss Florence 
Hoskins were the vocalists. The audiences were now in- 
variably crowded, as they usually are when the last of the 
" Pops " is drawing near. On the 8th Dr. Joachim played 
Bach's " Chaconne " and led Beethoven's Posthumous Quartet in 
B flat two masterpieces in which he is inimitably grand. 
Madame Frickenhaus played the Sonata Appassionata. On Satur- 
day, the I3th, the instrumental scheme was all Beethoven the 
String Quintet in C, the Violin Romance in F, the " Moonlight " 
Sonata, and the " Kreutzer " Sonata a combination that caused 
the largest crush of the season, and the biggest rush for balcony 
seats ever experienced at a " Pop." Dr. Joachim's coadjutors 
were, in the Quintet, Messrs. Ries, Straus, Gibson, and Piatti ; 
and in the Romance and the " Kreutzer," Mdlle. Janotha. Mr. 
Hirwen Jones sang. At the final Concert of the series, on the 
Monday following, the most attractive item in an attractive 
programme was the Schumann Pianoforte Quintet in E flat 
(Op. 44), performed by Miss Agnes Zimmermann, Messrs. 
Joachim, Ries, Straus, and Piatti. This was a superb treat, in- 
tensely appreciated. Next in order may be placed the Haydn 
Quartet in B flat (Op. 76, No. 4), executed by the same matchless 
combination of string players. Signer Piatti's perfect rendering 
of the Largo and Allegro, by Veracini, elicited a demonstration of 
unusual warmth, and so, too, did the performance of some of the 


Hungarian Dances, by Dr. Joachim and Mdlle. Janotha. Miss 
Fanny Davies was entrusted with the only pianoforte solo a 
distinction well earned by her services during the season and 
thoroughly justified by her charming playing in Chopin's 
Barcarolle. Another English favourite at the " Pops," Miss Liza 
Lehmann, was the only vocalist of the evening. She sang an 
old English song, " Oh listen to the voice of Love," Schubert's 
" Schlummerlied," and " Hark, the lark," and her own pretty 
song " If thou wilt be the falling dew," winning equal acceptance 
in all. Mr. Frantzen accompanied. After the Concert a 
portion of the audience met in another part of the building, for 
the purpose of witnessing the presentation to Dr. Joachim of a 
Stradivarius violin, subscribed for by his English friends and 
admirers in honour of the fiftieth anniversary of his first appear- 
ance in public. In presenting the gift on behalf of the subscribers, 
Sir Frederick Leighton delivered one of his most elegant speeches ; 
and Dr. Joachim, when he had recovered from his emotion, made 
a reply full of simple modest feeling, genuine gratitude, and 
kindly allusions to dear friends, some living, some now no more. 
The wonderful "deep red" Cremona cost 1,200, and the fine 
Tourte bow accompanying it was obtained as a favour for 50. 
Dr. Joachim was right, therefore, when he described the gift as 
a noble one. But more than all was its value great as embody- 
ing the unbounded admiration and esteem in which the " king 
of violinists " is held by English amateurs. 

At the Royal College of Music Orchestral Concert, on the 
4th, a Pianoforte Concerto in G minor by a student, Mr. Sidney 
P. Waddington, was played for the first time. It proved to be a 
clever and elaborate work, and in all respects an achievement 
full of high promise. The difficult solo part was splendidly played 
by another student, Miss Polyxena Fletcher. At the close the 
composer, who had played the drums, was twice called forward. 
The scheme also included the Overture to " Die Meistersinger," 
Brahms's double Concerto for violin and cello (Messrs. Jasper 
Sutcliffe and W. H. Squire), Bizet's Suite " L'Arlesienne," and 



the Septet from Goetz's "Taming of the Shrew." Professor 
Stanford conducted. 

Some good work was done at the Royal Academy Orchestral 
Concert on the aoth. Miss Amy Clapshaw displayed a pleasing 
voice and style in " Bel raggio," and Mr. Edwin Houghton a bright, 
resonant, tenor voice in an air from Dr. Parry's " Judith." Mr. 
Gerald Walenn gave evidence of decided progress in his violin 
solo, and of the pianists chief praise may be awarded to Miss 
Dora Matthay and Mr. Gilbert R. Betjemann. The only work 
by a student in the scheme was Mr. Theo. Ward's Andante for 
organ, harps, and stringed orchestra, already performed by the 
Strolling Players' Orchestral Society. Dr. Mackenzie conducted. 
The balance of the choir was anything but satisfctory, male voices 
being still in an absurd minority. 

At the Guildhall School Concert on the 3rd was performed a 
new romantic Cantata for female voices, entitled " Zitella," 
written by Mr. D. H. Parry, and composed by Mr. R. Orlando 
Morgan. The work was admirably given under Mr. Weist Hill, 
and well received. 

A String Quartet in E, by Dvorak (Op. 80), was heard for the 
first time in England, among a group of other more or less 
interesting novelties, at Mr. Harvey Lohr's eighth annual Con- 
cert, given at Princes' Hall on the 5th. The most striking of the 
four movements contained in this thoroughly characteristic work 
is the Andante con moto in A minor, based upon a beautiful, 
original melody of the Slavonic type. The Scherzo is genial and 
graceful, while the final section is full of animated spirit and con- 
trapuntal resource. Capitally played, Dvorak's Quartet made an 
impression that led to its speedy repetition. Also new to London 
amateurs were a Pianoforte Trio in C minor (Op. 27), by Eduard 
Schutt, a well-designed, melodious work ; and Mr. Harvey Lohr's 
Pianoforte Quartet in E minor (Op. 15), the latter of which 
(published by Breitkopf and Hartel) consists of the four usual 
movements, all remarkably clear in structure and development 
and characterised by considerable melodic charm. This effective 


work was very well received. Mr. Lohr played as solos some 
pieces of his own, and a set of twelve " Silhouettes" (Op. 8), by 
Dvorak, one of the Bohemian composer's early pianoforte works, 
now given here for the first time publicly. The string players 
who assisted were Messrs. Szczepanowski, S. D. Grimson, W. 
Richardson, and W. E. Whitehouse. 

The young Scotch pianist, Mr. Frederick Lamond, evinced a 
gratifying amount of improvement at his Recital on the loth. 
He made his re-appearance in the metropolis after an absence 
of three years, and the meagre audience that occupied St. James's 
Hall justly made up for paucity of numbers by unusual warmth 
of approbation. Mr. Lamond. now came before us not only a 
brilliant executant, but a refined and finished artist, and he more 
especially proved himself such by his interpretation of Beethoven's 
Sonata in A flat (Op. no). On the iyth he gave a second 
Recital, which was much better attended. He now appeared in 
the double capacity of pianist and composer, the programme 
containing two " Clavierstiicke," Nos. 6 and 7, from his Op. I, 
a Pianoforte Trio in B minor (Op. 2), and a Sonata for violoncello 
and piano, in D major. Of these works the Trio is at once the 
most ambitious and the most imbued with strength and feeling; 
but it is like its companions in that it betrays a want of restraint 
fraught with very wearisome results for Mr. Lamond's hearers. 
The young Scotchman has ideas, but his form is vague, his move- 
ments are diffuse, his style is rhapsodical. There is evidence in 
Mr. Lamond's music of a talent for composition, and he may one 
day write with less of the headstrong spirit of youth and more 
regard for the "canons of art." Mr. Straus and Signer Piatti 
acted as Mr. Lamond's coadjutors, and, like himself, threw all 
their intelligence and energy into the work in hand. In his solos 
the Recital-giver once more impressed by the earnest sentiment 
and charm of his playing. 

Miss Agnes Zimmermann's Recital, on the 4th, drew a numerous 
assemblage to Princes' Hall, and among other things finely 
played by this talented artist may be mentioned a particularly 

APRIL. 41 

impassioned and intellectual rendering of Schumann's Pianoforte 
Sonata in G minor. Recitals were also given in course of the 
month by Miss Mathilde Wurm, Miss Ethel and Master Harold 
Bauer, Mr. Max Heinrich, Mr. Isidore de Lara, and Messrs. 
Ernest Paxon and Orton Bradley. 

Little can be said in favour of " Faddimir," a comic opera by 
Mr. Arthur Reed and Mr. Oscar Neville, produced at the 
Vaudeville Theatre on the 2gth. The music might have passed 
muster had the book been less extravagant and nonsensical, but 
as it was the combination was barely tolerable. The plot 
depended solely for its motive and humour upon the question 
whether the inhabitants of a Russian town were or were not to be 
compelled to wash themselves with soap ! The chief parts were 
taken by Mr. Eric Thome, Mr. Herbert Reeves, Mr. Wilfrid 
Shine, Miss Lily Linfield, and Miss Florence Perry. 

The news of the death of Mr. Carl Rosa, in Paris, on the 
morning of the 3Oth, came as a shock to the whole country. By 
the decease of this popular impresario English Opera was deprived 
of its champion and its chief source of strength. Carl Rosa had 
during the last few years of his life become associated with 
various branches of musical and theatrical enterprise, and he had 
shown that their transfer to a limited company could be attended 
by advantage to himself and profit to his shareholders. His 
name will, however, be always associated with the prosperous 
revival of opera in the vernacular, more especially between the 
years 1875 and 1885, when, thanks to his courage and enthusiasm, 
native musicians were brought to the front as opera-writers, the 
works of Wagner and other modern composers were given for the 
first time in the English language, and the lyric stage in the 
provinces was raised to a higher level than it had ever before 

OBITUARY. Sir Frederick Arthur Gore Ouseley (composer; 
Professor of Music at Oxford University), Hereford, 6th; Carl 
Rosa (founder of the Carl Rosa Opera Company), Paris, 30th. 



THE Royal Italian Opera season began at Covent Garden on 
Saturday, the i8th, under the management of Mr. Augustus 
Harris, whose operatic interests had shortly before been made 
identical with those of the Carl Rosa Company. On the opening 
night Bizet's Opera " Les Pecheurs de Perles " was given in the 
presence of a brilliant and crowded assemblage, who, if they were 
not enchanted with the music of Bizet's early opera, manifestly 
enjoyed the performance, and did not tire of gazing round the 
elegant house, radiant in all the glory of fresh decorations and 
filled from the floor to the first tier with the cream of the British 
aristocracy, headed by Royalty in the persons of the Princess of 
Wales, her daughters, and the Duchess of Edinburgh. Miss Ella 
Russell, as Leila, and Signer F. d'Andrade, as Zurga, made the 
chief successes, their duet in the last act kindling the one spark of 
enthusiasm for which the music afforded a loophole. M. Talazac, 
formerly leading tenor at the Opera Comique, was not quite at 
home in his part or in the new locale. The tnise en scene was a vast 
improvement on that of 1887, and some alterations made by 
Signer Mancinelli tended slightly to strengthen the final scene. 
The orchestra, with Mr. Carrodus as chefd'attaque, was again superb 
at all points ; while the chorus was quite equal to that of the 
previous year. In " Faust," on the 2Oth, Miss Macintyre proved 
herself a sympathetic and engaging Marguerite, though scarcely 
strong enough dramatically in the later scenes. M. Montariol, 
a Belgian tenor, made a successful debut as Faust, displaying an 
agreeable and tolerably powerful voice. M. Winogradow, the 
Russian baritone, made a capital Valentine. Signor Castelmary 

MA Y. 43 

was an effective Mephistopheles, and Madame Scalchi was the 
Siebel. " Carmen," on the following night, was given under the 
direction of that capable and experienced chef d'orchestre, Signor 
Arditi, who met with a warm greeting. Madame Marie Roze was 
the Carmen, and her rendering of the character as to all save its 
vocal requirements was quite perfect. Miss Macintyre's beautiful 
voice was heard to rare advantage in the music of Michaela. 
Signor Francesco d'Andrade was the Toreador, and his brother, 
Signor Antonio d'Andrade, was received with favour on making 
his first bow here as Don Jose. The new tenor had a rather 
small voice of good telling quality, which he used with skill : 
moreover, he was an actor of some intelligence and power. A 
performance of " La-Traviata," with Miss Ella Russell in the 
title-part, was followed by one of " Aida," on the second Saturday 
of the season, the Prince and Princess of Wales being present. 
An encouraging amount of success was won by Madame Valda in 
the part of A'ida and by Signor Antonio d'Andrade in that of 
Radames. The lady sang with artistic feeling, and presented a 
picturesque, interesting embodiment. The tenor, albeit over- 
weighted, compensated for physical shortcomings by an abundance 
of earnest spirit and vigour. His brother made, as usual, a 
superb Amonasro ; Madame Scalchi acted better than she sang as 
Amneris ; and Signor Abramoff was the Ramphis. Signor 
Mancinelli conducted the performance of "Aida," and also that of 
a companion masterpiece of the modern Italian school, to wit, 
Boito's " Mefistofele," given before another brilliant audience on 
the 28th. In the latter work Miss Macintyre now sustained the 
part of Marguerite as well as that of Helen of Troy, and did it equal 
justice. Signor Massimo Massimi, a Russian tenor, with a small 
voice and most unimpressive style, made an unsuccessful debut as 
Faust. Signor Novara, who undertook the difficult role of 
Mefistofele at a moment's notice, fairly earned on his merits the 
suffrages of the audience. Mr. Barton McGuckin, who was to 
have made his Italian debut in " Lohengrin," on the 3Oth, had the 
misfortune a day or so before to injure an ankle. His place in 


this opera was taken by Signer A. d'Andrade. Madame Nordica 
made her rentree as Elsa, a character she had never previously 
undertaken. She invested it with rare sympathy and charm, and 
acted throughout with admirable intelligence. The music lay well 
within her means, and the fresh, bright quality of her voice 
enhanced the beauty of more than one familiar passage. Madame 
Fiirsch-Madi was an interesting Ortrud, Signer F. d'Andrade a 
splendid Telramund, Signer Castelmary an excellent King, and 
Signor Abramoff an efficient Herald. 

The special attraction at the fourth Philharmonic Concert on 
the gth was the debut of a Belgian violinist, M. Ysaye, who gave 
an intelligent, though somewhat affected, reading of the Beet- 
hoven Concerto. He exhibited a fine tone and a superb mecanisme, 
but critical hearers objected to his restless, fussy style, and the 
lack of breadth and dignity in his phrasing. The fact remains 
that he made a complete conquest over his audience, and was so 
enthusiastically received that the Philharmonic directors at once 
engaged him for their next Concert. Mr. Cowen conducted one 
of Haydn's Symphonies an early work in B flat, only recently 
published, and now given for the first time in London and his 
own clever, if unequal, Symphony in F (No. 5), which showed off 
the splendid orchestra to rare advantage. Mdlle. Tremelli was 
the vocalist ; but neither in a Rossinian air nor the " Voce 
di donna" from Ponchielli's " Gioconda " was the style of the 
singer satisfactory. At the fifth Concert of the series (the 23rd) 
M. Ysaye's performance of the Mendelssohn Concerto was a 
brilliant display of virtuosity, and a decided improvement upon 
his reading of the Beethoven. He again had an ovation. Mdlle. 
janotha played Beethoven's Pianoforte Concerto in G, and Herr 
Carl Meyer, of Cologne, sang Wolfram's Fantasy (" Tann- 
hauser") and a Ballad by Loewe with declamatory power and 
feeling. The most interesting item in a long programme was a 
new Symphony in C, for small orchestra, composed in 1887 by 
Dr. Hubert Parry. This was received with the unqualified 
favour due to a work of singular beauty and merit. The essen- 

MAY. _45 

tially English character of the themes was at once recognised, 
and the work quickly became known as the " English " Symphony. 
Elaborate in construction and detail, it yet came out on first 
hearing as clear and comprehensible as a Suite of Handel's or an 
Overture of Mozart's. It is brimful of life and spirit, the vigour 
of the quick movements being at times extraordinary. The 
Finale gives the idea of a succession of lively Old English tunes 
and dances; actually, it is a set of elaborate variations on a single 
theme. The slow movement, in grateful contrast, contains a 
delicious flow of suave melody, and is exquisitely scored. The 
new Symphony was played by the Philharmonic orchestra (minus 
trombones, tubas, contrafagotti, or the heavier " percussion " 
instruments) with a refinement and delicacy beyond all praise, 
the composer conducting. 

The Richter Concerts began on Monday, the 6th, with a wholly 
familiar programme, embracing the Overture to " Die Meister- 
singer," the Prelude to " Parsifal," Brahms's Variations on a 
theme by Haydn, Liszt's Second Hungarian Rhapsody, and Beet- 
hoven's " Eroica " Symphony. With the orchestra at its highest 
level of excellence, and the baton in the hands of Dr. Hans 
Richter, it may be taken for granted that these pieces were mag- 
nificently played. Each, too, was applauded with enthusiasm by 
a crowded and fashionable audience. At the second Concert, on 
the I3th, the bonnes benches of an unusually varied programme 
were Beethoven's " Leonora " Overture (No. 3), Mozart's 
" Prague " Symphony, and Wagner's " Good Friday's Spell " 
from " Parsifal." Glinka's " Komarinskaja," clever as it is, 
becomes monotonous ; and Schumann's Symphony in B flat 
(No. i) was not faultlessly given. On the other hand, a 
week later, the execution of a Wagner programme (in honour of 
the master's birthday) constituted the finest performance of a 
series of Wagnerian excerpts ever heard under Hans Richter's 
direction. The great Conductor and his men were heart and soul 
in their work, and whether realising the poetic beauty of the 
" Siegfried-Idyll," the sublime grandeur of the " Trauermarsch," 


the profound passion of the " Tristan " music, or the sonorous 
energy of the " Walkiirenritt," the result in each case approached 
as near to perfection as could be. In the love duet from " Die 
Walkiire " Miss Anna Williams declaimed the part of Sieglinde, 
and Mr. Edward Lloyd, as heretofore, that of Siegmund. At the 
Concert of the 27th the indisposition of Mr. Edward Lloyd pre- 
vented the promised introduction of the " Schmiedelieder," from 
" Siegfried." In the regretted absence of the English tenor an 
overflowing crowd consoled itself by listening to a repetition of 
some of the instrumental excerpts played at the previous Con- 
cert, in addition to Beethoven's " Pastoral " Symphony and 
Mendelssohn's "Athalie" Overture. 

The Bach Choir gave an afternoon performance of Dr. Parry's 
Oratorio "Judith," at St. James's Hall, on the 6th, before a 
crowded assemblage. Miss Anna Williams, Miss Lena Little, 
Mr. Edward Lloyd, and Mr. Watkin Mills were the soloists, and 
Professor Stanford conducted. The work was again well received, 
the composer being called at the end of each part. The choruses 
were by no means irreproachably given, the balance being imper- 
fect and the attack wanting in vigour. Miss Lena Little sang 
the music of the Queen-mother for the first time, and proved 
herself a worthy exponent of the lovely ballad which she sings to 
the children. The great mistake of the afternoon was giving the 
Oratorio in its entirety ; it merely served to emphasise the 
advantage gained by the "cuts" introduced in the preceding 

Senor Sarasate made his first appearance for % the season at St. 
James's Hall on Saturday, the nth, inaugurating with his accus- 
tomed success a series of six Concerts, four of which were 
orchestral. The audience was large, and the gifted Spanish 
virtuoso received a hearty and spontaneous welcome. He per- 
formed three works viz., Max Bruch's Second Concerto (D 
minor, Op. 44), Raffs morceau caracteristique, " La Fee d'Amour," 
and his own Fantasia on Airs from " Carmen," displaying in 
each the transcendent powers of execution and indescribable 

MA Y. 47 

charm of style which have won for him a unique position among 
the popular violinists of our day. Mr. Cusins conducted, and, 
in addition to an excellent rendering of the accompaniments, 
secured a creditable performance of Liszt's Symphonic Poem 
"Tasso" and Mendelssohn's Overture to " Athalie." On the 
following Saturday Senor Sarasate played the Mendelssohn Con- 
certo and the Violin Concerto in G by Emile Bernard. His first 
Chamber Concert on the 25th did not draw the same overflowing 
crowd ; but it was a very large audience, and not a whit less 
demonstrative. The Concert began with Weber's Duo Concertante 
(Op. 48), a work written for clarinet and pianoforte. The 
arrangement for violin is ineffective, and it was surprising that 
Senor Sarasate should have shown so little respect for the inten- 
tions of a great master as to bring forward this unwarrantable 
piece of work. He also took part in Schubert's " Rondeau 
Brillant," Raff's Sonata in A (Op. 78), and four of Dvorak's 
" Slavonic Dances." The virtuoso's coadjutor in these composi- 
tions was Madame Berthe Marx, a new pianist possessing an 
undoubtedly fine technique and crisp, but not very sensitive touch. 
The lady played as solos Chopin's Barcarolle and a Study by 
Rubinstein, exhibiting plenty of control over the keyboard, but 
little command of varied expression. 

Sir Charles Halle began his weekly Chamber Concerts at St. 
James's Hall on the loth, the programme containing as a novelty 
one of the recently-published Quartets of Cherubini. The open- 
ing A llegro maestoso, in the key of E major, is classic both in form 
and character. The Larghetto is graceful, though somewhat 
long. The Scherzo, written for muted strings, has a good deal 
of character, but appears patchy. The bright Finale is, on the 
whole, the most satisfactory of the four movements. A point 
worthy of notice is the humour displayed by the composer in the 
Codas of the Larghetto and Finale. The quartet was admirably 
interpreted by Madame Neruda and Messrs. Ries, Straus, and F. 
Neruda. The programme concluded with Dvorak's fine Piano- 
forte Quintet in A (Op. 81). Sir Charles Halle played two of 


Schubert's Impromptus, and took part with Madame Neruda in 
Beethoven's Sonata in G (Op. 96). The only unfamiliar item in 
the scheme of the following week was a new composition from 
the pen of Signor Giuseppe Martucci, whose Pianoforte Trio in 
E flat (Op. 62) revealed a style as advanced as that of his country- 
man, Signor Sgambati, and lucid and interesting in about the 
same degree. Forty minutes of this tedious kind of music proved 
rather trying, despite such talented interpreters as Madame 
Neruda, Sir Charles Halle, and Herr F. Neruda. On the 24th 
was performed, for the first time, an Album-Sonata in C flat, 
written by Wagner in 1853 for his wife's friend, Frau Wasendonck. 
The composition consists of a single movement, not in strict form, 
but very pleasing and effective in character, and decidedly redolent 
of Beethoven. It was listened to with curiosity and the player 
was much applauded. Sir Charles also played with Lady Halle 
the new Sonata by Brahms in D minor (No. 3, Op. 108), introduced 
this month by Miss Fanny Davies. A week later another of the 
posthumous quartets of Cherubini was brought forward that in 
F (No. 5) by many regarded as the finest of the series. 

The Sonata by Brahms, for pianoforte and violin (D minor, 
Op. 108), to \\hich reference has just been made, was performed 
for the first time in England at a Concert given by Miss Fanny 
Davies, in Princes' Hall, on the yth. The new work proved to 
be nowise inferior in charm and grace to the preceding Sonata 
for the same instruments (Op. 100). That it is its equal in all 
other respects may be taken for granted, since Brahms only gives 
to the world music stamped with the impress of his individuality 
and power, and replete with evidence of his unlimited technical 
resource. The Adagio, based upon a lovely melody taken from 
one of his own songs, is the gem of the four movements, but all 
are models of clearness and symmetry, and the Sonata may be 
listened to with delight from first to last. Miss Davies and Herr 
Ludwig Straus played it admirably, and were warmly recalled. 
The popular young pianist was heard alone in Sterndale Bennett's 
Toccata and Schumann's Sonata in F sharp major. She also 

MA Y. 49 

accompanied the latter composer's " Spanisches Liederspiel " 
restoring the usually omitted " Spanische Romanze " the 
vocalists being Fraulein Fillunger, Miss Hilda Wilson, Mr. W. 
Shakespeare, and Mr. Ffrangcon Davies. 

Mr. Ernest River's annual Concert, given at Princes' Hall on 
the evening of the same day, was made noteworthy by the first 
performance in public of a String Quartet in G minor, by Mr. 
T. Wingham, heard a few weeks previously at the Brompton 
Oratory. It is a short but interesting work in the usual four move- 
ments, each of which reveals the hand of the skilled and earnest 
musician. The opening A llegro confuoco is bright and energetic and 
the themes are well contrasted. The second movement is an Arietta 
con variazioni, founded on the melody composed by Samuel Webbe 
to the hymn " O Roma felix," sung on the Festival of St. Peter 
and St. Paul. The variations are scarcely such in the strict 
sense of the term, the theme being repeated in each as a canto 
fermo with varied contrapuntal treatment, while the concluding 
variation is in the form of a canon with double counterpoint. 
The Minuet, written as a canon on the octave, is another striking 
example of scholarly resource, while the Finale terminates with 
an effective reference to the melody of the hymn. This clever 
work was ably played by Messrs. Szczepanowski, George Wilby, 
Ellis Roberts, and Charles Ould, and so well did it please the 
audience that the composer had to leave his place in the hall and 
bow his acknowledgments from the platform. 

Mr. William Nicholl gave the last of a pleasant series of 
Chamber Concerts at Steinway Hall on the 3rd. The programme 
consisted (with the exception of a couple of violin solos played by 
Miss Lucy Riley) of sets of songs by various composers, so well 
contrasted in character as to preclude any sense of monotony. 
First came Brahms's " Gipsy Songs " (Op. 103), well interpreted 
by Miss Louise Phillips, Miss Marguerite Hall, Mr. William 
Nicholl, and Mr. Wilfred Cunliffe. Then Grieg's " Reminiscences 
of Mountain and Fjord " were alternately rendered by Miss Hall 
and Mr. Nicholl; and "Four Songs of the Stuarts," composed by 



Miss Carmichael (given for the first time), were divided in similar 
fashion between Miss Phillips and Mr. Cunliffe. Miss Car- 
michael's new songs won special favour. The Concert ended 
with "Three Songs of the North," arranged by Mr. Malcolm 
Lawson, and tastefully sung by Mr. William Nicholl. 

Messrs. Ludwig and Whitehouse gave their second Chamber 
Concert at Princes' Hall on the i/j-th, when, aided by Messrs. 
G. Collins, A. Gibson, and H. Heydrich, they did justice to 
Brahms's Quintet in F (Op. 88) and Beethoven's Quartet in B 
flat (Op. 18, No. 6). Grieg's duet Sonata in C minor was 
spiritedly played by Mr. Ludwig and Madame Haas, while Mr. 
Whitehouse's violoncello solos elicited warm applause. Miss 
Liza Lehmann sang. 

A MS. Sonata for harp and violin, by Spohr, was introduced 
at Princes' Hall, on the 8th, by Mdlles. Marianne and Clara 
Eissler, to whom the score was recently presented by the com- 
poser's niece. It is a thoroughly characteristic work, rich in 
melodic charm, and most effectively written for both instruments. 
It was played with grace and finish by the two sisters, whose 
programme further included violin and harp solos, and some 
pianoforte pieces executed by Miss Freda Eissler. 

Concerts were given at St. James's Hall, on the ist and 8th, by 
the String Band of the Royal Artillery, under the direction of Mr. 
L. Zaverthal. At the second Concert a new Symphony in C 
minor, composed by the Conductor, was produced with great 
success, the Scherzo being especially noticeable for the brightness 
of the subject and the ingenuity of its construction. The clever 
scoring of the whole work further testified to the musical ability 
of the composer. 

The Wind Instrument Chamber Music Society gave the third 
and last of its opening series of Concerts at the Royal Academy 
of Music, on the 3rd. A Concertstiick, by Rietz (Op. 41), and 
Rubinstein's Quintet (Op. 55) for pianoforte and wind instru- 
ments were the principal works performed, the executants being 
Messrs. Vivian, Malsch, Clinton, Borsdorf, T. Wotton, and 

MA Y. 51 

Eugene Dubrucq. Four Trios, by Brahms, for female voices, 
with accompaniment of horns and harps (Op. 17), were also given 
by a select choir of Academy students. 

Herr Waldemar Meyer gave a Chamber Concert at Princes' 
Hall on Wednesday afternoon, the 22nd, at which he played, 
among other pieces, Bach's " Chaconne," Handel's Sonata in A, 
and a Suite for violin and pianoforte by Franz Ries. In the 
rendering of these compositions Herr Meyer exhibited his usual 
excellent qualities, and he had an able coadjutor in Herr Gustav 
Ernest. Some vocal pieces were sung by Frau Schoepffer, 
a Dresden artist, who displayed a powerful soprano voice and 
good artistic style. 

Miss Winifred Robinson's programme, at her Chamber Concert 
at Princes' Hall on the 31 st, included Dvorak's duet Sonata in 
F (Op. 57), executed with Miss Fanny Davies ; the Adagio and 
Rondo from Spohr's Ninth Concerto ; and Mendelssohn's Trio in 
C minor (Op. 66), the violoncello part in this being undertaken by 
Mr. C. H. Allen Gill. 

Dr. Charles Vincent gave a Concert on the gth, at the Drill 
Hall, Hampstead, when his Cantata " The Mermaid," for ladies' 
voices, was performed for the first time. The libretto, founded 
upon Hans Andersen's fairy tale, is the work of Mr. Lewis 
Novra. The music is easy, tuneful, and pleasant. The work 
was given under the composer's direction. 

The Amateur Choral and Orchestral bodies of the metropolis 
were extensively occupied throughout the present month, which, 
as usual, was one of the busiest of the whole year. Their doings, 
however, must necessarily be recorded with the utmost possible 
brevity. The Royal Amateur Orchestral Society, now in its seven- 
teenth season, gave exceedingly attractive Concerts at the St. 
James's and Princes' Halls, and performed well-chosen programmes 
with great spirit and care, under Mr. George Mount. The same 
observation applies to the Stock Exchange Orchestral Society 
and Male Voice Choir, directed by Mr. George Kitchin, which 
rising body made a distinct advance, and gained, by its really 

E 2 


excellent performances, the unqualified commendation of con- 
noisseurs. The Strolling Players' Orchestral Society also gave a 
number of agreeable and fashionably-attended Concerts, under the 
Conductorship of Mr. Norfolk Megone. The Westminster 
Orchestral Society ended its series of Concerts of works by living 
English composers on the 2gth. Mr. Hamish MacCunn's 
Ballad " The Ship o' the Fiend," Mr. Goring Thomas's graceful 
Airs de Ballet, Mr. Cowen's " Welsh " Symphony, and Miss Dora 
Bright's Pianoforte Concerto (played by the composer) were the 
principal compositions heard on this occasion. On the 2gth, at 
the Portman Rooms, the Handel Society performed Bach's 
" Magnificat," Mozart's Symphony in D, and Handel's music in 
Smollett's " Alceste." Mr. F. A. W. Docker conducted. Among 
the suburban societies which, at about this time, finished up their 
season's work in creditable style, may be mentioned the Highbury 
Philharmonic Society, which, on the 6th, attacked Berlioz's 
" Faust," and, under Mr. G. H. Betjemann's able guidance, 
scored a distinct success ; the Clapham Choral Society (under 
Mr. Walter Mackway), the St. Mary's Choral Society (under 
Mr. Sidney Hann), the Primrose Hill Choral Society (under Mr. 
George Calkin), the North-East London Choral Society (under 
Mr. John E. West), the Streatham Choral Society (under Mr. 
Charles S. Macpherson), the St. James's Choral Society (under 
Mr. R. Felix Blackbee), and the West Hackney Choral Society 
(under Mr. F. L. Kett). 

The Bristol Orpheus Glee Society paid a visit to London on 
the 28th and gave a Concert at St. James's Hall, under the 
direction of its talented Conductor, Mr. George Riseley. The 
refinement and delicacy with which this well-balanced and well- 
trained body of voices executed a varied selection of part-songs 
elicited hearty and unanimous praise. A wish was expressed 
that the Society might repeat its visit another year. 

The Musical Guild, a Concert Society consisting of ex-scholars 
and ex-students of the Royal College of Music, gave the first of a 
series of four Concerts of Chamber Music at the Town Hall, 

MAY. 53 

Kensington, on the 22nd. This project received abundant 
encouragement from the College authorities, many of whom were 
among the audience that assembled to start the new undertaking. 
The opening piece of the programme was Schubert's Quintet in 
C (Op. 163), which received a highly meritorious rendering at the 
hands of Messrs. Jasper Sutcliffe, Wallace Sutcliffe, Emil Kreuz, 
W. H. Squire, and J. T. Field. Schumann's Pianoforte Trio in 
F (Op. 80) was performed by Miss Annie Fry, Miss Winifred 
Holiday, and Mr. W. H. Squire; and the remaining pieces 
comprised a pianoforte solo played by Miss Marian Osborn, a 
viola solo for Mr. Emil Kreuz, and some songs given by Miss 
Anna Russell and Mr. Daniel Price, Mr. Frederic Sewell accom- 
panying. The vocal pieces included refined compositions by Mr. 
Charles Wood and Mr. W. E. Duncan, also former pupils at the 
Royal College. The programme of the second Concert, on the 
29th, included Mozart's String Quintet in G minor, Bach's 
Concerto in D minor for two violins (played by Messrs. Haydn 
Inwards and Arthur Bent), and Mendelssohn's Octet in E flat 
(Op. 20). 

The Shinner Quartet gave a Concert at Princes' Hall on the 
I5th, when, under the leadership of that painstaking young 
violinist, Miss Emily Shinner, an interesting programme was 
gone through. In Brahms's Quintet in F minor these clever 
ladies had the assistance of Miss Agnes Zimmermann. 

The more important Recitals of the month may be briefly 
passed in review. Madame Frickenhaus had a numerous audience 
at Princes' Hall on the 4th. Her rendering of Beethoven's 
Sonata in E (Op. 109) was marked by especial refinement and 
intelligence. Miss Dora Schirmacher's Pianoforte Recital on the 
I5th in the same hall was chiefly interesting for the first 
performance in England of three short pieces by Beethoven, 
published in 1888 by Breitkopf and Hartel. The first of these 
was an Allegretto in C minor a crisp, characteristic little move- 
ment, written about 1796 and the others were " Bagatellen," 
written in 1797. Herr Schonberger was heard at his best at the 


Princes' Hall on the 2ist. His choice of works was also 
irreproachable, excepting perhaps the Liszt transcriptions of 
Bach's Organ Fugues, which satisfied only as a medium for 
technical display. Herr Schonberger pleased his hearers by 
his thoughtful, refined interpretation of Beethoven's early Sonata 
(Op. 2, No. 3), and another admirable performance was that of 
Schubert's Sonata in C minor. 

M. Vladimir de Pachmann gave the first of two Chopin 
Recitals at St. James's Hall on the 27th. The meagre 
attendance was dispiriting, but this admirable artist has never 
interpreted his favourite master more delightfully. His scheme 
included the Sonata in B flat minor, the Fantasia in F minor, the 
Allegro de Concert in A, the Ballade in G minor, and various 
minor pieces. On the following day Mdlle. Janotha gave an 
attractive Recital at the same Hall, assisted by Madame Neruda and 
Madame Antoinette Sterling. On the 3Oth Miss Jeanne Douste 
gave a Pianoforte Recital, the programme of which consisted exclu- 
sively of works by Chopin. Her selection included the Mazurka 
in F sharp major, which, as Mr. Ernst Pauer clearly demonstrated 
some years ago, was never written by Chopin at all, but by Karl 
Mayer. The Mazurka is included in the Klindworth edition of 
Chopin's works, but it appears with a note frankly stating its 
authenticity to be doubtful. As a matter of fact, the publisher, 
Gotthard, was deceived by a Polish Countess, who came to him 
in distress, and sold him the manuscript as the autograph of "her 
illustrious compatriot," whereas it was undeniably Mayer's 
composition, and copied out after his death in imitation of Chopin's 
handwriting. Mr. Lawrence Kellie gave Vocal Recitals at 
Steinway Hall on the 7th and 28th, at which he brought forward 
numerous songs from his own pen. 

A so-called romantic Comic Opera in three acts, entitled 
" Mignonette," by Messrs. Oswald Brand and Henry Parker, was 
produced at the Royalty Theatre on the 4th, but met with no 

A capital musical version of the old farce, " The Area Belle," 

MAY. 55 

bearing the title of " Penelope," composed by Mr. Edward 
Solomon to lyrics written by Mr. George P. Hawtrey, was 
produced at the Comedy Theatre on the gth, and most favourably 
received. On the same afternoon Mr. Robert Goldbeck gave, at 
Devonshire House, a Concert performance of the music of his 
" American Opera Comique," entitled " Newport." The solos 
were undertaken by Miss Florence Wright, Miss Sybil Grey, Miss 
Rosina Brandram, Messrs. William Foxon, Wallace Brownlow, 
and John Thorman. A small chorus and orchestra assisted, 
while Mr. and Mrs. Goldbeck helped in the accompaniments at a 
grand pianoforte. 

OBITUARY. Augustus L. Tamplin (organist), London, 8th. 



THE Italian season at Covent Garden pursued its course in a 
manner satisfactory to manager and opera-goers alike. On 
Saturday, the ist, Madame Albani returned in " La Traviata " ; 
another old favourite, Signer Cotogni, playing Germont pere. In 
the following week six performances were given, starting with 
" La Sonnambula," which was revived for the rentrees of Miss 
Marie Van Zandt and M. Edouard de Reszke. The young prima 
donna, cordially welcomed after a lengthy absence from the 
London operatic stage, afforded veritable pleasure by an embodi- 
ment as fresh and interesting as when it introduced her to us at 
Her Majesty's some eight years before. Her voice had slightly 
increased in power, while her vocalisation was characterised by 
the same delightful neatness and charm as of yore. M. Edouard 
de Reszke imparted unusual dignity to the part of the Count, and 
sang his music with rare beauty of voice and style. M. Montariol 
was the Rlvino, and Mr. Randegger conducted. On the Tuesday 
M. Jean de Reszke re-appeared in "A'ida," and started for the 
season with a brilliant triumph. Madame Nordica was a 
sympathetic A'ida; Mdlle. Jane de Vigne, a young mezzo-soprano 
with a pleasing voice and well-cultivated style, made a successful 
debut as Amneris, and Signor Cotogni played Amonasro. " Le 
Nozze di Figaro " drew a full house on the Wednesday, the 
cast being strong at all points. Madame Albani as the Countess, 
Miss Ella Russell as Susanna, and Signor Cotogni as Figaro 
repeated familiar impersonations with all the old success ; while 
Miss Marie Van Zandt made a charming Cherubino, and Signor F. 
d'Andrade essayed the part of the Count with the best possible 

JUNE. -57 

results. Altogether it was an exceedingly good performance of 
Mozart's comic masterpiece that Signor Arditi conducted. On the 
Thursday " Rigoletto " served to re-introduce Madame Melba, 
whose performance as Gilda revealed a manifest improvement, 
both from a vocal and histrionic standpoint, in the abilities of 
this talented artist. M. Lassalle also made his first bow for 
the season as the Jester, a part he had not played here before. 
He sang in French, presenting an embodiment that was 
picturesque, interesting, and full of strength. M. Montariol was 
the Duke, Madame Scalchi sang Maddalena in her usual style, 
and Signor Novara made a first-rate Sparafucile. On the Friday 
"Faust" was given with an almost complete change of cast. 
Madame Nordica was the Marguerite, and her rendering of the 
character once more afforded unalloyed pleasure. M. Talazac was 
seen to better advantage as Faust than in his previous impersona- 
tions. M. Lassalle made, as heretofore, a splendid Valentine, 
and another performance hors ligne was M. Edouard de Reszke's 
Mephistopheles. The week wound up with a brilliant performance 
of " Lohengrin," the cast including M. Jean de Reszke as 
Lohengrin, with Madame Albani as Elsa, M. Edouard de Reszke 
as the King, and a new Belgian baritone, M. Seguin, as 
Telramund. On Tuesday, the nth, M. Lassalle was too indisposed 
to appear in " Guillaume Tell," and the title-part was filled by 
M. Seguin, who sang it in French, and acquitted himself on the 
whole remarkably well. He displayed a voice of excellent quality, 
if somewhat limited range, and sang and acted like a thorough 
artist. Mdlle. Lita, a Roumanian soprano, made a not very 
successful debut as Mathilde. M. Lestellier re-appeared after 
several years' absence in the part of Arnold; but his voice sounded 
worn, and he took his high notes with difficulty, besides not 
invariably singing them in tune. M. Edouard de Reszke was of 
immense assistance in the great trio, while the Choral Finale in 
the Gathering of the Cantons was magnificently rendered. In 
" Don Giovanni," two days later, Signor F. d'Andrade filled the 
part of the hero with distinction and grace, but M. Lestellier gave 


no more satisfaction as Don Ottavio than he had as Arnold. 
Signer Ciampi appeared as Leporello, Miss Van Zandt making a 
charming Zerlina, Madame Valda a thoroughly competent Elvira, 
and Madame Fiirsch-Madi a dramatic Donna Anna. The general 
performance, under the experienced guidance of Signer Arditi, 
left little to be desired. 

On Saturday, the I5th, Gounod's " Romeo et Juliette " was 
produced at Covent Garden for the first time in French. The 
representation commanded the favour of a brilliant audience, and 
remained a regular attraction until the end of the season. The 
general opinion was that the opera was far more enjoyable when 
heard in the original tongue than it had ever proved when sung 
in the Italian version. Moreover, M. Jean de Reszke's Romeo 
approached more nearly to the Shakespearian ideal than that of 
any singer or actor seen during the last two or three generations. 
He was, indeed, Romeo in all but the boy-lover's years ; and even 
that disparity was forgotten in the admiration aroused by his 
handsome presence, his refined, noble bearing, and his impas- 
sioned style. The great tenor had in Madame Melba a Juliette 
not unworthy to share his success. She looked the part fairly 
well, she sang with rare vocal grace, employing her beautiful 
voice with invariable taste and aplomb ; and, thanks to increased 
emotional intensity, she was able to do adequate justice to the 
histrionic requirements of the role. In the various duets of the 
opera these two artists won an emphatic triumph. M. Edouard 
de Reszke was, as in days gone by, an incomparably fine Frere 
Laurent; while M. Montariol as Tybalt, M. Winogradoff as 
Mercutio, M. Seguin as Capulet, Signor Castelmary as the Duke, 
Mdlle. Jane de Vigne as Stefano, and Madame Lablache as 
Gertrude complete an ensemble calculated to fill the habitues of the 
Grand Opera with envy. The opera was mounted in magnificent 
style, the chorus (which sang in French very creditably) 
appearing in new costumes. Signor Mancinelli was the 
Conductor. On Monday, the I7th, Mr. Barton McGuckin made, 
as Lohengrin, his first appearance in Italian Opera. Although 

JUNE. 59 

somewhat nervous at the outset, he sang his music with his 
accustomed declamatory vigour and finish. He looked the part 
well, and acted it intelligently. Mr. McGuckin obviously 
possessed the sympathies of his audience, and fairly divided 
honours with Madame Albani. On the following night " Les 
Huguenots " was given with a powerful cast. M. Jean de Reszke 
again made a glorious Raoul, and Signer F. d'Andrade a capital 
Nevers. The Marcel of M. Edouard de Reszke and the St. Bris of M. 
Lassalle were new assumptions here, and both proved remarkably 
fine in every respect. Miss Ella Russell appeared as the Queen 
and Madame Scalchi as Urbano. The part of Valentine was 
entrusted to a well-known Viennese artist, Mdlle. Toni Schlager, 
who now made her London debut. She was terribly nervous ; 
but this did not prevent her achieving a considerable success. 
She exhibited the qualities of dramatic singer and an actress of 
experience. Her upper notes, however, had lost their freshness, 
and she did not look the character. The choruses in Meyerbeer's 
masterpiece were grandly given, but the band was noisy, and at 
times even rough. After this there succeeded a series of repeti- 
tions until the 2gth, when " II Trovatore " was given, with 
Mdlle. Schlager, Madame Lablache, M. Lestellier, and Mr. 
Leslie Crotty in the cast, the last-named artist making his first 
appearance on the Italian stage in this country. 

Mr. Mapleson began a season of Italian Opera at Her Majesty's 
on Saturday, the ist, with a representation of " II Barbiere di 
Siviglia," given under the direction of Signor Bevignani. Only a 
section of the chorus was available, but in other respects there 
was little fault to be found with the manner in which Rossini's 
opera was rendered. Madame Gargano, a light soprano, with a 
flexible, well-trained voice, and considerable stage experience, 
made a favourable debut as Rosin a ; Signor Vicini, a new tenor, 
acquitted himself creditably as Almaviva ; and Signor Padilla 
was the Figaro. The house being re-decorated and re-upholstered 
throughout, presented an unusually bright appearance. On the 
following Tuesday " La Sonnambula " was performed, with 


Mdlle. Regina Pacini, a youthful soprano, also new to the London 
boards, as Amina. Madame Gargano appeared on the Thursday 
in " Lucia di Lammermoor." Another new tenor, Signor 
Warmuth, made a fairly acceptable Edgar do, and Signor Galassi 
was, as in byegone days, a good Enrico. A week later " Faust " 
was mounted, with Mdlle. Zelie de Lussan (who appeared as 
Carmen at Covent Garden one night during the 1888 season) 
as the Marguerite. She made a sympathetic and pleasing 
exponent of the character. Mdlle. Bellincioni made her debut as 
Siebel, and Signor Palermini, another new-comer, proved himself 
the possessor of an agreeable baritone voice and artistic method 
in the part of Valentino. Signor Runcio re-appeared as Faust, and 
Signor Darvell was a moderate Mephistopheles. Later on " II 
Trovatore " was given, with Mdlle. Dotti, Mdlle. Tremelii, 
Signor Warmuth, and Signor Galassi in the cast ; but it did not 
draw. In fact, the audiences here were consistently meagre. A new 
tenor, Signor Sindona, made his first appearance in Lucia, and 
met with little success ; but somewhat better results attended the 
debut, on Tuesday, the 25th, in " Rigoletto " of Miss Minnie Ewan, 
a young American soprano of considerable promise. She sang 
Gilda's music very prettily indeed. Signor Galassi sustained his 
old part of Rigoletto, Signor Warmuth made a passable Duke, and 
Mdlle. Bellincioni was the Maddalena. This opera was mounted 
with new dresses and scenery ; but it proved to be only the final 
flicker before the candle went out. The house did not open on 
the Saturday night for the repetition of " Faust," and the first 
appearance of Madame Sembrich, announced for the following 
Monday, never took place. Truth to tell, Mr. Mapleson was 
au bout de ses ressources ; for the season had been one of steady loss, 
and agencies were at work that proved too powerful for the 
veteran impresario to battle against. 

Several performances were given this month of Professor 
Herkomer's new pictorial music-play, entitled " An Idyl," the 
production of which created a lively curiosity in artistic circles. 
To say that it represented a distinct advance upon the experi- 

JUNE. 6 1 

ment of the preceding year is to tell but the barest truth. The 
marvellous realism of the scenes and the effects of light ; the 
quaint simplicity of the story and the personages ; the charm and 
interest of the music, and the unique conditions marking the per- 
formance could not fail to imbue the spectator with a profound 
admiration for the genius of the man from whose brain and fingers 
the whole thing emanated. The points of difference between Mr. 
Herkomer's earlier " romantic fragment " and the present piece are 
that the latter is in three acts instead of one, that it embodies a clear 
and dramatic story, that it contains some accompanied dialogue, 
and that the musical setting generally is on a more elaborate scale. 
A series of graceful lyrics from the pen of Mr. Joseph Bennett 
supplies the groundwork for solos, recitatives, and choruses, these 
being connected by a continuous melodrame (music illustrating 
action without words), which the composer has contrived to invest 
with rare appropriateness, and at times with dramatic power. 
Added to these features of progress there was now an increase in 
the size of the stage and a consequent enlargement of the various 
pictures, which included a beautiful sunlit scene. The rising of 
the curtain discloses the narrow street of an English village in 
the fourteenth century, with a blacksmith's forge on one hand, a 
row of quaint old houses on the other; and in the background, 
beyond the old cross at the meeting of the roads, a stretch of 
undulating landscape, growing dim amid the warm grey twilight 
of harvest-time. John, the smith, and his assistants take from 
the roaring fire of the forge a lump of red-hot iron, and proceed 
to beat it upon the anvil, their hammers keeping time with the 
rhythm of the music. The old people sit on benches and watch 
the work. They sing a chorus, " Sinks the sun adown the west," 
peaceful and flowing in character, interrupted by a tripping pas- 
sage for the boys as they dance round in a ring. Anon a hunting 
party passes through the village, then the sound of the Angelus 
is heard, and then a kind of berceuse is played by the orchestra 
as an aged Granny gathers the children round and tells them a 
story. Meanwhile, the smith has been approaching the end of 


his day's labour. He has sung his bright old-fashioned song, 
" Dobbin waits in penthouse here," beating time on the anvil as 
at first, and his men have taken off their aprons and put up the 
shutters of the smithy. Now the moon begins to rise as it only 
does at Bushey and in nature and the reapers return singing 
their animated chorus in 6-8 measure, a cleverly-written number, 
ending with a quaint ecclesiastical cadence. Edith, the smith's 
pretty daughter, heads the band ; she is warmly embraced by her 
father, and Dick-o' '-the- Dale, her manly lover, watches her with 
anxious glance, for she is not so tender and kind as usual. It is 
now nearly dark, and a dance is called for, but there is no one to 
play the rebeck Edith is holding, until suddenly young Fitz-Hugh, 
the lord of the hall, who has for some time been gazing upon the 
scene, comes forward and gently takes the instrument from her 
hand. He mounts the anvil and quickly sets all dancing to an 
old jig, a brisk, lively tune (9-8 time), at the conclusion of which 
the villagers disperse and make for home. Edith lingers dream- 
ingly at the threshold, and in the soft moonlight the enamoured 
Fitz-Hugh steals up and addresses her in sweet words and suavest 
melody. His song, musically speaking, may be a trifle rhapso- 
dical, but it is very impassioned, and evidently goes straight to 
the maiden's heart. Ultimately she tears herself away and rushes 
indoors, whilst Fitz-Hugh departs trolling a serenade. His 
retreating figure is watched by the old smith, who has come out 
again and is deeply moved by what he fears will be a dark cloud 
in the sky of his daughter's happiness. The orchestral melodrame 
here grows almost tragical in its intense agitation, and so con- 
tinues until the curtain has fallen upon the scene. A rather 
lengthy introduction precedes the second act, the scene of which 
is laid in the interior of the smith's dwelling. The blue moonlight 
streams in at the window, and on the other side of the room 
stands the fireplace 5 aglow with burning logs, above which hangs 
the steaming pot containing the family supper. The music 
changes to a gay theme as Meg, the servant-maid, and Jack, the 
apprentice, proceed to lay the supper-table. They sing and 

JUNE. 63 

quarrel and chase each other, the first violin meantime perform- 
ing sundry realistic skakes and runs. Then the smith and the 
others enter and take their places. When grace is said all rise 
and turn towards the crucifix, and there is a little religious bit of 
music that reminds one of Gounod. As the meal is served we 
hear a charming passage for orchestra, and then comes the talk 
at the supper-table, uttered by each in turn to a quaint pastoral 
theme with varied accompaniment. Allusions are made to the 
young lord's behaviour ; Edith protests ; the others reply; ultim- 
ately the smith, commanding silence, leaves the table. When 
they are alone he calls his daughter to his side, and, meaning to 
warn her of her danger, sings her an old ballad, "There lived a 
maid in Avondale," relating the fate that befel a winsome lass 
who deserted her true lover for a "gay young lord." Edith 
understands, for when left alone she repeats snatches of the 
ballad, and then bursts into tears. As she does so the voice of 
Fitz-Hugh is heard singing a serenade full of melodious grace, 
accompanied by a harp. The girl's agitation is complete when 
the daring young fellow enters the room ; but happily Dick is at 
hand, and he leads her out. Then comes an interview between 
the two men, embodying at once the best dramatic situation and 
most dramatic music in the play. The opening recitative, with 
trombone accompaniment, wherein Dick begins to upbraid the 
youthful lord, contains some rather long and awkward pauses ; 
but the solo is interesting and expressive, and works up to a 
really admirable climax. Fitz-Hugh, moved by Dick's appeal, 
leaves the place. Edith re-enters to find her lover weeping, but 
she quickly throws herself into his arms, and amid another pas- 
sionate strain of music the act ends. The third scene, showing 
the village street once more under the rich light of a noonday 
sun, opens with a delicate passage for the strings and wood-wind, 
leading to a flowing, subdued melody, during which a couple of 
strolling mummers enter the lonely scene. In the most comic 
manner they sing a fragment of an old ballad, and accompany 
each other, pausing ever and anon as they look up at the houses 


for the gifts which no one bestows. The reason why the village 
is deserted soon becomes apparent. A religious chant is heard in 
the distance, and the sound of an organ. The bells peal, boys 
enter singing a pretty " flower chorus " as they strew the path 
with blooms, and soon a bride and bridegroom, no other than 
Edith and Dick, are seen heading the procession on its way back 
from church. Thus all ends amid smiles and happiness, while 
the young lord himself comes down from the hall to wish the 
newly-wedded couple every joy, and add his congratulations to 
those expressed by the villagers in strains of full, rich harmony. 
To sum up, Professor Herkomer's score revealed a wonderful 
wealth of ideas, and his mastery of orchestral colour and device 
excited the surprise of musicians. The performance of this 
remarkable play was excellent. The Professor himself imperson- 
ated with great success the homely smith, Miss Dorothy Dene 
made a charming representative of Edith, and the other parts 
were all in well-trained hands. The chorus was thoroughly com- 
petent, and the band worthy of a conductor such as Dr. Hans 
Richter, who honoured alike himself and the gifted painter in 
directing this notable artistic undertaking. 

Mendelssohn's " Elijah " was performed on Saturday afternoon, 
the 22nd, upon the Handel Orchestra of the Crystal Palace, 
with a chorus of 2,900 and a band of 363 players, Mr. August 
Manns conducting. Glorious weather favoured the undertaking, 
and the attendance was, in consequence, enormous. More than 
24,000 persons passed the turnstiles, these figures being largely 
in excess of the previous record for any but Handel Festival Con- 
certs, and then only for certain rare performances of " The 
Messiah "or "Israel in Egypt." The summer Concerts at which 
the " Redemption " and " Golden Legend " were given on a 
Handel Festival scale were not attended by anything near the 
above numbers ; while the sale of reserved seats was also without 
precedent all of which goes to show that the popularity of 
" Elijah" is founded on a solid basis, and that amateurs gladly 
seized the opportunity to hear it under the unique conditions 

JUNE. 65 

attained at Sydenham. How grandly the " Baal " choruses, the 
" Thanks be to God," the "Be not afraid," and other massive 
choruses would sound might have been imagined beforehand ; 
and the realisation was assuredly on a level with one's highest 
anticipations. Scarcely once throughout the entire afternoon did 
the huge choir waver or hesitate in its attack. The quality and 
volume of tone were magnificent, and some of the effects created 
in the numbers referred to were supremely fine. Truly, the 
cheers which rewarded Mr. Manns were well and bravely earned. 
Madame Albani sang the whole of the soprano solos, and in 
" Hear ye, Israel," her clear tones rang through the vast space 
like the ringing notes of a clarion. Mr. Edward Lloyd also made 
a fine effect in " If with all your hearts," and Madame Patey 
had an ovation after " Rest in the Lord." In the absence from 
England of Mr. Santley, Signer Foli was entrusted with the 
music of the Prophet, and although it was at times too high for 
him, he acquitted himself, on the whole, exceedingly well. The 
concerted pieces went capitally, efficient service being here lent 
by Miss Emily Squire, Miss Jessie King, Mr. Maldwyn Hum- 
phreys, Mr. Ffrangcon Davies, and Mr. Plunket Greene. Mr. 
A. J . Eyre presided at the organ. 

The most conspicuous feature in the Philharmonic Concert of 
the 6th was a terrific thunderstorm. It did its best to upset 
Madame Backer-Grondahl during the performance of Beethoven's 
" Emperor " Concerto, and to destroy some of the most delicate 
effects in Mr. Frederic Cliffe's new Symphony in C minor. 
Fortunately the elements outside came off only second best in the 
struggle. The Scandinavian pianist an executant and inter- 
preter of the first order maintained her coolness in a wonderful 
manner. A more beautiful or successful rendering of this Concerto 
has not been heard for a long time, and the audience would not 
be satisfied until Madame Grondahl had returned three times to 
the platform. Mr. Cliffe conducted the performance of his 
Symphony, which was received with a degree of enthusiasm not 
inferior to that which marked its production at the Crystal Palace 


a few weeks before. Connoisseurs agreed that it was a most 
extraordinary work for an Opus i, and it is certainly replete with 
rare interest and technical ability from the first bar to the last. 
The Overtures to " Anacreon " and "Die Zauberflote," the 
introduction and closing scene from " Tristan," and some vocal 
pieces (artistically sung by Fraulein Fillunger), made up the 
balance of the programme, Mr. Cowen wielding the baton as usual. 
At the afternoon Concert, on the 22nd, which brought the Phil- 
harmonic season to a close, the instrumental works performed 
under Mr. Cowen's direction were the " Eroica " Symphony, the 
Overture to the " Flying Dutchman," and Sullivan's Overture 
" Di Ballo." M. de Pachmann played Chopin's Andante Spianato 
and Polonaise (Op. 22), and for an encore Henselt's Study " Si 
oiseau j'etais." Signorina Teresina Tua also appeared, and after 
executing splendidly Max Bruch's Violin Concerto in G minor, 
was likewise called upon for a bis. The clever Italian artist gave 
a movement from one of Bach's Sonatas. Fraulein Hermine 
Spies (a German mezzo-soprano whose debut at the Richter Con- 
certs is recorded below) was the vocalist, and her courage in 
attempting the contralto air, " Return, O God of Hosts," from 
Handel's " Samson," was rewarded by complete success that is, 
if rapturous applause may be accounted such. Still, despite her good 
English accent and broad, artistic delivery, the audience naturally 
preferred her rendering of a couple of Germn Lieder. In these 
(accompanied by Herr Francesco Berger) Fraulein Spies was 
simply incomparable. The Philharmonic season of 1889 was both 
artistically and pecuniarily satisfactory. 

At the Richter Concert, on the 3rd, the famous Viennese chef 
d'orchestre conducted fine performances of Weber's " Euryanthe " 
Overture, Wagner's " Tannhauser " Overture, an excerpt from 
the " Nibelungen," and Brahms's Symphony in F, No. 3. The 
chief attraction of the evening, however, was the singing of 
Fraulein Hermine Spies, who achieved a distinct success, despite 
the fact that she began badly with Gluck's " Che faro." Fraulein 
Spies spoiled the air by her incorrect Italian pronunciation. But 

JUNE. 67 

in the songs by Schubert, Schumann, and Brahms she fairly 
surpassed every other Lieder singer who had preceded her in 
English Concert-rooms. The voice is a rich, mellow mezzo- 
soprano, beautifully produced, and capable of the most delicate 
modulations of colour a gift which enables Fraulein Spies to 
achieve highly effective dramatic contrasts. For example, in " Der 
Tod und das Madchen " one might have imagined the utterances 
of Death and the Maiden to be delivered by two different singers ; 
so again in the dialogue of Brahms's " Vergebliches Standchen," 
despite the speed at which this was taken. The talents of the new 
artist commanded instant and emphatic recognition. On the 
following Monday evening there was a crowded room, the scheme 
including Schubert's glorious Symphony in C, Schumann's 
" Manfred " Overture, Dvorak's " Symphonic Variations," Hans 
Sachs's Monologue from Act II. of " Die Meistersinger,", and, 
for the first time, the long closing scene from Act III. of " Die 
Walkure." Miss Fillunger and Herr Carl Mayer sang splendidly 
in the last-named excerpt, the only familiar portions of which 
were Wotan's " Abschied " and the " Feuerzauber." There was 
a brilliant crowd at the Richter Concert given on the 24th in 
conjunction with the Wagner Society, whose annual gathering 
in honour of the master's memory was thereby made to assume a 
form worthy of its object. The Richter Choir assisted, and took 
part in an extensive selection from Wagner's works, including 
Sachs's " Address to Walther " (sung by Mr. Max Heinrich) and 
the closing chorus from " Die Meistersinger " ; the " Verwand- 
lungsmusik" and " Graal-Feier," from Act I. of " Parsifal " ; and 
the " Kaisermarsch," which was performed as originally written, 
with chorus. The " Parsifal " excerpt was exceedingly interesting, 
and, although the voices were not always refined nor the bells 
quite in tune, the effect of this beautiful music was quite impres- 
sive. The closing scene from Act I. of "Siegfried" was also 
given for the first time at these Concerts. Mr. Edward Lloyd 
sang the music of Siegfried, and Mr. William Nicholl that of 
Mime, and the former's rendering of " Schmiedelieder" (Smithy 

F 2 


songs) created quite a. furore. Mr. Lloyd also sang the " Farewell 
to the Swan," from the last act of " Lohengrin," declaiming this 
also with the rarest intelligence and charm of style. The 
Overture to " Rienzi " and Sachs's Monologue, " Wahn, Wahn ! " 
made up the balance of one of the most attractive Wagner 
schemes and one of the best executed ever heard in this country. 
Dr. Hans Richter conducted with consummate ability, and was 
again and again enthusiastically applauded. 

Senor Sarasate at his third Concert, on the ist, performed the 
Beethoven Concerto (playing a marvellous cadenza in the first 
movement), Saint-Saens's Concerto in B minor (No. 3), and his 
own " Zigeunerweisen." There was again an enormous attend- 
ance. A week later the Spanish artist gave his second Chamber 
Concert with the co-operation of Madame Berthe Marx. They 
played together the " Kreutzer " Sonata, Schubert's Fantaisie 
(Op. 159), and Raff's " Fee d'Amour." Several encores were 
asked for and granted, one being evoked by Madame Marx's 
execution of the Liszt Rhapsody (No. 12). The lady certainly 
exhibited a fine technique. St. James's Hall was filled to its 
utmost capacity at the last Concert of the series, on the I5th, 
and the demonstrations that marked the final appearance of the 
famous fiddler were of the heartiest description. He was heard 
in Mackenzie's Violin Concerto, in Lalo's " Symphonic Espag- 
nole " for violin and orchestra, and in a Duet for two violins, 
entitled " Navarra," composed by himself and played with Miss 
Nettie Carpenter. The band, admirably conducted by Mr. Cusins, 
was also heard in Beethoven's "little " Symphony in F, and the 
Overture to Lalo's Opera " Le Roi d'Ys." 

Raff's effective Pianoforte Quartet in C minor (Op. 202) was 
introduced for the first time at Sir Charles Halle's Chamber 
Concert on the 7th ; and on the following Friday Cherubini's 
Quartet in A minor the last he ever wrote and the sixth of the 
posthumous string quartets was brought forward. On the 2ist 
the scheme included the new Quartet, by Dvorak, in E (Op. 80), 
produced at Mr. Harvey Lohr's Concert in April, and Brahms's 

JUNE. 69 

Trio in E flat (Op. 40) for pianoforte, violin, and horn. The 
series of these Concerts concluded on the 28th with a wholly 
familiar programme. 

Messrs. Ludwig and Whitehouse gave their last Chamber 
Concert on the nth. The principal items were Schubert's 
Quintet in C and Brahms's new duet Sonata in D minor (Op. 108), 
Mr. Ludwig having Miss Zimmermann for his companion in the 
latter work. 

Senor J. Albeniz, a new Spanish pianist, gave a Recital at 
Princes' Hall on the I3th, and fairly astonished his audience by 
his extraordinary technique and characteristic playing. At times 
he was apt to descend to tricks of virtuosity; but his rendering of 
pieces by Scarlatti and Liszt, and some light and tasteful 
movements from a Suite of his own, was extremely effective. 
Senor Albeniz played the " Moonlight " Sonata, but made a much 
more favourable impression in the Finale of Chopin's Sonata in 
B flat minor. The technique was perfect, and besides he imparted 
to Chopin's music a peculiar colour and meaning by clever 
shading and pedal effects. He was much applauded. 

M. Vladimir de Pachmann gave his second Chopin Recital on 
the I4th,at St. James's Hall, when his various performances were 
enthusiastically applauded by a large audience. The two most 
important pieces were the Sonata in B minor (Op. 58) and the 
Barcarolle (Op. 60). 

The members of the Musical Guild gave their last Concert at 
Kensington Town Hall on the igth, performing Beethoven's 
Sonata in F for pianoforte and horn, his String Quintet in C, and 
Brahms's Pianoforte Quartet in G minor. 

The scheme of Mr. J. H. Bonawitz's historical Organ, Harpsi- 
chord, and Pianoforte Recital, given at Princes' Hall on the 8th, 
contained no fewer than forty-five pieces, numbered and placed in 
chronological order, from the organ " Benedicite " of Conrad 
Paumann (1410-1473) down to Liszt's Pianoforte Transcription 
of the " Tannhauser " March. We have in our midst few 
musicians so capable as Mr. Bonawitz of doing justice to so varied 


and comprehensive a programme. His performances on each of 
the three keyboards were marked by rare facility, clearness, and 
intelligence, and all were followed with appreciative interest by a 
numerous audience. 

Signorina Teresina Tua gave, on the 6th, a morning Concert at 
Princes' Hall, assisted by Mdlle. Wonsowska, a pianist of some 
ability, with whom she was heard in Brahms's Sonata in A (Op. 
100). Since she was previously here the young Italian violinist's 
style had considerably matured and her tone had gained in 
strength. Among her solos was the Mendelssohn Concerto, which 
Mr. Ganz accompanied. 

Fraulein Hermine Spies gave a Vocal Recital at Princes' Hall 
on the I2th. The programme contained songs by Haydn, 
Mozart, Schumann, Brahms, Bizet, and other composers, and all 
were rendered in an absolutely faultless manner. Fraulein Spies 
entered thoroughly into the character of each song, drawing from 
her audience at one moment a tear, at another a smile. She 
sang for the most part in German, but was also heard in French 
(Bizet's " Pastorale ") and English (Henschel's "O hush thee, 
my baby "), and seemed quite at home in both languages. 
Miss Ethel Bauer played two pianoforte solos. 

The Annual Concert given by Mr. W. G. Cusins at St. James's 
Hall, on the 2Oth, attracted a large and fashionable audience. 
The instrumental portion of the programme included Men- 
delssohn's Trio in D minor, in which Mr. Cusins had the 
assistance of Signorina Teresina Tua and Signer Piatti ; also his 
own pianoforte solos and some pieces for viola d'amore by Milandre, 
played with much taste by Mr. Van Waefelghem. Vocal pieces 
were contributed by Madame Valda, Madame Patey, and Mr. 
Barrington Foote, another and not the least attractive feature 
being humorous recitations delivered by Mrs. Kendal. 

An interesting programme was presented by Mr. Charles 
Gardner at his annual Matinee musicale on the I5th, at Willis's 
rooms. Mr. Gardner's solos included compositions by Dvorak, 
Raff, Edward Bache, and himself, which he executed in refined 

JUNE. 71 

and finished style. He also joined Messrs. Ludwig and White- 
house in Sterndale Bennett's delightful Chamber Trio in A major. 
Two or three of Mr. Gardner's pupils took part in the Concert, 
the vocal portion of which was sustained by Miss Louise Phillips, 
Miss Louise Collier, and Mr. W. H. Brereton. 

Madame Sembrich made her first and only appearance in 
London, after a long absence, at an evening Concert given by Mr. 
Emil Bach at St. James's Hall, on the 25th. The distinguished 
prima donna had been announced to appear at two Concerts, 
supported on each occasion by an orchestra under the direction of 
Mr. W. G. Cusins ; but owing, presumably, to the very meagre 
attendance at the first, the other was abandoned. The programme 
included a Pianoforte Concerto in C minor, by the Concert-giver r 
heard for the first time a somewhat laboured work, in which Mr. 
Bach himself sustained the solo. Naturally, however, the most 
attractive feature of the evening was the singing of Madame 
Sembrich, whose voice seemed to possess all its pristine freshness 
and charm, and whose vocalisation was not less brilliant than 
heretofore. These qualities were abundantly demonstrated in airs 
from " Le Noz/e " and " Lucia," in addition to Lieder by Mozart, 
Schumann, and Rubinstein, and a Waltz by Arditi, all of which 
evoked the heartiest manifestations of pleasure. Miss Lena 
Little also sang, for the first time, the contralto air written by Mr. 
Goring Thomas for the intended Berlin production of his opera 
" Nadeshda." Some violoncello solos, played by M. Hollman, 
and Mr. Cusins's Concert-Overture " Les Travailleurs de la Mer," 
completed the scheme. 

Mr. W. de Manby Sergison gave his annual Concert on the 
26th, at Princes' Hall. A highly interesting programme was 
provided. A capital Chamber Concert was also given by Mr. E. 
H. Thorne at the Princes' Hall, on the I5th. Among the items 
in the programme were Bach's Concerto in D minor for two 
violins, Schumann's Quintet in E flat (Op. 44), and Dr. Hubert 
Parry's Partita in D minor for violin and pianoforte. 

Mr. John Thomas gave his annual Harp Concert on the 29th, 


at St. James's Hall. The programme contained pieces for a band 
of harps, also a charming Trio for harp, violin, and organ, and 
two harp duets by the Concert-giver. Among the artists who 
took part in the programme were Madame Valleria, Madame 
Edith Wynne, Miss Liza Lehmann, Miss Eleanor Rees, 
Mr. Hirwen Jones, Mr. Daniel Price, and Misses Clara and 
Marianne Eissler. 

The Guildhall School Orchestra of no performers was heard 
to signal advantage at the Concert directed by Mr. Weist Hill on 
the I5th, in the Hall of the City of London School. The pro- 
gramme opened with a " Marche Joyeuse " by Fanny Archbutt, a 
pupil at the Guildhall School. This bright, animated piece was 
cleverly orchestrated, and altogether a very creditable exercise. 
The opening Allegro of Beethoven's " Choral " Symphony, played 
more than once before by the Guildhall Orchestra, was now 
given with increased finish and refinement. The chief individual 
success of the afternoon was Miss Amy Porter's performance of 
the Allegro from Popper's dry but difficult Violoncello Concerto 
(Op. 24). This was in all respects an admirable piece of playing. 
The vocal efforts of Miss Magdalena A'Bear, Miss Isabelle Ikin, 
Mr. John G. Hooker, and Mr. Arthur Bonner met with hearty 

The Association of Tonic Sol-fa Choirs gathered at the Crystal 
Palace on the 2gth, and gave a Concert in the Handel Orchestra. 
The voices taking part numbered about 3,000, Mr. L. C. 
Venables conducting. Mendelssohn's " Athalie " was performed, 
and, apart from an admirable rendering, the event derived special 
interest from the first performance of an unpublished Fugue, 
originally intended by Mendelssohn to have formed part of the 
Finale of " Athalie." The fugue, an elaborate and well worked- 
out composition, was capitally sung by the choir to an organ 

The combined choirs of Lincoln and Peterborough Cathedrals, 
aided by contingents from local neighbouring Choral Societies, 
gave their second Triennial Festival in Lincoln Cathedral on 

JUNE. 73 

Wednesday, the 26th. " Elijah " was given in the afternoon, 
and Handel's " Dettingen " Te Deum, followed by Mendelssohn's 
" Hymn of Praise," formed the evening programme. The soloists 
were Miss Anna Williams, Miss Wilson, Mr. Barton McGuckin, 
and Mr. Watkin Mills. The band and chorus numbered over 550 
performers. The attendance was not very large. 

Sir John Stainer was, on the 25th, unanimously elected to the 
post of Professor of Music at Oxford University, in the room of 
the late Sir Frederick Gore Ouseley. The appointment gave 
universal satisfaction. A gifted and scholarly musician, a man 
respected for his high integrity and all-round excellent qualities, 
and a resident at Oxford, no one could have been chosen who 
would be so well fitted for the post, or be likely to do so much 
for the advancement and progress of musical art at the University 
as Sir John Stainer. 

OBITUARY. Carlotta Patti (vocalist), Paris, 28th. 



ON Friday, the 5th, Verdi's latest opera, " Otello " (originally 
produced at La Scala, Milan, in February, 1887), was given for 
the first time in England, before a crowded and distinguished 
audience, at the Lyceum Theatre, by a company expressly brought 
over from Milan by Mr. M. L. Mayer, the well-known director of 
the French Plays. The opera was mounted here with a very 
remarkable degree of completeness. Not only was the mise en 
scene a counterpart of that designed for La Scala, but the entire 
troupe, principals, conductor, band, chorus and all, were the 
same that had been there engaged in the representation of Verdi's 
work. Against this tremendous advantage one serious drawback 
had to reckoned the inadequate size of the present locale* 
Admirably as Mr. Irving's house may be adapted for his own 
Shakespearean productions, it is scarcely fitted for lyrical repre- 
sentations on an important scale. Yet this did not prevent a just 
appreciation of what Verdi has accomplished in " Otello," for 
with such an interpretation there was little chance of forming wrong 
conclusions. In his libretto, Signer Boito has neither mangled 
our great poet's tragedy out of shape nor emasculated his language. 
On the contrary, he has preserved with rare skill the construction 
and the beauty of each. The actual text is largely employed 
throughout, as a perusal of the late Dr. Hueffer's excellent English 
version will at once show. The opinion that " Otello " should 
have been called " lago " is by no means unreasonable. Until 
the last act the Moor's " ancient " is absolutely the central figure 
of the story. Verdi likewise has devoted special care to the 
treatment of this part. He has lavished upon lago's music a 

__ JULY. 75 

wealth and power of characterisation that the other leading 
personages share in a much lesser degree. It positively teems 
with diabolical cynicism. The opera is in four acts. The first 
opens, without prelude or overture, upon a stormy scene on the 
seashore at Cyprus, where, amid the howlings of the tempest, 
lago, Cassio, and the others receive upon their arrival the new 
governor, Otello, with his Venetian bride, Desdemona. Otello 
comes ashore as the realistic storm abates and enters the adjacent 
castle, whilst lago plots with Roderigo and sounds Cassio. He 
sings to them a strange, bizarre drinking-song, in which the 
chorus joins. Then come the quarrel and fight, and the re-entry 
of Otello, who after a time is left alone with Desdemona, and the 
two sing a love-duet of marvellous reposeful beauty, bringing the 
act to an ending full of peace and charm. The second act takes 
place in a room in the castle. After a brief colloquy between 
lago and Cassio, the former remains alone, and proclaims his 
belief in a " cruel God who has created him after His own image." 
To this original and magnificently dramatic monologue succeeds 
a long scene between Otello and lago, amidst which a graceful 
distant chorus is prominent. Desdemona enters and pleads Cassia's 
cause, and there is a charming duet, changing to a quartet, in 
which lago and Emilia join, the growing jealousy of Otello and 
the conflicting emotions of the others being wonderfully depicted. 
There is now a fine soliloquy for Otello, culminating in a tremen- 
dous climax of passion as he seizes lago by the throat ; and then 
comes a long duet, lasting, with superb effects of dramatic 
contrast, until the end of the act. In the next act, in the 
great hall of the castle, there is a fine scene between Otello and 
Desdemona ; then another beautiful passage for the former alone. 
Otello overhears and misinterprets the talk between lago and 
Cassio with reference to the handkerchief, this forming a most 
effective trio. The ambassadors from Venice arrive amid an 
imposing sound of trumpets, and we then have treated with 
masterly power the scene in which the Moor insults and even 
strikes his wife before the whole assemblage, this leading to a long, 


elaborate, and somewhat involved ensemble. Otello and lago are 
ultimately left together, and the act ends with a fine dramatic 
situation, as the villain stands gloating over the inert, out- 
stretched body of his despairing master. A very lovely and 
original orchestral passage precedes the last act, the scene of 
which is, of course, laid in Desdemona's sleeping chamber. Very 
beautiful, too, is the whole of the music sung by Desdemona, both 
whilst Emilia is completing her toilet and when she is left alone. 
The exquisite " Willow Song " and the sublime Prayer are simply 
inspirations of genius. Another masterstroke is the unison 
phrase for the double basses when Otello enters, and, indeed, the 
beauty of the music is fully sustained throughout the scene 
wherein the Moor, having awakened his sleeping wife by kissing 
her, proceeds to converse with her ere he kills her. Full of tragic 
power is Verdi's treatment of the final episode, when Emilia dis- 
closes lago's villainy and Otello kills himself. The ending to the 
opera is an ending worthy of a noble and singularly satisfying 
work, the strength and imaginative power revealed throughout 
being doubly marvellous when one remembers that the composer 
is far advanced in his "seventies," and has been writing operas 
for just half a century. " Otello " does not, on the whole, surpass 
" Aiida " in characteristic beauty and charm, although it may do 
so in truthfulness of dramatic spirit and depth of tragic expression. 
In " Otello " Verdi has sought after realism in his style of treat- 
ment, and, to a great extent, his effort has been successful, but 
not invariably, as may be perceived in the intricate ensemble of 
the third act, which cannot compare either for lucidity or 
grandeur with the finale to the second act of " Aida." The new 
opera was received with warmth, if not enthusiasm, and drew 
large houses during the twelve representations that were given, 
though the receipts unfortunately were not large enough to save 
the entrepreneur from a serious loss. Of the artists who took part 
in the Lyceum performance, two, Signer Tamagno and M. Victor 
Maurel, appeared in the roles which they created at Milan. The 
former artist, who now made his debut in London, is a robust 

JULY. 77 

tenor, possessing a voice of phenomenal range and power. His 
high notes have an immensity of volume, a penetrating resonance 
that simply amaze the listener. In a word, it is just the magni- 
ficent organ that is needed to emit Otello's passionate outbursts 
of rage and jealousy. At these moments Tamagno is almost 
terrible in his energy, and, save that he rather over-uses the voce 
parlante, his superb tones convey with tremendous effect the 
sensations that overwhelm the Moor. In the expression of love 
in the duet of the first act he is less successful, but yet he can 
sing with tenderness and pathos, as he clearly proves in the 
wonderful bedchamber scene. A truly great impersonation was 
the lago of M. Maurel. Never did this accomplished baritone 
appear before in so favourable a light. In order to look the 
character he sacrificed his beard, thus giving full opportunity for 
the study of his marvellous facial expression, through which 
could be seen the innermost workings of lago's mind. It might 
be that these changes were somewhat over-elaborate, but they 
were undeniably interesting, and, together with M. Maurel's 
finished acting, they helped to make the embodiment one of rare 
psychological force. lago's music, as has already been said, pos- 
sesses an individuality of its own, strpngly suggesting the cynical, 
contemptuous nature of the man. This was realised in the fullest 
degree through the subtle vocalisation of the French baritone, 
who won a complete and signal triumph. Signora Cataneo, an 
intelligent dramatic artist, failed to satisfy in the part of Desde- 
mona, which she neither looked nor understood. The remaining 
characters were adequately sustained. The opera was conducted 
by Signer Faccio, the famous chef d'orchestre at La Scala and the 
greatest man in his "line" that Italy now owns. Quiet and 
unobtrusive as is his method, he yets holds every one under per- 
fect control. It would be impossible to imagine a more refined 
rendering of the wonderfully picturesque instrumentation with 
which Verdi has endowed this work ; and yet the orchestra con- 
tained seventy players too many for a theatre like the Lyceum, 
had it not been for the masterly skill shown in their direction. 


The chorus, admirably trained, was more remarkable for its 
intelligence and ability to sing in tune than for beauty of voice. 
The mounting and stage management of " Otello " were beyond 

A State performance took place at the Royal Italian Opera on 
Tuesday, the 2nd, in honour of the Shah of Persia, who, accom- 
panied by the Prince and Princess of Wales and other members 
of the Royal Family, occupied a large improvised box in the 
centre of the grand tier. The house presented a magnificent 
sight, bouquets of flowers being given by the management to every 
lady in the stalls and boxes. The programme, printed on white 
satin, formed a charming souvenir of the event. The selection 
comprised the Overture to " Guillaume Tell," the Mad Scene from 
'" Lucia " (sung by Madame Melba), and Beethoven's "Leonora" 
Overture, these pieces being executed before the Royal party took 
their places. The fourth act of " Faust " was then given, with 
Madame Albani, the De Reszkes, and Lassalle. In the so-called 
" Concert " that followed, Madame Melba sang the waltz-air from 
" Romeo," Madame Marie Roze was heard in a waltz of Arditi's, 
Miss Ella Russell gave " Caro nome," and Madame Nordica 
wound up with " Ah ! fors' e lui." Afterwards came the second 
act of " Mefistofele," Miss Macintyre, Madame Scalchi, Signor 
Antonio d'Andrade, and Signor Castelmary furnishing the quartet ; 
while the Brocken Scene supplied an impressive ending to this 
very brilliant and successful function. On the Friday of the 
same week the Shah attended a State Concert at the Royal 
Albert Hall. 

The next operatic event of importance was the production at 
Covent Garden, on the I3th, for the first time in Italian, of 
Wagner's " Die Meistersinger von Niirnberg." This work was 
first given in London at Drury Lane in 1882, in course of the 
famous German season directed by Herren Franke and Pollini. 
Its beauties commanded instant recognition, brought into relief 
as they were by a performance of memorable excellence, and 
Wagner's comic opera drew the largest receipts recorded during 

JULY. 79 

that ill-managed undertaking. The only other production here 
occurred two years later, inaugurating the series of German 
performances given at Covent Garden by Herren Richter and 
Franke concurrently with Mr. Gye's regular Italian season. The 
bold idea of producing "Die Meistersinger " in Italian was only 
formed in 1888, when " Die Meistersinger " was again brought 
strongly en evidence through being mounted for the first time at 
Bayreuth. But no Italian version existed, and it was of vital import- 
ance that the task of preparing one should be entrusted to a first-rate 
man. Fortunately that man was found in Signor G. Mazzucato. 
Taking into consideration the wide difference in the character of 
the two languages, it would be difficult to conceive a closer 
rendering of Wagner's libretto, as regards alike metre and diction, 
poetic spirit and rhythmical vigour, than Signor Mazzucatb has 
written. The colloquialisms of the original have been 
happily reproduced, thus preserving in an essential degree the 
homely modes of expression characteristic of Wagner's simple 
Nuremberg folk. Yet in the adaptation of the more elegant lines 
there is not a trace of commonplace. Signor Mazzucato thus 
distinctly enhanced the probabilities of " Die Meistersinger " 
succeeding in Italian. He was not, however, the only individual 
secured by Mr. Harris whose services to the same end were 
of special value. A very warm tribute of praise was due to Herr 
Saar, the experienced maestro al piano, who had conducted the 
work at Strasburg, and to Signor Lapissida, who had already 
stage-managed it at Brussels. Mr. Harris naturally found the 
aid of these able men invaluable ; while, in putting the finishing 
touches to the wise en scene, his own hand was by no means idle. 
Among the critical audience that assembled to witness the initial 
representation was a large muster of professed Wagnerites, who 
frankly declared that they came anticipating a failure. The 
greater, therefore, was their surprise, and perhaps pleasure also, 
to find the performance carried out from first to last in the spirit 
of the master's intentions. The rendering of the opera was 
marked by as much completeness and accuracy of detail and unity 


of artistic purpose as though it had been the familiar " Lohen- 
grin " or " Tannhauser." In a word, the representation as a 
whole would have done credit to any leading German opera 
house, not excepting even Munich ; and to say this is to pay the 
impresario of Covent Garden the highest possible compliment. 
The cast was remarkably strong. As Eva Madame Albani had 
only one fault she was not youthful enough in appearance for 
the goldsmith's impulsive daughter ; but her impassioned singing 
and acting sufficed well-nigh to atone for the shortcoming. M. 
Jean de Reszke made a superb Walther von Stolzing, looking the 
Franconian knight " from top to toe," and singing not only the 
lovely " Preislied " but the music of the entire part as it had 
never been sung on the stage before. M. Lassalle was an equally 
ideal Hans Sachs; he gave a most poetic delineation of the 
character, and declaimed his music as if it had been written for 
him. M. Isnardon, a Belgian artist new to London, furnished a 
clever and diverting impersonation of Beckmesser, despite certain 
slight exaggerations ; and satisfactory also were the bright, 
animated David of M. Montariol, the imposing Pogner of Signer 
Abramoff, the admirable Kothner of M. Winogradoff, and the 
efficient Magdalena of Mdlle. Bauermeister. The chorus did its 
exacting work wonderfully well, while the orchestra executed the 
glorious instrumentation with delightful refinement. The audience 
burst into loud applause on each fall of the curtain, and at the 
close accorded a special ovation to Signer Mancinelli, the talented 
Conductor, and Mr. Harris, who both thoroughly merited the 
honour. In all four representations of " Die Meistersinger " were 
given before crowded houses, without change of cast, save on the 
last occasion, when the part of Eva was successfully undertaken by 
Madame Valda. 

The remaining performances of the season at Covent Garden 
consisted of repetitions. Down to the last night (July 27), 
when " Romeo et Juliette " was given, the attendance was uni- 
formly large, and the season, on the whole, was productive of 
most satisfactory results, both pecuniary and artistic. Of the old 

JULY. 81 

operas, the most successful were " Faust " and " Lohengrin " 
(given seven and six times respectively) ; but " Carmen," although 
coming next with four representations, scarcely maintained its 
usual popularity. The following table shows the number of 
performances and operas in which the Covent Garden artists 
appeared in course of the season : Mesdames Nordica (4 operas), 
9 performances ; Fursch-Madi (2), 9; Melba (3), 10; Albani (4), n; 
Marie Roze (i), 4; Macintyre (3), 8 ; Van Zandt (3), 5 ; Valda 
(3), 6 ; Russell (5), 8 ; Schlager (2), 4 ; Lita (2), 2 ; Scalchi (6), 17 ; 
De Vigne (2), 8; Lablache (3), 10; and Bauermeister (10), 30. 
MM. Jean de Reszke (6), 22; Montariol (6), 17; McGuckin, 
i; Talazac (3), 6 ; A. d'Andrade (6), 7; Massimi (2), 2; Engel 
(2), 2 ; Lassalle (5), 14 ; E. de Reszke (6), 22 ; Winogradoff 
(4), 14; F. d'Andrade (9), 18; Crotty, i; Novara (3), 3; Cotogni 
(4), 4; Lestellier (3), 4 ; Seguin (4), 13; De Vaschetti (3), 24; 
Abramoff (3), 13 ; Castelmary (3), n ; Miranda (9), 26; Ciampi 
(2), 5; and Isnardon (i), 4. In all, fifty-three representations of 
sixteen operas were given during the ten weeks. 

At the last Richter Concert but one, on the ist, was brought 
forward a new Symphony in E minor, by Dr. Hubert Parry. 
Unlike the "English" Symphony performed shortly before by the 
Philharmonic Society, it is a work of large dimensions, and scored 
for the full modern orchestra. Clear in structure and development, 
it impressed at once as a strong, clever, and genial work. The 
Scherzo was rightly regarded as the gem of the four movements ; it 
was after this that the composer was called forward, as well as at 
the end. But the opening A llegro is full of breadth and spirit, and 
the slow movement of deep feeling and melodic charm ; whilst the 
Finale, though it seemed a trifle " patchy " on first hearing, is un- 
doubtedly a fine section, and ends the work with a jubilant tone 
well in keeping with the prevailing sense of masterful energy. 
Ample justice was done to the beautiful scoring of the Symphony, 
under the guidance of Dr. Richter, who conducted his friend's 
composition con amore. Another novelty on the same evening 
was the fragment of an unfinished Pianoforte Concerto in D, 



attributed to Beethoven. Despite the respectability of Herr Privy 
Councillor von Bezecny, in whose possession the orchestral parts 
were found, many musicians have declined to believe in the 
authenticity of this Mozart-like example of early Beethoven until 
the original score shall be forthcoming. The fragment, an easy 
opening A llegro such as any skilful lover of Mozart could imitate by 
the dozen, was neatly played by Madame Stepanoff. The remain- 
ing items of the scheme were the closing scene from " Gotter- 
dammerung," and Beethoven's Symphony in F (No. 8). The 
part of Brunnhilde in the former piece was declaimed by Fraulein 
Fillunger, but not with her customary vigour and purity of intona- 
tion. At the concluding Concert of the series, a week later, 
Berlioz's " Faust " was performed in the presence of a large 
audience, the soloists being Mrs. Mary Davies, Mr. Lloyd, Mr. 
Max Heinrich (a first-rate Mephistopheles), and Mr. Bantock 
Pierpoint. The singing of the choir was anything but satisfactory ; 
it began badly, without life or attack, and so went on to the end. 
On the other hand, the accompaniments were played to simple 
perfection, Dr. Richter and his orchestra thus winding up an 
arduous and successful season amid a blaze of triumph. 

The annual operatic performance given by the Royal College of 
Music took place at the Prince of Wales's Theatre, on Wednesday 
afternoon, the loth, when Goetz's masterpiece, " The Taming of 
the Shrew," was rendered in extremely creditable fashion. Con- 
sidering the difficulties of this work, which fully tested the 
capacities of the Carl Rosa Company when mounted at Her 
Majesty's in 1880, the manner in which the Royal College 
Students acquitted themselves merited and received high praise. 
In two or three cases individual merit was very conspicuous : 
for instance, Miss Emily Davies as Katharine, Miss Maggie 
Davies as Bianca, Mr. John Sandbrook as Petruchio, and Mr. 
Charles J. Magrath as Baptista won admiration by capital acting 
in addition to first-rate singing. Generally speaking, however, 
the real value of the performance lay in the spirit and intelligence 
of the ensemble, thus clearly showing that in our leading musical 

JULY. 83 

school preparation for the operatic stage is regarded as a serious 
and earnest study by all concerned. Thanks to able stage 
management, the traditional " business " of the opera was well 
carried out, the comic incidents keeping the house in constant 
laughter. The chorus did excellently, and so, too, did the well- 
trained College orchestra. Professor Villiers Stanford conducted. 
An interesting Orchestral Concert was also given on the 24th, by 
pupils of the Royal College. The programme included Spontini's 
"Olympia" Overture, Saint-Saens's Poeme Symphonique 
" Phaeton," the Good Friday Music from " Parsifal," and the 
" Symphonic Variations " of Dvorak. The band, conducted by 
Professor Stanford, gave a remarkably good rendering of these 
works, and also of the accompaniments to Brahms's Pianoforte 
Concerto in D minor, the solo in which was played with great 
spirit and an intelligent grasp of her theme by Miss Ethel Sharpe. 
Vocal pieces were sung by Miss May Richardson and Mr. C. J. 
Magrath. The balance-sheets of the Royal College of Music, 
presented on the i8th at the sixth annual meeting, showed the 
affairs of that Institution to be in a highly flourishing state, the 
total amount of invested capital being nearly 125,000, and the 
available balance of revenue account 3,198 igs., or an increase 
of 533 8s. yd. over the previous year. 

At the Royal Academy Orchestral Concert, on the 26th, at St. 
James's Hall, interest centred chiefly in the performance (for the 
first time in England) of Weber's Hymn " In constant order," an 
early work of the composer's, marked as his Op. 36. The open- 
ing Chorus and Quartet at once proclaim the influence of Mozart. 
After a Recitative, " The gloominess of night," comes a Chorale 
founded on the tune of an old German Chorale, " O Haupt voll 
Blut und Wunden," which has also been appropriated by Bach. 
The final Quartet and Chorus end with an elaborate and 
splendidly-written Fugue, bringing the hymn to a spirited conclu- 
sion. It was capitally sung, the solos been ably sustained by 
Miss Agnes Wilson, Miss Violet Robinson, Mr. Percy Edmunds, 
and Mr. B. Mayne. The compositions by students heard for the 

G 2 


first time were a cleverly-treated and interesting Romance for 
orchestra, by E. Cuthbert Nunn ; a Ballade for orchestra, based 
upon themes of a Scottish character, and very effectively scored, 
by Learmont Drysdale ; and a pleasing Andante (from a Sym- 
phony in G) by Reginald Steggall. These promising efforts were 
all warmly applauded. Miss Rose Meyer, Miss Kate Goodson, 
Miss Ada Tunks, and Mr. W. L. Lamb were heard in various 
pianoforte compositions; and Miss Emily Squire, 'Miss Henrietta 
Mears, Mr. David Hughes, and Mr. Henry Ward gave vocal 
pieces. Dr. Mackenzie conducted with infinite care and zeal. 

On the 6th the Guildhall School students gave a choral Concert, 
at which they performed Mr. Ebenezer Prout's pretty Cantata for 
female voices, " Queen Aimee ; or, the Maiden's Crown " (a work 
composed in 1885), and repeated Mr. Orlando Morgan's Cantata 
" Zitella." 

On the ist the pupils of the Hyde Park Academy of Music 
appeared at Steinway Hall, and, as usual, gave an admirable 
account of themselves. The scheme contained some interesting 
pieces, among these notably being Hoffman's " Song of the 
Norns," given with much refinement and intelligence by Mr. 
H. F. Frost's choir of ladies. 

Madame Backer-Grondahl gave a Pianoforte Recital at Princes' 
Hall, on the I3th, when she again delighted her audience by her 
exceedingly clever and refined playing. The Norwegian artist 
gave a Suite of her own, of which the Gavotte, Minuet, and Finale 
found especial favour. The music is skilfully written and 
delightfully fresh. Some delicate and pleasing songs, also com- 
posed by Madame Grondahl, were interpreted by Miss Louise 
Phillips. Among other works, Grieg's duet Sonata in C minor 
(No. 4) was admirably executed by Madame Grondahl and M. 
Johannes Wolff. 

Mr. Sims Reeves's morning Concert at St. James's Hall, on the 
6th, was largely attended. The veteran tenor was in excellent 
voice, and sang a couple of his familiar songs with all his wonted 
finish and charm of style. He also joined Mr. Edward Lloyd and 

JULY. 85 

Mr. Ben Davies in an old Italian trio, " Evviva Bacco," written 
for three tenors ; and, rendered by such artists, the quaint old 
piece proved very interesting. Other well-known artists sang, 
and Mdlle. Helene de Duncan, a new pianist from St. Petersburg, 
played some solos in a manner that elicited emphatic approval 
and a desire to hear her again. 

Fraulein Hermine Spies gave her second Vocal Recital at 
Princes' Hall on the 2nd. Mr. Waldemar Meyer gave a Chamber 
Concert at St. James's Hall, on the 4th, assisted by the clever 
young pianist, Miss Marian Osborn, and other artists. 

M. Tivadar Nachez and Herr Arthur Friedheim gave a Violin 
and Pianoforte Recital at Princes' Hall, on the ist. Herr 
Friedheim exhibited striking mechanical powers in Liszt's B 
minor Sonata, and M. Nachez played Max Bruch's Violin Con- 
certo in G minor, with pianoforte accompaniment, the effect of 
which is by no means satisfactory. 

Mr. Johannes Schubert, a pianist hailing from Dresden, made 
his debut at a Recital which he gave at Steinway Hall, on the 3rd. 
He is comparatively young, and has been trained in a good school, 
his playing being marked by sound technique, a clear intellectual 
style, and, when occasion requires, great brilliancy of execution. 
Among other Concert and Recital-givers this month were M. de 
Pachmann, Mr. A. Carli, Mr. Isidore de Lara, Madame Berger- 
Henderson, Senor Albeniz, Senorita Esmeralda Cervantes, Mrs. 
Dyke, Madame Liebhart, Miss Agnes Huntington, Mrs. Lynedoch- 
Moncrieff, and Signer de Piccolellis. 

" Marjorie," a three-act comic opera, written by Messrs. Lewis 
Clifton and J. J. Dilley, and composed by Mr. Walter Slaughter, 
was produced at a matinee performance at the Prince of Wales's 
Theatre, on the i8th, and favourably received by a large audience. 
The " book " was by far the weakest feature of this production, 
neither story nor lyrics being characterised by freshness or 
inventive resource. The music, however, is bright and pretty, 
and is remarkably well scored. The solo numbers consist largely 
of ballads, but the concerted pieces are clever beyond the average, 


and the choruses tuneful and well written. Miss Wadman, Miss 
Fanny Brough, Mr. F. Celli, Mr. Tapley, Mr. Monkhouse, and 
Mr. W. H. Burgon filled the principal parts, and the composer 

OBITUARY. Francis Romer (composer and teacher of singing), 
London, ist ; Giovanni Bottesini (contra-bass player and com- 
poser), Parma, 7th ; Carli Zoeller (bandmaster), London, I3th. 



DURING the first week or two of August music in London was 
at an absolute standstill that is, unless we take into account 
some performances of English Opera given at the Princess's 
Theatre by Mr. J. W. Turner's company. The solitary note- 
worthy achievement in connection with this ill-timed venture was 
the revival of Macfarren's " Robin Hood," an opera now quite 
out of date ; at any rate, for metropolitan audiences. But even 
this was so badly staged and indifferently performed that, had it 
been a masterpiece, it would scarcely have found favour. On the 
roth the Promenade Concerts began at Covent Garden, with 
Signer Arditi as Conductor ; and a week later a similar under- 
taking was started at Her Majesty's, under the direction of 
Signer Bevignani. The first-named house, perhaps, secured the 
larger share of patronage, but the excellence of the orchestral 
work done by a select body of players, under Signer Bevignani, 
gained very favourable notice, and, towards the end of the season 
(which lasted ten weeks), the attendance was constantly improving. 
A prize of fifty guineas for an Orchestral Suite, and another of 
ten guineas for a Waltz, were offered for competition by the 
managers of Her Majesty's. A large number of manuscripts 
were sent in, the prize for the Suite being won by Mr. Ferdinand 
Dunkley, a student at the Royal College of Music. In course of 
the Covent Garden season Madame Roger-Miclos, a pianist of 
considerable talent, made her first appearance in this country. 

OBITUARY. Robert A. Atkins (Organist of St. Asaph's 
Cathedral), 3rd; Giacinta Puzzi (vocalist and teacher of singing), 
London, i8th. 



THE i66th Festival of the Three Choirs, held at Gloucester, 
on the 3rd, 4th, 5th, and 6th, was, by general consent, 
admitted to be the most interesting and successful that has ever 
taken place in that city. It opened on the Tuesday morning 
with a capital performance of " Elijah," the solos in which were 
undertaken by Madame Albani, Miss Anna Williams, Miss Hilda 
Wilson, Miss Mary Morgan, Mr. Edward Lloyd, and Mr. 
Barrington Foote. The choir acquitted itself exceedingly well. 
The voices were fresh, bright, and well balanced, the basses 
giving out an especially fine body of tone ; while, in regard to 
steadiness and precision, little fault was to be found. Mr. C. Lee 
Williams, who conducted the Festival in virtue of his office as 
Organist of Gloucester Cathedral, had evidently bestowed vast 
pains upon the training of his choristers and, what is more, 
showed that he knew how to get the best possible work out of 
them. The orchestra an admirable body of English players, 
with Mr. J. T. Carrodus as chef d'attaque was handled with like 
skill and evinced a like confidence in its Conductor's ability. The 
late Dr. Langdon Colborne (whose death occurred only a few 
days after the Festival) officiated as organist. He did full justice 
to his difficult task and to the fine newly-renovated instrument 
upon which he played. 

At the Tuesday evening Concert, in the Shire Hall, the princi- 
pal work was Dr. Mackenzie's " Dream of Jubal," given under 
the composer's direction, with Miss Anna Williams, Miss Mary 
Morgan, Mr. Lloyd, and Mr. Foote as soloists. Mr. Charles Fry 
again recited Mr. Bennett's noble verse, and the general rendering 


left nothing to be desired. Two novelties were included in the 
second part of the programme, one a short Cantata for soprano 
solo and chorus by Miss Rosalind J. Ellicott, entitled "Elysium," 
the other a Violin Concerto by Herr Hans Sitt, introduced by Mr. 
Bernhard Carrodus, son of the eminent player of that name. 
Miss Ellicott stands in the front rank of amateur lady-composers, 
and the merit of her previous work, apart from her position as 
daughter of the Bishop of Gloucester, fully justified the place 
assigned to this piece in the Festival scheme. It is a very 
graceful and melodious setting of one of Mrs. Hemans's miscel- 
laneous poems. The poetic idea may not exactly "yearn for 
musical expression," but the words lend themselves to effective 
treatment both for solo voice and chorus, and Miss Ellicott has 
not failed to utilise her opportunities in felicitous fashion. Her 
music flows on freely and brightly, without break, deriving its 
chief contrast from the interpolated solo passages (artistically 
rendered by Miss Anna Williams), and supported by instrumenta- 
tion which only occasionally, in its exuberant brass and 
" percussion " effects, betrays the hand of the amateur. The 
little work was given with admirable smoothness and effect and 
very warmly received. The new Violin Concerto proved to be a 
work of decided ability, somewhat involved in structure, but 
possessing no little melodic interest, and very cleverly written for 
the solo instrument, the middle and final movements especially. 
Hans Sitt, a composer hitherto unknown to English amateurs, 
was born in Prague in 1850, and is now a Professor at the Leipsic 
Conservatoire and a conductor of one or more musical societies ; 
he has written two Violin Concertos, and the present work (No. 
2, in A minor, Op. 21) was produced at Zwickau, in October, 
1884. The solo part, which calls for an extensive mastery of 
technical difficulties, was played by Mr. Bernhard Carrodus with 
remarkable neatness and dexterity. He had thoroughly mastered 
his theme, and not even the breaking of a string and a double 
change of violins could mar the rock-like steadiness of his 
manipulation. His phrasing was marked by intelligence and 


distinction, and his intonation was well-nigh irreproachable. Mr. 
Carrodus was rapturously applauded at the close of the 

A large audience assembled to hear Dr. Hubert Parry's 
"Judith" on the Wednesday morning. As a Gloucester man and 
the son of the architect whose name is indissolubly connected 
with the restoration of Gloucester Cathedral, Dr. Hubert Parry 
must have taken an especial pride in conducting here his 
Birmingham Oratorio. His music of " Judith " has never 
sounded more impressive the grand choruses particularly 
than in this sacred edifice, nor could connoisseurs call to mind a 
better performance. Dr. Parry conducted with unrelaxing energy 
and never called upon his forces for an effort in vain. Miss Anna 
Williams and Mr. Edward Lloyd won their old triumphs over 
again, the other solo parts being adequately filled by Miss Hilda 
Wilson, Mr. Brereton, Master Jones, and Master Leeson. The 
Concert concluded with Rossini's " Stabat Mater." 

In the evening there was a Concert in the Cathedral, attended 
by no fewer than 3,500 persons. This " best on record " was 
variously ascribed to lowered prices, to an increasing taste for 
good music, to the popularity of the " Creation," and to the 
interest taken in Mr. Lee Williams's new Church-cantata, 
" Bethany." The latter work, expressly written for the Festival, 
commanded the warmest approval. Mr. Joseph Bennett's 
libretto, an imitation on slightly modified lines of the form 
exemplified in Bach's Church-cantatas, called for straightforward, 
unpretentious treatment, and for music which, by its purely 
devotional character, should at once fit the theme and appeal 
direct to the hearts of an ordinary assemblage of worshippers. 
Mr. Williams thoroughly succeeded in supplying what was 
needful. Of story there is but the barest thread ; it is rather, 
indeed, a picture embodying the scene at Bethany the supper, 
the anointing of the feet of Jesus with the precious ointment, the 
sleep at night a scene suggested by Mr. Bennett with infinite 
skill, and accompanied by reflective verses overflowing with 


religious fervour. The whole of these, excepting a hymn by the 
Rev. Dr. Neale, are original, the descriptive text being taken 
from the Scriptures and set forth in recitatives for contralto. Mr. 
Williams adopts for the most part a distinctly ecclesiastical style,, 
with a slight leaning towards that of Gounod. His choral writing 
is clear and free from complexity, his orchestration exceedingly 
refined and well-contrasted. The best points in the Cantata are 
the soprano air " All that I have is Thine," which Madame 
Albani sang with intense emotional expression ; and the 
remarkably effective, even dramatic, treatment of the choral 
passages foreshadowing the sufferings of the Saviour. Here one 
can perceive the hand of a thoughtful, intelligent, and able 
musician. The simplicity of " Bethany," apart from its intrinsic 
merits, should ensure the little work a wide popularity. The 
performance, which was profoundly impressive, gave entire 
satisfaction. The choruses were faultlessly sung, and Madame 
Albani, Miss Wilson, Mr. Lloyd, and Mr. Brereton threw great 
earnestness into their rendering of the solos. 

Thursday's scheme, both morning and evening, contained 
works from the pen of Sir Arthur Sullivan, and the presence of 
the composer, apart from the popularity of his music, helped in 
each instance to secure a large attendance. The long matutinal 
programme comprised his early oratorio " The Prodigal Son," 
his " In Memoriam " Overture, Gounod's " Messe Solennelle," 
and Spohr's "Last Judgment." "The Prodigal Son" came to 
many as a veritable novelty, for comparatively few remembered 
its first production at Worcester in 1869, and since that time it 
has been allowed to suffer undeserved neglect. Why it has so 
suffered it is hard to understand. The subject is familiar and 
skilfully treated ; the music, despite an occasional use of forms 
now regarded as old-fashioned, is replete with melodic beauty,, 
and reveals in many a phrase and device the subtle touches which 
have come to be described as " Sullivanesque." The vocal writ- 
ing and scoring abound with scholarly interest ; and cleverer 
examples of the composer's skill than the " Revel " chorus, the 


duet for the father and repentant son, the unaccompanied quartet 
" The Lord is nigh," and the last two choruses could not easily 
be found among his latest works. The vocal honours of the per- 
formance fell to Miss Hilda Wilson and Mr. Edward Lloyd. The 
lovely contralto air " Love not the world " was rendered with 
exquisite taste and feeling ; indeed, Miss Wilson's truly artistic 
use of her superb organ was a subject of general admiration all 
through the Festival. Madame Albani did justice to the soprano 
music, and Mr. Barrington Foote essayed the part written for Mr. 
Santley. The choir sang much better in the evening, when "The 
Golden Legend " was given in the Shire Hall. To make up for 
the absence of applause in the Cathedral, an overflowing audience 
then treated Sir Arthur Sullivan to a series of ovations. 

There was a slight falling-off in " The Messiah " attendance on 
the Friday morning. The whole of the solo vocalists, with the 
exception of Mr. Lloyd, took part in the performance, Mr. William 
Nicholl sustaining the tenor music, while Mrs. Ambler-Brereton, 
in " How beautiful are the feet," met with especial success. This 
terminated the Festival proper, but in the evening the usual full 
choral service was held in the Cathedral, Mendelssohn's " Hymn 
of Praise " being given for the Anthem. The total attendance 
during the week was 13,496, as against 11,507 at the previous 
Festival, showing an increase of 1,989. The donations and col- 
lections amounted in the aggregate to about "1,200, which was 
distributed among the charities of the three dioceses. But the 
total expenditure exceeded the proceeds of the Concerts by 323, 
and this deficit was met by a call of i 73. 6d. upon each steward 
or guarantor. 

OBITUARY. Grattan Cooke (oboe player), Harting, Sussex, 
I2th ; Langdon Colborne, Mus. Doc. (Organist of Hereford 
Cathedral), Hereford, i6th ; H. B. Farnie (librettist and author), 
Paris, 22nd ; T. Monck Mason (lessee of the King's, now Her 
Majesty's, Theatre, in 1832), London, 24th ; William Winter- 
bottom (bandmaster), Boulogne-sur-Mer, 29th; John V. Bridge- 
man (musical journalist and translator), London, 3Oth. 



THE Leeds Triennial Festival, held on Wednesday, the gth,. 
and the three following days, was the most important musical 
gathering of the year. This event may truly be said to have 
possessed a national interest. The proceedings connected with 
it were followed with the closest attention in every part of the 
Kingdom, and comments thereupon were by no means confined 
to our own organs of musical criticism. Germany sent one of 
her foremost writers to deal with the Festival, and the opinions 
which he expressed were in every way flattering to the modest 
pride of this " unmusical country." That the meeting, on the 
whole, was a brilliant success cannot be gainsaid. On the other 
hand, to assert that the artistic triumphs of the week were with- 
out alloy would be to slightly overstep the bounds of actual truth. 
There must be a thorn to every rose. Even the sun is not with- 
out its " spots." 

The vocalists engaged were Madame Albani, Miss Macintyre, 
Fraulein Fillunger, Madame Valleria, Miss Hilda Wilson, Miss 
Damian, Messrs. Edward Lloyd, Iver McKay, Henry Piercy, 
Watkin Mills, Harrington Foote, and W. H. Brereton. The famous 
Leeds chorus had undergone a careful training at the hands of 
Mr. A. Broughton, the talented chorus-master, and consisted of 
82 sopranos, 56 contraltos, and 18 altos, 77 tenors, and 78 basses ; 
making a total of 311 singers. In the band there are 20 first 
violins (Mr. J. T. Carrodus leading), 20 second violins, 14 violas, 
14 violoncellos, 14 double basses, 4 flutes, 2 piccolos, 4 oboes, 
i cor Anglais, 4 clarinets, i bass clarinet, 4 bassoons, i contra- 
fagotto, 4 horns, 4 trumpets and cornets, 3 trombones, i bass 


tuba, 2 harps, 3 drums, &c., numbering altogether 120 performers. 
This magnificent band, made up exclusively of British performers, 
was probably the finest orchestra that the world could produce. 
The combined forces met for the first time in the Town Hall, 
under the direction of Sir Arthur Sullivan, the conductor of the 
Festival, on the Monday morning. They devoted thirteen hours 
of that day and eight of the next to the arduous task of going 
through the whole scheme. A perfect ensemble was thus secured; 
but the heavy continuous labour palpably told upon the chorus, 
and when judgment upon its merits was challenged at the open- 
ing Concert, on the Wednesday morning, in Berlioz's " Faust " 
(given for the first time at this Festival), the opinions expressed 
were not in the highest degree favourable. It was thought that 
the voices were not of such powerful volume as in previous years, 
and that the attack was not characterised by the same wonderful 
grip and unanimity. The section that seemed to have suffered 
most were the tenors. Inferior in quality to the other divisions 
of the choir, their voices sounded dull and hard and they 
frequently sang flat, pulling the others down with them. The 
sopranos were splendid ; a purer, finer quality of tone has never 
perhaps been heard, and the contraltos and basses were also first- 
rate. But it immediately went forth to the world that the Leeds 
chorus had again deteriorated, that the glory of the Yorkshire 
voices had become more than ever a thing of the past. This 
judgment was soon shown to have been a trifle hasty. More than 
one experienced critic omitted to make allowance for the over- 
strain or for the fact that neither Berlioz's " Faust " nor Mr. F. 
Corder's new cantata " The Sword of Argantyr " was a work 
calculated to display the capacities of a choir in the most favour- 
able light. Thursday morning told a different tale. Comparative 
repose for thirty-six hours wrought wonders, and the good, solid 
choral music contained in such works as Bach's Cantata "God's 
time is the best," Schubert's Mass in E flat, and Handel's " Acis 
and Galatea " enabled the Leeds singers to win back their lost 
laurels to no inconsiderable extent. There were wanting still the 


phenomenal volume and power, the bold, firm, simultaneous 
attack, the rock-like steadiness and faultless intonation that had 
made connoisseurs marvel at bygone Festivals ; but, on the 
other hand, the balance was more even, the quality of the tone 
was more refined, and the singing, on the whole, was certainly not 
marked by less expression or less intelligence. In a word, com- 
pare the Leeds choir with any but former Leeds choirs and it 
was still unapproachable. 

Mr. F. Corder's " The Sword of Argantyr," a dramatic Cantata 
in four scenes, specially written for the Festival, was produced at 
the first evening Concert. The libretto, written by the composer, 
is founded on a Norse legend, which tells how Hervor, a Viking's 
daughter, passes through a "girdle of ever-burning fire" and 
obtains possession of the sword Tyrfing, on which was wrought 
this rune : 

Draw me not except in fray, 
Drawn I pierce, and piercing, slay. 

The shepherd Hjalmar, who has passed the fire with her, tries to 
take it from her, so as to lead her people to battle. She, how- 
ever, asserts her woman's rights, and refuses to resign her 
leadership. In the struggle the sword pierces Hjalmar's thigh, 
and he straightway bleeds to death. Hervor then returns with her 
warriors to their wild home in the North, " that all those things 
might be fulfilled which the spirit of Argantyr had foretold." 
This stirring story is dramatically told, and in bold, picturesque 
verse. But the musician was not inspired by his own libretto, 
nor could he apparently avoid dropping into that odd mixture of 
styles to which objection has been taken in his previous works. 
With the exception of a Shepherd's song, an instrumental inter- 
mezzo, and two or three of the choruses, Mr. Corder's Cantata 
contains little calculated to strike the listener or awaken interest. 
His originality is not of a pleasing kind ; his melodies, when they 
are tuneful, often lack distinction ; his treatment may be clever, but 
it is laboured, and the music runs on for bars and bars at a 
stretch without conveying the least sense of charm, the result 


being that it wearies and bores long before King Argantyr's sword 
has deprived the warrior- maiden of her new-found lover. Madame 
Valleria's indisposition on this occasion was a double misfortune. 
It was unlucky for the lady herself, and it did not improve the 
chances of " The Sword of Argantyr." Still, it was hardly likely that 
in her best form this artist could have made acceptable the distinctly 
ugly music assigned to the heroine. Mr. Henry Piercy made a 
hit with the Shepherd's air ; Mr. Harrington Foote declaimed the 
legend of the Sword with plenty of energy ; and Mr. Arthur F. 
Ferguson displayed a capital bass voice in the small part of 
Argantyr. Mr. Corder conducted with care, and was warmly 
recalled. The Concert wound up with a performance of the 
third act of " Tannhauser," the solo parts being undertaken by 
Madame Valleria (Elizabeth), Fraulein Fillunger (Venus), Mr. 
Edward Lloyd (who gave a magnificent rendering of Tannhauser's 
narrative), and Mr. Barrington Foote (Wolfram). 

Reference has been made above to the work done on the Thursday 
morning. The rendering of the Schubert Mass was grandly 
impressive perhaps the finest ever heard ; and that of the Bach 
Cantata did not come far behind. The lightsome choruses of 
Handel's Serenade were given with abundant spirit, the well- 
known " Wretched lovers" producing as much effect as any but 
a Handel Festival choir could hope to create. The solo parts in 
these works were sustained by Miss Macintyre, Miss Hilda Wilson, 
Messrs. Iver McKay, Piercy, and Brereton. 

The Organist of the Leeds Parish Church, Dr. William Creser, 
was the local musician asked to write a composition for the 
Festival of this year, the outcome being a dramatic Cantata in 
one scene entitled " The Sacrifice of Freia," brought forward on 
the Thursday evening. The poem, from the pen of the late Dr. 
Francis Hueffer, describes in attractive verse the gathering of 
bands of worshippers in a forest glade on May Day, to sacrifice 
to Freia, the fair deity being praised and appealed to as the 
goddess in turn of love, beauty, springtide, and war. Dr. Creser's 
music failed, despite undoubted technical excellence, to make a 


favourable impression, chiefly owing to an over-elaborate setting 
of Dr. Hueffer's simple idyll, and an interminable repetition of 
superfluous Leitmotives. At the same time, as a creditable 
specimen of local talent, Dr. Creser's work was by no means 
unworthy of a place in the Festival scheme, and unquestionably 
it fulfilled its purpose in that sense. Loud cheers greeted him 
after the performance, which he directed with much ability. The 
choruses were splendidly sung, and Miss Macintyre and Mr. 
Brereton did their best with the solo portions. The first part of 
the programme concluded with a magnificent rendering of Spohr's 
Symphony " The Consecration of Sound." In the second came 
the sole instrumental novelty of the week, Dr. Mackenzie's 
" Pibroch," for violin and orchestra. This clever work consists 
of three movements viz., a Rhapsody, corresponding to the 
improvisation with which the bagpipe-player opens his Pibroch ; 
a Caprice, in this case an air with variations founded on the 
theme of the old Scottish tune " Three guid fellows, " and a 
Dance, the first subject of which is an ancient melody taken from 
the Skene MSS. Needless to add that a purely Scottish 
character pervades the entire composition, while the treatment, 
so far as the solo instrument is concerned, is thoroughly modern 
in style, and bristles with technical difficulties of the most 
exacting order. The orchestration is replete with charm and 
elegance. Altogether, Dr. Mackenzie's " Pibroch," as rendered 
by Senor Sarasate with the art of a great virtuoso, made a very 
warm impression. The composer conducted, and responded with 
his accomplished interpreter to an exceptionally hearty recall. 
A distinct ovation was accorded Mr. Broughton when he came 
forward to conduct his choir in Mr. Harford Lloyd's Pastoral 
" The Rosy Dawn." Miss Macintyre gave an artistic delivery of 
the air from the prison scene in " Mefistofele." Mr. Edward 
Lloyd sang Walther's " Probelieder," and after another solo by 
Senor Sarasate, the Concert wound up with the Overture to 
" Mireille." 

On the Friday morning a new choral work by that indefatigable 



musician, Dr. Hubert Parry, was introduced, under his direction, 
and received with every token of favour. The poem here treated 
namely, Pope's " Ode on St. Cecilia's Day" has furnished Dr. 
Parry with the groundwork for another of those compositions in 
which he shows himself such a consummate master of old forms 
and modern materials. The combination is as subtle as it is 
curious, and Dr. Parry, as he goes on, proves its scope to be 
much less limited than might be supposed. It enables him to 
gratify everybody in turn, from the lover of Bach and Handel 
down to the ardent Wagnerian. The former perceives his well- 
beloved models underlying the choral numbers ; the latter traces 
the influence of Bayreuth, here in an orchestral passage, there in 
a declamatory solo. In " St. Cecilia's Day," as in " Judith," Dr. 
Parry attains his highest standpoint in the choruses. The 
opening number, " Descend, ye Nine," is truly magnificent, full 
of striking contrasts, and clothing Pope's high-flown verse in 
music of the most expressive and dignified type. The Finale for 
baritone solo and chorus, " Music the fiercest grief can charm," 
is another piece of spirited and imposing writing, distinguished 
also by rare contrapuntal skill. The Arioso for baritone is not 
so interesting as the solo in which the soprano describes the 
unavailing rescue of Eurydice and the despair and death of 
Orpheus. This touching piece, plaintive and dramatic by turns, 
was sung by Miss Macintyre with profound sentiment and admir- 
able vocal art. Mr. Brereton interpreted the baritone solo. The 
chorus, now in better form than ever, put heart and soul into 
Dr. Parry's work, sending it forth to the world with an amplitude 
of sound and grandeur of effect that every choir in the kingdom 
might be proud to emulate. The composer was twice rapturously 
recalled by a crowded audience. Senor Sarasate then played 
the Mendelssohn Violin Concerto the cheval de bataille that ever 
bears him to triumph and afterwards came Beethoven's 
" Choral " Symphony. The latter masterpiece was superbly 
tendered by orchestra and choir alike, the solos being ably sung 
by Fraulein Fillunger, Miss Damian, Mr. Iver McKay, and Mr. 


Brereton. Opinions may have differed concerning one or two points 
in Sir Arthur Sullivan's reading, as, for instance, the tempo adopted 
in the Scherzo. But, take it as a whole, it was far and away the 
finest performance of the immortal " Ninth " ever heard at an 
English Festival. 

On the Friday evening another important novelty, expressly 
written, saw light for the first time. This was Professor Villiers 
Stanford's Choral Ballad " The Voyage of Maeldune " a fitting 
pendant to "The Revenge," which came out at the Leeds Festival 
of 1886. Like that work it is a setting of one of the Laureate's most 
stirring narrative poems, the chief difference being that one deals 
with an historical episode and the other with a legendary story. 
In the present instance, however, the entire poem is not used ; 
portions are omitted and we find interpolated in the scene 
describing the Isle of Witches a song from " The Sea-Fairies," 
which fits in extremely well. Otherwise, alike in its descriptive 
character and musical treatment, the new Ballad treads upon the 
same lines as its predecessor. The hero (a tenor) tells the story. 
He relates how he and his people sail in search of the isle where 
dwells the man who slew his father ; how, blown away from it by 
" a sudden blast," they are compelled to touch at a number of 
islands, each under some magic spell that brings them trouble ; 
and how they come to one, the home of an aged saint, who 
exhorts Maeldune to abandon his voyage of vengeance, so that at 
last, when they again reach the isle where the murderer stands on 
the shore, they " let him be," and the weary journey ends. All 
this the solo voice narrates in picturesque declamatory phrases, 
supported sometimes by other solo voices, but more generally by 
the chorus. The description of the various islands afforded the 
composer his richest opportunity, and of this he has availed 
himself with a graphic power and mastery of resource equal to his 
finest moments in " The Revenge." The Isle of Shouting, the 
Silent Isle, and the Isle of Fire are each depicted in distinct 
appropriate strains ; while graceful, sensuous music serves 
to pourtray both the Isle of Flowers and the Isle of Fruits. 

H 2 


The Undersea Isle has inspired an exquisite bit of "tone- 
painting" the gem of the series assigned to the four solo 
voices ; and the Isle of Witches finds natural expression in a 
tripping, scherzo-like chorus for female voices with a prominent 
part for soprano solo. The whole work teems with beauty and 
poetic charm of a kind not to be resisted ; music ever grateful for 
the singers being enhanced in significance and grace by the most 
refined and striking orchestration. In its way, therefore, " The 
Voyage of Maeldune " is a masterpiece, and its success with the 
Leeds audience was never for an instant in doubt. Rendered con 
amore by all concerned, the performance left absolutely nothing to 
be desired. The important tenor part had a perfect exponent in 
Mr. Edward Lloyd; Madame Albani sang the soprano music 
brilliantly, and Miss Hilda Wilson and Mr. Barrington Foote 
completed the quartet. Several numbers were loudly applauded, 
and at the end Dr. Stanford, who conducted, received an 
enthusiastic double recall. The miscellaneous selection that 
followed opened with Beethoven's " Leonora " Overture (given 
with a breadth and elan never to be forgotten by those who heard 
it), and terminated with Mendelssohn's music to " A Midsummer 
Night's Dream." 

A happy juxtaposition on the Saturday morning was that of 
Brahms's noble " German Requiem " and the familiar but ever- 
beautiful "Lobgesang" of Mendelssohn. The "German 
Requiem " was composed by Brahms during his residence at 
Vienna in the years 1867-8, and was first performed in the 
Cathedral of Bremen, April 10, 1868. In this country it was 
first given by the Philharmonic Society in 1873, and later on the 
" Requiem " was rendered in German by the Bach Choir. To 
Leeds belongs the honour of first introducing this sublime 
composition into a Festival scheme an act of enterprise which 
the authorities carried out at the preceding Festival in connection 
with Bach's colossal Mass in B minor. The " Requiem " was 
finely given, but the interpretation was not free from blemish. 
Unquestionably affected by the depressing atmosphere caused by 


fog and rain, the choir sang the earlier numbers with doubtful 
intonation and a somewhat feeble attack. In the second chorus, 
" Behold all flesh is as the grass," the tenors particularly sang 
flat, and later on the wonderful transition on the words " My hope 
is in Thee " was not at all clearly executed. The succeeding 
fugue, in which Brahms employs the unusual device of sustaining 
a tonic pedal throughout, was sung, however, with immense 
vigour and spirit ; and thenceforward the work went magnificently. 
The orchestra as usual was faultless, making light of a task that 
was exacting in the extreme. Fraulein Fillunger replacing 
Madame Valleria, who was too ill to sing again after her one 
appearance did remarkably well in the soprano solo, and 
Mr. Watkin Mills delivered the passages for bass solo with 
due dignity and emphasis. It will be taken for granted that 
a performance which deviated so slightly from the highest level 
of excellence, and then only for a brief space, left behind no 
feeling of disappointment. The vast assemblage was evidently 
very deeply impressed, and bestowed cordial recognition upon 
Sir Arthur Sullivan, who conducted with even more than his 
habitual vigilance and tact. In the " Hymn of Praise," which 
was grandly given, the solos were sustained by Madame Albani, 
Miss Grace Damian, and Mr. Lloyd. 

The Saturday evening Concert an extra one not included in 
the regular Festival series was attended by the largest audience 
of the week. It opened with a Concert arrangement of Sir 
Arthur Sullivan's "Macbeth" music. This naturally excluded a 
great deal of the incidental music composed for the Lyceum 
revival in fact, all that would be likely to have no meaning or 
value apart from the action of the play. The present selection 
comprised the Overture, the Preludes to the third, fifth, and sixth 
acts, the chorus of spirits in the air, and the chorus of witches 
and spirits. It will be readily imagined that Sir Arthur Sullivan's 
delicate scoring and subtle effects came out in a far truer aspect 
and with more telling force than in the theatre. The Overture 
especially made a deep impression, and the two choruses, sung 


with exquisite delicacy, also evoked hearty admiration. This was 
followed by a performance of "The Golden Legend," which 
extraordinarily successful work was first given at Leeds in 1886. 
If " all's well that end's well," then the singing of the chorus in 
this Cantata may be said to have reflected a halo of glory upon 
the proceedings of the whole week. The Epilogue was given 
with indescribable breadth and grandeur of effect, arousing a 
depth of emotion shared by no one more acutely than the 
composer himself, who, it was evident to those around, needed all 
his self-control to get through the National Anthem that rang 
down the cui.ain on the labours of the Festival. How admirably 
Sir Arthur Sullivan performed his onerous duties ; how gloriously 
the orchestra did its work throughout ; how hard and conscien- 
tiously the chorus-master, Mr. A. Broughton, and the organist, 
Mr. A. Benton, laboured in the execution of their important 
functions ; and with what financial and social success the 
gathering was attended, there can be no need to describe. 

The total receipts at the Festival amounted to 10,836, and 
the total expenditure to 7,694, leaving a balance of 3,142, as 
against 2,570 at the previous Festival. The committee handed 
over 2,357 to the medical charities, and the balance was 
added to the reserve fund, which now amounts to 2,755 IOS - 

The London Musical Season opened on the 2nd with an 
Orchestral Concert, given by Otto Hegner, with the assistance of 
the Royal Amateur Orchestral Society. The audience, a rather 
scanty one, gave the gifted boy a cordial reception. He looked 
wonderfully bright and sturdy, had a good natural colour in his 
cheeks, and had grown considerably since he was last here. His 
playing astonished as much as ever. In Weber's " Concertstiick," 
which he had not attempted publicly before, the increase of 
strength in his wrist-power, and the consequent greater fulness of 
his tone, were clearly noticeable, while his beautifully even 
touch and brilliant mecanisme found plenty of scope in the second 
section of Weber's composition. He also played Chopin's 
Berceuse and Polonaise in E flat (Op. 22), besides an encore 


piece. Mr. Max Heinrich was the only vocalist ; Madame 
Valleria was unable to appear. Mr. George Mount conducted, 
his band being heard in several well-known pieces. At the Piano- 
forte Recital, on the 5th, there was a large attendance. Hegner 
shone to immense advantage in Bach's Italian Concerto, and gave 
an astoundingly clear, intelligent rendering of Beethoven's Sonata 
in E minor (Op. 90). He also performed, with rare spirit and 
entrain, a very pretty and graceful Suite in G minor and major, 
written by himself. At the second Orchestral Concert, on the 
gth, Hegner was heard in Chopin's Concerto in E minor; and the 
programme of his second Recital, on the I2th, included Beet- 
hoven's Sonata in D (Op. 10, No. 3). Immediately after these 
Concerts the youthful prodigy left for America, where, under the 
management of Mr. Abbey, he entered upon a tour which did not 
prove successful. 

The thirty-fourth annual series of Crystal Palace Saturday Con- 
certswas inaugurated on the igth. A numerous audience assembled 
and gave Mr. Manns a warm welcome. The scheme contained 
several features of general interest, not the least of these being 
Beethoven's C minor Symphony which, as played by the Crysta 
Palace Orchestra, is always a treat to listen to. Sterndale 
Bennett's beautiful Overture, " The Wood-nymph," opened the 
Concert, and at the end came the ever-popular "Tannhauser" 
Overture, appropriately marking the anniversary of the production 
of Wagner's opera at Dresden in 1845. The novelty of the 
Concert was a melodious, cleverly scored Interlude from Mas- 
senet's latest opera, " Esclarmonde," founded on the nuptial 
hymn in the second act. Madame Roger-Miclos made a very 
favourable impression by her artistic rendering of Saint-Saens's 
Pianoforte Concerto in G minor (No. 2), the second movement 
being particularly well played. The lady, a debutante at these 
Concerts, was warmly recalled, and was heard also in a piece 
called " Inquietude" by Pfeiffer and Chopin's Andante Spianato 
and Polonaise in E flat. Mr. Lloyd sang in his own inimitable 
style the prayer from " Rienzi " and a graceful Serenade, "O 


moon of night " (with orchestral accompaniment), by August 
Manns. The talented Conductor shared in the applause evoked 
by the latter, and he directed the entire Concert with character- 
istic zeal and ability. On the following Saturday a Symphony in 
B flat (Op. 60), by Dr. Bernhard Scholz, was performed for the 
first time in this country. The composer, who succeeded Raff as 
the principal of the Conservatoire of Music at Frankfort, is a man 
of about fifty-four, and has long enjoyed a reputation among 
Germans as a theorist, composer, pianist, and Conductor of con- 
spicuous attainments. His rare ability as a contrapuntist stands 
clearly in evidence in the present work, which was written in 
1884, and first performed in that year at Frankfort. It is a 
Symphony with " so much in it " that to pretend to understand 
and absorb it all on first hearing would be manifestly absurd. At 
the same time, it may be doubted whether this polyphonic master- 
piece would appeal to amateurs after any number of repetitions 
through the potent qualities of spontaneity, charm, or genuine 
inspiration. Dr. Scholz's elaborate work met with ample justice 
at the hands of Mr. Manns and his orchestra, and was received 
with cordial approbation. Senor Albeniz made his first appear- 
ance at the Crystal Palace and performed the Schumann Piano- 
forte Concerto, but won more success in his own pieces, which he 
always plays to perfection. Beethoven's " Coriolanus " and 
Mendelssohn's " Calm Sea and Prosperous Voyage " were the 
Overtures that opened and closed the Concert. Mdlle. Gambogi 
sang and made a marked impression in Gounod's " Ave Maria," 
which the audience paid her the rare compliment of asking for a 
second time. 

On the igth, at St. James's Hall, Senor Sarasate began a 
farewell series of Concerts (Chamber and Orchestral) before his 
departure for America. Orchestra, or no orchestra, Senor 
Sarasate has only to announce his appearance and he can safely 
count upon a full room. His programme on the above date, apart 
from its consisting exclusively of Chamber music, did not contain 
one of the works with which the famous virtuoso is more particu- 


larly associated in the minds of London amateurs, yet was St. 
James's Hall crowded to repletion. In the opinion of the con- 
noisseurs present, Senor Sarasate has never more thoroughly 
vindicated his right to be reckoned among the leading interpreters 
of violin chamber music. Mechanical difficulties, we know, are 
as nothing to him, but in his rendering of Saint-Saens's Sonata 
for pianoforte and violin (Op. 75), and again in Schubert's 
Fantasie for the same instruments (Op. 159), there was evinced 
an intellectual refinement and grasp such as only the earnest, 
deep-thinking artist would be able to exhibit. In Raff's morceau 
caracteristique, " La Fee d'Amour," and in Dvorak's " Danses 
Slaves," Senor Sarasate was well-nigh unapproachable, as he 
always is in pieces of this particular genre ; but his playing 
throughout the afternoon afforded his listeners equal 
pleasure and elicited the same warm, spontaneous outbursts of 
applause. Heard in conjunction with the great Spanish fiddler, 
and also in one or two solo pieces, was Madame Berthe Marx, a 
pianist remarkable for her exquisite touch and correct execution, 
but possessing a frigid, colourless style. At his Orchestral 
Concert, a week later, Senor Sarasate introduced for the first time 
to London audiences Dr. Mackenzie's " Pibroch." The clever 
composition came out on second hearing even better than it did 
at Leeds, notably the opening movement or Rhapsody, the bril- 
liant yet dreamy character of which was realised by Senor 
Sarasate with delicious effect. On the part of the gifted soloist it 
was a magnificent performance, while the accompaniments, under 
Mr. Cusins, were very creditably played. At the end Senor 
Sarasate was recalled amid enthusiastic applause, and with him 
the composer also came forward. Raff's Violin Suite and the 
Concert-giver's own " Muineira " were further included in the 
programme, besides a so-called " Prelude and Fugue " (with 
Choral by Abert), attributed to J. S. Bach, and arranged for 
orchestra. The Prelude was not familiar, and the Fugue was 
the well-known Organ Fugue in G minor from Book 2. But the 
combination, overladen with noisy, modern orchestral effects of 


the most pronounced type, formed at once an insult to the 
memory of a great master and to the intelligence of a cultivated 
musical audience. Wotan's " Abschied and Feuerzauber," as 
played by orchestra alone, with the vocal monologue supplied by 
different instruments in turn, formed another strange feature in 
the scheme. 

The nineteenth season of the Royal Choral Society opened on 
the 3oth with a performance of Berlioz's " Faust." There was a 
very large attendance, and the popular " dramatic legend " 
received a splendid interpretation, notably on the part of the 
choir perhaps the finest that Mr. Barnby has ever had under his 
direction. The fine body of tone possessed by the tenors and 
basses was especially noticed ; these being the sections of the 
choir chiefly reinforced from the ranks of the now-disbanded 
Novello Choir. Madame Albani, who on this occasion made her 
final appearance in town previous to her departure for America, 
imparted her accustomed dramatic significance and vocal charm 
to the music of Margaret. Mr. Henschel's M ephistopheles was 
once more full of grim sardonic humour in declamation excellent, 
though in pronunciation not clearly comprehensible. Mr. Iver 
McKay was the Faust, while Brander's song was given by Mr. 
Ben Grove. The band did its work as well as usual, and Mr. 
Barnby conducted with the consummate skill of a musician who 
has a perfect mastery alike of his theme and his forces. 

The thirty-second season of the Popular Concerts began at St. 
James's Hall on the 28th. For the small proportions of the 
audience the programme had to a certain extent to be held respon- 
sible. It did not contain a single work that could be described 
as a classical masterpiece, the sole item of real importance being 
the Quartet in E major (Op. 80), by Dvorak, which was introduced 
to London amateurs in the spring of the year and now given at 
these Concerts for the first time. The pianist, Madame Haas, 
was entrusted with nothing of higher interest than a Rhapsody 
in B minor by Brahms, and Chopin's Nocturne in B major very 
neatly played, but at best a poor substitute for the substantial fare 


which habitues would have known so well how to appreciate. The 
remainder of the scheme was made up of a Violin Sonata by Rust, 
exquisitely rendered by Madame Neruda to her sister's accom- 
paniment, and Chopin's Introduction and Polonaise Brillante in 
C, for piano and violoncello, in which Madame Haas was associ- 
ated with the gifted veteran, Signor Piatti. These efforts were 
cordially applauded, and after the Sonata an encore was asked for 
and granted. Still the material was scarcely of a kind to start 
the season in brilliant style. The Quartet was superbly executed 
by Madame Neruda, Messrs. L. Ries, Straus, and Piatti. Miss- 
Liza Lehmann delighted the audience by her unaffected delivery 
of a graceful old song by James Hook, " Oh, listen to the voice 
of Love " ; and was heard later on in Lieder by Emmerich and 
Meyer-Hellmund, accompanied by Mr. Frantzen. 

On the same evening, after an absence of many months,. 
Madame Adelina Patti made her re-appearance in the metropolis 
at a Concert given in the Albert Hall under the direction of Mr. 
Kuhe. A vast audience gathered to listen to the illustrious 
artist. The reception accorded her was of the most enthusiastic 
character, and each of her solos was encored. Madame Patti 
was in splendid voice, and her singing was marked by all the 
incomparable charm of old. Seldom has the distinguished prima 
donna appeared in better health and spirits ; but it was noticed, 
not without some astonishment, that since she was last here the 
diva's raven tresses had changed their hue to an auburn tint. 
Madame Patey, Mr. Edward Lloyd, Madame Neruda, and other 
artists also appeared, and the orchestra was conducted by 
Mr. Wilhelm Ganz. 

The Royal College students at their orchestral performance on 
the 3ist played under Mr. Holmes's direction the Suite in C, by 
Bach, Brahms's Symphony in C minor (No. i), and Mendelssohn's 
" Hebrides " Overture. Miss Cecile Elieson, a clever young 
violin scholar, played Saint-Saens's Introduction and Rondo; and 
Miss Ethel Webster, Miss S. Pierce, and Mr. H. Beauchamp 
were the vocalists. 


A new romantic Opera, entitled " The Castle of Como," written 
by the late Charles Searle, and composed by Major George 
Cockle, Mus. Bac., Oxon., was performed for the first time at the 
Opera Comique Theatre on the 2nd. The story, taken from 
" The Lady of Lyons," follows closely upon the lines of Bulwer 
Lytton's play, the scenes coming in much the same order, while 
the character of Madame Deschappelles is the only one expunged. 
No books of the words were issued, consequently it was impossible 
to form a definite opinion upon Mr. Searle's libretto, but Lytton's 
text was frequently employed, though in a somewhat mutilated 
shape. Major Cockle failed to succeed in the task which Mr. 
Frederic Cowen, in his opera " Pauline," found alike difficult and 
ungrateful that of making interesting operatic personages out of 
Lytton's stilted, artificial characters. His music might be appro- 
priate, and, at times, dramatic, but that was the best that could 
be said for it. The scene in Widow Melnotte's cottage was the 
best-written and the most interesting ; but the Claude and Pauline 
were a very tedious couple, and the Beauseant was nothing more 
than a commonplace operatic villain. The mise en scene was 
adequate, and the orchestra, if too loud and large for the theatre, 
was a particularly good one. Miss Rosina Isidor appeared as 
Pauline, Miss Amy Martin as Widow Melnotte, Mr. Cadwaladr as 
Claude, Mr. Leo Stormont as Beauseant, Mr. Donnell Balfe as 
Colonel Damas, Miss de Vernet as Glavis, and Mr. Henry Pope as 
M. Deschappelles. The Conductor, Signor Coronaro (Faccio's 
deputy at the Milan Scala), kept his forces together with wonder- 
ful tact. In fact, to him was largely due the comparative smooth- 
ness of the initial performance and the consequent indulgent 
reception accorded the opera. 

" The Prima Donna," a comic opera in three acts, composed 
by Signor Tito Mattei, was produced with fair success at the 
Avenue Theatre on the i6th, and ran for several weeks. The 
story of an impecunious Grand Duke's device for concealing his 
poverty by making a troupe of French comedians impersonate 
his ministers and courtiers was rather too thin to be spread over 


three acts ; but it gave rise to some amusing complications. The 
chief possibilities for creating mirth lay in the part of Ballard, the 
manager of the travelling company referred to, a person whom 
Mr. Albert Chevalier contrived to make exceedingly diverting. 
The book of " The Prima Donna " was written some years ago 
by Messrs. H. B. Farnie and Alfred Murray, and most of Signor 
Tito Mattei's music had also been composed some time. There 
was an abundance of bright melody in the score, and altogether 
the music was decidedly worthy of Signor Mattei's elegant and 
fluent pen. The chief parts were played by Madame Palma (who 
made her first appearance in comic opera), Mr. Alec Marsh, Miss 
Florence Paltzer, and Miss Amelia Griihn, the last-named a 
debutante with a pretty voice and engaging presence. 

OBITUARY. William Michael Watson (song composer), 
London, 2nd ; Adolph von Henselt (pianist and composer), Warm- 
brunn, Silesia, I2th ; O. Metra (dance composer and conductor),. 
Paris, 22nd. 



DR. VILLIERS STANFORD'S " Voyage of Maeldune " and Dr. 
Hubert Parry's " Ode on St. Cecilia's Day " were performed for 
the first time in London at the Royal Choral Society's Concert 
on the I3th. The audience for the Albert Hall was not a large 
one, but it was very demonstrative, and emphatically endorsed 
the Leeds verdict in each instance. Considering the few 
rehearsals that had been possible, the performance on the part 
of the choir was highly meritorious ; but, on the other hand, the 
band was by no means up to the mark, and much of the delicate 
charm of the orchestration, in the " Voyage of Maeldune " 
especially, was lost in the big building. Miss Macintyre, 
Madame Belle Cole, Mr. Edward Lloyd, and Mr. Brereton were 
the soloists of the evening, and the composers conducted. 

The Royal Society of Musicians gave a performance of 
" Elijah " at St. James's Hall on the 27th. The principal 
soloists were Miss Anna Williams, Miss Hilda Wilson, Mr. Tver 
McKay, and Mr. Watkin Mills; and Mr. W. H. Cummings 

Spohr's " Fall of Babylon," written for the Norwich Festival of 
1842, and given under the composer's direction at Exeter Hall in 
1847, was revived by Mr. Ebenezer Prout at the first Concert of 
the Hackney Choral Association on the i8th. There are some 
interesting solos and some magnificent choruses in this Oratorio, 
but in a dramatic sense Spohr's music does not rise to the level 
of its theme. The vocalists were Madame Isabel George, Miss 
Rosa Dafforne, Mr. H. Piercy, Mr. Andrew Black, and Mr. H. 
Pope, who all acquitted themselves well. The Hackney choir sang 


with much spirit and with great attention to light and shade. 
Mr. Prout conducted with his usual skill and intelligence. 

The Crystal Palace Concert on the 2nd opened with a new 
Overture, entitled "Robert Bruce," composed by Mr. F. J. 
Simpson, a native of Portobello, near Edinburgh, who studied 
first at Leipsic in 1877, then at the National Training School, and 
afterwards, in 1885, took the degree of Mus. Bac. at Oxford. The 
work is intended to depict the career of the Scottish hero, Robert 
Bruce, and the principal theme employed is the famous tune 
" Scots wha hae," which, grandiosely treated, forms also the 
subject of the Coda. Mr. Simpson's Overture is boldly scored, 
and is altogether a work of decided merit and still greater 
promise. Among other items of the same Concert may be men- 
tioned an extremely good performance by Herr Hans Wessely of 
Mendelssohn's Violin Concerto, and the expressive singing of 
Mrs. Hutchinson. The Symphony was Schumann's No. i in B 
flat. On the following Saturday Goetz's masterpiece in F was 
heard. Madame Anna Falk-Mehlig gave on the latter occasion 
an exceedingly refined, intelligent rendering of Beethoven's 
" Emperor " Concerto. The programme further included Berlioz's 
picturesque Overture to " Benvenuto Cellini " and a Rhapsody 
for orchestra by Edouard Lalo, heard for the first time in 
England. The latter work was originally a " Fantaisie Norv6- 
gienne " for violin and orchestra, and in that form was played by 
Senor Sarasate in Paris in 1879. 1 the same year it was 
remodelled and a second movement added, and subsequently it 
met with great favour at the Chatelet Concerts. The Rhapsody 
is bright, characteristic, and full of variety, and, as is the case 
with all Lalo's compositions, the orchestration glows with vivid 
colour. Madame Nordica sang a scena from Marschner's opera 
" Hans Heiling " and the ballata " C'era una volta un principe," 
from Gomes's Opera " II Guarany." The performance of " St. 
Paul " on the i6th drew an overflowing crowd. Mr. Manns had 
taken great pains to secure a satisfactory rendering of Mendels- 
sohn's earlier Oratorio, and was bv no means unsuccessful. The 


choir did its work fairly well, the extra fifty boys' voices telling 
splendidly in the chorales; and the band was beyond praise. Of 
the soloists, the chief successes fell to Miss Anna Williams, 
Madame Marian McKenzie, and Mr. Lloyd. Mr. Brereton, Mr. 
Robert Grice, and Mr. Henry Bailey also sang, and Mr. Alfred 
Eyre was at the organ. A week later two works were added to 
the repertory of the Crystal Palace Concerts viz., Saint-Saens's 
Violin Concertstiick in A (Op. 20) and Liszt's Symphonic Poem 
in C (No. 7), entitled " Festklange." Neither can be described 
as a chef-d'oeuvre, but the art value of the Concertstiick may 
unquestionably be reckoned high above that of Liszt's noisy display 
of pretentious bombast. M. Saint-Saens's piece gave Miss Nettie 
Carpenter an opportunity for a brilliant display of virtuosity on 
her debut before a Sydenham audience, and she was received with 
loud applause. Wagner's "Flying Dutchman" Overture and 
Beethoven's Seventh Symphony were grandly played under Mr. 
Manns, and Fraulein Fillunger sang Mendelssohn's " Infelice " 
and Lieder by Brahms and Schubert. On the 3Oth Sir Arthur 
Sullivan's picturesque " Macbeth " music was heard here for the 
first time, and native talent was further represented by Mr. 
Hamish MacCunn's fine orchestral Ballad "The Ship o' the 
Fiend." The Symphony was Brahms's No. 2 in D. The 
Concert opened with a selection from Weber's " Euryanthe," 
comprising the Overture, Lysiart's scena (sung by Mr. Henschel), 
and the Romance " Glocklein im Thale," given by Mrs. Henschel. 
The talented husband and wife were also heard together in Mr. 
Henschel's charming duet " Gondoliera," which so pleased the 
audience that it had to be repeated. 

A fresh series of London Symphony Concerts was started by 
Mr. Henschel on the i4th. He again collected an excellent 
orchestra and he now furnished full analytical programmes at the 
reasonable price of sixpence. Moreover, in the belief that his 
Concerts should appeal to the legion of music-lovers who reside 
near and around London, he lowered his terms of subscription, 
and again altered the hour for beginning the Concerts from 8.30 


to 8 p.m. But despite all this, the attendance at the opening 
Concert was meagre, and it did not subsequently improve so 
much as could have been wished. Whether the intended exclusion 
of novelties this season constituted a wise move is questionable. 
At any rate, it would not seem to have been so, if a scheme com- 
prising a Suite by Bach, and Overture by Beethoven, and 
Symphonies by Haydn and Brahms failed at the outset to attract 
more powerfully. On the other hand, it was scarcely worth while 
to depart from the said intention in order to bring under notice 
the youthful efforts of Herr Richard Strauss, present Capellmeister 
of the Court Theatre at Weimar. Two movements from this 
young musician's Symphonic Fantasia " Aus Italien " were played 
at the Second Symphony Concert on the 28th. Herr Strauss (who, 
by the way, is the son of a celebrated horn-player, and no relation 
to the still more celebrated Viennese dance-music family) possesses 
undoubted talent, but it is not yet ripe enough, apparently, to 
challenge judgment beyond the home circle of modern German 
art. Whether all Herr Strauss's music is marked by the same 
diffuse, redundant character, the same pretentious style of treat- 
ment, and the same laborious striving after originality, with no 
better result than a mixed suggestion of Wagner and Brahms, it 
is impossible to say. Meanwhile, it would not be altogether fair 
to judge the composer by these isolated movements, with their 
meandering melodies and fantastic " tone-paintings." Enough 
that one seeks to depict the Roman Campagna and the other the 
shore at Sorrento. The same evening's selection also comprised 
the Overture to " Oberon," Brahms's Variation on a theme by 
Haydn, Wagner's " Huldigungs Marsch," and Schumann's 
Symphony in D minor, No. 4. 

Sir Charles Halle's Manchester band made its re-appearance at 
St. James's Hall, after a ten years' absence from London, on 
Friday evening, the 22nd, at the first of a series of four Concerts. 
Again did this admirable body of instrumentalists delight 
connoisseurs by the perfection of its ensemble playing. The advan- 
tage of constant working together, for unity of attack and precise 



observance of light and shade, was shown, for example, in a 
wonderful rendering of Cherubini's " Anacreon " Overture; but 
in regard to general excellence the Manchester band could make 
no claim to be placed upon a higher pedestal than our leading 
London orchestras, such as the Crystal Palace, the Philharmonic, 
or the Richter. In addition to the Overture, two of Dvorak's 
" Legenden " and Berlioz's " Episode de la vie d'un artiste " were 
played with rare spirit and refinement, while Lady Halle gave a 
magnificent rendering of Beethoven's Violin Concerto. The 
attendance at this Concert was by no means satisfactory ; but in 
point of fact, orchestral music, however excellent its quality, 
would seem to have little attraction for London amateurs during 
the winter months. 

At the opening Saturday Popular Concerts, on the 2nd, Madame 
Neruda and Messrs. Ries, Straus, and Piatti gave a perfect 
interpretation of Cherubini's posthumous Quartet in F (No. 5), 
heard at these Concerts for the first time. The lovely slow 
movement was exquisitely played ; it made one marvel at the 
freshness and feeling with which a composer of over 400 works 
could write at the age of seventy-five. Madame Haas introduced 
a clever and effective Fugue in E flat minor (Op. 37), by her 
brother, Alexis Hollander, a Professor resident in Berlin ; also a 
Capriccio by Scarlatti, and, as a encore, a Minuet by Paderewski. 
All these pieces she played charmingly. Mrs. Henschel received 
a hearty greeting, and sang, as usual, with irreproachable 
taste. At the next Monday " Pop " Miss Agnes Zimmermann 
made her r entree in a couple of pieces by Schumann, which she 
played with characteristic taste and sentiment. The clever 
English pianist also accompanied Signer Piatti in his arrange- 
ment for violoncello and piano of the third of the " Lessons " 
written by Ariosti for the viola d'amore two charming move- 
ments, a Largo and an Allemande, now heard for the first time 
here. Signer Piatti played them with delightful beauty of tone 
and phrasing. The Concert opened with Mozart's Quartet in A 
(No. 5), and concluded with Schubert's Pianoforte Trio in B flat 


(Op. 99), rendered in masterly style by Madame Neruda, Miss 
Zimmermann, and Signer Piatti. A very enjoyable feature of 
the evening were some duets by Dvorak and Goring Thomas, 
sung by Miss Lena Little and Mr. Max Heinrich. There was a 
comparatively meagre attendance both at this and the Saturday 
Concert of the Qth, when Dvorak's Quartet in E (Op. 80) was 
repeated. Sir Charles Halle made his re-appearance amid hearty 
greetings, and played Beethoven's Sonata in E minor (Op. 90), 
adding one of Schubert's " Momens Musicales " for an encore. 
With Lady Halle he was heard in Schumann's duet Sonata in A 
minor (Op. 105) ; and finally the gifted husband and wife, in 
association with Signer Piatti, executed Beethoven's Variations 
on " Ich bin der Schneider Kakadu." Miss Liza Lehmann sang 
songs by Schubert and Villiers Stanford. On Monday, the nth, 
Sir Charles Halle sustained a still heavier part in the pro- 
ceedings. At the beginning of the Concert he was associated 
with Madame Neruda (Lady Halle), Messrs. Ries, Straus, and 
Piatti in Dvorak's Pianoforte Quintet in A (Op. 81), which was 
very finely executed. After his solo (Beethoven's Variations in C 
minor, Op. 36) Sir Charles played two duets with Lady Halle 
viz., Brahms's Sonata in A i,Op. 100) and the " Pensees 
Fugitives " of Heller and Ernst. The vocalist was Miss 
Marguerite Hall a pleasing and^ artistic singer, who had made 
marked improvement of late. On the succeeding Saturday Sir 
Charles and Lady Halle introduced for the first time at these 
Concerts Brahms's duet Sonata in D minor (Op. 108), which 
Miss Fanny Davies brought forward at Princes' Hall in the 
summer. The fine work made a deep impression. In addition 
Madame Neruda led the Haydn Quartet in D minor (Op. 42), and 
was associated with Sir Charles Halle and Signor Piatti in 
Beethoven's D major Trio (Op. 70). The pianoforte solo was 
Schubert's Sonata in A minor (Op. 42). Miss Lena Little and 
Mr. Max Heinrich sang. On Monday, the i8th, Professor Villiers 
Stanford's new Sonata for pianoforte and violoncello, in D minor 
(Op. 39) was performed for the first time by the composer and 

I 2 


Signer Piatti. It was written in September, during a visit paid 
by Dr. Stanford to the "prince of 'cellists" at his villa on the 
Lake of Como. The opening Allegretto con moto is interesting and 
strongly tinged with romantic feeling; but the middle movement, 
an Andante containing some strongly-contrasted episodes, sounded 
on first hearing rather fragmentary and diffuse. The Finale is an 
extremely cleverly-written section, wanting neither in animation 
nor interest. The Sonata was finely played, and applauded with 
much warmth. Madame Neruda, accompanied by Miss Olga 
Neruda, was heard in Raffs " Volker," and also in Beethoven's 
Quintet in C. The Concert ended with Brahms's " Gipsy Songs " 
for four voices, these being sung by Mrs. Henschel, Miss Lena 
Little, Mr. Shakespeare, and Mr. Henschel, with Madame Haas 
at the piano. Miss Fanny Davies made her rentree on the 
following Saturday, and was warmly welcomed by a large crowd. 
Her solo was Bach's Chromatic Fantasia, which exacting piece 
she executed with faultless purity of touch and mecanisme, adding 
for an encore Schumann's Canon in A flat. She also joined 
Madame Neruda and Signer Piatti in Beethoven's E flat Trio 
(Op. 70), and accompanied the Brahms "Gipsy Songs," sung by 
the same vocalists as at the preceding Concert. On the last 
Monday of the month Signor Piatti brought forward Thirteen 
Divisions (or Variations) to a ground bass, written by 
Christopher Sympson for the " Division Viol." This curious 
example of seventeenth century English music, as now played by 
Signor Piatti (with Miss Fanny Davies at the piano), made a very 
pleasing effect and was loudly applauded. Miss Davies also 
performed Beethoven's Sonata in D minor (Op. 31), and Madame 
Belle Cole sang. Madame de Pachmann appeared on Saturday, 
the 3Oth, and gave a highly finished performance of Schubert's 
Fantasia Sonata in G (Op. 78). Her sympathetic touch and neat 
style were manifested with especial effect in the Finale, after which 
the player was thrice recalled. Madame de Pachmann also joined 
Signor Piatti in Rubinstein's Three Pieces for piano and 
cello (Op. n) a modest item, selected, maybe, in order to 


commemorate the composer's jubilee, which was celebrated in 
Russia with much rejoicing on this day. Madame N6ruda led 
Mozart's favourite Quintet in G minor and Madame Bertha Moore 
sang, Mr. Ernest Ford accompanying. 

The students of the Royal Academy of Music gave a Chamber 
Concert at St. James's Hall on the 4th. Some choral pieces 
were also included in the programme, these comprising Wesley's 
anthem " Blessed be God the Father," Brahms's " Ave Maria " 
for female voices, and Walmisley's part-song " Sweete flowers, 
ye were too faire." Mendelssohn's Pianoforte Trio in C minor 
was remarkably well played by Miss Edith Young, Mr. Gerald 
Walenn, and Mr. C. H. Allen Gill ; and Saint-Saens's Variations 
for two pianofortes on a theme by Beethoven were capitally 
executed by Miss Edith Purvis and Miss Christine Taylor. The 
Principal conducted. 

Two Concerts of a second series of four were given by the 
Musical Guild (on the I2th and 27th), at the Kensington Town 
Hall. At the first Spohr's Double Quartet in E minor (Op. 87) 
received a very creditable rendering. The executants were (first 
quartet) Mr. Arthur Bent, Mr. Wallace Sutcliffe, Mr. Emil 
Kreuz, and Mr. W. H. Squire, and (second quartet) Mr. Edgar 
Hopkinson, Miss Zoe Pyne, Mr. H. Hobday, and Mr. J. F. 
Field. Miss Zoe Pyne and Miss Marian Osborn played Dr. 
Hubert Parry's " Partita " for violin and pianoforte in D minor; 
and Brahms's Pianoforte Quartet in A major (Op. 26) received full 
justice at the hands of Miss Annie Fry, Messrs. Bent, Kreuz, and 
Squire. The remaining programmes of the series were equally 
interesting in character, the only items that call for record here 
being Mr. Henry Holmes's Octet in F, for strings (Op. 56), and a 
set of National Dances by Mr. Algernon Ashton. 

The Wind Instrument Chamber Music Society gave a " Social 
Evening," on the i5th, at the Royal Academy of Music. The 
programme contained Reinecke's Trio for oboe, horn, and 
piano ; a Sonata for flute and piano, by Mr. C. E. Stephens ; a 
Quintet for oboe, clarinet, horn, bassoon, and piano, by Mr. 


G. A. Osborne; and Spohr's Septet (Op. 147), for piano, wind, 
and strings. Mr. Stephens and Mr. Osborne gifted veterans 
both took part in the interpretation of their respective works. 

The admirably organised Chamber Concerts given annually by 
the Messrs. Hann began at the Brixton Hall on the 6th. Mr. 
Hann and his sons supplied the entire executive element, and 
their refined, intelligent playing afforded pleasure to highly 
appreciative audiences. Messrs. Hann introduced at their second 
Concert, on the 27th, a MS. Pianoforte Quintet in C major, by 
the talented Cambridge musician, Mr. Gerard F. Cobb. This 
work contains the usual four movements. The Allegro opens 
boldly, and the music generally is interesting. The Scherzo, 
though too short, is distinctly humorous, and the Trio contrasts 
well with it. The slow movement can boast much melodic beauty, 
though in general effect slightly fragmentary. The Rondo Finale 
is very melodious and graceful. The performance of this clever 
work by the Messrs. Hann was deserving of the warmest praise. 
Mrs. Henschel sang. 

The London Ballad Concerts began for the season on the 2Oth, 
St. James's Hall being full, but not crowded. The programme 
contained four new songs by popular composers, but none of 
them made a very palpable success. Madame Antoinette Sterling 
introduced " Bantry Bay," a rather dismal song by Molloy ; Mr. 
Edward Lloyd sang Hope Temple's " Love and Friendship," 
which did not suit him ; Mr. Piercy was heard in a Ballad by 
Marzials, called " Stay, darling, stay " ; and Madame Belle Cole 
introduced Stephen Adams's " This work-a-day world." In 
addition to these artists, there appeared Mrs. Mary Davies, Miss 
Alice Gomes, Miss Liza Lehmann, Mr. Arthur Oswald, Mr. 
Plunket Greene, Madame Neruda, and Mr. Eaton Faning's 
Select Choir. Mr. Sidney Naylor accompanied. 

Miss Mathilde Wurm gave an evening Concert at Princes' Hall 
on the I2th. In her solo pieces the young pianist acquitted 
herself with distinction, and won the warm approval of her 
audience. She also joined Mr. Hollander in Brahms's A major 


Sonata for pianoforte and violin, and had the assistance of her 
sister, Miss Alice Wurm, in Saint-Saens's arrangement for two 
pianofortes of his " Danse Macabre," both works being extremely 
well played. Miss Liza Lehmann sang. 

Miss Agnes Bartlett, a pupil of Liszt, gave a series of Historical 
Pianoforte Recitals at the Hampstead Conservatoire Hall, com- 
mencing on the i6th. Mr. J. T. Carrodus gave an interesting 
Chamber Concert in the same Hall, on the 22nd, assisted by three 
of his sons, Mr. G. F. Geaussent, and other artists. 

On the 2yth Herr Robert Heckmann and his wife, assisted by 
Herr Bernhard Thieme (violoncello), gave a Chamber Concert at 
Steinway Hall. Noteworthy was their admirable interpretation 
of a Pianoforte Trio in F (Op. 6) by Bargiel, heard once at the 
" Pops" in 1875. 

Herr Schonberger and Mr. Max Heinrich gave conjointly three 
Concerts at Steinway Hall, the programmes of which were 
selected from the works of Schubert, Schumann, and Brahms 
respectively. The first Concert took place on the 28th. It was 
not very well attended, but the audience derived manifest pleasure 
from the efforts of these talented artists. 

The Musical Artists' Society gave their first Concert of the 
season at Willis's Rooms, on the i6th, and on the same evening 
the Popular Concert Union gave an excellent performance of 
" Judas Maccabaeus " at the People's Palace, Mile End. 

St. Andrew's Day was celebrated on the 3Oth with the cus- 
tomary musical honours. Mr. Ambrose Austin gave his annual 
Scotch Ballad Concert at St. James's Hall, at which the Glasgow 
Select Choir and some popular soloists appeared. At the Albert 
Hall Mr. William Carter provided the usual Scotch Festival, and 
at the Crystal Palace there was a grand evening Promenade 
Concert, the Saturday orchestra being specially retained. 

Madame Patti sang at a second Concert at the Albert Hall on 
the 4th and made her final appearance on the i8th, when the 
colossal building was crowded in all parts. Her solo pieces on 
the last occasion were the air with the flutes from " L'Etoile du 


Nord " and the waltz from "Romeo"; and with Mr. Edward 
Lloyd she sang the so-called madrigal duet from the latter opera. 
These pieces were all encored, and after the waltz there was a 
double encore. The other artists who appeared were Miss Alice 
Gomes, Madame Antoinette Sterling, Mr. Max Heinrich, Miss 
Kuhe, and Misses Marianne and Clara Eissler. Mr. Randegger 
conducted in the place of Mr. Ganz, who was suffering from a 
domestic bereavement. 

" The Red Hussar," a comic opera in three acts, libretto by 
Mr. P. Stephens, music by Mr. Edward Solomon, was brought 
out at the Lyric Theatre on the 23rd, and received with a toler- 
able amount of favour. The story is full of improbabilities and 
complications, while the dialogue is largely devoted to stale quips 
and cranks, instead of helping to make the action clearer. Mr. 
Stephens's lyrics are, happily, superior to his jokes, although 
showing an equal lack of inventiveness. Mr. Edward Solomon's 
music goes a long way towards atoning for his collaborator's 
shortcomings, but it does not go far enough. Its interest and 
power drop off just when both are most needed that is to say, in 
the second act amid the feeble and ridiculous incidents occurring 
in the English camp near Bruges. The Red Htissar is a female 
English ballad-singer in disguise. She follows her lover to the 
wars when, a penniless gentleman, he enlists under Marlborough 
and goes over to fight in Flanders. How she becomes one of 
Prince Eugene's Hussars it would be difficult to say; but in 
addition to this, she contrives, by some feat of gallantry, at once 
to save her lover's life and get raised to the rank of sergeant. 
When the scene shifts back to England, the Red Hussar re-appears 
in the strangest way as a fine lady decked in silks, satins, and 
jewels, and brought on in a sedan chair. Ultimately it is dis- 
covered that she is the heiress to a rich estate, and in the course 
of an exceedingly clumsy denouement she succeeds in marrying 
herself to the man of her choice. The whole of the first act and 
the tenor song and the duet in the second comprise the very best 
work that Mr. Solomon has yet put into a comic opera. There 


is a distinction and a symmetry in his melodies that they could 
not boast in his early days of composition. The choruses are 
unimportant, but Mr. Solomon's orchestration is as rich in 
ingenuity and device as ever. The entire opera was admirably 
interpreted under M. Ivan Caryll's guidance. Miss Marie 
Tempest and Mr. Ben Davies carried off the chief honours of the 
performance, while Mr. Hayden Coffin, Mr. Arthur Williams, and 
Miss Florence Dysart were also in the cast. 

OBITUARY. Frederic Clay (composer), Great Marlow, ayth. 



M. PETER BENOIT'S Oratorio "Lucifer" was vouchsafed its 
second hearing at the Albert Hall on the 4th. It again made the 
impression of being a work of considerable imaginative power and 
no slight originality, but, on the whole, did not prove more 
interesting than when given here for the first time in April. Mr. 
Barnby conducted a remarkably smooth and efficient performance, 
the choir again acquitting itself of its difficult task with con- 
spicuous ability. The solos were now in entirely different hands. 
Miss Macintyre and Madame Belle Cole jointly sustained the role 
of Fire; Mr. Iver McKay sang very well indeed the tenor solo 
allotted to Water ; and, in the absence of M. Blauwaert (who was 
too ill to come over and repeat his fine impersonation of Lucifer], 
Mr. Watkin Mills " doubled " the parts of the Fiend and Earth, 
declaiming his music with rare vigour and force. The composer 
was once more among the audience not a very large one, by the 

At the Crystal Palace Concert on the yth the principal work in 
the scheme was Mr. Frederic Cliffe's clever Symphony in C minor 
(Op. i), now given here for the second time. It was warmly 
applauded, and the composer was called to the platform. Miss 
Marian Osborn, until recently a student at the Royal College, 
made her debut, with marked success, giving an extremely neat 
rendering of Beethoven's G major Pianoforte Concerto and 
Mendelssohn's Prelude and Fugue in E minor. Goldmark's 
picturesque Overture " Sakuntala " was the novelty of the after- 
noon, and Madame Louise Pyk sang in place of M. Blauwaert. 
On the I4th, at the last Saturday Concert of the year, Mr. F. H. 
Cowen's Old English Idyll "St. John's Eve" was performed for 

DECEMBER. / 123 

the first time. Written for the express purpose of fitting the 
limited executive resources of our minor choral societies, this 
Cantata can be given either with a small or a large orchestra, and 
at no point is the music of such a nature as to make exigent 
demands upon its interpreters. The poem is in Mr. Joseph 
Bennett's happiest vein. His flowing lyrics are, as usual, full of 
varied expression, and the story embodies a genuine village idyll 
of bygone days. The characters are four in number viz., Nancy, 
a village maiden (soprano) ; Robert, a young villager (baritone) ; 
Margaret, an ancient dame (contralto) ; and The Young Squire 
(tenor). In three scenes we are shown how Nancy, advised by old 
Margaret, gathers a rose at midnight on St. John's Eve to keep 
until Christmas, when, if she find it unfaded, she is to wear it, and 
the man who plucks it from her bosom will be her husband. In 
due time Christmas Day comes round and the maiden displays an 
unfaded rose. But the man who takes it is the uncouth Robert, 
whom Nancy forthwith rejects, whereupon The Young Squire steps 
forward and claims Nancy as his bride. It was he who had sent a 
new bloom to replace the faded rose, arad he now offers the village 
beauty his hand and heart. The simplicity of this poetic idea 
finds its counterpart in Mr. Cowen's charming music, which 
breathes an Old English spirit, and teems with melody of the 
most graceful kind. The choruses and instrumental preludes and 
dances are among the most attractive features of the work, while 
of the solos, the tenor Serenade " O Zephyr, stirring 'midst the 
leaves," is unquestionably the gem. The performance, which was 
directed by the composer, may not have been free from blemish, 
but it did the new work justice. Miss Macintyre, Miss Hilda 
Wilson, Mr. Edward Lloyd, and Mr. Plunket Greene comprised 
the solo quartet. The choir was excellent, and the band beyond 
reproach. Mr. Cowen had to respond to an enthusiastic ovation, 
and his composition met with high approval on every hand. 
Grieg's " Landkjending," for baritone solo, chorus, orchestra, and 
organ (Op. 31), was performed for the first time in England at the 
same Concert. It is a characteristic setting of a short poem by 


Bjornsen, describing the discovery of a new land and the found- 
ing of a kingdom by the Scandinavian hero, Olaf Trygvason. The 
music is full of dignity, expression, and colour, especially 
beautiful being the religious melody for the solo voice (sung by 
Mr. Albert Fairbairn), which, repeated by the chorus, concludes 
the piece with fine effect. 

At Sir Charles Halle's second Orchestral Concert, on the 6th, 
the audience did not attain to such proportions as it should have, 
looking at the nature of the programme and the excellence 
of the performance. The works given were Dvorak's Third 
Symphony in F, Beethoven's Pianoforte Concerto in G (the solo 
part played by Sir Charles Halle himself), Gade's "Hamlet" 
Overture, the Entr'acte in B flat and ballet air from Schubert's 
" Rosamunde " music, and two movements from Handel's 
" Concerto Grosso " in B minor. 

Mozart's " Notturno-Serenade " in D, for four orchestras, was 
introduced at the London Symphony Concert on the I2th. The 
exact date of this composition is unknown, but is supposed to be 
1777, and in any case the work may be regarded as a youthful 
jeu d'esprit, interesting on account of its curious form rather than 
attributes of a higher order. Each orchestra consists of first and 
second violins, viola, violoncello, and two horns. The purpose of 
the division is to secure echo effects, these being produced by a 
repetition of the concluding phrase of a passage. Thus, the first 
orchestra, which is also the largest, gives out the subject forte, 
and the last few bars are taken up by the remaining three 
orchestras in turn, each repeating it more softly than the other. 
The movements are three in number viz., an Andante, an 
Allegretto, and a Menuetto, and all are unmistakably Mozartian in 
their melodiousness and grace. In addition to the novelty, which 
was neatly interpreted, the programme contained Beethoven's 
Symphony in B flat (No. 4), the love scene from Berlioz's 
" Romeo and Juliet " Symphony, and the " Trauermarsch " and 
" Walkiirenritt " of Wagner. Mr. Henschel conducted with 
plenty of spirit, and was the recipient of abundant applause. 


Included in the Popular Concert programme on Monday, the 
2nd, were Mendelssohn's String Quintet in B flat (Op. 87) and 
Schumann's favourite Pianoforte Quintet in E flat (Op. 44). The 
executants were Madame Neruda, Miss Fanny Davies, Messrs. 
Ries, Straus, Gibson, and Piatti. After an excellent rendering of 
Beethoven's Sonata in D (Op. 10), Miss Davies played as an 
encore one of Mendelssohn's Characteristic Pieces. Miss Mar- 
guerite Hall sang songs by Schubert and Brahms, accompanied 
by Miss Carmichael. The same week Professor Stanford played 
his new Sonata in D minor, with Signer Piatti, for the first time 
to a Saturday audience, and Brahms's "Gipsy Songs" were 
repeated with the same quartet as before, save that Miss 
Marguerite Hall replaced Miss Lena Little. Madame Neruda 
" led " Beethoven's Quartet in F (Op. 18), and was encored in the 
same composer's Romance in G. Madame Haas was the pianist 
at this Concert, and again on Monday, the gth, when she played 
Beethoven's Sonata in A flat (Op. no), the rest of the programme 
being entirely familiar. The admirable singing of Mr. Plunket 
Greene, in pieces by Brahms and Hubert Parry, calls for mention. 
On the following Saturday and Monday, Miss Fanny Davies was 
the pianist, giving Schumann's " Carnival " at one Concert and 
five or six numbers of his " Kreisleriana " at the other. The 
concerted works were again selected from among the most familiar 
in the repertory, while the vocalists on these respective occasions 
were Mdlle. Agnes Janson and Miss Liza Lehmann. At the 
afternoon Concert of the 2ist a Beethoven programme was per- 
formed, including such favourites as the " Waldstein " and 
" Kreutzer " Sonatas, and the " Rasoumowski " Quartet in F. 
Sir Charles Halle took part in the Sonatas, and Miss Marguerite 
Hall sang. The series of Concerts before Christmas terminated 
on the 23rd, when Mozart's Clarinet Quintet (with Mr. Lazarus at 
his usual post), Beethoven's Trio in C minor (Op. i, No. 3), 
Chopin's Barcarolle (played by Mdlle. Janotha), and portions of 
Raft's " Cyklische Tondichtung " (executed by Madame Neruda), 
with songs for Fraulein Fillunger, made up an attractive pro- 


gramme. The average attendance during the month was large, 
more especially, of course, on the Saturday afternoons. 

The only Christmas performance of " The Messiah " in central 
London was that given at St. James's Hall, on the 2Oth, by the 
South London Choral Association, under Mr. L. C. Venables, the 
able Conductor of this institution. The Oratorio went fairly well, 
the solos being undertaken by Mrs. Hutchinson, Miss Hilda 
Wilson, Mr. Henry Piercy, and Mr. Andrew Black. 

Another Choral Concert on the same evening was that given at 
Alexandra House by pupils of the Royai College of Music, the 
work essayed here being Berlioz's Sacred Trilogy " L'Enfance 
du Christ," first introduced to Londoners by Sir Charles Halle in 
1880. The work, however, has never reaped the benefit of that 
introduction. It is treated with an indifference which its musical 
beauties certainly do not warrant, and which the popularity of the 
same composer's secular masterpiece, " La Damnation de 
Faust," makes it difficult to explain. Hence were thanks due to 
the authorities of the Royal College for performing " L'Enfance 
du Christ " at the College Concert that marked the close of the 
term. The religious charm and subdued grandeur of Berlioz's 
music were fully recognised and appreciated by all who heard it, 
and it received adequate justice at the hands of the students, 
under the painstaking guidance of Professor Stanford. The solos 
were sustained by Miss Richardson (Mary), Mr. J. Sandbrook 
(Joseph), Mr. E. G. Branscombe (Narrator), Mr. S. P. Musson 
(Herod), and Mr. Chas. J. Magrath (Father of the Family). 

The Royal Academy students took part in a Choral and 
Orchestral Concert at St. James's Hall on the nth, the pro- 
gramme opening with a " Christmas Carol " (MS.), by Miss Mary 
Toulmin, a pupil of Mr. Corder's. The Carol, set to words by 
Miss Julia Goddard, was neatly put together, and the composer 
had to respond to a deserved recall. Of the pianists Miss Amy 
Horrocks, Miss Maude Wilson, and Miss Mabel Lyons most dis- 
tinguished themselves; while three Australian pupils of Mr. 
Randegger (Mrs. Florence Bethell, Mr. C. Edwards, and Mr. F. 


H. Morton) displayed capital voices and good style in the 
dungeon trio from " Fidelio." Dr. Mackenzie, the Principal, 

At an Orchestral Concert given at the Guildhall on the 7th, by 
students of the Guildhall School of Music, the Lord Mayor (Sir 
Henry Isaacs) attended in state, and was duly honoured with Mr. 
Weist Hill's " Civic Anthem." A selection from Berlioz's 
"Faust" musical and instrumental excerpts only gave great 
satisfaction. A Nocturne for violin and orchestra, by Mr. Joseph 
Speaight, a student, was played, Mr. John Saunders executing 
the solo. The first movement of a Symphony in G minor, by Miss 
Edith Swepstone, another talented student, was also introduced 
with marked success. The Concert was admirably conducted by 
the Principal. 

Mr. and Mrs. Henschel sang before crowded audiences at their 
Vocal Recitals, at Princes' Hall, on the 4th and nth. The pro- 
grammes were well chosen and of exceptional interest, several 
compositions by Mr. Henschel being included. 

The fiftieth birthday of Mr. J. H. Bonawitz was celebrated at 
the Portman Rooms on the 3rd by a Concert of his vocal and 
orchestral works. Included in the programme were selections 
from Mr. Bonawitz's operas " Ostrolenka," " Irma," and "The 
Bride of Messina"; excerpts from his "Requiem" and " Stabat 
Mater"; the serenade from his Symphony in C minor; and a new 
Introduction and Scherzo for piano and orchestra, played for the 
first time by the composer himself. 

At their opening Concert of the season, on the 4th, the West- 
minster Orchestral Society provided an interesting scheme, in 
which, among other things, Miss Josephine Lawrence played 
Weber's " Concertstiick," and Mr. F. Griffiths played a Flute 
Concerto by F. Langer for the first time. Miss Annie Marriott 
and Mr. Musgrove Tufnail were the vocalists. 

Miss Emma Barnett's Pianoforte Recital at St. James's 
(Banqueting) Hall, on the loth, derived special interest from the 
first performance of a Sonata in A minor, by Mr. J. F. Barnett^ 


wherein the talents of the brother as a composer and the sister as 
an executant were advantageously exhibited. The new work is 
in three movements, and of these the Finale (a Saltarello) pleased 
most on first hearing. The Sonata as a whole earned hearty 
admiration. Miss Barnett also played Schumann's Fantasia 
(Op. 17) and a number of smaller pieces by modern masters. 

Mrs. Francis Ralph gave a Chamber Concert at Princes' Hall 
on the nth, at which she introduced (with Mr. Gerald Walenn) a 
Romance for violin and piano and an Air with variations for 
piano, both clever and pleasing compositions, from her own pen. 
Madame Mary Davies and Mr. Bridson sang, and Mr. Charles 
Fry gave a couple of recitations. 

The Stock Exchange Orchestral Society gave its first Concert 
of the season at St. James's Hall on the loth. The Male Voice 
Choir, an organisation not less excellent and efficient in its way 
than the band which Mr. George Kitchin conducts so admirably, 
also took part in the Concert. Among the instrumental items 
were Mendelssohn's " Italian " Symphony, Sterndale Bennett's 
" Parisian " Overture, Massenet's " Scenes Alsaciennes," and the 
Overture to Ambroise Thomas's " Raymond," which were all 
given with a degree of refinement and spirit above the level of 
ordinary amateur playing. Mr. Arthur Payne was successful in 
his violin solos, and Fraulein Fillunger sang. 

At the Hyde Park Academy Students' Concert at Steinway 
Hall, on the I2th, Mr. H. Frost officiated for the last time as 
Conductor at this institution. He concluded his labours with 
quite a tour de force, for his young ladies came off easy victors in 
a struggle with the exacting chorus of Sea-Fairies, from Stanford's 
" Voyage of Maeldune." 

After a run of fourteen months " The Yeomen of the Guard " 
at the Savoy gave place, on the 7th, to a new comic opera 
by Mr. W. S. Gilbert and Sir Arthur Sullivan, entitled " The 
Gondoliers ; or, the King of Barataria." Mr. Gilbert's share in the 
new work is worthy of his reputation. Discarding the travesty 
of " Ruddigore " and the serious interest of " The Yeomen of the 


Guard," lie returns to his old love, "topsy-turveydom," and revels 
once more in paradox and incongruity. The lyrics are in Mr. 
Gilbert's happiest vein, and the dialogue, though there is less of it 
than usual, contains quite the customary proportion of quaint 
conceits and merry quips and cranks. The plot deals with the 
confusion of interests and identities arising out of the search for 
the lost heir to the throne of Barataria. The individual in question 
is supposed to be one of two Venetian gondoliers, who are invested 
with the joint sovereignty of the country, and who carry on the 
government on strictly Republican lines until the rightful king 
turns up in another person. From this motive springs a chain 
of extremely amusing incidents, treated by Mr. Gilbert in his 
customary skilful and humorous fashion, the interest being well 
sustained to the last. It has been generally conceded that " The 
Gondoliers " is the equal of " The Mikado " for freshness, bright- 
ness, and animation, The "local colour" may not be so 
completely novel, but it is very nearly as delightful and quite as 
truthful. The first act is redolent of gay, sunny Italy that Italy 
which we read about and see in pictures. The stage represents 
a beautiful tableau of the Piazzetta and the Grand Canal at 
Venice, as that famous place might have looked 150 years ago 
when crowded with pretty contadine and gaily-clad gondoliers. 
What Mr. Craven's brush and Mr. Percy Anderson's pencil do 
here for the eye, Sir Arthur Sullivan's music does for the ear. The 
gifted composer has fairly ransacked the store of Italian forms 
and rhythms to provide music that shall suggest as well as please. 
The dashing Neapolitan song for Antonio, with chorus ; the jolly 
Barcarolle for the two gondoliers ; the familiar Abruzzi " drone " 
in the bridal chorus ; the delicious imitation of the Rossinian 
style in the greeting (to real Italian words) between the gondoliers 
and the contadine; and the spirited Saltarello movement that 
comes in the Finale these are all delightful in themselves and 
perfect in their illustrative colour. In the second act, which 
takes place in Barataria, there enters a Spanish element, and this 
the composer duly reflects in his stately gavotte-quintet (quaintly 



sung and quaintly danced), and his genuinely Spanish Cachucha, 
the execution of which by Miss Geraldine Ulmar, Miss Jessie 
Bond, Mr. Curtice Pounds, and Mr. Rutland Barrington is a 
triumph of its kind. But " local colour " is all very well in its 
way ; there must not be too much of it. An opera by Sir Arthur 
Sullivan without the purely Sullivanesque would be an anomaly, 
and that mistake has happily not been committed in " The 
Gondoliers." The Grand Inquisitor's songs, more than one 
sentimental ballad, and much of the delicious concerted music 
above all, that wonderfully clever and comic quartet with the 
combined themes in the second act bear the stamp of the com- 
poser's individuality in its clearest aspect, while the instrumen- 
tation simply teems with characteristic touches of delicate fancy 
and humour. The performance was full of life and " go," and 
showed old favourites and new-comers alike in the most favourable 
light. The quartet of artists above-named were truly admirable 
as the gondoliers and their wives. A youthful debutante, Miss 
Decima Moore, won emphatic favour; while the absence of Mr. 
Grossmith was more than atoned for by the co-operation of two 
talented comedians like Mr. Frank Wyatt and Mr. Denny. Miss 
Rosina Brandram and Mr. Brownlow were also in the cast. The 
success of " The Gondoliers " was pronounced in unmistakable 
fashion on all sides, the cheers that greeted author, composer, 
and manager on the first night foreshadowing a long and 
prosperous run. 

OBITUARY. Charles H. Marriott (dance music composer and 
conductor), Hastings, 3rd ; Madame Moscheles (pianist, widow 
of Moscheles), Detmold, Germany, I3th ; Carl Formes (bass 
singer), New York, i6th. 



THE pause in local musical affairs, consequent upon the 
Christmas holidays, extended to February 4, when Messrs. 
Harrison resumed the popular Subscription Concerts in the Town 
Hall. The interest on this occasion was centred in little Otto 
Hegner, who appeared here for the first time, and greatly charmed 
the audience by his expressive performance of pieces by Chopin 
and Schumann, and perfectly astounded them by his wonderful 
execution in Liszt's second Rhapsodic Hongroise. Miss Marianne 
Eissler introduced Dr. A. C. Mackenzie's " Benedictus," for 
violin, the beauties of which were cordially recognised. The 
vocalists were Madame Nordica, Madame Patey, Mr. Orlando 
Harley, and Signer Foli, Mr. Wilhelm Ganz officiating as pianist. 
On the I5th the same entrepreneurs gave a further opportunity of 
judging of the capabilities of young Hegner, who, under their 
auspices, gave a Pianoforte Recital in the Town Hall. He 
played in masterly style Bach's Suite Anglaise (No. 2) and Beet- 
hoven's Sonata in E flat (Op. 31, No. 3), and in smaller pieces 
by Chopin, Hans Huber, Paderewski, and others exhibited 
remarkable finish and taste. At their fourth Concert, March 4, 
Messrs. Harrison once more brought Halle's celebrated orchestra 
here. This is always the greatest musical treat of the year. A 
novelty in the programme was Bizet's Suite "Roma," which 
charmed all hearers. Beethoven's Overture in C (Op. 124), seldom 
heard here, was given in grand style, and Lady Halle played two 
movements of the E major Concerto of Vieuxtemps, and Sir Charles 
Halle gave two of the three pieces by Grieg, known as " Aus dem 
Volksleben " (Op. 19). The vocalists were Miss Hope Glenn 

K 2 


and Mr. Henry Piercy. From May to October is an interregnum, 
musically speaking, the only breaks in which are those of comic 
opera ; and the first herald of the approaching season is nearly 
always the new series of Popular Concerts given by Messrs. 
Harrison. On October 14 Madame Patti, with a host of lesser 
stars, gratified a large and fashionable audience, Mdlle. Janotha 
making her first appearance here. At the second Concert, 
November 25, the vocalists were Madame Nordica, Miss Macintyre, 
Miss Hope Glenn, and Signer Foli, with two eminent violinists, 
Messrs. Tivadar Nachez and Johannes Wolff, and another debutant, 
Mr. Luigi Arditi. 

Mr. Stockley's Orchestral Concerts were resumed on February 
7, but the programme was made up of items more or less 
familiar. We had, however, the pleasure of hearing Mackenzie's 
" Benedictus " as scored for orchestra, which was admirably per- 
formed, the whole of the first and second violins (numbering 
nearly thirty) playing the melody with remarkable unity and 
effect. Mdlle. Antoinette Trebelli and Mr. Edward Lloyd were 
the vocalists. On March 14 Mr. Stockley brought forward a 
novelty, a Suite de Ballet in E flat, by A. Goring Thomas, origi- 
nally written for the Cambridge University Musical Society. 
This, though musicianly in every way, seemed to us somewhat 
heavy. The two melodies for string orchestra, by Grieg, met with 
universal acceptance, and were played with much refinement. 
The vocalists were Miss Fanny Moody and Mr. Charles Manners, 
who appeared for the first time in Birmingham on the Concert 
platform. At the Concert of May 2, Dr. Hubert Parry con- 
ducted his " Suite Moderne," composed for the Gloucester 
Festival of 1886, and the " Danse Macabre " of Saint-Saens was 
heard here for the first time in its proper orchestral form. The 
first work was heard with pleasure and admiration ; the other 
excited a kind of wonder, but little beyond. Miss Nettie Carpenter 
played in admirable style Max Bruch's Violin Concerto in G 
minor, and Madame Nordica and Mr. Charles Banks gave some 
operatic pieces. Mr. Stockley entered upon his seventeenth series 


of Orchestral Concerts on November 7, when Mr. Frederic 
Cliffe's Symphony in C minor was produced. The work made a 
deep impression here, the skilful handling of the orchestra in the 
first and final movements being very conspicuous, and the melodic 
wealth of the Ballade albeit resembling in its initial theme Senta's 
ballad in "The Flying Dutchman " striking the attention of all. 
Mr. Cliffe, who proved himself an able Conductor, met with a most 
enthusiastic reception. The " Graceful Dance " from Sullivan's 
incidental music to " Henry VIII.," and Wagner's study, 
" Traume," as arranged for violin solo and orchestra, were also 
novelties here. Mr. F. Ward played the solo admirably. Madame 
Nordica and Mr. Ben Davies sang. 

The third Concert of the Festival Choral Society was given in 
the Town Hall on February 21. The programme was miscel- 
laneous, and comprised part-songs, sung with extraordinary 
delicacy and finish, but with a certain dragging of the time, 
apparently inevitable with a chorus of 400 voices. Meyerbeer's 
gist Psalm, Mr. A. R. Gaul's Anthem, " O praise God in His 
holiness," and part of Leonardo's " Dixit Dominus " were per- 
formed. Madame Georgina Burns, Madame Marian Mackenzie, Mr. 
Iver McKay, and Mr. Leslie Crotty contributed vocal solos. Mr. 
Stockley conducted. The Society gave Mendelssohn's " Elijah," 
on March 28, with Madame Nordica, Miss Hilda Wilson, Mr. 
Edward Lloyd, and Mr. Watkin Mills as vocal principals. On 
October 24 this Society commenced its thirtieth series of Sub- 
scription Concerts with a performance of Handel's " Samson,'' 
when Miss Macintyre made her debut here in oratorio. As most 
of the music allotted to Delilah was cut out, the lady had not 
much to do, but her singing of " Let the bright seraphim " was 
brilliant and effective. The other soloists were Miss Damian, 
Mr. Charles Banks, Mr. Brereton, and a local bass, Mr. H. A. 
Sims, who, as Manoah, was fairly good. The second Concert 
took place on December 2, the programme being made up with 
Gounod's " Messe Solennelle " (St. Cecilia), Stanford's " Re- 
venge," and Mendelssohn's " Walpurgis Night." The perform- 


ance was a good one, particularly of Mendelssohn's work. The 
principal vocalists were Madame Clara Samuell, Mrs. Payton, 
Mr. Iver McKay, and Mr. Watkin Mills. The organ, which had 
been closed for the last six months for re-construction, was 
employed again for the first time, Mr. C. W- Perkins officiating 
with his usual skill. Mr. Stockley conducted. The annual 
performance of Handel's " Messiah " was given on December 26. 
The vocal principals were Madame Clara Samuell, Miss 'Lizzie. 
Neal, Mr. C. Banks, and Mr. Grice. Miss Neal is a native of 
Birmingham, and on this occasion made her debut here in oratorio. 
Before studying at the R.A.M. she was a pupil of Mr. Charles 

Chamber Concerts do not pay in Birmingham, as local 
musicians have found out to their cost. Madame Agnes Miller, 
a non-resident pianoforte teacher with an influential connection 
here, has for some seasons past given one or more Concerts of 
this kind, however, and on February 28 brought a short series 
to a close. She was supported by the Shinner Quartet. On 
November 28 Madame Miller began a new series of four Con- 
certs. In conjunction with Mr. Ludwig Straus, a fairly interesting 
programme was gone through, the principal item being the Sonata 
in D minor (Op. 108) of Brahms, now heard here for the first 
time: The comparative simplicity and clearness of outline of this 
work appealed directly to the audience, and the Sonata was very 
favourably received. Mr. Straus played a Sonata in G, by 
Tartini, not familiar here, and Madame Miller gave well-known 
pieces by Mendelssohn and Schumann. 

Coming to other than serial Concerts, the first important event 
of the year was the appearance of Mr. Max Pauer, who gave a 
Pianoforte Recital, before a small audience, in the Masonic Hall, 
on February 9. He sustained a varied and exacting programme 
with marvellous technique and power, excelling in Schumann's 
" Etudes Symphoniques " and Liszt's twelfth Rhapsodic. He 
also played, for the first time in Birmingham, Chopin's Allegro 
de Concert in A (Op. 46), but the work did not create a great 


impression. On the i2th a Concert was given at the Midland 
Institute, with Mr. Carrodus as the principal performer. Miss 
Fanny Davies, whom Birmingham people are proud to claim as 
one of themselves, gave a Recital on behalf of a local charity. 
The programme included Schumann's " Faschingsschwank aus 
Wien " (Op. 26), Beethoven's Variations and Fugue in E flat 
(Op. 35), and a novelty in the shape of a Valse Impromptu (in A 
flat, Op. i, No. 2), by Nicolai von Wilm, of Wiesbaden. This 
last was very attractive, although too much in the style of Chopin 
to be credited with much originality. At this Recital Miss Hope 
Glenn sang Schubert's " Erl-King." At a second Recital, on the 
26th, Miss Davies was assisted by Signer Piatti, who had not 
been heard here in chamber music for some time. Miss Davies 
played Bach's great Fugue in A minor, and the concerted pieces 
were Mendelssohn's Sonata in D (Op. 58) and Rubinstein's 
Sonata in D (Op. 18), for pianoforte and violoncello. Signer 
Piatti gave his well-known " Bergamasca " and an Impromptu 
on an air from Purcell's " Indian Queen." 

The Edgbaston Amateur Musical Union, founded some five- 
and-twenty years ago by Mr. J. B. Duchenim, has done good 
work in its time, and keeps up its reputation as an efficient 
amateur orchestra. Under the conductorship of Mr. W. Astley 
Langston a Concert was given in the Vestry Hall, Edgbaston, 
on April n, when Spohr's first Symphony in E flat was per- 
formed. This work had probably never been previously heard in 

On Good Friday the Midland Musical Society, conducted by 
Mr. H. M. Stephenson, an amateur, gave a performance of 
Gounod's "Redemption" in the Town Hall. This Society, 
appealing to the artisan classes, gives performances at nominal 
charges, and always secures an overflowing attendance. On 
November 16 " Samson " was performed by this Society, when 
an incident occurred too good to pass unrecorded. Some 
persons, attracted by the title of the oratorio on the posters, went 
to the Town Hall expecting to witness the feats of the " Strongest 


Man in the World ! " When they found out the nature of the 
performance they indignantly demanded their money back. 

At the Concert of the Clef Club, on May 9, the programme 
included Heinrich Hoffmann's fine Serenade for flute and strings 
(Op. 65), performed, it was thought, for the first time in England. 
Mr. Piddock was the flautist, local artists supplying the strings. 
Another item of interest was a clever Prelude and Fugue for two 
Pianofortes by Mr. Battison Haynes, played by the composer and 
Mr. C. W. Perkins. Dr. Herbert Wareing likewise conducted a 
selection from his Cantata " New Year's Eve." 

On November 18 a Concert was given in the Masonic Hall 
by a local baritone, Mr. A. Mancus, who proved himself the 
possessor of meritorious vocal and dramatic powers, and his debut 
was successful. On the 2ist Mr. Oscar Pollack and Madame 
Pollack gave their annual Concert. The programme included 
Gounod's new " Ave Maria " on Bach's second Prelude, the solo 
being well sung by our talented contralto. Mr. Rechab Tandy, 
the American tenor, made a successful first appearance here at 
this Concert. On the 28th the Glasgow Select Choir paid its 
second visit to this city, and delighted the large audience, which 
filled the Town Hall, with some refined part-singing. On 
December 9 a complimentary Concert was given to Dr. C. S. 
Heap, when his Cantata " The Maid of Astolat " was performed 
here for the first time. The vocal principals were Mrs. 
Hutchinson, Miss Emilie Lloyd, Mr. Orlando Harley, Mr. D. 
Harrison, and Mr. W. Evans. There was an excellent band, and 
a chorus of remarkable quality, numbering 400 voices. Dr. Heap 
conducted a performance which admirably brought out the merits 
of his composition. It is a reflection upon Birmingham that this 
able work has had to wait so long for a hearing in its composer's 
birthplace ; but it is no use ignoring the fact that musical matters 
are neither in a flourishing nor satisfactory condition here. 

Master Isidore Pavia, a pianist of about fifteen years of age, 
played at the Madrigal Concert at the Midland Institute, 
December 16, and gave a Recital the following afternoon. The 


young artist, without being a phenomenon, displayed great 
talent as an executant. Among local events of interest was the 
production at Walsall, March 13, of Prout's "Red Cross Knight," 
under the direction of Dr. Heap. 

The cheap Saturday Night Concerts in the Town Hall 
admission from threepence to a shilling attract large audiences; 
and in addition to those given by the Musical Association and 
others, the Birmingham and Midland Musical Guild has entered 
the arena, and by high-class miscellaneous programmes, executed 
by the best local artists, hopes to do something to raise the taste 
of the people at large. So far their efforts have been successful, 
judging from the demeanour of the large audiences attending the 
two Concerts already given on October 19 and November 30. 

We had no visit from the Carl Rosa Company this year, 
and it was not to be wondered at ; for very often their admirable 
performances have been given to empty houses, the public behav- 
ing in a capricious manner beyond understanding. On February 
ii Mr. J. W. Turner's Company began a three weeks' season 
at the Grand Theatre, reviving Macfarren's " Robin Hood." 

A Lecture on " Beethoven " was given by the present writer at the 
Handsworth Free Library, on January 24, when several pieces 
from the recently published volume (Breitkopf & Hartel) of the 
master's posthumous works were performed for the first time in 
England, including the Allegretto in C minor. On November 18 
Sir John Stainer gave a highly interesting Lecture on " Hymn 
Tunes " to the members of the Midland Institute, illustrated by 
the Madrigal Choir, under the direction of Mr. Stockley. 




THE Madrigal Society's Concert on January 17 attracted its 
votaries in large numbers. There were two interesting items in 
the programme viz., Dr. W. A. Barrett's eight-part Madrigal, 
" On a mossy bank," which received its first public rendering, 
and Mr. Santley's " T'other day as I was twining." Mr. D. \V. 
Rootham conducted. On the 28th a new venture was started by 
Mr. W. F. Trimnell, the chief music-master of Clifton College, 
in the shape of a series of Orchestral and Vocal Concerts. Musi- 
cally, except for a little roughness, the Concert was successful, 
but the attendance was very poor. A band of fifty, led by Mr. 
Theo. Carrington, played items familiar to Bristolians, with one 
exception namely, Dr. A. C. Mackenzie's " Benedictus," which 
was performed for the first time in the Western city, and at once 
won the favour of the audience. Miss Emily Spada was the 

Mrs. Viner-Pomeroy's third Classical Chamber Concert of the 
season was given on February 4. The artists were Mrs. 
Roeckel (piano), Mr. Ludwig (violin), Mr. E. Woodward (viola), 
and Mr. A. Waite (violoncello). 

The second Orchestral and Vocal Concert, at the Victoria 
Rooms, on the nth, drew a scanty audience. Haydn's " Clock " 
Symphony was the most important work performed. At Miss 
Lock's third Popular Chamber Concert, on the I3th, among other 
works Mozart's Piano Quartet in E flat (No. 3) was well played 
by Miss Lock, Mr. Hudson, Mr. F. S. Gardener, and Mr. E. Pavey. 

Miss Florence Eyre, a young Clifton lady, and pupil at the 
Leipsic Conservatoire of Carl Reinecke, gave a Concert at the 


Victoria Rooms, on the i8th, and displayed much talent. Pro- 
fessor Brodsky, a finished violinist, here made his first appearance 
in Clifton. Mr. Augustus Simmons gave a Concert on 
the i8th. 

On February 22 and 23 Sir George Edwards gave a couple 
of Concerts on the lines of the Triennial Festival, at the Colston 
Hall. For the purpose a special choir was brought together by 
Mr. D. W. Rootham to study Haydn's " Creation," Felicien 
David's " The Desert," Mendelssohn's " Hear my prayer," and 
other works, and Sir Charles Halle and his Manchester band were 
engaged. The choir, directed by Mr. D. W. Rootham, sang 
" The deep repose of night " and " The lark's song " of Mendels- 
sohn, with beauty of tone, clearness of enunciation, and correct 
phrasing. Mr. J. L. Roeckel's "Christian's Armour" Cantata 
was given in Redcliff Church on the 25th, under the direction of 
the composer. 

At the third Orchestral and Vocal Concert, on the 25th, Mr. 
Theo. Carrington was the solo violinist. The " Ladies' Night " 
of the Orpheus Glee Society, a fine association of male voices, 
fell on the 28th, when a large auditory assembled in Colston Hall. 
The soloists were Messrs. Jones, Harper Kearton, J. F. Nash, 
W. Thomas, and H. J. Dyer. Mr. Riseley conducted, and 
furnished the novelties viz., " The old church bells," a bass solo 
and four parts ; and " Where'er my footsteps stray," a tenor solo 
and five parts, both compositions being favourably received. The 
perfect way in which everything is sung by the Orpheus Glee 
Society makes their annual Concert one of the musical treats of 
the year. Mr. George Riseley was the Conductor. 

Mozart's Motet " Glory, honour," was the principal work per- 
formed by the Bristol Musical Society at the Saturday Popular 
Concert, on March 2. The vocalists were Mrs. Clare Wright, 
Mr. Dyved Lewys, and Mr. John Jones. Organ solos by Mr. 
G. Riseley, cornet solos by Mr. Covielo, and selections by the 
band were also given. 

The fourth Classical Chamber Concert took place on March 4. 


The executants were Mrs. Roeckel, Messrs. Ludwig, J. O. 
Brooke, M. Rice, E. Woodward, and J. Pomeroy. 

On March 5 St. Mary's Choral Society (Tyndall's Park) gave a 
performance of Spohr's " God, Thou art great," at the Alexandra 
Hall. Miss Florence Cromey, Miss Blinkhorn, Mr. S. W. 
Pullen, and Mr. W. H. Wickes were the solo vocalists. Mr. F. 
Rootham conducted. 

St. Barnabas' Choral Society performed G. Fox's "The Jack- 
daw of Rheims," with orchestral accompaniment, on March 4. 

At the Saturday Popular Concert, on March 23, a new composi- 
tion, entitled " The Sailor's Good-night," written by Mr. George 
Riseley, was sung in public for the first time by Mr. Lawford 
Huxtable, the composer accompanying. The choir sang part- 
songs, under Mr. Geo. Gordon. 

Sir Chas. Halle and Lady Halle gave a Recital at the Victoria 
Rooms, on the 26th. Mr. Lieblich gave a Concert on the 3Oth. 

At the Popular Chamber Concert, on April 2, Miss Lock, 
Messrs. Hudson, Gardner, and Pavey were the executants, and 
Miss Amy Carter sang. A large audience attended the annual 
Concert given on the 2Qth by Mr. John Barrett's Choir. Beet- 
hoven's " Praise of Music," and two sections, " Spring " and 
" Winter," from Haydn's " Seasons," were admirably performed. 
The soloists were Madame Pennington, Miss Marie Gane, Miss 
Florence Cromey, Miss A. Maby, Mr. E. T. Morgan, and Mr. 
J. F. Nash. Mrs. Brockbank Young was the pianist, and Mr. 
Barrett conducted. 

St. John's (Redland) Choral Society gave Bridge's " Boadicea " 
at their annual Concert, on April 15. The soloists were Miss 
Gertrude Eyre, Miss F. C. Jones, Messrs. Morgan, Albery, 
J. Lomas, W. H. Wickes, Dr. C. Harles, Messrs. Wilcox and 
Macgregor. Mr. A. E. Hill was the Conductor. Macfarren's 
" May Day " was performed by St. Saviour's (Redland) Choral 
Society, on the i6th. The principal vocalists were Mrs. C. Bigg, 
Mrs. J. Dole, Miss F. Cromey, Mr. Ford, and Mr. Trowbridge. 
Mr. Vaughan Tittle conducted. 

BRISTOL. i 4 r 

The Bristol Society of Instrumentalists, formed in the autumn 
of last year, and now numbering 120 amateur performers, gave 
their first " Ladies' Night " at the Colston Hall, on the 2ist, and 
surprised everyone by their excellent playing. Mr. Carrington, 
the leader, contributed a violin solo. Vocal pieces were given by 
Mrs. Nixon and Mr. O. J. Thomas. Mr. Geo. Riseley was the 

Hutchinson's " The Story of Elaine " and Locke's " Music to 
Macbeth " were performed by the Bristol Operatic Society on 
June 4. 

The Bristol Choral Society met in October for rehearsal, under 
the direction of Mr. G. Riseley. The membership of the new 
Society exceeded 500 within a month of the first meeting. The 
Bristol Society of Instrumentalists, which had increased in 
membership to 100, also met to study under the same Conductor. 

During the two first weeks of October the Carl Rosa Opera 
Company visited the Prince's Theatre. The new operas (to 
Bristol) presented were Meyerbeer's "Star of the North" and 
Wallace's " Lurline." 

On October 19 the first of a series of Chamber Concerts was 
given by Messrs. Theo. Carrington, F. Gardner, Andrew Waite, 
and F. Huxtable. Miss Maggie Davies and Mr. Lawford Hux- 
table were the vocalists. At the second Concert interest centred 
chiefly in a couple of new pieces written by Miss Ellicott viz., 
a pleasing Romance and Polonaise for violin, admirably played 
by Mr. Carrington, the composer accompanying. 

Miss Lock's first Popular Chamber Concert of the fifth season 
took place on October 22, the executants being Miss Locke, 
Messrs. A. Hudson, Gardener, and Pavey. The concerted works 
included a Trio in D, for piano, violin, and violoncello, a pleasing 
composition written by Mr. J. W. Hudson, the brother of the 

Senor Sarasate gave a Recital at the Victoria Rooms on the 
23rd to a crowded and delighted audience. 

The Annual Gathering of the South Midland Section National 


Society of Professional Musicians took place on the 23rd, Mr. C. E. 
Stephens being the invited guest. 

On October 22 the first meeting of the newly-formed Bristol 
South Choral Society was held, and that of the Bristol East 
Choral Society took place on the 25th. 

Two " Intermediate " Concerts were given by the Bristol 
Musical Festival Society, on November i and 2. On the first 
day Mendelssohn's music to "A Midsummer Night's Dream" re- 
ceived an admirable rendering, Miss Marie Gane and Mrs. Probert- 
Goodwin excellently singing the solos. Leslie's suave " Lullaby 
of Life " was deliciously sung by the Festival Choir, Mr. D. W. 
Rootham, the Chorusmaster, conducting. Miss Macintyre, Miss 
Damian, Mr. Maldwyn Humphreys, and Mr. Henschel were the 
vocalists. Gounod's " Death and Life " (" Mors et Vita ") was 
performed in English on the 2nd. Mesdames Nordica and 
Enriquez, Messrs. Iver McKay and G. Henschel sang the solos, 
and Sir Chas. Halle's band co-operated. The work received an 
interpretation worthy of the Society, and evidently made a deep 
impression on the vast audience assembled from Bristol and 
districts around. 

The Montpelier Choral Society, a new body, met for the first 
time on November 18, and on the same day Mr. Sims Reeves 
bade farewell to the Bristol musical public. 

Mr. Frederick Lamond, the clever young Scotch pianist, was 
the chief attraction at Mrs. Viner-Pomeroy's Chamber Concert 
on the same date. The concerted works included a Trio in B 
minor (Op. 2), for piano, violin, and violoncello, written by Mr. 
Lamond, and now introduced to frequenters of these gatherings. 

Mozart's Mass in C (No. i) was performed at the Saturday 
Popular Concert on November 23. The performances, on the 
same occasion, of Messrs. F. Goddard, H. Bell, R. Englemann, 
and W. H. Hannan, a quartet of trombone players, created much 

St. Barnabas' Choral Society gave their annual Concert on 
November 27. The chief vocalists were Mesdames J. Jones, 


Matthews, Escott ; Messrs. T. H. Gore, E. Tapp, and T. H. 
Blandford. Mr. Matthews was the Conductor. Mr. C. Lee 
Williams directed the first performance here of his work " The 
Last Night at Bethany," in Redcliff Church, on the 27th. Van 
Bree's " Cecilia's Day " was rendered by the St. Mary's (Tyndall's 
Park) Choral Society, also on the 27th, under Mr. F. Rootham's 

On December i the first part of a new Sacred Cantata, 
" The Second Advent of the Redeemer," written by Mr. W. Fear 
Dyer, was rendered in St. Nicholas Church, of which the com- 
poser is organist. Two works specially written were included in 
the scheme for the Gleemen's " Ladies' Night," on the 5th. 
They were a choral scena, il Enceladus," written to Longfellow's 
words by Dr. C. W. Pearce ; and a part-song, "Shine out, stars," 
composed by Miss Ellicott. The former, which is a really fine 
composition, was effectively sung under Dr. Pearce's direction, 
and was well received. 

The second Classical Chamber Concert of the thirteenth season 
took place on the gth. A Quartet in B flat, for two violins, viola, 
and violoncello, by Miss Ellicott (already played in London), 
headed the programme, and was skilfully interpreted by Messrs. 
Ludwig, E. Halfpenny, V. Marriot, and J. Pomeroy. The last- 
named artist played a recently-written Reverie for violoncello, 
also from the pen of Miss Ellicott, who accompanied it. 

At the second Popular Chamber Concert of the fifth season, 
which fell on December 10, Prout's Quartet in F (Op. 18), for 
piano, violin, viola, and violoncello, received an excellent inter- 
pretation at the hands of Miss Lock, Messrs. A. Hudson, Gardner, 
and A. Waite. The only other noteworthy piece was an Idyll for 
violin, viola, and piano, written by the violinist of the evening. 

The newly-formed Social and Musical Society in connection 
with the University College, Bristol, held their first meeting on 
the I2th. 

At the Saturday Popular Concert, on December 14, Miss Alice 
Gomes and Mr. Maldwyn Humphreys were the vocalists. The 


choir sang a number of choruses and part-songs with greater 
precision, better tone, and more intelligence than ever before 
perhaps. Mr. Riseley played organ solos, and the band performed 
selections, Mr. Gordon conducting. 

The most interesting item in the programme of the third 
Musical Matinee of Messrs. Carrington, Huxtable, Gardner, and 
Waite, on December 14, was a new Trio in G, for piano, violin, 
and violoncello, written by Miss Rosalind Ellicott. The work, 
which is graceful, pleasing, and one of the most scholarly that has 
come from the pen of the talented lady, was well interpreted by 
the composer, Mr. Barrington, and Mr. A. Waite. 

The Bristol Sullivan Society gave an admirable performance 
of " Princess Ida " on December 18, under the direction of Mr. 
Leonard M. Day. In the second part of the programme was a 
new humorous Cantata, entitled " The Ghost," words by the late 
Hugh Conway, music by A. H. Behrend, which made a very 
favourable impression. Mrs. Leveritt, Messrs. Abbott and Dyer 
were the soloists. Miss Pauline Day's services as pianist deserve 
to be recognised. 

The new Sacred Cantata, " The Second Advent of the 
Redeemer," was sung in its entirety for the first time at St. 
Nicholas Church on the 22nd. The work may be said to have 
added to the reputation of Mr. Dyer, who had already won 
success as a composer. He presided at the organ, and the solos 
were taken by Mrs. Probert-Goodwin, Mrs. C. White, Messrs. 
Grey, Farebrother, Frederick Dyer, and Liscombe. 

A highly commendable performance of " The Messiah " the 
only one given here during the Christmas season was given in 
the Church of St. Agnes by Mr. John Barrett's choir on the 27th. 
The soloists were Madame Pennington, Miss Cromey, Mrs. 
White, Miss Maby, Madame Rosa Bailey, Miss Aldersley, Mr. 
E. T. Morgan, and Mr. J. F. Nash. Mrs. Brockbank Young 
presided at the organ, and Mr. John Barrett conducted. 




THE chief musical interest of the year has as usual centred in 
the University Musical Society, of which the newly-elected 
Provost of King's is President and Professor Stanford the 
Conductor. The performances in connection with this Society 
have been 

(i) In the Lent Term Four Concerts of the series known as the 
" Wednesday Popular Concerts" for Chamber Music on the four 
Wednesdays in February. The chief executants were the usual 
string quartet, Messrs. Gompertz, Inwards, Kreuz, and Ould, 
with Professor Stanford (and on one occasion Miss Fanny Davies) 
at the pianoforte, and the vocalists, Madame Sophie Lowe and 
Messrs. Plunket Greene, W. F. Blandford, and Beaumont. The 
programmes contained, amongst other works, Dr. Hubert Parry's 
Pianoforte Trio in B minor, Professor Stanford's Pianoforte 
Quintet in D minor (Op. 25), and a very ably-written String 
Quartet (MS.), by Mr. Charles Wood, formerly Composition 
Scholar at the Royal College of Music and now Organist Scholar 
of Caius College. In addition to these Concerts the Society, by 
the kind permission of the Provost and Fellows of King's College, 
gave, on March 7, a performance of Mozart's " Requiem " and 
Handel's Sixth " Chandos " Anthem in their magnificent Chapel, 
the extraordinary acoustic properties of which can only be realised 
by those who have had the good fortune to be present in the 
Chapel on such an occasion. The performance was in all respects 
most admirable, although it would have been far better to have 
done the "Requiem" only; the temperature of the Chapel in 
February being such as to debar many from attending any 



performance exceeding a very moderate length. Messrs. Burnett and 
Gompertz led the orchestra, and Professor Stanford conducted. 
The soloists were Miss Liza Lehmann, Miss Lena Little, Mr. 
Holberry Hagyard, and Mr. Plunket Greene. On March 15 the 
Society gave a Chamber Concert, with the valuable co-operation 
of Dr. Joachim, assisted by Messrs. Gompertz, Ludwig, Haus- 
mann, and Professor Stanford. The programme contained 
Beethoven's Quartet in E minor (Op. 59, No. 2) and Brahms's C 
minor Trio (Op. 101). Mr. Plunket Greene, whose singing 
completely took Cambridge by storm, sang songs by Brahms, 
Schubert, and Joachim, as well as some of those rare old Irish 
melodies so exquisitely arranged by Dr. Stanford. March, 1889, 
it will be remembered, was the Jubilee of Dr. Joachim's career as 
a public artist, and his visit to Cambridge was made the occasion 
of a banquet in his honour (held, by kind permission of the Master 
and Fellows, in the Hall of Caius College), which was well 
attended by many past members of the University Musical 
Society, as well as those now in residence. Some very excellent 
speeches were made, but none so good as that of the great 
musician himself. 

(2) In the Easter Term the usual two Concerts were given viz., 
a Chamber Concert, on Wednesday, May 15, which included 
Beethoven's Septet, Goetz's Pianoforte Quintet (Op. 16), and 
David's Concertino for bassoon (Op. 12). The executants were 
Messrs. Gompertz, Kreuz, Ould, White, Egerton, Borsdorf, 
Wotton, and Professor Stanford. Mrs. Hutchinson sang songs 
by Scarlatti and Brahms. The Orchestral Concert, on Tuesday 
June n, consisted of an admirable performance of Dr. Parry's 
"Judith," the vocalists being Miss Anna Williams, Miss Lena 
Little, Mr. Ben Davies, and Mr. Plunket Greene. 

During the summer vacation the Society is practically non- 
existent, but this year the vacation has been notable as a period 
of preparation for a new departure which claims special notice. 
For anything like adequate performances of Choral and Orchestral 
Music, Cambridge has of late years been exclusively dependent 


upon University effort, the old Town Society having gradually 
died of inanition some eight or ten years since. It occurred to 
Professor Stanford that there was room for the establishment of 
a definite series of Concerts to be supported by Town and 
University alike, independently of any actual Society. A 
committee was accordingly formed, consisting of representative 
men of all sections of local musical activity, and mainly owing to 
the great personal influence and exertions of Dr. Stanford himself 
a Guarantee Fund was formed, and the new series is now a fait 
accompli. The scheme is for a set of eight Concerts, to be given 
in the Guildhall during the two Winter Terms, two in each Term 
being Orchestral and two Chamber. The subscription for the 
whole set of eight is only i is., and provision is made for a 
considerable number of unreserved seats at a shilling a Concert. 
Not only is the bait of popular prices held out, but the programmes 
are scrupulously restricted in length, and the discomfort and 
risks of evening dress at the winter time of the year are 
strenuously protested against. It is gratifying to be able to 
state that the attendance at the first four Concerts given in 
November was such as to prove the wisdom of these provi- 
sions. At the same time, it is obvious that the limited capacity 
of the Concert Room and the low prices will necessitate the 
utmost economy if the Concerts are to be self-supporting. It is 
satisfactory to note, not only on this account, but still more on 
educational grounds, that the pick of the local amateur orchestras, 
both University and Town, have been admitted to take a share 
in the work. Another noteworthy feature in connection with 
these Concerts is that Professor Stanford has, with the consent 
of the University Board of Musical Studies, so far combined his 
posts of Professor and Conductor as to utilise these Concerts for 
the work of the Professorial Chair, by lecturing on the history, 
construction, and instrumentation of the chief orchestral works 
contained in the programmes, and the University, regarding these 
performances as " illustrations " of their Professor's Lectures, 
have contributed a substantial sum from the University chest to 

L 2 


the Concert fund. It is obvious, therefore, that in this new 
departure we have the elements of a movement which, if perma- 
nent, must contribute most materially to local musical culture 
and development. It remains to be seen whether its usefulness 
will not have to be discounted to some slight extent by a diminu- 
tion in the work, the opportunities, and possibly the financial 
position of the University Musical Society itself. It is, for 
instance, understood that these Concerts are to take the place of 
the old established "Wednesday Popular Concerts" hitherto 
given by the Society, and the last Michaelmas Term was 
perhaps the first in the history of the Society since its insti- 
tution in which it has given no sign of its existence by Con- 
cert or public performance of any kind. At the first of these new 
Concerts, on November 6, the programme contained Beethoven's 
"Leonora" Overture (No. i), "Emperor" Concerto (played by 
Mr. Dannreuther), and Mozart's G minor Symphony ; and at the 
fourth, on November 27, Mendelssohn's " Hebrides " Overture, 
the " Eroica " Symphony, and Piatti's Violoncello Concerto 
(Op. 26), played by the composer. The vocalists were the Hon. 
Mrs. Robert Lyttelton (November 6) and Miss Emily Davies 
(November 27). Mr. Burnett led the band, and Professor 
Stanford conducted. At the two Chamber Concerts, on November 
13 and 20, the programmes contained Beethoven's Trio in B 
flat (Op. 97) and String Quartet in C major (Op. 59), Schubert's 
Quartet in A minor (Op. 29), and Dvorak's lovely Pianoforte 
Quintet in A major (Op. 81). A new set of " Liebesbilder " by 
Mr. Kreuz (of the Royal College of Music) for viola and piano- 
forte, and songs by Franz, Goetz, Jensen, Rubinstein, and 
Charles Wood completed the programmes. The executants were 
Messrs. Gompertz, Inwards, Kreuz, and Ould, with Miss Fletcher 
(R.C.M.) and Mr. Charles Wood at the pianoforte, and the 
vocalists were Miss Anna Russell and Mr. Branscombe. 

Another incident of the musical year in Cambridge has been the 
establishment of the University Musical Club. This, though under 
the management of a separate committee, and intended to be self- 



supporting, is to a certain extent in affiliation with the University 
Musical Society, which has advanced the money for its "outfit." 
It is worked on much the same principles as the corresponding 
Club at the Sister University, and Club Concerts are given in the 
rooms every Saturday night. 

Cambridge, like Oxford, is noted for its Choral Services, which 
are undoubtedly a very important factor in the musical attractions 
and influences of the place. In this connection the year just 
ended will be principally known as the "organ-restoration" year, 
the three most important organs, those of King's, Trinity, and 
St. John's, having all been in the hands of Messrs. Hill & Son 
for the introduction of " tubular pneumatics " and other improve- 
ments and additions. The additions to King's organ have been 
considerable, involving a fourth manual (solo), as well as other 
extensions. The prevailing opinion seems to be that the "flue- 
work " has been somewhat overweighted with reeds, an excess 
which the peculiar acoustic properties of the building tend to 
emphasise rather than conceal. The principal .additions at 
Trinity consist of a set of open thirty-twos on the pedal in the 
place of some stopped sixteens a third diapason and a bourdon 
on the great organ ; and an enlargement of the choir organ, 
which is now divided some of it being transferred to the portion 
of the case (the " chaire " organ) at the back of the player. 
This portion has been projected into the chapel to the great 
improvement of the appearance of the case, as well as to the 
advantage of the solo singers, who thus have the accompanying 
portion of the organ brought nearer to them. The prolonged 
silence of these organs has been in one respect of great service to 
the choirs in question, as it has developed that accuracy and refine- 
ment of vocalisation which is so essential in good unaccompanied 
singing. The organ at Trinity has not yet been re-opened, but 
that at King's has been in use again for some time. Bennett's 
" Woman of Samaria " was sung at the opening service. 

As regards other musical efforts, there is not much to chronicle. 
That most worthy of mention is a performance, in King's College 


Chapel (on June 12), of "Israel in Egypt," under the conductor- 
ship of Dr. Mann, who deserves great credit for his untiring and 
enthusiastic efforts to get together the material for such per- 
formances in a place and at a time where all available hands are 
so pre-occupied in other directions. 

The Cambridge Choral Union an attempt to revive associated 
musical effort in the Town as distinct from the University which 
deserves every encouragement gave Handel's " Acis and 
Galatea" on May 2, under the conductorship of Mr. W. C. 
Dewberry (R.A.M.) ; and his brother, Mr. F. Dewberry, who is 
the Borough organist, played Handel's B flat Organ Concerto 
with orchestra at the same Concert. 

There were the usual number of "College" Concerts and 
of " Penny " Concerts for the people, as well as Organ Recitals 
at the Guildhall and in Trinity and other College Chapels. 

The number of Concerts given by those not locally connected 
with the place was not large. In fact, it seems to be at last 
pretty well understood among Concert-givers generally that 
Cambridge is the reverse of a " happy hunting-ground " in this 
respect, though it has taken years of disappointment and financial 
reverse to get them to take this lesson adequately to heart. Sir 
Charles and Lady Halle are always sure of a hearty welcome in 
their annual visit here, and the very natural curiosity to hear the 
veteran Sims Reeves drew a large audience a few weeks back. 

There was no " Greek Play " at Cambridge last year, but 
matters are in train for one in November, 1890, and the incidental 
music will be written by Dr. Hubert Parry. There is also some 
talk of getting up a performance of Gliick's " Iphigenia " some- 
time in May, but the arrangements for it are still in embryo. 




THE most striking feature in the programmes presented to our 
audiences during the last year is the ever-increasing number of 
items by Scottish composers. We do not repudiate the Imperial 
" English School," but we are proud of that important section 
which represents national talent, and which looks so often for 
inspiration to national themes. 

Mention should first be made of the Orchestral Concerts given 
under Sir Charles Halle's baton at the Reid Festival the one 
service for which we have to thank the memory of that far-seeing 
amateur, General Reid, who left his money to the cause of 
music in Scotland. The administration of the funds in connec- 
tion with the bequest has long been a sore subject. There is a 
Professor with no students; a chair and no power to examine 
for degrees ; a library not available to musicians in Edinburgh 
save by the courtesy of the Professor. It is with regret we read 
the announcement that Sir Charles Halle's band is next February 
to make its last appearance in Edinburgh. Some money will 
thus be left free to be applied in another way. " What will 
they do with it ? " is the question. A beautiful performance of 
the " Pastoral " Symphony was the feature of the " Reid " pro- 
gramme (February 14), which also included the Schumann 
Concerto, Mackenzie's " La Belle Dame," and the " Academic " 
(Brahms) and " Athalie " Overtures. The two Conserts given, 
as usual, in connection with this annual memorial of General 
Reid were an Orchestral (February 13) and a Chamber Con- 
cert (n). At the former the Overtures were " Egmont " and 
" Meistersinger " ; the Symphony was the " Italian," and Lady 


Halle roused the enthusiasm of her Edinburgh audience by 
her rendering of Vieuxtemps's Concerto in E major. 

When diminishing receipts and repeated calls on the guarantors 
made it advisable for the Edinburgh Choral Union to rest on its 
oars, Messrs. Paterson and Son stepped in and engaged the 
orchestra on which the Choral Union had depended, and although 
fewer Concerts were given, and the subscriptions were somewhat 
higher, we were saved from the disgrace of having no winter 
Orchestral Concerts in a capital which prides itself on its culture, 
musical and artistic. Among the Symphonies were Villiers 
Stanford's " Irish " (a novelty here), Schumann's in B flat, and 
Schubert's in C major. The Overtures comprised Grieg's beautiful 
" Im Herbst," and Mr. Hamish MacCunn's " Dowie Dens o' 
Yarrow." Our young countryman's Orchestral Ballad "The Ship 
o' the Fiend " was also given, and on the night of the " Dowie 
Dens " he conducted his Cantata " Bonnie Kilmeny," the 
choral part of which was most successfully sustained by Mr. 
Kirkhope's choir. Mr. MacCunn was afterwards entertained with 
Mr. Manns by the Edinburgh Society of Musicians. 

An Edinburgh artist, Madame Helen Hopekirk, played the 
"Emperor" Concerto on her re-appearance here (January 15), 
and won a decided success. M. Johannes Wolff was introduced 
to Edinburgh (January 19), making his appearance in Godard's 
A minor Concerto, and at once found himself a favourite. The 
other soloist (January 8) was M. Gillet (violoncello). The 
pecuniary and artistic success of these Concerts has justified 
Messrs. Paterson in again submitting a similar scheme to the 
public and the subscriptions are fully taken up. At the second 
Concert, on December 16, was heard the first performance 
of Dr. A. C. Mackenzie's "Cotter's Saturday Night." 

This work was enthusiastically received on first hearing, and a 
closer study reveals new elements of beauty in Dr. Mackenzie's 
picturesque instrumentation and themes more graceful and 
spontaneous than he sometimes gives us. The poem is not 
eminently suited for a musical setting, and Dr. Mackenzie has 



erred in dwelling too minutely on some minor details which, 
passed over so lightly in the poem, make there a broad and homely 
effect, whereas in the more ideal language of music they only 
disturb the picture. A delightfully national flavour runs through 
the work in characteristic rhythms and intervals, and the com- 
poser rises to a great height of passion in his setting of the verse 
beginning " O tender love," a lovely little bit of writing. His 
patriotic peroration, " O Scotia, my dear, my native soil," had the 
ring of earnestness and sincerity about it, which produced its due 
effect on the audience. Dr. Mackenzie was heartily applauded at 
the close of the work. 

It is a pity that the Wagner " boycott " is still kept up. The 
" Meistersinger " and " Lohengrin " Preludes can hardly be said 
to fairly represent the Bayreuth master. Fortunately Mr. 
Henschel chose " Wotan's Abschied " as one of his solos, 
but we ought not to have to depend on fortuitous influences 
for the inclusion in our programmes of music which other towns 
and countries have so many opportunities of hearing. 

The Edinburgh Amateur Orchestral is a very healthy associa- 
tion, and its performances amply justify the large public support 
it always commands. Under Mr. Carl D. Hamilton it gives 
most satisfactory renderings of such works as Haydn's and 
Mozart's Symphonies, and even Mendelssohn's Overtures and his 
" Italian " Symphony. Other amateur societies the St. 
Andrew's, conducted by Mr. Geo. W. Lingard, Mus. Bac., and 
the Orpheus, by Mr. John Greig, Mus. Doc., Oxon. testify to 
the growing taste for and interest in the greatest of all instruments, 
the orchestra. 

The Edinburgh Choral Union is manfully fighting its uphil 
battle. Its prestige suffered sadly when it was forced to abandon 
the orchestral part of its annual scheme, and even the great 
improvement in the chorus under strict regulations and Mr. 
Collinson's skilful training has not restored to it its former share 
of public favour. The junction with Messrs. Paterson's enterprise, 
wherein they assisted Mr. Manns's orchestra in the " Cotter's 


Saturday Night," and with next year's Reid Festival, where they 
are to be accompanied by Halle's orchestra in the " Hymn of 
Praise," will perhaps waken the Choral Union and the Edinburgh 
public to a sense of mutual responsibility. 

An Association which has made rapid strides, thanks to its Con- 
ductor and many extraneous and obvious advantages, is Mr. 
Kirkhope's choir. It attains now nearly to the perfection of choral 
singing, and has left the smaller halls where its former successes 
have been gained. The Music Hall is not now too large for its 
audiences, and an increase in its numbers is rendered practicable. 
Whatever difference of opinion there may be about the 
terms of admission to the choir, nothing but praise can be 
given to the enterprise that undertook and the patience which so 
triumphantly overcame the difficulties of the Brahms " Requiem " 
(April 16). The work was brilliantly rendered. At the 
same Concert were performed Gounod's " Gallia " and Mendels- 
sohn's g8th Psalm ; also a Quartet by Brahms. The winter 
Concert was given on December 9, when Mendelssohn's " Wal- 
purgis Night " and Rheinberger's " Christophorus " were per- 

Mr. Waddel's choir, now under the leadership of Mr. Millar 
Craig, made several successful appearances with a selection of 
madrigals, as illustrations to a Lecture delivered by M. Kunz at 
the Philosophical Institution and in the Synod Hall, and as part 
of their summer Concert programme (June 5). The choice of 
Macfarren's "Outward Bound" as the choral work was disastrous. 
The vessel is unseaworthy, and no mermaids were needed to 
prophesy its fate. The choir is now engaged in the rehearsal of a 
much more important and interesting work, Astorga's " Stabat 

Mr. J. A. Moonie's Choir is a most enterprising association, 
and well deserves the large measure of success it has commanded. 
Last March it attacked Dr. Stanford's " Revenge," and also gave 
us the first opportunity of hearing Mr. MacCunn's " Lord Ullin's 
Daughter." Mr. Moonie's Male Voice Choir, as well as Mr. 


Millar Craig's Male Glee Club, and the old established Harmonist 
Society, show how general is the taste for this delightful branch 
of choral music. It is impossible to mention in detail all the 
minor choral associations, which take their names from nearly 
every district of the city, and find a centre in nearly every church 

In our world of Chamber music, the Edinburgh Classical 
Chamber Concerts hold the most important place in virtue of 
their regularity and earnestness of purpose. Messrs. W. Town- 
send and Paul Delia Torre are the best local pianoforte players 
and their efforts are ably seconded by Mr. Colin Mackenzie (violin) 
and Mr. Grant McNeill (violoncello). At two Concerts, in January 
and February, they presented Trios by Schubert, in B flat ; 
Mendelssohn, in D minor; and Beethoven, in B flat (Op. 97). 
At their first Concert of the present winter season (December 
4), by engaging the services of Mr. Conrad Laubach (viola), 
they were able to undertake Schumann's Quartet in E flat and 
Mendelssohn's Trio in C minor. The solo work of Messrs. 
Townsend, Mackenzie, and McNeill showed in every instance 
marked advance a Sonata by Dvorak in D minor, for piano- 
forte and violin, and a brilliant rendering of Liszt's D flat 
Concert Study, being the most notable items, 

The Chamber Concerts organised by Herr Alfred Gallrein are 
rather irregular in date and design. There is no doubt that what 
is gained in opportunity is lost in homogeneity. Still, good work 
is done, and we are indebted to Herr Gallrein for the opportunity 
(March i) of hearing an interesting Sonata by Spohr, for the 
violin and harp (Mdlles. Marianne and Clara Eissler), besides 
some clever harp solos, and also (February i) Sonatas by 
Goltermann and Corelli for the violoncello. Entrepreneurs of 
Chamber Concerts, in a town where these are not very common, 
have large responsibilities, which Herr Gallrein will do well to 
recognise. Support will not be wanting. 

Other Chamber Concerts were given by Herr Heckmann, in 
Queen Street Hall (November 8), and Madame Drechsler 


Hamilton (December 17). On March 20 the Philosophical 
Institution provided the annual treat which is regarded as 
the close of our regular musical season. Additional interest 
was given to last season's Concert by the Joachim Jubilee, to 
which Sheriff Mackay referred in a graceful speech, Dr. Joachim 
replying in a very few words. He was afterwards entertained 
by the Society of Musicians. 

Madame Helen Hopekirk gave a Recital at the Literary 
Institute (January 18), in course of which she played Beet- 
hoven's " Appassionata," Chopin's B minor Scherzo, and Liszt's 
Twelfth Rhapsody in splendid style. She received quite an 
ovation. At the first of two Lectures by Mr. Franklin Peterson 
on Beethoven, Madame Hopekirk played Sonatas in illustration 
of the master's first and second " periods." 

Mr. Paul Delia Torre, who is undoubtedly the best of our 
younger pianists, as far as technique goes, undertook a Beethoven 
Recital in the Freemasons' Hall, on March 23. The perform- 
ances were uniformly good, and the intention was excellent ; but 
the selection of works was not calculated to carry out the 
evident attempt to illustrate the development of the Sonata 
form in Beethoven's hands. 

On October 14 Senor Sarasate presented Dr. Mackenzie's 
" Pibroch," which he had just played at the Leeds Festival. 
Madame Berthe Marx made a most favourable impression on 
her first appearance in Edinburgh. 

Otto Hegner gave a Recital, on February 25, at which he 
delighted and astonished his audience. 

Sir Charles Halle's annual Recital was given on October 19, 
when he was assisted as usual by Lady Halle". 

The opera season in Edinburgh is very short, and presents very 
inadequate fare. Meyerbeer's " Star of the North " was the 
novelty this year, and a careful study and splendid mounting at 
once established it as a favourite. 

Madame Patti paid us a visit on October 29 ; and on 
November 16 Madame Valleria and other artists gave a 



Concert, at which the two virtuosi, MM. Wolff and Nachez, 
gave a magnificent rendering of Bach's Concerto in D minor, for 
two violins. M. Wolff also played at the annual Blind Asylum 
Concert, in the Synod Hall (April 6), where he was heard in a 
duet Sonata, by Rubinstein, with Miss Clara Lichtenstein. Miss 
Macintyre sang and Miss Detchon recited. 

The Edinburgh Society of Musicians has steered safely through 
its initial shallows and is now fairly established. Besides 
ordinary meetings, they entertained last year Sir Charles Halle, 
Dr. A. C. Mackenzie, Mr. Hamish MacCunn, Mr. Manns, and 
Dr. Joachim, in celebration of his jubilee. On the last occasion 
Miss Fanny Davies was also among the guests. Lectures, papers, 
or Chamber music forms the ordinary programme at the Societv's 
weekly meetings. A Benevolent Fund and a library have been 
constituted in connection with the Society. 

Public Lectures on Music were delivered at the Philosophical 
Institution by M. Jules Kunz, on Madrigals (to which Mr. 
Waddel's choir supplied the examples), and by Mr. Franklin 
Peterson on " Parsifal," illustrated by music and limelight views. 




IN most things that concern the higher interests of the musical 
art the Glasgow Choral Union takes the lead on the banks of the 
Clyde. This organisation has experienced many vicissitudes in a 
career dating back to 1843, when it had its origin in "The 
Society for Performing the Oratorio of 'The Messiah.'" The 
band of enthusiasts sang, as may be imagined, from MS. In 
those days they could hardly have dreamed of a shilling copy of 
Handel's " eloquent sermon." The reminiscence is not inappro- 
priate, inasmuch as our record of 1889 begins with the time-honoured 
New Year's Day performance of "The Messiah " by the Choral 
Union. It was the fourth Concert of the choral and orchestral 
subscription series, 1888-9, directed by the Society, and here it 
may be convenient to state that the choir so well trained by Mr. 
Joseph Bradley averages a numerical strength of 350 voices ; 
also that the band engaged for the season consisted of seventy- 
five performers, selected from the best orchestras in the country, 
with Mr. August Manns as conductor a post which he has held 
with signal credit to himself for many years. The programmes 
were, as usual, drawn up by the Sydenham Conductor, and the 
material will speak for itself. At the fifth Concert we had, amongst 
other good things, the Introduction to " Tristan und Isolde," 
Beethoven's Violin Concerto (for Mr. M. Sons, the able leader 
of the orchestra), Dvorak's '' Scherzo Capriccioso," Haydn's Sym- 
phony in B flat (No. 4 of the Salomon set), and songs from 
Madame Belle Cole. On the evening of the 8th Raff's Concerto 
for violoncello and orchestra (Op. 193), and Praeger's Prelude to 
Byron's " Manfred " were heard for the first time at these Con- 


certs ; the Symphony was Beethoven's No. 2, and Liszt's first 
Hungarian Rhapsody concluded a remarkably well-sustained pro- 
gramme. The violoncello soloist was M. Gillet, a player of very 
considerable attainments. At the seventh Concert Dr. Villiers 
Stanford's " Irish " Symphony had the place of honour. Madame 
Helen Hopekirk was heard in Beethoven's Fifth Pianoforte 
Concerto, and Mdlle. Elvira Gambogi sang. Herr George Miiller, 
the ripieno violin of the band, essayed Max Bruch's Concerto in 
G minor at the eighth Concert, the programme of which also 
included Schumann's Symphony (No. i) in B flat, and Mr- 
Hamish MacCunn's Ballad for orchestra, " The Ship o' the 
Fiend." M. Johannes Wolff made his first appearance here on 
the evening of the 2Qth, when he played with entire acceptance 
in Godard's " Concerto Romantique " for violin and orchestra, 
and there was an altogether delightful performance of Schubert's 
Symphony in C, the so-called " No. 10." The tenth Concert 
was entirely choral, when the Union won very frank approval in 
Mendelssohn's " First Walpurgis Night " and in Sullivan's 
popular Cantata " The Golden Legend." Popular Concerts in 
connection with the scheme just briefly reviewed took place, as 
usual, on the Saturday evenings. The programmes included 
several standard Symphonies and Overtures, as also miscel- 
laneous selections of hardly less interest than those submitted at 
the classical series. 

The records for February comprised little of consequence, saving 
that on the 8th the Hillhead Chamber Music Association gave 
its second Concert of the season. The artists were Sir Charles 
and Lady Halle and M. Vieuxtemps, who gave a singularly fine 
performance of Beethoven's Trio in D (Op. 70). The programme 
also included an almost perfect rendering of Brahms's Pianoforte 
and Violin Sonata in A major, and Schubert's Trio in B flat 
(Op. 99). On the 2ist little Otto Hegner came to St. Andrew's 
Hall and met with a distinct success. 

March was, as usual, a busy month with the smaller Choral 
Societies in Glasgow. The inexorable laws of space can only, 


however, permit us to say that several of these choirs made highly 
creditable appearances in works of a more or less familiar type. 
On the ist the Hillhead Association just-named gave its third 
and last Concert of the season, when Miss Fanny Davies and 
Miss Marie Soldat supported a programme of sterling worth. Its 
leading features were Schumann's Sonata in A minor (Op. 105), 
Bach's Preludio, Menuet, and Gavotte (E major Suite), and 
Chopin's Andante Spianato and Polonaise. The young Birming- 
ham pianist had her customary warm greeting, and the 
reception accorded Miss Soldat must have been exceedingly 
gratifying to the fair Austrian, who made her first appearance 
here. Her pure and massive tone, brilliant technique, and artistic 
perception will not soon be forgotten. The Promenades at the 
Fine Art Institute call for record, if only on account of the agree- 
able programmes always submitted by Mr. W. H. Cole. A 
Symphony invariably attracted large numbers of amateurs on the 
Saturday afternoons. 

On April 4 the eleventh and concluding Concert of the 
Glasgow Choral Union series took place. The close of the 
season was postponed to this date in order that the services of 
Dr. Joachim and party might be secured. A programme of 
Chamber music was quite a new feature in the history of the 
Society. It was not superlatively strong, but Mozart's Quartet 
in C major (No. 6), the Andante with Variations from the 
" Kreutzer " Sonata, and Schumann's Quintet in E flat (Op. 44), 
supported by the great Hungarian violinist, Messrs. Piatti, Ries, 
A. Gibson, and Miss Fanny Davies, gave the crowded audience 
unmixed satisfaction. On the gth Dr. Bridge's fine Cantata 
" Callirhoe " was performed by the Bridgeton Choral Society, 
under the direction of Mr. George Taggart, a local amateur of 
skill, and at the annual Concert of the Kyrle Choir a new Choral 
Ballad sought and obtained favour. This was Mr. C. Hall 
Woolnoth's setting of Longfellow's " The Skeleton in Armour," 
remarkable for its clever pianoforte accompaniment, as also 
melodic invention of no mean order. 


Early in May the 6th the Carl Rosa Opera Company entered 
upon a week's engagement at the Theatre Royal, when " The 
Star of the North " was played no fewer than four times. The 
work was wonderfully well staged, and Madame Georgina Burns 
and her coadjutors secured large favour. From the opera week 
onwards to September, our records were almost a blank ; there is, 
indeed, little " tuning up " during the summer and early autumn 
the " doon the water " season but at the gatherings of the 
Glasgow Society of Musicians the interests of the harmonic art 
are not by any means forgotten. This organisation includes both 
the professional and the amateur element, it is true to its original 
aims, and specially remarkable for its hospitality to artists visit- 
ing the city of St. Mungo. In August Dr. Joachim came to 
Glasgow to receive the degree of LL.D. from its ancient Uni- 
versity, and ere September had been well ushered in coming 
events were casting their proverbial shadows before them. Our 
leading Musical Society, for example, was in the field with a 
preliminary prospectus, and the City Hall Concerts (Saturday 
and Monday evenings) were in operation, schemes chiefly on 
" ballad " lines, but noticeable for the array of leading artists 
often to be found on the East-end Concert platform. 

The Glasgow Choral Union season, 1889-90, opened on 
October 15, when Chamber Music was again submitted. The 
artists were Senor Sarasate and Madame Bertha Marx, and Miss 
Ella Russell charmed her large St. Andrew's Hall audience 
with operatic arias. At this Concert the accomplished Spanish 
violinist played with electric effect Dr. A. C. Mackenzie's stimu- 
lating " Pibroch," and the new comer, Madame Marx, gave 
ample evidence of her remarkable ability as a pianist. A couple 
of nights later Sir Charles and Lady Halle" were heard at the 
Queen's Rooms in a budget of good things, which included the 
latest Sonatas for violin and pianoforte from the pens of Brahms 
and Grieg ; and on the 28th a short-lived series of Promenade 
Concerts commenced in St. Andrew's Hall. The work accom- 
plished by Mr. Cole and his orchestra of forty capable players 


deserved, it is not too much to say, the highest encouragement. 
Once more it falls to be noted that the Concert, on the 3ist, 
headed by Madame Adelina Patti, carried everything before it. 

Mr. Edwin Wareham's Concert, on November 5, introduced to 
a Glasgow audience Miss Ethel and Master Harold Bauer, in 
Grieg's Pianoforte and Violin Sonata in C minor. Madame 
Clara Samuell and Mr. Andrew Black sang with their wonted 
favour, the Glasgow baritone giving evidence of a development 
in style which his numerous friends were hardly prepared for. 
The miscellaneous Concerts of the month were, it may be feared, 
in excess of the demand. Mr. Edward Lloyd drew, to be sure, a 
crowded audience to the Monday " Pop," at which he was 
engaged, and Mrs. Alice Shaw speedily whistled herself into the 
good graces of a large St. Andrew's Hall gathering ; but Madame 
Valleria's appeal, on the i8th, was strangely overlooked by her 
many admirers hereabouts. Possibly the Carl Rosa Company 
proved a formidable counter-attraction. It was a " Faust " night 
at the opera, and with Mdlle. de Lussan as Marguerite' In this 
character, and in the title-role of " Carmen," essayed on another 
occasion, the fair American achieved, it is no exaggeration to say, 
a success quite out of the common order. The opera season 
extended to fourteen representations. 

At the bi-weekly meeting of the Society of Musicians, on 
November 9, the results of a prize competition were announced. 
Mr. Allan Macbeth came first with his sacred Cantata " The 
Land of Glory," a work which does him infinite credit. Mr. 
W. T. Hoeck was awarded second prize for a pianoforte and 
violin piece, and Mr. T. S. Drummond was third for a song. The 
adjudicators were Dr. A. C. Mackenzie and Dr. W. A. Barrett. 
It may be of interest to note that on fine Sunday evenings 
Concerts took place at the Gaiety Theatre of Varieties, and at the 
Star Music Hall, for a benevolent object ; the programmes were 
mainly drawn from the domain of sacred music, but a dash of the 
secular element slipped in, and there was at least one very good 
orchestral performance, that of the Overture to " William Tell." 


On December 5, the Bridgeton Choral Society gave Mr. F. H. 
Cowen's popular Cantata " The Rose Maiden," and on the same 
evening Mr. Alexander Lucy, a young Glasgow pianist, who has 
lately studied abroad, essayed a Recital. It was an earnest 
endeavour, but Mr. Lucy's powers are as yet immature. 

On the I2th the first Orchestral Concert of the Glasgow Choral 
Union series was given, and in the presence of an audience which 
nearly filled St. Andrew's Hall. Mr. August Manns had a very 
cordial welcome. The orchestra was in wonderful trim, and gave 
remarkably good performances of Dr. A. C. Mackenzie's " Twelfth 
Night " Overture, a selection from Grieg's interesting " Peer 
Gynt " Suite, the " Lohengrin" Prelude, and Mozart's ever-fresh 
G minor Symphony. Lady Halle gave a superb performance of 
the Beethoven Violin Concerto. On the I4th the first 
Saturday Popular Concert of the series took place. The pro- 
gramme included Beethoven's second Symphony, and M. 
E. Gillett, the principal cello of the orchestra, was heard in a 
Concerto, from the pen of Lalo, remarkable for its poverty of in- 
vention and pretentiousness. Fraulein Marie Fillunger made her 
first appearance before a Scotch audience and had a deservedly 
enthusiastic welcome. What will in all likelihood be regarded as 
the leading event of the season came off on Tuesday, the i7th, 
the performance for the first time in Scotland of Beethoven's 
Mass in D. The Glasgow Choral Union sang their exacting 
music with surprising vigour, staying power, and accuracy, show- 
ing, amongst other things, the care bestowed upon the rehearsals 
by Mr. Bradley, who conducted, and who must be felicitated on 
a performance of singular merit. The band was also worthy the 
occasion, and the leader, Mr. Sons, played the beautiful violin 
solo in the " Benedictus " with fine musical feeling. The 
soloists were Mesdames Fillunger and Belle Cole, Mr. Harper 
Kearton and Mr. Brereton. 

On the 2ist Raffs "Lenore" Symphony had the place of 
honour in the programme, and Mr. F. J. Simpson's Overture, 
" Robert Bruce," attracted no small measure of interest by 

M 2 


reason of the composer's nationality, and his faculty for saying 
something good in musical commemoration of the hero of Bannock- 
burn. Mr. Iver McKay sang Mr. Manns's elegant Serenade, " O 
moon of night." At the Subscription Concert, on the 23rd, 
another Scotch musician was to the fore, in Mr. Frederick Lamond, 
whose Symphony in A (MS.) now received its initial performance. 
The work was originally laid out on the lines of a Serenade, " but 
in the course of elaboration each movement grew into one of 
symphonic form and proportion." That the Symphony is 
brimful of promise cannot be doubted. Mr. Lamond, while a dis- 
ciple of Brahms, can think for himself, his utterances are melo- 
dious and graceful instance the fine slow movement and if his 
orchestration does not always enrich the fabric in the highest 
degree, yet the young Glasgow composer's knowledge of the 
resources of his art is of first importance. After the performance 
Mr. Lamond also appeared as the soloist in St. Saens's character- 
istic Pianoforte Concerto in C minor (No. 4). On the 28th Mr. 
Philip Halstead was the attraction at the third Popular Concert. 
This young pianist has studied in Leipsic, much had been heard 
concerning his abilities, and in Mendelssohn's second Concerto he 
was fully equally to the demands of the music. Later on the 
fluency, elegance, and clearness of his style in a "Ballade" of 
Reinecke's, earned for him a perfect storm of applause. Other 
items in the programme included Dr. Mackenzie's ever-welcome 
" Benedictus," and a couple of choruses from Mendelssohn's 
"Antigone" and " OEdipus at Colonos," well sung by the male 
voices of the Choral Union, under the direction of Mr. Bradley. 
The programme for the Concert on the 3Oth was selected by 
plebiscite. It comprised the Overture to the " Magic Flute " ; 
Minuet for Strings (Boccherini) ; Overture, "Tannhauser " 
Symphony (No. 8) in B minor (Unfinished), Schubert ; Spring 
Song and Spinning Song (arranged for orchestra), Mendelssohn ; 
Selection from Ballet Music in " Faust " (Gounod). The solo 
pianist of the evening was Mr. Franz Rummel, who played in 
Beethoven's Fifth Concerto. F. 



THE celebration of a jubilee does not fall to the lot of every 
musical organisation, and, if only for the reason that the Liver- 
pool Philharmonic Society, during 1889, completed its fiftieth 
season, would the year be a notable one in the annals of art in 
the second city of the empire. It was therefore amid no incon- 
siderable commotion, and with no little expectation, that 
January dawned upon us, for the " Dream of Jubal " had been 
commissioned by Mr. Walton Clark, the chairman of the premier 
provincial Society, and query and comment was rife as to what 
Dr. Mackenzie's jubilee composition would be like. This will be 
alluded to in its proper place ; but it undeniably finds an 
important position in the annals of the year. 

In course of the operatic season, given at the Court Theatre by 
the Carl Rosa Company, Halevy's opera " The Jewess " was 
first produced here in its English garb, this being followed later 
on by Meyerbeer's " Star of the North." 

The Philharmonic Concerts occurring in January were two in 
number. At that on the 8th Schubert's comparatively un- 
familiar E minor Overture, and Mendelssohn's " Melusine," 
together with Berlioz's " Fantastic " Symphony, formed the 
leading orchestral features. Madame Nordica was the only 

On the 28th the" Lustspiel" O verture of Smetana was played for 
the first time here, the other Overtures being Wagner's " Meister- 
singer " and Berlioz's " Francs Juges." Another first hearing was 
that of Bizet's " Roma " Suite. Brahms's " Gipsy Songs " were also 
introduced by Miss Fillunger, Miss Lena Little, Mr. Shakespeare, 


and Mr. Thorndike ; but they made no great impression. At 
this Concert Mr. Willy Hess, the new leader, made his debut as a 
soloist, and played Ernst's difficult Concerto in F sharp minor, 
with remarkable fluency and facility. 

On the gth the third Concert of the Birkenhead Subscription 
Series was given, Sir Charles and Lady Halle being the chief 
attractions ; and the second of the Bootle Orchestral Concerts fell 
on the 2gth. The Birkenhead Concerts have been established 
too many years to count, and date almost out of the memory of 
the oldest inhabitant of the " city of the future," as Disraeli 
called the place. Their history is, however, a worthy one. 
Bootle, on the other hand, only floated an initial scheme late in 
1888 ; but it has, under the direction of Dr. Sanders, the 
secretary, and Mr. A. E. Workman, the Conductor, become a 
recognised and well managed institution. The Xaverian Society, 
under Mr. J. Ross, gave " Elijah " on the i6th, then ending a not 
very lengthy career ; and there were during the month perform- 
ances of "The Messiah," under Mr. Arvon Parry and Mr. 
McCulloch, at Wavertree and Walton respectively, "Judas" 
being given at Waterloo. The Glasgow Select Choir, under 
Mr. J. M. Craig, visited the city on the 25th, and again gave 
some delightful part-music. The Recitals at Dreaper's Rooms 
were during the month resumed, with Miss G. Holme at the 

On February 5 was produced at the Philharmonic Hall Dr. 
Mackenzie's " Dream of Jubal." It will not be out of place here 
to state that the Liverpool Philharmonic Society was founded in 
1840, but owing to alterations effected in the arrangement of the 
seasons, that of 1888-9 became the fiftieth. The chairman of the 
period, Mr. Walter C. Clark, very happily conceived the idea of 
celebrating the occasion by commissioning a special work, and 
the result was the production of " The Dream of Jubal," by Mr. 
Joseph Bennett and Dr. Mackenzie. The whole cost was 
defrayed by Mr. Clark, and his period of office proved a memorable 
one from several points of view. The utmost enthusiasm pre- 


vailed at the Jubilee Concert, the principals engaged for the 
performance being Miss Macintyre, Miss Janet Russell, Mr. 
Edward Lloyd, and Mr. J. R. Alsop, the contralto and bass being 
good local vocalists. The following Concert, on the igth, was 
unimportant, except that Brahms's double Concerto for violin 
and violoncello was given for the first time here. 

The fourth Concert of the Birkenhead Subscription series fell on 
the 6th, with Mr. Schiever's Quartet as the chief performers, the 
latter being a decidedly clever party of chamber performers. Later 
on Mr. Max Pauer gave a Pianoforte Recital, and so also did a 
good local pianist, Miss Webster. Gounod's " Philemon and 
Baucis " was re-produced on the 23rd. It had been twice given in 
1888, by Mr. and Mrs. Louis, with amateur assistance. On the 
28th Miss Freda Fedderis gave a popular Concert, and on the 
29th " Elijah " was given by the choir of the Liverpool Institute 
of Music (Tonic Sol-fa) with creditable results, under Mr. S. 
Hardcastle. The People's Orchestral Society, of sixty-five 
amateur players, illustrated a Lecture given for the Sunday 
Society, by Mr. A. E. Radewald (now the local representative of 
the R.A.M. and R.C.M. examination scheme). Mr. Jude com- 
menced a series of Ballad evenings ; and there were several 
performances of " The Messiah " in the locality, notably one at 
Widnes, by the Birkenhead Cambrian Choral Society, a veteran 
organisation, under Mr. D. O. Parry. Mr. W. T. Best had 
during the month to suspend his regular Organ Recitals on 
account of ill-health, but fortunately the attack of his old enemy 
proved a light one. 

Sullivan's " Prodigal Son " formed the chief item of the first 
Lenten Concert of the Philharmonic Society, and was given on 
March 12. A notable event was the first performance, on 
March 5, of " Ritter Olaf," a Cantata by Charles Braun, in 
which Heine's weird poem was treated with such skill and effect 
as to lead to the expectation of great things from the pen of the 
youthful composer. The Cymric Vocal Union revived Mendels- 
sohn's " Festgesang," for male voices, on the 2oth, but it 


proved a somewhat dull affair. The last Bootle Subscription 
Concert came off on the 25th with Haydn's " Farewell " Symphony. 

Bottesini's " Garden of Olivet " was the Lenten Oratorio at 
the Cathedral, being given under Mr. F. H. Burstall, and with 
Mr. Collins as organist ; and elsewhere there were numerous 
performances, at this time, of Stainer's " Crucifixion." Mr. 
Stavenhagen gave a Recital on the 3Oth, and gained golden 
opinions. During the same month Mr. J. Ross directed an 
Orchestral Concert for the Sunday Society, and Mr. Swift's West 
Kirby Society gave Barnby's " Rebekah." 

Cowen's " Ruth," conducted by its composer, ended the Phil- 
harmonic season on April 2, and again was evidence given 
of the excellent material of which the local chorus is constituted. 
On April 16 the singing members of the Society were treated to 
a supper by the directorate, such an event being hitherto almost 
unheard of in the in some respects peculiar annals of the 
Philharmonic Society. 

The directors of music at the two schools for the blind, Messrs. 
W. D. Hall and Mr. J. T. Brown, produced at their respective 
institutions Schubert's delightful " Song of Miriam " and Fox's 
" Jackdaw of Rheims " within a week or so of each other. 
On Good Friday Mr. W. I. Argent (Mr. H. Hudson being at the 
organ) directed the annual Corporation Concert, at which " The 
Messiah " was given, in St. George's Hall. 

In Birkenhead Mr. Appleyard's St. Cecilia Society gave 
Astorga's "Stabat Mater." Bennett's "May Queen" was also 
given, after many years' rest, by the St. Paul's Choir, on the 2Qth, 
and the following evening it was produced at Runcorn. Aptom- 
mas, the Welsh harpist, gave some Recitals, commencing on 
May 9, but the audiences were not large. Dvorak's "Spectre's 
Bride " was produced by the Rock Ferry Society, under Mr. W. 
R. Pemberton. 

The Eisteddfod held in Brecon in August did not create the 
usual local stir, the distance to the scene of the gathering being 
so far removed from this city. The singing of the natives 


of the principality, which gained royal commendation on 
the occasion of the Queen's visit to Llangollen and Dala, 
is entitled to mention. Early in the autumn the Liverpool Opera 
Society gave a series of capital performances at the Shakespeare 
Theatre, under Mr. J. O. Shepherd. Not only do the members 
of this organisation render invaluable help in the chorus of the 
regular Carl Rosa Company during the season in this city, but they 
prove competent to give operas by themselves, recruiting princi- 
pals from their own ranks. 

Once past Michaelmas and our regular season may be said to 
have again begun, the first Concert of the Philharmonic Society 
falling on October 8, with Grieg's "Peer Gynt" Suite, of which 
a capital performance, under Sir Charles Halle, was given. On 
the 22nd Mr. Hamish MacCunn conducted his " Lay of the Last 
Minstrel " amid a scene of enthusiasm unequalled in the memory 
of those present. A north country quartet, consisting of Miss 
Macintyre, Madame McKenzie, Mr. Tver McKay, and Mr. A. Black 
were engaged as principals. Among the various local institutions 
again getting into harness must be noted the Societa Armonica 
and the People's Orchestral Society, probably the largest amateur 
band in the kingdom. Mr. Lee Williams's " Last Night at 
Bethany " was given at St. Francis Xavier's Church under Mr. 
Ross during the month. Mr. Ross inaugurated choral and 
orchestral societies in the Cheshire suburb of Liscard. 

The distribution of the local awards granted by T.C.L. and 
the R.A.M. took place at St. George's Hall on the igth and 
26th respectively, Mrs. Gladstone officiating at the latter, during 
which a testimonial was presented to Mr. Argent, the retiring 
representative of the R.A.M. , by over fifty of his fellow pro- 
fessors. On October 27 the newly-formed orchestra of the 
Liverpool Sunday Society made its first appearance with marked 
success at the Rotunda Hall. 

Concerts were given by the Philharmonic Society on November 
5 and 19. The programmes contained no novelty. Neither 
were the performances of equal merit, and in musical circles these 


facts gave rise to much comment. With November the local 
Recital and Chamber Music season may be said to have fairly 
begun. Among the pianists who thus appeared may be named 
Mr. A. S. Dale, a highly promising musician, who played at 
Dreaper's on the 2nd ; Mr. W. Faulkes, a well-known local artist, 
who followed at the same place on the i6th ; Mr. Falcke, a 
Parisian medalist and showy performer, who appeared at the Art 
Club on the i6th ; and Mr. S. Welsing, one of our foremost resident 
musicians, who played at St. George's Hall on the 3Oth. Mr. 
Willy Hess's " Manchester" Quartet played at the first Conver- 
sazione of the Art Club, managed by Mr. H. E. Rensberg, on the 
4th. On the I3th Messrs. Theodore Lawson and Haigh Kinsey 
gave a Chamber Concert at St. George's Hall, at which a rather 
promising Trio for pianoforte, violin, and violoncello, by the last- 
named musician, was produced. November also found the 
People's Orchestral Society at work on a Wagner programme at 
the City Hall, and at one of the Sunday Society meetings. 
. On the 3Oth the Musical Club entered permanent premises in 
Lord Street. There was a performance of Chamber Music on the 
occasion, and a large muster of professional and lay members. 
The Club was founded in 1884, with Sir George Macfarren as 
President, and has flourished ever since. The present President 
is Mr. F. H. Cowen, the resident Vice-President, Mr. W. D. Hall, 
and the Hon. Secretary, Mr. Carl Heinecke. 

The second Concert of the Birkenhead Subscription series, 
given on December 4, was of the ballad order. A day later, 
Spohr's " Last Judgment " formed the annual Advent Oratorio at 
the Pro-Cathedral, Mr. Burstall being at the organ and Mr. 
Argent conducting. The second of Mr. Schiever's Chamber 
Concerts, and Miss Margaret Webster's farewell Recital, fell on 
the i4th, and both were well attended. The first public 
performance of the Mallarey Society, under Mr. Ross, took place 
on the igth, with Hamish MacCunn's " Bonnie Kilmeny." 

Mr. Best's Recitals at St. George's Hall happily went on 
throughout the year with hardly a break, and the Corporation 



organist is to be congratulated upon his present excellent state of 

At Chester the Musical Society gave, on March 5, J. F. 
Bridge's " Callirhoe," and Sullivan's " Kenilworth " music; on 
October 28, a Miscellaneous Concert, and on December 16, 
"The Messiah." In addition to these public performances there 
was a private one given at Eaton Hall, on the occasion of the 
visit of the Duke and Duchess of Teck. Dr. J. C. Bridge, the 
Organist of the Cathedral, conducted these Concerts, for each of 
which an orchestra was specially engaged. On August i, one 
thousand voices took part in a Choral Festival at the Cathedral. 
On November 23, the Rev. C. H. Stewart was presented with a 
gold watch and 440 on vacating the office of Precentor of the 
Cathedral ; Chamber Concerts were given by Mr. Bauerkeller ; 
the local Orchestral Society also kept to the front ; and the Glee 
Club did some work. The year ended with an Eisteddfod, 
participated in by the large number of Welsh residents in Chester, 
which was once a Welsh city. 

The Concerts at the Southport Winter Gardens continued under 
Mr. Wright, the programmes being as good as could be expected. 
Mr. H. Hudson, the Conductor of the Birkdale Amateur Musical 
Society, gave, in April, Prout's " Red Cross Knight " and Stan- 
ford's " Revenge," and on December i Rossini's " Stabat " and 
MacCunn's " Bonnie Kilmeny." Under the same direction, in 
April, Handel's "Acis and Galatea" and Mendelssohn's "Athalie," 
and in December Handel's " Messiah " were given by the 
Southport Musical Guild. For all these performances an 
orchestra was engaged. Mr. Clarke's Society, among other 
works, gave Mendelssohn's " St. Paul," and Mr. A. E. Bartlewas 
successful with a series of classical evenings. 




FOREMOST among the musical doings of this city, and indeed 
of this district, stand the Subscription Concerts now in their 
thirty-second season of Sir Charles Halle. Not only do they 
afford the happiest opportunities for hearing orchestral music 
adequately interpreted, and offer to our younger students facilities 
very far beyond those available a few years ago for becoming 
acquainted with the wonderful modern development of art; but 
they make Manchester a centre from which, during the winter 
months, increasing mission-work is undertaken, spreading and 
advancing all around a love of the best works of the great 
masters. With a splendid subscription list, and encouraged by 
the confidence and liberal support of the public, Sir Charles 
Halle is placed above all danger of financial mishap, and is able 
unreservedly to follow his own taste and to carry out freely his 
designs. During five months of each year the band plays almost 
every day under his direction, so that he is able to secure a 
unity of purpose and a general finish of execution which, in 
spite of some weakness among the strings, and a good deal of 
unrestrained exuberance among the brass, could scarcely be 
surpassed. During the year we have enjoyed opportunities of 
re-studying the wonderful Third and Seventh Symphonies of 
Beethoven, and Mendelssohn's ever fresh " Italian " ; and have 
grown more familiar with Brahms's elaborate Fourth Symphony 
in E minor, and with Dvorak's No. 3 in F. Of Berlioz's 
" Symphonic Fantastique " we have had more than enough ; its 
sixth performance leaves us without desire to hear any more of 
it for some years. Our further intimacy with such efforts may be 
deferred until we have gained a knowledge of the many English 


works which still await a hearing here. It may be that the very 
favourable reception of Hamish MacCunn's Ballad " The Ship o' 
the Fiend," given under the composer's direction, will open the 
door wider to the large compositions of many of our native 
writers, and enable us to keep pace more promptly with modern 
ideas of the scope and capabilities of orchestral music. Herr 
and Madame Grieg were very warmly received ; and the little 
sketches for strings and works for the band generally were 
very delicately interpreted. Especially have we delighted in the 
con amove rendering of Beethoven's Violin Concerto, by Lady 
Halle, and of the G major Pianoforte Concerto, by Sir Charles, 
Nor was the devotion of the artists to the unfolding of the 
author's meaning unnoticed when Lady Halle and Signer Piatti 
joined in elucidating the mysteries of Brahms's dual Concerto. 
Senor Sarasate attended the first Concert, playing Raffs " La 
Fee d'Amour," and his own " La Muineira " ; and Herr Joachim 
introduced Stanford's Suite for the violin. At the miscellaneous 
Concerts the vocal element is always strictly subordinate. Never- 
theless, during the year we have opportunities of hearing many of 
the chief singers of the day. 

Of the six Choral Concerts, one evening is always devoted to 
" The Messiah," one to Berlioz's " Faust," and one to either 
" Elijah " or " St. Paul," so that not much room is left for 
novelty. As a matter of fact, Mackenzie's " Rose of Sharon " 
blossomed here only in the spring of 1889, rather long after its 
merits had been weighed in many smaller places. After it we 
had Rubinstein's " Paradise Lost " scarcely such a work as we 
may delight in, greatly as we love oratorios. Since the com- 
mencement, in October, of the present season there have been 
a revival of Handel's "Theodora" and a third performance of 
Sullivan's " Golden Legend," under the direction of its composer. 
" Theodora," in spite of several powerful choruses, and a some- 
what enhanced freedom of style in several of its movements, 
proved decidedly wearisome. The choir evinced the great care 
bestowed upon it by its new trainer, Mr. R. H. Wilson. 


The Concerts of Mr. de Jong next claim attention. Mr. de 
Jong is very liberal in supplying vocalists of reputation, and is 
perseveringly working up his band to a higher capacity. This 
winter he has enjoyed the help of Mr. G. W. Lane's Philhar- 
monic Choir, so that upon occasion he has under his 
command nearly 400 performers. After the Patti Concert, with 
which the season commenced, we had the Valleria party in a 
selection from " Tannhauser " and other excerpts ; and, still 
advancing in completeness, a full recital of Gounod's " Faust," 
with a band and choir so much more powerful than we ever have 
in our theatres that the whole performance went with a swing 
and fulness of tone giving a clearer idea than usual of the strictly 
musical merit of the opera. We warmly welcomed a young local 
Marguerite Miss Mabel Berrey gifted with a voice of beautiful 
quality, with considerable musical sensibility, and with general 
qualifications that should compel her to subject all to a course of 
study more exacting than she has yet undergone. 

Among the crowd of Saturday evening entertainments may be 
specified Mr. Barrett's at the enormous St. James's Hall and 
Mr. Cross's at the Young Men's Christian Association. It would 
ba well could our caterers for the public arrange so as not to 
interfere with each other's success by crowding all our lighter 
music into one night of each week. 

The importance of that diligent culture of music which is 
maintained on all sides by the smaller Choral Societies prevailing 
in and around Manchester could not be over-rated. The 
enthusiastic amateurs may not be able to grapple with the 
expense of an orchestra sufficing for the production of the full 
effect of the works practised, but they exhibit eagerness to 
become acquainted with new compositions by week after week 
meeting for the practice of music not undertaken elsewhere in 
this city. Among them are the Vocal Society of Dr. Henry 
Watson ; the more purely amateur Athenaeum Musical Society, 
under Dr. Hiles ; the Broughton Musical Society, conducted by 
Mr. R. H.Wilson; the Pendleton Choral Society, directed by Mr. 


F. \V. Blacow, and the Philharmonic Choir of Mr. Lane. 
During the year the Vocal Society has extended its lines from 
Tallis's Forty-part Motet to Gounod's "Gallia"; at the Athenaeum 
Bridge's " Callirhoe," Cowen's " Song of Thanksgiving," Hubert 
Parry's " St. Cecilia's Day " (also produced by the Vocal Society) 
have been given ; and Mr. Wilson's Choir has given " Callirhoe " 
and Hiles's Cantata " The Crusaders " the latter work selected for 
performance at the great American Conference of Musicians as 
representative of modern English composition. It will be a 
happy thing for Manchester when some means have been devised 
of uniting all the musical resources of the city under one head. 
Since October, at the Concert Hall, two Orchestral Concerts 
have been given, including Mendelssohn's " Midsummer Night's 
Dream," Schumann's "Spring" Symphony (Op. 38), Mozart's 
Symphony in D (No. i), and smaller works; but the interest 
there lies chiefly in the Chamber Concerts which are occasionally 
given and in the Afternoon Recitals, which Sir Charles Halle 
liberally continues, and to which this season somewhat of an 
historic character is imparted by the arrangement of the 

In conjunction with Signer Risegari and other coadjutors, Herr 
Sachs ventured upon a Chamber Concert in the spring of the 
year; but, as at the Recitals of Herren Stavenhagen and Schon- 
berger, the encouragement was not adequate to the merits of the 
performance. At the Town Hall Mr. Kendrick Pyne continued 
to draw audiences probably larger than those attracted by Organ 
Recitals in any other town, and the half-yearly visits of M. 
Guilmant had undiminished interest for the lovers of the serious 
music suitable for the noblest of instruments. 




THE year has been marked by a great deal of musical activity 
in various directions. It is indeed astonishing, considering that 
the City of Oxford is neither large nor wealthy, to find how 
many performances of one sort or other have taken place. In 
the range of Oratorio Concerts, however, only two require notice. 
On March 12 the Choral Society gave Beethoven's " Sinfonia 
Eroica " and Dvorak's " Stabat Mater," and the performance was 
one of the finest ever heard in Oxford. The Society, which has 
just closed its seventieth season, has, perhaps, never put a 
better chorus on the orchestra than on this occasion, and the 
difficult music of the Bohemian composer was excellently rendered. 
The soloists were all singers of established reputation, with the 
exception of Mr. A. F. Ferguson, an academical clerk in Magdalen 
College Choir. The manner in which this young singer rendered 
the bass part was really admirable, and caused many prophecies 
of future successes in store for him. Some of these prophecies 
have been already more or less fulfilled by Mr. Ferguson's 
singing in " The Sword of Argantyr " at the last Leeds Festival. 

On June 24 the Philharmonic Society gave a performance of 
Dr. Bridge's " Callirhoe," Mr. Harford Lloyd's " Song of Balder," 
and Mozart's G minor Symphony. Dr. Bridge conducted his own 
work, and met with a warm reception both from his numerous 
friends in Oxford and also from the general public. The bright 
and pleasing music of the Cantata proved much to the taste of a 
" Commemoration " audience. 

Chamber Music makes very few appearances in public, though 
it is cultivated in the University with remarkable enthusiasm, and 



possesses two distinct institutions devoted to it. A Concert was 
given in aid of the funds of the University Musical Club on March 
8, at which Dr. Joachim played the " Kreutzer " Sonata, 
besides leading Haydn's "Kaiser" and Schumann's A major 

The University Musical Union gave two Invitation Concerts 
during the year. At the first, on February 21, in Keble College 
Hall, Herr Ludwig and his quartet played. For the second, on 
November 25, in Christ Church Hall, the Heckmann Quartet 
was engaged, but at the last moment the viola player fell ill and 
broke up the quartet, much to the disappointment of people of 
Oxford, with whom they have been established favourites. How- 
ever, the Concert proved a peculiarly pleasing one. In Madame 
Heckmann the audience found a pianist of the very highest order, 
and it is scarcely possible to imagine a finer performance of 
Schubert's Trio in B flat major (Op. 99) than was given on this 
occasion. A feature of special interest in Concerts was the per- 
formance for the first time of Professor Stanford's new Pianoforte 
Trio in E flat major, the composer himself playing the pianoforte. 
The second and third movements pleased best at first hearing ; 
but the whole work was full of charm. Professor Stanford has 
written much of late, and written much well ; but, perhaps, this 
Trio will prove to have even more permanent elements of popu- 
larity than some of the music on a larger scale that has been 
recently heard. 

Two Concerts were given by the Orchestral Association. On 
February 16 the scheme included Beethoven's " Pastoral " 
Symphony and Violin Concerto (first movement) and Cherubini's 
"Anacreon" Overture. On November 23 their chief efforts 
were Beethoven's " Fidelio " Overture, Mendelssohn's " Scotch " 
Symphony, Beethoven's Romance for violin and orchestra in F 
major, and Mozart's " Zauberflote " Overture. The February 
Concert was practically the first public appearance of the Asso- 
ciation, and regarded in this light it reflected great credit on 
them ; but the improvement manifested in the November Concert 


was really remarkable, and warrants great expectations of the 
future of this hard-working body. There were still far too many 
"passengers" amongst the strings, but as they had the good 
sense to do no mischief, the general effect of the performance was 

It is now time to turn to what is one of the most distinctive 
features of Oxford music viz., the College Concerts. Of late 
years considerable rivalry has been exhibited in this direction, 
with the result of raising to a very high level the standard of the 
performances. The series of College Concerts that takes place in 
the "Eights" week almost rises to the dignity of a Musical 
Festival. The first two days of this week of Concerts were 
occupied by Balliol College, where Farmer's " Cinderella " was 
given on May 25, and a Haydn Symphony, with other works, 
on May 26. Next day there was a miscellaneous Concert at 
Trinity College, and on May 28 the Rev. Wellesley Batson's 
music to " The Faithful Shepherdess " was performed at Exeter 
College Concert, under the composer's direction. The second part 
of the programme included a very pleasing Minuet and Trio by 
Mr. F. C. Woods, the Organist of the College. On May 29 
Worcester College took its turn in the series with a programme 
including Brahms's " Rinaldo," Lloyd's " Longbeard's Saga," 
and Beethoven's "Kreutzer" Sonata for violin and pianoforte. 
The main features of Merton College Concert, which took place 
on May 30, were Mozart's E flat major (clarinet) Symphony 
and J. F. Barnett's " Building of the Ship," conducted by the 
composer. Lastly, at Queen's College Concert, on May 31, 
Grieg's " Landkjending " was heard for the first time in this 
country, and a new Cantata by Prout, called " Damon and 
Phintias," composed for the occasion, was produced, under the 
composer's baton. This was, of course, the principal musical 
event of the year in Oxford. The old Greek story was cleverly 
arranged by the librettist in two scenes of great dramatic interest, 
and Mr. Prout had furnished them with most dramatic music. 
The interest of the work rose throughout, and it was closed with 

OXFORD. 179 

a most admirable Finale, "O love, thou breath of heaven." 
Though each scene is written continuously, the work is divided 
into numbers in the usual way, and of these, Damon's air, " O'er 
lawn and lea," and the beautiful chorus, "Just a tear-drop," 
possessed especial charm. There seems to be an increasing 
demand in England for Cantatas for men's voices, and " Damon 
and Phintias " is a most important and valuable addition to the 
repertoire. Nothing has been said of the merits of the various 
performances. In almost every case good renderings were 
secured, and at Merton and Queen's both band and chorus were 
really admirable. Looking back over such a week of music, it 
must be pronounced infinitely creditable to the enthusiasm and 
skill of the Oxford undergraduate. 

Besides this important week of Concerts, a number of other 
College Concerts on a slighter scale were given during the year. 
On June 19, Jesus College, the Welsh College, gave a Concert, 
largely consisting of national music ; and, on June 20, both 
Keble and Pembroke Colleges gave Concerts of more or less 
interest. On November 24 Mr. Farmer celebrated his 
hundredth weekly Concert at Balliol, with a programme in 
which figured Mozart's Pianoforte Concerto in D minor; and, 
on December 3, Merton College gave Handel's " Ode on St. 
Cecilia's Day." Of smaller College Concerts the name is legion, 
and with that remark they must be allowed to pass. 

An interesting feature that marked the close of the year was 
the visit to Oxford of M. Alex. Guilmant, the well-known organist 
of La Trinite, at Paris. With that graceful courtesy so distinc- 
tive of our neighbours across the Channel, he offered to give two 
Organ Recitals in Oxford, in aid of the Ouseley Memorial Fund. 
The offer having been gladly accepted, he gave a Recital in 
Balliol College Hall, on the evening of December 3, and in the 
Sheldonian Theatre on the afternoon of December 4. It is 
hardly necessary to say that the celebrated composer for the 
organ received a hearty welcome in Oxford, or that his admirable 
playing enchanted all listeners. In every style he seemed equally 

N 2 


at home, and his improvisations, one of them on a theme supplied 
by the Magdalen College chimes, were masterly in the highest 

The occasion of M. Guilmant's visit leads naturally to some 
notice of what is in many ways the most important event of the 
musical year in Oxford viz., the change in the Professorship of 
Music. Early in April the late Professor, the Rev. Sir F. A. 
Gore Ouseley, passed suddenly away. The vacant post was 
filled at the beginning of June by the appointment of Sir John 
Stainer, and without even suggesting the least reflection on his 
predecessor, it is certain that music in Oxford has been a great 
gainer by having a resident Professor. Sir John Stainer at once 
proceeded to remedy a serious defect in the position of music at 
the University, by establishing a teaching staff. Taking 
advantage of the great strength available, he almost at once 
appointed deputy-professors to teach most of the important 
subjects. Musical "form" was assigned to Mr. Hadow, of Wor- 
cester College ; composition to Mr. Lloyd, of Christ Church ; 
counterpoint, to the Rev. Dr. Mee, of Merton ; harmony, to Dr. 
Roberts, of Magdalen ; acoustics, to the Rev. F. J. Smith, of 
Trinity ; pianoforte playing, to Mr. Taylor, of New College ; and 
the organ, to Mr. Woods, of Exeter College. As the Professor's 
object was to establish the study of music as a genuine part of 
the University curriculum, every student was obliged to bring 
leave from his tutor to pursue the study of music. The results of 
the first term's work have gone to prove the existence of a 
number of serious students, and there seems every reason to 
believe that the scheme will result in shortly bringing about a 
genuine Oxford School of music. When it is remembered how 
the effects of University teaching reach out into every corner of 
the country, as successive generations of students disperse, it 
seems hardly possible to predict how great may be the influence 
of this new scheme on the state of music throughout the 
country at large. Nor has Sir John Stainer been content with 
this achievement. For about a quarter of a century there have 

OXFORD. 181 

been two large Choral Societies in Oxford the Choral Society 
and the Philharmonic Society. The new Professor has found 
means to induce these Societies to amalgamate their forces, so as 
to form one large Society ; and he has also persuaded the 
Madrigal Society to dissolve itself, with a view of combining in 
one great body all the choral resources of the place. The new 
Society was to commence operations with the New Year, and it 
may be confidently anticipated that it will be able to challenge 
comparison with any in the country. 

J. H. MEE. 



APART from the Leeds Festival, 1889 has been distinguished by 
a great number of Concerts of high merit, more particularly those 
which took place at the beginning of the year. One of the 
earliest events in Leeds was a Concert given on January 22, 
when Herr Dittmar was associated with Mr. E. Misdale, of 
Bradford, in Grieg's Sonata in C and in other classical selections. 
Miss Jessie Beavers, a Leeds soprano, was the vocalist, and made 
a very favourable impression. At Mr. Haddock's sixth musical 
evening, on January 29, Mdlle. Jeanne Douste made her first 
appearance in Leeds and won golden opinions. Mr. W. Cooke, 
a native of Leeds, gave a Pianoforte Recital on February 4, 
before a large and appreciative audience. The Concert-giver was 
associated with Mr. E. Haddock in his Sonata in D minor for 
pianoforte and violin, which gave evidence of earnest aim and 
much melodic beauty. The Leeds Temperance Choral Society 
gave a performance of Haydn's " Creation " in the Town Hall on 
February 5, the principals being Madame Larkcom, Mr. 
Holberry Hagyard (first appearance), and Mr. Dan Billington. 
The band and chorus numbered 250, all total abstainers. Mr. J. 
Thompson was the Conductor, Mr. J. W. Acomb the leader of the 
band, and Mr. A. F. Briggs presided at the organ. 

Mr. F. Dawson, a well-known and talented local musician, 
gave a Pianoforte Recital at the Philosophical Hall, on February 6. 
The principal piece was Grieg's Sonata in C, in which the 
pianist was joined by Herr Dittmar. On February 9 the 


Leeds Amateur Orchestral Society gave their first Concert of the 
season at the Church Institute, which was fairly successful. 

The fifth Leeds Subscription Concert took place at the Coliseum 
on February 21. Schubert's Symphony in C major (given for 
the second time in Leeds), Mendelssohn's " Hebrides " Overture, 
Sullivan's " In Memoriam " Overture, and Gounod's Overture to 
" Mireille " were the principal pieces in a diversified programme. 
Mr. Willy Hess was the violinist, and Dr. Creser took his place 
at the organ. Miss Emily Spada made a successful first 
appearance here as vocalist. 

On March n, Mr. E. Haddock's ninth Musical evening 
introduced another pianist for the first time to a Leeds audience 
in the person of Miss Mathilde Wurm. The chief works 
rendered were Brahms's Sonata in A, and a Sonata in G minor, 
by F. Kilvington Hattersley, who appeared both as composer and 

The Chamber Concert given on March 13 was the last of the 
Subscription series. Dr. Joachim "led" Schubert's Quintet 
(Op. 163), having as coadjutors Mr. H. Smith and Herr Haus- 
mann (violoncellos), Mr. Gibson (viola), and Mdlle. Marie Soldat 
(second violin). Miss Fanny Davis and Fraulein Fillunger were 
the other artists engaged. 

The Leeds Philharmonic Society gave an excellent performance 
of Dvorak's " Stabat Mater," on March 20, at the Coliseum. 
Madame Nordica made her first appearance in Leeds at this 
Concert, Mr. Edward Lloyd and Mrs. Alfred Broughton being 
the other vocalists. The chorus was especially commendable. 
The second part of the programme included Hamish MacCunn's 
"Lord Ullin's Daughter" and Hubert Parry's "Blest pair of 

Mr. E. Haddock's tenth and last Musical evening took place on 
March 25, Mdlle. Jeanne Douste being the pianist. The 
programme included a tender melody for the muted violin, by Mr. 
Percy Haddock, which was performed for the first time. 

Dr. Spark issued invitations for a rehearsal of his new 


Oratorio " Immanuel," at the Town Hall, on April 4. The 
Oratorio, though melodious, has the fault of at times being 
too light and showy to be in perfect keeping with the subject. 
The orchestra was represented by a pianoforte and the organ 
instruments which were somewhat inadequate, though judiciously 
used. Miss Annie Hoyle (soprano), Miss Chadwick (contralto), 
Mr. A. F. Briggs and Mr. Gilbert Jackson (tenors), and Mr. J. 
Browning and Mr. H. Kemp (basses) rendered the principal 
parts with credit, and the choruses were sung by a small but well- 
selected choir. In compiling the book of words, Dr. Spark 
acknowledged his indebtedness to the Rev. Dr. Conder. 

The Leeds Musical season may be said to have re-commenced 
in earnest with the Subscription Concert of November 6. Frau- 
lein Fillungerwas the vocalist, and Mr. Willy Hess solo violinist. 
Halle's band gave a polished rendering of Weber's " Euryanthe " 
Overture and the " Scotch " Symphony. The novelty was 
Grieg's Suite " Peer Gynt." The second Subscription Concert 
took place on December ir, when Schubert's Octet was given 
for the first time here, under the leadership of Mr. Carrodus. At 
the first Philharmonic Concert of the season, on November 20, 
"St. Paul" was given, with Madame Nordica, Miss Beatrice 
Wrigley (of Wolverhampton), Messrs. Ben Davies and Watkin 
Mills as principal vocalists. A word of praise is due to Messrs. 
Wood, Higgins, and Haigh, members of the Society, for very 
useful aid. 

For the 1889-90 season Mr. Edgar Haddock reduced the 
number of his Concerts to six. He commenced on November 
19 with a programme fully up to the expected standard of excel- 
lence. Mdlle. Douste was again the pianist. Mdlle. Antoinette 
Trebelli sang. 

The Leeds Church School Choral Festival took place in the 
Victoria Hall on November 19. The chorus numbered 700, 
half being children and half adults. The programme consisted 
of anthems, carols, and choruses. Mr. Alfred Beulon contributed 
a couple of solos on the organ with his customary skill and judg- 


ment. Mr. W. H. Harrison, at the Conductor's desk, kept his 
forces under excellent control. 

A Scottish Concert was given at the Coliseum on November 25 
by the Glasgow Select Choir, under the conductorship of 
Mr. J. Millar Craig. 

The Christmas production of the Philharmonic Society was 
" The Messiah " at the Victoria Hall, December 18, the prin- 
cipals engaged being Miss Macintyre, Madame Belle Cole, Mr. 
Barton McGuckin, and Mr. Brereton. In reviewing the musical 
events of the year in Leeds, mention must not be omitted of Dr. 
Spark's weekly Organ Recitals at the Town Hall, which fully 
maintained their popularity. 

The musical season of 1889 in Bradford was brimful of variety, 
and generally of great interest, whilst in the immediate district 
many old-established vocal societies showed increased vitality 
and progress. A few new Societies have also sprung into exist- 
ence, with every prospect of success and usefulness. The Sub- 
scription Concerts, of course, held the place of honour in local 
musical estimation. The series was resumed on January 18 
with a Ballad Concert, at which Mr. Henschel appeared in the 
threefold capacity of composer, vocalist, and pianist. The Con- 
cert also served to introduce a violinist new to Bradford, Miss 
Nettie Carpenter, while Mr. Orlando Harley and Mdlle. Janotha 
were also retained. 

At the Subscription Concert on February 15 Bizet's " Roma " 
Suite was presented for the first time. Mdlle. Marie Soldat and 
Herr Hausmann played, and Miss Alice Whitacre was the 

An admirable performance of " Elijah " was a worthy climax 
to a series of Concerts marked by excellence all along the line. 
Save Mr. Santley the " only true Prophet " none of the leading 
quartet, including Madame Nordica, Madame Belle Cole, and 
Mr. Piercy, had been heard in that work in Bradford. Local 
amateurs in the persons of Miss Clara Marshall, Madame Ash- 
croft-Clarke, Mr. Wm. Coates, and Mr. H. Connelly also rendered 


efficient aid. Sir Charles Halle, as usual, commanded his 
highly-trained forces, and Mr. J. H. Clough took his accustomed 
place at the organ. 

At the commencement of the twenty-fifth season in October 
the Subscription Concerts Committee found themselves in such 
an agreeable financial position as to be able to promise an extra 
Concert free to subscribers a series of seven, therefore, instead of 
six being announced. The first Concert took place on October 
25. The principal items were the Overtures to " Der Fliegende 
Hollander " and Spohr's Dramatic Concerto, with Madame 
N6ruda as solo violinist. Novelty was represented by Grieg's 
Suite " Peer Gynt " and a couple of Dvorak's " Legendes." Miss 
Macintyre was the vocalist. At the Ballad Concert on 
November 22 Madame Valleria and her troupe appeared. 

A Choral Concert took place on December 13, when Benoit's 
"Lucifer" was performed, with Miss Annie Marriott, Madame 
Patey, Mr. Iver McKay, M. Blauwaert, and Mr. Bantock Pier- 
point in the solo parts. The composer was present. Parry's 
" Blest pair of Sirens " was given at the same Concert for the 
first time in Bradford. 

The 1889 musical season in Bradford was rich in Chamber 
Concerts, given by Mr. E. Misdale at the Mechanics' Institute, 
by Mr. S. Midgley at the Church Institute, and by other well- 
known local musicians. Mr. E. Misdale's Concert on February 5 
was something more than a Chamber Concert, the services 
of the Bradford Glee Union being retained. Their rendering of 
part-songs by Mendelssohn lent agreeable variety to an excellent 
programme. Miss Emilie Young was the vocalist, and Herr 
Dittmar, of Leeds, the violinist. Mr. Misdale also gave a couple 
of high class Concerts in the latter part of the year. Mr. 
Midgley's Concert on March 15 was chiefly noticeable for the 
appearance of Mdlle. Soldat. Mr. Percy Cooke, a local amateur, 
by his rendering of a grand Polonaise, by Popper, on the violon- 
cello, showed himself an adept, giving great promise for the 
future. Madame and Miss Tomlinson sang duets by Brahms, 


Mendelssohn, and Vincent with much finish. After the summer 
interval Mr. Midgley again broke silence on October 15. His 
present coadjutors were Signer Risegari, Mr. Farnow, and Miss 
Brigg, of Kildwick Hall the latter an amateur vocalist bearing 
an honoured local name. 

The Bradford Festival Choral Society lost nothing of its old 
vitality and energy, a fact amply proved both by the attendance 
of members at the many rehearsals, and by the actual amount 
of arduous work accomplished. In addition to performing the 
heavy choral work in connection with the Subscription Concerts, 
it showed an admirable example of enterprise and courage by 
introducing Dr. Parry's "Judith " for the first time to a Bradford 
audience on April 12. Mr. Sewell's band executed its share in 
the work with conspicuous merit. Miss Clara Leighton in the title- 
role sang commendably. Considering the difficulty of the work, the 
chorus came through with flying colours. The performance of Mr. 
Ebenezer Prout's " Hereward " on November 15, however, was 
not equal in merit to that of " Judith." Among local societies the 
Bradford Musical Union (Conductor, Mr. B. Watson) and the 
Bradford 'Glee Union (Conductor, Mr. C.Anderson) have pursued 
a steady and prosperous course. The former Society gave a 
Concert at St. George's Hall on December 20 for the benefit 
of the Infirmary, the principal vocalists being Miss Emilie 
Norton, Mrs. Ashcroft Clark, Mr. W. Knight, and Mr. W. 

The Bradford Glee Union gave their annual Concert at the 
Mechanics' Institute on March 13, performing, among other 
things, Caldicott's " Queen of the Valley." The principal voca- 
lists were clever amateurs Miss A. Saville, Madame Armitage, 
Mr. C. Blagbro, and Mr. Alfred Barnes. Master P. Cathie, a 
juvenile violinist of exceptional ability, also appeared. This 
Society gave an entertainment on December 9, the programme 
being entirely selected from the works of Sir H. Bishop. 

The Bradford Amateur Orchestral Society gave their second 
Concert on March 22 under the conductorship of Mr. E. Haddock. 


Haydn's Seventh Symphony in D and the Overtures to 
" Masaniello " and " La Dame Blanche " were performed \vith 

Amongst minor events Mr. J. St. Hense's Concert on March 4 
should not be passed over. Mr. C. Heinrich gave an agreeable 
musical evening at the Church Institute on April 5. Mr. J. H. 
Clough was instrumental in producing Sullivan's Cantata " On 
Shore and Sea " at the Kirkgate Chapel (May 9). On December 3 
the Bradford Kyrle Society gave Gaul's " Holy City." On 
December 6 the children of the Bradford Board Schools pre- 
sented, for the first time, in St. George's Hall, a Cantata entitled 
" Flora's Garden Party," by Mr. A. C. Cowley, the Musical 
Inspector of the School Board. The work showed taste and 
skill in choral writing, and met with a distinct success. 

The Keighley Musical Union has made rapid strides, mani- 
festing ability to grapple with choral works of considerable 
magnitude. The Cleckheaton Philharmonic Society, for several 
winters organised and trained by Mr. S. Midgley, of Bradford (a 
position from which he has now retired), acquitted themselves 
creditably both in choral and orchestral work. The Light- 
cliffe Choral Society, under the conductorship of Mr. Rooks, have 
shown steady improvement and ability to successfully tackle 
such works as Mendelssohn's " Athalie " and Cowen's " Rose 
Maiden." The Shipley Amateur Musical Society were not 
inactive during the year, and showed decided advancement. The 
Pudsey Choral Union made successful progress under the con- 
ductorship of Mr. H. Robertshaw, giving their annual couple of 
Concerts in a most commendable manner. The Calverley Choral 
Society, under the conductorship of Mr. James Hall, proved 
themselves a body of singers capable of presenting choral works 
with freshness, spirit, and precision ; as have also the members of 
the Geadont District Harmonic Society. During the year the 
Manningham Musical Union was formed. 

At the Huddersfield Subscription Concert on January 15 Sir 
Charles Halle, Madame Neruda, Madame Bertha Moore, and 


Mr. Paersch were engaged. At the next subscription Concert 
Madame Minnie Hauk and her Concert party appeared. Berlioz's 
"Faust" was given on March 24 by the Huddersfield Choral 
Society. The principals were Madame Mary Davies, Mr. Chas. 
Banks, Mr. W. Barton, and Mr. Watkin Mills, Sir Charles 
Halle's band assisting both on this occasion and at the miscel- 
laneous Orchestral Concert of December 10. 


NOVELLO, EWER AND Co., Printers, London.