in the metropolis, and to the fact that concert giving moves in London very much upon fixed lines. The notable orchestral performances outside the old established provincial festivals in such great centres as Manchester, Liverpool, Birmingham, Bristol, Edinburgh, and Glasgow, have done enormous good in advancing high-class healthy music; and information. is not wanting concerning the proposed establishment. of orchestral concerts in other towns, and in one instance there is even a proposal to establish a complete city band or municipal orchestra. This increasing national love of the orchestra is also displayed in another direction-the more frequent presentation of the choral works of the great masters with more complete and better balanced instrumental forces. There are pleasant rumours afloat too, of the possible establishment of more additional orchestral performances in London itself. One sign of the times, noticed by a musical contemporary, is the gradual dying out of the "star system" in its more exaggerated and injurious forms. Even world famous singers have, during the past year in many places, found but scanty audiences; and the time seems to be at hand when great singers will have to learn to be ashamed of tramping round the country with no more artistic repertoire than half-a-dozen ballads and as many contemptible "royalty songs." One now hears less, again, despite hard times, of the cry, orchestral concerts cannot be made to pay; and of those who advancing the highest class of concerts seem to have faith in the motto, Quæ vernant crescent. However, these are business questions; and the commercial law that perseverance wins in the end, is just as applicable, if not more so to things of real value, as to things of little value; and when the national taste is still more definitely in favour of orchestral music, business men will be found more and more ready to bring capital and good management to bear upon the great musical need of our day, the propagation of orchestral use in every direction. Perhaps not the least gratifying token of the earnest growth of our orchestral impulses has been a decidedly increased employment of the orchestra at our church festivals; indeed the orchestra has here a truly noble power for good, and in the end, will be found hand in hand with the organ, as faithful and valuable a servant to religion as to art. E. H. T. CHRISTMAS CAROLS. Besides the good old English Carol called "Noël," two new Carols were sung at St. James's, Garlick Hythe, Thames Street, City, on Christmas Day, and again on Sunday evening (Dec. 28th). These were Dr. Bridge's fine setting of Canon Farrar's stanzas "In sorrow and in want," and a Carol expressly written and composed for the church by the Rev. Alfonso Matthey, who assisted to intone the service. This Carol begins with the line "Shepherds scorning sleep," and is in the key of E major, said to be one of the "bright" tonalities. Both Carols found favour with the congregation, and they were ably accompanied by Mr. Frewer, the intelligent organist of the church. Mr. Frewer, after the (full choral) service on Christmas Day, played, as a Voluntary, the final chorus in C from Beethoven's oratorio "The Mount of Olives," alias "Engedi.” The new Carol of Mr. Bond-Andrews in G, a setting of stanzas by Mr. Matthey, was unfortunately too late for copying out and practice, but it will be reserved. Mr. G. Coker, the choirmaster, had trained his company most carefully, the fact was evident. A. M. THE SOCIETY OF PROFESSIONAL MUSICIANS. TO THE EDITOR OF THE MUSICAL STANDARD. " SIR,-As I was one of the first to advocate the cause of this Society in your columns, I think it is due to myself and my professional brethren to state that after the meeting held in Leeds last November, and over which I presided, I felt it incumbent on me to resign my membership. My reasons for taking this step were fully explained at the time to the courteous secretary, Mr. Dawber, and I therefore appreciated his earnestly expressed wish that I should retain my membership. Under the circum. stances, however, I felt that I could not retain my connection with the Society consistently with my professional position and feelings of self-respect. I am Sir, yours faithfully, Dec. 24th, 1884. COUNTERPOINT. WM. SPARK. SIR,-As one of the Managing Committee of the above institution, I cannot but feel surprise and indignation at finding that your widely-read and valuable journal has been made the medium of a somewhat uncalled for attack on the School, in the form of a critique on a students' concert, from the pen of Mr. F. St. John Lacy, your Cork correspondent. Far be it from me to attempt in any way to interfere with the liberty a critic should enjoy, but when a provincial correspondent outsteps the bounds of fair and honest criticism, then it seems to me that such interference is just and reasonable. As to the performance of Dvorak's "Stabat Mater," the work was advisedly placed in the hands of the students, in order to fully test their powers with regard to a difficult composition of the kind, and I can, with confidence, state that, so far from being such as described by your correspondent, it was extremely creditable to all concerned. Of course, I am not going to pretend that the performance was faultless; I know, and perhaps as well as Mr. Lacy, where the faults lay, but I do not consider his statements worth the trouble of a detailed refutation. This much, however, I may say, that all the principals were, without exception, bona fide students of the School, and at present going through their three years' course. The performance being purely a school one, no orchestra was engaged, but I fail to see how this circumstance calls for the sneering remark of your correspondent as to the useable having for their bass note the dominant in minor keys? Of of the pianoforte and harmonium. The conductor did, I admit, occasionally use his violin (as he always does in class-training), but I consider it speaks well for him and for the school, that its vocal professor should also be a thoroughly competent performer on that instrument. From the pains Mr. Lacy has taken to excuse himself for the tone of his critique, it is quite evident that he is aware of the injury his unkind attack must be to an institution which has done such a vast amount of good in regard to musical education in the South of Ireland. In conclusion, I may be permitted to quote an extract from the last Report of Mr. Henry R. Eyers, one of the most eminent professors of the Royal Academy, who has for some years annually visited Cork, for the purpose of conducting the examinations. Mr. Eyers writes under date July 19th, 1884 :—“ In the solfeggi, the pupils were examined in class and individually, and it is self-evident how admirably this department is conducted. . Mr. Sullivan cannot be too warmly congratulated on his Choral Cork, Dec. 22, 1884. W. RINGROSE ATKINS. TO THE EDITOR OF THE MUSICAL STANDARD." SIR,-Kindly permit me, as conductor of the concert by students of Cork School of Music, on the 11th inst., to contradict an erroneous critique. As regards the balancing of voice parts, I have to remind your correspondent, Mr. F. St. John Lacy, that ours is a school, not a musical society, in which baritones are freely and plentifully mixed with a few tenors. Our modest number are tenors, and the baritones go to the bass side. As regards the great excess of baritone and bass, in the first instance, our climate is accountable, and secondly, the School Committee deem it prudent not to reject any deserving pupil from the Choral Class, even though it may produce inequality. It is not true that the tenors opened the first number of the "Stabat Mater" out of tune. True, they were not quite certain at the start as to my adhering to my habit in rehearsals, of beating a bar before commencing. The piano and harmonium commencing with my beat, the tenors fully recovered themselves in the third bar, and all went right. The "Quis est Homo" was not taken too fast, in my opinion, if I may be allowed to judge from the composer's beat, which I carefully observed at the Worcester Festival in last September. Mr. Paul's voice was not thick and guttural. Mrs. Murphy (I am proud to say) may be taken as a very good specimen of what the School can teach, as she voluntarily gave up singing in public as an amateur in order to join our school, and further more, Mrs. Murphy was a private pupil of mine long before the School was thought of. The last chorus was not a jumble, but was (for a difficult chorus) creditably performed. The conductor did give the leads, on the violin, to the various parts (in the absence of an orchestra, for which the Committee could not pay), and he is very proud of being reminded that he is able to The students were not past pupils, as all the soloists and the large majority of chorus are at present in the School. The Committee wisely give to the past pupils the option of admittance to the Choral Class every year. do so. TO THE EDITOR OF THE MUSICAL STANDARD.' SIR, Mr. Stark's chief point is evidently the "interval" of "chord". When writing I had my opponent's paper before me, and used the word "chord," even as Mr. Stark uses it himself in speaking of it as "the fourth chord" in his example No. 20, and without referring very closely to Prof. Macfarren's book, who speaks of it as an interval distinguished from a complete chord." We may, therefore, both cry quits for any inadvertence in using the word chord, whether we admit it as a chord or interval. But to the practical points in it. If we are not to have second inversions in the strict style of counterpoint, what chords are avail course the on the dominant is one. Are we prepared to admit a on it? This would be a chord having a bass note with its major third and minor sixth, a chord I have not yet found either in Prof. Macfarren's book or in any other, and a chord which to my ears sound anything but pleasant. If, on the other hand, we write a bass note with its minor third and minor sixth we are out of the key and are using the first inversion of E flat major, taking our minor key under consideration as C minor. I think therefore, this interval or chord-a chord being a combination of two or more notes sounded together-is a very happy and useful combination. Let us by all means have as much melody and harmony as possible. I think I took very wide ground on that point so as to include both the old and the new. No doubt any new system will receive its due reward in the long run. Yours truly, Southport. J. A. GREGORY. CORNETS AND CORNET PLAYING. TO THE EDITOR OF THE "MUSICAL STANDARD." SIR,-The article in your issue of Dec. 13, under this heading, seems to call for some notice; and I hope some abler pen than mine may add a few words in defence of the much-abused instrument. Mr. Bellerby is doubtless aware that in cornets there is as much difference as there is in pianofortes and organs, and an equal amount of difference exists in the performers. The tone produced by a cornet player depends on his method of blowing, as does the tone of a violinist or 'cellist on his method of bowing. A good cornet player will be able to produce something of the ringing tones of the trumpet, or the mellow tones of the horn, at pleasure. I do not profess to be an executant on the cornet, still, I know sufficiently of its capabilities to maintain strongly that the cornet, when properly manipulated, is a fine instrument, and perfectly allowable in any orchestra, under certain conditions. Our excellent trumpet player, Mr. Harper, told me personally only a few months ago that he preferred the cornet in difficult passages, on account of its greater certainty; and I have known him use the cornet in preference to the trumpet throughout an entire performance at one of the Philharmonic Society's concerts. A good cornet by Courtois, Distin, or some other of the best makers can be used in a drawing room as a solo instrument without shocking the nerves of the most sensitive, and I have even heard an obbligato to a song rendered effectively on the cornet. I have also frequently employed the cornet in Church services, in addition to the organ; and I can confidently assert that no single orchestral instrument could possibly be so invaluable for strengthening the tone of a choir, with which it can be made to blend so as to be hardly distinguishable from the boys' voices. In spite of your correspondent's tirade against the cornet, I am convinced that it is, and will remain, when properly used, a pleasing, popular, and useful instrument. An attack might, in my opinion, as reasonably be made against the bassoon, trombone, euphonium, or, in fact, any orchestral instrument; all are equally unpleasant to listen to, when used by incompetent persons. I am, Sir, yours, &c., H. J. B. Wood Green, 16th Dec., 1884. [The use of the cornet in wind bands is undeniable, and, should composers write for it judiciously, it is not without an occasional place even in the orchestra; but it is to be deplored that its employment sometimes displaces the nobler instrument, the trumpet. However much a performer may prefer to play the cornet rather than the trumpet, it is not a matter of satisfaction to be reminded that he should use the cornet when the trumpet was the instrument intended by the composer. The ease and certainty which shorter tubing, the use only of the lower harmonic notes, and a more comfortable mouthpiece may give, is considerably overbalanced by a nasal, less definite, and less brilliant quality of tone than that of the trumpet; and the state of orchestral discipline, whether at the Philharmonic or elsewhere, is one of anything but commendable strictness which permits a player to perform parts intended for the trumpet on the cornet. Let us only use the right instruments in the right place and at the right time and in accordance only with the composer's, not the player's, choice; then it may even be allowed that the cornet has its use and may be employed now and then with really good effect.-EDITOR.] Academical Intelligence. UNIVERSITY OF LONDON. The following are lists of candidates who have passed the recent Examinations in Music: INTERMEDIATE EXAMINATION IN MUSIC. EXAMINERS.-Prof. Carey Foster, B.A., F.R.S.; Dr. Pole, F.R.S.; Prof. Reinold, M.A., F.R.S.; Dr. Stainer, M.A. PASS LIST. First Division. While visiting London, in 1881, I became much interested in the work of the London College of Organists, and the evidence of the great stimulus it had furnished to organ students during its existence; so that, indeed, quite a revolution had resulted in favour of a better preparation for the duties of an organist and church musician; the popularity of the institution had been increasing from year to year, while its standard of examination had been correspondingly elevated, thus furnishing the incentive to the rising generation of organists to prepare themselves the more thoroughly to meet its demands, and the more highly to prize its honours. At the annual business meeting, I heard the presiding officer, Dr. F. E. Gladstone, a thorough-going musician, say that he regarded the work of the College of Organists of far more prac. tical value to the musical world than the musical honours offered by Oxford or Cambridge, because the examinations at the College of Organists could only be passed by a practical musician, an executive as well as a creative musician, while those at the universities were exclusively for the creative musician, theorist and, statistician. Let this serve as a hint to some our friends who think that in the examinations of the American College of Musicians no particular stress should be placed upon the executive powers of the candidate, those who think that to be the best kind of a teacher it is only necessary to talk (never play) to the pupil. The really wonderful growth and beneficial influence of the London institution instigated the idea of organizing in this country a kindred association for the encouragement of a better state of music teaching, and on a sufficiently broad base to cover the principal departments of that avocation, both vocal and instrumental. In an open letter to the M. T. N. A., then about to assemble at Albany for its fifth annual meeting, I briefly suggested a movement of this kind, promising to present at a future meeting, if desired, some details and plans of procedure. This promise was Herzberg, Samuel Alexander, private study; Watson, redeemed in an address at Providence, the result of which was the Arthur, private study. Second Division. Gooch, Arthur William George Ent, private study; Livermore, Charles, private study; Todhunter, William' Alfred, M.A., private study; Westerby, Herbert, private study. B.MUS. EXAMINATION. election, by ballot, of a committee, with discretionary powers to add to the number "such other substantial musicians" as they deemed proper, and to call a meeting at Cleveland to discuss the project and formally organize, if it was considered advisable. rable magnitude, involving a voluminous explanatory corresponThe enlargement of this committee was a work of no inconsidedence, in order to secure the co-operation of the leading profes. sionals throughout the country, but at length the roll contained EXAMINERS.-Dr. Pole, F.R.S., and Dr. Stainer, M. A. the names of over 125 men and women who represented the PASS LIST. First Division. Curtis, Joseph, private tuition. INTERMEDIATE D.MUS. EXAMINATION. EXAIMNERS.-Prof. Carey Foster, B.A., F.R.S.; Dr. Pole, F.R.S.; Prof. Reinold, M.A., F.R.S.; Dr. Stainer, M.A. PASS LIST. First Division. progressive spirit of the age, and all the artistic centres of the land, and who were willing to at least consider the advisability of such a movement. This count did not by any means contain all the best musicians which our country boasts. Many were unintentionally overlooked until too late, owing to the fallibility of mortal memory; two declined to consider the movement at all, and two others declined because their engagements precluded the possibility of their attendance at the meeting. At length, on Tuesday, July 1st, about one half of the total membership convened at Cleveland to discuss the pros and cons of the proposed movement. Considering the great distance traversed by a large portion of the committee, the expense involved, the time of year Hall, Charles John, private study; Walker, Augustus for travelling, and, above all, the sacrifice of valuable time, this Hayter, private study. TRINITY COLLEGE, DUBLIN. The exercise, a Te Deum in E flat for soli and eightpart chorus with orchestra, for the degree of Mus.Doc., by Mr. Carroll, was performed on Dec. 17th, 1884. The Examiners, Sir R. P. Stewart and Mr. Mahaffy, were present. AMERICAN COLLEGE OF MUSICIANS. Mr. E. M. Bowman (president A.M.C.) has written an account of this new and important institution to the editor of the Musical Visitor, U.S. The following extracts from Mr. Bowman will be found interesting :: In accordance with your request to furnish your many readers with some notes concerning the newly organized American College of Musicians, allow me to hand you the following. In answer to the many letters which I am constantly receiving asking for a more or less detailed description of the movement, let me briefly outline its history at this point. The significance of these many communications, as showing the widening interest in the efforts of the Music Teachers' National Association to encourage a higher standard of musical attainment on the part of our teachers, will be duly appreciated by all thoughtful musicians, and I would gladly answer them all in thoroughest detail were it possible in the midst of manifold other duties, but, when I say that it would take four good-sized figures to enumerate the letters I have written on this subject, on behalf of the original committee, within the last fourteen months, I may be pardoned for seeking to economize time, now that the movement has been endorsed, and the privilege of backing it up distributed among such a large number of our foremost teachers and artists, and so powerfully supported by our leading musical journals. large attendance was surprising. Those who did not answer to the roll call, sent earnestly worded regrets and such valid excuse as absence from the country, or illness of themselves or in their families. So many sent the excuse, "going to Europe," that I began to conclude that the advice given in my address at Providence (to "advance the price of lessons ") had been generally acted on during the year. The meeting was called to order at about half-past ten on that Tuesday morning, and from that time, with short adjournments, it continued until nearly midnight. Those who participated in its deliberations will put it down as a red-letter day, memorable for harmony as well as for the intense interest which prevailed. On the next morning the M. T. N. A. convened for its three days' session, but all the chinks of time were filled up in informal continuations of the absorbing topic of Tuesday. On Thursday evening, and at Friday noon, adjourned meetings of the committee were held, at the last of which the organization was so far perfected as to be able to proceed to the election of the Board of Examiners. This e'ection, by the provisions of the constitution, not only imposed the trust and honour of an Examiner upon the recipient of a majority vote, but it also made him a member of the first body of "Fellows," of the College of Musicians. It was evident to the most casual observer, that the utmost care was being exerted to place only such persons upon that board as would command the confidence and respect of the American musical world. Immediately following this election, there being a quorum of the board present, they proceeded in accordance with the terms of the constitution to elect, from among their own number, the officiary of the organization. This provision, it will be seen, so condenses the machinery of government as to simplify and expedite its business. Before adjournment it was arranged that the three examiners in each division should, in the course of a few months, prepare and submit to the directors suitable examination papers for the JANUARY 3, 1885-] first meeting, which is to be held in New York, Tuesday, June 30th, 1885, probably at the Academy of Music. In the meantime arrangements have been made to procure a charter under the laws of the State of New York. It is proposed to conduct these examinations on a plan by means of which the identity of the candidate will remain unknown to the examiners, thus removing as far as possible any opportunity for the charge of collusion or the show of partiality to the candidate, on the one hand, and on the other, relieving the candidate from the embarrassment of a possible public failure, and placing him as much as possible at his ease, and in the command of all his powers. Persons desiring to enter for the examination should write to the secretary, Mr. A. A. Stanley, 14, Pallas str., Providence, R.I., for an application blank. This blank they will fill up and return to the secretary, thus notifying him to which branch (pianoforte, voice, organ, musical theory, orchestral strings, or rudimentary) they propose to devote themselves, and in which of the three grades they desire examination. All candidates will be required to pass the examination in musical theory, corresponding at least to the grade of certificate for which they have applied. At the time and place in New York, announced in the blank for the examinations, the candidates will meet the secretary, pay their dues, and draw at random the numbers by which they are to be known to the examiners. Thus, the candidate will sign his or her number to all the written examinations, instead of their names, and will announce it to the assistant, who, in turn, will announce it to the examiners who have charge of the demonstrative examination. At the close of the examination the secretary will enquire each candidate's number, in order to properly fill out the diplomas and preserve the college records. As intimated above, the examinations will be two-fold, viz: written and demonstrative. The written examination will be sub-divided into two parts, also, one part of which will specially refer to the branch which the candidate purposes to follow, including noting in a given composition all such marks of technique and expression as a teacher would be called upon to furnish in order to properly guide a pupil studying the work under his direction. The other part of the written examination will consist of musical theory, history of music, acoustics, and general history of a musical character. The accuracy, perspicuity and conciseness of language employed in answering these questions and the manner in which the exercises are solved will form the basis upon which the examiners will arrive at their decision. The value of a good literary education, in addition to the specifically musical attainments, will be fully appreciated by the candidate at this point. The demonstrative examination will show what the candidate can do as an executant or demonstrator of the method which he In this examination, the candidate proposes to teach to others. will (1) be asked to render a solo of his own selection, in a given range of compositions to show his technical and interpretive powers, and (2) he will have placed before him, in the course of the examination, a short passage to transpose to some other key, to be named to him by the examiner's assistant, and (3) there will be furnished him a composition to be read at sight. Finally, the execution of certain fundamental forms (scales, etc.) covering the technique of the voice or instrument involved, will be called for, the performance of which should be at the instant command of every teacher. The candidate will be directed through the demonstrative examination by an assistant,as at the London College of Organists' examinations, who will announce the number to the examiners, but otherwise faithfully protect the incognito of the candidate, who, though within hearing, will not come into the immediate presence of the examiners. Each examiner in this as in the written examination, will be provided with a blank, upon which, after noting the candidate's number, he will mark according to a pre-arranged method of rating his estimate of the candidate's skill upon each point considered in the examination. These ratings will be compared in each particular, and if found approximately alike, the sum total of credits will be averaged, whereupon, if the number reached is equal to the proper percentage out of a possible total, a diploma will be awarded the successful candidate. Should a marked discrepancy appear between the ratings of the examiners concerning any particular, that part of the examination will be recapitulated, with still greater care and attention, until a majority decision shall have been reached. In order to furnish all the information respecting these examinations which may be imparted without impairing their value as impartial tests of excellence, it is the intention of the directory to issue a suitable circular, by and by, giving a list of the works which will form the basis of the examination papers and a list of compositions for solo execution, transposition, etc., in each department and in each grade. In the meantime a circular has just been issued giving some preliminary information which will be interesting to all, and having attached a blank which, upon being properly filled up and returned to the secretary, will secure the entrance of your name upon the secretary's list, and the reception of all further information which may from time to time be made public. Every teacher and ambitious student in the country should at once avail themselves of this privilege. It involves no com mittal to any course of action whatever, and is attended with no Let every teacher make his or her plans to secure this impartial One word more in closing; it is not, and never has been, the intention nor desire of the promulgators of this movement to institute any malicious crusade or prohibitory measures whatever even if that were possible. On the contrary, its purpose is to iustitute a standard of musical scholarship in this country, in place of the very crude opinlon on that point now prevailing; to say what constitutes a real musician; to secure to that name and its bearers their deserved honour, and to enable the worthy to more easily find their proper place in the public estimation as well as among their professional brethren. It proposes, by every high-minded procedure, to encourage the least competent teacher and student in the land to press forward toward the skill and dignity of a Master of Musical Art, and to so protect the path to an attainment of that honour as to make its possession a synonym for unimpeachable excellence. SUPERIOR PANTOMIME MUSIC. Mr. Augustus Harris, of Drury Lane Theatre, reminds one, as an impresario, of Richard Wagner, in that he insists on a combination of all theatrical resources, scenic, spectacular, acoustical, and æsthetical, even for the production of a Christmas pantomime. I was present at a morning performance of "Whittington and his Cat," on Saturday (Dec. 27th), and heard some remarkably pretty music, partly composed, partly "arranged," by the excellent conductor, who would doubtless blush to see his I hope to return to the subject. There name appear-not in print abstractedly-but in a quasicritical notice. is no end of "ballet" business at Drury Lane, and the bevies of pretty girls, if they had not been taught their our friend who sits in front of the stage at Old Drury. paces, might well be inspired by the melodious strains of What very stern and "serious" disciples of Wagner may Fliegende Hollander" in the shipwreck scene of this think about an effective use of the music "All things are lawful," and even splendid pantomime, it is not for your humble servant to say or to guess. some rather peculiar doings may not be altogether "inexpedient." The public should be taught to appreciate the composer of "Parsifal," and the sooner the better. Let them take the music somehow, if in homœopathic doses, and try to like it. in "Der I spoke about pantomime music a year ago, and I may The repeat the told tale on the eve of a new year. musical schoolmaster is abroad, and an advance may be noted, even in this not very exalted department of the art. Fifty and forty years ago, I was disgusted, as a boy, to "scratch" players of the vilest brass instruments. hear the vulgarest current tunes of the day shrieked out by "My lodging is on the cold ground" may pass muster, as The a favourite and not really bad popular air, but to hear it night after night, as at old Covent Garden Theatre, in 1838-39, was rather a trial to finely attuned ears. harlequinade tunes must be defined as village fair stuff of the sorriest kind; they only seemed to "keep things moving." Go now to Drury Lane and other London theatres, and note the difference. Tasteful, not motions," with neat, unobtrusive to say elegant, I do not say that the conductor at orchestration and nice modulations, regale the ear for three or four hours. Drury Lane Theatre is the only intellectual reviver-far from it--but I simply state my own experience in the matter, and shall be too happy to speak a word for other places of entertainment where music plays, and must always play, a prominent part at Christmas and at all other seasons of the year. A. M. The death is announced at St. Petersburg of M. Maurice Rappaport, the correspondent in that city of Le Ménestrel. 66 Der Papagei," produced Rubinstein's comic opera The libretto is said to be paratively little success. recently in Hamburg, appears to have met with but comamusing, but the music is described as too serious for such a subject. Passing Events. On New Year's Day the "Messiah" was given at the Albert Hall, under the direction of Mr. J. Barnby by the Albert Hall Choral Society. Mdme. Madge Inglis has been singing in York with success in "Princess Ida" and other operettas. Her return to London is expected. The organ which in 1680 succeeded in Christ Church Cathedral, Oxford, that which was destroyed in 1644, has been replaced by a new instrument. The Promenade concerts at Her Majesty's Theatre under Mr. Odoardo Barri are proceeding. One feature is the recital of operatic music. The orchestra contains admirable executants and is about 100 strong. One of the Christmas entertainments takes the form of a children's performance of the "Pirates of Penzance" at the Savoy Theatre, in which certain juvenile performers display precocious histrionic and musical talent. It is a significant fact that our national love of music has justified this year an entirely unprecedented number of Christmas concerts; in fact, high-class music is being pursued with such earnestness as even surmounts holiday making. Owing to other important engagements in London and the provinces, as well as regimental duties, the band of the Grenadier Guards will be unable to accept the engagement offered them by the officials of the New Orleans Exhibition for January next. The People's Entertainment Society's seventh weekly concert given at the New Town Hall, Spa Road, Bermondsey, on Dec. 20th was much enjoyed. Mdme. Wilson Osman, Miss Ada Rose, Messrs. W. Nicholl, P. Hayes, and Fleet were very successful in their songs. Mdme. Brett was the pianist. A testimonial is being raised to Theodor Kirchner, the conscientious composer and hard-working artist, upon the completion of his sixtieth year. Defective sight, trying pecuniary circumstances, etc., more than justify this artist. A strong committee has been formed. Subscriptions are received by Messrs. Augener and Co., 86, Newgate Street. At Christ Church, Clapham, during the Christmas festival, the following works were sung :-Beethoven's Mass in C, Hummel's Mass in B flat, Barnby's Evening Service in C, selections from the "Messiah" and the "Redemption," and Anthems by Novello, Goss, and Gounod; such a list of music says much for the aptitude shown and the labour taken by a voluntary choir. The concerts at the Bath Pump Room, under the conductorship of Herr Van Praag, are being satisfactorily continued three times a week. On Dec. 26th, at a special concert, Herr Van Praag played De Beriot's first violin concerto, and Herr Van Gelder gave a violoncello solo by Gervais. Popular operatic overtures are included in all the programmes. Miss Shackell was the vocalist. The "Messiah" was performed at St. James's Hall under Mr. W. G. Cusins the other evening. This performance gained special interest from the researches of Mr. Cusins regarding the notation of many passages and as to the proper tempi to be observed by reference to the composer's original scores, copies thereof made by Smith, his amanuensis, and other corroborative evidence. Cusins's ideas have been given in a pamphlet. Mr. By a slip of the pen Mr. C. Hallé was last week named as conductor of the Sacred Harmonic Society's performance of the "Messiah." Mr. W. H. Cummings, who so admirably trains the chorus and acts as Mr. Hallé's coadjutor, was the conductor of the performance in question. At the next concert of the society, on January 23rd, Berlioz's "Childhood of Christ," Bach's cantata "God's time is the best," and Goetz's Psalm "By the waters of Babylon" are to be performed. In connection with the South London Institute of Music, Camberwell New Road, a students' concert was given on Dec. 23rd. The students were assisted by the following professors:-Mr. Hulbert L. Fulkerson, Mr. T. E. Gatehouse, Mr. W. H. Harper, and Mr. Merton Clark. A band of stringed instruments, members of the violin classes, etc., assisted under the direction of Mr. W. Fitzhenry. The South London Institute of Music has vocal, theoretical, and instrumental classes. The principal is Mr. Leonard C. Venables. The Liverpool Mercury notes that a Manchester publisher, whose name is well known, has issued a circular announcing that in February next he will bring out the first number of The Quarterly Musical Review, which is to be edited by Dr. Henry Hiles, a gentleman who will do his literary character an injustice by associating himself even remotely with such an institution. Read in connection with recent proceedings at Chester and Rochdale, of which Dr. Hiles must be cognisant, one sentence of the publisher's prospectus is significant. It is as follows:-"The Quarterly Musical Review will take especial notice of the national movement initiated by the Society of Professional Musicians; and in its supplementary columns will afford the fullest information respecting the proceedings of that association." Will Dr. Hiles invite Mr. Monk to contribute to the pages of the Review! There is a hope that Prof. J. Ella, the veteran artist and founder of the Musical Union, will publish a second volume of his interesting experiences at home and abroad, including valuable correspondence not yet made public. Prof. Ella, who entered his eighty-third year on Dec. 19th, is the oldest member of the Royal Society of Musicians. His life of active service as executant, teacher, foreign correspondent, author, critic, and director of public and private concerts, covers a period of sixty years. He invented the analytical programme now so much valued and so universal. He is the sole survivor of the Italian opera, Ancient concerts, and Philharmonic orchestras of half a century ago. No living artist probably has enjoyed the personal friendship of so many eminent persons as has Prof. Ella; and those who have the advantage of his friendship enjoy in his shrewd criticisms, wide experience over a most interesting art period, and innumerable anecdotes, the privilege of learning much of art matters and realising much of its past history, not to add the pleasure of knowing a truly Long may he live. genial and good-hearted man. Says the Leeds Weekly Express: I do not suppose that even in Birmingham the appointment of Herr Richter as the conductor of the Festival, in succession to the late Sir Michael Costa, gives anything like general satisfaction. English musicians and conductors have increased so much in number and efficiency that few intelligent people retain the old absurd superstition that a foreigner must, as such, be superior to a native. Our own musicians are now receiving something like their due. How this spirit has grown of late may be gathered from the remarks of so ardent, if unconscious, an admirer of the foreign school as Louis Engel, the "L.E." of The World, who, alluding to the abilities of Mr. Barnby as a conductor, remarks:"I am a friend of Herr Richter. I was the first to speak of his great abilities with all the enthusiasm his genius filled me with; but I do not mind saying that, adverse as am to all country distinctions and national preferences in art, here, where it was a clear question of two great conductors, the one belonging to the country, the other not, I should have preferred seeing Mr. Barnby or Sir Festival instead of Mr. Richter." And so say all of us! Arthur Sullivan appointed conductor of the Birmingham Dr. W. Spark, in one of his "Sunday Evening Services in Leeds" contributed to a local paper, dealing with the fine Roman Catholic Church of St. Mary, Richmond Hill, protests against the neglect of the great Masses by reason of boy choirs, and observes: "The Cardinal Archbishop of Westminster, several years ago, promulgated a pastoral letter in which he desires that female singers for various' cogent reasons should be excluded from taking any part in the musical services of the Catholic Church in England over which he presides. Those who agreed with him speedily adopted his suggestions, and substituted very sorry choir boys for the talented lady vocalists who had previously assisted them. But there were bishops and priests who did not agree with or obey, and only last year I opened a new organ at Stockport, where the usual choir of the church, so ably trained by that clever amateur, Father Robinson, was supported and strengthened by some of the best lady vocalists Lancashire could produce, and their united efforts in the performance of Masses by the great masters were productive of the most gratifying results. Why should Yorkshire or any other county be deprived of the great advantage of the assistance which female voices can give so beautifully and efficiently ?" |