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arts in one level position of power, but actually placed
music, the art he loved best, in an obsequious attitude
on the stage. This is illustrated in the fact that his
gorgeous music greatly fails when removed from its
dramatic surroundings, and be it remembered that
whatever effective art combinations are made, the
highest art in any direction must be individual and
consequently independent. The exigences of purpose,
another word for form, are duly recognised in the
Wagnerian scheme in the poetry, scenery, and action
of his great dramas, Music only is suffered to approach
a chaotic condition by reason of the indefiniteness of
its employed forms. The word chaotic is used
advisedly, as signifying the condition of things as
"without form and," consequently, "void." If it be
urged that WAGNER rather rejected the smaller forms,
as in the sectional construction of concerted pieces,
than neglected the larger general outlines of purpose
and plan, it may be urged that a large work like an
opera may be well compared to a town, in which the
large forms are set off and attain their utility by the
presence of an approximate number of smaller archi-
tectural plans. A cathedral or a town hall would be
neither useful nor imposing in a desert without sur-
rounding houses and a present population; and the
exercise of the faculty of comparison-acting upon
small as compared with large forms-is an essential
condition of all art.
E. H. T.

THE "BELL" REED ORGANS.

BERLIOZ IN VIENNA.

The musicians of the Austrian capital appear to have preceded us in the estimate which now obtains as to the genius of Berlioz. In Ella's delightful Musical Sketches, Abroad and at Home, he gives an account of two banquets, which, in compliment to the genius and ability of the brilliant Frenchman, were given to him in Vienna in 1845 and in 1866. At these two periods, Berlioz had been directing a series of concerts, and the appreciative Viennese, never loth to pay tribute to the gifted disciples of the art, seem to have feted him with the sympathetic enthusiasm which is a characteristic of that city. On the first of these occasions Ella, who was present at the banquet, writes:-" In 1845, Baron Lennoy presided, and with a gold bâton in his hand, addressed Berlioz in the following complimentary language:—

(The speech is printed in French, a translation of which is as follows.)

66

Sir, The Viennese professors and amateurs of music, esteem with which you have inspired them. They admire here present, desire to offer you a token of the high the originality, the spirit, and the learned instrumentation of your compositions, your great talents as critic and full of fire. It is in their name that I beg you to accept as theoretician, and your clear conducting, so precise and this baton. May it recall to your remembrance the city where Gluck, Haydn, Mozart, and Beethoven lived, as well as the friends of the art of music, who unite with me in exclaiming, Vive Berlioz!"

After this speech had been delivered, the famous poet
Castelli rose, and spoke the following verses :—

Der Haydn hat ein Landhaus gebaut,
Das war so lieblich und war so traut,
Der Mozart setzt ein Stockwerk darauf,
Der stiegen mit ihm wir so gerne hinauf;
Der Beethoven setzte darauf einen Thurm
Dahin konnt' ihn folgen nicht mehr ein Wurm,

Der Berlioz suchte zu gehen noch weiter
Da fanden sie gar nicht dazu mehr die Leiter,
Doch sei gesegnet sein Muth und sein Sterben,
Er lebe um seinen Triumph zu erleben.

These graceful lines, in which the art of music is compared to a charming summer-house which has been gradually built up by different architects, cannot be adequately rendered into English verse. The following paraphrase of the poetical idea there expressed is therefore offered as a substitute for a mere translation.

In the ancient and pleasant domains of the Muses, Papa Haydn erected a temple to the goddess of the tuneful art. So elegant was its design, so perfect its proportions, so charming were its decorations, that all beholding the structure regarded it with ever fresh delight, and thought lovingly of the immortal founder. To this classic temple, the divine Mozart added another story. His graceful work in its fair outlines, and with all its clear tender details, remains a joy to all time. Then came the great Beethoven. He dignified the building by surmounting it with a lofty tower. His stately conception was so majestic in its dimensions, and complete in its finish, that it seemed no mere mortal could add to it, or advance farther. But the brilliant Berlioz made the attempt. Finding that it was impossible to climb higher towards the empyrean, he sought to increase the glory of the building by ornamenting its surface with tracery and rich colouring. The courage and success with which he accomplished the task demand our admiration. Thanks to his genius, the majestic temple is enriched with fancy, and many-hued beauty. Long may he offer incense at Saint Cecilia's shrine; long may he live to enjoy the just homage that his triumph has secured for him.

The "Strolling Player" writing in the Musical Review, says in the course of his notice: "I have recently had an opportunity of inspecting the stock of magnificent instruments on hand at the London Warerooms of Messrs. W. Bell and Co., Neumeyer Hall, Hart Street, Bloomsbury, where every variety of organ made by that celebrated firm can be seen; and I was at once impressed by the high finish given to each separate part of even their cheapest makes. This fact has doubtless much to do with the favour which the 'Bell'organs have found everywhere. Every detail is scrupulously looked after, and no instrument is sent out of the factory until it has undergone a thorough examination at the hands of an inspector, who rejects all faulty work. Many devices have been resorted to for the purpose of getting rid of the harshness which is always connected with the tone of a hard metal reed. The best of these devices appears to be Scribner's 'Qualifying Tubes,' which are so fitted to the reed as to soften down its worst qualities, and enhance the effect of the better ones. These tubes are made of wood, and are so fitted as to operate in connection with the reeds, each tube having on its upper side, at the rear, an opening, through which the air enters, and by which the sound of the reed escapes. It is claimed that these tubes give to two sets of reeds a volume of tone equal to that produced by half-a-dozen sets in an ordinary organ. Thus the quality of the tone is greatly improved, and its volume at the same time increased. These tubes are fitted to all the better instruments made by Bell and Co., who have the entire control over the use of Scribner's Patent. The number of reeds used in a large organ exceeds three hundred, and organs have been made by this firm containing as many as six hundred separate reeds. I was surprised that Messrs. Bell and Co. did not put in an appearance at the 'Inventories,' but was informed that the space allotted them was too insignificant to permit of any display. The quality of tone of the 'Bell' organs is pleasing to a degree. There is none of the grinding harshness which usually accompanies free reeds when untempered by any In 1866, when Berlioz was again entertained by the softening appliance. The tone of even their cheapest Viennese musicians, Prince Constantine Czartoryski instruments is full, rich, round, and highly musical. presided. On this occasion also Ella gives an interesting Great care is taken to give the distinctive quality to the account of the homage which was paid to the French different stops, which, in the larger specimens, comprise musician on the soil of the immortal triumvirate, Haydn, a variety sufficient for all purposes for which a keyboard | Mozart, and Beethoven. instrument can be used."

There were present at this ceremony, Nicolai, Strauss, Alvars, Felicien David, Ernst, Mayseder, Czerny, the Directors of the Conservatorium, and élite of the musical world in Vienna.

Among the many objects of interest which adorn the walls of the residence of the venerable Professor Ella, is a copy of these verses given to him after the banquet by the poet himself.

T. L. SOUTHGATE.

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Bach.
Grison.
Lemmens.
Burstall.

March, with Processional Chant, founded upon an ancient Ecclesiastical Theme

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Overture, "Etius"
Adagio cantabile
Andante in B flat..

Grand Cœur

"Pâques Fleuries ". Gavotte

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March, "Tannhäuser

BOLTON.

Handel.

Hopkins.

Haydn.

Guilmant.

Mailly.

Resch.

Wagner.

Annexed is the specification of the organ erected by Messrs. Forster and Andrews, of Hull, in the Wesleyan Church, Bridge Street.

GREAT ORGAN. CC to A.

BRIDGNORTH.

The organ in St. Leonard's Church, built in 1867, by Walker and Sons, has just been completed by the additions of a choir organ, and a pedal 16-ft. reed. The opening service, full choral, took place on the 30th ult., the organist, Mr. J. Sewell, presiding. The Rev. Sir F. A. G. Ouseley, Bart., who preached the sermon, expressed his high approval and admiration of the instrument. In the evening a recital was given by Mr. William Sewell, A.R.A.M., organist of Christ Church, Clapham, which was enjoyed and appreciated by a large congregation; the more so, as the young executant was a native of the parish and a son of the local organist. Annexed is the programme.

Marche Heroique

Prelude and Fugue in G.
Air, "Waft her, angels

Grand Solemn March in E flat
Andante in G

Fanfare.....

Pastorale and Gavotte Française
March

BARTON-UNDER-NEEDWOOD.

Schubert.
Mendelssohn.
Handel.
Smart.
Batiste.
Lemmens.
Clark.

Wély.

On July 29th and 30th, the improvements to the Church -a new altar and a fine organ enclosed in a beautiful carved oak case-were dedicated at a special service conducted by Bishop Abraham on the first day, and an organ recital was given on the second day by Mr. E. H. Turpin, who played upon both occasions. The organ is the munificent gift of J. C. Grinling, Esq., of Barton. The organ is another addition in the district to the many excellent examples of instruments built by Mr. Alfred Kirkland, of London and Wakefield, and it fully sustains

1. Double Open Diap. 8 ft. | 6. Harmonic Flute...... 4 ft. the reputation which he has so deservedly won. The 2. Open Diapason

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INTERNATIONAL INVENTIONS EXHIBITION.

paper :

notes of the scale was in early days accomplished by a A lecture was recently given on "Modern Wind In-ening of the tube instead of by the lengthening of it, totally different principle, that is, by the continuous shortstruments," by Mr. D. J. Blaikley. The following is a the shortening being effected by means of keys or finger summary of Mr. Blaikley's very able and interesting holes, as is still done in wood wind instruments. In modern valve instruments the principle of adding to the length of the instruments to obtain new harmonics was reverted to, but notwithstanding many improvements in detail from time to time, the difficulty caused by the valves when used in combination not introducing exactly the tube length required, remained a practical one until the introduction by Messrs. Boosey & Co. of the "compensating pistons" a few years ago. In these pistons the tubing connected with the third valve is passed through the first and second in such a manner as to obtain the necessary correction. This principle is especially valuable as applied to four-valve instruments.

After reference had been made to the loan collection of musical instruments in the Royal Albert Hall, the lecturer went on to show that the general history of musical instruments would form far too large a subject for one lecture, as would also modern wind instruments, and that, therefore, although reference would be made to the various great divisions of wind instruments, for the purposes of showing the grouping and classification, the "brass" section only could be treated in any detail.

The classified table here given was then referred to:-
CLASSIFIED TABLE OF WIND INSTRUMENTS.

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The lecture was illustrated by many experiments, and by a selection of music rendered by Mr. Rawlins, Mr. Lawson, and Mr. Phasey. It is to be hoped that Mr. Blaikley will be able to give this valuable lecture again after the vacation.

Correspondence.

MUSIC AT THE INVENTORIES.

TO THE EDITOR OF THE "MUSICAL STANDARD." SIR,-I am in a position to give your readers some information for which they are doubtless panting, viz., what are to be the musical attractions for the remaining season of the fashionable lounge at South Kensington. I say "lounge," because all pretence of attributing an educational value to the latest sensation in the way of shows has been abandoned. Profuse advertisements in the daily papers announce the "Special Attractions" for the day, and as they range from semi-barbaric bands to illuminated fountains, and from lollypop making machines to penny rides on a new tramcar, the authorities have done wisely in dropping the culture pretext.

It is understood that the following are the arrangements made for the delectation of the loungers by the Council. These are based on the success obtained by the engagement of the Pomeranian Full Trumpet Band, and the six-thousand-pound Vienna Quadrille Band.

The Siamese Bind will continue to discourse so often as its erratic members can be severally and unitedly secured for a day.

The band of His Highness the Grand Duke of Saxe-Schneider-Sax-Wackington.

The full band of the Obibbeway Indians; these musicians will play in their war paint, peacock feathers and with tomahawks. The Gourd Band of the Begume of Bhopal.

The Cuttle Fish Band of the Finns.

The full Kettle-Drum Band of the Schweinerei cum Kleidersack Hospodar.

The band of the Malay Jaw-Bone Smiters.
The Penny Whistle Band of Ghent.

The String Union of Prince Twist-their-heads-off.
The Jannisary Band of the Turkish Irregulars.
The Chinese Bird-nest Band.

The complete private Band of Signor Macaroni.

The Brass Band of the extra Grand Duke Sauerkraut-Saufbruder.

The Three Hundred Spanish Guitar Band.
The Portuguese Shell Horn Band.

In this table the three great classes into which wind instruments are divided are defined according to the manner in which their vibrations are excited; and in further explanation it was shown that in brass instruments the lips act as does the double reed on the bassoon, so that in all three classes of wind instruments the lips, acting either directly or as associated with the manufactured reed, are an essential part of the instrument or vibrating system. That which we commonly call the instrument is the resonant chamber, and may be compared to the cavity of the mouth, which reinforces the vibration originated in the larynx of the singer. That which the vocalist can with proper training do for himself, the wind instrument player has to trust the manufacturer to do for him, and this is to provide a resonator which shall adapt itself without being constrained to the vibrations of the lips. After defining the nature of the harmonic series of intervals, and the wave length in tubes as modified by any departure from the cylindrical towards the conical form, the lecturer continued:-We may, therefore, say that the three primary types of resonators, the open cylindrical tube, the stopped cylindrical tube, and the cone, are illustrated by the flute, the clarionet, and the bassoon, the rudimentary form being slightly modified in each case. Passing on to brass instruments, experiments show that the harmonic series is not obtainable from cones combined with cylindrical tubing, but that cones passing into cylindrical tubes by gradual curvature give These various bands will succeed one another, playing daily the desired result, viz., a form of resonator which shall in the Kiosks and Albert Hall so long as the show is open. It be a tube stopped at one end by the lips, and which shall is under the consideration of the Council, before the closing nevertheless give the same series of harmonics as an takes place, to grant a day for a benefit concert to be given to open cylindrical tube. The various means of producing procure funds to be applied to the relief of distressed British notes lying between those of the harmonic series may musicians. If any surplus should remain from the money set now be considered. In all these, the object is virtually apart for the Coloured-Light-Providing Funds, it is hoped to to alter the pitch of the prime or fundamental note, so as print a catalogue of the splendid Musical Loan Special Exhibito obtain a new root for another harmonic series, from tion in the gallery of the Albert Hall. Some of your readers which notes can be taken as required to complete the may be glad to learn that the Council has no intention of interoriginal scale. The principle of the slide trombone is fering with the classical concerts and recitals on various instruexcellent for this purpose, but its application is necessarily exhibitors. These entertainments cost the Council nil, and it is ments given freely to the public by the enterprise of individual limited to those instruments in which about two-thirds of felt that their attractiveness brings in money to the coffers, the total length are formed of cylindrical tubing, Instru- without an effort being made on the part of the Exhibition ments of the bugle type, in which there is a continuous taper authorities. from the mouthpiece to the bell, are therefore excluded from the slide principle, and in them the filling up of the missing

The Crocodile Flute-charmers from Egypt.
The Persian Bow-string Band.

The Palestine Refugee Jews'-Harp Band.

The "Let's Hum-Bug 'Em" Band from Thibet.
The Bayreuth Low-and-Grin Band.

The Calabash Band of the Soumalis.

I am, yours truly,

THOMES ETAGHTUOS.

THE RISE OF ORGAN PITCH.

TO THE EDITOR OF THE MUSICAL STANDARD." SIR,-Continuing my letter on this subject;-I think that sufficient grounds for the rejection of wood as a material for small organ pipes may be readily adduced as follows:

MUSICAL INSTRUMENTS AT THE SCIENCE AND
ART MUSEUM, DUBLIN.

(From a Dublin Correspondent.)

A feature in the Science and Art Museum of this city, of much interest, is the collection and classification of Let us consider in an organ being played in a gradual rising musical instruments. The instruments have been divided, temperature, four flue pipes-an 8-ft. and a 1-ft. of metal, and first, according to genus, into strings, wind, and percusan 8-ft. and a ft. of wood. The bodies of these pipes, and sion. These, again, into stringed instruments played from them the enclosed air columns, will obtain heat in two with a bow, and those played pizzicato; wind instruments ways—from the surrounding atmosphere, and by conduction into those having a reed and those without; drums, longitudinally through the material of the pipes of the heat rapidly communicated to their lower parts by the wind which passes through them. Hence the small pipes, being thinner and shorter than the large ones, and, besides, containing only one-eighth the volume of air as compared with their surface, will sharpen considerably quicker; but the metal pipes will, for the reason before explained, sharpen very much more rapidly than the wooden ones. If we say (merely as a simple and moderate illustration, not at all as actual quantities for these must depend on various data not here considered, or readily obtainable) that the four pipes simultaneously sharpen the annexed number of cents. (hundredths of an equal semitone)

out.

Metal
Wood

Intervals

Large pipes

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Small pipes.

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we shall have 2 × 16 = 32 beats between the two small pipes occuring in the same time-about three seconds-as does one beat between the large ones (since in such minute intervals th differences of the vibrational numbers, and consequently the beat numbers, are very approximately as the magnitudes of the intervals; and are, moreover, sixteen times as great in the ft. octave as in the 8-ft.). In other words, the two large pipes are practically in tune together, while the small ones are horribly As before pointed out, these inequalities in the alteration of pitch in different pipes do not arise if the change in atmospheric temperature is sufficiently slow. But even then-if, for example, we suppose the pipes to have passed from a uniform temperature of 40° Fahr. in February to one of 70° in June-although the sharpening from rise of temperature of enclosed air will be uniform, that from increased velocity of the wind, as also the flattening from expansion of the material of the pipes, will be greater in those of metal; and, since this flattening is no doubt more than the sharpening last mentioned, the result will be that, from all these causes, the metal pipes will have sharpened slightly less than the wooden ones.

And we shall have also a possibly not inconsiderable sharpening of the wooden pipes from another cause-one which can only take effect in a considerable interval, with change of season, such as that just instanced. This is the gradual drying, and consequent shrinking, of the wood-and this also, obviously, most (that is, soonest) affects the smaller pipes; it may even affect different pipes of equal size, or different parts of the same pipe, unequally. Much, however, may be, and in good work is, done, by careful selection and varnishing of the wood, to obviate

these evils.

On the other hand, it cannot be said that opinions are altogether unanimous as to the possibility of successfully imitating in metal the tone qualities peculiar to the stops which usually have been made in wood; high authorities are to be found on both sides of this question. And it needs hardly be added that in deciding between the two materials we should carefully con

sider all the circumstances of each case, and especially how far and how suddenly the instrument is likely to be exposed to changes of atmospheric conditions.

The reduction in the cost of the small pipes, say, of 2-ft. length and under, effected by the employment of wood (varnished), instead of only moderately good metal, is not less than 40 per

cent.

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gongs, and harmonica. All, again, are divided geographically. Amongst others are two tall drums brought from Tahiti, about a century ago, by the great navigator, Captain Cook. They were originally in the Trinity College collection here. They are made from tree-trunks, hollowed out, elaborately carved and pierced. The drumheads are of fishskin, drawn tight by ropes of cocoa-nut fibre. Another interesting instrument is a rock harmonicon. This consists of a set of fifteen rough, unhewn stones (a crystalline limestone) gathered in Cumberland, and presented to the Museum by Miss Hunt. There is a complete octave and sixth in the scale of B flat. The tone of the stones is similar to that of bells; although the sounds become smaller and lighter as the scale ascends; in some instances the higher "note" is larger and heavier than the one immediately below it. The noseflutes from Fiji and other islands in the South Pacific are very interesting, not alone from their peculiar construction, but also from the decorations (carved and otherwise), which adorn them. There is a remarkable similarity between a zither-like instrument from the West Coast of Africa, presented by Dr. Maclochlin, and one from the Indian Empire, presented by Mr. V. Ball, M.A. These are made from reeds tied together in the form of a raft, wood is forced down to each end, thus tightening the having a strip of cuticle raised, under which a piece of "strings." The "music" produced is merely a rippling sound, which, however monotonous, is pleasing to the ear. A large part of the collection is composed of instruments from various parts of India, collected by Colonel Ffrench, and deposited in the Museum by the Royal Irish Academy. Amongst them are the four-stringed lutes, highly decorated in lacquer and gold; a large trumpet, used chiefly in religious processions by the Hindoos, and several drums of varied shapes.

In connection with a Huguenot celebration-the Bicentenary of the Revocation of the Edict of Nantes-next October in Paris and various parts of France, in the crypt of Canterbury Cathedral-granted by Queen Elizabeth for a place of worship to the refugee Huguenots-in the French Protestant Hospital, Victoria Park, and in a London Church, presumably under the auspices of the authorities of the French Protestant Hospital, it is proposed to revive some of the old music of Claude Marot, Goudimel, etc. An edition of Goudimel's harmonisation of the French version of the Psalms was reprinted lately in Paris.

TO SELL, MUSICAL INSTRUMENTS of every Stocks-in-Trade, &c. (Sale devoted exclusively to this class of Property) every description, also Libraries of Music, Music Plates and Copyrights, month, single instruments inserted. Consignments received at any time.PUTTICK & SIMPSON, 47, Leicester Square, London, W.C.-(Estabished 1794).

NEW EDITION. JUST PUBLISHED.

SELECT VOLUNTARIES,

By HENRY FARMER.

ARRANGED FOR

In 12 Books, Eighteenpence each Book (4to).

A correspondent of a provincial paper writes:-"I saw Piano, Harmonium, American Organ, or Organ, in an old Derbyshire house last summer a hunting horn which had belonged to John of Gaunt, and gives the right of appointing the coroner to two counties. Speaking roughly, it is from nine to ten inches long, and slightly This work contains short pieces of all modern and ancient curved. The hunters of Hunterston, in Ayrshire-the masters, to suit all tastes, easy and effectively arranged. first of whom was venator to the King of Scotland-bear a similar horn on their coat of arms. Up to 1860 in a remote country the servants spoke of the coach-guard "winding his horn," and his "horn" was a long, straight tube. Blowing is the modern idiom for "winding."

Write for list of contents of each book.

London: JOSEPH WILLIAMS, 24, Berners St., W

Passing Events.

BYFLEET (SURREY), SS. PHILIP AND JAMES.-Morn.: Te Deum and Jubilate, Sullivan in D; Anthem, How lovely are Thy dwellings fair (Spohr). Even.: Service, Magnificat The statement is made that Mdme. Adelina Patti has and Nunc Dimittis, Hopkins in F; Anthem, O where shall a volume of personal memoirs in preparation. wisdom (Boyce).

The annual festival of the London Church Choir Association takes place on Tuesday, November 3rd, at St. Paul's Cathedral.

Mr. Frederick Corder, who is a valued contributor to leading musical journals, is at present engaged in composing an opera. The production of this work will be looked forward to with a great amount of interest.

The London orchestral rehearsals for the Birmingham Musical Festival will commence on August 18th. Full rehearsals will take place at Birmingham on the 23rd and 24th of that month. The Festival performances, it will be remembered, commence on August 25th.

In spite of expensive alterations, etc., the directors of the St. James's Hall Company have, it is said, been able to declare a dividend upon the year's work of 7 per cent. This is satisfactory; surely, however, no concert-room in Europe is more likely, if as likely, to pay its way as is St. James's Hall, Regent Street.

DUBLIN, ST. PATRICK'S (NATIONAL) CATHEDRAL.-Morn.: Service, Te Deum and Jubilate, King in D; Anthem, Sing praises (Gounod). Even.: Service, King in D; Anthems, By the waters of Babylon (Allen), and, In the Lord I put my trust (Stewart).

Anthem, Thou art the king of glory (Handel). Even.: An

EDINBURGH (ST. JOHN's). Aft.: Service, Attwood in F;

them, Great is the Lord (Hayes).

ELY CATHEDRAL.-Morn.: Service, Garrett in E; Kyrie and Credo, Garrett in D ; Anthem, The Lord is loving (Garrett). Aft.: Service, Garrett in F; Anthem, Praise the Lord (Garrett).

LEEDS PARISH CHURCH.-Morn.: Service, Boyce in A; Introit, Our soul on God (Mozart); Holy Communion, King in C; Anthem, Lord, Thou alone art God (Mendelssohn). Even.: Service, Wesley in F; Anthem, O Jerusalem (Beafield).

LICHFIELD CATHEDRAL.- Morn.: Service, Cooke in G; Anthem, It is a good thing (Bridge). Even.: Service, Cooke in G; Anthem, Blessing, glory (Bach).

LIVERPOOL CATHEDRAL. Aft.: Service, Magnificat and Nunc Dimittis, Hatton in E flat; Anthem, Praise the Lord, O my soul (Mozart).

MANCHESTER Cathedral.

The specimens of ancient song contained in Miss Tomlinson's valuable and interesting work, "York plays: the plays performed by the crafts or mysteries of York on Morn.: Service, Boyce in C; the day of Corpus Christi in the fourteenth, fifteenth, and Anthem, Seek ye the Lord (Bridge). Aft.: Service, Russell in sixteenth centuries," have been deciphered and rendered | A; Anthem, Hear my prayer (Stroud). No organ. into modern notation by Mr. W. H. Cummings.

A few days ago a series of promenade concerts was commenced at the Empire Theatre. Signor Arditi is the conductor, and he has a large and efficient orchestra, but the programmes so far have been of an indifferent character; and it is greatly to be deplored managers have not the courage to trust the soundness of popular taste by giving better music.

At St. Margaret Pattens, Rood Lane, E.C., on Sunday next, the communion service will again be Beethoven's in C. This will be the last service at St. Margaret's under the musical direction of Mr. Stedman, as after this date his choir will be removed to St. George's Church, Hanover Square, W. The authorities and congregation at St. George's are to be heartily congratulated upon their new accession of choral strength.

Service Lists.

ELEVENTH SUNDAY AFTER TRINITY.
AUGUST 16th, 1885.
LONDON.

ST. PAUL'S CATHEDRAL. — Morn,: Service, Te Deum and Benedictus, Stainer in B flat; Introit, Author of life divine (Hymn 319); Holy Communion, Stainer in B flat. Even.: Service, Magnificat and Nunc Dimittis, Steggall in C; Anthem, I will mention the lovingkindnesses (Sullivan).

ST. MARGARET PATTENS, ROOD LANE, FENCHURCH STREET.-Morn.: Service, Te Deum, Smart in F; Benedictus, Dykes in F; Kyrie, Credo, Sanctus, Benedictus, Agnus Dei, and Gloria, Beethoven in C; Offertory Anthem, Incline thine ear (Hummell). Even.: Service, Magnificat and Nunc Dimittis, Gadsby in C; Anthem, Praise the Lord (Goss).

ST. PAUL'S, AVENUE ROAD, SOUTH HAMPSTEAD.-Morn.: Service, Te Deum, Cobb in G; Benedictus, Goss; Kyrie, Cobb in G; Credo, Sanctus, and Gloria in Excelsis, Cobb in G; Offertory, Barnby. Even.: Service, Magnificat and Nunc Dimittis, Arnold in A; Anthem, O Lord, how manifold (Barnby).

ST. SEPULCHRE'S, HOLBORN.-Morn.: Service, Te Deum and Benedictus, Dykes in F; Anthem, Lord, for Thy tender mercies' sake (Farrant); Kyrie and Credo, Nares in F. Even.: Service, Magnificat and Nunc Dimittis, Wesley in F; Anthem, Enter not (Attwood).

COUNTRY.

ST. ASAPH CATHEDRAL.-Morn.: Service, Chants, Anthem, God is a spirit (S. Bennett). Even.: Service, The Litany; Anthem, Sing praises unto the Lord (Gounod). ASHBURNE CHURCH, DERBYSHIRE.

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Morn. Service

MANCHESTER (ST. BENEDICT'S, ARDWICK).-Morn.: Service, Kyrie, Credo, Sanctus, and Gloria in Excelsis, Stainer in A; Benedictus, and Agnus Dei, Woodward in E flat. Even.: Service, Magnificat and Nunc Dimittis,, Gounod in D.

MANCHESTER (ST. JOHN BAPTIST, HULME).-Morn.: Service, Kyrie, Credo, Sanctus, Benedictus, Agnus Dei, and Gloria in Excelsis, Osborne in E flat. Even.: Service, Magnificat and Nunc Dimittis, Simper in F.

SALISBURY CATHEDRAL.-Morn.: Service, Attwood in C; Aft.: Holy Communion, Gadsby in C; Offertory, Redhead. Service, Attwood in C; Anthem, I will mention (Sullivan).—

C. F. SOUTH.

Te Deum and Benedictus, Calkin in B flat; Holy Communion, SOUTHAMPTON (ST. MARY'S CHURCH).-Morn.: Service, Calkin in B flat; Paternoster, Hoyte. Even.: Service, Mag. nificat and Nunc Dimittis, Calkin in B flat; Anthem, I will sing (Sullivan).

WELLS CATHEDRAL.

- Morn.: Service, Bennett in E; Introit, Behold, to 'obey (Macfarren); Kyrie, Aldrich in G. Even.: Service, King in B flat; Anthem, Thy word is a lantern (Purcell).

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to end of Credo, Rogers in D. Even.: Service, Boyton Smith SHOW ROOMS,

in D; Anthem, Blessed be the God and Father (Wesley).

BIRMINGHAM (ST. CYPRIAN'S, HAY MILLS).-Morn.: Service, Tours in F; Anthem, O praise the Lord of heaven (Goss). Even.: Service, Hopkins in F; Anthem, O sing unto God (Blow).

211, Regent Street.

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