in connection with the Royal College of Music. When MR. AUGUSTUS LITTLETON, in responding, said: that institution was projected the Firm responded with The committee in kindly inviting me to reply to my dear magnificent generosity to the invitation to contribute to old friend, Dr. Cummings, suggested that I should discourse the funds necessary for its foundation. They contributed to you for a few minutes on the art of modern, essentially several hundreds of pounds in the lump, and ever since had modern, music printing. Modern printed music is produced continued to support the College every year by liberal almost entirely by two processes: first, from type, one of the subscriptions. And they had assuredly done more than oldest, if not the oldest process of all, and secondly, from that. As Sir Alexander had said, the Firm had helped engraved, or rather stamped metal plates. towards the object so universally desired-the making of printing has been brought to its greatest perfection in Type music education enjoyable-by beautiful books and fine music England-a perfection to a very large extent due to the beautifully printed at most wonderfully cheap prices (cheers). exertions of the late Joseph Alfred Novello, who became a Educational institutions owed an immense debt of gratitude music-printer in 1844. These words form the concluding to the Firm, and they were now all pulling together in one paragraph of a paper which my brother wrote and delivered comprehensive scheme of what the Germans called 'envelop-in connection with the Music Loan Exhibition of the ing tactics,' for they were combined, as it were, in a joyful Worshipful Company of Musicians, held at the Fishmongers' brotherhood in which the Firm supplied the means of war, Hall some seven years ago. I quote this paragraph and the schools conducted the operations to win the public because it appears to me to fill the bill, and gives you to the cause of good music. Therefore he could say without all the information you require about music printing. hesitation that the principal schools most heartily endorsed I could tell you many things about the way a modern this recognition of the work of the Firm of Novello and the printing office is worked. I could tell you how we fought, compliment to Mr. Alfred Littleton and the rest of them. and fought successfully, a printers' strike which took He hoped their work together would continue for several place in the early part of this year, but I do not intend more centuries until they roused the British public to a sense to do so. I advised the committee when I accepted the of the real importance of music in the scheme of things, and honour of this position in the toast-list that such details perhaps succeeded in placing the English nation in the would only bore you. Their reply was 'Oh, that will be forefront of the musical nations of the world (loud cheers). all right, you speak a minute or two '-note the minute or Dr. W. H. CUMMINGS, late Principal of the Guild- two-about modern music printing and then pass to any hall School of Music, proposed the toast, 'The Art of plead ignorance of the subject. My brother has told you that subject you like.' Sounds easy, does it not? I cannot honestly Music Printing in England.' He said: he has worked under the banner of the House of Novello for close on half a century; he has the advantage of me, it is true, but I have worked under it for forty years, and the greater part of that forty years has been devoted to the supervision of our printing and binding works. I think I know something about most of the publications of the Firm, and I have had a great deal to do with them from the purely mechanical side; but I am not going to enter into those details-wild horses shall not drag them from me, you would only be bored to death. If allowed by the committee I should have selected a subject of which I knew absolutely nothing, and I could then have talked about nothing for a minute or two and all would have been well. Nothing is such an entrancing subject and one more frequently than not exploited by after-dinner speakers. Shakespeare knew the value of the subject, for did he not say 'Gratiano speaks an infinite deal of nothing,' and in my opinion he spoke it very well. If any of you are really honestly interested in music printing of the present day, and you will come and see me in the purlieus of Soho-we still transact our business in those classic quarters-I will give you practical demonstration of as much modern music printing as you can possibly absorb. If you have patience with me for one minute more, I should like to add my thanks to all those who have been concerned in the function of this evening. It is indeed an honour, unique and unprecedented, and I too must express my deep and sincere thanks for all the kind things which have this evening been said about the House of Novello (loud applause). Thirty-four years ago the great Caxton Exhibition was held, the music exhibits were supervised by a committee of ten, and of that committee there are only two survivors, Mr. Alfred Littleton and myself. To that exhibition Mr. Littleton contributed a copy of the first example of music printing in this country, Higden's Polychronicon, the work of Wynkyn de Worde, issued in 1495. The music in the book was printed not from type but from various pieces of metal utilized for the purpose; Wynkyn de Worde also produced, by double printing, a book of songs which would compare favourably with any foreign production of that time. We then had, in 1550, a beautiful specimen of double printing, lines red and notes black, in Marbeck's Psalter. This, of course, was type; then reference can be made to Dowland's Micrologues of 1609, printed from wood block; shortly after, in 1611, music was printed from copper-plate engraving, which was avowedly made to imitate writingyou are aware that the first printers, Guttenburg and Caxton, also endeavoured, in their books, to produce a resemblance to script. Music from stamped plates was introduced by Walsh about 1710. The first attempt at cheap music was made in 1776 by Fougt, a Finlander, who patented a method of type production that received the approbation of the Society of Arts, which passed a resolution expressing the opinion that it was quite perfect in method and surpassed all previous productions. I may pass over the excellent work done by Clowes and Cooper, and come to the initial publications of Vincent Novello. These were confined to music for the Roman Church, but in 1828 he turned his attention to the anthems and services of Purcell, and it may be well to remember that in his zealous enthusiasm he went to York Minster and copied five anthems by Purcell, which only existed there; shortly afterwards the great fire which consumed the organ and choir stalls destroyed also these originals, and but for the action of Vincent Novello we should now be regretting the irreparable loss of those works of genius. In 1829, Mr. Alfred Novello made a new improvement by issuing octavo editions which ranged in size with the Musical Times, and it is pleasant to remember that the recent issue by the House of Novello of the Purcell Society's publications gives evidence of the highest and best art in the printing of music from stamped plates. What the future of the Art of music printing' will be, I am not able to say. Mr. Augustus Littleton, who will respond, is an expert, and possibly he has something to tell you. I can only hope that photography may in some way enable us to have editions of various sizes-folio and octavo-exactly alike, and avoid the necessity of composers having laboriously to correct errors in more than one print. I give you the toast, 'The Art of Music Printing in England,' coupled with the name of Mr. Augustus Littleton. The Rev. G. H. PERRY, M.A. (Prebendary of St. Paul's Cathedral), in proposing the toast of Music in our Cathedrals and Churches,' said: Looking back a hundred years upon the music in our cathedrals and churches, as far as there was any record of it, they found that things were hardly in a satisfactory condition. In the cathedrals very little printed music was available: people sang from written parts. But memorable and remarkable changes had taken place-changes almost entirely due to the enterprise of the House they were honouring that night. They now had simple anthems for services in the parish churches, and his only complaint against the House was that by publishing the 'Hallelujah Chorus' for three halfpence, they had encouraged choirs whose capacities were hardly equal to the task of attempting that magnificent composition. Certainly for the cathedrals a great deal had been done, and he referred to the service held in St. Paul's Cathedral on the previous evening, when Sir George Martin's setting of the De Profundis and Spohr's Last Judgment' had been sung, and to the annual performance of the Passion Music at St. Paul's. It gave him the greatest pleasure to associate with the toast the name of Sir George Martin. SIR GEORGE MARTIN, M.V.O., Mus. Doc., responded to the toast: He said that he could not imagine at that late hour that the gathering desired him to talk much about cathedral music. The subject was a large one, and could not be compressed into five minutes; so, instead of dealing with that, he would like to say a few words about the House of Novello, and all that they had done for cathedral music. In the early days cathedral music was all copied by hand, and, to make a long story short, later there were published large expensive folio volumes, which nobody could afford to buy except the rich. Novello's Firm, however, had given them a small quarto, a neat, beautifully printed copy-a copy that did equally well for treble, alto, tenor and bass, and which an organist could play from. The price was so extraordinarily cheap that the smallest boy in the choir could afford to buy a copy for himself if he wanted it. That was a great achievement. reminded him of what the penny post did when it first came in, while it also seemed that the House of Novello had done for music and for musicians as much as shorthand had done He only wished the head of that House of Novello had been recognised as the inventor of shorthand had been recognised (hear, hear). He concluded by saying he was proud to think that all the heads of that great House were among his most cherished friends (cheers). for commerce. It DR. HARRY A. HARDING (Honorary Secretary of the Royal College of Organists) submitted the toast of 'Our Choral Societies and Orchestras.' He remarked that the subject of the toast was one which would command their sympathy as being exceptionally pertinent and applicable to the present occasion. If they looked back over the last hundred years, it would be seen that in some directions less progress had been made than could be desired, but in regard to choral music there had indisputably been a remarkable advance. He thought it was not too much to say that the great mass of music-lovers would never have learned to appreciate the works of the great masters had it not been for the choral Societies. He was glad to think of what his brother organists were doing in that direction. In this respect the organist was the musical salvation of many of our country towns and villages. As a class they were very inadequately paid for their services-for their Church work especially and yet they gave their time freely to the cultivation of choral music and to the preparation of recruits for our famous choral Societies, which were indeed the envy of the world. They must not forget that the foremost British composers had lately given a great stimulus to choral activities, and he would appeal to these composers, several of whom were present, to pocket their pride and give to lovers of music and members of choral Societies some really easy choral works. Composers did not always get the credit for what they wrote. Dr. Harding told the story of a choirmaster at a Public School who, when conducting Purcell's 'Dido and Æneas,' asked his boys to tell him who composed the work they had been rehearsing for six weeks. Only one boy could give an answer, and he said it was Novello' (laughter). He thought they would all agree that the remarkable renascence of choral music was very largely due to the House of Novello, not only because they brought music within the reach of the people, but because of the good offices, influence and encouragement exercised by the personnel of the Firm (cheers). The orchestral Societies had also made wonderful strides, and were doing really splendid work. Here too a great debt was owing to Novello's, for no English firm had published so many full scores as they had. SIR FREDERICK BRIDGE, C.V.O., Mus. Doc., said: The fact that he had the honour of conducting the best choral Society-perhaps that was a matter of opinion, but certainly it was the biggest-gave him some title to respond to the toast. He recalled the production by his distinguished predecessor, Sir Joseph Barnby, so closely connected with the Novello House, of the Passion music in the Abbey, and said from this performance it had started on a wonderful new career. He was not present; he had come up from Manchester specially to attend, but the policeman would not let him in. He ought to have said to that policeman: Well, you won't let me in now, but the day will come when you will have to let me in' (laughter and cheers). He had sung in the choir at the opening of the Crystal Palace, and there had heard Miss Clara Novello sing the National Anthem. The effect of that voice was wonderful, and when she got to the top B flat, an old man standing by remarked, with fervour, "That's a beauty' (laughter). He rejoiced to have the opportunity of thanking the Firm which had done so much for choral music. They owed to Messrs. Novello a great deal, not only for the beauty of their productions, but for the extraordinary correctness of the parts. That remarkable accuracy was entirely due to the readers, for he knew he had often sent up pieces full of mistakes, and these had always been kindly put right. Of course, the head of the Firm was extraordinarily wise and extraordinarily obstinate-(laughter)-he could be disagreeable when he liked, but this was a rare event, and he (the speaker) could say snappy things (renewed laughter). He yielded to no one in his gratitude to the Firm for the way they turned out their work. Every choral Society in England knew the excellence of Novello's catalogue to select from, and there was no firm in this country which could better say, 'See, here, pay your money and take your choice' (cheers). SIR FREDERIC COWEN, Mus. Doc., also replied, and said: He was glad to see so many assembled to do honour to the Firm of Novello. With regard to orchestral Societies, he thought he was privileged to speak of them, because he had the honour of conducting, not only in London but throughout the provinces, not a few of these Societies. In the early days of the century under review there was practically nothing but the Philharmonic Society, which next year was to celebrate its Centenary, and which he had had the honour of conducting for some twelve years. In passing, he should say that Novello was one of its first founders. The progress of orchestral music, he thought, dated from the advent of the Crystal Palace Concerts; then came the New Philharmonic and the Richter Concerts; later, the Queen's Hall Orchestra, the London Symphony Orchestra, the New Symphony Orchestra, and others. What was so wonderful was the advance in technique that had taken place in the orchestras. It was related when Manns was conducting Strauss's Till Eulenspiegel' for the first time in this country, he prefaced the performance by turning round to the audience with the remark: 'Ladies and gentlemen, this is the most difficult piece that we have ever had to perform' (laughter). Nobody would think of doing that nowadays; in fact, orchestras found it very difficult to get music which it was impossible to perform (renewed laughter). He thought the day would come before long when modern composers would write music for them that they could not play; they were already tending that way (laughter). Having alluded to the Royal Amateur Orchestra, the Stock Exchange Orchestra, the Strolling Players, the military and public bands, he said that what he would like to see was more permanent orchestras in the provinces, with more decentralisation. He desired to express his own personal recognition and gratitude to the Firm of Novello for what they had done for English music and also, if he might say so, for himself in particular. The Firm had published a good many of his works-whether they sold or not was not the question. In conclusion, he would read a few verses by someone who would remain unknown for the moment-perhaps they were more worthy of Dr. Watts than Tennyson (laughter): Which is the firm that now can claim And o'er the world is known to fame? Novello ! Whose enterprise brought this about? Novello ! A lively ritornello, Long life to him* and to the firm-Novello ! (The above is a selection of the verses read.) * Mr. Alfred H. Littleton. concert DR. CHAS. D. MACLEAN, M. A. (formerly Precentor of Eton College), submitted the toast of The Music in Our Schools.' He observed that it did not deal with the music of drawing rooms or halls, but with the music in our elementary and so-called secondary schools with their six million or so pupils. The duration of Government protection of school music dated from Sir Robert Peel's Government, which laid the foundations of education in school music, and passed a rather academic resolution to the effect that every teacher in the country must attend the John Hullah classes. This was the foundation stone. Then, later, Mr. Hullah was made inspector of music in training schools. Before Hullah died, a disappointed man, in 1883, he was succeeded in his office by Sir John Stainer, who had Dr. McNaught and the late Dr. W. A. Barrett as assistants. This brought him to the topic of the moment; in these twenty years or more the musical spirit of the age had advanced by rapid strides and had taken possession of the youthful mind of England. Teachers had to look to a firm like Novello's for general guidance; they could not be left to go into an absolutely open market and choose for themselves. Novello's had a vast department of their own in school music, mainly in charge of Dr. McNaught. The Firm had established The School Music Review in 1892, and they had a catalogue of school music which was quite encyclopaedic, ranging from Kindergarten songs to the classics. It was not too much to say that for the past twenty years school music had been mainly presided over by Novello's (applause). DR. EATON FANING (formerly Music-master of Harrow), in acknowledging the toast said he thought it was a most appropriate one for such a gathering, for surely music in our schools had been largely founded by the organization and the publications of the great Firm whose centenary they were celebrating. He did not propose to take them back a hundred years in order to contrast past and present conditions, but no doubt for the past twenty-five years the condition of music in the schools had enormously improved. There was a better touch, better music, better appreciation of good music, and there was less trash in the schools than formerly, while there was a better taste in music springing up every where, together with greater facilities for instruction. John Farmer, of Harrow, Paul David, of Uppingham, Bambridge, of Marlborough, and others had upheld the cause of good music at a time when music in the Public Schools was not much thought of. In the Public Schools, again, orchestras had improved wonderfully, and many of them could do without the assistance of a pianoforte. Equally good was the progress made with music in the better type of girls' schools. Their motto should be Onward,' and might the Firm of Novello long continue to second the efforts of the schools by giving them the splendid editions of the works which were necessary and which were of such advantage to the schools-and also, he hoped, a source of profit to the publishers (cheers). Sir HOMEWOOD CRAWFORD (City Solicitor), in submitting the toast of Music in our Colonies,' referred to the rapid strides being made with musical education in the Colonies, and to the enthusiasm and pleasure with which our Colonial brethren receive those who go out from the Mother Country. If a cable were to be sent to them that evening asking what House had enabled them to make that advance, the reply would flash back, Novello' (cheers). They had with them that evening a worthy Colonial who had come to do honour to the guests that evening, Dr. Charles Harriss, who had done a great deal for that advancement of music. Recently he took the Sheffield Choir round the world, and in other ways had shown the deep interest he feels in British music. Let them not forget those across the seas, and drink very heartily to the success of British music in their Colonies, coupled with the name of Dr. Harriss (cheers). Dr. CHARLES A. E. HARRISS responded, and expressed his deep appreciation of being associated with the toast of the Colonies. With reference to his having taken 224 British people round the Empire, he assured them that one outstanding feature of that experience was the reception they met with in the United States, particularly in the Western portion. Ten years ago, when he started the Mission which, thank God! had now spread all over the world, he went to the House of Novello and said: 'Sirs, I am embarking upon a scheme which I believe in ten years' time will see me round the world with a big musical project, but to start a huge scheme like that I have little to do it upon. I come to you with a thousand pounds, and I want you to give me £1,500 worth of music for £1,000.' He was delighted to have that opportunity of saying that the House of Novello gave him all and more than he had asked for. The help he had received on that occasion made it possible for him in 1911 to take 224 people round the world at a cost of £60,000, most of which was found through the enthusiasm Overseas in support of a movement for the good of the Empire. Dr. Harding mentioned that organists in England had to conduct choral Societies for very little. Ten years ago in Canada they had few choral Societies, but he knew one that day which paid an organist £1,000 a year to conduct it. For his part, he thought they might well follow the traditions of Great Britain and the example of British institutions, and the conductors of Britain, which were wonderful examples of the progress of music. Those 224 people who followed him round the world were the guests in the homes of leading citizens throughout New Zealand and the whole of United South Africa. What did it spell? Getting together for the flag, and through the medium of music becoming stronger as an Empire. He desired to say how deeply he was indebted to Sir Alexander Mackenzie, Sir Frederick Bridge, Sir Hubert Parry, and other distinguished musicians, and more especially to the House of Novello for what they had been able to do, not only for the benefit of music, but also for the knitting together of the flag (cheers). Sir WILLIAM E. BIGGE then gave the health of the Chairman, and in the name of that great gathering congratu lated Sir Vezey Strong on the well-earned honour that had lately been bestowed upon him. Sir Vezey Strong's name would go down in the golden roll of History as one of the greatest Lord Mayors who had borne sway in the greatest city in the world. They had heard the Chairman's speech that night, and it must have given an enormous amount of intellectual pleasure to them all. He had been privileged to listen to the splendid speech which Sir Vezey Strong made at the banquet at the close of the International Musical Congress, and he could safely say that, in looking over the records of the past, no speech had given him such immense pleasure and admiration as that great speech which their Chairman that evening made on that occasion (cheers). He gave the toast with the utmost pleasure, and asked the company to drink it enthusiastically (applause). THE CHAIRMAN: I am very much obliged to Sir William Bigge and to you all for having received this toast so kindly, which was proposed in such felicitous terms. I can only say I am very grateful indeed to you, and to those who have organized this interesting and unique function, for allowing me to take the humble part I have in celebrating this wonderful event. Mr. J. F. R. STAINER formally proposed a hearty vote of thanks to the honorary secretaries, Dr. J. E. Borland, Dr. E. Markham Lee, and Dr. T. Lea Southgate. This was carried with acclamation. Dr. T. LEA SOUTHGATE thanked the company for the vote of thanks for the work which had been done in getting the gathering together and conducting the correspondence, and said it had been most willingly and readily done. It had been proposed to read a letter written by Mendelssohn from Leipsic in 1837, and addressed to Mr. J. Alfred Novello, but time had not permitted. It would, however, appear in the reports of the proceedings. They had present that evening the grandson of that great composer, who had come to pay his tribute of respect to the Firm of Novello, and in this connection the words his grandfather wrote so long ago were of great interest (cheers). During the evening the Alexandra Part Singers sang A Franklyn's Dogge' (Mackenzie) and 'The Goslings (J. Frederick Bridge), in addition to the piece named above. No other music, except the Graces and the National Anthem, was performed. The following acrostic in sonnet form appeared in the programme: 'HOUSE OF NOVELLO' (1811-1911). Oblations of sweet sounds, which must bestow New fervent echoes, disallowed of none. FLORENCE Gertrude AtTENBOROUGH ('Chrystabel'). AN ILLUMINATED ADDRESS, Introducing portraits of the three Founders of the House of Novello, viz., Vincent Novello, J. Alfred Novello and Henry Littleton, and of Alfred H. Littleton, the Chairman of the Directors, was presented during the evening. The address is signed by the Chairman, the President of the committee, and the Honorary Secretaries. The names of the 240 supporters who joined the committee are also added. The following is the text: WE, the undersigned, being deeply interested in the welfare of the Art of Music in this country, desire to place on record our appreciation of the services rendered to that Art by the House of Novello. Founded in the year 1811 by Vincent Novello, the House, during an entire century, has taken the lead in supplying the English-speaking people with music of every kind, including the works of the great masters, of the foremost British composers, and especially with Church and Choral Music, at prices within reach of the masses. It has thereby, in our opinion, contributed materially to the advancement of musical education, which has during the past hundred years been so marked a feature. From time to time the House of Novello has also produced works of great importance, which, by fine appearance and typographical excellence, present worthy examples of the printer's art. The Firm has, further, been closely associated with many practical Musical undertakings, aiding with both counsel and financial support. This Centenary year of the Firm has been made memorable by the fact that Mr. Alfred H. Littleton has held the Office of Master of the Ancient City Guild, The Worshipful Company of Musicians,' and by the Firm's valuable services in the furtherance of the International Musical Society's Congress; and in the publication of the Music for the Coronation of their Majesties King George and Queen Mary. We desire to congratulate the House of Novello on its past record, and to offer our sincere wishes for its abundant prosperity in the future. A series of lectures is now in progress at the Athenæum, Muswell Hill, under the auspices of the Muswell Hill Musical Union. Sonata form' was the subject of the inaugural lecture by Mr. C. Egerton Lowe on November 10; the second, How to sing,' was given by Mr. Montague Borwell on December 16. Mr. Julius Harrison has arranged to speak on Debussy on January 20. Church and Organ Music. THE POSITION OF THE CHURCH ORGANIST. We have read with much interest, in the Monthly Report of the Incorporated Society of Musicians, a series of most ably written articles dealing with this question. The matter is treated exhaustively, and the melancholy conclusion arrived at is that the organist has no legal status, and that he is subject to the caprice of any new vicar or incumbent who may chance to be inducted to the living. Examples are given of cases in which the organist has invoked the aid of the law, and in each the vicar triumphs. The opinion of no less an authority than Sir Robert Phillimore only strengthens the vicar's case. To mention one particular instance, the parish church of Yeovil retained the services of one organist for a period of nearly forty years. At the end of that time the vicar, presumably a new one, instituted drastic changes, even to the extent of forbidding the organist to play voluntaries. A criminal suit brought by the vicar against the organist on his resenting these changes only resulted in the latter being condemned, with an admonition, in costs. It is of course impossible to fight against such obstacles as undoubtedly exist, unless some drastic change in ecclesiastical law be secured. The organists of the Free Churches are far more justly treated, for, as the article quotes, 'In the multitude of counsellors there is safety,' and the appointment of an organist by a committee is more likely to lead to a satisfactory understanding. We have always found it difficult to appreciate the justice of the fact that though an organist may be dismissed on the shallowest pretext by an incumbent, the latter should hold his appointment for life, except for a misdemeanour. Even then, the matter would obtain a deliberate inquiry. The organist has no such opportunity. That a change must come there can be little doubt, but there is still less doubt that the organist should strive to improve his exterior position in as many ways as possible. The study of another instrument, possibly the violin, or the cultivation of composition, would not only widen his horizon, but would probably render him less dependent upon his church appointment. It is often urged that the organist's position gives him an advantage as a teacher in his district, but we feel sure that the really good all-round man would hold his own apart from that. There are no doubt some solid reasons for holding the office, as in the case of illness, but the often meagre stipend and the insecurity of the post go far to diminish such advantages. We said some time ago in these columns that the organist should in all ways strive to win the esteem and confidence of those under whom he works. We still urge that advice, and it is certain that tact will often do more than anything else to clear the way for those friendly relations we all desire. If the number of young men who insist on becoming organists increases at the present rate, there may come a time when some united action will succeed in giving the organist at least a chance of speaking in his own defence, and of being impartially judged. Would not the good offices of such a body as the Royal College of Organists carry weight in such a worthy cause? A new organ has recently been built by Messrs. Rushworth & Dreaper, of the Cathedral Organ Works, Liverpool, and erected by them in the Parish Church, Bromborough, Cheshire. It consists of three manuals and a Pedal organ, and each is well designed in its tonal scheme. The action of the manuals, pedals, and the octave-couplers is pneumatic. A new organ has been built by Messrs. J. W. Walker & Sons for Khartoum Cathedral and, though small, presents features of some interest. The instrument is very specially constructed to withstand the extreme climate, mahogany being extensively used for the wood-work, all joints being dry. Reed stops have been purposely omitted from the specification on account of sand storms, and throughout the construction has been of as simple a design as possible. The blowing is by hydraulic power, the engine being by Messrs. Watkins & Watson, of Islington. An opportunity of hearing the instrument was afforded on November 20, when Mr. R. Goss Custard gave an interesting recital, well displaying the capabilities of Messrs. Walker's work. The following is the specification: GREAT ORGAN-(CC to A, 58 Notes). 1 Open Diapason 2 Dulciana 3 Wald Flute 4 Principal.. 8 feet 58 pipes We have received an explanatory preface' and some specimen pages of a new Pointed Psalter which is shortly to be published by the Rev. Walter Marshall and Mr. Seymour Pile, the vicar and organist respectively of St. Patrick's, Hove. We await the appearance of the book with great interest, and should welcome any scheme which makes for the simplification of this important part of the church service. Hitherto, we think that similar efforts have too often resulted in exchanging one difficulty for another, but from a perusal of the pages sent us there seems to be a decided gain in simplicity. We cannot quite follow the editors in their desire to encourage the congregational singing of the Psalms. We know well the heinous nature of our offence, and that we shall bring down on our offending selves the wrath of every one who thinks it possible to turn a large number of persons, too often of very doubtful musical perception, into a trained choir. But it is useless to debate the point, and we can only add that if the forthcoming volume lightens, as we believe it will, the task of choir-masters, its appearance will be welcomed. A great point in its favour is that existing chants may still be used. SPECIAL SERVICES. Choir festival services were held at the Halifax Place Chapel, Nottingham, on November 19, the anthems being 'God so loved the world' (Moore) and Sing unto God (Handel). In the afternoon, Sterndale Bennett's 'Woman of Samaria' was given. Mr. E. M. Barber conducted, and Mr. C. E. Blyton Dobson accompanied at the organ. On Sunday, December 10, an excellent performance of Spohr's Last Judgment' was given at St. Mary Abbot's, Kensington, by the choir of the church. The soloists were Master Eric Bates, and Messrs. Jefferies, Acton, Ginger, Pearce, Toy, Lewis, and Burgess. Mr. Henry R. Bird was at the organ, and Mr. W. G. Ross conducted. A special Advent musical service was held in the parish church, Shifnal, Shropshire, on Wednesday, December 13, when the Oratorio Choir sang Praise His awful Name' (Spohr's Last Judgment); How lovely is Thy dwellingplace' (Brahms's Requiem'); and I praise Thee, O Lord' (Mendelssohn's St. Paul'). The performance was under the direction of Mr. W. Brennand Smith, organist of the church, who also played Mendelssohn's Sonata in C minor. Walter Hoyle, St. Michael's, Coventry-Paan, Harwood. Mrs. Arthur M. James, Ebenezer, Swansea - Concert Overture in C minor, Hollins. Mr. Nelson Edwards, Colne Parish Church da Camera, A. L. Peace. Sonata Mr. F. Monk, St. Peter's, Chertsey-Meditation in a Cathedral, Silas. Mr. A. E. Jones, Town Hall, Bolton-Marche des rois Mages, Dubois. Dr. A. P. Alderson, Parish Church, Kingston-Fantasia on 'Urbs Beata,' Faulkes. Mr. Albert E. Workman, Hoylake Presbyterian ChurchFanfare, Lemmens. Mr. B. Langdale, St. George's Church, Barnsley-Concert Overture in C minor, Hollins. Mr. F. C. W. Hunnibell, St. James's, Tunbridge WellsPastoral Sonata, Rheinberger. Mr. Reginald Waddy, Emmanuel Church, Mannamead, Plymouth-Air on Holsworthy Church Bells, S. S. Wesley. Mr. C. E. B. Dobson, Nottingham Central Mission-Sonata, Mr. Frank H. Mather, St. Bartholomew's Church, Brooklyn, N.Y.-Offertoire in C minor, J. Grison. Basil Harwood. in G, W. Faulkes. Mr. H. Whalley, Peebles Parish Church-Theme (varied) Mr. G. Bernard Gilbert, Public Hall, Canning TownSonata No. 5, Rheinberger. Dr. G. J. Bennett, Lincoln Cathedral-Fantasia in F minor, Mozart. Mr. Herbert Hodge, St. Stephen's, Walbrook-Requiem Mr. S. Philip Thornley, Dysart Parish Church-Pastorale Francis Bacon (wrongly called Lord Bacon, by the profanum vulgus) wrote: If a man will begin with certainties, he shall end in doubt; but if he will be content to begin with doubts, he shall end in certainties.' Within the last five months Berlin began with much certainty about a newly-found Beethoven love-letter, and Jena soon demonstrated that both publishereditor and music-critic in that case had been hoaxed by a modern forgery (see Musical Times of November, 1911, page 714). Jena itself, on the other in the form of an early Symphony by Beethoven, hand, has for some years past had its own discovery, preceding the 'Nine,' and illustrating in an important manner the development of his genius; has exposed this matter to all manner of searching investigations; and has finally, about a month back, given the Symphony for publication with a complete confidence that it is genuine. With this juxtaposition of events, the public |