may incline to be shy. Brent child of fire hath much and was almost his first publicly-produced orchestral drede.' As far as can be done in a short note the work. Considering his well-known habits of prepresent remarks will state what has happened about liminary exercise and study, it is almost incredible that the Symphony, and set out the evidence for its he actually wrote no Symphony before that, and the authenticity. discovery fills in this sense a historical gap. (e) A Fritz Stein, born 1879 at Heidelberg, is now thirty-perusal of the score will show the most cursory observer three years old. Beginning life as a theological that, if the work is founded on Haydn's general style, student, he took to music when twenty-three, as especially on Nos. 5 and 7 of the "London' symphonies, assistant to Philipp Wolfrum (1854-), the it is also replete with idioms which occur in Beethoven's Heidelberg organist-composer, whose 'Weihnachts- acknowledged later works. (f) On the principle of mysterium' was performed in English at Hereford elimination one might ask, if this work is not Festival in September, 1903 (see Musical Times, Beethoven's, What other composer was there of the end October, 1903, page 671). In 1906 Stein secured an of the 18th century who could have written it? independent appointment, succeeding Karl Ernst Naumann (1832-1910), who retired, as University FRAU 'LILY' WACH. music-director, town-organist, and local conductor, MENDELSSOHN'S YOUNGEST DAUGHTER. at Jena. Here he showed activity and ability. An Many of our readers will be interested to learn some Academy Concert Society,' a sort of musical club particulars regarding Frau Geheimrath Lily' Wach, attached to the University, founded 1769, still flourishes the last surviving child of Felix Mendelssohn at Jena. In the Society's music-cupboard Stein came Bartholdy, who was born at Liepsic on September 19, across a set of symphony orchestra-parts, purporting (see later) to be by Beethoven. He carried this subject about with him for years, seeking a score (which has not been found), and making historical researches. He compiled a score from the parts. He submitted the facts to various experts. At the London Congress of May, 1911, he read a paper and played the Symphony on the pianoforte. In the International Musical Society's Quarterly Magazine for October, 1911, he published a detailed article setting out all his grounds, and affirming his conviction that the Symphony was Beethoven's. This last year Messrs. Breitkopf & Härtel, of Leipsic, have acquired all the publicational rights, and have now published the Symphony in score and parts, in miniature score, in pianoforte-solo arrangement, and in pianoforte-duet arrangement. The first of these last two is by Otto Singer, of Leipsic, and the second is by no less a person than the redoubtable Max Reger, of Leipsic. The evidence for authenticity is in brief as follows: (a) Beethoven (1770-1827) was in Bonn till 1792, and then moved to Vienna. Experts say that the parts are of the close of the 18th century, and that they are probably by a non-Jena copyist, and so 'imported' into Jena. In the bulk of the parts there is an absence of any composer's name, which is not unnatural if a score accompanied them. But on the second violin part is written' Par Louis van Beethoven,' and on the violoncello part Symphonie von Bethoven' (the old pronunciation, i.e., Bethoven). These names are entered in by the same copyist who wrote the parts, and at the same time. Now, our Beethoven was an almost unknown person at that date, and it could not have been worth any person's while to make a fraudulent contemporaneous entry. The idea of mistaken entry on the part of a copyist taking parts out of a score is, almost for the same reason, essentially improbable. This about the entry on the two parts is the primary evidence; the rest is corroborative. (b) Correspondence is found between one Bartholomäus Ludwig Fischenich in Bonn and Schiller's wife, then living at Jena, showing that Fischenich specifically sent for her inspection works of large dimension of the then youthful Beethoven, just about the time when the latter was moving from Bonn to Vienna. Grove,' bythe-bye, strangely calls this lady Schiller's sister. (c) Young Christoph von Breuning, eldest son of the Bonn widow, whose house was a second home to Beethoven, matriculated at Jena on November 11, 1793, and nothing is more probable than that he helped to introduce to the University club concerts the work of his friend, who was just about his own age. (d) Beethoven's First Symphony,' Op. 21, came out in Vienna on April 2, 1800, when he was thirty years old, 1845. After her father's death she lived first in Berlin with her mother, and after the death of the latter with her grandmother, Mrs. Jeanrenaud, née Souchey, at Frankfort-on-Main. There she was educated at home as a member of the French Protestant congregation, under the care of the pastor, M. Bonnet, by whom she was both confirmed and married, and who also baptised her eldest son. Like her father she was much attached to England, where, besides a married sister-the late Mrs. C. Victor Benecke-she had many friends. Her first visit to this country was in 1862, and she was here frequently. She spoke English with no less facility than French, and was intimately acquainted with the literature of both countries. On March 23, 1870, she married Professor Adolph Wach, then at Rostock, later at Tubingen, Bonn, and Leipsic. In music her taste was classical with naturally a particular interest in, and love for, the works of her father. She had a large circle of musical friends, including the late Dr. Joseph Joachim, Mr. and Mrs. H. von Herzogenberg, and many others. At Leipsic, where Prof. Wach is a Director of the Gewandhaus Concert Society, their home was for years the scene of many musical gatherings. Mr. Oliver E. Fleet Cobb, with whose family the late Frau Wach was on intimate terms, sends us some interesting extracts from her recent correspondence. On January 20, 1909, writing with reference to a photograph of her father's grave, she says: I am sending off to-day the photo-it has been taken on purpose for you last week and shows the white cross of Silesian marble with my father's name, as it is now. I think you will be able to read the names and date quite easily-Next the cross, on the left hand, is the small monument of a child's grave of eight years; my little brother Felix, who died of scarlatina in 1851 is buried there. To the right is Fanny Hensel's tombstone, née Mendelssohn-Bartholdy, died May 14, 1847. . . . My mother's grave is in Frankfort-on-Main, where she died of consumption, September 25, 1853, at her mother's house. On April 15, 1909, writing from Leipsic, she says: I want to thank you very warmly for the lovely surprise you so kindly thought of giving me on Easter Sunday morning. It really seemed a wonder how the blooming roses, lilies and violets could have come from Sidcup, Kent, to the Goethestrasse in Leipsic, and without losing their freshness and sweet scent!!! But what pleased me even more than this miracle and mysteriously quick communication, was to feel that I had to thank my father's memory for this tribute of kindly feeling. I hope the photograph of my old face has arrived just in time to thank you for remembering me and am with kind regards to Mrs. Fleet Cobb. Yours very sincerely, LILI WACH. Mr. Fleet Cobb informs us that Frau Wach's last visit to England was in October, 1897, when she came over to attend the funeral of her sister, Mrs. C. V. Benecke, at Barnet. From 1880 until her death in her sixty-sixth year, on October 15, 1910, Professor and Mrs. Adolph Wach regularly spent the summer months at 'Ried,' their châlet at Wilderswil, near Interlaken; and here she died, leaving three sons and three daughters, and was buried at Gsteig, Interlaken, on October 18, 1910. In a letter Mr. Fleet Cobb had at the time, Mr. Felix Moscheles (Mendelssohn's godson) says, I shall always remember her as a lovely, ideally beautiful girl and charming woman.' Dr. A. Mendelssohn Bartholdy, her son-in-law, writing to Mr. Fleet Cobb on November 16, 1910, says: 'In fact, her mind was in the last months almost exclusively occupied by thoughts of her English friends... and of the old ties between your country and her family.' M. CAMILLE SAINT-SAËNS'S 'DÉJANIRE.' BY M.-D. CALVOCORESSI. M. Saint-Saëns's opera, 'Déjanire,' performed at the Théâtre de l'Opéra, is, according to the composer's express assertions, to be his last. The French master, now over seventy-six years of age, whose career has been an unusually long and active one, is well entitled to rest. But he shows, in mind and body, so marvellous a briskness (one remembers that not long ago he went to Heidelberg for the Liszt centenary, and took part in the celebration concerts as a pianist) that it is yet possible he may change his mind, if only for combativeness' sake. M. Saint-Saëns, an optimist and, in his own way, a humorist, remarked not long ago that some people called him the greatest of living composers, and others anathematized him as a dull old fogey-thus establishing a balance. Being satisfied that the modern tendencies of musical art are depraved and deplorable, he may yet be tempted to assert the rights of the forms he believes in, never caring whether he is sneered at by juniors. Sneers cannot touch him in the least; he has a firm conviction that in the hands of the younger generation music is running astray. He shows as much, not only by strictly adhering, as a composer, to non-modern methods, but by the tone of almost all the essays or articles that he writes. Be they on the most general subjects, like the question of prose versus poetry in opera-books, or on tonality, or on the ballet, they all include, like a delenda Carthago, some satire against modern tendencies. This, coming from M. Saint-Saëns, was at first rather unexpected; for the now ultra-conservative composer has in his time been hailed-and deservedly is one of the founders of the French school of -as the leader of the progressive party in music. He symphonists and writers of chamber-music. A sturdy champion of Liszt's innovations, he has ever proclaimed their import as examples which he himself has striven to follow. In 1871, he helped to create the Société Nationale de Musique, whose concerts for forty years have so well forwarded the cause of the French school. But now M. Saint-Saëns, who had halted almost as soon as the current of which he was one of the generators had begun to spread, has raised the cry of alarm, and wages lustily, if strategically, war against 'Franckism' and impressionism alike. Déjanire' is to be understood as exemplifying both his creed and his strategy; he has written it not only as a work after his own heart, but as a set-off against all that he blames. In fact, there is no other explanation for it. Déjanire' is a deliberate attempt to write in Gluck's style-except, of course, that the orchestral treatment is modern-but with a difference as it is, one cannot overlook the fact that Gluck, from beginning to end, proved revolutionary, as have been all the musicians that Sainte-Beuve said that 'in are to-day's classics. a art truly created expression alone counts.' If this severe but legitimate standard be applied, it is to be feared that 'Déjanire' will not be appraised any higher than 'L'Ancêtre,' 'Les Barbares' or, in short, the greater part of what the composer has written of late. On the other hand, admirers of M. Saint-Saëns will find reason enough to enjoy once again the elegance of his writing and the technical skill that has made him famous. The The Opéra has done its best to ensure 'Déjanire's' success, which however is but moderate. excellent artists Mlle. F. Litvinne and M. Muratore impersonate Déjanira and Hercules, supported by Miles. Gall and Charny and M. Dangés. LONDON OPERA HOUSE. BY HERMANN KLEIN. So far, Mr. Oscar Hammerstein has done a great deal better than was expected. Indeed, he has done so well during the opening month of his season that, if he can keep up the pace, he will quickly falsify the predictions of all the Zadkiels and Old Moores of the operatic world. The fact that these were for the most part extremely pessimistic only served (as I hinted would be the case in the last number of the Musical Times) to spur the American impresario on to higher deeds of emulation. He may be disappointed that he cannot flaunt in our faces a list of subscribers comparable with that of Covent Garden in the regular season, which no one but himself could have ever been sanguine enough to imagine possible; yet assuredly he is secretly elated when, night after night, opera-lovers besiege the doors of his new theatre in crowds and betray a very genuine interest in, as well as unmistakable approval of, the kind of performances that he is offering. Quo Vadis' has to a certain extent 'caught on'; while if William Tell ' and Norma have not repaid the expense of revival, 'Rigoletto' and 'Faust' unquestionably have done so the former owing chiefly to one of those happy The Faust revival was chiefly noticeable for a brightness and verve in the choral scenes that do not often distinguish the performances of Gounod's opera to which we are accustomed. It is good to see the incidents of the Kermesse acted as well as sung with the right spirit, while a chorus that can take an intelligent interest in the manner of Valentin's death is the exception rather than the rule. Obviously Mr. Hammerstein had taken more pains over these things than his setting of Marguerite's garden. The fair Gretchen herself had at the outset a pleasing and capable exponent in Mlle. Vallandri; later in the month the part was undertaken by Mlle. Isabeau Catalan. So, again, the rôle of Faust has been shared by Mr. Orville Harrold and Signor Ansaldi, and that of Mephistopheles by M. Francis Combe and M. Henry Weldon; while M. José Danse has further deepened, as Valentin, the excellent impression he made as William Tell. is looking. Not since the days of Fancelli and Ravell has a tenor been heard in London so lavish, so unsparing of his high C's and C sharps as Mr. Orville Harrold. He made altogether a splendid Edgardo, and his acting was not perhaps more conventional than such a conventional part compelled. But as a rule he would do well to leave a little more strength in reserve for the broad melody and soaring phrases of the final ‘Tu che a Dio,' which is in more senses than one the true climax of an Edgardo's career. After licensing Strauss's 'Salome,' the Censor could no longer consistently withhold permission for the performance of Massenet's 'Hérodiade,' in something like its original shape. On December 14, Mr. Hammerstein took full advantage of the opportunity. He could not conceal the weaknesses, the lack of inspiration and dramatic grip that are inherent in Massenet's early score; but he has made one inclined to pass these over for the sake of many moments of melodic charm and a wealth of spectacular grandeur that far exceeds in richness and beauty any display witnessed in an opera house in this country since the days of Augustus Harris. The Temple and the processional scenes are magnificently done, and, if the details of Jewish ritual are purely imaginative, they are at any rate impressive, which is saying a great deal. Indeed, those who remember the Paris production of thirty years ago, and also saw the emasculated version put on at Covent Garden in 1904, will not hesitate to say that the new impresario has beaten both. The characters of this opera may be Biblical in name, but there the identity practically ends. After all it is only the presence and the delineation of John the Baptist that really matter; and inasmuch as he is merely described in the bill as 'A Prophet,' and comports himself as a very ordinary human one at that, we are quite content not to associate him with the noble, towering figure recorded in the Gospels. In his operatic aspect he is capitally represented by M. Jean Auber, a highly efficient French tenor, whose voice came out exceedingly well in the prison duet with Salome. The latter had a lithe and graceful exponent in Mlle. Lina Cavalieri, who sang and acted with animation, albeit necessarily a colourless personage after the perverse, passionate creature of Strauss's opera. The part of Hérodiade introduced a new and intensely dramatic mezzo-soprano in Mlle. Marguerite d'Alvarez, an artist of Peruvian birth and Belgian training. She proved to be an admirable actress, and the possessor of a rich, warm, powerful organ, which she uses with skill and genuine dramatic instinct. Mlle. d'Alvarez had an extremely cordial reception. M. Maurice Renaud furnished an artistic presentment of Hérode, singing 'Vision fugitive' splendidly; and M. Henry Weldon made a competent Phanuel. The generally smooth presentation of the opera, under the guidance of Signor Luigi Cherubini, and the masterly stage-management of M. Jacques Coini, must not pass without mention. The choice of 'Lucia di Lammermoor' for Miss Felice Lyne's 'second débût,' as the French call it, was doubtless governed by managerial considerations rather than an overwhelming desire on the part of the public to hear Donizetti's well-worn opera in a new setting. I suppose it is inevitable that a fresh and youthful 'star' shall give evidence of her vocal genius in a number of hackneyed rôles before appearing in the parts that interest us, and for which we need her most. In course of this round it is to be hoped that Mr. Hammerstein will afford Miss Lyne the chance of singing Juliette. Petite and pretty, as well as full of temperament, she will look the Italian heroine as have few opera singers since Patti; and the music should suit her to perfection. Meanwhile her Lucia may be characterized as a very remarkable achievement for one so inexperienced in the art of the stage. Annals of the Irish Harpers. By Charlotte Milligan Fox. Not merely by her singing, which was replete with dramatic sentiment even when indisposition interfered with her intonation, but by some singularly original touches in her treatment of the Mad Scene, Miss Lyne proved herself an artist of quite unusual calibre. The richness of her tone in the medium register and the ease and spontaneity with which she produces it are not less surprising than the beauty and power of her head-notes. In fact, here would seem to be the successor to Melba and Tetrazzini for whom the world With illustrations. Reviews. [Smith, Elder & Co.] cordial welcome to the above work by Mrs. Milligan Fox, All interested in the study of the Irish Harp will give a the energetic hon. secretary of the Irish Folk-Song Society. The Annals of the Irish Harpers' can claim a place in music libraries, and is mainly a narrative of Arthur O'Neil and Edward Bunting, with a fund of anecdotes respecting O'Carolan, Dingenan, Byrne, Keenan, Lyons, Heffernan, Hempson, Connellan, O'Cahan, Morgan, Duncan and other eminent harpers of the 18th century. The life work of Edward Bunting has been obscured by the labours of Petrie and Holden, but his chief merit rests in the publication of his three collections in 1796, 1809 and 1840 respectively. Unfortunately his acquaintance with early printed collections of Irish music was limited, and his guesses at the age of certain songs excited unfriendly comment. For all that, his work in taking down and collecting ancient harp melodies has not been sufficiently appreciated, and it so happened that his second volume synchronized with the appearance of the first two numbers of Moore's Melodies. 2 would serve well as voluntaries before and after service respectively. Their dedication to Sir Walter Parratt is an additional interest. Mr. Hollins's 'Morceau' is in his best style, with its telling rhythm, graceful melody, and effective registration. A certain charm of harmonic progression is apparent in all be writes, and the piece is singularly happy in this respect. The lost Iphigenia. A novel by Agnes and Egerton Castle. [Smith, Elder & Co.] The The musical interest is foremost in this story. authors have made a bold cast into the future, and have conceived Dr. Lothnar, a second and greater Wagner, with Frankheim as a second and greater Bayreuth. Straussian Iphigenia' and 'Phèdre' as three of his principal works. The authors withhold, however, their prophetic insight into the nature of the super-music of the future. They wisely eschew technicalities and almost disappoint us by not committing a single solecism. They might at least have told us the fate of the whole-tone scale. Mrs. Fox has done her part of the editing of the Bunting and O'Neill manuscripts in an admirable fashion, and she has supplied numerous illuminating notes. However, many cryptic references might have been explained, and some of O'Neill's slips might have been corrected. Also the proof-influence is suggested in the Master's choice of 'Prometheus," reading has not been sufficiently attended to, and the spelling of Irish words is haphazard. Terence Mungan,' alluded to by O'Neill as having become Bishop of Limerick, was Charles Morgan, who changed his name (as well as his religion) to Warburton, and was appointed Bishop of Limerick on July 7, 1806, but he was promoted to Cloyne in 1820. Thomas Lewis O'Beirne, 'priest O'Beirne,' who also 'verted, was not chaplain to Lord Fitzwilliam, but to Lord Portland, in 1782. However, he did become chaplain The Eternal God is thy refuge. Anthem by John E. West. to Lord Fitzwilliam in 1795, and was made Bishop of Ossory in the same year, being translated to Meath in 1798. A strange slip is making Dean Delaney, in 1743, become the husband of Mrs. Mary Delaney, a widow of literary and social distinction. Of course, this should be Mrs. Mary Pendarves,' the widow of a man whose first wife was the celebrated Lady Dorothy Burke, who spoke the epilogue of 'Dido and Æneas' in 1689. There are six portraits, and the work is produced in excellent style by Smith, Elder & Co. It is dedicated to the Rt. Hon. The Earl of Shaftesbury, K.P., K.C.V.O., President of the Irish Folk-Song Society. Morceau de Concert, for the Organ. By Alfred Hollins. [Novello & Co., Ltd.] To the many notable contributions of Mr. Karg-Elert to the organist's répertoire, there must now be added another remarkable work. It consists of two movements only, viz., Allegro moderato, and Andante molto (tempo di Ciacona). Though the themes of the first movement are not without beauty, the somewhat restless tonality is hardly compensated for by their development. We feel sure that the fame which undoubtedly awaits the Sonatina will be due to the second movement. The character of the Chaconne is admirably sustained. Commencing in A minor, the theme is treated in great variety of manner, this first section leading to the statement of the second (Tripelfughetta). Scope for a neat technique and careful phrasing is here found in plenty. The pedals are silent for several pages, only to enter later with splendid effect. The peroration of the movement should produce a truly magnificent display, the chord arrangement being of the most sonorous character. A rapid manual passage leads again to the concluding section in A major. The whole movement will serve to show the various tonal resources of a modern organ, while the technical necessities are perhaps not beyond the organist of average attainments. Any organ arrangement of the famous Vorspiel and Liebestod from Wagner's Tristan und Isolde' must make extensive demands upon the skill of the player and the resources of the instrument. Mr. West has so far succeeded in gaining his effects by legitimate means, and the version should be acceptable enough. It is hardly the sort of music, fine as it is, which should be played in a church, its proper place being on a concert organ, and there is no reason why it should not make a great effect when under skilful hands. Mr. Ireland's excellent and original pieces may be recommended as requiring an organ of moderate size, and they [The H. W. Gray Co.] Mr. West's Church music is invariably distinguished by high musicianship, excellent and effective vocal writing, and an interesting independent organ part. This anthem is certainly no exception, and as it lies within the scope of most choirs of any experience, it will no doubt attract attention. It admirably suits the spirit of a Church Festival or other important service, or would serve for general use. SONGS. Galloping Dick. Some perfect rose. By Percy E. Fletcher. [Novello & Co., Ltd.] It is some time since so good a song of the rollicking' class as Mr. Fletcher's Galloping Dick' has been put forth, Mr. Rothery's verses are admirably turned, and have a lilt of their own which the composer's swinging six-eight time heightens irresistibly. The refrain that occurs after each verse is an obvious invitation to all and sundry to 'join in.' The sentiments expressed are those common to all vocal highwaymen, and of course bold, bad, Dick is a baritone or bass. Considering the otherwise blameless character of Mr. Fletcher's pleasant, melodious song 'Some perfect rose,' the key-system is somewhat surprising. The words give the clue to the composer's intention. Their growing ecstasy is represented by a verse in G major, a verse of modulation, and finally a third verse in the full radiance of A flat, in which key the song closes. Mr. Ernest Newton's 'Fairy voices' is well-timed, and doubtless many a star-tipped wand will wave to its innocent strains before the pantomime season is over. It has a pretty tune, which has been adapted to the needs of both soprano and contralto fairies. BOOKS RECEIVED. The theory of music for student teachers. By James Rogers. Correspondence. BEETHOVEN'S CHORAL SYMPHONY. THE METRONOME RATE OF THE TRIO. TO THE EDITOR OF THE MUSICAL TIMES.' SIR, The interesting letters of Sir Charles Stanford on Beethoven's Ninth Symphony, which appeared in The Times of October 30 and November 1, have only lately come to my notice. We must accept Sir Charles Stanford's account of what Beethoven actually wrote with regard to the speed of the Scherzo and Trio, viz., that the dotted minim of the Scherzo is to be equal to the undotted minim of the Trio, both being 116; but it would appear that the conclusion of the matter is by no means certain. There are considerations which it is impossible to place on one side, and which point to the likelihood of a 'primitive error.' Your 'Occasional Note' in the December issue of the Musical Times alluded to these considerations, which are, shortly: (1) the Stringendo of eight bars, leading up to the Trio from the Scherzo; (2) The change of description as between the two sections-the Scherzo being marked Molto vivace, the Trio, Presto. 1. The writer of Occasional Note' suggests that the presence of the Stringendo need not trouble us, that it does not necessarily lead up to a faster beat at the Trio: 'It was Beethoven's delightful way to lead to the unexpected.' Yes! but does it not rather lead to the 'expected'; and is not the expected' plainly indicated by the change to Presto? Surely the Stringendo can scarcely mean less than that Beethoven did intend the Trio to go faster than the Scherzo! 2. If Beethoven really intended the Presto to go at the same pace as the Molto vivace, why did he make use of the two terms? Why, if he wanted to make sure, did he not simply say Tempo primo, or L'istesso tempo? And when (1) and (2) are taken together, as they are together in the work, a strong doubt is thrown on the interpretation of the metronome mark, which we may admit Beethoven did actually write into his MS. at Berlin. Dr. McNaught, in his letter, quoted from the Westminster Gazette, says that he has never heard any conductor take the Trio at double the rate indicated in Beethoven's MS. I hope not, indeed! For myself-and, I believe, for many othersI dare to say that I have not any confidence either in the mark = 116 which the publishers, as a rule, have adopted, or in the 116, which Beethoven seems to have written. Both are plainly wrong, the one too fast, the other too slow; and the two considerations dealt with above must be allowed due weight in settling what should be a just view of Beethoven's real meaning. = Sir Charles Stanford's first letter appears to say that Beethoven's metronome marks are to be found in the original edition. In passing, though it matters little, it may be stated that the copy of the original edition, published by Schott in 1826, which is in the Cambridge University Library, and the plates of which are numbered 2322, has no metronome marks at all! Sir Charles, no doubt, refers to a later 'state' of this original edition. In connection with this interesting difficulty, or error, whichever it is, your readers may be glad to hear of a positive blunder which appears in every pianoforte arrangement of the Ninth Symphony which I have seen in print. In the tenth bar from the end of the first movement there occurs a strange chord, viz., a dominant minor thirteenth on a tonic pedal (C FA, with a D somewhere below). Every one of the pianoforte arrangements, whether by Winkler, Czerny, Ulrich, Tours, Pauer, Reinecke, and even Liszt, gives this extreme harmony incorrectly. One or two, e.g., Louis Winkler and B. Tours, give an emasculated version of the chord without the F; but the rest content themselves with presuming a repetition of the chord which appears four bars earlier, and of which the central note is E. It is truly astonishing that a man of Liszt's calibre should have made such a mistake, and only a little less so that Pauer and Reinecke should do the same-a curious example of care lessness and deafness combined; for all of these eminent persons must have read the score wrong, and (worse) must C have never heard the chord right at the many performances which doubtless they had the privilege of attending. I was able to point this out before a large audience at Cambridge on February 28 of this year, when I gave the first of two lectures on the Choral Symphony in connection with the performance conducted by Sir Henry Wood on March 16. Yours faithfully, E. W. NAYLOR. (See further on p. 18.-ED., M.T.) Cambridge, December 2, 1911. [P.S. Since writing the above I have seen two arrangements which give this chord correctly: one is Aug. Horn's, for four hands; the other, strangely enough, by Pauer, a two-hand arrangement of earlier date than that for four hands named above. How curious that he should get it right first, and wrong later!-E. W. N.] SCIENCE AND SINGING. TO THE EDITOR OF THE MUSICAL TIMES.' SIR,-In reply to Mr. Clifton Cooke's inquiry in your last issue, I have to state that I have made a dead cock crow, and hope to do so in public at one of my own lectures. My offer was originally made to the critic of the Musical Times and not to Mr. Cooke, who had no right to expect me at his lecture. I am quite aware that the vowel E may be produced as stated by Mr. Cooke, but that does not prove that my advice is wrong. Both methods are possible. I have written to the author of the passage which I quote from a 'System of operative Surgery,' and he tells me that his reference was to the speaking voice only. In this respect, therefore, Mr. Cooke is correct; but when he says that my deductions are simply preposterous' it is very clear that he is writing without knowledge, for in another part of the same volume from which I quoted, we read of a patient who had lost not only the vocal cords, but also the whole of the larynx, and yet it is expressly stated that he could sing. Again, a French medical journal in my possession speaks of a patient treated by Dr. Gougenheim who was able to sing a scale after the loss of both vocal cords. It is a matter of interest to note that in November, 1909, Dr. Marage, of Paris, presented to the Académie des Sciences a report of some of his laryngological experiments, and in it he states that he has come to the conclusion that the vocal cords do not themselves produce tone. May I conclude by stating that I have lately been challenged to produce a person who can sing after the removal of one or both of the vocal cords? As I do not know any individual who has undergone such an operation, I should be grateful if any reader of the Musical Times could introduce one to me. I will undertake to give gratuitous training. It is possible that I may be mistaken, because the vocal cords form an important part of the vocal apparatus. Yours faithfully, Bechstein Studios, Wigmore Street, W. ERNEST GEO. WHITE. Some remarks on the topic will be found in our 'Occasional [We have felt it necessary to compress Mr. White's letter. Notes.'-ED., M.T.] THE ROYAL COLLEGE OF MUSIC. The following awards have been made :-Council Exhibitions to Emmie Gregory (pianoforte); Bessie Jones, Marjorie Lockey and Lillie Chipp (singing); Antonio Piedra (violin); Edith M. Colam (violoncello); and Geoffrey Leeds (organ). The annual amount bequeathed by the late Edwin S. Dove for pupils who have distinguished themselves, was awarded to Cedric Sharpe (scholar); the Leo Stern Memorial Gift for violoncellists (£5_5s.) to James Pond (Norfolk and Norwich scholar); the Lesley Alexander Gift (£21) to Maurice Soester (violoncello); the Manns Memorial Prize (£4 10s.) to Philip Levine (scholar). The enterprise and efficiency that characterize the important public concerts of this College reached their highest point of the year in a performance of Beethoven's 'Choral' Symphony on December 14, under the direction of Sir Charles Stanford. This is referred to on page 18, |