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The twenty-first anniversary of these competitions will be held on the last two Saturdays in October this year. special feature of this Coming of Age Festival will be a new mixed-voice choir contest for a handsome silver challenge shield, given by Mrs. J. B. Summerscales, of Rockfield.

The full syllabus of the Lytham (Lancashire) Festival, which will take place on June 12, 13, 14, 15, 1912, is now ready, and can be obtained from Mr. Allon Wilson, Festival Offices. Tests in 27 classes are enumerated. The music is specially attractive. There are solo-singing classes for all voices and for choirs of almost every possible variety of constitution. In the mixed-voice class Coleridge-Taylor's dramatic Dead in the Sierras' and Brahms's Vineta' are

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among the tests. In the male-voice choir Media vita' (Max Bruch) and Mr. John E. West's arrangement of The little Sandman' are tests.

DATES OF COMPETITIONS AND NAMES OF SECRETARIES.

1912.

MIDDLESBROUGH (Cleveland and Durham Eisteddfod).January 1, 2. Mr. B. J. Bowen, 85, Grange Road East, Middlesbrough.

WORKINGTON (CUMBERLAND).-January 1, 2. Mr. J. Stephens Jones, 47, John Street.

OAKLANDS CONGREGATIONAL CHURCH (UXBRIDGE ROAD, W.)-February 7, 8. Mr. Harold Jesse, 153, Uxbridge Road, Shepherd's Bush, W.

CARLISLE.-February 13, 14, 15. Mrs. Nigel Buchanan, 29a, Aglionby Street.

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Huddersfield (The Mrs. Sunderland' Competition). – February 9, 10. Mr. T. Thorp, Technical College.

BURY (LANCASHIRE).-February 15, 16, 17. Rev. Edward A. Glenday, Holy Trinity Vicarage, and Mr. H. Townend, Wellington Villas, Bolton Road, Bury. LONDONDERRY.-February 27 to March 1. Mrs. Abraham Stewart, 9, Crawford Square, Londonderry.

SOUTH LONDON FESTIVAL.-March 2, 4, 6, 7, 9, and closing concert on March 16. Mr. T. Lester Jones, 49, Terrace Road, Upton Manor, E.

HEXHAM.-March 8, 9. Mrs. Allgood, Nunwich, Humshaugh, Northumberland.

ST. ANDREW's (FIFE).-March 8, 9. Miss Ruth Skene, 78, Elm Park Gardens, London, S. W.

MANCHESTER DISTRICT (Tonic Sol-fa Annual Festival). Saturday, March 9. Secretary, Mr. James Currie, Alderglen,' Worsley, Manchester.

MORPETH (WANSBECK, NORTHUMBERLAND).-March 15, 16. Mrs. Orde, Nunnykirk, Morpeth. STRATFORD AND EAST LONDON.-March 16, 18, 19, 20, 21, 22, 23, 30. Mr. J. Graham, 74, Park Hall Road, East Finchley, N.

DOUGLAS (MANX MUSICAL FESTIVAL).-March 19, 20. 21. Mrs. Laughton, Peel.

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KENDAL (WESTMORLAND FESTIVAL).-April 16 to Messrs. Colin and Gordon Somervell, Netherfield, Kendal.

UTTOXETER (Dove and CHURNET VALLEYS).—April 16, 17. Mr. A. Rawlinson Wood, Mus. Bac., Durstone College, Staffordshire.

OSWESTRY (VILLAGE CHOIRS).—April 18 (provisional).
Mr. W. G. D. Thompson, 3, Edward Street.
OUNDLE.-April 19, 20.
YORK.-April 20, 22, 23.
Lady Lilford, Lilford Hall.
Mr. E. C. Brooksbank, Healaugh

Old Hall, Tadcaster.

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ASK, AND IT SHALL BE GIVEN UNTO YOU.

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expansions, and of explosions occasioned by the expansive force of the air and the reaction of the glottis, produce the voice.'

This definition is highly interesting, as having been entirely new at the time it was put forward; but it must in fairness be admitted that, because the first of these 'explosions' was described as a 'coup de la glotte,' there is no just reason for assuming that its eminent discoverer required all singers to employ it as an artificial aid to the commencement of a vocal sound. The fact that he did not

do so in the case of his own pupils was abundantly proved on this occasion. Mr. Klein cited the names of some of the most celebrated among them, including Jenny Lind, Pauline Viardot Garcia, Stockhausen, Mathilde Marchesi, Antoinette Sterling, and last, but not least, Sir Charles Santley, who showed his sympathy with the purpose of the 'Causerie' by attending it in person and subsequently congratulating Mr. Klein upon his successful fulfilment of his task.

SIR EDWARD ELGAR AT TURIN.

In our November number (p. 729) we gave some account of the two concerts given at the Turin Exhibition on October 18 and 20, under Sir Edward Elgar. Below we give translations of some of the notices that appeared in the Italian newspapers. They are not wanting in enthusiasm and an elegant opulence of language.

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Similar to a painter's palette, vibrating with luminosity, rich in the most vivid and varied colours, harmonizing together in a gorgeous and sumptuous concord of tints and unexpected effects, the inspiration which we had already admired, and admired again yesterday in the Symphonic Variations and in the Introduction and Allegro for quartet and strings,-appeared veiled with a tinge of melancholy in the two works which formed the salient features of the novelties in this twenty-ninth concert, dedicated almost entirely to the music of Sir Edward Elgar. But-apart from the elegiac sentiment with which the Larghetto from the second Symphony and the Overture to the Cantata "The

Dream of Gerontius"-the nobility of the ideas, the mastery of form, the certainty of development, the expressiveness of the orchestral language, the clearness and directness of the composition, asserted themselves in so serenely dominating a manner as to induce us to inquire of ourselves how it was possible that a composer such as Edward Elgar could be so little known amongst us, and how, among the many illustrious orchestral conductors whom Turin welcomed from the day that the orchestral concerts became her pride, but few had thought of revealing to us some work of the English

composer.

hall at the end of each episode of the programme proclaimed clearly to Sir Edward Elgar the high esteem in which he is held by the public of Turin, before whom he was willing and able to exhibit the noblest art-work in these two memorable concerts.'-La Gazetta del Popolo, October 21.

THE FOLK-DANCE MOVEMENT.
A NEW SOCIETY.

with Mrs. T. Lennox Gilmour in the chair, to form a Folk-
A meeting was held at St. Andrew's Hall, on December 6,
dance Club, having its headquarters in London, with the
object of preserving and promoting the practice of English
that the club be established was moved by Mr. Cecil J.
Sharp, who emphasised the artistic and educational side
of the movement.

folk-dances in their true traditional form. The resolution

He said the process of transferring the people's art to another class, many of whom held a different point of view, was fraught with danger on every side from those who were not attached to the pure ideal of folk-dance in its traditional form, and that for this reason there was a demand for an organized Society that should embody this Richard Whiteing, Dr. Scott Keltie, Mr. Hercy Denman ideal. Lady Gomme seconded the resolution, and Mr. and Mrs. Arthur Sidgwick spoke on subsidiary resolutions. The committee appointed to carry on the work of the Society until the first general meeting at Stratford-on-Avon Summer School consists of Lady Gomme, Mrs. Arthur Sidgwick, Miss Maud Karpeles, Mr. A. D. Flower, Mr. Hercy Denman, Dr. R. Vaughan Williams, Mr. Cecil J. Sharp, Mr. Perceval Lucas, Mr. G. J. Wilkinson, and Miss Helen Karpeles (Hon. Sec.).

STRATFORD-ON-AVON.

The necessary number of entries having been received, it was decided to hold the projected Winter session, commencing on December 28.

ROYAL OPERA, COVENT GARDEN.
'KÖNIGSKINDER.'

Before coming to its appointed close on December 9 the brief Winter season carried on by the Grand Syndicate at the Royal Opera, Covent Garden, made a bid for glory by producing Herr Humperdinck's Königskinder.' The opera proved to be a striking example of the unwisdom of endeavouring to develop and expand matter that has already done service. In its dramatic form as 'The Children of the King' the story was provided with incidental music by Herr Humperdinck when performed at the Royal Court Theatre some years ago. Other composers appeared in a like capacity, but they have wisely not attempted any expansion of the ideas then expressed. Herr Humperdinck has thought otherwise, and has devised a long and not particularly interesting grand opera on the subject. It was duly presented to the world (in England) on December 2. The world, however, did not seem particularly pleased at the gift. It was very nicely packed up. The scenery was a triumph of the scene-painter's art, and of its special representative on this occasion, Mr. Harry Brooke. Live geese comported themselves in knowing fashion, and the snow was very real. The last factor seemed to have a chilling effect upon the audience. The story is frankly dismal. There may be symbolism, but whatever interpretation is put upon it, it does not make matters any livelier. The King's Son is clearly an individual of Socialistic views. In his wanderings he meets with the Goose Girl, who is attracted to him as a man and not as a manifestation. decide to run away, but the girl is restrained by the influence of the Witch in whose clutches she is. The King's Son is naturally discredited when he proclaims himself as ruler, and the couple-the Goose Girl having nullified the spell-wander forth to die miserably in the snow, after having behaved themselves like children, and in execution of Herr Humperdinck's music, having sung like two exponents of the grandest of grand opera. There are points of charm in the score, for the composer never fails to be melodious even at someone else's expense. But its style, which is that of modern opera, is far too heavy for the story, and the final duet in the snow eclipses everything else and 'It was easily understood, therefore, that the warm and ultimately eclipsed the opera. Fräulein Gura-Hummel and unanimous applause which resounded through the well-filled | Herr Otto Wolf, both new-comers, were the children, and the

A breath of sadness invests both works, the Larghetto and the "Dream of Gerontius," and this sadness dilates and diffuses itself through every bar in similar language. Melancholy, shadowed with a sense of mournful, restrained resignation, which beats with no rebellious impulses, which neither shudders nor screams. Something austere, and almost æsthetic, characterizes the two works in equal measure. By degrees the mist which envelops them is dispersed by the impetuous breath of a broad, serene melody, almost like a hymn, which, in the name of faith, opens a door to hope. And then the ring of the brass; and then, in unexpected and fleeting serenity, the vibrant notes of the harps glitter like stars. Later, the dull beats of the timpani recall our thoughts to sadness, and then hope rises once again and sings anew in our hearts.'-La Stampa, October 21. 'More than the exceptional conductor, we admired in him the exceptional composer. He leaves a profound impression in our souls, both by his lofty, severe and impassioned inspirations, as well as by the elect qualities which characterize all his music-music with him so elegant, so thoughtful, and so personal an art.

'Now that we have heard many of his compositions, we are able and feel it a duty to proclaim him a symphonist of the first class. This we felt was confirmed yesterday, as well in the Variations, already noticed, as in the Larghetto of the second Symphony, and in the Introduction and Allegro for strings.

They

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