The Composer will be pleased to forward to the Colonies or any NOW READY. A NEW EDITION with larger Margins foreign country the Orchestral Parts (on loan) of any of his works. and improved Index of "Few Cantatas are as rich in chaste melodies, charming choruses, and exquisite orchestration as Alfred R. Gaul's Joan of Arc, performed by the Vocal Association in the Guildhall."-The Western News. "Must enhance the high reputation of its composer."-Liverpool Courier. "The inspiration of a highly-refined musician. . . . The Cantata is even a more masterly and beautiful work than 'The Holy City.' Huddersfield Examiner. "No more charming Cantata than Joan of Arc' could have been chosen. It abounds in delicious music. There is not a tedious note in it."-Newcastle-on-Tyne Daily Chronicle. "Gives the listener a vivid and realistic impression, its attractiveness being continuous instead of spasmodic."-Bradford Observer. "The Exeter Oratorio Society last night achieved a brilliant success, and it may safely be said, without fear of exaggeration, that never before have they performed a work more satisfactory to themselves or more interesting to the audience than 'Joan of Arc.""- Western Times. "One of the most delightful Concerts ever given by the South Shields Choral Society was that of last evening, when the principal piece was 'Joan of Arc.' We cannot speak too highly of Mr. Gaul's work, which is of the most interesting description."-The Shields Daily News. Price, paper cover, 2s. 6d. ; paper boards, 3s. ; scarlet cloth, 45.; Tonic Sol-fa, 1S.; Vocal parts, each, 1s.; Words only, 7s. 6d. per 100. (Ent. Stationers' Hall.) ALFRED R. GAUL. "Will be heartily welcomed by all who love the art of music." -Newcastle Journal. "The work will certainly go through Saxondom in the wake of its predecessors from the same pen."-London Daily Telegraph. "Must attain popularity wherever heard, and will assuredly be placed among the foremost compositions of this kind by present-day writers treated in a thoroughly artistic manner... a perfect wealth of melody and striking individuality of style."-Liverpool Daily Courier. "Works which have placed him in the front rank of English composers -the 'Holy City,' 'Joan of Arc,' and 'The Ten Virgins." "-Newcastle Daily Journal. "The choral writing in 'The Ten Virgins' is alone something to be thankful for, and, as we have intimated, it is only one of the many musical virtues of the Cantata."-Leamington Chronicle. "BOW AND BROMLEY INSTITUTE CHOIR.-The hall was overcrowded by an audience that was disposed to encore every other number of the work. That Mr. Gaul should have secured this undoubted popular success with a work far more contrapuntal than any of his former works is a remarkable tribute to his power of welding science and beauty into one whole." -The Musical Times. "The subject is an excellent one for a Cantata. . . a stronger work than Joan of Arc. Melodious, vocal, and of moderate difficulty, and, like Mr. Gaul's earlier Cantatas, will be eagerly welcomed by societies in search of new works having these characteristics."-Newcastle Daily Leader. "That 'The Ten Virgins' is a much finer work than the everywhere favourite 'Holy City' we have no doubt whatever. Mr. Gaul has aimed at fine outline and telling colouring, and all that he has aimed at he has achieved."-Birmingham Daily Gazette. Price, paper cover, 2s. 6d. ; paper boards, 35.; cloth, gilt 4s. Tonic Sol-fa, Is.; Vocal Parts, each, Is. ; Words only, 55. per 100. The loan of instrumental parts may be had on application to the Composer, and full liberty is given to perform these Cantatas and to insert the words in any programme without further permission. LONDON: NOVELLO AND COMPANY, LIMITED. ANTHEMS ANCIENT AND MODERN Which contains 134 of the finest Anthems of the world, providing for every season of the Christian year and every occasion of the Church's life. The Birmingham Gazette says: "Should prove a boon and a blessing to the Church throughout the world. Surely there never was such a book in such compass. There can be no doubt as to the brilliant future awaiting this most surprising book." The Church Times says: "Great care has been taken in selecting from among the works of well-known composers, those which have stood the test of frequent use and are of recognised standard excellence, while the new compositions are of such merit as to warrant the belief that they will win a wide acceptance. We wish for this admirable collection the cordial reception it deserves." The Guardian says:-" The collection as a whole is admirable." The Musical Journal regards it as epoch-making in the matter of providing congregations with good anthems at the lowest possible cost. Think of it a hundred and thirty-four anthems for three shillings. The collection deserves a hearty welcome.' The Pall Mall Gazette says: "An excellent collection, convenient in form, clear in setting both of music and letterpress, contributed to by composers of justly merited fame. We are assured it will meet a real need, and consequently receive a hearty welcome alike from clergy, choirmasters, choirs and congregations." The Westminster Gazette says:-"It is not surprising that the volume enjoys wide popularity." HYMNS AND TUNES FOR Sunday School Anniversary Services. SET I. Come, children, on and forward For the freshness of the morning. I love to hear the story No. 1. 2. 3. 4. Come, O come! in pious lays GEORGE C. MARTIN Lady EUAN-SMITH FREDERIC CLAY J. STAINER W. C. HARVEY H. ELLIOT BUTTON F. A. CHALLINOR C. J. MAY WALTER B. GILBERT J. ADCOCK J. STAINER ALFRED MOFFAT J. VARLEY ROBERTS J. STAINER JOSEPH BARNBY FRANCES R. HAVERGAL We march, we march, to victory.. Hark! hark! the organ loudly peals 7. Lord, Thy children guide and keep JOSEPH BARNBY GEORGE J. BENNETT H. ELLIOT BUTTON T. ADAMS H. J. GAUNTLETT Both Notations, price Fourpence per Set. Words only, 5s. per 100. London: NOVELLO AND COMPANY, Limited. In Paper Boards, Two Shillings and Sixpence. It is a valuable sketch of a highly specialised subject, and none the less practical because seasoned with humour. The various instruments and their idiosyncrasies are tersely described, and their collective use is admirably illustrated.-Yorkshire Post. No one is more worthy to speak on such a subject than Lieut. George Miller, and the book is one of great value.-Cheltenham Looker-On. From this book it is possible to learn the compass and capabilities of each instrument. The explanations are admirably lucid and suggestive; and the final chapters, showing how a work composed originally for the concert-orchestra-Schubert's "Unfinished" Symphony-can effectively be arranged for the military band, teaches more than all the text-books. We heartily commend this most excellent book.-Saturday Review. London: NOVELLO AND COMPANY, Limited. The SOCIETY of BRITISH COMPOSERS. Quartet No. 2, in G. Violin, Viola, and 'Cello MARTEAU, H.-Op. 15. Suite. For Violin and Pianoforte.. MOLNAR, A.-Sonatine in A minor. Violin and Pianoforte PALASCHKO, J.-Op. 53. Stimmungsbilder. Six Pieces for Pianoforte and Violin. 1. Rondo grazioso, 1s. 6d. net; 2. Nordische Tanzweise, 1s. 6d. net; 3. Wiegenlied, Is. net; 4. Tanz in der Dorfschenke, is. net; 5. Schottisches Volkslied, is. net: 6. Moto perpetuo Music Published in the AVISON EDITION. | RANZATO, V.-Op. 47. Elegia. Violin and Pianoforte I 2 RAVEL, M.-Pavane de la Belle au bois dormant. Transcribed for Violin and Pianoforte SCHOLZ, B.-Op. 94. Two Sonatas. For Violin and Pianoforte. Violin and Pianoforte. 2 O 2 Liebeslied. For Violin and Pianoforte 6 Arcadian Suite. Full Score CORDER, F.-Elegy for Orchestra. Full Score " CORDER, PAUL-"Dross." Music-Drama without words.. HARTLEY, LLOYD-Two Pieces. Violin and Pianoforte .. JERVIS-READ, H. V.-Phantasy Trio in B minor. Violin, and Violoncello Pianoforte, MCEWEN, J. B. — "Grey Galloway." Border Ballad for MACKENZIE, A. C.-Suite. Violin and Orchestra (or Pianoforte) PIANOFORTE.* AUSTIN, ERNEST-Poem for Pianoforte Separately: Humoresque, 1s.; Nocturne, Is.; Scherzo each 9900 2 6 PASQUINI, B.-Toccata and Pastorale. For Organ. Arranged Separately, each I O 2 O 5 0 by E. GRAF SURSYNSKI, M.-Op. 42. Praeludia organaria in Dominica Adventus First Ballade; Polonaise CORDER, PAUL-Nine Preludes, 4s. હતું. 2 5 0 6 6 Harmonium Op. 9, No. 1. Op. 3, No. 4. Fantaisie Polonaise. For Organ Noël en Pologue. For Organ EGGAR, K. E.-Sketches: The Old Castle; The Wishing Well, ea. I 6 FORRESTER, CLIFFE-Summer's Call; The Exile each 2 о VOCAL MUSIC. KARG-ELERT, S.-Nearer, my God, to Thee. Song in E flat 26 SAINT-SAËNS, C.-Domine adjutor meus. For Voice, Organ, and G. (With Pianoforte or Harmonium Accompaniment.) German and English words.. I 2 6 30 Moods 2 6 and 'Cello 2 6 HAWLEY, STANLEY.-Dance Sketch, No. 1I.. 2 о CHAPPELL & Co., Ltd., 50, New Bond Street, London, W. NEW YORK, TORONTO, AND MELBOURNE. AND OF ALL MUSIC SELLERS. London-Printed by NOVELLO AND COMPANY, Limited, at Novello Works, Soho, and published at 160, Wardour Street, Soho, W. Sold also by SIMPKIN, MARSHALL, HAMILTON, KENT AND Co., Ltd., Paternoster Row, E.C.-Tuesday, October 1, 1912. This Supplement is part also of the October issue of THE SCHOOL MUSIC REVIEW, and can be obtained with the REVIEW, price 1d. Competition Festival Record THE ROYAL NATIONAL EISTEDDFOD OF WREXHAM.-September 2 to 7. After an interval of twenty-four years, Wrexham had the honour of holding the Eisteddfod this year. A spacious, well-arranged pavilion capable of seating 10,000 people was specially erected. The success of the Festival was never for a moment in doubt, as the town is the centre of a very large industrial population, and easily accessible from both North and South Wales. There were competitions as usual in music, poetry, literature, arts, crafts, and science, and, excepting the choral competitions, the striking feature was the capture of both Crown and Chair by a young poet of the new school-the double-event occurring for the first time in the history of the Eisteddfod-who hails from Rhyd-ddu, a lonely village at the foot of Snowdon. The music committee are, on the whole, to be congratulated on having made a good selection of test-pieces, though there were some unworthy exceptions. Gloom was cast over the opening of the Festival by the sad news of the sudden death of Coleridge-Taylor (one of the appointed judges), a well-known figure at Welsh Eisteddfodau and a general favourite with Welsh competitors. THE FIRST DAY. The first of the choral competitions on Tuesday-madrigal and sight-singing-was a very depressing affair, one only of the two entrants having turned up, and their performance being very weak. By three o'clock the Pavilion was well-filled with an attentive and sympathetic audience. Though only four choirs took part in the chief choral competitions, much interest was aroused by the fact that two of them, Carnarvon and Cardiff, were previous winners in this class. The testpieces were (4), Cum Sancto Spiritu,' from Cherubini's Second Mass in D minor; (B), Llais y Gwanwyn' ('The voice of Spring'), by J. H. Roberts, and (C), Elgar's noble 'Go, song of mine.' No. 51. unsteady, there was an inclination to sing sharp, and the rhythm was not firmly grasped. The pianoforte was very much in evidence, and often swamped the choir. The phrasing was broad, fairly fluent, and the last portion made a very good climax though there was a little tired feeling in the tone." (B.) Though the singing was smooth, it was rather languid, and they failed to get the requisite lightness of touch.' The pitch dropped in the second page, the tone sounded weary, in spite of its good quality, and they failed to make the singing interesting, (C.) The opening was most impressive-in the right mood, and finely sustained. The tenor melody was beautifully sung-the melody being unbroken. The D major section began a little loudly, but the gradual working up was splendidly controlled and always finely sustained. Up to the eighth page, it would be difficult to imagine a finer interpretation. Things got a little wrong here, and the pitch dropped seriously. But they never lost the mood, and the final bars were very impressive. For the most part it was a masterly, uplifting performance. RHYMNEY GWENT CHORAL SOCIETY (conductor, Mr. Daniel Owen) began the Cherubini chorus (A) a little timidly, but very soon got comfortable, and the bright resonance of the tone-in spite of a little 'openness' in the tenors, and a little thin tone in the sopranos-coupled with absolutely secure intonation, refreshed the audience. There was very good rhythmic grip, abundant vitality, which was wellcontrolled, magnificent basses, who moved with a firm tread it lived, and in spite of a little worn tone, the final page throughout, and a distinct sense of climax. It was all fluent, was thrilling in its exultation. The Welsh part-song (B) was just a little disappointing in the opening, but here again the singing was full of vitality, the utterance first-rate, and though the pitch dropped, they sustained the interest to the end. A lighter rhythmic treatment was expected. In (C) Go, song of mine,' there was extreme caution, especially in the difficult sections, but the singing was often emotional-the tenor melody being beautiful and touching in its tenderness. They did not work up the D major section as did the Cardiff choir, nor was the grandeur of the phrase 'being purified' quite realised. Some of the tonality was vague, but it was a very creditable performance, and had much tenderness and 'mood' in the opening and closing phrases. CEFN MAWR CHORAL SOCIETY (conductor, Mr. G. W. Hughes) sang first. In (A), with the exception of the basses, who sang firmly, the tone was diffuse, and rather shrill in the sopranos. There was an inclination to force the pitch upwards; some of the attack was not neat, there was very little CARNARVON CHORAL SOCIETY (conductor, Mr. John rhythmic grip, they over-indulged in staccato, with a Williams) were the last choir to sing. The tone was clear, consequent loss of breadth and dignity, and there was not resonant, and well balanced. In (4), the opening of the much resource displayed in working-up a climax. The move-chorus was clearly defined in rhythm, and the part-singing ment of parts was precise and the utterance fairly clear. (B.) The tone again lacked cohesion, there was no pp, and the gradations of tone were not well-controlled; but there was some compactness, in spite of a rather puny rhythmic accent, and the words were clearly sung. (C.) This was taken at rather a quick pace, and the mood was not realised; it was too matter-of-fact. The important alto syncopation in the counterpoint to the tenor melody was not accurately fitted in, and there was a little confusion in the difficult pages (8 and 9). A little more attention to time values, in notes and rests, would have resulted in more breadth, and the detached phrasing was a weakness. But there were good points, as in the second movement, which was invested with much expression, and technically it was a creditable achieve ment for a choir that hitherto has appeared only in smaller competitions. CARDIFF HARMONIC SOCIETY (conductor, Mr. Roderick Williams) followed, and it was evident in the first bars of the Cherubini (4) chorus that this was a finely-toned choir, all departments being well-equipped. The pace was a little very well-controlled. All went splendidly to letter G, when |