825 H. W. Wareing id. J. Barnby 1d. J. F. Bridge 2d. J. G. Smith id. Thomas Adams id. W. A. C. Cruickshank rd. W. A. C. Cruickshank 1d. W. A. C. Cruickshank 1d. John E. West 1d. Battison Haynes id. W. Montgomery id. Arranged by S. H. Nicholson 1d. J. Stainer rd. .. A. Herbert Brewer id. Ravenscroft-Bridge 1d. H. Davan Wetton id. Thomas Adams id. The Child Jesus in the Garden (2nd setting) 288 Remember God's goodness 286 287 289 Christmas-Tree Carol 290 Christmas Morn 291 Child Divine 292 A Christmas Song 293 A lowly Babe Thomas Adams rd. Thomas Adams id. Alfred Hollins 1d. 294 The Blessed Virgin 295 Christ is born 296 Christian children, hear Me 297 Ring out, wild bells 298 Christmas Bells E. C. Bairstow 1d. E. T. Sweeting id. E. T. Sweeting id. W. H. Longhurst rd. C. Reinecke 2d. 299 In tuneful voices sing J. Barnby d. 300 Shepherds hear, loud and clear d. 301 Not in courts of regal splendour Hugh Blair ild. 302 Many hundred years ago Ferris Tozer id. Ferris Tozer id. E. Vine Hall id. G. C. Martin rd. Hugh Blair 1jd. jd. C. V. Stanford 1d. Charles Erskine id. B. W. Horner id. M. A. Sidebotham Charles Erskine id. T. R. Matthews id. John E. West 1d. A. H. Brewer id. A. M. Goodhart id. H. Davan Wetton 1d. Percy Pitt d. d. F. H. Cowen Id. H. J. Gauntlett id. A. H. Brown id. A. H. Brown Id. A. H. Brewer 1d. A. M. Goodhart id. John E. West Id. H. Elliot Button id. H. Elliot Button id. J. Tomlinson 2d. A. H. Brown Id. A. H. Brown Id. John E. West rd. Three Carols (words only, 3s. per 100).. E. A. Sydenham 3d. 344 In the ending of the year... Bethlehem (Cradled all lowly) 346 The Holy Birth 347 Lo! a Star that rises bright 348 The shepherds left their sheep 349 See the dawn from Heaven 350 Lo! Christ is born.. H. C. Havergal 2d. 259 The Virgin and Child (This winter's night) C. Macpherson 1d. *261 The Message to the Shepherds *262 Cradle Song of the Blessed Virgin *263 Gloria in excelsis 264 Sing the Holy Child-Christ *265 Sleep, Baby, sleep.. 265a Sleep, Baby, sleep (2nd setting).. 266 Noël 267 What sudden blaze of song 268 What sudden blaze of song 269 Shepherds, leave your flocks 270 Heavenly music, clearly ringing 271 Silent night, holiest night 272 Angels singing 273 Little children 351 Holy Child, the Mother mild 'Tis Yule Sleep, Holy Babe 354 O little town of Bethlehem 355 J. Barnby d. 356 To faithful shepherds watching Love came down at Christmas J. Barnby 1d. 357 There dwelt a king J. Barnby 1d. 358 Three Cathedral Carols J. Barnby jd. 359 Three kings once lived (Four-part) 360 Bells of Heaven ring 361 Sing a song of Christmas Myles B. Foster id. Thomas Adams 1d. A. M. Goodhart 1d. J. V. Roberts id. J. V. Roberts id. J. V. Roberts id. J. H. Mee rd. 362 I heard the bells 363 Christ, He lieth in yonder cot J. Brahms 3d. H. Davan Wetton id. S. S. Wesley id. B. J. Dale id. H. Elliot Button id. G. C. E. Ryley id. H. Davan Wetton id. Arr. by H. Knight rd. George C. Martin id. George C. Martin id. Walter H. Sangster id. Walter H. Sangster Id. Thomas Adams d. B. J. Dale id. Oliver King rd. R. Walker Robson rd. J. Varley Roberts id. 364 Three Christmas Carols (old French) Chorister (The), in E, F, and G CHRISTMAS MORN (NOËL), in B flat, C, and E flat B. Godard A. Sullivan J. M. Coward GOD IS LOVE, in B flat, C, D, and E flat.. Ed. GUARDIAN ANGEL (THE), in C and E flat 2 2 2 2 2 20 2 0 2 Ch. Gounod VESPER MUSIC, in C, D, E. and G .. ANTHEMS. ABIDE WITH ME (Antiphon No. 4) CHRISTMAS BELLS GLORY TO GOD Ed. Jones J. M. Coward 2 2 0 2 20 2 2 J. Barnby 2 J. M. Coward 2 BETHLEHEM (Shepherds' Nativity Hymn), with Pastoral Symphonies.. SEND OUT THY LIGHT.. Full Orchestral Parts Ch. Gounod 。 It (Tonic Sol-fa) o .. Ch. Gounod o (Tonic Sol-fa) o I ..J. L. Hatton o 2 6 O 2 H. M. Higgs o LET US NOW GO EVEN UNTO BETHLEHEM .. John Hullah O Ed. Jones o WHILE SHEPHERDS WATCHED THEIR FLOCKS BY NIGHT 3-32 R. Redhead O Edmund Sedding o Sir A Sullivan o (Tonic Sol-fa) o 2 W. F. Taylor o I GATTY. In Three Books, Paper Covers each, net Ditto, cloth, gilt.. each, net EIGHT SONGS FOR CHILDREN. By F. H. CowEN, net NURSERY SONGS AND RHYMES. By M. H. MASON, net TOY SYMPHONIES. One Shilling. "Written in the melodious manner to which the legion of admirers of Mr. Gaul's genius are accustomed."-Birmingham Daily Gazette. THREE CAROLS FOR CHURCH USE WITH OBBLIGATO ORGAN ACCOMPANIMENTS-VIZ.: "ANGELS FROM THE REALMS OF GLORY" "CHRISTMAS BELLS" "YULETIDE" COMPOSED BY ALFRED R. GAUL. The verses of the above Carols have been carefully varied and suitable symphonies interspersed. Price Threepence each. ANTHEM FOR CHRISTMAS. BLESSED BE THE LORD GOD. Price Fourpence. LONDON: NOVELLO AND COMPANY, LIMITED. By ROMBERG. Toys and Music, complete Ditto. By HAYDN. Toys and Music, complete Ditto. By D. RYAN. Toys and Music, complete. Ditto. By H. M. HIGGS. Toys and Music, complete, net 36 o CALDICOTT, A. J. Humorous Glees for Male or Mixed Voices: THE HE PSALMS, CANTICLES, and the ATHANASIAN CREED, pointed for Chanting by The Rev. L. S. TUCKWELL, M.A., formerly Precentor of Magdalen College; and the late Sir JOHN STAINER, M.A., Mus. Doc., sometime Örganist of St. Paul's Cathedral, and Magdalen College, Oxford. 18mo, cloth, Is. ; cloth, gilt, 1s. 6d. 8vo, 3s. A. R. MOWBRAY & Co., Ltd., 28, Margaret Street, Oxford Circus, London, W.; and 9, High Street, Oxford. PRODUCED AT THE BIRMINGHAM MUSICAL FESTIVAL. JUST PUBLISHed. THE MUSIC MAKERS ODE BY ARTHUR O'SHAUGHNESSY SET TO MUSIC FOR CONTRALTO SOLO, CHORUS, AND ORCHESTRA BY EDWARD ELGAR (OP. 69). Price Two Shillings and Sixpence. It is indeed a remarkably brilliant piece of work of its kind, and is one which it is easy to appreciate. We have first a delicate prologue for strings which directly pictures the sensations described in Paper Boards, 35.; Cloth, 4s.; Vocal Parts, 15. each; Tonic Sol-fa, 1s. 6d. Browning's 'Amphibian," then a delightfully humorous scene of the Fair, then music intended to contrast the characters of Fifine and Elvire. He never seems at a loss for a moment, and if his drama is apt to call up recollections of modern Italian opera, all the devices serve him well, because they convey certain ideas in a direct way to his audience. THE TIMES. It is a setting of the Ode by Arthur O'Shaughnessy beginning "We are the music makers, and we are the dreamers of dreams," which extols the artist spirit as the motive power of human action. The words are of a kind to appeal strongly to such a mind as Elgar's and to bring from him music which makes a very direct appeal to the sympathy of his audience. The personal interpretation of the words given by the frequent quotations from his own earlier works no doubt heightens this appeal at the moment, and serves to secure an immediate acceptance for the work. DAILY TELEGRAPH. DAILY TELEGRAPH. Superbly put together, and invented and scored by a truly masterly hand, Bantock has not given us for many days a work so likely to bring worshippers to the shrine of his great and here genial talent. STANDARD. Mr. Granville Bantock's musical counterpart to Browning's "Fifine at the Fair" is quite the best thing that he has given us. He is never at a loss for a happy phrase, never nonplussed for want of right shade of the Ode represents colour. His music is realistic-splendidly and convincingly so in the Fair scene-objective and subjective; picturesque, sensuous and strong. In the more introspective passages his instruments moralise with singular eloquence. The clash of emotion-there is no need to dwell upon the cause, since Browning is an open book to all-is handled with beginning to end. masterly effect. It is delightful music, and good hearing from The music is often of exquisite beauty, of the hearers. To illustrate the story of those who have inspired the music the composer draws from his own works, his quotations from himself being made with considerable subtlety. As in the case of a play founded upon a novel, it is necessary to know the original to appreciate its application, but as Elgar's music is now well known there is no difficulty on the part The use made of familiar themes is happy, but nowhere is it so successfully made as at that portion where the soloist enters to describe the ignorance of the singers as to the effect of their work. Here the theme of the Nimrod number from the Enigma Variations is used, and, as reinforced by the chorus, the effect is very striking. Though using recognisable matter, the composer employs it in the best manner, and he works this section up to a mighty climax. DAILY NEWS. The whole is full of characteristic Elgarian beauty and ample contrasts. It is more easily intelligible at a first hearing than any of his important recent works, and its instant popularity would seem to be assured. DAILY EXPRESS. There is not a great deal of music, melodically speaking, in the swing of the lines, and after writing one wholly beautiful theme-a theme that is constantly recurring, if never with quite the same alluring appeal as when it is first heard in the orchestra-the composer continues on his way with a wealth of harmonic colour and forceful rhetoric. DAILY MAIL. "The Music Makers," Sir Edward Elgar's new choral ode, touches none of the depths of the composer's really memorable achievements excepting by the way of direct quotation. Yet it deserves, and will win, popular favour and many performances because of its fluent grace and beautifully accomplished workmanship. Sir Edward Elgar is nowadays in the completest possession of his style of technical accomplishments. He can compose those glowing Elgarian harmonies, that rich orchestral colouring, whether he has or has not a considerable motive behind, just as Bach wrote counterpoint. DAILY CHRONICLE. The brief prelude is full of that mystic atmosphere which Elgar knows so well how to produce, and the hushed entry of the chorus in some simple phrases is also very exquisite in effect. Then I think the music flags just a little until we come to a passage where the chorus sings (in ancient mode) of Nineveh, and the orchestra has a fine theme of swinging rhythm, suggesting an irresistible onward force. Some of the finest music in the work begins with the entry of a contralto solo, "They had no vision amazing," sung to phrases of much imagination. A fine climax, picturing "the infinite morning," is fashioned out of the big theme of the first Symphony, and soon the contralto voice enters again with a long solo of great emotional power and beauty. The ending brings once more the hushed mystic atmosphere with which the work opened. LONDON: NOVELLO AND COMPANY, LIMITED. contribution to English orchestral literature, original and modern in its Mr. Bantock's orchestral drama, "Fifine at the Fair," is a brilliant ideas and masterly in its orchestral treatment of these. The music is founded upon Browning's poem of the same name, and is divided into a prologue, drama, and epilogue (as in the poem). The first section has given Mr. and the themes illustrating the nature of the three protagonists (Fifine, Bantock an opportunity for his fine powers of musical characterization, the Man, and his wife, Gloire) are very expressive and cleverly handled. The drama opens with a clever tone-picture of the Fair, which is almost one of the best things in the work, this being followed by a "Fifine portrait" of much cleverness. The epilogue music perhaps attracts one more by its cleverness than its inspiration, but here, too, the composer has written some pages glowing with a fine emotion and of much dramatic power. PALL MALL GAZETTE. Mr. Granville Bantock's orchestral drama, "Fifine,' is a very brilliant and spirited piece of work, and in many ways stronger than any other work of the same class by Bantock. YORKSHIRE POST. He has No living musician has a greater power of orchestral expression, and his poetic fancy is inexhaustible. Never has it been employed on a more charming subject or with better effect than in this case. Strauss, and will be regarded by most people as more uniformly musical. produced a work which will compare with the symphonic-poems of It is not going too far to style it a masterly work, and entirely successful. absolutely musical terms. It gives us the composer's own impressions of the drama it illustrates in It glows with colour; it is brilliant, atmos pheric, passionate, in turn; and it is also thoroughly spontaneous and unaffected. MANCHESTER GUARDIAN. In his orchestral drama, “Fifine at the Fair," Professor Granville Bantock has far surpassed all his previous achievements in orchestral music, and attempts not without success the scope of Strauss. OBSERVER. Professor Granville Bantock's "Fifine at the Fair," which is inspired by Browning's poem, is, taken as a whole, perhaps the strongest and best-proportioned of all the composer's symphonic works, and the fullest of real feeling, while the themes are the most expressive he has given us. The way in which they are used, so as to represent the interplay of forces between the three chief characters, and the genuine power and beauty of much of the orchestral writing, make the work exceedingly good to hear. . SUNDAY TIMES. He has succeeded in giving us a very picturesque and coherent Symphonic Poem, which is better worth listening to than almost anything from his pen. LONDON: NOVELLO AND COMPANY, LIMITED. the Lord. THE TIMES. Each number is descriptive music, often of a very forcible kind, of the forces of nature, each one of which is called up in turn to the praise of The work ends with a majestic choral epilogue, "Laudate et bendicite Dominum." But though one may find traces of "Everyman" and "Noble Numbers' and even of the forgotten oratorio "The Temple," in Dr. Davies's "Song of St. Francis" it does not rest there. The fresh subject makes him start afresh, just as Sir Henry Wood starts afresh in preparing his festivals. Every work which Dr. Davies writes is something of an experiment, but behind the experimental brain the musical impulse is strong, and it asserts itself vigorously in such movements as "Of Brother Fire, and the Epilogue. It gives tender eloquence to the themes of the Water and "Of Sister Death." None of these in any way repeat what he has said before. resource. : THE MORNING POST. Regarded from the point of view of the development it shows the work must be considered as one of Dr. Davies's best. In no previous composition, not even in his Symphony, has he indicated so much Much graphic power without the use of the obvious is revealed in the passages of Wind and Air, Water and Fire, but the mere material representation of these elements is not the outstanding feature; it is a certain psychological subtlety, the creation of intellectual music that represents mind as well as matter. . . . It is a worthy example of the high aim of modern British music. THE STANDARD. "The Song of St. Francis" is the work of a deep thinker, a remarkable musician, and one moreover who might at any moment make history, if not the sort of history beloved by the populace. PALL MALL GAZETTE. The strange note of ecstatic näiveté would naturally appeal very strongly to the composer of "Everyman," which moves in the same atmosphere, and the music of which is archaic in idea and modern in utterance. YORKSHIRE POST. The texture of the choral writing is... exceedingly beautiful, and the composer uses the voices with a thorough appreciation of their quality and capacity. What strikes one on a first hearing, more perhaps than anything else, is the success with which the mood of the words and their quaintly ecstatic note have been realised. BIRMINGHAM DAILY POST. That his characteristic note is a new one in music cannot be disputed. He has all the qualities of the mystic at his best-tenderness, sweetness, and the gift of suffusing the quite common things of life with an unsuspected meaning and beauty. SHEFFIELD DAILY TELEGRAPH. Dr. Walford Davies bids fair to repeat his "Everyman" success with his new setting of "The Song of St. Francis." I know of no music cast in the same mould; it is Dr. Davies's own. In "The Song of St. Francis" he has again utilised it, plus a Palestrina-like polyphony of modal tendency, which seems to give the music a curious throw-back of period. ... The effect is intensely spiritual and uplifting. LONDON NOVELLO AND COMPANY, Limited, 160, WARDOUR STREET, W. Can also be obtained of S. RIORDEN, 12, Noel Street, Soho. THE TIMES. It is a very happy work, full of a fresh, strong spirit of joyfulness. It opens with a simple pastoral theme which sets the tone of the whole and vitality. The swinging phrases of the "Rorate coeli desuper" begun by puts one in the presence of a strong personality brimming over with the soprano solo and taken up by the choir carry on the feeling and throughout the Ode is continuously woven out of these and similar materials. There is majesty in the call to the heavenly powers"archangels, angels, and dominations "-to worship the Saviour, intimate tenderness in the appeal of the soprano solo, "Sinners, be glad and touched with delightful suggestions of poetic feeling. penance do," and the later stanzas calling upon all Nature in turn are DAILY TELEGRAPH. Pair of Sirens.' Sir Hubert Parry has given us a legitimate successor to "The Blest Dunbar's poem consists of six stanzas, each followed by the refrain "Et nobis Puer natus est," or nearly so. A lovely pastoral movement opens the cantata. We have no composer, and have had none in the memory of living man, who could so well have extracted the liveliness from Dunbar's verses as Parry, none who could have maintained as well as struck the true note of healthy geniality, and maintained it so homogeneously, none who could have done this with a more marked individuality. There is much that is beautiful for the soprano soloist, on this occasion Miss Ada Forrest, but nothing so lovely of the refrain of the fifth stanza and the superb sound of the chorus work as the appeal to sinners to be glad unless it is the sublime gloriousness in the final-a passage well worthy to rank with the famous close of Milton's Ode referred to at the beginning of this notice. We are likely to hear far more of the Ode than of any of the immediately be among the listeners whensoever called upon, for it is a work of sublime previous compositions by Sir Hubert Parry, and I, for one, will gladly loftiness, of joyous feeling. STANDARD. It is difficult to decide which to admire more, the fidelity with which the composer repeatedly selects the same method to express his thoughts, or the ease with which he develops his subject and elaborates his contrapuntal themes. There is some good eight-part writing, and the music for the double chorus in the final section is of characteristic strength and fibre, and ultimately develops into a powerful climax, which gives place to a serene treatment of "Pro nobis puer natus est," the refrain of the poem. MORNING POST. There is nothing complicated or diffuse in the music. The simple design adopted shows the hand of experience. Anything ornate would have been out of keeping with the nature of the poem. The customary resource of the composer is employed with full effect, and it remains yet another example of Sir Hubert Parry's power of writing vocal music that has a definite and individual ring. An appropriate atmosphere is established at the beginning by an introduction of pastoral character which creates a cheerful mental picture. The impression of simple joy is never disturbed throughout the work. Some broad unison effects from the chorus, a fine choral passage in Sir Hubert Parry's best style, illustrative of the celestial choirs, a melodious and well-written section for the solo voice, and a well-wrought climax before the calm end are the features in this gratifying work. The fame of the work is likely to extend, carrying with it an increase of the renown of the composer. STAR. The composer has reproduced the archaic quaintness of the text and there is a fine joyousness about the music. It has an abundance of characteristic Parryish climaxes in which bustling figures tumble over each other in sheer exuberance of spirits, and sometimes, as in the charming pastoral opening, a higher imaginative note is touched. The skill with which the melody of the refrain is varied is notable. London: NOVELLO AND COMPANY, Limited. |