Dr. Julius RietzSource: The Musical Times and Singing Class Circular, Vol. 18, No. 416 (Oct. 1, 1877), pp. 490-491Published by: Musical Times Publications Ltd.Stable URL: http://www.jstor.org/stable/3353888 .

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THE MUSICAL TIMES. OCTOBER I, I877. THE MUSICAL TIMES. OCTOBER I, I877. 49o 49o

store of matter is abundant7 and none of it valueless. Mo- zart's " Requiem?' follosvedthe ;' Magnificat,' andfurnished a striking contrast by its vivid colouring and descriptive grandeur. The great choruses, such as '; Rex tremends," " Confutatis," and " Dies irk," made a stupendous effect such was the mass of sound and such were the energy and dash of the Yorkshire singers. But the deepest impression of all perhaps attended the " Lachrymosa," the wonder- ful sequence of the concluding prayer lJeing rendered in a manner that may best be described a5 asve-;nspiring. A profound silence follonved the last note, for every heartsras touched, and the highest purpose of sacred music attained. The solos in the "Requiem" were given to Madame Wynne, Mrs. Mudie-Bolingbroke, Mr. Shakespeare7 and Mr. Santley, from whom they received all possible justice.

The second part of the concert beinv devoted to the- " Mount of Olives," that work had the honour of bringing the Festival to an end. But the performance xYas signal- ised by an event of more importance, viz. a deliberate abandonment of the " Engedi " version, and an adoption of the original text, or l ather of a close English translatior} recently made by the Rev. J. Troutbeck, and now incor- porated with Messrs. Novello, Ewer and Co.'s edition. Some excuse may be made for Dr. Hudson's libretto, and also for the change eSected by Mr. Bartholomew when he put the xrords of Christ into the mouth of John. Narrow viesvs prevailed at that time, and the qvlestion really was whether Beethoven's Oratorio should be adapted to English tastes or kept out altogether. But the circum- stances have now entirely changed. We have learned to distinguish better between actual and supposititious evil and to see that there need be no irreverence in personating the Saviour. Beethoven, it is said, alsrays regretted that he had made Christ a dramatic character; but that the Protestant Bach had no such feeling is proved by his setting the "Passion7'over and over again. At any ratet we now accept the "Passion" and the "Mountof Olives't without hesitancy, and who shall say that religion itself is not a gainer in consequence ? Mr. Troutbeck's version being reviewed elsewhere, demands here no more than passing notice. Let me say, however, that its beauty and pro- priety met vith hearty recognition at Leeds, and enabled the audience to enter into the spirit and meanincr of the music more deeply than ever before.

It can hardly be necessary to discuss the merits of Beethoven's work. The " Mount of Olives," as we all know, illustrates the first manner of the master, when as yet he was under the influence of his great contemporaries - but the giant's strength is often revealed, and everywhere we are conscious of the presence of beautv. The Leeds audience were delighted with the change from the severity or sombreness of Bach and Mozart; they enjoyed the Oratorio immensely, and felt, svhen listening to the mighty " Hallelujah," that there at least was music fit to be. so to speal<, the topmost stone of a Festival structure. In the solos Mdlle. Albani, Mr. Lloyd, and Mr. Santley distinauished themselves not less than at Gloucester, and the endre per- formance was vorthy of any that had gone before. At its close, c; God save the Queen " was again suna, and, with loud cheers for Sir M. Costa and Mr. Broughton, the me- morable Leeds Festival of I877 ended.

I have little more to add. In the eveninfr a concert was given at popular prices, and attended by an immense crowd. As all the artists on this occasi-on gave their ser- vices, the receipts no doubt materially increased the profits of the Festival, and benefited the local medical charities. The aggregate attendance, it is pleasant to learn, far exceeded that of I874, and with this knowledCc as well as vith a consciousness that the musical repute of their town has been largely increased, the Committee may rest con- tent till the approach of I880 Ca11S them again into action.

DR. JULIUS RIETZ. IN Julius Rietz, whose death we record in another

column of our present issue, the art of music has lost one of its most distinguished veteran disciples, and classical music in particular one of its most devoted champions. Hearing of this event, sve feel that one more link has been

store of matter is abundant7 and none of it valueless. Mo- zart's " Requiem?' follosvedthe ;' Magnificat,' andfurnished a striking contrast by its vivid colouring and descriptive grandeur. The great choruses, such as '; Rex tremends," " Confutatis," and " Dies irk," made a stupendous effect such was the mass of sound and such were the energy and dash of the Yorkshire singers. But the deepest impression of all perhaps attended the " Lachrymosa," the wonder- ful sequence of the concluding prayer lJeing rendered in a manner that may best be described a5 asve-;nspiring. A profound silence follonved the last note, for every heartsras touched, and the highest purpose of sacred music attained. The solos in the "Requiem" were given to Madame Wynne, Mrs. Mudie-Bolingbroke, Mr. Shakespeare7 and Mr. Santley, from whom they received all possible justice.

The second part of the concert beinv devoted to the- " Mount of Olives," that work had the honour of bringing the Festival to an end. But the performance xYas signal- ised by an event of more importance, viz. a deliberate abandonment of the " Engedi " version, and an adoption of the original text, or l ather of a close English translatior} recently made by the Rev. J. Troutbeck, and now incor- porated with Messrs. Novello, Ewer and Co.'s edition. Some excuse may be made for Dr. Hudson's libretto, and also for the change eSected by Mr. Bartholomew when he put the xrords of Christ into the mouth of John. Narrow viesvs prevailed at that time, and the qvlestion really was whether Beethoven's Oratorio should be adapted to English tastes or kept out altogether. But the circum- stances have now entirely changed. We have learned to distinguish better between actual and supposititious evil and to see that there need be no irreverence in personating the Saviour. Beethoven, it is said, alsrays regretted that he had made Christ a dramatic character; but that the Protestant Bach had no such feeling is proved by his setting the "Passion7'over and over again. At any ratet we now accept the "Passion" and the "Mountof Olives't without hesitancy, and who shall say that religion itself is not a gainer in consequence ? Mr. Troutbeck's version being reviewed elsewhere, demands here no more than passing notice. Let me say, however, that its beauty and pro- priety met vith hearty recognition at Leeds, and enabled the audience to enter into the spirit and meanincr of the music more deeply than ever before.

It can hardly be necessary to discuss the merits of Beethoven's work. The " Mount of Olives," as we all know, illustrates the first manner of the master, when as yet he was under the influence of his great contemporaries - but the giant's strength is often revealed, and everywhere we are conscious of the presence of beautv. The Leeds audience were delighted with the change from the severity or sombreness of Bach and Mozart; they enjoyed the Oratorio immensely, and felt, svhen listening to the mighty " Hallelujah," that there at least was music fit to be. so to speal<, the topmost stone of a Festival structure. In the solos Mdlle. Albani, Mr. Lloyd, and Mr. Santley distinauished themselves not less than at Gloucester, and the endre per- formance was vorthy of any that had gone before. At its close, c; God save the Queen " was again suna, and, with loud cheers for Sir M. Costa and Mr. Broughton, the me- morable Leeds Festival of I877 ended.

I have little more to add. In the eveninfr a concert was given at popular prices, and attended by an immense crowd. As all the artists on this occasi-on gave their ser- vices, the receipts no doubt materially increased the profits of the Festival, and benefited the local medical charities. The aggregate attendance, it is pleasant to learn, far exceeded that of I874, and with this knowledCc as well as vith a consciousness that the musical repute of their town has been largely increased, the Committee may rest con- tent till the approach of I880 Ca11S them again into action.

DR. JULIUS RIETZ. IN Julius Rietz, whose death we record in another

column of our present issue, the art of music has lost one of its most distinguished veteran disciples, and classical music in particular one of its most devoted champions. Hearing of this event, sve feel that one more link has been

extended use. But to sum up all these impressions, let 1ne say that ;' Joseph " is a ncxble, learned svork, one of nvhich England has a right to be proud, especially as it i5 distin- guished by thoroughly English qualities. Its style is the composer's onvn; its thought is often happy, alvxays strong and earnest, and its expression is thxat of a master. The performance, conducted by Mr. Walter Macfarren, was remarkably good for a nesv work- the chorus again dis- tinguishing itself grezatlyn the band, a few slips excepted, svorking well throughout, and the soloists labouring as thollgh in perfect sympathyrvith the composer. To Mdlle. Albani, Madame NVynne, Mada1ne Patey, Mr. Lloyd, Mr. Santley, and Sivnor Foli belonfYed the honour of " creating " their respective parts. Where all did their duty it would be invidious to single out one for special praise; but the fact that Mr. SantIey reDresented the hero of the story may excuse a reference to the s-ery perfect manner in rvhich }ais task was dischared. At the close of the performance Dr. Macfarren was called for, led on by his brother and applauded with all the enthusiasm needed to ratify a genuine success.

The evening concert, being made up entirely of selections may be passed rSzith fesv words. It nvas chiefly remarkable for a good performance of Raff's Symphony in G minor, Bennett7s overture " The NVood-Nymphs," and Spohr's " Jessonda." All includint, Bennett's worli, svere con- ducted by Sir Michael Costa, svho has nonY i'buried the hatchet ' in the grave of his ancient antagonist. Madame Sinico appeared at this concert, takinC the place of Mdlle. Albani, and being very well received.

SAT U RDAY . The last concert of the Festival was what in convivial

language would be styled a '; bumper," and attracted the largest audience of the week, every part of the Town Hall being crowded to excess. A more attract;ve programme could hardly have been drautn up, includinffl as it did tnvo svell-known and popular works of the highest class, and a novelty bearing the illustrious name of Bach. The combination was most judicious; for, while the " Requiem ' and " Mount of Olives" drev a crowd together, the old Leipzig master's '; Magnificat " found an audience which it- self could never have commanded. The novelty came first in order, and raS heard with profound attentlon by con- noisseurs, who, however, may not have had their attentiorl drawn to the fact that the mtlsic was not Bach tnr et si^sKle. It should have been stated in the books that the 7ersion performed was that of Robert Franz, the man svho stands far ahead of all others in respect of the skill and reverence with which he adapts mllsic of the old school to modern requirements. Whether a masterpiece ought to be touched by anybody is a question I shall evade here. Assuminffl that the process is legitimate, Robert Franz has earned the hhest honour it can bestow. Franz shows his usual ability in the "Magnificat," adding clarionets and bassoons to the score, and, in one chorus, a bass trombone; writing a complete organ part; making the viola part continuous, and hile retainina the three trumpets bringing their music nvithin the more restricted means of the present day. The Judament rith which all this is done can only be appreciated by those who examine the new score ssith care. Enough that one might fancy Sebastian Bach himself approving every bar, and recog- nising throughout an expansion of his osvn style, and the workin of his osvn spirit. As the " Magnificat" can be bought norv for a ferv pence and as there can be no dispute about its merit, discussion here is needless. Nor will those already familiar *vith the work require telling that the choruses, finely suna made a deep impression. These S1X numbers, thoufflh not extended, show us the old master in his grandest mood and for these alone the " Magtl;ficat " sarill ever occupy an honoured place. The airs as usual with Bach, are less striking * but the duet for con- tralto and tenor, despite an elaborate polyphonic structure, is charmingX and evoked 1nuch admiration, as did the contralto song, " Esurientes implevit bonis," with its pretty accompaniment of tsno flutes. Looking at the suc- cess of the work, it is to be hoped that Bach w;11 be dras^Tn uporX for contributions to future Festival programmes; the

extended use. But to sum up all these impressions, let 1ne say that ;' Joseph " is a ncxble, learned svork, one of nvhich England has a right to be proud, especially as it i5 distin- guished by thoroughly English qualities. Its style is the composer's onvn; its thought is often happy, alvxays strong and earnest, and its expression is thxat of a master. The performance, conducted by Mr. Walter Macfarren, was remarkably good for a nesv work- the chorus again dis- tinguishing itself grezatlyn the band, a few slips excepted, svorking well throughout, and the soloists labouring as thollgh in perfect sympathyrvith the composer. To Mdlle. Albani, Madame NVynne, Mada1ne Patey, Mr. Lloyd, Mr. Santley, and Sivnor Foli belonfYed the honour of " creating " their respective parts. Where all did their duty it would be invidious to single out one for special praise; but the fact that Mr. SantIey reDresented the hero of the story may excuse a reference to the s-ery perfect manner in rvhich }ais task was dischared. At the close of the performance Dr. Macfarren was called for, led on by his brother and applauded with all the enthusiasm needed to ratify a genuine success.

The evening concert, being made up entirely of selections may be passed rSzith fesv words. It nvas chiefly remarkable for a good performance of Raff's Symphony in G minor, Bennett7s overture " The NVood-Nymphs," and Spohr's " Jessonda." All includint, Bennett's worli, svere con- ducted by Sir Michael Costa, svho has nonY i'buried the hatchet ' in the grave of his ancient antagonist. Madame Sinico appeared at this concert, takinC the place of Mdlle. Albani, and being very well received.

SAT U RDAY . The last concert of the Festival was what in convivial

language would be styled a '; bumper," and attracted the largest audience of the week, every part of the Town Hall being crowded to excess. A more attract;ve programme could hardly have been drautn up, includinffl as it did tnvo svell-known and popular works of the highest class, and a novelty bearing the illustrious name of Bach. The combination was most judicious; for, while the " Requiem ' and " Mount of Olives" drev a crowd together, the old Leipzig master's '; Magnificat " found an audience which it- self could never have commanded. The novelty came first in order, and raS heard with profound attentlon by con- noisseurs, who, however, may not have had their attentiorl drawn to the fact that the mtlsic was not Bach tnr et si^sKle. It should have been stated in the books that the 7ersion performed was that of Robert Franz, the man svho stands far ahead of all others in respect of the skill and reverence with which he adapts mllsic of the old school to modern requirements. Whether a masterpiece ought to be touched by anybody is a question I shall evade here. Assuminffl that the process is legitimate, Robert Franz has earned the hhest honour it can bestow. Franz shows his usual ability in the "Magnificat," adding clarionets and bassoons to the score, and, in one chorus, a bass trombone; writing a complete organ part; making the viola part continuous, and hile retainina the three trumpets bringing their music nvithin the more restricted means of the present day. The Judament rith which all this is done can only be appreciated by those who examine the new score ssith care. Enough that one might fancy Sebastian Bach himself approving every bar, and recog- nising throughout an expansion of his osvn style, and the workin of his osvn spirit. As the " Magnificat" can be bought norv for a ferv pence and as there can be no dispute about its merit, discussion here is needless. Nor will those already familiar *vith the work require telling that the choruses, finely suna made a deep impression. These S1X numbers, thoufflh not extended, show us the old master in his grandest mood and for these alone the " Magtl;ficat " sarill ever occupy an honoured place. The airs as usual with Bach, are less striking * but the duet for con- tralto and tenor, despite an elaborate polyphonic structure, is charmingX and evoked 1nuch admiration, as did the contralto song, " Esurientes implevit bonis," with its pretty accompaniment of tsno flutes. Looking at the suc- cess of the work, it is to be hoped that Bach w;11 be dras^Tn uporX for contributions to future Festival programmes; the

This content downloaded from 128.235.251.160 on Fri, 19 Dec 2014 03:46:01 AMAll use subject to JSTOR Terms and Conditions

THE MUSICAL TIMES.-OCTOBER I, I877. THE MUSICAL TIMES.-OCTOBER I, I877. 49I 49I

severed which still connected us with a great epoch in the history of the art. For it was Rietz who had inherited and faithfully carried on the traditions of both Mendels- sohn and Weber in the practical sphere of their activity. In the course of his long career as composer and practical musician he had alternately occupied the position of orchestral leader formerly held by the two great masters and none could have been found more qualified to perpetuate the inflnence they had exercised in that capacity. Julius iEtietz was born at Berlin on the z8th of December, I8I2. Having received a sound musical education from some of the first masters of the Prussian capital, he was able, at the early age of sixteen, to enter the orchestra of the Konig- stadtische Theater as a violoncello-player. His excep- tional talents having attracted the attention of Mendels- sohn, then Musikdirector at Dusseldorf, the latter took the young musician underhis special protection, and in I836 Rietz, then only twenty-five years of age, succeeded him in hls official capacity at the Rhenish town. In this position he remained eleven years, dtlring svhich time he so rnatured his natural qualifications for the office to svhich he had been appointed that, upon the death of his faithful friend Mendelssohn in I847, he was at once recognised as the only worthy successor of the great composer as musical director and conductor of the Gesvandhaus Concerts, at Leipzig. He accepted this honourable post, continuing in it for a number of years, during which his sterling qualities of composer, conductor, critical author, and teacher be- came universally acknowledged. Subsequently, in I860, Rietz follon7ed a call to Dresden7 where he was nominated :First Capellmeister of the Royal Opera in place of Reissiger, the immediate successor of C. M. von Weber, a position which he occupied up to the time of his death. His nume- rous compositions, among svhich are t-vo operas, several symphonies, overtures, and concert-pieces, are characterised less by vigorous originality than by a classical refinement of taste and true musicianlike ssrorkmanship, and will- especially his excellent quartetts for male voices-always be heard with pIeasure. But his chief strength lay in his personality as conductor and teacher, and in the enthu- siasm he created around him for all that is good and beautitul in the art he represented. Nor will the valuable services be ever forgotten which he rendered in the criticai revision of the standard editions of the works of Mendels- sohn and Beethovenl as snrell as of the Mozart edition nonv being issued by the firm of Breitkopf and Hartel at Leipzily. Julius Rietz intended to retire from his official position on the ISt of this month, but he was seized by a stroke of pnralysis on the Ioth ult., and died two dahs after- wards at Dresden, at the age of sixty-five.

OUR readers must be aware that we are not in the habit of allowing artists to advertise their personal grievances through the medium of our columns, but it appears to us that a cruel wrong has been inflicted upon Dr. Bunnett by the appointment of Mr. Craddock to the post of Organist at Norwich Cathedral. We have of course nothing svhat- ever to say against Mr. Craddock indeed, we have never before heard his name-but we do know that Dr. Bunnett has most efficiently discharged the duties of organist at the Cathedral ever since he left the choir as a boy, and that he has £airly von a high professional and social posi- tion inthe city; whilst Mr. Craddock (an utter stranger3 has been appointed for no other reason, as it ̂ rould appear than that he held the office of organist at the church of

hicll Dean Goulburn had been the incumbent, and that the promise was made on his preferment to the Deanery Space will not allow us to do more than quote a ferv vpinions on the subject from the local press, by which howevWr, it may be seen hosv thoroughly the conduct of the Dean has provoked a bitter feeling in the city. The Norfolk News says: 4' Dr. Bunnett deserves more kind- ness than he has received, particularly when it is con- sidered that in taking the place of Dr Buck at the organ and efficiently discharg ing the duties involved in that pOSltlOn for many years, he had earned the right to expect that his services would not be suffered to go unnoticed and unrewarded. We sympathisc, as also will a large portion

severed which still connected us with a great epoch in the history of the art. For it was Rietz who had inherited and faithfully carried on the traditions of both Mendels- sohn and Weber in the practical sphere of their activity. In the course of his long career as composer and practical musician he had alternately occupied the position of orchestral leader formerly held by the two great masters and none could have been found more qualified to perpetuate the inflnence they had exercised in that capacity. Julius iEtietz was born at Berlin on the z8th of December, I8I2. Having received a sound musical education from some of the first masters of the Prussian capital, he was able, at the early age of sixteen, to enter the orchestra of the Konig- stadtische Theater as a violoncello-player. His excep- tional talents having attracted the attention of Mendels- sohn, then Musikdirector at Dusseldorf, the latter took the young musician underhis special protection, and in I836 Rietz, then only twenty-five years of age, succeeded him in hls official capacity at the Rhenish town. In this position he remained eleven years, dtlring svhich time he so rnatured his natural qualifications for the office to svhich he had been appointed that, upon the death of his faithful friend Mendelssohn in I847, he was at once recognised as the only worthy successor of the great composer as musical director and conductor of the Gesvandhaus Concerts, at Leipzig. He accepted this honourable post, continuing in it for a number of years, during which his sterling qualities of composer, conductor, critical author, and teacher be- came universally acknowledged. Subsequently, in I860, Rietz follon7ed a call to Dresden7 where he was nominated :First Capellmeister of the Royal Opera in place of Reissiger, the immediate successor of C. M. von Weber, a position which he occupied up to the time of his death. His nume- rous compositions, among svhich are t-vo operas, several symphonies, overtures, and concert-pieces, are characterised less by vigorous originality than by a classical refinement of taste and true musicianlike ssrorkmanship, and will- especially his excellent quartetts for male voices-always be heard with pIeasure. But his chief strength lay in his personality as conductor and teacher, and in the enthu- siasm he created around him for all that is good and beautitul in the art he represented. Nor will the valuable services be ever forgotten which he rendered in the criticai revision of the standard editions of the works of Mendels- sohn and Beethovenl as snrell as of the Mozart edition nonv being issued by the firm of Breitkopf and Hartel at Leipzily. Julius Rietz intended to retire from his official position on the ISt of this month, but he was seized by a stroke of pnralysis on the Ioth ult., and died two dahs after- wards at Dresden, at the age of sixty-five.

OUR readers must be aware that we are not in the habit of allowing artists to advertise their personal grievances through the medium of our columns, but it appears to us that a cruel wrong has been inflicted upon Dr. Bunnett by the appointment of Mr. Craddock to the post of Organist at Norwich Cathedral. We have of course nothing svhat- ever to say against Mr. Craddock indeed, we have never before heard his name-but we do know that Dr. Bunnett has most efficiently discharged the duties of organist at the Cathedral ever since he left the choir as a boy, and that he has £airly von a high professional and social posi- tion inthe city; whilst Mr. Craddock (an utter stranger3 has been appointed for no other reason, as it ̂ rould appear than that he held the office of organist at the church of

hicll Dean Goulburn had been the incumbent, and that the promise was made on his preferment to the Deanery Space will not allow us to do more than quote a ferv vpinions on the subject from the local press, by which howevWr, it may be seen hosv thoroughly the conduct of the Dean has provoked a bitter feeling in the city. The Norfolk News says: 4' Dr. Bunnett deserves more kind- ness than he has received, particularly when it is con- sidered that in taking the place of Dr Buck at the organ and efficiently discharg ing the duties involved in that pOSltlOn for many years, he had earned the right to expect that his services would not be suffered to go unnoticed and unrewarded. We sympathisc, as also will a large portion

of the public, with Dr. Bunnett in his present trying posi- tion. Not only has he been deprived of an office he might fairly lay claim to, but a stigma and a reproach have been cast upon him which must prejudice his future career unless the timely intervention offriends avert the calamity." TheNorfolk Chronicle remarks: *'It maybe, as seems possible, that the appointment of Mr. Craddock was a fulfilment of a pledge given when Dr. Goulburn left the vicarage of St. John's, Paddington. If so, however we may respect the Dean's observance of his word, sve cannot exculpate him from blame in not having informed Dr. Bunnett that it ras his intention, on Dr. Buck's retire- ment, to appoint Mr. Craddock. He, at all events, has laid himself open to the charge of having suffered Dr. Bunnett for eleven years to go on as assistant-oranist- which he svould not have done but br the expectation of getting the higher office when a vacancy occurred -when a vord from him as to his future intentions srould have enabled Dr. Bunnett to have sought that promotion in another place which his talents entitled him to." And the follosving observations, xvitll srrhich sve perfectly agree are from the NorwicAt Merczlry: " The Dean may believe-and for what srTe knosv be right !-that he has named the best man. The public, however, were entitled to the proof, and as they had given their reasons for be- lieving Dr. Bunnett to be the most fitting candidate for the office, the question should have been put to the test of public competition. Then Dr. Bunnett, had he cared to do so, might have become a candidate, as would doubt- less many other men xvell qualified to train the choir, and to conduct the musical service in the most reverent and worthy manner. But the decision svould have rested with men probably better qualified to form a sound judgment than the Dean of Norsvich, who doubtless could estimate aright the moral and religious character of the candidate for office-matters, sve admit, of first importance-but ho we have never yet heard spoken of as excellin in the strictly scientific questions rvhich constitute so large a part of the duties of an orcanist and choirmaster of a Cathedral."

WE regret that sve cannot aSord space for an extended report of the meeting at Gloucester on the 3rd ult., when Madame Patey distributed the prizes and certificates gained at the Glotlcester Centre by competitors in the recent musical examination in connection with Trinity College London; but the speech of the popular vocalist in asvarding the prizes is too good to be abridged. After the applause with svhich she was greeted had somewhat subsided, she said, " Mr. Chairman, Ladies, and Gentlemen,-It is with no ordinary pleasure that I to-day dischare the (luties of the flattering position in which you have been good enough to place me. You were right in assuming that the swork upon which you are engaged has my warmest sympathies for who ought more to desire the spread of musical culture than one whose life is devoted, in however modest a capa- city, to the service of the divine art ? But it seems to me that the institution you represent has particular claims upon your regard. It serves to promote the cause of music in its most exalted, and perhaps I should say its most popular form. Nor do I lose sight of the fact that the labours of Trinity Collee and its affiliated associations tend to perpetuate the fair fame of England in a field of art to svhich our country has sent so many illustrious svorkers. Because then you strive ' for the perfecting of the praise of God's Church on earth,' and, as a consequence of the popularising of good sacred music throut,hout the iand, as well for the continuance and increase of a hifrh national reputation-your claims to hearty support are incontestable and in my humble measure I reconise them by being here to-day. Havinz carefully examined the plan upon which Trinity College works, I cannot but express my admiration of its liberality and comprehensiveness. By the establish- ment of local centres, the institution of free scholarships and the encouragement of talent through the prizes given in connection, as to-daY, svith local examinations, the College does that svhich no other institution attempts-it goes among the people in search of ability, instead of svaiting in London and elsesA;here for ability to come to it. With equal satisfaction I observe that you seek to associate

of the public, with Dr. Bunnett in his present trying posi- tion. Not only has he been deprived of an office he might fairly lay claim to, but a stigma and a reproach have been cast upon him which must prejudice his future career unless the timely intervention offriends avert the calamity." TheNorfolk Chronicle remarks: *'It maybe, as seems possible, that the appointment of Mr. Craddock was a fulfilment of a pledge given when Dr. Goulburn left the vicarage of St. John's, Paddington. If so, however we may respect the Dean's observance of his word, sve cannot exculpate him from blame in not having informed Dr. Bunnett that it ras his intention, on Dr. Buck's retire- ment, to appoint Mr. Craddock. He, at all events, has laid himself open to the charge of having suffered Dr. Bunnett for eleven years to go on as assistant-oranist- which he svould not have done but br the expectation of getting the higher office when a vacancy occurred -when a vord from him as to his future intentions srould have enabled Dr. Bunnett to have sought that promotion in another place which his talents entitled him to." And the follosving observations, xvitll srrhich sve perfectly agree are from the NorwicAt Merczlry: " The Dean may believe-and for what srTe knosv be right !-that he has named the best man. The public, however, were entitled to the proof, and as they had given their reasons for be- lieving Dr. Bunnett to be the most fitting candidate for the office, the question should have been put to the test of public competition. Then Dr. Bunnett, had he cared to do so, might have become a candidate, as would doubt- less many other men xvell qualified to train the choir, and to conduct the musical service in the most reverent and worthy manner. But the decision svould have rested with men probably better qualified to form a sound judgment than the Dean of Norsvich, who doubtless could estimate aright the moral and religious character of the candidate for office-matters, sve admit, of first importance-but ho we have never yet heard spoken of as excellin in the strictly scientific questions rvhich constitute so large a part of the duties of an orcanist and choirmaster of a Cathedral."

WE regret that sve cannot aSord space for an extended report of the meeting at Gloucester on the 3rd ult., when Madame Patey distributed the prizes and certificates gained at the Glotlcester Centre by competitors in the recent musical examination in connection with Trinity College London; but the speech of the popular vocalist in asvarding the prizes is too good to be abridged. After the applause with svhich she was greeted had somewhat subsided, she said, " Mr. Chairman, Ladies, and Gentlemen,-It is with no ordinary pleasure that I to-day dischare the (luties of the flattering position in which you have been good enough to place me. You were right in assuming that the swork upon which you are engaged has my warmest sympathies for who ought more to desire the spread of musical culture than one whose life is devoted, in however modest a capa- city, to the service of the divine art ? But it seems to me that the institution you represent has particular claims upon your regard. It serves to promote the cause of music in its most exalted, and perhaps I should say its most popular form. Nor do I lose sight of the fact that the labours of Trinity Collee and its affiliated associations tend to perpetuate the fair fame of England in a field of art to svhich our country has sent so many illustrious svorkers. Because then you strive ' for the perfecting of the praise of God's Church on earth,' and, as a consequence of the popularising of good sacred music throut,hout the iand, as well for the continuance and increase of a hifrh national reputation-your claims to hearty support are incontestable and in my humble measure I reconise them by being here to-day. Havinz carefully examined the plan upon which Trinity College works, I cannot but express my admiration of its liberality and comprehensiveness. By the establish- ment of local centres, the institution of free scholarships and the encouragement of talent through the prizes given in connection, as to-daY, svith local examinations, the College does that svhich no other institution attempts-it goes among the people in search of ability, instead of svaiting in London and elsesA;here for ability to come to it. With equal satisfaction I observe that you seek to associate

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