Archive | C

the name of the key-note of the ' n a tu r a l ' ' scale. I t represents the same no te in German, the French name being U t or Do and the Italian Do. The fu r the r nomenclature is : In the modal system C is the final of the X l l l t h an d X lV th modes (Ionian an d Hypoionian), the domin an t of Mode I I I . (Phrygian), Mode V. (Lydian), Mode V I I I . (Hypo-mixolydian), an d Mode X. (Hypo-aeolian). The C clef eithe r as | jjj j o r |j? always indicated ' Middle ' C, or c', th a t note on the s ta v e being enclosed by the two cross-lines of the clef. At one time or an o the r this clef ha s been placed on every line of the s tav e a n d a t present is commonly used in three different positions. - Tenor.see G k e a t S ta v e and Clef . The key of C was used th ro u g h o u t the classical period for cer tain transpos ing in s t ru ments of the orchestra, such as horns and t rump e ts with, of course, the employment of accidentals. L a tte r ly , however, i t is becoming more usual to give key signatures to the p a r ts ; a p a r t for horns in F when the music is, for example, in A major being wr itten as if in the key of E major with a signa ture of four sharps. see G k e a t S ta v e and Clef . The key of C was used th ro u g h o u t the classical period for cer tain transpos ing in s t ru ments of the orchestra, such as horns and t rump e ts with, of course, the employment of accidentals. L a tte r ly , however, i t is becoming more usual to give key signatures to the p a r ts ; a p a r t for horns in F when the music is, for example, in A major being wr itten as if in the key of E major with a signa ture of four sharps.

(b. Venice ; d. ? a f te r 1740), was ed u c a ted a t the M onastery of P alma, Friuli, an d ente red the Order of the Minorites (Franciscans). He was maestro d i cappella a t the Franciscan church of S. Maria gloriosa de F ra ri, or Ca grande, in 1702. From May 3, 1703, to May 10, 1727, he held the same position a t S. Antonio a t P ad u a , returning to the F ra r i church a t Venice, where he still was in 1740. His church music was m u ch praised by the bes t composers of his time, b u t he b u rn t i t all to compose henceforth in the enharmonic sys tem of the ancient Greeks, a n d the music he the n produced was little relished by his contemporaries. He wrote a theoretical tre a tise which was published by M. Balbi, Venice, 1829. A lis t of his still existing church compositions, ha rpsichord and organ pieces, is in Q.-L. A rem a rk a b ly fine ' Pange Lingua ' is, according to Mendel, in the Vienna Court library. E . v. d. s.

(b . 1575; d. 1603). F rom the t i t le - pages of Canali's p r in ted works i t appears th a t he was organist of San Giovanni Evangelis ta in Brescia from 1581-1603. I f he was the F lorian Canale, Bresciano, who wrote the medical tre a tise en titled Dei secreti universali, Venetia, 1640 (Bodl. Lib.), he was 5 Dedicated to M. de Lagrange T rianon, Abb4 de St. Sever. 2 N still alive in 1612, for the dedication is signed Da Brescia, 12 Decembre 1612, Florian Canale. E. van der S tra eten, who holds th a t Canali came from the N etherlands, says th a t the literal Flemish tran s la tio n of the Latin name Canalis is P y p e ; man y Flemish families have this name. He suggests th a t B u y s (c. 1554) has a name th a t can be tran s la ted Canalis, although Bu y s 's id en t i ty is more probably connected with th a t of Buus (c. 1541-51). List of works : 1. Psalmodia, 5 e t 4 voc. Venetia. Scotto, 1575. In the Berlin Konigl. Bibl. 5 partbooks (Eitner). 2. Sacrae cantiones quae vulgo motecta d icuntur, qu atu o r vocibus decantandae: nec non quibuscunque Organorum sonls accommodatae, a Floriano Canali Brixiano o rgana m odulante, nunc p rim urn tn lucem editae. Brixiae apud Vincentium Sabbium, 1581. In the Bologna Liceo Musicale 4 partbooks 4to. In the Dedication, written from Bologna, Canali calls these compositions his * first-fruits (Parisini). 3. Missae Introitus, ac motecta quatuor vocibus nec non quibuscunque organorum sonis accommodatae, a D. Floriano Canali Brix. organa modulante, nunc primum in lucem editae. Brixiae, apud Thomarn Bozzolam, 1588. In the British Museum, 4 partbooks, 4to, pp. 30. 4. Canzoni d a sonare a q u a ttro e t o tto voci di D. Floriano Canale d a Brescia organista. Libro primo. In Venetia appresso Giacomo Vincenti, 1C00. In the Augsburg Bibl. 4 partbooks, 4to ; 17 canzoni a 4 voci, 2 a 8 voci (Schletterer). 5. Canzonette a tre voci di D. Floriano Canale d a Bressa organista. Primo libro. Venetia, Giacomo Vincenti, 1601. In the Cassel St&ndisches Landesbibl. 3 partbooks, 8vo, pp. 29 (Israel). 6. Sacrae Cantiones-5 voc. Venetia. Vincenti, 1602. In the Bischofiiches Privatbibl. Regensburg, 22 compositions (Eitner). 7. Sacrae cantiones sex vocibus concinendae, turn viva voce, turn instrmnentis cuiusuis generis c antatu accommodissimae, a D. Floriano Canali in ecclesia Divi Joannis Evangelistae de Brixia organista, noviter compositae. Liber primus. Veneti's apud Jacobnm V incentium, 1603. In the Bologna Liceo Musicale. 6 p a r t books, 4to (Parisini). I n the collection ' P romp tu a r ii musici, sacras harmonias sive mote ta s v. vi. vii. e t viii. vocum ' Abrahamo Schadaeo, 1611, are two compositions, No. 14 ' Quem vidistis pas tores ' 2nd p a r t ' Dicite quidnam vidistis ? ' and No. 50 ' Ego vos elegi de mundo,' each headed ' Floriani Canali a 6 .' A MS. of the former in lute tab la tu re is in the Bibl. Rudolfina der Konigl. Ritteracademie a t Liegnitz (Pfudel an d Eitner). A manuscript score ( ' Cantiones sacrae diversorum auctorum ') of ' La B alzana a 8 par ti, una canzona d a sonare,' in two movements (see Torchi's Musica instrumentale for music), is in the Bologna Liceo Mus. Some o f the music is given by Torchi in the Rivista M u s i cale I taliana for 1897, p. 601, an d in his Musica istrumentale in I talia, 1901, p. 22. c. S.

the name of two distinguished organists of St. Jo h n L a te ra n in Rome. The father, (1) G a e t a n o (b. Rome, Oct. 16, 1811 ; d. J a n . 11, 1898), began his musical studies under Sante Pascoli, organist of St. P e te r 's ; an d was af terwards a pupil of Valentino Fiorav an ti an d Francesco Cianciarelli for co u n te r point and composition. In 1831 he received the diploma of organist, an d in 1833 th a t of composer from the academy of St. Cecilia. His first post as organist was in S. Maria in Vallicella ; in 1839 he was appointed to S. Maria Maggiore ; in 1855 he was made maestro d ire tto re of the Cappella Pia of the L a te ran, a post which he occupied till his death. His sacred compositions were cons ta n tly in use a t the Lateran, where his Responsori for Holy Week were universally a d mired ; seven published volumes, containing 42 compositions such as masses, motets, psalms, etc., repre sent only a comparatively small proportion of his works, which are remarkable for the ir faithful adherence to the ecclesiastical style of the g reat I ta l ian school, an d for melodies of a flowing, facile type. His son, (2) F i l i p p o (b. Rome, May 11, 1840 ; d. there, J u ly 1911), began the s tu d y of music a t 9 years old, learning the organ an d harmony from his father. In 1861 he gained a diploma as a pianist in the academy of St. Cecilia. He was appointed first organist a t the L a te ra n in 1873, an d succeeded his fa the r as maestro d irettore di cappella in 1898. A visit of Alexandre Guilmant to Rome in 1880 inspired Capocci to devote himself to the highest branch of organ technique, and he shor tly became famous for the excellent ta s te of his a r range m en t of stops, for the admirable clearness of his playing, an d for his musicianly phrasing. A g reat n umber of compositions for the organ have been published in London, Leipzig and Paris. They include 5 sonatas and 11 books of original pieces. M. (b. Rome, Oct. 16, 1811 ; d. J a n . 11, 1898), began his musical studies under Sante Pascoli, organist of St. P e te r 's ; an d was af terwards a pupil of Valentino Fiorav an ti an d Francesco Cianciarelli for co u n te r point and composition. In 1831 he received the diploma of organist, an d in 1833 th a t of composer from the academy of St. Cecilia. His first post as organist was in S. Maria in Vallicella ; in 1839 he was appointed to S. Maria Maggiore ; in 1855 he was made maestro d ire tto re of the Cappella Pia of the L a te ran, a post which he occupied till his death. His sacred compositions were cons ta n tly in use a t the Lateran, where his Responsori for Holy Week were universally a d mired ; seven published volumes, containing 42 compositions such as masses, motets, psalms, etc., repre sent only a comparatively small proportion of his works, which are remarkable for the ir faithful adherence to the ecclesiastical style of the g reat I ta l ian school, an d for melodies of a flowing, facile type. His son, (2) F i l i p p o (b. Rome, May 11, 1840 ; d. there, J u ly 1911), began the s tu d y of music a t 9 years old, learning the organ an d harmony from his father. In 1861 he gained a diploma as a pianist in the academy of St. Cecilia. He was appointed first organist a t the L a te ra n in 1873, an d succeeded his fa the r as maestro d irettore di cappella in 1898. A visit of Alexandre Guilmant to Rome in 1880 inspired Capocci to devote himself to the highest branch of organ technique, and he shor tly became famous for the excellent ta s te of his a r range m en t of stops, for the admirable clearness of his playing, an d for his musicianly phrasing. A g reat n umber of compositions for the organ have been published in London, Leipzig and Paris. They include 5 sonatas and 11 books of original pieces. M.

employed. The National L ibra ry in Paris has a rich manuscript collection of oratorios by Carissimi. The following is a list of the i r names : * La Pla inte des damn?s ' ; * Hi9toire de Jo b ' ; ' Ez lchias ' ; ' Baltazar * David e t Jo n a th a s ' (authenticity doubtful); 'Abraham e t Isaac ' ; * J ep hte ' ; 4 Le Ju gement dernier ' ; ' Le Mauvais R ic h e ' ; ' J o b ' ; ' Jo n a s .' Besides these the following a re in existence (see Q.-L.) : ' Felicitas beatorum,' * Lucifer,' * Martyres,' * V ir frugi e t p a te r famiiias ' and * Daniele.' Chief among these ranks the ' Jephte,* of which Hawkins has said th a t ' for sweetness of melody, artful modulation, and original harmony, it is justly esteemed one of the finest efforts of musical skill and genius that the world knows of.' Croft im ita ted his 4 G audeamus ,' and A ldrich ad a p te d his m o te ts to English words for anthems. Hawkins p r in ted a remarkably graceful little d u e t of Carissimi called ' Dite, o cieli.' I t was in emulation of this piece, upon hearing i t over-praised by King Charles I I ., th a t Dr. Blow composed his c elebrated 4 Go, per jured m an .' The magnificent collection of his works made by Dr. Aldrich a t Oxford throws all others into the shade, an d forms one of the special ornaments of the libra ry a t Christ Church (see Arkwright's Catalogue, P a r t I., pp. 20-24). A few of his pieces are in the 4 Musica Romana ' of Spiridione, and a few more, disfigured by French words, in tho collection of 4 Airs serieux e t a boire,' published by Ballard. There are some motets of his in Stevens's 4 Sacred Music,' an d Crotch has p u b lished one or two examples in his 4 Selections of Music.' Five specimens are p r in ted in the 4 Fitzwilliam Music.' 4 J e p h te , ' 4 Judic ium Salomonis,' 4 Jo n a s ' an d 4 Ba lta z a r ' have been published by Chrysander from a MS. now a t Hamb u rg (Schott) ; an d 4 Jo n a h ' by Henry Leslie (Lambom Cock). I t remains to add th a t the 4 Judic ium Salomonis ' was in all probability n o t his, b u t the production either of Cesti or Samuel Bockshom. e . h . p . B i b l .-F . B a l i l l a P r a t e l l a . Qiacomo C a r is s im i ed i s u o r i o ra to r i, 1 92 0 . H . Q c i t t a r d . (1) Qiacomo C a r is s im i ( T r ib u n e de St. Q e r ra is , 1 9 0 0 ) ; (2) Giacomo C a r is s im i (H is to ire s sacries), ed. a t the Schola Cantorum, with an historical and critical study.

(b. circa 1491), monk of Scone Abbey, is im p o r ta n t as a Scottish composer of the 16th century, whose works have n o t y e t (1927) been fully examined. There are b u t sc an ty records concerning a c er tain religious house in Per thshire, the Abbey of Scone, which eventually formed p a r t of the royal palace of th a t place. One priceless documen t is in the A dvocates' Library a t Edinburgh. The name 4 Antiphonar ium,' by which i t is called, is incorrect, as the MS. contains a round dozen of masses and 30 motets, with 6 settings of Magnificat. The only name of a composer occurring through the MS. is th a t of Ro b e r t Carver, a t ta ch ed to several of the compositions, an d in two cases accompanied by a date, eithe r of a ctual composition or merely of transcr iption, * R obe rtus Carver, alias Arnat, Canonicus de Scone ' (or ' Sconensis '). In 1513 the composer is s ta te d to have been 2 2 years old, so th a t he was born in 1491, a n d a man of 55 when he wrote o u t the o the r d a te d piece, 1546. Neither of the surnames is as sociated pa r ticula rly with Scotland, nor does e ithe r look like a name ad o p ted on the Canon's e n t ry into religion. I n the Liber Ecclesie de Scon, p u b lished by the Ban n a ty n e C lub in 1843, on p. 207 there is a ' P re c ep tum ' of Sasine (seisin) quo ted by P a t r ic k Hepburn, Bishop of Moray an d Abbot in commendam of the A bbey of Scone, to which is appended the signa ture of ' R o b e r tu s Carwor,' as one of the chapters. The d a te of this is Nov. 4, 1544. S canty as are these ex te rn a l evidences, the music contained in the MS. shows t h a t Carver h ad mas te red the a r t so fa r as i t was developed in his time. The skill with which the 19 p a r ts are handled, the composer's sense of melodic b e au ty , and, perhaps more th a n all, his command of sonorous effect, are fa r in advance of his time. The single m o te t which the wr iter has transc r ibed is in eight contrasted movements, beginning with the words ' 0 bone J e s u , ' 1 contains in some of them a wonderful an d even thrilling effect of sonority, for the whole 19 voices are combined on the word ' J e su ,' and the sequence of harmonies is surprisingly rich an d varied. In laying o u t his 19 pa r ts , Carver was obviously considering the conditions of the community to which he belonged, for the ad u lt male voices predominate, an d no fewer th an ten of them are tenors. The others are four trebles or sopranos, two altos ( ' Medius ') and three bar itones or basses. The first section is followed b y one for three trebles, two altos, three tenors an d two basses ; this by t*n octet, two 19-part sections, a couple more in nine p a r ts a n d a final por tion in the original nineteen. There is no such tour de force to be found elsewhere in the MS., b u t beside the 1 0 -p a r t Mass the re are many works employing an u n usually large number of pa r ts . While these remain in the obscurity of the single p a r t wr itten separa te ly on the pages, i t is impossible to form an opinion as to the ir merits. Most of the masses are adorned with initial le tte rs in red ink showing the elaborate penmanship th a t is usual, an d a t one or two points the flourish a t the end of the composition contains a p o r t ra i t or c ar icature of the same face, th a t of a typical ecclesiastic. As the face is recognisably the same in all, i t is probable th a t some well-known ch a racter in the Scone community is represented. M.

(b. Lucca, June 19, 1854 ; d. Milan, Aug. 7, 1893), composer. He s tudied a t first with his father, the organist of the church of S. Frodiano in th a t city. At the age of 14 he wrote a Mass which was sung in the cathedral. A t 17 he went to the Paris Conservatoire, where he s tudied in Bazin's class. Re turning to I ta ly , he s tudied for 2 years a t the Milan Conservatorio, a t the the a t re of which his first essay a t dramatic composition, an ' Egloga ' in one ac t, ' La Falce,' was produced in the summer of 1875. On Ja n . 31, 1880, his g rand 4 -act opera, ' E ld a ' (words by D 'Ormeville), was b rought o u t a t T u r in ; on Mar. 17, 1883, a similar work, ' Dejanice,' in 4 a c ts (libretto by Zanardini), was given a t L a Scala a t Milan; in 1885 a symphonic poem for orchestra, * Ero e Leandro,' a t ta in ed considerable success ; ' E dme a ,' a 3- ac t opera (libretto by Ghislanzoni), was produced a t L a Scala, Feb. 27, 1886 ; ' Loreley ' w p s given a t Turin in 1890, an d a t Covent Garden, Ju ly 12, 1907 ; a n d ' La Wally ' in 1892. The last named has retained its p o p u lar ity with I ta l ian audiences. M.

(b . Rome, c. 1739; d. J a n . 14, 1812), a violin-player. Burney heard him in Rome in 1770, an d considered him the best Roman violinist of the period. In 1772 he began to trav e l, an d a p peared in London in th a t year. He was appointed violinist of the co u r t band a t S tu t t g a r t in 1776. He gave a concert with his wife a t F ra n k fo r t in 1780, an d alre ady h ad the title of Konzer tmeister to the Duke of Mecklenberg, a t Ludwigshut, a post which he reta in ed till his death. In P re s to n 's Catalogue (London, 1797) we find of his composition Six Sonatas for a Violin an d Bass (op. 9), an d th re e Duos a Violino e Violoncello (London, Clementi, 1798). Some o the r works, such as a vocal solo or trio with orchestral accompaniment, are mentioned in Q.-L. p. d .

a family of French musicians, the first of whichseem to have been (1) N icolas and (2) J acques, who belonged to the chapel of Charles V. as singers, in 1521 and following years. Of Nicolas 's work is known the psalm ' Beat i omnes qui t imen t ' (b parts), which is | found in two collect ions printed in 1542 and 1569 a t Nuremberg. (3) Thomas, called Mithou, organist and spinet-player in the reigns of Charles IX. and Henri I I I . , published ' Premier livre contenan t 60 pseaumes de David (1561).' He had married Marguerite (1570), daughter of the Scotch lutenist , Charles Edinthon. His two sons, (4) J acques, ' sieur de la Chapelle,' and (5) N icolas, followed him in his post under the succeeding k in g s ; the first named was the father o f (b) J acques Champion d e Chambonni4:res (see Chambonni

The first festival was held Ju n e 16, 17 an d 18, 1772, under the management of Orme, the cathedral organist, with Dr. William Hayes as conductor. The Chester Courant for Ju n e 23 of th a t ye a r says : *On Tuesday, Thursday & Friday last, were performed in the Broad Isle of the Cathedral, the celebrated Oratorios of ' M e s s i a h / * S am s o n ,* and 1 J u d a s M a c c h a b a e u s , ' before a most polite and numerous audience. The several performers filled their respective Departments with spirit and execution ; and the amazing powers o f the two Miss Llnleys conspired to render the Entertainment so great and excellent as can be expected, or ever was produced from the human voice. * On Wednesday Evening a Concert of Select Musick was performed in the Exchange Hall, where amongst other very capital pieces, Mr. Linley, Junr., distinguished himself as one of the greatest masters of the Violin which this nation has produced.' A masked ball was held a t the Exchange, on the Th u rsd ay night, an d wras conducted ' with the gre a te s t elegance an d decorum.' Although ap p a ren t ly successful, i t is remarkable th a t this festival of 1772 is n o t mentioned in a n y work on Chester, an d so completely h ad the memory of i t died out, th a t a correspondent writing to the Chester Chronicle, Oct. 5, 1821, s ta te s th a t from all the information he h ad been able to collect, ' the F i rs t General Fes tival of Oratorio Music was held in 1783.' This, as we haveseen, is erroneous, an d the festival of Sept. 16 to 19, 1783, was the second held in Chester. The committee, encouraged b y p a s t experience, extended the festivities, a n d the following exhaus ting programme was gone th r o u g h : 'Messiah,' 'J e p h th a h , ' 'J u d a s Maccabeus' (in the Ca thedral) ; 'Acis an d Galatea ,' an d a miscellaneous concert in the County Hall, as well as assembly balls on Tuesday, Th u rsd ay an d F r id a y evenings; a fancy dress ball on Wednesd ay evening ; an d a public b reakfas t (with Catches and Glees) on S a tu rd ay morning. The musical por tion was directed by K n y v e t t , and led by C r am e r ; an d amongs t the performers were Kotzwa ra (the composer of ' The Ba tt le of Prague ') ; Jo h n Ashley ( the celebrated bas soon-player ) ; an d Crosdill, the v ioloncellist. Some idea of making the festival triennial now began to manifest itself, an d the th i rd meeting was held Sept. 1786, with the same numb e r of concerts, c a thed ra l performances, public balls, etc. The oratorios given were ' Messiah' an d 'Jo sh u a ,' an d the Handel F estival Selection, as performed in Wes tmins ter Abbey a t the Commemoration, 1784. Han d e l 's ' L ' Allegro ' was also given a t the evening concerts. The singers included Mrs. Billingto n a n d Rubinelli, an d Mrs. Siddons a cted dur ing the week a t the T h e a tre Royal. For the first time, the organ an d orchestra were erected a t the west end of the nave-an ar rangement which was continued u n til 1829, a n d rev e r te d to again in 1891. The tr iennial ar rangement, however, fell to the ground, an d 1791 saw the fo u r th Chester festival-one im p o r ta n t fe a ture being the su b s t i tu t io n for the morning concert of a fo u rth d a y 's performance in the Cathedral, where the ' Messiah,' ' Samson,' an d two Handel selections were given. The vocalists comprised Madame Mara, Mrs. Crouch (Miss Phillips), Michael Kelly an d Harrison. Owing to the dis tu rb ed s ta te of affairs a t home an d abroad, i t is scarcely surprising th a t no o the r festival was held u n til 1806-when the usua l week's festivities took place. The ca thedra l per formances included the ' Messiah ' (with Mozart's additional accompaniments for the first time) ; and, as a complete novelty, H ay d n 's ' Creation.' The vocalists included Mrs. Billington, Mrs. Dickons, Harrison an d Bartleman. The band consisted of most of the leading players of the day, including Lindley and Dragonetti. Greatorex, the organist of Wes tminster Abbey, presided a t the pianoforte an d organ, and conducted the festival, which was u nder the patronage an d enjoyed the presence of H.R.H . the Duke of Gloucester. 1814 saw the sixth festival, beginning Sept. 27, an d the performance contained a curiosity, namely, ' A new occasional Oratorio, compiled chiefly from " J u d a s M a c c a b e u s ," in which will be produced " T h e B a t t l e , " by Raimondi.' The vocalists included Madame Catalani, Mrs. Salmon, Braham, Kellner an d Bartleman. Greatorex conducted and Cramer led the band, which again included Dragonetti and Lindley. Of such importance was the festival th a t it caused the postponement of the Oswestry races. The seventh festival took place in 1821 ; the * Messiah ' being given on the first day, and selections from the * Creation,' ' J u d a s Maccabeus,' ' Jo s h u a ,' an d M ozart's ' Requiem.' The vocalists included Mrs. Salmon, Miss Stephens an d Madame Camporese ; an d Braham, Swift, Rolle an d Kellner. The orchestra was led by Cramer. The eighth festival was held in 1829. The works performed included the 4 Messiah,' an d selections from ' J u d a s Maccabeus,' ' Jo s h u a ,' 4 J e p h th a h , ' ' Solomon,' ' Israel in E g y p t ' and the 4 Creation.' The principal vocalists were Madame Malibran, Miss P a to n , Mrs. K n y v e t t , Braham an d Phillips. The orchestra was led b y F. Cramer and Mori, and Greatorex again conducted. This was the la s t of the old series of Chester festivals. F i f ty years af terwards they were revived by a two d ay s ' festival (the ninth) held in the Cathedral, J u ly 23 an d 24, 1879, u nder the management of the Rev. C. Hylton-Stewart, Cathedral precentor, an d Dr. J . C. Bridge, the Ca thedral organist, the la t te r of whom conducted. This was so successful th a t the festival was expanded to three days for the te n th meeting in 1882, and was held triennially u p to 1900, the s ixteenth and last. Among the works specially wr itten for these festivals are several by the conductor (see B r id g e , (2) Joseph C o x ) ; a Psalm, ' By the Wa te r s ,' Oliver King ; Canta ta, ' The Soul's Forgiveness,' Dr. S aw y e r ; and overtures by E. H. Thorne and Sir Frederick Bridge. In addition to the s ta n d a rd works of the g re a t composers, many of the ir lesser known works have been included, such as ' Organ Concerto * an d ' Conce rtante for s tr inged ins truments ,' Handel : the ' Funeral a n d Tr iump h a l Symphony,' and selection from ' Childhood of Chr is t,' Berlioz ; ' J o u rn ey to Emmaus ,' Jenson ; Symphony, * The Earthly and the Divine,' Spohr ; Oratorio, * The Deluge,' Saint-Saens, etc. ; while many works such as Verdi's Requiem, Tchaikovsky's * Pathetic Symphony,' and selections from Wagner's ' Parsifal ' have been performed for the first time in an English cathedral. j # c> seen, is erroneous, an d the festival of Sept. 16 to 19, 1783, was the second held in Chester. The committee, encouraged b y p a s t experience, extended the festivities, a n d the following exhaus ting programme was gone th r o u g h : 'Messiah,' 'J e p h th a h , ' 'J u d a s Maccabeus' (in the Ca thedral) ; 'Acis an d Galatea ,' an d a miscellaneous concert in the County Hall, as well as assembly balls on Tuesday, Th u rsd ay an d F r id a y evenings; a fancy dress ball on Wednesd ay evening ; an d a public b reakfas t (with Catches and Glees) on S a tu rd ay morning. The musical por tion was directed by K n y v e t t , and led by C r am e r ; an d amongs t the performers were Kotzwa ra (the composer of ' The Ba tt le of Prague ') ; Jo h n Ashley ( the celebrated bas soon-player ) ; an d Crosdill, the v ioloncellist. Some idea of making the festival triennial now began to manifest itself, an d the th i rd meeting was held Sept. 1786, with the same numb e r of concerts, c a thed ra l performances, public balls, etc. The oratorios given were ' Messiah' an d 'Jo sh u a ,' an d the Handel F estival Selection, as performed in Wes tmins ter Abbey a t the Commemoration, 1784. Han d e l 's ' L ' Allegro ' was also given a t the evening concerts. The singers included Mrs. Billingto n a n d Rubinelli, an d Mrs. Siddons a cted dur ing the week a t the T h e a tre Royal. For the first time, the organ an d orchestra were erected a t the west end of the nave-an ar rangement which was continued u n til 1829, a n d rev e r te d to again in 1891. The tr iennial ar rangement, however, fell to the ground, an d 1791 saw the fo u r th Chester festival-one im p o r ta n t fe a ture being the su b s t i tu t io n for the morning concert of a fo u rth d a y 's performance in the Cathedral, where the ' Messiah,' ' Samson,' an d two Handel selections were given. The vocalists comprised Madame Mara, Mrs. Crouch (Miss Phillips), Michael Kelly an d Harrison. Owing to the dis tu rb ed s ta te of affairs a t home an d abroad, i t is scarcely surprising th a t no o the r festival was held u n til 1806-when the usua l week's festivities took place. The ca thedra l per formances included the ' Messiah ' (with Mozart's additional accompaniments for the first time) ; and, as a complete novelty, H ay d n 's ' Creation.' The vocalists included Mrs. Billington, Mrs. Dickons, Harrison an d Bartleman. The band consisted of most of the leading players of the day, including Lindley and Dragonetti. Greatorex, the organist of Wes tminster Abbey, presided a t the pianoforte an d organ, and conducted the festival, which was u nder the patronage an d enjoyed the presence of H.R.H . the Duke of Gloucester. 1814 saw the sixth festival, beginning Sept. 27, an d the performance contained a curiosity, namely, ' A new occasional Oratorio, compiled chiefly from " J u d a s M a c c a b e u s ," in which will be produced " T h e B a t t l e , " by Raimondi.' The vocalists included Madame Catalani, Mrs. Salmon, Braham, Kellner an d Bartleman. Greatorex conducted and Cramer led the band, which again included Dragonetti and Lindley. Of such importance was the festival th a t it caused the postponement of the Oswestry races. The seventh festival took place in 1821 ; the * Messiah ' being given on the first day, and selections from the * Creation,' ' J u d a s Maccabeus,' ' Jo s h u a ,' an d M ozart's ' Requiem.' The vocalists included Mrs. Salmon, Miss Stephens an d Madame Camporese ; an d Braham, Swift, Rolle an d Kellner. The orchestra was led by Cramer. The eighth festival was held in 1829. The works performed included the 4 Messiah,' an d selections from ' J u d a s Maccabeus,' ' Jo s h u a ,' 4 J e p h th a h , ' ' Solomon,' ' Israel in E g y p t ' and the 4 Creation.' The principal vocalists were Madame Malibran, Miss P a to n , Mrs. K n y v e t t , Braham an d Phillips. The orchestra was led b y F. Cramer and Mori, and Greatorex again conducted. This was the la s t of the old series of Chester festivals. F i f ty years af terwards they were revived by a two d ay s ' festival (the ninth) held in the Cathedral, J u ly 23 an d 24, 1879, u nder the management of the Rev. C. Hylton-Stewart, Cathedral precentor, an d Dr. J . C. Bridge, the Ca thedral organist, the la t te r of whom conducted. This was so successful th a t the festival was expanded to three days for the te n th meeting in 1882, and was held triennially u p to 1900, the s ixteenth and last. Among the works specially wr itten for these festivals are several by the conductor (see B r id g e , (2) Joseph C o x ) ; a Psalm, ' By the Wa te r s ,' Oliver King ; Canta ta, ' The Soul's Forgiveness,' Dr. S aw y e r ; and overtures by E. H. Thorne and Sir Frederick Bridge. In addition to the s ta n d a rd works of the g re a t composers, many of the ir lesser known works have been included, such as ' Organ Concerto * an d ' Conce rtante for s tr inged ins truments ,' Handel : the ' Funeral a n d Tr iump h a l Symphony,' and selection from ' Childhood of Chr is t,' Berlioz ; ' J o u rn ey to Emmaus ,' Jenson ; Symphony, * The Earthly and the Divine,' Spohr ; Oratorio, * The Deluge,' Saint-Saens, etc. ; while many works such as Verdi's Requiem, Tchaikovsky's * Pathetic Symphony,' and selections from Wagner's ' Parsifal ' have been performed for the first time in an English cathedral. j # c>