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Wilbye. Madrigal, Sweet honey sucking bees, à 5.

Horsley. Glee, Cold is Cadwallo's tongue, à 6.

Weelkes. Madrigal. Three woodland nymphs. à 4.

Stevens. Glee, Sigh no more ladies à 5.

Callcott. Glee, O snatch me swift. à 5.

Stevens. Glee, O mistress mine. à 6.

Mendelssohn. Part-song. For the woods. à 4.

Wilbye. Madrigal, Fly Love aloft, à 3.

J. Rennet. Madrigal, All creatures now. à 5.

Webbe. Glee, When winds breathe soft, à 4.

Wilson. Part-song, From the fair Lavinian. à 3.

Horsley. Glee, See the chariot. à 4.

Morley. Ballet, Now is the month of Maying, à 5.

J. Stafford Smith. Part-Song, Hark the hollow, à 4.

Croce. Madrigal. Cynthia thy song, à 5.

McMurdie. Glee. By the dark rolling waters, à 4.

J. S. Smith. Glee, Blest pair of Sirens, à 5.

Hullah. Madrigal, Wake now my Love, à 6.

Arne. Part-song, Where the bee sucks, à 4.

Morley. Ballet. Fire, Fire! my heart, à 5.

O. Gibbons. Madrigal, O that the learned poets, à 5.

Webbe. Glee, Glorious Apollo. à 5.

Do.do. à 3.

Sir J. L. Rogers. Part-song, Hears not my Phillis. à 6.

Dr. Cooke. Glee, As now the shades of eve. à 4.

Callcott. Glee, Who comes so dark, à 3.

Hilton. Madrigal, Gifts of feature. à 3.

Wilbye. Madrigal, Flora gave me. à 5.

Horsley. Ode, Daughter of faith. 2 Choirs.

Battishill. Glee, Amidst the myrtles, à 5.

O. May. Part-song, Come follow me. à 4.

Gibbons. Madrigal, The silver swan, à 5.

Hayes. Round. May doth every. à 3.

Hutchinson. Madrigal, Return my lonely maid, à 4.

Ward. Madrigal, Die not fond man. à 6.

Mornington. Madrigal, As it fell. à 4.

Stevens. Glee, O Nightingale, à 5.

Corfe. Part-song, The yellow-haired laddie, à 4.

Macfarren. Part-song, There was a man. à 4.

Converso. Madrigal, When all alone, à 5.

Corfe. Part-song, How blithe each morn, à 4.

T. F. Walmisley. Glee. From flower to flower, à 5.

Spofforth. Glee, Health to my dear, à 4.

J. Bennet. Madrigal, Sing out ye nymphs, à 4.

W. S. Bennett. Part-song, Come live with me. à 4.

Wilbye. Madrigal, Lady when I behold, à 6.

Webbe. Elegy, The death of fair Adonis, à 5.

Rock. Glee, Beneath a churchyard yew. à 4.

Anon. Canon, Summer is a coming in. à 6.

J. S. Smith. Canzonet, Stay shepherd stay, à 4.

Pilkington. Part-song, Best sweet nymphs, à 4.

Danby. Glee, When Sappho tuned, à 3.

Tieck. Part-song, Softly, softly. à 4.

McMurdie. Round, The daisies peep, à 3.

Dowland. Part-song, Rest awhile. à 5.

Mozart. Round, Come follow me. à 3.

Este. Madrigal, How merrily we live. à 3.

T. F. Walmisley. Round, O'er the glad waters, à 4.

Hullah. Part-song, Song should breathe, à 4.

Byrd. Part-song, My mind to me. à 5.

Cobbold. Madrigal, With wreaths of rose, à 5.

Morley. Ballet, Sing we and chant it. à 5.

Anon. Ode, Daughter of heaven. à 4.

[ G. ]

VOCAL SOCIETY, THE. Established 1832 'to present the vocal music of the English school, both ancient and modern, including that of the church, the chamber, and the theatre, with the addition of foreign compositions of excellence,' the promoters of the society urging among other reasons in favour of their enterprise, not only that the compositions of native musicians were at the time nearly banished from the concerts of the metropolis, but that the regulations of the existing societies for the cultivation of glee-singing precluded the presence of ladies, and were attended with considerable expense wholly unconnected with their musical objects. In other words, the Society aimed at giving concerts of English vocal solos and part-music. Its first programme at the King's Concert Rooms, Hanover Square, on Monday, Jan. 7, 1833, included the sestetto and chorus from Webbe's 'Ode to St. Cecilia'; Benet's madrigal, 'All creatures now'; Attwood's glee, 'In this fair vale'; Cooke's glee, 'Deh dove'; Bishop's serenade, 'Sleep, gentle lady'; Webbe's catch, 'Would you know'; solos from Haydn, Hummel, Mozart, and Purcell, and an instrumental quintet of Beethoven's. Mr. T. Cooke was leader; at the organ and pianoforte were Messrs. Turle, Goss, and Horncastle; and the vocalists included Miss Clara Novello, Mrs. Bishop, Miss George, and Messrs. Bennett, Parry, Phillips, Hobbs, and Braham. The affairs of the Society at its commencement were managed by a committee consisting of Messrs. Bellamy, T. Cooke, Horncastle, Hawkins, C. Taylor, E. Taylor, and Turle. The original intention of presenting mainly English music was departed from in the first year of the Society's existence, for we find in its programmes the names of Palestrina, Pergolesi, Bononcini, Beethoven, Mozart, and other foreign composers, and from a notice of the last concert given in 1838 we learn that, 'with the exception of three glees and a madrigal, the performance consisted entirely of the works of foreign artists.' In 1837 the Society gave the first performance in this country of Spohr's oratorio, 'The Crucifixion,' with Mrs. Bishop, Mrs. Seguin, Miss Hawes, and Mr. Balfe as principal vocalists, and Mr. Turle at the organ. On another occasion Beethoven's Choral Fantasia was performed, with Mrs. Anderson at the piano. [ C. M. ]

VOCALION. An 'organ' or instrument of the free-reed kind, exhibited by James Baillie Hamilton, Esq., in the International Inventions Exhibition, London, 1885. The first patent was taken out Nov. 13, 1872, by John Farmer (of Harrow), for a combination of reed with string or wire—either as a continuation of the reed or as a coil fastened to the back thereof—and was succeeded by many more, taken out in the names of Mr. Hamilton and others. The first attempts gave a beautiful and very peculiar quality of sound, but by degrees the combination of reed and string from which this proceeded has had to be given up, for practical and commercial reasons, and the instrument as now exhibited is virtually a Harmonium with broad reeds, giving great rigidity of action and therefore purity of tone, and large channels, and acted on by high pressure of wind not suction. A main peculiarity of the Vocalion is that the reeds are placed above the pallets and below the slides, and that though the sliding 'plug' of three reeds is only of the width of the groove, the cavities are more than twice as wide. This is expressed in Mr. Hamilton's latest patent (U.S.A., March 25, 1884) as 'the combination of pallets, soundboard, and reeds with cavity-boards, one above the other, the lower one containing the nostrils and the upper one the mouths, and an intermediate controlling slide.'

The result of this is a charming variety and purity of tone, especially where the music is not in too many parts; and also great force and richness of sound. This is well expressed by Sir Arthur Sullivan in a letter dated New York, July 3, 1885, as follows:—'You have achieved an instrument which shall possess all the power and dignity of an organ, without the cumbersome and expensive aid of pipes. And in doing this,