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202 C Major of the Finale are too long to be quoted entire, but it will be seen from the following ex- tracts —

that though there is no hint of the pedal point on fifth and octave, the transition passage as it nou- stands must have already been taking shape. In commenting on the absence in the sketches of any definite sign of the composer's intention, Nottebohm transports lis back to the beginning of the century by the naive remark that this passage, ' more singular than beautiful,' obviously the result of reflection, must have occurred to Beethoven in the final process of scoring. On the subject of analogous passages in the other symphonies Nottebohm and the sketch-books are alike silent, and only in one case, that of the last movement of the Nintii Sym- phony, is full light thrown by the sketdies on a passage which has had a far-reaching influence on musical art, such as even Beethoven cannot have foreseen. What is made evident bv a close stud' of the sketches for the C Minor Symphony is the dominating power first and last of one distinct, strongly marked rliythmical idea. There can lie no question whatever as to the parentage of a large part of the third movement, and in spite of altered time and accent, there exists between the opening subject of the symphony and certain portions of its tliird movement a much closer and more real affinity than that which Beethoven believed that he had discovered between the beginning of the third movement and the Finale of Mozart's G Minor Symphony. Leonoka Young.

The Hf.ckmann Quartette. — The visit of Heir K. Heck- mann's Quartette party to Scotland is welcomed by all educated musicians with very cordial appreciation. The music which they are able to give us is perfect in refinement, delicacy, and poetic feel- ing, and requires for its due performance a combination of qualities in each player rarely to be found. The high standard both in execution and technique, the intimate acquaintance with the music they per- form, which comes only by long study, the perfect ease and accuracy with which the most difficult passages are rendered, and the sympathy of feeling they display, give to their performances an interest and a charm which are seldom experienced in the concerts with which we are favoured in this country. The works they select are of varied character and all worthy examples of the highest class of music. Many of them, such as Schumann's Quartette, selections from Grieg, Goldmark, and other modern masters, can only be rightly understood when they are played by artists of the highest acquirement. In performances so uniformly excellent it is almost needless to single out special passages for remark ; preference becomes here merely a matter of taste. And not only is it in the harmony of exquisite concerted pieces that we recognise the exceptional talent of this company. In the solo pieces for violin, violoncello, and viola we have in each the most sweet and tender expression combined with the most finished style. Love of their subjects, love of their instruments, and the higliest ideal of their art inspire the players. There is no need of vocal numbers to relieve such programmes as these that Herr Ileckmann and his friends offer to us ; indeed the human voice does not show to advantage, however full and powerful and well-trained, when lacking in that sympathy and sweetness so touching in the tones of such players as jNIessrs. Heckmann, Bellman, and Oushoorn. The enthusiasm of the artists is imparled to their audience, and no sense of weariness or fatigue mars the full enjoyment of what is in the truest sense of the term 'A Musical Treat.' The Bristol Musical Festival. — The fact that the Sixth Triennial Bristol Musical Festival has not been a financial success, though primarily due to the tightness of provincial purse-strings w^hen fine art is in question, may perhaps also be explained, to a certain extent, by the circumstance that Sir Charles Halle, to whom custom has differentiated the conductorship, did not sufficiently propitiate the public by employing the local genius, Mr. Risely, the organist to whose energy the city is indebted for such musical advantages as it enjoys. In any case the fault did not lie in the programme, which, beside the popular oratorios, included Sullivan's Golden Lege7id^ Mendelssohn's Walpnrgi.s Nighty Mackenzie's Rose of SJiai-on, Cherubini's Mass in C, The Pastoral SyvipJioiiy^ Berlioz's Romeo and Juliet, and some miscellaneous con- certs which were fairly representative of Wagner, Beethoven. Handel, Chopin, Weber, and other well-known composers. Neither could the failure be ascribed to the rendering of the music. Albani, Fatey, and Santley were in excellent voice, though Halle was, as usual, almost irritatingly passionless in style.

We would call special attention to a 'Serenade' — Awake I the stany Midnight Hour, by Francis Gibson. The name is quite strange to us, but the music is evidently the work of a cultured artist. The song is simply constructed, and easy to sing as regards the notes, but the vocalist must see that the composer's points of expression are carefully brought out. This little song is a gem, but sung without soul and intense feeling it would be nothing. The more tender the plant, the more carefully must it be handled.

The Chevalier's Lament, by A. C. Mackenzie, is not a very successful specimen of that composer's work, but the song is unpretentious and thoroughly musicianly, so that the singer has it in his power to make it very effective.

A Gavotte — La Gracieuse, by Alfred Gallrein, is pleasing enough, but too strongly suggestive of a well-known composition for violoncello by Popper.