It is not to be questioned that there are many exceptions, many indeed whose knowledge of music is deep and whose performing ability is exceptional, judged by any standard, but of such, the number is, and must naturally be, extremely limited. This lack of musical education leads at times to incidents that, though sometimes distressful, are occasionally diverting. It is distressing when an amateur band, while fully capable of playing music that demands nothing more than ordinary technical ability, is swayed by a wild enthusiasm for performing works that even Sir Henry Wood will give many rehearsals to prepare. The diverting incident is provided, for instance, when, say, a double-bass player, who is not blessed with a superabundant sense of humour or much education, brings you the bass parts of two symphonies, and lays down the law as to the relative artistic merit of the works on such evidence as the parts provide--at the same time, with no excess of delicacy, intimating his complete indifference to any opinion you may have on the subject, even though you may happen to have a fairly adequate knowledge of the full score. Notwithstanding this, let us hasten to say that there is a great and useful work always lying at hand for the amateur to accomplish, and we venture to indicate it. It would seem, judging by the programmes of our most celebrated orchestras, that the existence of a great amount of the most splendid music ever written, is in danger of being either forgotten or ignored, and it is to this their attention might well be turned. Beyond the fact of its being seldom or never heard, a great deal of it makes so much less demand on the technique of the individual player than that of Tschaikovsky, Brahms, Elgar, Strauss, and others, whose works absorb attention to-day, that it offers the double advantage of novelty and less difficulty in presentation. Surely there must be a public left to appreciate the symphonies of Schumann, Schubert, Mendelssohn, Gade, Raff and Goldmark among the moderns, to say nothing of Haydn and Mozart, and these are only a few of the many that might be named. Of works of less size but equally worthy of attention there is practically no limit. Nevertheless, a generous recognition of the good work done by amateur players all over the country should be accorded. By their efforts they have given many thousands of people a chance of hearing music that otherwise might never have been brought home to them, and in doing this they have done worthily for the cause of the progress of orchestral music in England. FOOTNOTES: [25] Mr. Berger has retired since this was written, and has been succeeded by the eminent British composer, Mr. William Wallace. [26] See H. Saxe Wyndham's interesting and instructive "August Manns and the Crystal Palace Concerts." [27] Now Sir Henry Wood. CHAPTER VII ORATORIO IN ENGLAND