But I am pausing too long over details. Let me hurry on. I remember the disappointment with which Sullivan's cantata "Kenilworth" was received at the Festival of 1867. The then young composer had made such a very "palpable hit" by his "Tempest" music that great things were expected from the new cantata he composed for Birmingham. But "Kenilworth" fell very flat, and nothing afterwards happened to stir it up into a success. Indeed, the work may almost be said to have died "still-born." I fancy Sullivan himself had some premonition as to the fate of his new composition. At least I know that I saw him in the Society of Artists' Rooms on the day when his work was to be performed in the evening, and on my asking him how he was he smiled "a kind of sickly smile," and told me he felt very squeamish. How different was the fate of Mr. J.F. Barnett's "Ancient Mariner." Though the composer was a well-known musician no great things were expected from his new cantata, but it took the musical world by storm. It achieved instant success, and although it was regarded by many as being nice innocent "bread and butter" music it is still alive and popular, and will be while there is an ear left for spontaneous flowing melody. Of course I recollect Sullivan's second venture at the Birmingham Musical Festival of 1873, when he produced his oratorio "The Light of the World." Contrary to what should have been, the work was at best only a _succes d'estime._ Yet it contains some of the best music its composer has written. Parts of it are magnificent and masterly, whilst others are strikingly impressive inspirations. That the oratorio is unequal may be admitted, and it is decidedly heavy in places; moreover, it is too long. Still, looking at its merits as a whole, it deserved better fortune. It is enough to dishearten a composer when he finds his best work comparatively unappreciated, and it is hardly surprising if it was in consequence of disgust and disappointment that Sullivan turned his thoughts to lighter things. By doing so he has filled his purse, he has delighted a large public that cannot appreciate serious music, and he has raised comic opera to a level far above the thin and trivial emanations of foreign "opera bouffists." When some of us recall past Birmingham Musical Festivals, and scan the schemes of bygone years, we cannot fail to be struck by the change that has taken place in musical taste and fashion. Especially do we note this in looking at the programmes of the festival evening concerts. In these programmes quantity as well as quality was an element not forgotten in the consideration and arrangement of the miscellaneous selections.