[The English pianist and composer, William Sterndale Bennett, contemporary and friend of Mendelssohn, equally popular as a musician both in Germany and his own country, demands notice in this place. If England has not succeeded in forming a definite musical style for itself in the nineteenth century, at least it can take credit for having possessed one composer who may be called “unique” in the true sense of the word. As far as his powers extended, Sterndale Bennett achieved the highest distinction. There is no one _like_ him--his pianoforte music (on which alone he can afford to take his stand) ranks quite by itself in expression, character, and technical difficulty. Those who class him with Mendelssohn look merely on the surface, and show themselves incapable of making a worthy distinction. Sterndale Bennett’s music is never _weak_, although for the most part cast in a delicate mould. On the other hand, he seems to have felt that the “grand” style was out of his reach, and that it was no part of his business to act the strong man. Accordingly, he seldom shows any inclination to venture too high a flight. This alone suffices to distinguish him from Mendelssohn. Probably most pianists, when speaking of Sterndale Bennett, would naturally think first of the Three Sketches (Op. 10, Nos. 1, 2, 3), “The Lake,” “The Millstream,” and “The Fountain.” And it would be difficult to better this as a specimen list--the first as a perfect expression of natural tranquillity, the second as an example of Sterndale Bennett’s peculiar technical difficulties, and the last as a complete imitative picture. The “Six Studies” (Op. 11) are quite characteristic. Their musical value is very evident to the hearer; it is only the player who can appreciate the perfection of execution they demand. No. 3, in B flat, is the gem of the set. No. 6, the octave study in G minor, approaches real power in the first section. The _cantabile_ second subject is an exemplification of the quite inimitable style of the composer. Amongst other miscellaneous pieces the following must be named--the Fantasia in A, Op. 16, dedicated to Schumann, especially the first movement, with its lovely melody on arpeggiando accompaniment--the Caprice in E (with orchestra), Op. 22, an excellent proof of Sterndale Bennett’s mastery of the “concerto” manner--the Rondo piacevole in E, Op. 25, where one notes the wonderful grace of the first subject, the expressive power of the second.