indicated as follows:--(1) Bustle of the streets; (2) a virile personal note; (3) companionship and interchange of ideas between two sweethearts; (4) pert children playing their pranks; (5) military band episode; (6) impressions on passing from the street into a church; (7) new phases of street-bustle music. Musical symbols of very considerable plastic force are invented for these things, and are woven into a powerful and entertaining tone-picture with that mastery of the orchestra which no one can now refuse to recognise in Dr. Elgar. He always works with definite lines, and does not seem to care much for those atmospheric effects in which certain moderns, such as Richard Strauss, are so strong. The music has a far wider range of ideas and emotions than would be possible in a poem occupying the same time in delivery. It gives us impressions of London by day and by night, impressions that are partly realistic and partly antiquarian, following the flight of the imagination with absolute freedom, forming a sort of musical parallel to Henley's "London Voluntaries." And lo! the wizard hour Whose shining silent sorcery hath such power! Still, still the streets, between their carcanets Of linking gold, are avenues of sleep. But see how gable ends and parapets In gradual beauty and significance Emerge! And did you hear That little twitter-and-cheep, Breaking inordinately loud and clear On this still spectral exquisite atmosphere? 'Tis a first nest at matins! And behold A rakehell cat--how furtive and acold! A spent witch homing from some infamous dance-- Obscene, quick-trotting, see her tip and fade Through shadowy railings into a pit of shade! And if this is effective, does not a certain sonnet of Wordsworth's exist to prove that an aspect of London may furnish a magnificent poetic inspiration? It should be remembered that there is originality in emotion as well as in ideas and in devices; and this is where we find Dr. Elgar strong--perhaps stronger than any other British composer. Besides the technical ability to express himself in music, he has originality of emotion. He takes us into regions where music never took us before. As to his use of Wagner's procedure, that was also Beethoven's procedure in some of his finest works. In fact, it is the procedure of everyone for whom music is a language, such as it has tended more and more to become ever since Beethoven's time. The history of music in the nineteenth century is the history of something growing constantly more articulate.