In the meantime what about the truth and the critical currency? And is it not a pity that Mr. Fuller Maitland should have missed the opportunity afforded to him by the writing of this history to put off controversial frenzy and return to a more judicial spirit? We that have to do with the musical world are all perfectly well aware--whether we describe Parry and Stanford as "academic" or protest against that epithet--that they are men of high distinction who have played a leading and brilliant part in the English musical revival and generally have deserved well of the musical republic. For my part, while fully recognising their eminence both in talent and character, I am of opinion that their claims to regard as absolute creative artists are habitually overstated by their supporters in the press. The appearance of Parry created a considerable stir. His imposing grasp of choral polyphony was something new in English music. His great intelligence, his wide sympathy and geniality, his virility and industry--all these qualities united to arouse enthusiastic hopes. But, as Mr. Fuller Maitland writes on page 185, "with the passage of years the group of composers will fall into truer and truer perspective." There has already been a considerable passage of years since those first compositions, but the early enthusiastic estimate has not been justified. Outside the circle of his pupils and personal friends no one now seems to care very much for his music. Here in the North of England concert societies find that the public admiration of it is a rapidly vanishing quantity. Three years ago his "Job" and "Blest Pair of Sirens" were given here, but ever since that occasion his name has been something of a terror to our concert societies. A frequent experience in regard to Parry's music is that, whereas a first hearing impresses in virtue of massiveness and energy or of striking and unconventional dramatic touches, second and subsequent hearings are discouraging. "Job" is the most favourable case among the choral and orchestral works that I have heard. It is thoroughly artistic in conception and unconventional in treatment. Moreover, the lyrical interlude of the shepherd-boy's song helps along the early part very happily, and Mr. Plunket Greene is always eloquent in the "Lamentations." Nevertheless, I found the second hearing a sad experience. Now the impression that there is something wrong with Parry's music--notwithstanding all the learning, resource, wide sympathies, intelligence, and so forth that it shows--is undoubtedly a very general one. To find any person not personally attached to the composer taking up one of his works, great or small, is exceedingly rare. The composer's personal popularity is great, but outside the charmed circle no one seems ready to spend a shilling in hearing his stuff or to risk a shilling in giving it. Mr. Fuller Maitland says that the provincial choral societies are faithful to Parry, and this may be true in some cases.