‘The Black Knight,’ for chorus and orchestra, is a setting of Longfellow’s translation of Uhland’s poem, _Der schwarze Ritter_, and the music with virile urgency sets forth the dramatic incidents of this ballad of the mysterious ‘sable knight,’ whose visit at the court festivities of an ancient king caused the sudden death of the king’s two children. Elgar’s maturer style is clearly foreshadowed in this early work. ‘The Banner of St. George,’ a ballad for chorus and orchestra, with text by Shapcott Wensley, was inspired by the occasion of the Diamond Jubilee of Queen Victoria in 1897 and was performed the same year. The poem is divided into two scenes, dealing with the deliverance of a princess from the dragon by the valiant Saint George of Sabra, and an epilogue in which Elgar makes characteristic use of a stirring ‘marching’ melody, to words of patriotic sentiment, in building up a rousing choral climax. ‘Scenes from the Saga of King Olaf’ is a setting of Longfellow’s words with additions and connecting passages by H. A. Acworth. The vigorous and individual style of the preceding works here finds full fruition and Elgar stands forth as a matured creator, full armed and conscious of his strength. The poetical selections are grouped into eight scenes with introduction and epilogue. These include the remarkably strong and dramatic ‘Challenge of Thor,’ as the Norse god hurls defiance at the Christian religion; King Olaf’s return to Norway and his acceptance of the challenge; the breaking of the image of Thor and the conversion of Olaf’s subjects; ‘The Wraith of Odin,’ a stirring choral ballad relating the mysterious visit of the spirit of Odin to the banquet hall; the wooing of Sigrid, queen of Svithiod, by King Olaf, which is preceded by a charming chorus of the minstrel maids of the queen; the choral ballad of Thyri, sister of Svend, the Danish king, who flees from her betrothed to King Olaf’s court for protection--one of the finest parts of the cantata--followed by the lovely duet of Thyri and Olaf; and the death of Olaf in the fierce sea-battle with the Danes, thrillingly related by the chorus. In the epilogue the efficacy of Christian love in converting the world is contrasted with that of the sword and gives occasion to Elgar for constructing a choral climax, beginning _a cappella_ with the words, ‘As torrents in summer, half dried in their channels,’ that for simple beauty and sustained power of expression has few equals in choral literature. Three solo voices are added to the choral forces at the end.