Henschel’s _Requiem_, opus 59, had its initial performance in Boston in February, 1903, and has since been frequently heard both in Europe and America. It was written in memory of his wife, Lillian Bailey Henschel, who was one of his most distinguished pupils and who concertized with him with signal success, especially in duet-singing. It is a grateful work, adapted everywhere to the voices and at times strongly influenced by the song-form. It begins in deep sorrow, which is gradually lifted through the comfort of the church. Especially strong is the first part, which is an artistic masterpiece. Henschel’s _Stabat Mater_ was brought out at the Birmingham Festival in 1894, on which occasion the composer also sang the part of Saul in the oratorio of this name by Parry, thus appearing in two important capacities at the festival, that of composer and interpretative artist. Besides the _Stabat Mater_ and the above mentioned _Requiem_, he wrote a number of sacred works in large form, among them a Te Deum, opus 52. All are grateful and effective compositions. * * * * * The number of masses written for liturgic and concert use is very large, and extended enumeration of them here would be futile for present purposes. Several notable ones, however, might well be added to our list. Among these will be found the easy and much-used ‘Mass in B-flat’ by Henry Farmer (1819-1891), a self-taught English musician; ‘Mass in C’ by the Dutch pianist and composer, Eduard Silas (born 1827), which won a prize of a gold medal and one thousand francs in an international competition of sacred music held in Belgium in 1866, in which there were seventy-six competitors of twelve nationalities; ‘Requiem Mass’ by Robert Schumann (1810-1856), melodious and non-liturgical in spirit; ‘Requiem Mass’ by Charles V. Stanford (born 1852), in memory of Lord Leighton, produced at the Birmingham Festival of 1897 and thoroughly ecclesiastical in style and feeling; and the ‘Mass in G,’ a Stabat Mater, and a Te Deum by the same composer. FOOTNOTES: [81] Kretzschmar, _Führer durch den Konzertsaal, Kirchliche Werke_, p. 266. [82] ‘Oxford History of Music,’ Vol. V, p. 168. [83] Richard Aldrich in the Preface to the Schirmer edition of the ‘Graner Mass.’ CHAPTER XI CONTEMPORANEOUS CHORAL MUSIC IN GERMANY