Among the large group of British composers of the immediate present the task of recording events of value and moment is rendered somewhat easier by virtue of the fact that its dominating figure, Sir Edward Elgar (born 1857), crossed the line into the twentieth century with a well-defined style of individual expression and a clear title to leadership, won through a noble series of both orchestral and choral works. This series has been augmented during the first decade of the century by works of such splendid proportions and such already recognized importance that at least some of them may be regarded as already occupying places of permanency for some time to come. As the result of this leadership, there is discernible a distinct tendency to regard Elgar as a kind of standard of measurement for British musical values. So much is this true that we already hear of Elgarians and post-Elgarians--for Elgar has by no means said the last word in British music and a school of young composers is developing that is surely destined to accomplish great things for musical England. Elgar’s most important choral works since 1900 belong to the class of religious music and all are deeply permeated with the same spirit of mysticism that characterizes the religious music of Franck and other devout modern adherents of the Roman Church; indeed, the Roman point of view in interpreting the teachings of the Bible and the deep things of life, is especially discernible in ‘The Apostles’ and ‘The Kingdom,’ as well as in ‘The Dream of Gerontius.’