The untimely death of Samuel Coleridge-Taylor in 1912 (he was born in 1875) cut short a career that began with unusual promise. Though none of his later works possesses the spontaneity and musical charm of the ‘Hiawatha’ cantatas, he has produced several fine choral works since 1900. ‘The Blind Girl of Castél Cuillé,’ written for the Leeds Festival of 1901, is a setting of Longfellow’s translation of a Gascon poem which relates the story of a blind girl who was deserted by her lover for another maiden and who, heart-broken, dies at the latter’s wedding. ‘Meg Blane’ (a Rhapsody of the Sea by Robert Buchanan) followed in 1902 and was first performed at the Sheffield Musical Festival of the same year. The text weirdly describes the terrors of the sea. ‘The Atonement,’ which closely follows the sequence of the Gospel narratives of the Passion, was given at the Hereford Festival, 1903, and ‘Kubla Khan,’ by the Handel Society in 1906. The ‘Bon-Bon Suite,’ which appeared in 1908, is a setting of six poems by Thomas Moore for baritone solo, chorus and orchestra. The poems are ‘The Magic Mirror,’ ‘The Fairy Boat,’ ‘To Rosa,’ ‘Love and Hymen,’ ‘The Watchman,’ and ‘Say, What Shall We Dance?’ The words of these poems have little relationship to each other, though the key to the whole is probably in the first poem, ‘The Magic Mirror.’ ‘Endymion’s Dream,’ for soprano and tenor solos, chorus and orchestra, was published in 1910. The words are by C. R. B. Barrett and are based on the ancient legend of Endymion, originally a name for the Sun as he sinks into the sea. In the later legend, Endymion, a priest of Jove, while sacrificing, prayed for everlasting youth. This was granted, but coupled with eternal sleep. Mercury carried him to Mount Latmos and Selene, the Moon Goddess, nightly gazed down upon him lovingly. Coleridge-Taylor’s last cantata was ‘A Tale of Old Japan,’ poem by Alfred Noyes, which was published in 1911. It is the quaint, sad story of the unrequited love of little Kimi for the great painter Sawara, and the music, which is rhapsodical in character, is full of charming touches of ‘local color.’ Solo voices take an important share of the work. IV