In Henry Walford Davies, born Sept. 6, 1869, at Ostwestry, we have another composer of serious choral music along traditional lines, yet one not unaffected by modern tendencies. His music is rich in expression, artistic conscientiousness and idealism, and his two most important works are undoubtedly the oratorio ‘The Temple,’ and ‘Everyman,’ a musical setting of a mediæval morality, the original suggestion for which, like that of similar choral works in modern Germany, no doubt came from France. The text, with few exceptions, has been taken from the old English morality play: God commands Death to bring Everyman (that is, Man in general) before Him for judgment. In vain Everyman seeks companions among his servants, friends and ‘the rich’ for a journey whence none return; yet at length finds ready to accompany him (after lengthy moral disquisitions) comrades in the shape of ‘Good Deeds,’ ‘Knowledge,’ ‘Discretion,’ ‘Strength,’ ‘Beauty’ and ‘Five Wits.’ The choral music throughout is spontaneous, vivid and realistic. ‘Everyman’ was composed for the Leeds Festival of 1904, at which it scored a marked success. A short prelude of thirty-two measures is the keynote to the entire work and leads directly to a prologue (addressed to the audience), delivered by bass, contralto, soprano and tenor. The chorus of ‘laughing, feasting rich men, reclining upon their cushions, is a splendid bit of musical realism, which shows better than any theoretical disquisition how standards of taste in English oratorio have satisfactorily rid themselves of Puritanic influences in the course of years.’[89] Davies’ biblical oratorio, ‘The Temple’ (Worcester Festival, 1902), is an oratorio pure and simple, austerely beautiful and rather complex in its choral writing, but lacking, perhaps, the inspirational freshness of its more dramatic successor. ‘The Song of Thanksgiving’ is generally considered the finest single number in the score. Davies has also composed: ‘Hervé Riel’ (Browning) for baritone solo, chorus and orchestra (Royal College of Music, 1895); ‘Four Songs of Innocence’ (part-songs for female voices, 1894); ‘Ode to Time’ (baritone solo, chorus and orchestra) and ‘Noble Numbers’ (a cycle of 18 songs for solo voices, chorus and orchestra); ‘The Three Jovial Huntsmen’ (cantata with orchestra, 1900); a ‘Morning and Evening Service’ and a ‘Cathedral Service’ and ‘Lift up your hearts’ (Hereford Music Festival, 1906). Among other names which seem to call for mention in connection with recent English choral writing are: Bradley Rootham (a fine cantata to Charles Kingsley’s ‘Andromeda,’ for solos, chorus and orchestra); Alexander M. McLean (a cantata, ‘The Annunciation,’ influenced by Reger, 1909); Henry Wood (‘Elijah,’ 1902); Alfred Herbert Brewer (‘The Holy Innocents,’ oratorio, 1904, ‘Emmaus’); Harvey Lohr, F. W. Humberston and C. Lee Williams. VI