At the head of this sturdy list stands Balfe (1808), whose continuous application to operatic forms presents an exception to the more varied labors of most English composers. Neither the substance-matter nor the instrumentation of his works merits the distinction of having furthered the cause of indigenous English music. The style is essentially Italian. Balfe possessed fluency of expression and displayed aptitude for pleasing melody. Depth and power were not among his attributes. An entirely different atmosphere pervades the numerous productions of Sir George Macfarren (1813). This eminent pioneer of nineteenth century English music had the honor of being born in the same year with Wagner. The cosmopolitan range of his compositions is noteworthy, and his tireless activity in the face of an affliction that eventually ended in entire blindness entitles him to unstinted praise. His works are among the most important contributions to the literature of English music, covering as they do every branch of music from opera, oratorio and cantata to symphony, chamber music and sacred pieces. The reader will remember that on page 77 of Chapter IX, particular mention was made of Sterndale Bennett (1816), in view of his association with Mendelssohn and Schumann. The pith of the remarks embodied in that paragraph will, however, bear repetition, owing to the significance attached to Bennett's influence upon modern English music. The acknowledged heir of Purcell, he clothed his individuality in the language promulgated by the early Romanticists; but though his works bear the undeniable impress of Mendelssohnian characteristics, they are none the less original and of enduring worth. His field of activity as a composer was extensive. Outside of England, his oratorio "The Woman of Samaria" is, perhaps, the best known of his various choral works, symphonies and concertos. The high regard in which he is held by his countrymen reveals itself in his title of "Founder of a New English School." To mention Barnby (1838) in these pages may appear somewhat out of place. Sacred music is the line in which he particularly distinguished himself. In addition to writing magnificent hymns and anthems, he developed his best gifts in such works as his psalm "The Lord is King." Nevertheless, it will be noticed that from a chronological standpoint Barnby heads the list of the more recent English exponents of progressive ideas, and his advanced convictions entitle him to recognition in this discussion if for no other reason than for his zeal and perseverance in having given in London two concert performances of "Parsifal" as early as in 1884. The date of this achievement is significant when one considers that the initial dramatic performance of "Parsifal" at Bayreuth had taken place but two years before.