Cowen (1852) stands as one of the representative English exponents of both absolute and programmatic symphonic writing. Of his five characteristic symphonies, special reference is due to the "Scandinavian," No. 3, the "Welsh," No. 4, and the one in F, No. 5. The fact that this later symphony, No. 5, contains no programmatic idea, leads to some conjecture as to what Cowen's motive was in returning to the conservatism of pure and abstract music. This work embodies considerable depth of sentiment, sombre orchestral coloring, and a possible touch of Chopin. Cowen has written several operas, but special significance is attached to his choral work "The Sleeping Beauty," in that it incorporates Wagner's principle of representative themes together with their skilful thematic development. The orchestra plays an exceedingly important rôle, even to the occasional detriment of the vocal parts. Having listened to what Stanford had to say about Parry, let us see what Stanford's music has to say for its author. Here again one discovers the accomplished scholar rather than the artistic dreamer. Stanford (1852) has proved himself an eminent conductor and professor, but as composer, his emotional capacity is evidently limited, and his music lacks the very essentials of ideal love and impassioned sentiment so conspicuous, for example, in Félicien David's ardent conceptions. Compare the glowing colors in David's "Lalla Rookh" with those in Stanford's opera "The Veiled Prophet of Khorassan." The latter does, indeed, suggest "local" color, but there is no evidence of sensuous Eastern charm. Stanford's right to share with Cowen the rank of representative English symphonist is undisputed. His fertile pen has produced an honorable series of orchestral works that include a festival overture and four symphonies. Prominent among these is the "Irish Symphony," which again reveals a striving after characteristic portrayal. Willeby also makes reference to this in the following terms: "Here, for the obtainment of local color, he has called to his aid all kinds of melodies and 'modes.' The 'Aeolian' mode transposed, which consists of the scale having its semitonic intervals between the second and third, and fifth and sixth degrees, and the 'Mixolydian,' with its semitones between the third and fourth, and sixth and seventh degrees, are both extensively used."[107] [Footnote 107: The favorable comment excited a few years ago by the cantata "Hiawatha" by S. Coleridge-Taylor (1875) has proved to be of more than passing endurance. Mention of his activity, which includes also such works as an operetta, "Dream Lovers," is therefore in place. Coleridge-Taylor is the first composer of African descent to command serious recognition.] * * * * *