On the other hand, there is a very large section of the public which demands a more sensuous and emotional type of music. The emotion which these people seek is not necessarily erotic, nor is it consciously religious, though the prelude to _Tristan_ and Handel's _Largo_ (with harp and organ) are among the works which appeal to them most. It was they who made the popularity of Tchaikovsky and Richard Strauss, and it is they who will establish the popularity of Scriabin. Together with this desire for sensuous emotion there is often combined a delight in curious and amusing orchestral effects. This was another factor in the enjoyment of Strauss, and it can be satisfied not only in such works as Scriabin's _Prometheus_, but in Sir Henry Wood's ingenious orchestral transcriptions of Moussorgsky. Brahms has always been too difficult of understanding for the _William Tell_ public, and too austere for what one may call the "wallowers." He is hardly a composer for the Promenade Concerts at all; the _Requiem_, the chamber music, and the songs are his best works, and those can always be heard in their proper places. The complaint is frequently made that the music of the modern English composers is crowded out, not so much by foreign contemporaries as by the classics. New works by English composers are played once, it is said, but never again. Yet even if we leave out Elgar, as being a classic as surely established as Saint-Saëns, there are several English works which are played over and over again. Sullivan's _In Memoriam_ is one of those which might well be laid on the shelf; but like Walford Davies' _Solemn Melody_ it brings in the organ, and to many English people music of this kind would appear to offer all the spiritual advantages of church-going without its discomforts, intellectual or physical. Besides these there are Mackenzie's _Benedictus_ and Edward German's _Henry VIII._ dances, as well as various pieces by Balfour Gardiner and Percy Grainger, which undoubtedly possess those desirable qualities of tune, rhythm, and a jolly noise. In one case Sir Henry Wood has managed to add the attractions both of organ and _batterie de cuisine_, thus combining mirth with devotion. It is perhaps because a Promenade audience is so kind and so undiscriminating that these concerts have become the recognized trial ground for new works. This year's novelties have been, on the whole, of little interest. Malipiero's second set of _Impressioni dal Vero_ was the most original, Roger Quilter's _Children's Overture_ the most attractive.