Of Sir Sterndale Bennett's two sonatas, the 1st, in F minor (Op. 13, dedicated to Mendelssohn), commences with a long movement (Moderato expressivo), in which there are traces of the master to whom it is dedicated; it is followed by a clever Scherzo and Trio, a melodious Serenata, and a weak Presto agitato. The first, second, and last movements are in F minor, the third in F major. Schumann, in a brief notice of the work, describes it as excellent. The sonata (Op. 46) entitled "The Maid of Orleans" commences with an Andante pastorale in A flat, above which are written the following lines from Act iv. Scene 1 of Schiller's play, _Die Jungfrau von Orleans_:-- "Schuldlos trieb ich meine Laemmer Auf des stillen Berges Hoeh." "In innocence I led my sheep Adown the mountain's silent steep." The movement is graceful and pleasing. Then follows an Allegro marziale:-- "Den Feldruf hoer ich maechtig zu mir dringen Das Schlactross steigt, und die Trompeten klingen." Prologue: Scene 4. "The clanging trumpets sound, the chargers rear, And the loud war cry thunders in mine ear." Then an "In Prison" section with suitable superscription-- "Hoere mich, Gott, in meiner hoechsten Noth," etc. Act v. Scene 2. "Hear me, O God, in mine extremity." Lastly, a Finale-- "Kurz ist das Schmerz, und ewig ist die Freude." Act v. Scene 14. "Brief is the sorrow, endless is the joy." The title and the various superscriptions naturally cause the sonata to be ranked as programme-music, but of a very simple kind. It is easy to suggest pastoral scenes: a few pedal notes, a certain simplicity of melody, and a few realistic touches expressive of the waving of branches of trees, or the meandering of a brook, and the thing is accomplished. Dr. C.H. Parry is an English composer whose name has of late been much before the public. He has written works both secular and sacred for our important provincial festivals; also chamber music, songs, etc.; and all his music shows mastery of form, skill in the art of development, and eclectic taste. For the present, we are, however, concerned merely with his sonatas. Like Brahms, he at first composed pianoforte sonatas: No. 1, in F; No. 2, in A minor and major. Brahms made a third attempt, but the two just mentioned are all that are known to us of Dr. Parry's. No. 1 opens with a non troppo Allegro, a smooth movement of somewhat pastoral character; the music, also the writing for the instrument, remind one occasionally of Stephen Heller. A bright, though formal Scherzo, with a well-contrasted Trio in the key of the submediant, is followed by a melodious Andante and a graceful, showy Allegretto.