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... Novello, Ewer and Co.] No little of the great musical progress made of late in England may be attributed to the revival and consequent study of the music of past generations, and the re-issue of excerpts from the old masters undoubtedly exerts a salutary influence on the musical taste of the day. The above selection of songs is well calculated to excite interest in music of the seventeenth and eighteenth centuries The first example is a canzonetta by Cavalli whose real name was Caletti-Bruni, and who was a singer at St. Mark's, Venice, in I6I7. The canzonetta, entitled ' Dolce Amor," is an excellent specimen of that tender and pathetic expression which placed its composer in the front rank of early opera writers. Alessandro Scarlatti furnishes the next song, entitled ;' Non dar piu pene," which is taken from the opera " La Rosaura." There are two copies of the opera in the MSS. of the British Museum but in one of these this song is completely spoiled by omissions and curtailments-and in the printed edition by Messrs. Breitkopf and Hartel the opening of the vocal part of the song has been marred by the introduction of an obvious false note which is not found in either MS copy. The words are of a pathetic character, the music simple and expressive, and, in common with Scarlatti's writings of this nature, extreme]y well laid out for the voice. " Fier Destin,' by Gasparini, is derived from an opera, " Antioco," a work which was very popular in London during the first half of the last century. The fourth song is 4 L'Immago tua Vezzosa,o' by Emanuele, Baron d'Astorga, who spent the greater part of his life as a diplomatist, but who was also a musician of no mean attainments. This is well attested by the example in question, which is one of the most attractive of the selection. The " Danza Fanciulla," by Durante, who was a pupil of Scarlatti in Naples, is a sprightly arietta with which a cultured vocalist could scarcely fail to enchant her listeners. The volume is concluded by a charming pastoral song from the opera of *' I1 Filosofo di Campagna?" by Galuppi. This lyric was very popular in England in the middle of the last century, and was constantly sung by the then favourite vocalist, Miss Brent. All these songs are furnished with Brlglish translations of the Italian text, and musicians will appreciate the perfect appropriateness of Sir John Stainer's pianoforte accompaniments, which for the most part have only been indicated by the composers. It should be added that the selection includes some excellent historical notes and that the songs " Non dar pii pene" and "Fier r)estin " are also published with a violin obbligato, which is justified by the original arrangement, and which, it is hardly necessary to say, increases their effectiveness in performance. Six Originfzl Compositionsfor the Organ. By J. W. Elliott. EEdwin Ashdown Limited.3 MR. ELLIOTT has hitherto been known chiefly as a composer of highly meritorious church music and in connection with his admirable arrangements for the harmonium. lLIany of his friends have often wondered why he did not still further exercise his talent in writing for the organ, which he plays with consummate taste and skill These six pieces are, therefore, very welcome. Such titles as ;' Patronal Festieral March," " Intermezzo," " In the old abbey?" and ' Wedding Music " have in them an attractiveness which is fully endorsed by the excellence of the music, and we cordially commend this collection of pieces to the attention of organists. They are dedicated to Sir John Stainer. Novello's Parish Choir Book. Nos. 298-3IO. [Novello, Ewer and Co.] THE quantity of sacred music is ever on the increase, and for this, of course, there is a good reason: there is an everincreasing demand for it. No. 2g8 of the above-named series is a plain, yet effective setting of the favourite hymn ; Abide with me," by W. T. Best, the great organist, who has so recently passed to his rest. No. 299 is the solemn Dies Irae by the same composer, with Latin words, and English translation by the Rev. Dr. W. J. Irons, for voices