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... y it with music is Mr. Ivor Atkins, organist of Worcester Cathedral, and his setting is another proof of his musicianship. The part-writing is distinguished by melodic independence, and the change of sentiment in the verses is effectively reflected in the music. Both of the anthems composed by Dr. T. S. Dupuis have been carefully edited by Mr. John E. West, who, while correcting certain errors in the original edition, has conscientiously preserved these mistakes in small notes. 'O God, Whose nature' is written in five parts, the voices including first and second tenors. The music, which is of course contrapuntal in character, is by no means complex and will be found easy to read. The other anthem.by this composer is similar in character, but it is in four vocal parts, which are distinguished by dignity and solidity of harmonic effects. Lyte's familiar evening hymn, 'Abide with me,' would seem to have an irresistible attraction to composers. The latest to ally it with music is Mr. Ivor Atkins, organist of Worcester Cathedral, and his setting is another proof of his musicianship. The part-writing is distinguished by melodic independence, and the change of sentiment in the verses is effectively reflected in the music. Both of the anthems composed by Dr. T. S. Dupuis have been carefully edited by Mr. John E. West, who, while correcting certain errors in the original edition, has conscientiously preserved these mistakes in small notes. 'O God, Whose nature' is written in five parts, the voices including first and second tenors. The music, which is of course contrapuntal in character, is by no means complex and will be found easy to read. The other anthem.by this composer is similar in character, but it is in four vocal parts, which are distinguished by dignity and solidity of harmonic effects. Lyte's familiar evening hymn, 'Abide with me,' would seem to have an irresistible attraction to composers. The latest to ally it with music is Mr. Ivor Atkins, organist of Worcester Cathedral, and his setting is another proof of his musicianship. The part-writing is distinguished by melodic independence, and the change of sentiment in the verses is effectively reflected in the music. Both of the anthems composed by Dr. T. S. Dupuis have been carefully edited by Mr. John E. West, who, while correcting certain errors in the original edition, has conscientiously preserved these mistakes in small notes. 'O God, Whose nature' is written in five parts, the voices including first and second tenors. The music, which is of course contrapuntal in character, is by no means complex and will be found easy to read. The other anthem.by this composer is similar in character, but it is in four vocal parts, which are distinguished by dignity and solidity of harmonic effects. Lyte's familiar evening hymn, 'Abide with me,' would seem to have an irresistible attraction to composers. The latest to ally it with music is Mr. Ivor Atkins, organist of Worcester Cathedral, and his setting is another proof of his musicianship. The part-writing is distinguished by melodic independence, and the change of sentiment in the verses is effectively reflected in the music. Both of the anthems composed by Dr. T. S. Dupuis have been carefully edited by Mr. John E. West, who, while correcting certain errors in the original edition, has conscientiously preserved these mistakes in small notes. 'O God, Whose nature' is written in five parts, the voices including first and second tenors. The music, which is of course contrapuntal in character, is by no means complex and will be found easy to read. The other anthem.by this composer is similar in character, but it is in four vocal parts, which are distinguished by dignity and solidity of harmonic effects. Lyte's familiar evening hymn, 'Abide with me,' would seem to have an irresistible attraction to composers. The latest to ally it with music is Mr. Ivor Atkins, organist of Worcester Cathedral, and his setting is another proof of his musicianship. The part-writing is distinguished by melodic independence, and the change of sentiment in the verses is effectively reflected in the music. Both of the anthems composed by Dr. T. S. Dupuis have been carefully edited by Mr. John E. West, who, while correcting certain errors in the original edition, has conscientiously preserved these mistakes in small notes. 'O God, Whose nature' is written in five parts, the voices including first and second tenors. The music, which is of course contrapuntal in character, is by no means complex and will be found easy to read. The other anthem.by this composer is similar in character, but it is in four vocal parts, which are distinguished by dignity and solidity of harmonic effects. Lyte's familiar evening hymn, 'Abide with me,' would seem to have an irresistible attraction to composers. The latest to ally it with music is Mr. Ivor Atkins, organist of Worcester Cathedral, and his setting is another proof of his musicianship. The part-writing is distinguished by melodic independence, and the change of sentiment in the verses is effectively reflected in the music. Both of the anthems composed by Dr. T. S. Dupuis have been carefully edited by Mr. John E. West, who, while correcting certain errors in the original edition, has conscientiously preserved these mistakes in small notes. 'O God, Whose nature' is written in five parts, the voices including first and second tenors. The music, which is of course contrapuntal in character, is by no means complex and will be found easy to read. The other anthem.by this composer is similar in character, but it is in four vocal parts, which are distinguished by dignity and solidity of harmonic effects. Miss ELEANOR ANNIE WOODWARD, generally known as Nellie Woodward-Taphouse, died, we regret to record, at Oxford, on September 22, aged thirty-nine. A step-daughter of the late Mr. T. W. Taphouse, she was brought up in his family, and became an excellent performer on the harpischord and spinet. She was closely and skilfully associated with the Misses Chaplin in their concerts of Ancient Music and Dances, and was a prominent foundation member of the Oxford Ladies' Musical Society. GEORGES MARTY, one of the best French conductors and a composer of considerable renown in his Fatherland, died on October I I, aged forty-eight. Born in Paris on May 16, I860, he was very successful in his studies at the Conservatoire, where he gained the greatly-coveted Prix de Rome in I882. He became in succession 'chef du chant' at the Grand Opera, and one of the conductors of the concerts given at that institution; director of the ensemble class at the Conservatoire; conductor at the Opera Comique, and finally conductor of the famous concerts at the Conservatoire. He was the composer of several operas, many pianoforte pieces, songs, &c., which show the influence of his teacher, M. Massenet. Miss ELEANOR ANNIE WOODWARD, generally known as Nellie Woodward-Taphouse, died, we regret to record, at Oxford, on September 22, aged thirty-nine. A step-daughter of the late Mr. T. W. Taphouse, she was brought up in his family, and became an excellent performer on the harpischord and spinet. She was closely and skilfully associated with the Misses Chaplin in their concerts of Ancient Music and Dances, and was a prominent foundation member of the Oxford Ladies' Musical Society. GEORGES MARTY, one of the best French conductors and a composer of considerable renown in his Fatherland, died on October I I, aged forty-eight. Born in Paris on May 16, I860, he was very successful in his studies at the Conservatoire, where he gained the greatly-coveted Prix de Rome in I882. He became in succession 'chef du chant' at the Grand Opera, and one of the conductors of the concerts given at that institution; director of the ensemble class at the Conservatoire; conductor at the Opera Comique, and finally conductor of the famous concerts at the Conservatoire. He was the composer of several operas, many pianoforte pieces, songs, &c., which show the influence of his teacher, M. Massenet. Miss ELEANOR ANNIE WOODWARD, generally known as Nellie Woodward-Taphouse, died, we regret to record, at Oxford, on September 22, aged thirty-nine. A step-daughter of the late Mr. T. W. Taphouse, she was brought up in his family, and became an excellent performer on the harpischord and spinet. She was closely and skilfully associated with the Misses Chaplin in their concerts of Ancient Music and Dances, and was a prominent foundation member of the Oxford Ladies' Musical Society. GEORGES MARTY, one of the best French conductors and a composer of considerable renown in his Fatherland, died on October I I, aged forty-eight. Born in Paris on May 16, I860, he was very successful in his studies at the Conservatoire, where he gained the greatly-coveted Prix de Rome in I882. He became in succession 'chef du chant' at the Grand Opera, and one of the conductors of the concerts given at that institution; director of the ensemble class at the Conservatoire; conductor at the Opera Comique, and finally conductor of the famous concerts at the Conservatoire. He was the composer of several operas, many pianoforte pieces, songs, &c., which show the influence of his teacher, M. Massenet. 7 I 7 7 I 7 7 I 7 7 I 7 7 I 7 7 I 7