You will of course have understood that, since the performers of the instrumental items were all schoolboys and amateurs, their repertoire would not be unlimited. Yours faithfully, Rugby, January 8, 1918. ARTHUR H. PEPPIN. [We asked the question which Mr. Peppin quotes, but which we hope he will not mind our saying he does not answer. We found no fault with the programme as music. We pleaded meekly for the inclusion of at least one piece of British music in a programme performed by British boys

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... in a great British public school at a time when our national art is struggling to assert itself. Bach, Brahms, and Chopin have provided music for the gods, and we admire greatly the taste of the boy who recognised this fact and the achievement of the young executants in being able to tackle such splendid stuff. As we stated in our brief comment, Rugby has earned a great reputation for its music. But what about the two part-songs by Fuss and Otto which perhaps the boy did not select? Are there no British part-songs to equal these German compositions? Gurlitt, too, is not an immortal, although in common with a host of German pattern-writers much beloved in girls' schools, he was a useful enough mortal. We admit the difficulty of finding British pianoforte music of the kind asked for by Mr. Peppin. There is a repertory and a growing one. But the subject deserves more than a passing reference, and we hope later on to be able to deal with it usefully. As to music for 'cello and pianoforte, although we shrink from compiling a short list that may appear invidious, we venture to suggest that the selection given below provides a fair choice of music by British composers fully as educational as that of Gurlitt: