��Wllbye. Madrigal, Sweet honey Hayes. Bound. May doth every.
��sucking bees, a 5.
Horeley. Glee, Cold is Cadwallo's tongue, a 6.
Weelkes. Madrigal. Three wood- land nymphs. a 4.
Stevens. Glee, Sigh no more ladies
��a5. Callcott. Glee, O snatch
a5. Stevens. Glee, O mistress mine.
a 6. Mendelssohn. Fart-song. For the
woods, a 4. Wilbye. Madrigal, Fly Love
aloft, as. J. Rennet. Madrigal, All creatures
now. a 5. Webbe. Glee, When winds breathe
soft, a 4. Wilson. Part-song, From the fair
Lavlnlan. a 3. Horsley. Glee, See the chariot.
ft 4. Morley. Ballet, Now Is the month
of Maying, a 5. J. Stafford Smith. Part-Song,
Hark the hollow, a 4. Croce. Madrigal. Cynthia thy
song, a 5. McMurdie. Glee. By the dark
rolling waters, a 4. J. S. Smith. Glee, Blest pair of
Sirens, a 5. nullah. Madrigal, Wake now my
Love, a 6. Arne. Part-song, Where the bee
sucks, a 4. Morley. Ballet. Fire, Fire! my
heart, a 5. O. Gibbons. Madrigal, O that the
learned poets, a 5. Webbe. Glee, Glorious Apollo.
��Do. do. a 3.
��Sir J . L. Bogers. Fart-song, Hears not my Phillis. a 6.
��Dr. Cooke. Glee, As now the Este. Madrigal, How merrily we
��a3. Hutchinson. Madrigal, Beturn
my lonely maid, a 4. Ward. Madrigal, Die not fond
man. a 6. Mornlngton. Madrigal, As it fell.
��e swift. Stevens. Glee, O Nightingale, a 5.
Corfe. Part-song, The yellow- haired laddie, a 4.
Macfarren. Part-song, There was a man. a 4.
nverso. Madrigal, When all alone, ft 5.
Corfe. Part-song, How blithe each morn, a 4.
T. F. Walmisley. Glee. From flower to flower, a 5.
Spofforth. Glee, Health to my dear, a 4.
J. Bennet. Madrigal, Sing out ye nymphs, a 4.
W.S.Bennett. Part-song, Come live with me. a 4.
Wilbye. Madrigal, Lady when I behold, a 6.
Webbe. Elegy, The death of fair Adonis, a 5.
Bock. Glee, Beneath a church- yard yew. a 4.
Anon. Canon, Summer is a com- ing in. a 6.
J. S. Smith. Canzonet, Stay shep- herd stay, a 4.
Pilkington. Part-song, Best sweet nymphs, a 4.
Oanby. Glee, When Sappho tuned, as.
Tleck. Part-song, Softly, softly.
McMurdie. Bound, The daisies
peep, a 3. Dowland. Part-song, Best awhile.
��Mozart. Bound, Come follow me. as.
��live. as. P. F. Walmisley. Round, O'er the
glad waters, a 4. lullah. Part-song, Song should
breathe, a 4. Byrd. Part-song, My mind to me.
a 5. Cobbold. Madrigal, With wreaths
of rose, a 5. ilorley. Ballet, Sing we and chant
it. a 5. Anon. Ode, Daughter of heaven.
��shades of eve. a 4. Callcott. Glee, Who comes so
dark, a 3. Hilton. Madrigal, Gifts of feature.
as. Wilbye. Madrigal, Flora gave me.
a 5. Horsley. Ode, Daughter of faith.
Battishill. Glee, Amidst the myr- tles, a 5. O. May. Fart-song, Come follow
me. a 4. Gibbons. Madrigal, The silver
swan, a 5.
VOCAL SOCIETY, THE. Established 1832 ' to present the vocal music of the English school, both ancient and modern, including that of the church, the chamber, and the theatre, with the addition of foreign compositions of excellence,' the promoters of the society urging among other rea- sons in favour of their enterprise, not only that the compositions of native musicians were at the time nearly banished from the concerts of the metropolis, but that the regulations of the exist- ing societies for the cultivation of glee-singing precluded the presence of ladies, and were at- tended with considerable expense wholly uncon- nected with their musical objects. In other words, the Society aimed at giving concerts of English vocal solos and part-music. Its first programme at the King's Concert Rooms, Hano- ver Square, on Monday, Jan. 7, 1833, included the sestetto and chorus from Webbe's * Ode to St. Cecilia'; Benet's madrigal, 'All creatures now'; Attwood's glee, 'In this fair vale'; Cooke's glee, ' Deh dove ' ; Bishop's serenade, 'Sleep, gentle lady'; Webbe's catch, 'Would
you know'; solos from Haydn, Hummel, Mo- zart, and Purcell, and an instrumental quintet of Beethoven's. Mr. T. Cooke was leader ; at the organ and pianoforte were Messrs. Turle, Goss, and Horncastle ; and the vocalists included Miss Clara Novello, Mrs. Bishop, Miss George, and Messrs. Bennett, Parry, Phillips, Hobbs, and Braham. The affairs of the Society at its com- mencement were managed by a committee con- sisting of Messrs. Bellamy, T. Cooke, Horncastle, Hawkins, C. Taylor, E. Taylor, and Turle. The original intention of presenting mainly English music was departed from in the first year of the Society's existence, for we find in its programmes the names of Palestrina, Pergolesi, Bononcini, Beethoven, Mozart, and other foreign composers, and from a notice of the last concert given in 1838 we learn that, 'with the exception of three glees and a madrigal, the performance consisted entirely of the works of foreign artists.' In 1837 the Society gave the first performance in this country of Spohr's oratorio, 'The Cruci- fixion,' with Mrs. Bishop, Mrs. Seguin, Miss Hawes, and Mr. Balfe as principal vocalists, and Mr. Turle at the organ. On another occasion Beethoven's Choral Fantasia was performed, with Mrs. Anderson at the piano. [C.M.]
VOCALION. An ' organ ' or instrument of the free-reed kind, exhibited by James Baillie Hamilton, Esq., in the International Inventions Exhibition, London, 1885. The first patent was taken out Nov. 13, 1872, by John Farmer (of Harrow), for a combination of reed with string or wire either as a continuation of the reed or as a coil fastened to the back thereof and was succeeded by many more, taken out in the names of Mr. Hamilton and others. The first attempts gave a beautiful and very peculiar quality of sound, but by degrees the combination of reed and string from which this proceeded has had to be given up, for practical and commercial reasons, and the instrument as now exhibited is virtually a Harmonium with broad reeds, giving great rigidity of action and therefore purity of tone, and large channels, and acted on by high pressure of wind not suction. A main peculiarity of the Vocalion is that the reeds are placed above the pallets and below the slides, and that though the sliding ' plug * of three reeds is only of the width of the groove, the cavities are more than twice as wide. This is expressed in Mr. Hamilton's latest patent (U.S.A., March 25, 1884) as 'the combination of pallets, soundboard, and reeds with cavity-boards, one above the other, the lower one containing the nostrils and the upper one the mouths, and an intermediate controlling slide.'
The result of this is a charming variety and purity of tone, especially where the music is not in too many parts; and also great force and richness of sound. This is well expressed by Sir Arthur Sullivan in a letter dated New York, July 3, 1885, as follows : 'You have achieved an instrument which shall possess all the power and dignity of an organ, without the cumbersome and expensive aid of pipes. And in doing this.