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.

No. 2 has an introductory movement marked _maestoso_; it is divided
into three sections. The first opens with a phrase of dramatic
character; the second, in the remote key of G sharp minor, contains
two short, expressive, Schumannish themes treated in imitation; the
third has passages leading back to the opening key and phrase. The
Allegro grazioso which follows is a compact little movement; in form
it is orthodox, yet there is no repeat to the exposition section. The
influence of Heller is still felt, but also that of Schumann. Grace
rather than power distinguishes the Adagio con sentimento, in the key
of C sharp minor. The Scherzo is clever and effective, and the
Allegretto cantabile, though the last, is scarcely the best of the
four movements.

A manuscript Sonata in D flat (Op. 20) by Dr. C.V. S