This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1896 Excerpt: ...materially relieve his compositions of a certain want of dramatic power and effect which is now apparent. He never violates the rules of harmony, and therefore does not offend, but he often fails to delight because he is fettered by the conventional prejudices of his school." Chorley, who declared the success of the work to have exceeded expectation, formed a good opinion of it himself adding, that " if Bexfield will accept his reception as an encouragement more than a triumph, he may produce really sound, national, and characteristic additions to the stores of English music." Elwin, writing from Leeds to Simpson, on i2th September, i852, said," I tremble for your first morning with that heavy work of Bexfield's, for such is the character of it, from the best musician in Norwich. His exercise was heavy enough, but think of two entire acts of such lumber." It may be seen thus how divided were the opinions of those more or less competent to judge the new work. Bexfield unfortunately was unable to take advantage of the advice proffered by Chorley, for he died in the year after his success. The concert closed with a selection from Samson, sung by Mme. Viardot, with "holy inspiration and simple grandeur," in memory of the Duke of Wellington. There was nothing on the Wednesday evening which calls for mention, save, perhaps, the first performance of a selection from Benedict's manuscript opera, The Minnesinger. On Thursday morning, Pierson's oratorio, Jerusalem, was given for the first time, the libretto of which was written by the composer's friend, W. Sancroft Holmes, of Gawdy Hall, Harleston. But before entering into the details of the performance, it is worth while to take a rapid glance at the composer's career that his work...