The Festival of 1891 saw the production of two important new works, namely, Stanford's dramatic oratorio "Eden" and Dvorak's "Requiem Mass." With respect to these compositions, they have scarcely been heard, I think, since their initial performances. Stanford's "Eden" contains some fine writing, but there was, perhaps, too much of it. Dvorak's "Requiem" was something of a disappointment, and its first rendering anything but satisfactory; indeed, some of the numbers, I remember, narrowly escaped coming to utter grief. In 1894 three new productions were heard. These were Parry's "King Saul"--a very recondite, musicianly composition--but too long; "The Swan and the Skylark," a fanciful little cantata by Goring Thomas; and a "Stabat Mater" by G. Henschel. Nothing at the Festival of 1897 made any mark. There was a new "Requiem" by Stanford, but like many other Requiems, it rather celebrated its own death. A new work by Arthur Somervell was heard, and, though favourably received at first, like some other Festival compositions it seems now to have vanished into the _ewigkeit_. With regard to the Festival of 1900--just closed as these lines are being written--I will say little. It has been financially successful, and perhaps that is the best that can be said of it. The programme, speaking generally, was a somewhat heavy and dull one, and the special new work, namely, Elgar's "Dream of Gerontius," was disappointing, in spite of its skilful construction, its splendid orchestration, and its conspicuous touches of character and originality. Mr. Coleridge Taylor's "Song of Hiawatha" was the hit of the Festival, and its performance at Birmingham has hall--marked the young composer's fresh, picturesque, and melodic music. I might write a great deal more about the Birmingham Musical Festivals, but time and space forbid. I could, for instance, point out that it is becoming more and more difficult to maintain the prestige of our Festivals as time goes on. There is more competition now-a-days; there are more provincial musical gatherings; and there are now more high-class concerts than formerly. I think I could also show that some mistakes, of more or less importance, have been made, and are still perhaps being made in the management, Nevertheless, those who have most to do with the arrangements are not lacking in energy and enterprise, and in earnest endeavour to uphold the character and reputation of the Birmingham Musical Festivals. XVII. CONCLUSION.