Originality is disadvantageous to a composer at first in two ways. The more obvious is that players and singers cannot, as a rule, do justice to an unfamiliar style. When it is a case of winning recognition for something new and original a thoroughly adequate rendering is half the battle. Such a rendering carries with it a sense of enjoyment and satisfaction in the performers, and there is always a chance that this may to some extent communicate itself to the public; whereas in the other case the embarrassment of the performers will certainly communicate itself, and the audience attribute everything unsatisfactory to the unknown or insufficiently guaranteed composer. In Elgar╒s ╥Gerontius╙ the originality is strong and unmistakable, and the performers find their technical skill severely taxed. But fortunately the composer has a clear head; he knows the technique of each instrument and he never miscalculates. Performers therefore find that their task, though often difficult, is always possible and, further, that the result is always satisfactory. For Elgar has an ear; he is a man of tone, and does not care for music that looks well on paper but sound rather muddy. These points, known to those who for some time past have taken a close interest in Elgar╒s work, made it possible to hope that the Manchester performance of his great oratorio would be a striking success and perhaps even throw new light on the merits of the composition, and it can scarcely be questioned that the experience of yesterday evening fulfilled these hopes. It was doubtless the most carefully prepared of the performances that have been given thus far in this country.
