By Rraclous consent of His Majesty King Edward VI!, and by kind permission of Of'ficer Commandln~. THE REGIMENTAL BAND OF H.M-. '-- COLDSTREAM ·GUARDS. Bandinaater-.J. Mackenzie Roltan. Prima DonnaContralto-Ml88 Kathleen Howard. Director of'Tou,rin Canada-Mr",Stewart Hou8ton. Flutes and Piccolos-Sergt. W. '.,E. Green (Principal), Musician W. Robson. Oboes-Band Sergt. W., E. Allen (Principal), Musician T. Smith. Cor. Anglais- .Band Sergt. W. ,E. Allen. E flat Clarinets-Sergt. 0. Hill (Principal), B flat UlarinElts---:-~~nd Sergt. W. J. Dunkley, Principal (Senior Band Sergeant), Corp. P. E. Gayer; MusIClans, A. F. Lynch, W. J. Wheeler, C. Broqkes, E. Buckley, H. J. Shute, A. E. Rei,d, T. Bedford, H. Hammant, Miller. SaxQ,phones-Musicians S. W ]S"ew.. , ton (E flat Alto), W. Saunders (B flat Baritone): ~assoons~~rgt. W. J. Reynolds _ " (~riilcipal),. 1t;fusicians, A. <2. Holt>,~~t..Q~:veJ;y" .•.•~.OJ;:nets-Corporal~E. -Hawkins '(P~'ih.. Clpal), MusICIans, A. F. Wltcombe, J. '1. Chlpchase, A. J. Webb, G. Barr, H. A. NICe. Horns-Corp. W. Stariley'(Principal), Musioians, W. R. Williams, G. Andrews, H. J. Wilkie. 'l'rombones-Muicians T. H. Huddle (Principal), W. H. Burke (Tenor), F. A. Cobb (Tenor), T. L. Kemble (Bass). Euphoniums-Band Sergt. E. Wilkes (Principal), Musician F. F. White. Bombardons, &0 -Musician W. Carlo (String), Musicians R. Scroggs (B flat Tuba, Principal), A. Clem ow (B flat Tuba), J. M. Upchurch (E flat Bom· bardon), J. Lisher (E flat Bombardon.) Drums. eto -Tympani, Musician H. R9.yner ; Glockenspiel, Musician H. Rayner; Side Drum, Musician E. H. Cottrell; Bass Drum and Cymbals, Musician.c.J'_Cosgruve. Librarian-Musician T. Bedford.

1. March Honr018e, II Fau8t," Berlio% This march is based on a tune so sacred with the Hungarian people (i.e. thc "Rackozy" March), that when Berlioz directed a performance of it at Pesth the audience fairly " lost its head." His description of the event is worth reproduction: "As the hour approachcd a certain feeling of nervousness kept rising in my throat. I begin the March with a Trulll- pet passage, in the rhythm of the melody; after which the theme itself appears, Pianissimo in the Flutes and Clarinets, 'accompanied by the String Pizzic:J.te. This 'was a treatmcnt to which my audience were quite unaccustomed, and at first they listened merely with reo spectfulll.ttention, but when the crescende arrived and fragments of the march were heard amid the thunder of cannon from the big drum, they woll-e.up, 'and when the final explosion burst upon them in all the fury of the orchestra, the shri~4~and cr.llllil~ch ,:~j;,"the ha11'" were positively terrific, and so exsaordinary 11-8 faiJ;~1ghteri me.- In faot, from that mo~ent:!>'the ~e,~tpf,th.e~piece ·was'maudible amid the olam?'r of.~he house," -

,2. 8~;JI:, (00RNET "SOLO) _•• ; II The Better Land" ' _.. ~. ~".()o_rr--- " __ , __~. •.. - SOLOIST, CORPOR>l.t ,E:-H'1wiJ."s ".' 3 Overture, .,William Tell," R08slnl' Rossini's last and greatest opera, "Guilliaume Tell," was produced at Paris' in August, 1829. In it he abandoned the florid style of his previous works, and. attain-ed a degree of dramatic power that doubles our regret at his subsequent illness. The overt!lN opens very quietly, with a lovely movement in which the finest qualities are utilized with 'm!J.rvellous skill to depict the "mystery" which reign in mountain solitudes at the hour-of sunrise. Presently clouds gather, the rain drops ,fall, and the roar of "heaven's artillery" rends the air. As the storm dies a~ay a dellC'ious "pastorale" .is heard. This is based on one of thoso simple melodies called "Ranz des 'laches," played by the mountaineers to ,call their herds togll..~4.er. The bird-like passages for the flute, the notes of which frisk, gaily r.o,md thc more serious thenHi"of·the pipe, have-contributed greatly England took place at Queen's Hall, London, in October, 1896. The arrange· ment of the work for military band has been made by the condl,ctor of the present concert Mr'. Rogan, who has of course striven to reproduce the effects intended by the composer us the conditions allow. Clarinets, accompanied of course by other instruments, first give out the lively and vigorous theme of the" Trepak." It grows in power) however, as well as in speed as it progresses, and at the close all the instruments are,p~ying their loudt?~t. An artless gaiety pervades the next piece, the chief melody of which is naturally presented by flutes and clarinets. This "Pipe Dance" has an alternative subjei:t (cornets and horns)- that suggests the movements of dancers in a ring, "Hands around." 8. Characteristic Piece, "In-a Clock Store," Orth Synopsis-The apprentice opens the door in the morning and winds up the di1:eren~ clocks, the ticking of which is illustrated by the music, whICh gradually develops into a musical imitation of a c.lock store. The cuckoo clock strikes the hour, after whiCh the deep sound of another clock IS heard. The alarm clock then rings a merry rat tle, followed bv the string of another clock in harmony with the music. The apprentice then whistles a little tune. After the clock that contains the chimes gradually runs down and stops. The boy winds it up again, and then the miniature chimes of a Scotch cathedral are heard in the distance. Now that all the clocks are in running order, the apprentice looks after his other work and we leave the clock store.