Dominion, followed by Australia, the smaller colonies and
islands, and, lastly, by India. Each of these divisions has a section of
the chorus to itself. The fifth number, a soprano solo, dwells upon the
personal virtues of the Sovereign; while the sixth, and last, opening
with a choral prayer for the Empire, continues with lines leading to the
National Anthem, for which a new second verse has been written. How far
the writer has been guided by consideration for musical opportunities
need not, after this outline sketch, be indicated. The spirit in which
Mr. Bennett has approached his theme best appears, perhaps, in the
opening verses:--

"For fifty years our Queen!
Victoria! hail!
Take up the cry, glad voices,
And pass the strain
O'er hill and plain,
Peaceful hamlet, roaring city, flowing river,
Till all the land rejoices.
Wild clanging bells and thund'rous cannon
With your loudest shock the air, and make it quiver
From Dee to Tamar, Thames to Shannon.

"For fifty years our Queen!
Victoria! hail!
Take up the cry, old ocean,
And hoarsely shout
The words about.
British ships and world-wide British lands will cheer them,
Rouse an Empire's full devotion.
O blowing wind, come hither, bearing
Answering voices, loud acclaiming. Hark! we hear them.
They our loyal pride are sharing."

In setting the words to music, Dr. Mackenzie has necessarily to consider
the place of performance and the number of performers. This, however, was
an amiable and fortunate obligation, since the result has been to give us
a work built upon broad lines, and marked by plainness of structure to an
extent unusual with the composer. We think that the music will be found
to have a true festive ring, and a majestic solidity befitting the
occasion. In the solos, with their more subdued expression, Dr. Mackenzie
has kept contrast in view, without sacrifice of simplicity; but it is in
the choruses that he best shows himself a master of bold and striking
effects. Every bar goes straight to the point, while avoiding the
commonplaces that naturally suggest themselves in the writing of festive
music. The procession chorus is, in this respect, most noteworthy of all,
and may be found no mean rival of that in the "Rose of Sharon."

[29] As the score of Mr. Mackenzie's Ode has not