had charge of the choral choir, the orchestra, and the opera. He was repeatedly the leader of music festivals all over Great Britain and a judge of contests. And with all this his house was open in cheering hospitality to friends and his hand ever ready with sympathy and help.
When such a man dies, it must bring pause to a reasoning world. We may call his death-sickness pneumonia, but we all know that it was sheer over-work,—the using of a delicately-tuned instrument too commonly and continuously and carelessly to let it last its normal life. We may well talk of the waste of wood and water, of food and fire, but the real and unforgivable waste of modern civilization is the waste of ability and genius,—the killing of useful, indispensable men who have no right to die; who deserve, not for themselves, but for the world, leisure, freedom from distraction, expert medical advice, and intelligent sympathy.
Coleridge-Taylor's life work was not finished,—it was but well begun. He lived only his first period of creative genius, when melody and harmony flashed and fluttered in subtle, compelling, and more than promising profusion. He did not live to do the organized, constructive work in the full, calm power of noonday,—the reflective finishing of evening. In the annals of the future his name must always stand high, but with the priceless gift of years, who can say where it might not have stood.
Why should he have worked so breathlessly, almost furiously? It was, we may be sure, because with
