in F, may often be heard in cathedrals and parish churches. He was still better known as an editor, and was remarkably painstaking and conscientious (Musical Herald, October 1900, p. 293). He was deeply studied in Handel's music, and edited his concertos and large selections of airs from the operas and oratorios. A Handel-Album, which extended to twenty volumes, was originally intended to consist of selections from the lesser-known instrumental works arranged for the organ; it was afterwards taken from more varied sources—the operas especially. He arranged for organ some hundreds of excerpts from other great masters' vocal and instrumental works. Another of Best's editions was Cecilia (1883), a collection, in fifty-six parts, of original organ pieces by modern composers of various countries; it included his own Sonata in D minor, a Christmas Pastorale, a set of Twelve Preludes on English Psalm-tunes, a Concert-fugue, a Scherzo, and several other pieces of his own composition. The Art of Organ-Playing (1869) is a very complete and thoroughly practical instruction book, ranging from the rudiments of execution to the highest proficiency. At the bicentenary of Bach's birth in 1885, Best began an edition of Bach's organ works, which he almost completed before he died. Assessment As an executant Best was admittedly the first among contemporary British organists. All that can be done upon the organ he did to perfection, and by his crisp playing he suggested the accent which is, strictly speaking, not within the powers of the instrument. His repertory was commonly supposed to include five thousand pieces, and he was remarkably successful in using the organ as a substitute for the orchestra. In addition he was a very brilliant pianist. Best was somewhat eccentric and in the main a recluse. He associated little with other musicians. He would not join the Royal College of Organists, and refused to play on any organ whose pedal-keyboard had been constructed on the plan recommended by that college. For many years he refused to let any other organist play on his own organ. He kept the tuner in attendance at his recitals in St. George's Hall, and would leave his seat in the middle of a performance to expostulate with him; on one occasion he informed the audience that the tuner received a princely salary and neglected his work. He would indulge his fancies to the full in brilliant extemporisations when a church organist, but