of the moment but inculcateth an. irrefragable dogma. 'Offended skies are demons lashing,'-that is to say the skies, or the celestial powers, are themselves lashing demons -evil having no independent origin, but merely representing the worth of the good principle."

Now these three opinions were all knocked and jostled and banged together, to the infinite annoyance of everybody, and the special horror of John, whose face at last beamed with hope, when he saw Epistemon walking up the passage, looking infinitely placid and benignant.

"Oh, sir," said John, "pray make them stop their noise, and persuade them to order something."

"I will do my best," replied the sage. "Thanks to the power of your lungs, gentlemen," he continued, turning to the Anabaptists, "I heard all your views, while I was taking the air in Clare-market; and I think I can, as it were, tie them together in a knot of concord. The sentence is curiously composed, as it is doubtful which of the two, the skies, or the demons, are in the nominative case, or whether indeed both may not be in the nominative, according to the hypothesis of Mr.-Monsieur-Herr

"I have no name," murmured the third Anabaptist. "Then," said Epistemon, "Thou shalt be called Nixmydolly, which is a name, moreover, that harmoniseth, to some extent, with that of thy friend Knipperdolling. But to revert to our theme: May we not suppose that our poet had a deep purpose in this seeming ambiguity? Oracles, ye know, were obscure, and I trust we all agree that our Fitzball is an oracle."

"Else had we not quarrelled about his meaning," chorused the three Anabaptists in unison.

"And perhaps might have ordered something," suggested John, but his hint was disregarded.

"I, for my part," proceeded Epistemon," should give the line what I may call a reciprocal force, by making a nominative, first of the "skies," afterwards of the "demons ;" so that the skies lash the demons, while the demons lash the skies-thus indicating that state of doubt and suspense in which things remain at the end of the first act."

The three Anabaptists all folded their arms, and with solemn faces chewed the cud of this subtle interpretation.

"Let us avail ourselves of the present opportunity," said Epistemon, getting upon the table, "of descanting on the merits of this last work of our inspired Edward. It aboundeth with beauties that escape the vulgar eye, but amply reward the search of the curious and refined. How exquisitely beautiful, for instance, is the exclamation of Rudolph, when he first receiveth the ring from Lurline.

"Thy question is shrewd," said Epistemon, blandly; "as the lady called Ghiva simply took the ring off, there is something odd and even round about in the statement that she tore it apart. Let us believe that the poet here sports with the recondite, to show his aptitude for dealing with the world of spirits. I may say that this word 'apart,' placed as an equivalent for 'off,' hath on me the effect of a spiritrapping. We know not exactly what the rapping means, but it indicateth the approach of another nature."

"Be apart!" said John sternly, to some one on the other side of the door."

"What say'st thou, John the Blond," said Epistemon. Only telling a beggar-boy to be off," said John, with considerable dignity.

"Dost thou put the same spiritual interpretation on the distich

"The billow swell Rings out thy knell.'

sung by the spirits in the finale to the first act?" asked the third Anabaptist, with marvellous solemnity. "The bellringer of Notre Dame, whom they called by the popish, and therefore repulsive name Quasimodo, was an odd sort of personage, but methinks the swell of the sea placed in a similar office would be more extraordinary."

"What," said Epistemon, "dost thou really think that by the billow-swell is meant that rise of the waters that so much troubleth weak stomachs on the way to Ostend ?—not at all; the billow swell' is the gnome, played by Mr. Corri, who, profusely adorned with all sorts of supernatural trinkets, is a 'swell' in the most modern sense of the term-blessings on his long hair and a billow-swell because he abideth among the billows. Our poet could not always be recondite, else would he destroy that sympathy between the actual and the spiritual world which is necessary for the enjoyment of his work. The incredulous can no longer marvel that a mortal falls in love with a naiad, when a smart gnome is called a swell' by his fellow-spirits. Truly the passage has puzzled thee by its excessive clearness, as the sun dazzles by too much light. Thou wilt therefore the more readily applaud those verses in which our poet is manifestly inspired by the Delphic Apollo. Thus, when Lurline singeth

"My wild chords pierce the gale, And distract the mariner's sail,'

one begins to marvel at the sensitiveness of the canvas that was so much annoyed by an unprepared fourth. "When again she saith:

"My fairy spell shall breathe thy call,' the mind seemeth to be brought before the veiled figure of Isis, and indulgeth in fantastic permutations. Would the spell that breatheth a call be very different from the call that breatheth a spell, or the spell that calleth a breath, or the breath that spelleth a call. Thus sporteth the mind, I say, till it becometh faint and weary from its own gambols. Moreover, observe"

Here Panurge sprang into the room, playing a hurdygurdy, and singing the following song, while he danced about

like a wild Indian :

"Oh, nothing shall from memory blot

My childhood's home, that pleasant cot
More happy than a fairy's grot;
For tied to mem'ry by a knot

Is that incomparable spot.

Whether a store of gold I've got,
Or miserably go to pot,

make the posters express something very different from what expressed ostensibly. When near them, you read the announcement of the concert; but, at a distance, the small type disappeared, and only the large capital letters were visible. These large letters apostrophised the authorities with a word which may have been sublime, from the energy, on the hostile field of Waterloo, but which was grossly impertinent in a Parisian poster.

To avoid the consequences of being condemned in a criminal court, Jullien left France and settled in London. In England he invented things far more extraordinary than those of which he had dreamt in France. Thanks to his promenade-concerts, his provincial tours, and his really great talent as a composer of dance-music, as well as of serious compositions, and to his skill as a performer on the flageolet, he made and lost a fortune two or three times. By the word fortune, too, I do not mean a composer's fortune, but a banker's fortune-a fortune of sixteen or twenty thousand pounds.

The London concerts are interminable. I have at this moment before my eyes a programme containing, for a single concert, five trios, twelve airs, six ballads, three melodies, three fantasias, a caprice, four duets, and five concerted pieces. The first thing by which Jullien brought himself into notice was the composition of his programmes.

By the way, no one can be more fantastic than an English amateur. A short time after his arrival in England Jullien was engaged to play the flageolet at the mansion of one of the principal members of the English peerage. His Lordship, supposing that Jullien did not understand English, approached the accompanyist and said in a low voice :

"Tell the gentleman not to play anything too long. I do not like long pieces."

The accompanyist did not know what to do, but Jullien said to him with a smile:

"Ah! Monsieur, the piece you have played is admirable. But it is too short, you must give us another."

"With pleasure, my Lord, but you must pay me double."

His lordship consented enthusiastically. Quietly opening the musicagain, Jullien went on from the passage where he had left off, and concluded the piece amidst thunders of applause.

The influence exercised by Jullien over the London amateurs was something immense. The following is an instance of this. It is impossible to convey an idea of the excesses of monomania to which an English lover of music will go. There are, in London, musical amateurs who possess admirable instruments which they zealously guard, day and night, like so many dragons, for fear an artist should get at them. Thus Mr. Plawden has, in his collection, two Stradivarii, and three Guarnerii worth an empire; Mr. Livingston owns oneand-twenty Stradivarii; and Mr. Goding, a brewer, boasts of four Joseph Guarnerii, one And. Guanerius, four Stradivarii, three Bergonzi, one Amati, and violoncellos of Stradivarius, Bergonzi, and Gaspare de Salo, besides a magnificent harpsichord, which belonged to Louis XIV. Every morning the worthy brewer takes a violin out of its case, extracts from it two or three chords, which make the passers-by shudder, and then puts it back again. When he has thus tasted all the instruments, one after the other, as if they samples of ale or porter, he rubs his hands, and breakfasts with an Englishman's appetite.

Jullien conceived the idea of giving a concert in which all the instruments belonging to Messre. Plowden, Livingston Goding, Sir John Lambton, Sir Arthur Cook, and many others should play their parts! These ferocious amateurs who would not haveallowed Bériot, Vieuxtemps, or even Paganini himself to try their instruments, actually consented to trust them to Jullien, who distributed them among the members of his band. The concert created a great sensation. The place where it was held was crowded to suffocation, and the price of admission was four guineas.

1n 1851 a formidable rival seemed likely to deprive Jullien of his monopoly of winter music. Mr. Balfe, the composer and conductor at Her Majesty's Theatre, got up a series of magnificent concerts. He engaged all the soloists on whom Jullien relied to carry out his usual enterprise. It was impossible to maintain the contest with the ordinary resources. It is true that Jullien might have crossed over to the Continent, and engaged soloists as skilful as those who had been snatched from him. But this would not have been doing more than his rival, and the chances would have been equal. Jullien was too well acquainted with the musical taste of the English not to know what

would suit them best. He sent over to Paris for thirty drummers of the National Guard, with a magnificent drum-major. On their very first appearance at Jullien's Concert, the fate of Mr. Balfe's concerts was sealed. How was it possible for anyone to stand his ground with the symphonies of Beethoven and Mozart against thirty drummers of the National Guard? Then, too, the evolutions of the drum-major invariably excited the enthusiasm of this eminently musical people. The town was in a delirium, a perfect fury. Everyone must hear and see them. The rub-a-dubs of these virtuosi on asses' skins turned every. one's brain, and London was nearly going mad with pleasure and admiration.

When he had well worked out the Metropolis, Jullien took all his band to the principal towns of the United Kingdom. Ah! what splendid bills he composed for his concerts. The following is a fragment of one of them.

"M. JULLIEN'S*

"GREAT EXHIBITION QUADRILLE "Will be performed.

"The band will execute M. Jullien's Great Exhibition Quadrille, allowed to be the best quadrille ever written by the composer, and performed thirty nights running with unprecedented success. To add to all that has been announced above, and to contribute to the better execution of the quadrille, M. Jullien has obtained from Gen. PERROT, PRINCE LOUIS NAPOLEON, PRESIDENT DE FRANCE (sic), as well as from the Minister of the Interior, leave of absence for

"THE FRENCH DRUMMERS

"of the 12th Legion of the National Guard of Paris, who will appear in grand uniform, and be conducted by

"M. BARBIER,

"their Drum-Major."

Is not this the ideal of its kind, and what are our modest advertisements, our innocent bills, compared to the noble and pompous style employed by the nation whom Voltaire styled a people of thinkers, because they possessed a constitution? What would he now say of us, who have since had so many?

Jullien had a passion for fine shirts. He had some which cost him forty, sixty and eighty pounds. On one occasion, when he was going to give a concert at New Orleans, the bill contained the following paragraph:

"The shirt M. Jullien will wear, while conducting his orchestra, will represent the Falls of Niagara."

At New York, after a concert at which forty-two thousand persons were present, he was offered the title of an American citizen. "In spite of his eccentricities, Jullien was a man of great merit and talent. He was very fond and proud of his art. He was conductor at Her Majesty's, Drury Lane, Covent Garden, and the Lyceum. He was also conductor of the Court Balls. The Queen and Princo Albert liked him very much,

One day, Prince Albert said to him :

"Well, M. Jullien, are you getting on in your business?" "Your Royal Highness,” replied Jullien, "I am not in business; I am in music."

While in London, Jullien composed a large quantity of dance-music, as well as symp onies, maritime symphonies, Le Corsaire Noir, Rosita, Le Nuits de Rome, &c., &c. He composed, also, a grand five-act opera, Pietro il Grande, the subject of which is the same as that of L'Etoile du Nord. The great reputation of Tamberlik dates partly from the performance of the former opera.

Jullien had been all over the world, and everywhere made theatres and concert-rooms his study. He conceived, and had the plan, of a hall formed to scat ten thousand spectators comfortably, and enable them to hear a quatuor by Beethoven as easily as if they were in a drawing-room. He erected a building, the Royal Surrey Gardens' Hall, which combined these conditions of space and acoustic excellence. Unfortunately, this ruined him. He returned to Paris, where, despite his failure in London, he wanted to erect an immense hall, which, according to his plan should be equally adapted for summer or for winter; in which chandeliers should be done away with, and the light be supplied through a ceiling composed of opaque crystal, mellowing the rays of the four thousand gas-burners. The plans of this hall were executed by himself and M. Galvani, a young Italian architect, grandson of the inventor of galvanism.

Shortly after his arrival in Paris, Jullien was arrested and confined

* As we have not the original, we give a version of the French transation.-ED. M.W.

in Clichy, on a bill of exchange given to Mr. Patey Chappell, and paid in to the account of Mr. John de Lapierre, both Englishmen. These gentlemen took proceedings against Jullien as a foreigner, on the plea that he was a naturalised Englishman. He was consequently treated as a foreigner, rendered incapable of being declared a bankrupt, and imprisoned at Clichy. Five months afterwards, on his appealing against the first decision, the Court, enlightened by the proofs he had procured from London, decided that Jullien was a Frenchman, that he was not a naturalised British subject, and that he had simply obtained the authorisation to take up his residence in London, an authorisation which conferred on him, in London, the same commercial privileges as a native, but in no way affected the fact of his being a French subject. In consequence of this decision, he declared himself a bankrupt, and was released from Clichy.

But the mischief was done. He had been deeply affected by his arrest, and his mental faculties were seriously shaken. On several occasions, his friends fancied they observed in him fits-although passing ones-of insanity. These fits consisted of sudden overflows of high spirits, followed by prostration and dejection without any cause. In his attacks of melancholy, he used to speak of his death as One day, he returned home armed with a large knife. He found there his niece, a young lady of fifteen, whom he had adopted, a pupil of Duprez, and who bids fair to turn out a great singer. "Come here," he said to her. "I am going to let you hear the most marvellous of all music; the grand concert of the angels; I am going to kill you."

very near.

With these words he was about to carry out his threat, when the young lady, with rare presence of mind, observed:

"With all my heart! only, before sending me to Heaven, just play me an air once more on your piccolo, so that I may compare your music with that of the angels."

The idea struck him as admirable. He kissed his niece, and went to get his instrument. Meanwhile, the young lady made her escape, and the poor madman, having been secured, was taken to a maison de santé at Neuilly, where he died a few days afterwards.

It was Jullien's wish to devote himself to serious music, as the programme of his monster festival proves. He feared nothing so much as to be considered merely a conductor of public balls, or a composer of polkas. Mad. Jullien and his adopted daughter survive him. He has left them nothing. It has been proposed that a grand concert, at which all artists of eminence would gladly lend their assistance, should be got up for the benefit of these two interesting objects of sympathy. PAUL D'IVOI.

MUSIC AND THEATRES IN PARIS.

(From Our Own Correspondent.)

Paris, March 28th. NOTWITHSTANDING the late gales, the rain and the cold, the theatres have been as full as ever-fuller, indeed, so that the old proverb, "it is an ill wind that blows nobody good," has been verified, for it would seem as if the public would willingly forget the inclemency out of doors in the ideal regions of Thalia and Melpomene. The Grand-Opéra continues to be one of the greatest points of attraction, and the success of Pierre de Médicis -La Pierre de Médicis, as some of its now-admirers call it has gone on increasing. M. Bonnehée, who filled the part of Julien de Médicis, is about to take a holiday of two months duration, on account of the state of his voice, and will be succeeded by M. Dumestre. The Séméramis, of Rossini, is to be given in September, not in June, as was first said. The two sisters Marchisio will make their debut in this opera, and M. Obin, I believe, will play the part of Assur. Next year the Tannhauser of Richard Wagner will be given. As Richard Wagner is the musician of the "future," it is not to be wondered at that this opera is spoken of so long ere it will be given. The Galathée, of Victor Massé, still keeps good her ground at the OpéraComique, and though the part of Pygmalion seems to me utterly unsuited to the voice of Mdlle. Wertheimber, Mad. Cabel is such a favourite that the little opera always goes off triumphantly, with a never-failing encore for Mad. Cabel in the drinking song, "Verse encore ce vin généreux." Before M. and Mad. Faure leave the Opéra-Comique, M. Faure-Lefèvre is to play the principal part (Rita) in an unedited work of Rossini's, the libretto of which is written by M. Gustave Vaesy. Afterwards

M. Faure is engaged to sing at Covent Garden with Madame Miolan-Carvalho in the Pardon de Ploërmel. Madame Faure, they say, is going to St. Petersburgh; meanwhile several revivals are projected at this Opéra, amongst others, Le Jugement de Midas, by Grétry, and Masaniello of Carafa. At the ThéâtreLyrique, Madame Carvalho, who was most warmly received on her re-appearance in Philémon et Baucis, will enjoy a little rest if they bring out, as they talk of doing, the Fidelio of Beethoven, Mad. Viardot performing the principal part. The Crociato, of Meyerbeer, was given last night at the Opéra, but I must give an account of it next week.

M. Octave Feuillet's last work, if it has not created any wonderful sensation, has by no means detracted from the wellearned honours of the writer. Lafont surpassed himself in his part, and greatly contributed to the success of the piece. The piece is somewhat in M. Feuillet's usual style, and paints, with that delicate touch which he knows so well how to employ, some of the clouds of married life, ending, of course, in the happy reunion of husband and wife. Amongst the beau monde which the opening night drew to the theatre, were the Emperor and Empress, who warmly applauded one of the favourite writers of the day. At the Bouffes-Parisiens, last night, a new operetta, called Daphnis et Chloe, was brought out with much success. And the Gymnase has also given lately a vaudeville in two acts, called the Paratonnerre.

When I think of all the concerts given lately, I hold my pen and where shall I end or what select. So that to mention two or poised in the air with despair-where and with whom to begin, three is all one can do: I will begin with the one given at the Tuilleries. The first of these concerts d'artistes was composed of the artists from the Opéra-Comique, the second of those from the Italian Opera, and the third of the artists of the Grand-Opéra; the selections of pieces were from Pierre de Médicis, Guillaume Tell, Les Huguenots, Vêpres, Trouvère, and Herculanum; the pianist was M. Hans Bulow, and Franchomme, on the violoncello, was clever as he always is. Meanwhile the Emperor's private concerts go on wonderfully, and able admiration and attention. some two or three "bright particular stars" attract considerHaydn's Seasons was the principal performance in the programme of the concert given on Sunday by the Conservatoire. The performance, both instrumental and vocal, was in every way worthy the work, though Roger, who had come from Belgium expressly to sing at it, was already beginning to feel the effects of the influenza, that has since prevented his singing at a concert at Amiens, which has been put off in consequence. At Brussels, Roger was received in the warmest manner; and one representation, got up entirely in honour of him, brought in a sum of 6,000 frs.

The second concert for the performance of modern music for piano and voice was given last Wednesday, in the Salle Beethoven. The rooms were crowded. The programme was exclusively (as regards instrumental music) reserved to the modern classical style-that is to say, modern music written in the style of the ancient masters. Fifteen pieces on the piano were given, and the three last, performed by M. Louis Drenier, were as warmly applauded as if the young virtuoso had given them at the commencement of the evening. M. Padilke, in the andante of the fourth concerto of Herz, and Fissot, in the prière of Stephen Heller, deserve especial mention, also the vocal part of the programme was ably interpreted by Mdlle. Remaury, M. Richer Cremont, and M. Bieval. Mdlle. Pleyel gave her second concert on Monday, and her playing of the Serenade of Mendelssohn, the Fleuve of Litolff, the Truite of Stephen Heller, and the Etudes of Jules Cohen, was admirable. Tagliofico's singing and Sighicelli on the violoncello completed the programme.

The decree which augments the "rights of authors," for the Académie Impériale de l'Opéra, is to appear, so they say here, in the Moniteur, in a day or two. This decree would maintain for all the representations of a work the rights limited at present to forty performances. After that number, the remuneration was lowered by two-fifths: thus the right fixed at 500 frs. for a grand opera, was reduced, after these forty representations, to 300 frs.

The Moniteur announces the little theatre of the BouffesParisiens (Champs Elysées) is to be pulled down, and to be reconstructed on a new plan more appropriate to the comfort of the public and the embellishment of the Champs Elysées.

Last week a sale took place of which I must not forget to tell you. It was the valuable collection of the late Mr. Pierard of Valencienes, and took place in the Salle Drouet. It is a long time since amateurs have been at such a fête, and there are few such collections perhaps in France. During twenty-five years M. Pierard had dedicated a part of his income to the acquisition of the gems of art, and the price his pictures fetched is very great even in France, the sale itself fetched 400,000 frs. Amongst the pictures the "Portrait of Gerard Dow," painted by himself, sold for 37,000 frs.; "La Kermeuse," by D. Teniers, 22,000 frs.; "Le halte des Cavaliers," by Ph. Wouverman, 25,700 frs., and nine other pictures by Vandevelde, Rubens, Ruysdael, Van Ostade, Huysum, Hobbema, Vander Neer, fetched equally high prices. A few days before there had been a sale of the articles de virtù of M. Norry, which were also very remarkable. The Emperor bought some very splendid things, amongst others two Bacchantes by Clodion, for which latter he gave 12,600 frs. The Empress also bought some things there. There was, amongst other things, a head of Greuze, that sold for 35,000 frs.

M. Gudin has painted two very remarkable naval pictures for the Emperor, they are executed in a most masterly manner. The Emperor, on visiting the studio to see them, expressed a wish to have another, the subject of which should be the landing of the troops at Genoa.

Amongst other improvements that have taken place here, the Ecole de Beaux Arts has been enlarged and extends now as far as the Quai Malaquais, before the spot occupied erewhile by the hotel Juiqué; Mr. Dubau, the architect to whom Paris owes the restoration of the Portique d'Anet and Galérie d'Apollon, drew the plans, and this new building is rising with that fairylike rapidity one only sees in Paris. This new part is especially destined to the Concours de l'Ecole, and the exposition of works of art sent from Rome. The first saloon on the rez de chaussée is for the works of sculpture of the pupils of the Villa Medicis; the other saloon on the premier is for the works of painters, engravers, and architects.

The steeple-chase at la Marche, which took place on Sunday, was a very gay affair, and "no end" of brilliant toilettes and gay carriages to enliven the scene. The only tragedian of the day (with exception of Mrs. Kean), Madame Ristori, is now at Brussels, and began her performances, in the Théâtre des Galéries, by Phèdre. The death of poor Jullien has caused, of course, much sensation here, and his brain-fever is attributed to the immense and unceasing efforts he made to bring out the

"monster concerts."

W. A. MOZART.

BY OTTO JAHN.-(FOURTH PART.) (From the Niederrheinische Musik-Zeitung.) (Continued from page 108.)

IV.

SECTION nineteen gives an account of the arrangements undertaken by Mozart, at Van Swieten's suggestion, of some of Handel's oratorios. These are Acis and Galatea, the Messiah which was the one in which he allowed himself the greatest freedom-the Ode on St. Cecilia's Day, and Alexander's Feast. It was Joseph Starzer, and not Mozart, who arranged Judas

Maccabæus.

At the conclusion of this section, we find the following exceedingly seasonable words concerning a certain fashionable partiality for old music (p. 466) :

"We must not leave out of consideration the fact that the historical feeling which would see a work of art appreciated, and rendered only in the form the master gave it, was wanting to that period. By far the greater number of compositions owed their origin and definite shape to accidental circumstances, which even the greatest masters acknowledged as determining conditions; while they endeavoured to satisfy the present, they created for the future. Hence, they used,

*

with the utmost freedom, their previons labours, either wholly or partially, for new tasks, borrowing and employing whatever struck them as serviceable, and, at successive performances, adapting their work, by additions, omissions, and alterations, to the circumstances of each occasion. It was an easy thing to extend this freedom to the productions of foreign masters, especially of former times, and comdressed up in the mode in which the latter could most easily and posers considered themselves justified in presenting them to the public thought allowable, at that period, in this particular, we shall respect most conveniently enjoy them. If we only call to mind what was the artistic feeling with which Mozart performed his task. The philoogically historical way of looking at things which so pervades the civilisation of our times, that we view our literature and art most essentially in this light, requires the enjoyment of a work of art to be founded on historical knowledge and appreciation, and the work of art itself to be presented exactly as the artist created it. That, in the reproduction of musical works of art, this condition, though right in principle, undergoes many restrictions practically necessary, is as equally certain as that it is doubtful how far the great public, who must conform to the demands of the educated, are capable of this kind of enjoyment; at any rate, it is much to be desired that the learned should not set the example.

Section 20 treats of Mozart's professional visit to Berlin; section 21, of the opera, Cosi fan Tutte; Section 22, of a professional journey to Frankfort-on-the-Maine, and the coronation opera, La Clemenza di Tito; and Section 23, of Die Zauberflöte. Concerning Cosi fan Tutte, the author remarks that the defects of the libretto (by De Ponte), would not allow the musical portion of the work to be fully developed, and that the opera, from many influences Mozart was unable to avoid, approaches more nearly than any of the others to the last operas of Italian masters. But, even though this be the case, it never belies the peculiar traits of Mozart's nature, and especially our wonder is excited by

"The rich inventive faculty of the master, who, with an easy hand, strewed about a host of charming and attractive melodies more abundantly than almost anywhere else; melodies which always de lighted the ear without becoming flat and insignificant. Not less wonderful, and, in many respects, even more palpable than elsewhere, does his technical mastery here appear to us. The plan of the several pieces, the connection of the different parts, the grouping of the voices in the concerted pieces, so that the requirements of the dramatic situation and those of the musical form are simultaneously satisfied, are so well defined and transparently clear, with the greatest richness of treatment, that we easily follow even the most complicated movements. Immediately connected with all this are the wonderful freedom and flexibility of the vocal parts, when the composer would combine application of contrapuntal forms, which excite the interest of the different characteristic melodies, and the playful dexterity in the hearer, and keep it actively employed, without his feeling any exertion. But we are more especially astonished in this opera by the delicate feeling for harmony, and the certainty with which the latter is, under all circumstances, achieved. Although this dexterity and skill cannot be separated from the inventive faculty and the talent for organisation, they are not always found co-operating to such a degree; here more especially we perceive exhibited in a most uncommon manner the power of actively employing in unclouded harmony all those component elements which must co-operate in order that full justice may be done to the material expression of musical beauty. This is plainly manifested in the management of the orchestra. Although the latter is not treated with the same delicacy of details as in Figaro, and Don Giovanni, but lightly, simply, and so as to allow full scope to the vocal parts, it is, in another point of view, fuller and more brilliant, and especially richer in certain particular instrumental effects. The wind instruments are brought more forward, in richer and particularly more varied combination, and with a more delicate distinction of light and shade in the various kinds of sound. It is interesting to perceive how much more

Thus Hiller has not only scored Pergolese's Stabat Mater, but also partially arranged it for a chorus of four voices, while J. A. Schulze has turned six instrumental adagios, by J. Haydn, into a cantata, Der Versöhnungstod, for chorus and orchestra. And what has not been made out of Mozart's sacred music! (I. pp. 688, et seq.)

+ Gerber proposed, quite seriously to produce the choruses of the Messiah, according to Mozart's arrangement, but with all the airs composed afresh by well tried composers. (A. M. Z., pp. 832, et seq.)