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... e grandeur of the text * the only attempt at sound-painting, is at the words, "EIis wonders in the deep," where the voices in unison have, to the word " deep," the notes D flat, C flat, B flat. From the soft close of this carefulI-worked theme, flows a calm movement for the soprani and alti divisi, 'c The Lord will preser^7e their going out," the key-note of which (A flat) iS treated enharmonicalls, and leads into E major, in which key the whole chorus sing 4 We will lie down in peace." A very ingenious and pleasing modulation Ieads once more into the original key, in which the number is brought to a close by a curtailed treatment of the first sub3Bct. The compiler of the libretto, taking the view that St. Peter, before his divine call, was a disciple of Johll Baptist, here (No. 3), introduces the great Forerunner preaching repentance to his attentive and enquiring hearers. The music to this scene is throughout effective though not always original. The interval of the seventh at the first occurrence of the words, 4; AVho art thou 2 " strongly savours of the <; Say, who art thou," in the Elijah, although the context helps to shield the plagiarism. Admirers of Spohr, will recognise the lovely sequence in 44 Forsake hle not," shorn oi iths embellishments, in the first elltrtr of the words, ;4 WVhat wi]l thou have us to do? " The tenor song which follows, ; O Hotlse of Jacob " (No. 4), is full of pathos, and admirably depicts tlle passionate longing of the preacher for his hearers' retur to righteousness. The moderate compass of the voice part, will enable many to find out its worth. " The Lord will not turn His face " (No. S), is a chorus with a great deal of tune in it, but which, however, is saved from being too savoury, by the introduction of some vigorous imitation to the wordis, ; And cast their sins in the depths of the sea." The call of St. Peter, by our Lord, is recited by the contralto (No. 6) * after which, St. l'eter is brou(rht before us (No. 7). It is much to be regretted that the lir3t words given to the Apostle, in this Ksong, are not more judiciously selected. The reader will agree wlth us, we thinkS when we say, that something nlorx3 coherent might have been put illtO his mouth, than a ,sentence ,slightly altered from l'salm xssi. 19-a fragrnent of the prophecy of the Resurrection from Psa.lrrs xvi. 11; a scrap of So]olnon's PraUyer, I. Itingis viii. 58; and a sentence, also altered, from tile meditation of the Divine NVisdom in Prov. iii. 17. ()f course, a sery good defence of this medley miCht be made by a clever advocate * but as a principle, this unceremollious handling of Scripture, this dloppiIag a few nTolds, altering tenses and personal pronouns, and inserting definite articles, is highly vicious. The music of this song is good, and will always be effective when rendered by a real baritone. The nest number (No. 8), 441'he Lord be a lamp," is one of the freshest and best choruses in tlle whole work: for seveetness of melody and modulation, it deserves unqualified praise. No. 9 i3 a recitalive for the contralto, in rhich is narrated the Lord's command to His disciples to embark. It is followed by a few solemn bars indicative of His retirement for prayer. Only one point is noticeable in this rrlus.ically, and that is the sornewhat mysteriolls wavering sound produced ly the violoncelli tonards the end. No3. 11-21 cover the whole scene of the storm OI1 the Lake of Gennesaret, the walking of Christ on the sea and the sinking of doubting Peter, followed by his profession of Faith in the Son of God. The movements most deserving of llotice here are, a good solid choru.s almost ecclesiastical in style, ;; The deep vlttereth His voice," and all appropriately toned chorus for male voices 4 It is a Spirit." The soprano solo (No. 12), althougl; requiring a very extended compass, and great power of execution, seems not to pos3ess a proportionate amount of originality. The first theme will remind many of a sentence from Hummel, and the entry of the chorus is in a style ill suited to the lvords. The next number (2_) the last of Part I., is a chorus of general thanksgiving " Praise ye the I,ord," very lsold in st-.le, and enclosing an ingeniotlsly writtesl double fugue to the word3, 44 Fire and EIail," the dominallt pedal of which is most effi3ctive. perhaps, hardly suitable to the grandeur of the text * the only attempt at sound-painting, is at the words, "EIis wonders in the deep," where the voices in unison have, to the word " deep," the notes D flat, C flat, B flat. From the soft close of this carefulI-worked theme, flows a calm movement for the soprani and alti divisi, 'c The Lord will preser^7e their going out," the key-note of which (A flat) iS treated enharmonicalls, and leads into E major, in which key the whole chorus sing 4 We will lie down in peace." A very ingenious and pleasing modulation Ieads once more into the original key, in which the number is brought to a close by a curtailed treatment of the first sub3Bct. The compiler of the libretto, taking the view that St. Peter, before his divine call, was a disciple of Johll Baptist, here (No. 3), introduces the great Forerunner preaching repentance to his attentive and enquiring hearers. The music to this scene is throughout effective though not always original. The interval of the seventh at the first occurrence of the words, 4; AVho art thou 2 " strongly savours of the <; Say, who art thou," in the Elijah, although the context helps to shield the plagiarism. Admirers of Spohr, will recognise the lovely sequence in 44 Forsake hle not," shorn oi iths embellishments, in the first elltrtr of the words, ;4 WVhat wi]l thou have us to do? " The tenor song which follows, ; O Hotlse of Jacob " (No. 4), is full of pathos, and admirably depicts tlle passionate longing of the preacher for his hearers' retur to righteousness. The moderate compass of the voice part, will enable many to find out its worth. " The Lord will not turn His face " (No. S), is a chorus with a great deal of tune in it, but which, however, is saved from being too savoury, by the introduction of some vigorous imitation to the wordis, ; And cast their sins in the depths of the sea." The call of St. Peter, by our Lord, is recited by the contralto (No. 6) * after which, St. l'eter is brou(rht before us (No. 7). It is much to be regretted that the lir3t words given to the Apostle, in this Ksong, are not more judiciously selected. The reader will agree wlth us, we thinkS when we say, that something nlorx3 coherent might have been put illtO his mouth, than a ,sentence ,slightly altered from l'salm xssi. 19-a fragrnent of the prophecy of the Resurrection from Psa.lrrs xvi. 11; a scrap of So]olnon's PraUyer, I. Itingis viii. 58; and a sentence, also altered, from tile meditation of the Divine NVisdom in Prov. iii. 17. ()f course, a sery good defence of this medley miCht be made by a clever advocate * but as a principle, this unceremollious handling of Scripture, this dloppiIag a few nTolds, altering tenses and personal pronouns, and inserting definite articles, is highly vicious. The music of this song is good, and will always be effective when rendered by a real baritone. The nest number (No. 8), 441'he Lord be a lamp," is one of the freshest and best choruses in tlle whole work: for seveetness of melody and modulation, it deserves unqualified praise. No. 9 i3 a recitalive for the contralto, in rhich is narrated the Lord's command to His disciples to embark. It is followed by a few solemn bars indicative of His retirement for prayer. Only one point is noticeable in this rrlus.ically, and that is the sornewhat mysteriolls wavering sound produced ly the violoncelli tonards the end. No3. 11-21 cover the whole scene of the storm OI1 the Lake of Gennesaret, the walking of Christ on the sea and the sinking of doubting Peter, followed by his profession of Faith in the Son of God. The movements most deserving of llotice here are, a good solid choru.s almost ecclesiastical in style, ;; The deep vlttereth His voice," and all appropriately toned chorus for male voices 4 It is a Spirit." The soprano solo (No. 12), althougl; requiring a very extended compass, and great power of execution, seems not to pos3ess a proportionate amount of originality. The first theme will remind many of a sentence from Hummel, and the entry of the chorus is in a style ill suited to the lvords. The next number (2_) the last of Part I., is a chorus of general thanksgiving " Praise ye the I,ord," very lsold in st-.le, and enclosing an ingeniotlsly writtesl double fugue to the word3, 44 Fire and EIail," the dominallt pedal of which is most effi3ctive. successful in all their solos, glee3, ctc. Mrs. Paulsen was the accompanist, and SLr. NV. Robilason, as usual, the conductor.