descriptive incantation music summoning the demon and the supernatural agencies which will compass the defeat of Arthur’s enemies.  Then comes the interview between the demon and the Fay Morgana, in which he learns the secret of Merlin’s weakness.  In the next scene Arthur returns from his victory over the Saxons to the tempo of a stirring march, and accompanied by the joyous choruses of women.  A vigorous episode, in which Bedwyr, one of Arthur’s knights, is charged with treachery, is followed by Merlin’s chant of victory with chorus accompaniment.  As its strains die away a distant horn announces Viviane, who makes her appearance singing a breezy hunting song with her maidens, leading up to a spirited septet.  Then follows the baffled attempt of Viviane to crown Merlin, the scene closing with a repetition of the chant of victory and the choruses of jubilation.

The second act opens in the enchanted gardens of Merlin; and the first scene reveals a conspiracy to seize the crown during Arthur’s absence and proclaim Modred king, and the farewell of Arthur and his suite to Merlin.  The magic-veil scene follows with its fascinating dance tempos, and leads with its graceful measures up to the passionate love-scene between Merlin and Viviane, which is harshly broken in upon by the clash of arms between Modred and his perfidious companions and the faithful friends of Arthur.  A dramatic scene of great energy follows, in which Viviane at last throws the magic veil around Merlin with the transforming results already told.

The last act opens with Viviane’s mournful lament for the wretched fate which she has brought down upon her lover, and the announcement of the means by which he may be released made to her in slumber by the Fay Morgana.  Her maidens seek to rouse her with choral appeals, in which are heard phrases of her hunting song.  Meanwhile mocking spirits appear about Merlin and taunt him in characteristic music.  Then follows the compact with the demon, which releases him.  He rushes into the battle accompanied by an exultant song from Viviane; but soon the funeral march, as his followers bear him from the field, tells the mournful story of his fate.  A very dramatic ensemble contains the deed of self-sacrifice, by which Viviane ends her life to redeem Merlin from the demon, and with this powerful effect the opera closes.

GOUNOD.

Charles Francois Gounod was born, in Paris, June 17, 1818.  He studied music in the Conservatory, under the direction of Halevy, Lesueur, and Paer, and in 1839 obtained the first prize, and, under the usual regulations, went to Italy.  While at Rome he devoted himself largely to religious music.  On his return to Paris he became organist of the Missions Etrangeres, and for a time seriously thought of taking orders.  In 1851, however, he brought out his first opera, “Sappho,” which met with success.  At this point his active career began.  In 1852 he became conductor of