of the Cadi in a chest.  The commotion and tumult end in bringing the Caliph upon the scene, and the unfortunate youth is discovered half dead in his hiding-place.  He is revived by the barber, and presented with the hand of Margiana.  To this silly story Cornelius wrote music of extraordinary power and beauty.  Much of it is of course light and trivial, but such scenes as that of the Muezzin call, or the wild confusion of the last finale, are fully worthy of the master upon whom Cornelius modelled his style.  Cornelius had a pretty gift for humorous orchestration, and his accompaniments often anticipate the dainty effects of ‘Die Meistersinger.’  ’Das Rheingold’ being still unwritten in 1858, it would be too much to expect a systematised use of guiding themes, but they are often employed with consummate skill, and in the Muezzin scene the music of the call to prayer forms the basis of a symphonic passage, which is thoroughly in the style of Wagner’s later works.  Cornelius left two posthumous works, ‘Der Cid’ and ‘Gunloed,’ which have been produced during the last few years.  They are little more than imitations of Wagner’s maturer style.  Hermann Goetz (1840-1876) was a composer whose early death cut short a career of remarkable promise.  He produced but one opera during his lifetime, but that displayed an originality and a resource for which it would be vain to look in the multifarious compositions of the Kapellmeisters of the period.  ‘Der Widerspaenstigen Zaehmung’ follows the incidents of ‘The Taming of the Shrew’ very closely.  The action begins at night.  Lucentio is serenading Bianca, but his ditty is interrupted by a riot among Baptista’s servants, who refuse to submit any longer to Katharine’s ill-treatment.  Peace is restored, and Lucentio resumes his song.  A second interruption is in store for him in the shape of Hortensio, another of Bianca’s suitors, also upon serenading bent.  Baptista, angry at being disturbed again by the quarrels of the rival musicians, dismisses them with the information that Bianca shall be bestowed upon neither of them until Katharine is wedded.  Petruchio now enters, and fired with Hortensio’s description of Katharine’s beauty and spirit, vows to make her his own.

The second act begins with a scene between Katharine and her sister, which conclusively proves that the reports of the former’s shrewishness have not exceeded the truth.  Hortensio and Lucentio, disguised respectively as a music master and a teacher of languages, are now ushered in, and receive most uncourteous treatment at Katharine’s hands.  The act ends with Petruchio’s wooing of Katharine, and the settlement of their wedding-day.  In the third act comes the marriage of Petruchio and Katharine, and the fourth act shows the taming of the shrew in strict accordance with Shakespeare’s comedy.  Goetz’s music brims over with frolicsome humour and gaiety, and the more serious portions are tender without being sentimental.  The influence of Wagner is more plainly