alogue follows between Adam and the Narrator, and the
Angels renew their greeting, this time to Eve. This leads up to a lovely
duet between Adam and Eve ("Teach us then to come before Thee"), which is
very gracefully constructed, and tenderly melodious in character. The
final number is a chorus of the Angels ("Clear resounded the Trumpets of
Heaven"), beginning in broad, flowing, jubilant harmony, then developing
into a fugue on the words "Praise the Almighty One," built up on a
subject full of exultation and grandeur, and closing with a Hallelujah
delivered with mighty outbursts of power.

The third part is devoted to the fall of Adam and Eve and their
banishment from Eden, closing with the announcement of the ultimate
salvation of mankind. Both the Almighty and Satan appear in this part,
the former's music being sung by the tenor voice; though, curiously
enough, the latter's music is much the more attractive.

SAINT-SAENS.

Charles Camille Saint-Saens, famous as composer, pianist, and critic, was
born in Paris, Oct. 9, 1835. He began his musical studies at a very early
age. In his seventh year he took piano lessons of Stamaty and studied
harmony, and in his twelfth was a student at the Conservatory, where he
took two organ prizes; though he failed on two occasions in his
competition for the Prix de Rome. His first symphony appeared in 1851,
and was performed with success. In 1853 he was appointed organist of the
Church of St. Merri, and five years later secured a like position at the
Madeleine, which he filled with high honor for nineteen years, finally
resigning in favor of Theodore Dubois. In 1867 he was awarded a prize for
his cantata "Les Noces de Promethee" by the Paris International
Exhibition, and the next year he was received with distinguished honor at
the Artists' Meeting in Weimar, both as pianist and composer. His
operatic career began about this time. "La Princesse jeune" appeared in
1872, and "Le Timbre d'Argent" in 1877; but neither was successful. His
next work was the sacred drama "Samson et Dalila," produced at Weimar in
the latter part of 1877; followed by "Etienne Marcel" at Lyons in 1879.
In addition to his operas he has written several cantatas, among them
"The Deluge" and "La Lyre et la Harpe," composed for the Birmingham
Festival of 1879; three symphonies; four symphonic poems, "La Rouet
d'Omphale," "Phaethon," "Danse Macabre," and "La Jeunesse d'Hercule