;" a
large number of concerted pieces with orchestra, songs and romances, as
well as chamber-music and compositions for piano and organ. His sacred
music includes the following works: mass for four voices, Requiem Mass,
"Oratorio de Noel," "Tantum Ergo," the Nineteenth Psalm for solos,
chorus, and orchestra, and many minor pieces for choir use. He has been a
prolific writer, but his fame thus far rests upon his instrumental music.
He has travelled much as a virtuoso in Russia, Spain, Germany, and
England, conducting his own compositions, and also giving piano and organ
recitals, in which he has met with great success. He also ranks high as a
musical critic, and many of his contributions to the Parisian press have
been collected, with a view to publication in a separate volume. Of late
he has obtained considerable notoriety by his controversial articles on
the Wagner question,--in which, however, national prejudice sometimes has
been more apparent than cosmopolitan judgment. As a composer, he is
unquestionably more learned than are any of his native contemporaries,
and he has made a closer study of Bach than even Gounod has. His
descriptive powers are very strong, as is evidenced by the symphonic
poems which Mr. Thomas has introduced into this country. They even go to
the verge of the sensational; but, on the other hand, the study of his
"Oratorio de Noel" and of his transcriptions from Bach will show that he
is a master of counterpoint and thematic treatment.

Christmas Oratorio.

"Noel," Saint-Saens' Christmas oratorio, in dimensions hardly exceeds the
limits of a cantata, but musically is constructed in oratorio style. Its
subject is the nativity, combined with ascriptions of praise and a final
exultant hallelujah. The work is short, but very effective, and is
written for five solo voices and chorus, with accompaniment of strings
and organ, and the harp in one number. It opens with a pastoral symphony
of a very melodious character. The first number is the recitative, "And
there were Shepherds," including the angelic message and the appearance
of the heavenly hosts, the subject being divided among the tenor, alto,
soprano, and baritone, and leading up to the first chorus ("Glory now
unto God in the highest"), which is quite short, but beautifully written.
The next number is an aria for mezzo-soprano ("Firm in Faith"), which is
very simple, but graceful in its melody. The fourth number