lelujah, is followed by another fugue ("Thine is the
Kingdom"), closing with a tumultuous ascription of praise, and Amen. The
solo parts in the oratorio are always short and of a reflective
character. It is peculiarly a choral work, of which, with one or two
exceptions, the predominant traits are sweetness, tenderness, and grace.
In these exceptions, like the great chorus, "Destroyed is Babylon," with
its wonderful accompaniments, it reaches a high strain of sublimity.

SULLIVAN.

The great popularity which Arthur Seymour Sullivan has enjoyed for a few
years past, growing out of his extraordinarily successful series of comic
operettas, beginning with "The Sorcerer" (1877), which first caught the
public fancy, and ending with "The Mikado" (1885), has almost
overshadowed the permanent foundations upon which his reputation must
rest; namely, his serious and sacred music. He was born in London, May
13, 1842. His father, a band-master and clarinet-player of distinction,
intrusted his musical education at first to the Rev. Thomas Hilmore,
master of the children of the Chapel Royal. He entered the Chapel in 1854
and remained there three years, and also studied in the Royal Academy of
Music under Goss and Sterndale Bennett during this period, leaving the
latter institution in 1858, in which year he went to Leipsic. He remained
in the Conservatory there until 1861, when he returned to London and
introduced himself to its musical public with his music to Shakspeare's
"Tempest," which made a great success. The enthusiasm with which this was
received and the favors he gained at the hands of Chorley, at that time
musical critic of the "Athenaeum," gave him a secure footing. The cantata
"Kenilworth," written for the Birmingham Festival, the music to the
ballet "L'Ile enchantee," and an opera, "The Sapphire Necklace," were
produced in 1864. In 1866 appeared his first symphony, which has been
played not only in England, but also in Germany, and an overture, "In
Memoriam,"--a tribute to his father, who died that year. The next year
his overture "Marmion" was first performed. In 1869 he wrote his first
oratorio, "The Prodigal Son," in 1873 "The Light of the World," and in
1880 "The Martyr of Antioch;" the first for the Worcester, the second for
the Birmingham, and the third for the Leeds festivals. The beautiful
"Overture di Ballo," so frequently played in this country by the Thomas
orchestra, was