in which the seraphim plead
for Marguerite. The legend closes with "Marguerite's Glorification," a
jubilant double chorus announcing her pardon and acceptance among the
blest.

[16] This march, though the best known of all Hungarian airs, is liable
to be confounded with others bearing the same name. It forms one of
the group of national patriotic melodies called into existence by the
heroism of the Transylvanian prince Franz Rakotzy, who at the
beginning of the last century fought with rare valor, though little
success, against the dominating power of Austria. Who composed it
remains as unknown as the authorship of its less familiar companions;
but though the origin of the tune, like that of so many others which
nations cherish, is veiled in mystery, the march has enjoyed an
enviable prominence. It was proscribed by the Austrian Government in
the bad days when Hungary was treated as a conquered appanage of the
Hapsburgs; its performance was a criminal act, and the possession of
printed or written copies, if suspected, brought down domiciliary
visits from the police.--_Albert Hall Programmes_, 1874.

BRAHMS.

Johannes Brahms, one of the most eminent of living German composers, was
born at Hamburg, May 7, 1833. His father was a double-bass player in the
orchestra in that city, and devoted his son at a very early age to his
own profession. His first piano teacher was Cossell; but to Edward
Marxsen, the royal music director, he owes his real success as a
composer. Brahms remained in Hamburg until 1853, when he went upon a
concert-tour with Remenyi, the eccentric and somewhat sensational
Hungarian, who has been a familiar figure upon the American
concert-stage. He remained with him however but a very short time, for in
October of that year they parted company. Brahms had attracted the notice
of Liszt and Joachim, and it may have been through their advice that the
musical partnership was dissolved. In any event, soon after leaving
Remenyi he went to Duesseldorf and visited Schumann, who announced him to
the musical world in a very enthusiastic manner. The next year (1854)
appeared his first works,--three sonatas, a trio and scherzo for piano,
and three books of songs. After a visit to Liszt at Weimar he settled
down as chorus-conductor and music-teacher at the court of Lippe-Detmold,
where he remained a few years. After leavin