th; He breaketh the bow and
cutteth the spear in sunder.' The chorus works up to a strong climax on
the words, 'He burneth the chariot with fire,' which is suddenly
interrupted by a decrescendo on the words, 'Be still, and know that I
am God.'

This leads to the third division, which is a return of the second
division in E major, and which is played through almost entirely by the
orchestra, the chorus merely meditating on the words last quoted. This
leads to the final chorus, which is a fugue, in E major, with _alla
breve_ time, on the words, 'And the Lord of Hosts is with us; the God
of Jacob is our refuge,' towards the close of which a _Gloria Patri_ is
introduced, being woven in with fragments of the fugue to a strong
climax. The whole composition finishes with an impetuous accelerando.
My central idea was to make a choral and orchestral work, the solo,
while requiring a good singer, being only secondary. The Psalm seemed
to me particularly adapted for musical composition, as being capable of
a varied, even dramatic effect."

GLEASON.

Frederick Grant Gleason was born at Middletown, Conn., Dec. 17, 1848. He
inherited the love of music from his parents,--his father having been a
flutist and his mother an alto singer and pianist. In his sixteenth year
he showed a decided talent for composition; and two of his works, an
oratorio, "The Captivity," and a Christmas oratorio, though crudely
written, gave such promise that he was placed under the tuition of Dudley
Buck, with whom he studied the piano and composition. He made such rapid
progress that his parents were induced to send him to Germany, where he
at once entered the Leipsic Conservatory. Moscheles taught him the piano,
and Richter harmony, and he also took private lessons from Plaidy and
Lobe. In 1870 he went to Berlin, where he continued his piano studies
with Raif, a pupil of Tausig, and his tuition in harmony with Weitzmann.
After a visit home he went to England and resumed lessons on the piano
with Berringer, another pupil of Tausig, and also studied English music.
He subsequently made a second visit to Berlin, and improved his time by
studying theory with Weitzmann, the piano with Loeschorn, and the organ
with Haupt. During this visit he also issued a valuable work entitled
"Gleason's Motet Collection." After the completion of his studies he
returned home and accepted the position of org