entiment of the text, accompanied by very
expressive instrumentation. An _allegro presto_, infused with the very
spirit of hopeless gloom and despair, ends the cantata:--

"Woe's me! deceived, betrayed!
Earth holds no consolation."

In the mythological version, however, consolation came; for Bacchus,
"ever young," and full of pity for lorn maids, married her, and gave her
a crown of seven stars, which after her death was placed among the
constellations. The music presents many difficulties for a singer, as it
requires the noblest style of declamation, peculiar refinement of
sentiment, and rare musical intelligence, as well as facility in
execution to give expression to its recitative and strongly contrasting
melodies, which have no unity of key, but follow the varying sentiments,
with their changes of tone-color, as closely as Theseus followed his
thread.

HILLER.

Ferdinand Hiller, one of the most eminent of modern German composers,
and a writer of more than ordinary ability, was born at
Frankfort-on-the-Main, Oct. 24, 1811. His musical talent displayed itself
so early that in his tenth year he appeared in concerts. In 1825 he began
his studies with Hummel, and two years afterwards accompanied him on a
concert-tour to Vienna, where he published his first work, a piano-forte
quartet. He next went to Paris, where he remained until 1835, occupying
for a time the position of professor in Choron's "Institution de
Musique," but principally devoting himself to piano-playing, composition,
and concerts. In 1836 he returned to Frankfort, and for more than a year
conducted the concerts of the Coecilienverein. He then went to Milan,
where he met Rossini, and with his assistance brought out his opera
"Romilda" at La Scala, but without much success. About the same time he
began his oratorio "The Destruction of Jerusalem," one of his most
important works. In 1841 he made a second journey to Italy and gave
particular attention to church music. On his return he first resided at
Frankfort, but was soon in Leipsic, where he conducted the Gewandhaus
concerts (1843-44), and after that time in Dresden, where he produced two
more operas, "Traum in der Christ-nacht" and "Conradin." In 1847 he was
appointed municipal capellmeister at Duesseldorf, and three years later
took a similar position at Cologne, where he organized the Conservatory.
In that city he exercised a widespread influence, not al