yet reached this
country, the author has taken the liberty of transferring the above
analysis of it to his work from the London "Musical Times" for May,
1887. Although its local character may preclude its performance here,
it is not improbable that the composition of a composer so eminent
will attract attention among American musicians.

MASSENET.

Jules Emile Frederic Massenet, a composer as yet but little known in this
country, was born at Montaud, France, May 12, 1842. His musical education
was obtained in the Paris Conservatory, in which between the years 1859
and 1863 he carried off two first prizes and one second. After leaving
the Conservatory, he went to Italy for a time and pursued his studies in
composition. On his return to Paris one of his operas, "La Grand Tante,"
was produced at the Opera Comique (1867) through the influence of
Ambroise Thomas, and this performance called attention to the works of
the rising young musician. In 1872 he brought out "Don Caesar de Bazan,"
an opera comique in three acts, and in the following year incidental
music to the tragedy "Les Erinnyes," after AEschylus. Among his works
written since that time are "Le Roi de Lahore" (1877); "Herodiade"
(1882); "Manon" (1885); "Le Cid" (1885); the cantata "Paix et Liberte"
(1867); "Marie Magdaleine" (1873); "Eve," a mystery (1875); "La Vierge,"
sacred legend; and "Narcisse," antique idylle (1878). Among his
orchestral works the best known are "Suites d'orchestre;" "Scenes
Hongroises;" "Scenes Pittoresques;" "Scenes Dramatiques;" overture
"Phedre;" and "Pompeia," fantasia-symphony. He has also written numerous
songs and piano-forte pieces. His operas thus far have been his most
successful works, though several of his large concert pieces have been
very favorably received. He now occupies a position in the Paris
Conservatory, and is regarded as one of the most promising members of the
modern French school.

Mary Magdalen.

"Mary Magdalen" was written in 1873, and was first performed at the
Odeon, Paris, in that year, with Mmes. Viardot and Vidal and MM. Bosquin
and Petit in the solo parts. It is styled by its composer a sacred drama,
and is divided into three acts, the first entitled "The Magdalen at the
Fountain;" the second, "Jesus before the Magdalen;" the third,
"Golgotha," "The Magdalen at the Cross," and "The Tomb of Jesus and the
Resurr