gro ("A thousand
hideous Deaths I'd make him die"). The next number is a very graphic and
spirited hunting-chorus ("Hark! the Morn awakes the Horn"), introduced
and accompanied by the horns, and full of breezy, out-door feeling. A
long dialogue follows between Hubert and the Count, somewhat gloomy in
character, in which the former arouses his master's jealous suspicions.
The gloom still further deepens as Hubert suggests the manner of
Fridolin's death ("Mid yon gloomy Mountains"). Then follows the message
to the forge by the Count in monotone phrases ("Mark, ye Serfs, your
Lord's Commands") and the scene closes with a very dramatic duet ("Death
and Destruction fall upon his Head"). In striking contrast with these
stormy numbers comes the charming, graceful chorus of the handmaidens
("Calmly flow the equal Hours"), followed by a very expressive song for
the Countess ("No Bliss can be so great"). A short scene in recitative
leads up to a tender duet ("Above yon Sun, the Stars above") for Fridolin
and the Countess, closing with a powerful quartet for the four principal
parts ("Now know I, Hubert, thou speakest true").

The ninth scene is admirably constructed. It opens with an animated and
picturesque dance and chorus of villagers ("Song is resounding, Dancers
are bounding"), which swings along in graceful rhythm until it is
interrupted by a solemn phrase for organ, introduced by horns, which
prepares the way for a chorale ("Guardian Angels sweet and fair"),
closing with Fridolin's prayer at the shrine, interwoven with a beautiful
sacred chorus ("Sancta Maria, enthroned above"). In a recitative and
ballad ("The wildest Conflicts rage within my fevered Soul") the Count
mourns over what he supposes to be the infidelity of his wife, followed
by a long and very dramatic scene with the Countess ("My Waldemar, how
erred thine Eglantine?"). The last scene is laid at the forge, and after
a short but vigorous prelude opens with a chorus of the smiths ("Gift of
Demons, raging Fire"), in which the composer has produced the effect of
clanging anvils, roaring fire, and hissing sparks with wonderful realism.
The chorus closes with passages describing the providential rescue of
Fridolin and the fate of Hubert, and an _andante religioso_ ("Let your
Voices Anthems raise"). The epilogue is mainly choral, and ends this very
dramatic work in broad flowing harmonies.

RHEINBERGER.

Joseph Gabriel Rheinbe