d around forget to sneer and nod,
The king's bold warriors bow before their God.
The queen, to pleasure and to melancholy willing prey,
Down to the singers casts the rose which on her bosom lay,"--

which leads up to the tragedy, it is the singing of the "Hohe Liebe"
which is made the motive by Pohl, who from this point on follows the
story as told by Uhland.

The work contains fourteen numbers. The first two verses, describing the
castle and its haughty monarch, are sung by the narrator, and are
followed by an alto solo, very bright and joyous in style, which tells of
the arrival of the two minstrels. The fourth number is a Provencal song,
full of grace and poetical feeling, sung by the youth, followed by full
chorus. The King angrily interposes in the next number, "Enough of Spring
and Pleasure," whereupon the harper sings a beautiful ballad interpolated
by the librettist. The queen follows with a quiet, soothing strain,
appealing for further songs, and in reply the youth and harper once more
sing of spring. The youth's powerful song of love, which changes to a
trio in the close, the queen and harper joining, indicates the coming
tragedy, and from this number on the chorus follows the story as told by
Uhland, with great power and spirit. The general style of the work is
declamatory, but in many of its episodes the ballad form is used with
great skill and effect.

SINGER.

Otto Singer was born in Saxony, July 26, 1833, and attended the Leipsic
Conservatory from 1851 to 1855, studying with Richter, Moscheles, and
Hauptmann. In 1859 he went to Dresden and for two years thereafter
studied with Liszt, of whom he was not only a favorite scholar but always
a most zealous advocate. In 1867 he came to this country to take a
position in the Conservatory at New York, then under the direction of
Theodore Thomas and William Mason. In 1873, upon Mr. Thomas's suggestion,
he went to Cincinnati and became the assistant musical director of the
festival chorus of that city, a position which he filled with eminent
ability for several years. At the festival of 1878 he conducted the first
performance of Liszt's "Graner Mass" in this country, and also his own
"Festival Ode" set to a poem by F. A. Schmitt, and written to commemorate
the dedication of the new Music Hall. In the same year the Cincinnati
College of Music was organized, and he was engaged as one of the
principal instructors, a p