called personal themes are the opening notes of "The Star-Spangled Banner" for Pinkerton and the melody (d) which comes in with Yamadori, in which the Japanese tune used by Sir Arthur Sullivan in "The Mikado" is echoed. The former fares badly throughout the score (for which no blame need attach to Signor Puccini), but the latter is used with capital effect, though not always in connection with the character. If Signor Puccini had needed the suggestion that Japanese music was necessary for a Japanese play (which of course he did not), he might have received it when he saw Mr. Belasco's play in London. For the incidental music in that play Mr. William Furst provided Japanese tunes, or tunes made over the very convenient Japanese last. Through Mr. Belasco's courtesy I am able to present here a relic of this original "Butterfly" music. The first melody (a) was the theme of the curtain-music; (b) that accompanying Cho-Cho-San, when discovered at the beginning spraying flowers, presenting an offering at the shrine and burning incense in the house at the foot of Higashi hill; (c) the Yamadori music; (d) the music accompanying the first production of the sword; (e) the music of the vigil. There were also two Occidental pieces--the melody of a little song which Pinkerton had taught Cho-Cho-San, "I Call Her the Belle of Japan," and "Rock-a-bye, Baby." [figure: a musical score excerpt] [figure: a musical score excerpt] Themes from Puccini's "Butterfly" music By permission of Ricordi & Co. [figure: a musical score excerpt] Meiodies from Mr. Furst's "Butterfly" music By permission of Mr. David Belasco. CHAPTER XIII "DER ROSENKAVALIER" In the beginning there was "Guntram," of which we in America heard only fragmentary echoes in our concert-rooms. Then came "Feuersnot," which reached us in the same way, but between which and the subject which is to occupy me in this chapter there is a kinship through a single instrumental number, the meaning of which no commentator has dared more than hint at. It is the music which accompanies the episode, politely termed a "love scene," which occurs at the climax of the earlier opera, but is supposed to take place before the opening of the curtain in the later. Perhaps I shall recur to them again--if I have the courage.