ideas accords with a melody from the "Creation," and the whole work is certainly to be regarded as a heartfelt tribute of admiration offered by Cherubini to the great German master. The work was performed at the Paris _Conservatoire_ in the winter of 1810, the death of Haydn having occurred in the preceding year. Cherubini, however, inscribed it in the list of his works under the date 1805, and it is not yet known whether it was composed in consequence of a false report of Haydn's death or was originally a song of praise dedicated to the Viennese composer in the year when the two musicians first met, and subsequently converted into a lament. While Cherubini had shown in his youth a certain interest in the composition of church music, and in mature years had turned his attention for a long time in other directions, he had not thus far occupied himself with German chamber music and the symphony. But in his last creative period he entered upon this domain. In 1814 he composed his first, and, for a considerable interval, only string quartet. In the following year he wrote for the Philharmonic Society in London a concert overture in G major and a symphony in D major, the latter being the sole work of its class he ever gave to the world. In 1829 he finished a second string quartet in C major, for which he made a rearrangement of his symphony, including a new _adagio_. The third quartet in D minor, a very spirited production, was completed on the 31st of July, 1834, and three more works of the same kind followed it before the autumn of 1837, as also another string quintet. The musician's financial affairs now began to take a more favorable turn. After the restoration of the Bourbons the _Conservatoire_ was temporarily closed but reopened somewhat later, under the title "École royale de chant et de déclamation," when Cherubini resumed his old place as teacher of counterpoint. Moreover, in 1816 the king made him director of the royal band, an office which he magnanimously shared with Lesueur. It was for this organization, to which were attached the most distinguished singers and instrumentalists, whose performances were extolled as unsurpassed, that Cherubini wrote the most of his greater and lesser sacred compositions. The brevity of the service at which the chapel choir was required to assist is seen in the character of the compositions themselves. The music, like the service, being necessarily short, masses such as those in F major and D minor were not available. Cherubini was obliged to condense his ideas as much as possible, but the external pressure at this time, far from injuring his style, served only to increase its effectiveness. It was often the case, moreover, that only a single portion of the mass was celebrated in musical form, which accounts for the great number of _Kyrie_ and other fragmentary compositions found among his works. [Illustration: MONUMENT TO CHERUBINI.