Unlike the greater number of Italian composers, whose highest aim was a cheerful, agreeably stimulating artistic enjoyment, there is in Cherubini an element of severity, an aristocratic elegance of expression, which often border on coldness. Strains such as enchant the multitude are of infrequent occurrence in his music. It is, therefore, not to be wondered at that the multitude kept itself aloof from him. Only one of all his operas, "Les Deux Journées," now known in Germany under the name of "Der Wasserträger" (The Water Carrier), was able to attain a lasting popularity. For a variety of reasons, also, his sacred compositions have failed to become widely known. The masses and requiems are, first of all, too grand and earnest, too difficult and full of meaning, to adapt themselves to the vapid style of Catholic Church music, and, when performed in the concert room, they do not often produce their full effect. Nor is the three-part writing, which Cherubini has repeatedly employed with reference to the needs of the French church choirs, at all suited to the requirements of our choral societies. It is, unfortunately, too often the case that trifling obstacles of a similar character interfere with a proper appreciation of the finest productions of genius. The fact that the name of Cherubini does not stand inscribed in the temple of fame with those of Haydn, Mozart, and Beethoven must be attributed in some degree to unfamiliarity with his works on the part of the public, but is still further owing to the peculiarity of the artist's musical nature, and to the remarkable place which he has created for himself in and beyond the musical life of the nations. To estimate him at his full value should be the distinctive office of the German people; and it is indeed true that, while he is everywhere spoken of with respect, there exists to-day, in the select circle of German musicians and musical critics, as little doubt as existed five-and-twenty years ago that a place should be accorded to Cherubini among the greatest composers whom the world has known. He mastered musical forms and resources to an extent that has been rarely equalled. In the severe contrapuntal style of composition, which has gone more and more out of fashion since Beethoven, he surpassed all his contemporaries, whatever might be their relations to him in other respects. With the single exception of Sebastian Bach, no composer has ever employed the contrapuntal forms so freely, intelligently, and profoundly as Cherubini; while as regards harmony and transparent clearness, he stands even before Bach in the most complicated of his works. A thorough mastery of counterpoint is of more especial importance in vocal church music, although dramatic composition also affords it sufficient opportunity, and it can nowhere be entirely dispensed with. In addition to his skill in this direction, Cherubini had complete control over the technique and the forms of modern instrumental