arrangement of the Abbé's opera "Samori" and two sets of variations on themes from that opera and "Castor and Pollux" might be variously interpreted. The Abbé had the gift of attaching young men to himself and was probably not averse to such tributes as his affectionate pupils paid him in the revamping of his ideas; but if Weber's own testimony is to be accepted he must have helped him greatly in the direction where his greatest needs lay. In Breslau he began the composition of "Rübezahl" (text by J. G. Rhode, the managing director of the private company that maintained the theatre), and composed an a Overturn Chinesa," utilizing for the purpose a Chinese melody entitled "Lieu-ye-kin." This overture he remodeled a few years later and prefixed it to Schiller's adaptation of the Italian Gozzi's masque "Turandot" for which he also composed six incidental pieces. How one who was so happy a few years later in the application of local color should have persuaded himself to use a Chinese melody with its characteristic pentatonic scale in an overture to a play based on a Persian subject does not appear. Weber's stay with Duke Eugene was not without profit, though his compositions were chiefly instrumental and, barring two symphonies, in the smaller forms. In Stuttgart where his musical services to Duke Ludwig were confined to instructing his children, he undertook a resetting of "Das Stumme Waldmädchen," the book of which had been worked over by Franz Carl Hiemer, the leading spirit of the dissolute coterie known as "Faust's Höllenfahrt." Weber seems to have spent two years on this work, or rather to have spread it out over two years of time, a circumstance which, when contrasted with the rapidity of his work on his second opera as a lad of thirteen, tells its own tale of the effect of the influences which surrounded him. It was at a rehearsal of this opera, renamed "Sylvana," that the King chose to have him arrested to gratify a petty vengefulness. The work came into new notice in connection with the German celebrations of Weber's centenary in 1886 by reason of a second revision and revival after it had been forgotten for full half a century. This "revision," however, for which Ernst Pasqué and Ferdinand Langer are responsible, is almost if not quite as original a piece of work as that done by Weber in the remodeling of "Das Stumme Waldmädchen." The three-act play is expanded into one of four acts; the dumb maiden is metamorphosed into a particularly brilliant _soprano leggiero_; a ballet is introduced consisting of the "Invitation to the Dance," which was composed in 1817, and the Polonaise in E-flat which dates back to the Stuttgart period; several of Weber's songs are interpolated (a hint of Widor's having seemingly been acted on), and vocal numbers are constructed out of two sonata movements. [Illustration: PORTRAIT OF WEBER, IN HIS TWENTY-FOURTH YEAR. Painted by Jos. Lang, the actor-painter (brother-in-law of Mozart). Engraved by Joh. Neidl.]