His numerous discoveries in the domain of effects consequent on his profound study of instrumental _timbre_ placed colors upon the palettes of every one of his successors. The supernatural voices of his Wolf's Glen scene are echoed in Verdi as well as in Meyerbeer and Marschner. The fairy footsteps of Oberon's dainty folk are heard not only in Mendelssohn but in all the compositions since his time in which the amiable creatures of supernaturalism are sought to be delineated. The reform, not only in composition, but also in representation achieved by Richard Wagner is an artistic legacy from Carl Maria von Weber. It is but the interest upon the five talents given into the hands of a faithful servant who buried them not in the ground but traded with them "and made them other five talents." [Illustration: [Music] Fac-simile of full score of the beginning of Agatha's great aria, from "Der Freischütz."] [Illustration: H. E. Krehbiel] [Illustration: WEBER'S COAT OF ARMS.] [Illustration: HENRICH MARSCHNER _Reproduction of a lithograph portrait drawn by T. A. Jung and published by Johanning & Whatmore, London, 1830._] [Illustration] HEINRICH MARSCHNER It is a little less than a generation since Heinrich Marschner died after having for the same time been one of the most picturesque and significant figures in the art-life of Hanover. For twenty-eight years he had been Royal Chapelmaster with salary and duties; for two years thereafter General Director of Music with a pension. Affecting a custom common among the men of learning in Germany and the academic musicians of Great Britain, he prefixed the title of his honorary university degree to his signature. He was Dr. H. Marschner. On court occasions he could bedizen his breast with baubles enough to make a brave show amongst the civil and military servants of his Hanoverian Majesty King George V. He was Knight of the Order of the Saxon-Ernestine House; Knight of the Guelphic Order; Knight of the Order of Danebrog; possessor of the Bavarian and Austrian medals for Merit in Art and Science. He was also Honorary Citizen of Hanover. He died suddenly of apoplexy at the age of sixty-six, before his capacity for work had become seriously impaired; his mind was occupied with a new opera when death overtook him. In his day and generation he was one of the most admired of Germany's opera writers. He lived to see nearly all of the colleagues and rivals of his prime die and their creations fade out of public memory. Lindpaintner, Dorn, and Reissiger are names that come to our ears like faint echoes of once-living voices. Kreutzer and Lortzing wake at long intervals in sporadic performances in small or provincial theatres. Marschner is in a more fortunate case, for his was greater genius. Three of his operas still have a considerable degree of vitality, and some of his stirring part-songs for men's voices are yet sung and heard with delight. But only in Germany. Dust lies deep upon