the pace of the movements that there is no feeling of monotony on this account. No prismatic words can give an idea of this "triumph of euphony"; although German commentators have exhausted what has been inelegantly described as "the drivel of panegyric." It is true that there are points of resemblance to Haydn's style; "but Mozart's individuality is here so overpowering as to have given its distinguishing stamp to these very features." No wonder that German romanticists have sought refuge in extravagance in description. Apel attempted to turn the symphony into a poem which was to imitate in words the character of the different movements. Hoffmann, writer of tales of horror, composer and conductor, caricaturist, critic, and official, one of the first to realize the greatness of Beethoven, called the symphony the "Swan Song." "Love and melancholy breathe forth in purest spirit tones; we feel ourselves drawn with inexpressible longing towards the forms which beckon us to join them in their flight through the clouds to another sphere. The night blots out the last purple rays of day, and we extend our arms to the beings that summon us as they move with the spheres in the eternal circles of the solemn dance." Our criticism of to-day is written in a different spirit. We use freely the test-tube and litmus paper; we pry and analyse. Such out-pourings we call hifalutin; but it must be remembered that the acute Hoffmann put them into the mouth of the half-crazed Johannes Kreisler. A striking contrast to the E-flat symphony is the G minor written in July, 1788. Deldevez has described it in a sentence; "It is graceful, passionate, melancholy; it is inspiration united with science." Deldevez has also pointed out that it is the truest and the most complete expression of the minor mode; that the tonality is treated in the most vigorous manner; that the modulations succeed each other according to the severe precepts of the school. It is the symphony of Mozart that is most full of passion, and yet the composer never forgot in writing it that "music, when expressing horrors, must still be music." The symphony in C, August, 1788, is called, for some reason or other, possibly for its majesty, the "Jupiter." There is here not so much of human sentiment and passion as in the G minor symphony, but there is the splendor, as well as the serenity that is peculiar to Mozart; and the finale is a masterpiece of contrapuntal skill that is unsurpassed in music, for the fugue is made on a symphonic plan, and thus two distinct art-forms are moulded into one. Jahn has said that the highest quality of these three symphonies is "the harmony of tone-color, the healthy combination of orchestral sound," and he admits at the same time the impotence of language to reproduce the substance of a musical work. Richard Wagner wrote that "the longing sigh of the great human voice, drawn to him by the loving power of his genius, breathes from his instruments." And in these sayings the