I have purposely omitted to mention four concertos for piano and orchestra, because these productions, which are of a high order, have brought to mind an incident which is worthy a special place in this biography. These four fine works were brilliantly performed on the same evening in the Salle Pleyel by Mme. Marie Jaëll, the pianist so famous for her extraordinary, not to say marvellous, powers of execution. This was, indeed, a feat on the part of the virtuoso as well as an interesting exhibition of artistic talent, and its success was complete. The performances began at nine o’clock in the evening and ended at half-past eleven. Throughout this long and difficult test there was not the slightest momentary defect, either in the playing of the orchestra or in that of the experienced and skilful pianist. For the success of so difficult a task the most subtle artistic feeling and exceptional muscular force were necessary. Mme. Jaëll possessed these qualities in such measure that the soirée devoted to the four concertos of Saint-Saëns will never fade from the memory of those who were present. Besides these concertos we should mention a concerto-fantaisie for piano and orchestra written in 1891 for Mme. Roger-Niclos, which she played with great success at the Colonne concerts. This work has recently been published. In his work entitled “Virtuoses Contemporains,” our dear master and friend, Marmontel, has felicitously described the style of piano playing characteristic of Saint-Saëns. “Saint-Saëns is as accomplished a pianist as he is an organist. He attacks the piece in hand with great energy, and keeps perfect time. His fiery and brilliant execution is flawless even in the most rapid passages. His powerful but admirably modulated playing is full of majesty and breadth; and the only fault that can be found with his masterly execution is, perhaps, the excess of rhythmical precision. Ever master of himself, Saint-Saëns leaves nothing to chance and does not, perhaps, always yield sufficiently to the pathetic. On the other hand, the virtuoso always acquits himself with irreproachable accuracy.” For many years Saint-Saëns has quitted Paris in the winter, to seek the warm sunshine under the blue skies of those favored countries to which the sun remains ever faithful. In order to travel and pass his time free from all annoyance, the composer has adopted the excellent custom of departing from Paris without any flourish of trumpets, without informing anyone where he intends to sojourn, and often without knowing, himself, exactly where he will pitch his tent. On leaving Paris on the 30th of November, 1889, he charged his worthy friend and colleague, Guiraud, of the Institut, now no more, alas! in case the Académie de Musique should authorize the rehearsals of his “Ascanio,” to begin during the composer’s absence. It was put in hand, and M. Guiraud, with score before him, followed the rehearsals with the utmost care and assiduity. [Illustration: