We bear in mind several scores by Saint-Saëns which do not appear in the general catalogue of his works. First of all, there is a very fine composition for a military band, which the illustrious musician was good enough to write at my request, in 1868, for the celebration of Hoche’s centenary at Versailles. A short time ago I asked Saint-Saëns why he had not published this beautiful work, written as a tribute to the memory of the great French general, and which is so full of stirring patriotic sentiment. The composer replied that he did not know what had become of this music since the day on which it was solemnly performed before the statue of Hoche at Versailles. The full score and the orchestral parts have remained undiscovered up to the present time. I may also mention, as among the compositions of Saint-Saëns, which are not included in the catalogue of his works, an extremely original, bright and thoroughly artistic work written for several instruments and called “Le Carnaval des Animaux.” Only one of the animals in this merry Carnival has been honored by publication, viz.: “The Swan,” whose song is interpreted in this zoölogical symphony by the violoncello. The works by Saint-Saëns for piano solo, duet, and for two pianos are very numerous. All of them are vigorously characteristic of the decided and learned style of the master, and are also marked by a certain individuality peculiar to this famous pianist-composer. It is well known that the composer is one of the most renowned organists in Europe. As might be expected, he has written specially for this instrument, which, figuratively speaking, is the embodiment of all other instruments. We will only mention the Rhapsodies on the Breton canticles; also the “Bénédiction Nuptiale” and “Elévation et Communion,” which are noble works for the King of Instruments. Saint-Saëns succeeded Lefébvre Wely as organist at the Madeleine. Among his church compositions he has composed a Grand Mass for four voices, soli and orchestra; “Tantum Ergo,” a Chorus; a “Christmas Oratorio” for chorus, soli and orchestra; Psalm XVIII.—“Cœli enarrant” for soli, chorus and orchestra; “Le Déluge,” biblical poem for soli, chorus and orchestra; and a Requiem which, with the oratorio “Le Déluge,” we include among his best works. There is also a collection of twenty separate motets for the Holy Communion, motets to the Virgin, and other miscellaneous motets.