BIBLIOGRAPHICAL NOTE.--Saint-Saëns's best orchestral works are arranged not only for four hands, but for two players at two pianos, a combination of which he is extremely fond. It is interesting to play in this way the four symphonic poems, «La Rouet d'Omphale,» «Phaéton,» the «Danse Macabre,» and «La Jeunesse d'Hercule.» The five Piano Concertos are also excellent. The symphonies are rather dry. Of the chamber-music, the 'Cello Sonata, op. 32, and the Violin Sonatas, op. 75 and 102, are particularly good. The piano music is less original, being for the most part pseudo-classic in conception and style. Thus the Suite, op. 90, is like a suite of Bach's with the sincerity taken out. On the whole the Six Études, op. 52, and the Album of six pieces, op. 72, are better worth study. The former contains two able fugues, the latter an odd «Carillon» in 7-4 time and an attractive «Valse.» There is charm in «Les Cloches du Soir,» op. 85, and also in a well-known melody, without opus-number, called «Le Cygne.» Saint-Saëns has little power as a song-writer; those who wish to realize this for themselves, may purchase the Schirmer Album of fifteen of his songs. To his numerous operas no reference is made in the present essay, the subject of which is his contribution to pure music. V CÉSAR FRANCK [Illustration: CÉSAR FRANCK] V CÉSAR FRANCK