Zerrahn seems to have a partiality for Mendelssohn, for when he came to the "Elijah" chorus, "Thanks be to God, He laveth the thirsty land," his instructions were more than usually explicit. The chorus, however, did not get the beat, and for a moment there was danger of a catastrophe. Zerrahn left his stand as quick as a rocket, and, waving his baton, went down into the chorus. The electricity of his manner fused the discordant elements, and with "The waters gather they rush along," all were together. Zerrahn remained at his post, and Schultze took the orchestra in hand, with his bow for baton, and the two batons moved like magic, and chorus and orchestra played like magic to the end, sweeping through the jubilant number like the march of a storm. If the chorus had never sung any thing else this would have paid for the difficulties of organization and been a rich remuneration for all the labors. Miss Phillipps made her second appearance of the season, and was cordially greeted. She sang the familiar "Lascia Pianga" of Handel's, which is one of her concert favorites. She appeared to much better advantage than on Tuesday, mainly because the selection was in better taste; but, sitting even as near as I did, her voice seemed hard and cold and she was evidently singing with great effort. At the close, the enthusiasm of the chorus, joined with that of the audience, secured her an _encore_, which she acknowledged by repeating the air, and singing part of it to the chorus. The programme was closed with the Hallelujah Chorus from the Messiah, the whole chorus, orchestra and audience rising to their feet while it was performed. In spite of its inherent difficulties and broken time, it was carried through superbly, and as the final "Amen" pealed out with majestic power, the Jubilee was at an end, so far as the great chorus was concerned. * * * * * June 19, 1869.