Gounod has preceded the score of what he terms a sacred "trilogy" with a few explanatory words. He describes his work as being the expression of the three great events upon which rest the existence of Christianity: (1) The Passion and death of the Saviour; (2) His glorious life on earth between His resurrection and ascension; (3) The diffusion of Christianity throughout the world by the apostolical mission. These three parts of the "trilogy" are preceded by a prologue on the Creation, the first Fall, and the promise of a Redeemer. This is, indeed, an ambitious programme, and it is scarcely to be wondered at that Gounod should not have succeeded altogether in realising it. The music rarely approaches the grandeur and depth of expression requisite for an adequate interpretation of such a theme. It is full of sensuousness and mystic charm, but although containing several numbers of undeniable beauty, the effect of the work as a whole is decidedly monotonous. Having dedicated the "Redemption" to Queen Victoria, Gounod dedicated "Mors et Vita," a sacred "trilogy" produced at the Birmingham Festival of 1885, to Pope Leo XIII. This companion work to the "Redemption" is at least equally ambitious in its scope. The first part consists of a "Requiem," the second is descriptive of the Judgment, and the last deals with Eternal Life. Hence its title, "Mors et Vita." This work has not obtained the same popularity in England as the "Redemption," to which I personally am inclined to prefer it. Having arrived thus far in the composer's life, I will have to content myself with the bare mention of works, such as the incidental music written by him to "Les Deux Reines," "Jeanne D'Arc," and "Les Drames Sacrés." Gounod is also the author of two symphonies, composed at an early stage of his career, several masses, and other religious works. As a song-writer he has greatly distinguished himself, and his melodies have long been the delight of vocalists all the world over. Amongst these is one that deserves special mention and has probably done more to popularise his name than the majority of his larger works. I allude to the famous "Ave Maria," composed upon the first prelude of Bach. A facetious Teuton a year or two ago published a book purporting to contain biographies of great musicians. His sketch of Bach runs thus: "John Sebastian Bach owes his great reputation almost entirely to the fortunate circumstance that he received a commission to write the accompaniment to a famous melody by Gounod. With a most incomprehensible impertinence he also published his accompaniment, without Gounod's melody, as a so-called 'prelude,' together with a number of small pieces under the title of 'Wohltemperirte Clavier,' but the book had little success, on account of its silly title, among the admirers of the melody. His numerous sons are, to the annoyance of historians, also called Bach."