It now remains for me to allude to some of the other compositions of Saint-Saëns in various lines--and what line has he not attempted? That one who has achieved so great a reputation as an organist should also have distinguished himself as a composer of sacred music stands to reason. One of his most representative works of this kind is his oratorio "Le Déluge," which exhibits the peculiar characteristics of his style to an almost equal degree as "Samson et Dalila." Every one knows, or ought to know, the beautiful Prelude with the lovely violin solo, the commencement of which is suggestive of Bach, whilst the end is reminiscent of Gounod. I must also mention his noble "Requiem" and fine setting of the psalm "Cœli enarrant." The "Oratorio de Noël" is an early work, but contains several charming pages. To analyse in detail all the compositions of this indefatigable worker would take up a volume in itself. I must therefore be content with the bare mention of songs full of originality, such as the "Mélodies Persanes," pianoforte music like the "Menuet et Valse," "Six études," and the three Mazourkas; violin music such as the three Concertos, the "Introduction et Rondo Capriccioso" so often played by Señor Sarasate, the Sonata, op. 75, for the same instrument; and violoncello music such as the characteristic "Suite," the admirable Sonata, op. 32, and the Concerto, which is a favourite with all 'cellists. Neither must I omit the masterly variations for two pianos on a theme of Beethoven, or the splendid pianoforte transcriptions from Bach. Several of these works may almost be said to rank as classics. Two important compositions remain to be noted, both of which were produced for the first time in England. The first of these is the picturesque cantata "La Lyre et la Harpe," composed for the Birmingham Festival of 1879; and the second is the Symphony in C Minor, first produced by the Philharmonic Society in 1885. It seems strange indeed that a work so remarkable in every way as the last should not be given oftener. Saint-Saëns has not here written a symphony upon the usual model, but has endeavoured to produce something entirely unconventional, whilst keeping within certain limits, that enabled him to claim the title of symphony for a work which, although possessing many of the characteristics of the _genre_, yet in the matter of form differs much from the compositions of recognised masters. If the influence of Beethoven is not absent, neither is that of Liszt, and there is as much if not more of the "symphonic poem" in a work, that is unique in its way, than of the symphony proper. A curious detail to note is that in this work the organ and piano are added to the usual orchestra.