Whatever the composer's defects may be (and who is free from them?), there can be no doubt that Massenet has indisputably a style of writing peculiar to himself, which is more than can be said of all of his "confrères." His individuality may not be so marked as that of Gounod, whose influence, by the way, can be traced in some of his compositions, but it is none the less existent, and has been reflected in the works of many of his pupils. Few musicians can touch him in the art of handling the orchestra. At the time when he was studying at the Conservatoire he astonished every one by the prodigious amount of work he got through, and the ease with which he was able to compose. This facility of production does not seem to have deserted him, and the danger lies, not in his composing too little, but in producing too much. Massenet's position is so well established that he can now afford to concentrate his mind upon his work without troubling himself as to whether or not it pleases the superficial portion of the public. What he now requires is a good subject and a well-written libretto. I trust he may find both. Although necessarily absorbed by his multifarious labours, Massenet finds time occasionally to attend to his social duties. A story is told of how one evening, when he was dining out, the mistress of the house insisted upon making him listen to her daughter's playing. At the end of the performance, upon being asked his opinion, Massenet gravely remarked that it was quite evident that the young lady had received a Christian education. "Why?" ejaculated the surprised parent. "Because she so scrupulously observes the precept of the evangelist--her right hand knoweth not what her left hand doeth." [Illustration: Ernest Reyer portrait, signed] ERNEST REYER "Nowadays, more than ever, musicians have the leisure to occupy themselves with other things than music." These bitter words, savouring of disappointed expectations, occur in the preface to the volume entitled _Notes de Musique_, written by Ernest Reyer and published in 1875. Since that time the author of the above lines has received a tardy compensation for a somewhat unaccountable neglect, and his operas "Sigurd" and "Salammbô" have achieved what promises to be a permanent success at the Paris Opera. Although the composer of these works is but little known in this country, yet he none the less occupies an honourable position in the front rank of modern musicians. His "Sigurd," which was given at Covent Garden some few years since, did not meet with the success due to its unquestionable merits.