But, after all, we know not how soon another great musical genius may startle us from our complacent studies of the masters of the past; for we are even now somewhat threatened in this respect by Richard Wagner, the eminent composer of Germany. He is not satisfied with the music of the past nor the present, and points to his own present and prospective creations as samples of what the "music of the future" will be. Just now, musical critics, while generally conceding to him much power as a composer, are divided in opinion as to whether his ideas are to be accepted in their entirety. Still, who can now tell what the "music of the future" _may_ be? Before closing this chapter on the history of music, I think it highly proper, as a matter of record and of appropriate interest, to refer briefly to the almost wonderful achievements of that brilliant impressario, P.S. Gilmore of Boston, who in the year 1869 conceived the idea of having a grand musical festival, the noble objects of which were to celebrate the restoration of peace in the United States, and to quicken and increase the interest felt in music throughout this country, and also the world, by bringing together in a single performance a larger body of most skilful musicians than was ever before attempted. An immense building called "The Coliseum" was constructed for the purposes of the festival, which was to continue five days. On the 15th of June, in the city of Boston, "The National Jubilee and Great Musical Festival" was begun. The number of instruments and performers composing the great orchestra was 1,011; and an organ of immense proportions and power, built expressly for the occasion, was employed. The grand chorus and solo vocalists numbered 1,040. Besides, one hundred anvils (used in the rendering of Verdi's "Anvil Chorus") were played upon by a hundred of the city's firemen in full uniform; while to all this was added a group of cannon, the same being used in the performance of the "Star-spangled Banner." The vast chorus, the orchestra, and all the leading performers (among the latter were Ole Bull, Parepa, and Carl Rosa), were selected from the finest musical people of the country, being accepted only after strict testing by skilful judges. At this great gathering many of the works of the great composers were performed, and only works of real merit had a place on the programme. These were all performed by this vast _ensemble_ with a precision and an excellence that were really grand and wonderful. This achievement of Gilmore was considered the most brilliant entertainment of modern times. Of it, it has been truly said,--