ensuing development was never marred either by any sort of technical fault or by inappropriate expression. The "Benedictus" forming the slow movement is fraught with that profound religious feeling the musical expression of which has been accomplished only by Bach, Beethoven, and Brahms. It was no less perfectly rendered than the opening movement, and the concluding Rondo was played with appropriate breadth, energy, and mastery of heavy and intricate passages. Afterwards another work for the same instrumental combination was played, namely, Liszt's "Spanish Rhapsody," which Mr. Busoni has treated very much as Liszt himself treated the "Wanderer Fantasie" of Schubert, making an arrangement on the concerto principle, with a part for pianoforte and orchestral accompaniments. The Rhapsody is put together on the same principle as the Hungarian Rhapsodies, having majestic motives in the first part, and afterwards dance themes with variations and ornamentations in the transcendental manner peculiar to Liszt. Mr. Busoni's orchestration is all very clever and telling, and in playing the solo part, which is brilliant beyond all description, he, as it were, came down from the pedestal of seriousness and showed that he also can, on occasion, be simply entertaining. As an extra piece without orchestra, Mr. Busoni played Liszt's "Campanella"--probably the most catchy and difficult concert study in existence. The almost incredible brilliancy with which it was performed seemed to leave the audience half dazed and wholly captivated. [Sidenote: =Busoni.= _November 25, 1904._]