the unexpected and telling chord of C major just before the final phrase. In Rubinstein's F minor Barcarolle--so interesting in rhythm, so original in colouring--Mr. Lamond was not entirely successful, his temperament apparently not furnishing a key to the vein of lyrism in which the piece is conceived. Yet in Liszt's "Liebestraum" he was perfect, though one might have expected that his Beethovenish tastes would have rebelled against the hothouse atmosphere of the composition. The opening performance of Schumann's "Carnaval" was powerful and distinguished, but too broad in style to be in keeping with the sub-title "Scènes mignonnes." On neither of these recent occasions has Mr. Lamond played anything of his own, though he has composed plenty of effective stuff for his instrument. He is beyond all question by far the most distinguished pianist of British extraction that has yet arisen. CHAPTER XI. VIOLIN-PLAYING. [Sidenote: =Ysaye.= _November 8, 1900._] Two complete Concerti, each in the orthodox three movements, exhibited the distinguished Belgian master's style, first in strictly classical then in more florid and more highly coloured modern music. Of concerti by the great Bach for a single solo violin only two are extant. One, in A minor, has been frequently played here in recent years by Dr. Joachim and Mr. Brodsky. The other, in E major, is comparatively unfamiliar. Perhaps the accompaniment, which in the original score is for strings alone, has been considered rather meagre, and the extremely simple form of the concluding Rondo may also have been regarded as unsatisfactory. For Mr. Ysaye's performance of the E major Concerto the accompaniment has been strengthened with an organ part written by Mr. Gevaert, Principal of the Conservatoire de Musique in Brussels, and it can scarcely be questioned that the work as he presents it is beautiful, interesting, and highly satisfactory as a concert piece. The most characteristic part is the middle movement, which, as in Bach's Sonata for the same instrument and in the same key, is in Chaconne form, with a bass theme that wanders freely through different keys, while the upper strings play a descent and the solo instrument embroiders. A most powerful and telling performance was given of this noble Adagio, the accompaniment being assigned to a small group of orchestral players together with the organ, and the soloist devoting all the resources of his art to bringing out the delicate figuration of the upper voice with ineffably sweet tone and subtle phrasing. The first movement is remarkable for such wealth of thematic development as one scarcely expects to find in a work composed so long before Beethoven's time, and the finale brings the work to a close upon a note of simple and hearty feeling. If strong contrast with the style of Bach was desired, the Saint-Saëns concerto was well chosen for the second example of violin music. Rich in colouring and surcharged with sensuous delights, the