subjects with an ineffably beautiful touch, such as we see, for example, in Alfred Rethel's marvellous drawing "Death the Friend." Not that the scherzo in Beethoven's C minor symphony breathes the spirit of that drawing, which is restful and serene, while the scherzo is full of weird mockery. The only point of the comparison is that in both works we find a grotesque subject ennobled and beautified by a great artistic imagination. Strange that the C minor symphony should often have been quoted as an irregular and anarchical composition. Sir George Grove has pointed out in his well-known analysis that the entire work conforms most strictly to structural principles, and that its chief irregularities are the linking together of the scherzo and finale and the _reprise_ of the scherzo shortly before the concluding presto. [Sidenote: =The Sixth Symphony.= _February 24, 1899._] In dealing with this symphony, the conductor had occasion to show qualities different from those that have been called forth by the preceding works of the present Beethoven series. The third and fifth symphonies are of a strongly exciting character, the second is also distinctly exciting, at any rate in the finale, the fourth is a kind of mildly celestial or seraphic utterance, and the first does not truly represent the mature master in any of his moods. In previous performances of the series it was the successful rendering of some exciting element in the music, or the interpretation of a sublime emotion, upon which the conductor seemed to lay a kind of stress. Yesterday the case was quite different. The Pastoral Symphony is not exciting, or sublime, or mysterious, those qualities being alien to the genius of pastoral music or poetry. It is an expression of the emotion stirred by simple and homely delights; and for its interpretation it requires, in addition to the technical equipment, only a certain fresh and healthy energy. Even the religious note near the end is of a simple idyllic character. Once more the interpretation was, in our view, very admirable. The conductor seemed fully to grasp the poetic import of each section, and, under his guidance, the orchestra fully conveyed the breezy delights of the opening movement, the soothing murmur of the brook, the boisterous mirth of the ensuing allegro, the contrasting note of the storm, and the final hymn of thanksgiving. It has been said that Beethoven's music has an ethical bearing; and, as many persons have great difficulty in understanding how any music can have an ethical bearing, it may be worth while to suggest that the Pastoral Symphony, following the tremendous emotions of the preceding symphonies, teaches precisely the same lesson as the opening of Goethe's "Faustus and Helena," where the sylphs, typifying simple, untroubled natural influences, are busied about the person of the sleeping "Faust," pitying the "unhappy man whether good or wicked," and seeking to soothe his tormented spirit.