spirit of that composer in one of his moods--that which produced "Ich grolle nicht"--very strongly. All the songs were interesting. In fact, the lyrical power of Tchaïkovsky is so striking that it may be placed side by side with his mastery of the orchestra among those qualities which make him a great composer. All that has been said with more especial reference to the orchestral works applies with equal truth to the songs; they are either melancholy, like the first, third, and last given at yesterday's concert, or sardonic, like "Don Juan's Serenade." Brightness, happiness, confidence, resignation, reverence, sense of mystery are qualities as alien to the composer's nature as simple joviality or innocent badinage. [Sidenote: =Symphony in F Minor.= _November 25, 1898._] The fourth symphony of Tchaïkovsky, which formed the principal orchestral work at yesterday's concert, is full of life and zest, affording an interesting glimpse of those powers which were destined to produce the "Pathetic" symphony. Composed some fifteen years earlier than the "Pathetic," the fourth symphony represents the composer in a very different mood, though with nearly the same technical powers. It is perhaps natural that the earlier work should be more cheerful; but, considering that the composer was thirty-eight years of age when he produced that earlier work, the music sounds curiously youthful. The difference between the style of the symphony given yesterday and the "Pathetic" is almost entirely of a kind that eludes analysis. It can only be stated broadly that in the "Pathetic" there is a depth and energy of feeling to be found in none but truly great works of art; also that there is mature style, appearing especially in the marvellous tact with which so much rich, highly coloured, and dangerous material is disposed. On the other hand, the earlier symphony, while strongly akin to the "Pathetic" in rhythmic and melodic invention, figuration, instrumentation, and device in general, is not only wanting in the tact of the mature artist, but shows the composer not under the influence of any strong feeling, and simply revelling in his powers of gorgeous orchestration, ingenious thematic work, and marshalling of tone masses with a view to picturesque effect. Tchaïkovsky is nearly always martial in one part or another of an orchestral work. In the great symphony the first movement has a ferocious section suggesting actual slaughter, while the greater part of the third movement is an elaborate military pageant. The work given yesterday leads off with martial strains, which recur several times in the first movement and again in the last. The first movement also exemplifies the composer's practice of bringing in a good deal of development immediately after the statement of a theme, instead of waiting for the development section. Though every musical element is telling, the movement is too prolix. In the andantino it soon