His theme, which he calls "enigma," has no eccentricity. It is a rather march-like strain in regular form, having three sections, the last of which is a repetition of the first, with fresh harmony and instrumentation. There are nominally fourteen variations;--including the finale, actually thirteen, for No. 10, described as intermezzo, is not a variation. Each of the variations, and the intermezzo, bears initials, or a nickname, which are commonly assumed to represent the composer's friends. Why any such thing should be assumed we do not know. It is both possible and allowable to portray persons who are not one's friends, and some of Mr. Elgar's portraits seem to us extremely severe and satirical. One of the early numbers, in particular, gives a vivid impression of a very unsympathetic personality, garrulous, querulous, trivial, meanly egotistic, and rather ape-like. The composer does well to let the identity of the original remain shrouded in mystery. The variations are grouped according to the usual principles of contrast, and they are all extremely effective. However much the composer may call his theme an enigma--Berlioz called his variation-theme in an early symphony _idée fixe_--one can scarcely escape the impression that it represents the temperament of the artist, through which he sees his subjects; for that, and nothing else, is what forms the connecting link between any series of portraits by the same hand. Wonderful ingenuity is shown in varying the relation in which the theme stands to the musical picture. During the first part of the work, down to the end of the sixth variation, the attitude of the audience seemed rather reserved. But a change began to be noticeable at the seventh variation, called "Troyte," an impetuous presto movement that shows a hitherto unsuspected kind of energy. Nor did the attention flag at all during the noble and serene harmonies of the ensuing Allegretto. The richly-organised "Nimrod," forming No. 9, leads to the dainty and tripping "Dorabella" Intermezzo, which has no connection with the theme. The eleventh variation, headed "G. R. S.," is another demonstration of abundant vigour, and the following "B. G. N." has for leading feature a fine lyrical melody for 'cello. No. 13 obviously has reference to someone on a sea voyage, the "prosperous voyage" theme from Mendelssohn's "Meeresstille" overture being heard amid delicate suggestions of distant sea sound. In the very extended finale there is some powerful polyphonic writing, and the movement ends with a repetition of the theme in augmentation, forcibly declaimed by the heavy brass to the accompaniment of the full orchestra. The audience seemed rather astonished that a work by a British composer should have had other than a petrifying effect upon them. They applauded with the energy that the composer's imaginative power and masterly handling of the orchestra deserve. Dr. Richter signalled to Mr. Elgar, who was seated