_Ariadne auf Naxos._--This cantata, written for a solo voice (soprano) and orchestra, is dated 1782. It is one of the most perfect examples of the original cantata form, the Italian _cantata da camera_ already described. The story is that of Ariadne, daughter of Minos, king of Crete, who, desperately in love with Theseus, son of Ægeus, king of Athens, aids him with a thread to escape from the labyrinth after slaying the Minotaur, and accompanies him on his return to Athens. She awakens on the island of Naxos to find herself abandoned by her lover, and here the cantata opens. The music pictures her awakening, her gradual realization of Theseus’ perfidy, her anxiety, her anger, and her despair. The vocal score is intricate, demanding not only facility in execution, but also a noble style of musical declamation, great musical intelligence, and refinement of sentiment. * * * * * Outside of the instrumental forms in which his universal genius made him so preëminent, Mozart’s natural artistic instinct led him most strongly to dramatic music. He sought the opera as an opportunity for highest artistic endeavor; but other vocal forms he employed, not so much from choice as from the demands of special occasions. Like Haydn, he paid but passing attention to the cantata. ‘King Thamos.’--The foundation of this work by Wolfgang Amadeus Mozart (1756-91) was an historical drama, ‘Thamos, King of Egypt,’ written by Freiherr von Gebler. To this Mozart composed the incidental music, consisting of five entr’actes and three majestic choruses. The music was written in 1779 and 1780 at Salzburg; the work was presented a few times there under the direction of Boehm and Schikaneder and then was shelved. However, Mozart utilized some of the music by setting the choruses to Latin and German words, in which form they were used in the church service as hymns and motets. They are known to musicians now by the names _Splendente te Deus_, _Deus tibi laus et honor_, and _Ne pulvis et cinis_. Though a feeling of great solemnity pervades them, their original theatrical purpose cannot be entirely concealed behind their adopted sacred words.