_Kampf und Sieg_ (‘Battle and Victory’).--While Weber was in Munich in June, 1815, the victory of the allies at Waterloo was announced. The city was at once filled with rejoicing and a large crowd gathered at St. Michael’s Church to hear a _Te Deum_. Weber, who was present, conceived the idea of a grand cantata to commemorate the victory and he laid the matter before the poet Wohlbrück, whom he had met the same day. Wohlbrück at once shared the composer’s enthusiasm and by the first of August the text was ready. The cantata was brought to a first performance in Prague on December 22d and made a deep impression, not so much by its musical worth as by its appeal to patriotic ardor and by the stirring military character of its vivid battle-descriptions. Weber resorted to the same elements of rather vulgar realism which Beethoven invoked in his ‘Wellington’s Victory’--the noises and crash of battle and national melodies to designate the fighting hosts. Amid the roar of cannon, the cries of the wounded, and the shouts of the soldiers can be heard the revolutionary melody _Ça ira_ from the advancing French, ‘God save the King’ from the English, while the stirring strains of the Austrian and Prussian grenadier marches and the refrain from Weber’s own patriotic song, _Lützow’s wilde Jagd_, swell the volume of tumultuous sound from the victorious allies. The cantata is written for four solo voices, chorus, and orchestra. Faith (bass), Love (soprano), and Hope (tenor) appear in the lyrical portions of the work; the middle section is given over entirely to the battle scene and the whole closes with a stately chorus, _Herr Gott, Dich loben wir_. * * * * * While Franz Schubert (1797-1828) essayed nearly every musical form, it is as the creator and perfecter of the German art-song that he takes his place among the great and mighty ones of music. His supreme gift as a melodist and song-writer is at once apparent in all of his works. In choral fields he wrote considerable church music and several smaller works, of which the only one of large importance is _Miriam’s Siegesgesang_ (‘The Song of Miriam’). Among the others are the Ninety-second Psalm for baritone solo and mixed chorus (written in 1828 for the synagogue at Vienna); the Twenty-third Psalm for four voices (quartet, or male or female chorus) with pianoforte accompaniment, easy, grateful and song-like in character; two hymns, _Herr unser Gott_ and _An dem Heiligen Geist_, the latter for eight-part male chorus and orchestra; and _Glaube, Hoffnung und Liebe_ (‘Faith, Hope, and Charity’) for mixed chorus and wood-wind instruments, written in 1816.