The list of choral works of Ferdinand Hiller (1811-1885) is an extensive one. The style in which many of them were written is now obsolete, however, and only one, ‘A Song of Victory,’ has retained its earlier popularity. Next in importance to this is the dramatic cantata, ‘Nala and Damayanti,’ founded on an ancient Hindoo poem and written in 1871. Other choral works are the two oratorios, ‘The Destruction of Jerusalem’ (1839) and ‘Saul’ (1858), and the cantatas _O weint um sie_ (1839), ‘Israel’s Song of Victory’ (1841), ‘Song of the Spirits over the Water’ (1842), ‘Prometheus’ (1843), ‘Rebecca’ (1843), ‘Heloise’ (1844), ‘Loreley’ (1845), and ‘Prince Papagei’ (1872). ‘A Song of Victory.’--The triumph of the German arms in the Franco-Prussian war of 1870 was the occasion that prompted the composition of this cantata, and joy and gratitude for victory are its dominant moods. It was written for soprano solo, chorus, and orchestra, and the Cologne Festival of 1871 was the scene of its first performance. The work opens with a powerful chorus (‘The Lord great wonders for us hath wrought’) beginning with sustained chords, then changing to a movement of great animation. The soprano voice takes up the second number (‘Praise, O Jerusalem, praise the Lord’) and, as the opening phrases are repeated, the chorus adds a soft accompaniment. This is followed by a vigorous and dramatic chorus (‘The heathen are fallen in the pit’), describing the terrors of war and, in contrast, the strong confidence of true believers in the protection of the Lord. A short soprano solo (‘See, it is written in the book of the righteous’), lamenting for the slain, leads into a beautiful three-part chorus for female voices (‘He in tears that soweth’), to which the soprano obbligato is most effectively added. The sixth number (‘Mighty is our God’) is a sustained chorus with massive chords. The last two numbers are for solo and chorus and return to the exultant mood with which the work begins, the last chorus (‘Praise the Lord for His great wonders’) closing with an outburst of joy and hallelujah. * * * * * The first important contribution which Denmark made to the literature of music in the larger forms came from the pen of Niels Wilhelm Gade (1817-1890). Although his music shows strong traces of the influence of Schumann and Mendelssohn, especially the latter, his best works are virile, individual, and plainly affected by the harmonies and cadences of the Scandinavian folk-song. Some of his most forceful and characteristic utterances are to be found in choral forms and here he followed Schumann’s example in choosing romantic subjects drawn largely from imaginative and fanciful legends and folklore. Several of the cantatas are chosen for analysis; the remaining ones are ‘Spring Fantasy’ (1850), ‘Kalamus’ (1853), ‘Spring’s Message’ (1853) for chorus and orchestra, and ‘Psyche’ (1856) for solos, chorus, and orchestra.