_Prometheus._--This cantata, founded on Herder’s poem of the same name, was composed by Liszt in 1850. He utilizes several of Herder’s prologues, which describe the situations in words and serve to introduce the various choral numbers. The first prologue depicts Prometheus, the Titan, bound to a stake and about to suffer torture for having stolen fire from heaven. This leads to a chorus of sea-nymphs (female voices), expressing sorrow and fear. The second prologue describes the anger of Oceanus at the children of earth for disturbing his waters and gives Prometheus’ reply. This is followed by a spirited mixed chorus of Tritons and a lovely melodious chorus of Oceanides for female voices, closing with a full double chorus, ‘Holy and grand and free is the gift of Heaven.’ The third prologue introduces the goddess Gæa with her train of wood-nymphs, loudly weeping. The chorus of Dryads follows, in the midst of which occurs a very dramatic alto solo, ‘Deserted stand the Gods’ sacred altars in the old forest.’ In the dialogue following Gæa upbraids Prometheus, who stoutly defends himself. The number closes with a mixed chorus of gleaners, which is full of graceful melody. In the next prologue Bacchus builds an arbor to soften the Titan’s suffering and a male chorus of vine-dressers follows. At length an _Allegro moderato_ for orchestra introduces Hercules, who with an arrow kills the vulture which is about to devour Prometheus and frees him, bidding him ‘Go hence unto thy mother’s throne.’ This leads to a stately male chorus, ‘All human foresight wanders in deepest night.’ The last prologue pictures the pardon of Prometheus at the throne of Themis, and the work closes with a chorus of the Muses. II