which suddenly changes in the _Te decet_, where, with an unexpected shift of key, the basses give out a fugal theme which gradually leads over to the _Kyrie_, which is sung by quartet and chorus. One of the strongest numbers is the _Dies iræ_, which is a chorus of almost startling power, whose effects, however, are obtained through legitimate musical means. Notably strong is the _Tuba mirum_ which enters dramatically and works up to a tremendous climax. In striking contrast is the beautiful trio, _Quid sum miser_; it begins softly with luscious melody and maintains its subdued tone throughout, until suddenly interrupted by the _Rex tremendæ_, which with quartet and chorus rises through sharply contrasting _pianissimo_ and _fortissimo_ passages to a most dramatic climax, continuing through the _Salva me_. In the _Agnus Dei_ an original and unique effect is obtained by letting the soprano and mezzo-soprano solo voices sing the same melody an octave apart throughout. The solo voices enter unaccompanied and the chorus joins in here and there. The most powerful number in the entire work is the _Libera me_, which begins with a soprano solo in the free, unmeasured intonation of old ecclesiastical psalmody, repeated in like manner by the chorus in full harmony. The solo soon leads into the _Dies iræ_ and the introductory _Requiem æternam_, which are followed by a magnificent fugue in strict form on the words _Libera me_. After this there is a repetition of the solo chant and the closing unison tones in the chorus are sung with softest possible tone (marked _pppp_), leaving an effect of absolute peace and repose. IX Joseph Rheinberger, whose work includes almost every form of musical composition, wrote twelve masses, one of which, the ‘Mass in E-flat’ for double choir dedicated to Pope Leo XIII, obtained for the composer the order of knighthood of Gregory the Great. He wrote also a _Stabat Mater_, a _De Profundis_ and much other music for the church service. All of these, and especially the masses, are beautiful both as music and as examples of the best modern liturgical writing, and a deep religious fervor pervades them. His appointment in 1877 as director of the Court Church music at Munich inspired him to write prolifically for the service of the Roman Church, to which he has contributed some of its finest modern numbers, thoroughly liturgical in spirit and in mode of treatment. For this reason they are extensively used in the Roman Church and are not well known to the concert-goer.