(Dresden, 1845--Paris, 1861), follows along similar lines but displays greater advance both in the handling of the mediæval legend itself and in style of orchestration. Of decidedly modern effect is the condensed declamatory style of Tannhäuser in the last act, as well as the powerful sweep of the violins in the Overture, the passage for 4-part violas in the March, and the important rôle assigned to the harp throughout the opera. An admirable illustration of writing for unsupported wood-wind accompanies the exit of Elizabeth in the third act. Her grief and resignation could have found no more faithful interpreter than that solo for bass-clarinet beneath syncopated chords of gentle and tender-voiced flutes. The 12 horns on the stage in the first act, and the 12 trumpets for the March in the second act are treated in a novel and interesting manner that bears but slight resemblance to the previous experiments of the "historic" school. In thus briefly analyzing the general characteristics of this first group, it is seen that in relation to practical instrumentation, only the brass was especially affected. The incorporation of regularly employed chromatic horns and trumpets afforded completeness and freedom. The use of three trumpets, which is also to be found in the scores of Mendelssohn and Schumann, balanced the trombones; and the substitution of the tuba for the opheicleide yielded greater sonority as well as a closer affinity in tone-color to that of the trombones themselves. GROUP II. LOHENGRIN; TRISTAN UND ISOLDE. Strings; 1 or 2 harps (frequently 2 individual parts). 1 or 2 piccolo flutes; 3 flutes; 2 oboes and 1 English horn (or 3 oboes); 2 clarinets and 1 bass-clarinet (or 3 clarinets); 3 bassoons. 4 chromatic horns; 3 trumpets; 3 trombones; 1 bass-tuba. 2 or 3 kettle-drums; instruments of percussion.