of violins and violoncellos, the extensive arpeggio passages for violas, the employment of viola harmonics, the important rôle assigned to the double-basses, the composite tonal tint resulting from a reunion of the clarinet quartet and four solo 'cellos, and the use of bass- and double-bass tubas for impersonating the dragon. Another prominent illustration of sonorous yet transparent scoring is seen in the scintillating Forest Music in the second act and again in "Götterdämmerung," to which a striking contrast is subsequently afforded by the solemn and massive harmonies of the tubas in Siegfried's Funeral March. Nor should the prominent function of kettle-drums throughout the entire Tetralogy be overlooked. [Footnote 57: Ex. 67 to 75.] [Footnote 58: Ex. 67.] In comparing the distribution of parts in the first, second, and third groups, we have seen that in the first of these the orchestra is normal, though the balance of the brass is improved. The augmentation of the second group is effected by employing three instruments in each family of the wood-wind. The third group, however, embodies a readjustment of both wood and brass into families of four. This requires a strong body of strings; incidentally, more harps are employed, whereas both the number and variety of instruments of percussion are increased. In addition to four trumpets and four trombones there are as many as eight horns and five tubas. Not only are these massed instruments never used simultaneously, but their latent powers are further intended to be modified by Wagner's plan for a partially concealed orchestra as at Bayreuth. To the brass is primarily entrusted the important function of contrasting three fundamental conceptions in the Tetralogy. Horns are symbolic of the poetic, of distant visions, of reminiscences, of imagination, of conscience. Trumpets and trombones represent a world of light midst the gods and heroes. Tubas portray material force, human suffering, fate. GROUP IV. DIE MEISTERSINGER VON NÜRNBERG; PARSIFAL.