Neither the orchestras of Lamoureux nor of Colonne can be excelled in smooth and velvet-toned string playing, or in the purity, the sympathy, and at times the pathos that distinguish the quality of the wood-wind instruments. In French orchestras, however, the brass does not always possess that solidity and richness found in representative German orchestras. This defect may be due to the retention of at least one alto trombone, whereas the Germans now use either three tenor trombones, or two tenor and one bass. The bass-tubas also are frequently too light and small. Particularly in some renditions of Wagnerian works is the undue prominence of inadequately balanced brass occasionally noticeable. Finally, the metallic quality of the kettle-drums, which effects the coloring of the entire orchestra, sounds foreign to ears accustomed to instruments of less pronounced incisiveness. These criticisms are equally pertinent to Italian orchestras, but do not appear to be objectionable to the composers of either France or Italy. In a word, therefore, the performance of French orchestras displays a marvel of refinement and finish even to the minutest of details, but lacks ideal balance and fulness in loud _ensemble_ passages. Such is the story of French musical progression during the nineteenth century! Though she inaugurated no such reforms as those that signalize the "Sturm und Drang" period in Germany, France has a record to show that is indeed an enviable one. Formerly surpassed by the parent of Romance nations--Italy, France has in recent years left that country far behind in matters both artistic and musical. For half a century Italy has now been represented by but one luminary of the first magnitude. Conspicuous in his solitary grandeur, this versatile hero has captivated in turn the hearts of all peoples, whether Latin, Germanic, or Anglo-Saxon. In every clime is the name chosen for our following discourse a familiar household word,--the name of that wonderful melodist, Verdi. ITALY. VII. The last extended reference to Italian music is to be found in Chapter VIII, which treats of the contemporaries of Beethoven. Those pages call attention to Spontini's historic grand opera, to Rossini's seductive charm, and to the "mellifluous fabrications of Donizetti and Bellini with which undramatic productions must be classed also the earlier works of Verdi in consequence of their voluptuous melodic exuberance."