ornamental thing of its kind that Europeans are acquainted with. The ornaments are perfectly meaningless, except as implying singular dexterity of manipulation and an extraordinary aptitude for purely superficial invention in the decorative direction. Hungarian music belongs to the illustration of making a special rise to the highest point in the middle or early in the latter part of a tune. With the Hungarians both the dance tunes and local tunes are so full of energetic intervals and rhythms that even when there are no crises the impression produced is often emotional." Representative adherents to Magyar characteristics are Franz Erkel (1810), Mosonyi (1814), Albert Doppler (1821), his brother, Karl Doppler (1826), and Czibulka (1842). By admitting the cosmopolitans, Liszt (1811) and Goldmark (1830), this list of Hungarian composers is sufficiently complete for all present purposes. Erkel and the elder Doppler are looked upon as the leading national opera composers. Of the two, Erkel displayed the greater originality. Author of no less than nine operas, he reached his highest attainments in "Bank Bán" and "Hunyadi Laszlò." The latter combines native traits with German and Italian operatic and orchestral traditions. Albert Doppler's foreign reputation is primarily due to his extensive concert tours as a flute virtuoso. His additional activity as a composer, however, gave him high standing in his own country. The present writer recalls an interesting conversation with his brother, Karl Doppler--late Kapellmeister at Stuttgart--in reference to the opera "Erzébeth" written jointly by Erkel and the two Dopplers. He described the work as "Gelegenheitsmusik"; such was the haste demanded by the attending circumstances, that the first act was put into rehearsal before the last act was completed, whereas Karl Doppler himself was still busy scoring (in Italian style) on the very day appointed for performance. Erkel's contemporary, Mosonyi or Michael Brandt, displayed considerable versatility in forms both small and large, whereas Czibulka represents a later generation of Hungarian composers. His position as bandmaster at Vienna gave him opportunity to cultivate his native attributes in the guise of dance music, in addition to which he wrote an operetta entitled "Pfingsten in Florenz." It cannot be said that the collective efforts of these composers have developed a national style of orchestration. There is plenty of color and variety in their scoring, but the latent charm of their works is the result of melodic and rhythmic novelty, and not of instrumentation. II.