The fact that GOLDMARK (1830) was born in Hungary does not entitle him to recognition as a composer of decisively indigenous characteristics,--indeed, the scenes of three of his most important works are all laid in the Far East. Neither can it be said that his strength lies in spontaneity of musical thought or freedom of thematic treatment. He owes his reputation primarily to his gifts as an orchestral writer. Like Berlioz, he lacks the geniality of musical inspiration, but atones for this by vivid orchestral color and mastery of material effects. The fortunes of divers Oriental queens have evidently aroused Goldmark's most lively sympathy! But this peculiar circumstance is felicitous to a high degree, for what a wealth of glowing color surrounds his dramatization of the queen of Sheba, how picturesque is the presentation of the Amazon queen in the overture "Penthesilea," what power of imagination is revealed in the unfolding of Kalidasa's poetic love story! Goldmark could have found no finer opportunity for rare contrasts and telling effects than in this portrayal of Dushyanta, the Rajah--chivalrous, though unfaithful, of ['S]akuntalá--tender and guileless, yet queenly. Goldmark succeeded admirably, and this world-renowned overture is, by virtue of its orchestration, a faithful interpretation of Dushyanta's wooing, the secret marriage, his forgetfulness of ['S]akuntalá and her womanly fortitude during the years of unrecognition, her solicitous watchfulness over the welfare of Sarva-Damana, their child, and the final touching reunion and retribution. Although "Die Königin von Saba" has won wide-spread popularity, Goldmark is, on the whole, at his best in purely instrumental forms. The opening up of his career is largely due to "['S]akuntalá" and to a Scherzo for orchestra, opus 19, both of which precede the above-named opera. His pleasing symphony "Die ländliche Hochzeit" may not embody the warmth and passion that characterize the Oriental subjects, but it is orchestrated with rare skill, contains some daring harmonic progressions, and reveals sentient appreciation for rich and glowing colors. But this symphony and that in E flat again prove that Goldmark holds the attention of his audience not so much by originality of themes and elaborate development as by the sterling qualities of his instrumentation. IV.