Aside from the construction of the $50,000 pipe organ, which, after the Exposition, will be placed permanently in the Civic Auditorium, the two most important musical items found on the schedule of Exposition enterprises are the engagements of Camille Saint-Saens and the Boston Symphony Orchestra. The former, who maintained that "Beethoven is the greatest, the only real, artist, because he upheld the idea of universal brotherhood," is perhaps better fitted than any living composer to write special music for the Exposition. This he has done,--writing two compositions in fact; and their presentation has been an outstanding feature. "Hail, California," was dedicated to the Exposition. Scored for an orchestra of eighty, a military band of sixty, a chorus of 300 voices, pipe organ and piano, its first presentation was an event. The Saint-Saens Symphony in C minor (No. 3) Opus 78, composed many years ago, has become a classic during the life-time of its creator. It was one of the wonders of the Boston Symphony programmes played in Festival Hall. Its yield of immediate pleasure and its reassurance for the works of Saint-Saens to be heard later, grew from the fact that it was scored for orchestra and pipe organ, and in this massive tonal web the genius of the composer to write in magnificent size was overwhelmingly evident, thus forecasting the splendors of "Hail, California." The other work written by this visitor from Paris is in oratorio form and titled, appropriately, "The Promised Land." A huge choir of 400 voices, directed by Wallace Sabin and named in honor of the visitor, the "Saint-Saens Choir," rendered a good account of the ensemble sections of the choral composition, while the Exposition orchestra of 80 instrumentalists and the Exposition organ added effectiveness to the accompaniment. Sabin presided at the organ. In addition to these appearances, the composer conducted three recitals during the latter part of June, when all of the compositions offered were his work. The visit of Dr. Karl Muck with his Boston Symphony Orchestra has become a luminous memory. The trip is utterly new in the history of music anywhere, nothing like it ever before having been attempted. It is said that the transportation bills alone amounted to $15,000, and there were no stop-overs en route for concert performances to help in defraying this bulky first cost. It is proper to record here the financial success of the venture. While the season of twelve concerts was yet young, more than $40,000 had been taken in at the box office, and the estimated expenses of $60,000 were liquidated, with a margin of profit. This was enhanced by an extra concert, the thirteenth. Tickets for the season were sold in Chicago, New York, Boston, Seattle, Spokane, Tacoma, St. Louis, Portland, Maine, and Portland, Oregon, while San Francisco and the bay communities in general sent their thousands to the glorious recitals. The result will be seen in a stimulation of music in the West.