performance of Handel's "Messiah;" the Exposition Chorus under Wallace Sabin in a repetition of the music sung as part of the opening day's celebration--"The Heavens are Telling," from Haydn's "Creation," and the official hymn--"A Noble Work"--by Mrs. H. H. A. Beach; the Berkeley Oratorio Society under the inspiring direction of Paul Steindorff in two splendid concerts, the first given to Rossini's "Stabat Mater" and the second to Brahms' "German Requiem;" and the Pacific Choral Society's performance of Haydn's "Creation" under the musicianly leadership of Warren B. Allen. More music may confidently be looked for from these rich sources. The Exposition authorities declare that half a million dollars will have been expended on music before the end of the life of the great enterprise. Thus visitors to the Exposition may come at any period of the Jewel City's existence, knowing that the best to be had in the world of music will be spread for their delectation, and that they will be afforded a comprehensive view of the art of tone as it exists today. In this respect the Exposition's musical "exhibit" is similar in its scope to the revealments in all its other departments; for the Exposition is avowedly devoted to contemporaneous rather than historic achievements. Nothing that extends contemplation over a wider period than the last five years is admitted for competitive exhibition. The modern composer, no less than the modern inventor, is having his day at the Exposition. This is as it should be. We are hearing, have heard, or will hear, the last utterances of present-day musical creators. Indeed, in the case of one--Saint-Saens--we heard, as I have recounted, two massive compositions written expressly for the Panama-Pacific International Exposition, and John Philip Sousa has bent his most martial mood to the composition of an inspiring march which is called "Panama." But music also enjoys a privilege not accorded equally to any other department of Exposition display. The works of the past, as well as the present, are given. A history of music at the Exposition properly written--as one surely should be--would be an epitome of the evolution of the art from Cherubini, Haydn and Bach to Richard Strauss, Saint-Saens and Debussy. It would involve in its telling the stories of music in Italy, Germany, Austria, England, France, Russia, Scandinavia, yes, and America, too! It would include an account of the genealogy of the modern orchestra as exemplified in the Boston Symphony or the Official Symphony, and of military bands up to the perfected concert organizations headed by a Sousa or a Gabriel Pares. It would embrace with like inclusiveness the history of the pipe organ through its stages of evolution from the ponderous instruments with men straddling unwieldy bellows to the marvel installed in Festival Hall, and it would embrace the history of the art of organ music up to such exemplars as our own Clarence Eddy, John &.