as near to suggesting odours to the nostrils as any music can--and not all of them are pleasant odours. There is Rimsky-Korsakow's _Capriccio Espagnole_, with its _alborado_ or lusty morning serenade, its long series of cadenzas (as cleverly written as those of _Scheherazade_ to display the virtuosity of individual players in the orchestra; it is noteworthy that this work is dedicated to the sixty-seven musicians of the band at the Imperial Opera House of Petrograd and all of their names are mentioned on the score) to suggest the vacillating music of a gipsy encampment, and finally the wild fandango of the Asturias with which the work comes to a brilliant conclusion. Engelbert Humperdinck taught the theory of music in the Conservatory of Barcelona for two years (1885-6), and one of the results was his _Maurische Rhapsodie_ in three parts (1898-9), still occasionally performed by our orchestras. Lalo wrote his _Symphonie Espagnole_ for violin and orchestra for the great Spanish virtuoso, Pablo de Sarasate, but all our violinists delight to perform it (although usually shorn of a movement or two). Glinka wrote a _Jota Aragonese_ and _A Night in Madrid_; he gave a Spanish theme to Balakirew which the latter utilized in his _Overture on a theme of a Spanish March_. Liszt wrote a _Spanish Rhapsody_ for pianoforte (arranged as a concert piece for piano and orchestra by Busoni) in which he used the jota of Aragón as a theme for variations. Rubinstein's _Toreador and Andalusian_ and Moszkowski's _Spanish Dances_ (for four hands) are known to all amateur pianists as Hugo Wolf's _Spanisches Liederbuch_ and Robert Schumann's _Spanisches Liederspiel_, set to F. Giebel's translations of popular Spanish ballads, are known to all singers. I have heard a song of Saint-Saëns, _Guitares et Mandolines_, charmingly sung by Greta Torpadie, in which the instruments of the title, under the subtle fingers of that masterly accompanist, Coenraad V. Bos, were cleverly imitated. And Debussy's _Mandoline_ and Delibes's _Les Filles de Cadix_ (which in this country belongs both to Emma Calvé and Olive Fremstad) spring instantly to mind. Ravel's _Rapsodie Espagnole_ is as Spanish as music could be. The Boston Symphony men have played it during the season just past. Ravel based the habanera section of his _Rapsodie_ on one of his piano pieces. But Richard Strauss's two tone-poems on Spanish subjects, _Don Juan_ and _Don Quixote_, have not a note of Spanish colouring, so far as I can remember, from beginning to end. Svendsen's symphonic poem, _Zorahayda_, based on a passage in Washington Irving's "Alhambra," is Spanish in theme and may be added to this list together with Waldteufel's _Estudiantina_ waltzes. [Illustration: TARQUINIA TARQUINI AS CONCHITA] _from a photograph by Matzene_ I