Baltasar Saldoni (1807-1890), born at Barcelona and educated at the monastery of Montserrat, was organist and teacher as well as composer. His works include a symphony for orchestra, military band and organ, _A mi patria_, a _Hymn to the God of Art_, operas and zarzuelas, and a great quantity of church and organ music. P. 76. "Felipe Pedrell": _El Último Abencerraje_ was sung in Italian when it was produced in Barcelona in 1874. _Quasimodo_ is an operatic version of Victor Hugo's "Notre-Dame de Paris." _Mazeppa_ (after Byron) is in one act as is _Tasso_; _Cleopatra_ is in four acts. _Los Pireneos_ is the first part of a triptych of which _La Celestina_ is the second. The three parts are named respectively, Fatherland, Love, and Faith. So far as I know the third part has not yet appeared. _La Matinada_ is called "a musical landscape," for solo, chorus, and an invisible orchestra. Henri de Curzon, who translated _La Celestina_ into French, has an exhaustive and extremely interesting account of Pedrell in "La Nouvelle Revue," Vol. 25, P. 72, under the title "Un maître de la Musique Espagnole." A highly laudatory essay on _La Celestina_ by Camille Bellaigue may be found in his book entitled, "Notes Brèves." Bellaigue tells how he received the score in 1903 but only found time to study it during the rainy summer of 1910. His enthusiasm is unrestrained although he has not heard the work performed. The title of the essay is "Un Tristan Espagnol" and he says: "la joie et la douleur, l'amour et la mort partout se touchent et se fondent ici. De leur contact et de leur fusion, jamais encore une fois, depuis _Tristan_, l'art lyrique n'avait aussi fortement exprime le sombre mystère." He calls the work "le plus originale et le plus admirable peut-être, après _Boris Godunow_, qui, depuis les temps déjà lointains de _Falstaff_, nous soit venu de l'étranger." P. 78. "_La Bruja_": Manrique de Lara says of this work: "This score of our greatest composer broke abruptly with the Italian tradition which, in form at least, had enslaved our musical productions until that time. A new influence, having its high origin in works of pure classical style whether symphonic or dramatic, led our steps down fresh pathways in _La Bruja_." P. 80. "_La Verbena de la Paloma_": Raoul Laparra told me that Saint-Saëns admired this work so much that he had committed it to memory and played and replayed it on his piano.