Jacques Offenbach (1819-1880), though German by birth, may fitly be mentioned here, since the greater part of his life was spent in Paris, and his music was more typically French than that of any of his Gallic rivals. His innumerable operas bouffes scarcely come within the scope of this work, but his posthumous opera comique, 'Les Contes d'Hoffman (1881), is decidedly more ambitious in scope, and still holds the stage by virtue of its piquant melody and clever musicianship. In Germany, where 'Les Contes d' Hoffmann' is still very popular under the name of 'Hoffmann's Erzaehlungen,' it is usually performed in a revised version, which differs considerably from the French original as regards plot and dialogue, though the music is practically the same. Hoffmann, the famous story-teller, is the hero of the opera, which, after a prologue in a typically German beer-cellar, follows his adventures through three scenes, each founded upon one of his famous tales. In the first we see him fascinated by the mechanical doll Olympia, in the second he is at the feet of the Venetian courtesan Giulietta, while in the third we assist at his futile endeavours to save the youthful singer Antonia from the clutches of the mysterious Dr. Miracle. The career of Cesar Franck (1822-1890), offers a striking contrast to that of his famous contemporary Gounod. Fame came betimes to Gounod. While he was still a young man his reputation was European. He wrote his masterpiece at forty, and lived on its success for the remaining thirty years of his life. Since his death his fame has sadly shrunk, and even 'Faust' is beginning to 'date' unmistakably. The name of Cesar Franck, on the other hand, until his death was hardly known beyond a narrow circle of pupils, but during the last fifteen years his reputation has advanced by leaps and bounds. At the present moment there is hardly a musician in Paris who would not call him the greatest French composer--he was a Belgian by birth, but what of that?--of the nineteenth century. His fame was won in the concert-room rather than in the theatre, but the day may yet come when his 'Hulda' will be a familiar work to opera-goers. It was produced in 1894 at Monte Carlo, but, in spite of the deep impression which it created, has not yet been heard in Paris. The action passes in Norway in the times of the Vikings. Hulda is carried off by a band of marauders, whose chief she is compelled to wed. She loves Eyolf, another Viking, and persuades him to murder her husband. After a time he proves faithless to her, whereupon she kills him and throws herself into the sea. This gloomy tale is illustrated by music of extraordinary power and beauty. Although Franck only avails himself of guiding themes to a limited extent, in mastery of the polyphonic style his work will compare with Wagner's most elaborate scores. In fact, the opulence of orchestral resource and the virility of inspiration displayed in 'Hulda' strikingly recall the beauties of