is remarkable for its passionate intensity and dramatic strength. The clouds of despair close over her, and she calls down the vengeance of the gods upon the deserter. In the next two numbers, an adagio ("To whom can I turn me?"), and an andante ("Ah! how for Death I am longing"), the melodies closely follow the sentiment of the text, accompanied by very expressive instrumentation. An _allegro presto_, infused with the very spirit of hopeless gloom and despair, ends the cantata:-- "Woe's me! deceived, betrayed! Earth holds no consolation." In the mythological version, however, consolation came; for Bacchus, "ever young," and full of pity for lorn maids, married her, and gave her a crown of seven stars, which after her death was placed among the constellations. The music presents many difficulties for a singer, as it requires the noblest style of declamation, peculiar refinement of sentiment, and rare musical intelligence, as well as facility in execution to give expression to its recitative and strongly contrasting melodies, which have no unity of key, but follow the varying sentiments, with their changes of tone-color, as closely as Theseus followed his thread. HILLER. Ferdinand Hiller, one of the most eminent of modern German composers, and a writer of more than ordinary ability, was born at Frankfort-on-the-Main, Oct. 24, 1811. His musical talent displayed itself so early that in his tenth year he appeared in concerts. In 1825 he began his studies with Hummel, and two years afterwards accompanied him on a concert-tour to Vienna, where he published his first work, a piano-forte quartet. He next went to Paris, where he remained until 1835, occupying for a time the position of professor in Choron's "Institution de Musique," but principally devoting himself to piano-playing, composition, and concerts. In 1836 he returned to Frankfort, and for more than a year conducted the concerts of the Coecilienverein. He then went to Milan, where he met Rossini, and with his assistance brought out his opera "Romilda" at La Scala, but without much success. About the same time he began his oratorio "The Destruction of Jerusalem," one of his most important works. In 1841 he made a second journey to Italy and gave particular attention to church music. On his return he first resided at Frankfort, but was soon in Leipsic, where he conducted the Gewandhaus concerts (1843-44), and after that time in Dresden, where he produced two more operas, "Traum in der Christ-nacht" and "Conradin." In 1847 he was appointed municipal capellmeister at Düsseldorf, and three years later took a similar position at Cologne, where he organized the Conservatory. In that city he exercised a widespread influence, not alone by his teaching, but also by his direction of the famous Lower Rhine festivals. He also made many musical tours which increased his fame. In 1852-53 he conducted opera in Paris; in 1870, gave a series of successful concerts