In setting the words to music, Dr. Mackenzie has necessarily to consider the place of performance and the number of performers. This, however, was an amiable and fortunate obligation, since the result has been to give us a work built upon broad lines, and marked by plainness of structure to an extent unusual with the composer. We think that the music will be found to have a true festive ring, and a majestic solidity befitting the occasion. In the solos, with their more subdued expression, Dr. Mackenzie has kept contrast in view, without sacrifice of simplicity; but it is in the choruses that he best shows himself a master of bold and striking effects. Every bar goes straight to the point, while avoiding the commonplaces that naturally suggest themselves in the writing of festive music. The procession chorus is, in this respect, most noteworthy of all, and may be found no mean rival of that in the "Rose of Sharon." [29] As the score of Mr. Mackenzie's Ode has not yet reached this country, the author has taken the liberty of transferring the above analysis of it to his work from the London "Musical Times" for May, 1887. Although its local character may preclude its performance here, it is not improbable that the composition of a composer so eminent will attract attention among American musicians. MASSENET. Jules Émile Frédéric Massenet, a composer as yet but little known in this country, was born at Montaud, France, May 12, 1842. His musical education was obtained in the Paris Conservatory, in which between the years 1859 and 1863 he carried off two first prizes and one second. After leaving the Conservatory, he went to Italy for a time and pursued his studies in composition. On his return to Paris one of his operas, "La Grand Tante," was produced at the Opéra Comique (1867) through the influence of Ambroise Thomas, and this performance called attention to the works of the rising young musician. In 1872 he brought out "Don Cæsar de Bazan," an opéra comique in three acts, and in the following year incidental music to the tragedy "Les Erinnyes," after Æschylus. Among his works written since that time are "Le Roi de Lahore" (1877); "Herodiade" (1882); "Manon" (1885); "Le Cid" (1885); the cantata "Paix et Liberté" (1867); "Marie Magdaleine" (1873); "Eve," a mystery (1875); "La Vierge," sacred legend; and "Narcisse," antique idylle (1878). Among his orchestral works the best known are "Suites d'orchestre;" "Scenes Hongroises;" "Scenes Pittoresques;" "Scenes Dramatiques;" overture "Phèdre;" and "Pompeia," fantasia-symphony. He has also written numerous songs and piano-forte pieces. His operas thus far have been his most successful works, though several of his large concert pieces have been very favorably received. He now occupies a position in the Paris Conservatory, and is regarded as one of the most promising members of the modern French school.