The ninth scene is admirably constructed. It opens with an animated and picturesque dance and chorus of villagers ("Song is resounding, Dancers are bounding"), which swings along in graceful rhythm until it is interrupted by a solemn phrase for organ, introduced by horns, which prepares the way for a chorale ("Guardian Angels sweet and fair"), closing with Fridolin's prayer at the shrine, interwoven with a beautiful sacred chorus ("Sancta Maria, enthroned above"). In a recitative and ballad ("The wildest Conflicts rage within my fevered Soul") the Count mourns over what he supposes to be the infidelity of his wife, followed by a long and very dramatic scene with the Countess ("My Waldemar, how erred thine Eglantine?"). The last scene is laid at the forge, and after a short but vigorous prelude opens with a chorus of the smiths ("Gift of Demons, raging Fire"), in which the composer has produced the effect of clanging anvils, roaring fire, and hissing sparks with wonderful realism. The chorus closes with passages describing the providential rescue of Fridolin and the fate of Hubert, and an _andante religioso_ ("Let your Voices Anthems raise"). The epilogue is mainly choral, and ends this very dramatic work in broad flowing harmonies. RHEINBERGER. Joseph Gabriel Rheinberger was born at Vaduz, in Lichtenstein, March 17, 1839, and displayed his musical talent at a very early age. He studied the piano in his fifth year, and in his seventh was organist in the church of his native place. At the age of twelve he entered the Munich Conservatory, where he remained as a scholar until he was nineteen, when he was appointed one of its teachers; at the same time he became organist at the Hofkirche of St. Michael, and afterwards director of the Munich Oratorio Society. In 1867 he was appointed professor and inspector of the Royal Music School, and since 1877 has been the royal Hofkapellmeister, directing the performances of the Kapellchor, an organization similar to that of the Berlin Domchor. He is a very prolific composer, nearly two hundred works having proceeded from his pen. Among them are the "Wallenstein" and "Florentine" symphonies; a Stabat Mater; two operas, "The Seven Ravens" and "Thürmer's Töchterlein;" incidental music to a drama of Calderon's; a symphony-sonata for piano; a requiem for the dead in the Franco-German war; theme and variations for string quartet; a piano concerto; five organ sonatas; the choral works, "Toggenburg," "Klärchen auf Eberstein," "Wittekind," and "Christophorus;" and a large number of songs and church pieces, besides much chamber music. Christophorus.