The work is divided into thirteen numbers, the solo parts being Iolanthe (soprano), Martha (mezzo-soprano), and Beatrice (contralto). In the third number another soprano voice is required in a trio and chorus of vintagers; and in the sixth number, a soprano and contralto in the quartet, which acts the part of narrator, and tells of the troubadour's rose song to Iolanthe. It is unnecessary to specify the numbers in detail, as they are of the same general character,--smooth, flowing, and graceful in melody throughout. The most striking of them are No. 3, trio and chorus ("See how gay the Valley shines"); No. 5, arietta for Martha ("Listening to the Nightingales"); No. 6, quartet ("Who hath seen the Troubadour?"); No. 8, Iolanthe's song ("I love the Rose"); No. 11, duet and chorus ("Sweet the Angelus is ringing"); and the finale, with the jubilant chorus:-- "René the king will ride forth from the gate With his horsemen and banners in state; And the trumpets shall fanfaron ring To René, to René, the king. Then with rebec and lute and with drum The bride in her beauty will come; And the light of her eyes, they will say, has surpassed The diamonds that shine at her waist,-- The diamonds that shine in her long golden hair,-- King René's daughter the fair." SULLIVAN. Arthur Seymour Sullivan was born in London, May 13, 1842. His father, a band-master and clarinet-player of distinction, intrusted his musical education at first to the Rev. Thomas Hilmore, master of the children of the Chapel Royal. He entered the chapel in 1854 and remained there three years, and also studied in the Royal Academy of Music under Goss and Sterndale Bennett, during this period, leaving the latter institution in 1858, in which year he went to Leipsic. He remained in the Conservatory there until 1861, when he returned to London and introduced himself to its musical public, with his music to Shakspeare's "Tempest," which made a great success. The enthusiasm with which this was received, and the favors he gained at the hands of Chorley, at that time musical critic of the "Athenæum," gave him a secure footing. The cantata "Kenilworth," written for the Birmingham Festival, the music to the ballet "L'Île enchantée," and an opera, "The Sapphire Necklace," were produced in 1864. In 1866 appeared his first symphony and an overture, "In Memoriam," a tribute to his father, who died that year. The next year his overture "Marmion" was first performed. In 1869 he wrote his first oratorio, "The Prodigal son," in 1873 "The Light of the World," and in 1880 "The Martyr of Antioch;" the first for the Worcester, the second for the Birmingham, and the third for the Leeds festival. The beautiful "Overture di Ballo," so frequently played in this country by the Thomas orchestra, was written for Birmingham in 1870, and the next year appeared his brilliant little cantata, "On shore and Sea." On the 11th of May, 1867, was first heard in