"And the cloud hath passed away, That was heavy on the May; And the river floweth fair, And the meadow bloometh green. They embrace, no more to part, While we sing from every heart, A blessing on the bridal! A blessing on the Queen!" The music of the cantata is divided into ten numbers, which are characterized by exquisite refinement and artistic taste. The solos, particularly No. 2, for tenor ("O Meadow, clad in early Green"), No. 4, the obligato soprano ("With the Carol in the Tree"), and No. 6, the forester's lusty greenwood song ("'Tis jolly to hunt in the bright Moonlight"), are very melodious, and well adapted to the individual characters. The concerted music is written in the most scholarly manner, the choruses are full of life and spirit, and the instrumentation is always effective. There are few more beautiful cantatas than "The May Queen," though the composer was hampered by a dull and not very inspiring libretto. Poor words, however, could not affect his delightful grace and fancy, which manifest themselves in every number of this little pastoral. It is surprising that so excellent a work, and one which is so well adapted to chorus singing and solo display, without making very severe demands upon the singers, is not more frequently given in this country. The Exhibition Ode. The music for the opening of the International Exhibition at London, which occurred in May, 1862, was of unusual excellence. Auber sent a composition which, though called a march, was in reality a brilliant overture. Meyerbeer contributed an overture in march form, in which three marches were blended in one, the whole culminating in "Rule Britannia." Verdi wrote a cantata, which was rejected by the Commissioners because by the side of the national anthem he had introduced the revolutionary Marseillaise and the Italian war-song called "Garibaldienne." Its rejection not only caused great indignation in the musical world, but at once made it famous; and it was afterwards publicly performed, Mademoiselle Titiens taking the soprano solos, Sir Julius Benedict conducting. The prominent feature of the musical programme, however, was the Ode which the poet laureate and Bennett conjointly furnished. Never before were Mr. Tennyson's verses more completely united with music. The work is divided into three parts, all choral, linked by recitatives. The first number is a hymn to the Deity ("Uplift a thousand Voices full and sweet"), written as a four-part chorale, which is very jubilant in style. The next movement,-- "O silent father of our kings to be, Mourned in this golden hour of jubilee, For this, for all, we weep our thanks to thee,"