"Comala," one of the earliest of Gade's larger vocal works, was first produced at Leipsic in March, 1843. Its subject is taken from Ossian, and relates the tragedy of "Comala," daughter of Sarno, King of Innistore, who had conceived a violent passion for Fingal, King of Morven. Her love is returned by the warrior, and disguised as a youth the princess follows him on his expedition against Caracul, King of Lochlin. On the day of the battle Fingal places her on a height, near the shore of the Carun, whence she can overlook the fight, and promises her if victorious that he will return at evening. Comala, though filled with strange forebodings, hopefully waits her royal lover's coming. As the tedious hours pass on a fearful storm arises, and amid the howling of the blast the spirits of the fathers sweep by her on their way to the battlefield to conduct to their home the souls of the fallen,--the same majestic idea which Wagner uses with such consummate power in his weird ride of the Valkyries. Comala imagines that the battle has been lost, and overcome with grief falls to the ground and dies. The victorious Fingal returns as evening approaches, accompanied by the songs of his triumphant warriors, only to hear the tidings of Comala's death from her weeping maidens. Sorrowing he orders the bards to chant her praises, and joining with her attendants to waft her departing soul "to the fathers' dwelling" with farewell hymns. The cantata is almost equally divided between male and female choruses, and these are the charm of the work. Many of the songs of Comala and her maids are in graceful ballad form, fresh in their melody, and marked by that peculiar refinement which characterizes all of Gade's music. The parting duet between Fingal and Comala is very beautiful, but the principal interest centres in the choruses. Those of the bards and warriors are very stately in their style and abound in dramatic power, particularly the one accompanying the triumphal return of Fingal. The chorus of spirits is very impressive, and in some passages almost supernatural. The female choruses, on the other hand, are graceful, tender, and pathetic; the final full chorus, in which the bards and maidens commend the soul of Comala to "the fathers' dwelling," has rarely been surpassed in beauty or pathos. The music of the cantata is in keeping with the stately grandeur and richly-hued tones of the Ossianic poem. The poetry and music of the North are happily wedded. Spring Fantasie.