The third part opens with the sorrowful scene, "Tristis est anima mea," Christ's sad words in the walk to Gethsemane,--an unutterably pathetic solo, with an accompaniment which is a marvel of expressive instrumentation. The next number is the old Middle-Age hymn, "Stabat Mater dolorosa," in which Liszt has combined voices and instruments in a manner, particularly in the "Inflammatus," almost overpowering. Solos, duets, quartets, choruses, orchestra, and organ are all handled with consummate skill. It has been aptly characterized as having the dimensions of the "Last Judgment" in the Sistine Chapel. After the great hymn is ended, another begins. It is the old Easter song, "O Filii et Filiae," written to be sung by boys with harmonium,--a joyous, sunny chorus, dispersing the gloom of the "Stabat Mater." The last scene, "The Resurrection," is a powerful and massive chorus, full of mighty accords, typical of the final triumph of Christianity, and closing with a majestic "Amen" built up on the opening motive of the original introduction. "It is," says Nohl, "a cycle of scenes such as only the victorious mastery of the subject by inward perception can give, and such as only the artist can draw who dominates all the conditions apart like a king, and has reconciled his soul with the absolute truth and power of the Eternal." MACFARREN. George Alexander Macfarren, one of the most prominent of modern English composers, was born in London, March 2, 1813. He began the study of music in 1827 under the tuition of Charles Lucas. Two year's later he entered the Royal Academy of Music, and in 1834 became one of its professors. The latter year dates the beginning of his career as a composer, his first work having been a symphony in F minor. During the next thirty years his important works were as follows: overture "Chevy Chase" (1836); "Devil's Opera," produced at the Lyceum (1838); "Emblematical Tribute on the Queen's Marriage" and an arrangement of Purcell's "Dido and AEneas" (1840); editions of "Belshazzar," "Judas Maccabaeus," and "Jephthah," for the Handel Society (1843); opera "Don Quixote" (1846); opera "Charles II." (1849); serenata "The Sleeper Awakened," and the cantata "Lenora" (1851); the cantata "May Day," for the Bradford Festival (1856); the cantata "Christmas" (1859); the opera "Robin Hood" (1860); the masque "Freya's Gift" and opera "Jessy Lea" (1863); and the operas "She Stoops to Conquer," "The Soldier's Legacy," and "Helvellyn" (1864). About the last year his sight, which had been impaired for many years, failed. His blindness did not however diminish his activity. He still served as professor in the Royal Academy, and dictated compositions,--indeed some of his best works were composed during this time of affliction. In 1873 appeared his oratorio, "St. John the Baptist," which met with an enthusiastic reception at the Bristol Festival of that year. In 1875 he