of the Italian Parliament from Busseto, but sent in his resignation shortly afterwards; and in 1875 was appointed senator by the King, but never took his seat. His fame is indissolubly connected with his music, and in the pursuit of that art he has become one of the most admired composers of his time. The Manzoni Requiem. The history of "The Manzoni Requiem" is of more than ordinary interest. Shortly after Rossini's death, in 1868, Verdi conceived the idea of a requiem in his memory, to be written by many hands, which should be performed in the cathedral of Bologna on each centenary of the composer's death, but upon no other occasion and at no other place. The project met with favor. The work was laid out in thirteen numbers and assigned to thirteen Italian composers, Verdi taking the "Libera me," which was to be the last number in the work. Each of the composers finished his task; but when the parts were joined in a complete requiem they were found to be so dissimilar in treatment, and the whole work so incoherent and lacking in symmetry and unity, that the scheme went no further. M. Mazzucato, of Milan, who had examined the work, was so impressed with the "Libera me" that he wrote to Verdi urging him to compose the entire requiem. About this time (1873) Alessandro Manzoni, the founder of the romantic school in Italian literature, died, and was universally mourned by his countrymen. The requiem which had been intended for Rossini was now written by Verdi for his friend, the great Italian patriot and poet, the immortal author of "I promessi Sposi," and the "Libera me" was transferred to it. It was performed for the first time at Milan, May 22, 1874, the anniversary of Manzoni's death, with Teresa Stolz soprano, Maria Waldmann alto, Giuseppe Capponi tenor, and Ormondo Maini bass, a chorus of a hundred and twenty voices, and an orchestra of a hundred and ten. It was next given in Paris, in the following month, under the composer's direction and since that time has been frequently given in Europe and in the United States. The mass is divided into seven parts, with solos, choruses, and full orchestra, as follows: No. 1. "Requiem" and "Kyrie" (quartet and chorus). 2. "Dies Irae;" thus divided: "Dies Irae" (chorus); "Tuba Mirum" (chorus); "Liber scriptus" (chorus and fugue); "Quid sum miser" (trio for soprano, alto, and tenor); "Rex tremendae" (quartet and chorus); "Recordare" (duo for soprano and alto, and chorus); "Ingemisco" (solo for tenor); "Confutatis" (solo for bass); "Lacrymosa" (quartet and chorus). 3. "Domine Jesu," offertory, by quartet. 4. "Sanctus" (fugue with double chorus). 5. "Agnus Dei" (duet for soprano and alto, and chorus). 6. "Lux aeterna" (trio for alto, tenor, and bass). 7. "Libera me" (solo for soprano, chorus, and final fugue).