years ago he again dissolved his connection with it, and devoted himself entirely to the private management and public direction of the Sacred Harmonic Society, with which he was identified for over thirty years. He died in April, 1884. Eli. The oratorio of "Eli," the text taken from the first book of Samuel, and adapted by William Bartholomew, was first performed at the Birmingham Festival, Aug. 29, 1855, under Costa's own direction, with Mesdames Viardot and Novello and Messrs. Sims Reeves and Carl Formes in the principal parts. The characters are Eli, Elkanah, Hannah, Samuel, the Man of God, Saph the Philistine warrior, Hophni and Phinehas the sons of Eli, and the Priests and Philistines as chorus. The story is not very consistent in its outlines, and is fragmentary withal, the narrative of the child Samuel being the central theme, around which are grouped the tribulations of Elkanah and Hannah, the service of Eli the priest, the revels of his profligate sons, and the martial deeds of the Philistines. The overture opens with a pianissimo prelude for organ in chorale form, followed by an orchestral fugue well worked up, but very quiet in character. Indeed, the whole overture is mostly pianissimo. In striking contrast follows the opening recitative for bass ("Blow ye the Trumpet"), which is the signal for those instruments, and introduces the first chorus ("Let us go to pray before the Lord"), beginning with a soft staccato which gradually works up to a jubilant climax on the words "Make a joyful Noise." A tenor solo for Elkanah is interwoven with the chorus, which closes with broad, flowing harmony. The next number, a bass air with chorus ("Let the People praise Thee"), is somewhat peculiar in its construction. It begins with the air, which is slow and tender, and at the close the chorus takes it in canon form. Then Eli intones benedictions in chorale style, and the chorus responds with "Amens" in full harmony at the end of each, making a very impressive effect. It is followed by a very elaborate chorus ("Blessed be the Lord"), closing with a fugue on the word "Amen," which is very clear and well worked up. The next number is the sorrowful prayer of the barren and grieving Hannah ("Turn Thee unto me"), which is very expressive in its mournful supplication, and splendidly contrasted with her joyous song after the birth of Samuel, of which mention will be made in its proper connection. Eli rebukes her, and a dialogue ensues, interrupted by the tender chorus, "The Lord is good." The dialogue form is again renewed, this time by Elkanah and Hannah, leading to a beautiful duet between them ("Wherefore is thy Soul cast down?").