ir wrath upon herself alone. The god promises to pardon
both, if she is willing to listen to his love. She agrees to the
bargain on the condition namely that Jupiter shall grant her a favor.
He consents, and she entreats him to make her old again. Philemon,
listening behind the door, rushes forward to embrace the true wife and
joins his entreaties to hers. Jupiter, seeing himself caught, would
fain be angry, but their love conquers his wrath. He does not recall
his gift, but giving them his benediction, he promises never more to
cross their happiness.

THE THREE PINTOS.

Comic Opera in three acts by C. M. v. WEBER.

After WEBER'S manuscripts and designs, and TH. HELL'S textbook. The
musical part completed by GUSTAV MAHLER, the dramatic part by CARL VON
WEBER.

Thanks to the incessant endeavours of Weber's grandson and of Gustav
Mahler, the gifted disciple of Weber, a real treasure in German music
has been disinterred from the fragments of the past, thus long after
its composer's death. It is a striking illustration of the
universality of Weber's genius that aught like this should prove to
have been written by him, for his manuscript is a fragment {265} of a
comic opera of the best kind. Although only seven parts were completed
by the composer himself, Mahler took the remaining ten mostly from
Weber's other manuscripts. He completed them himself so adroitly, that
the best musicians cannot distinguish Weber from Mahler. We owe a debt
of gratitude to both composer and poet, who have performed this act of
piety towards the great deceased and at the same time have preserved us
real musical pearls. The text is well done, though not important
enough for three acts; two would have been quite sufficient.

The first scene takes us into a little village in Spain, where a
student, Don Gaston Piratos bids farewell to his fellows. He is a gay
and gallant youth, whose money dwindles to a paltry sum before mine
host's long account. But this cunning host has a charming daughter
Ines, and light-hearted Gaston flirts with the damsel, his servant
Ambrosio valiantly assisting him.

The Kater-romance sung by Ines is as gracefull as it is droll and
effective.

Don Pinto de Fonseca now arrives on horseback. He is so corpulent,
that he is scarcely able to dismount, and he excites the curiosity and
amusement of all. Having called for food and drink, he tells Gaston,
that he comes to marry a rich and noble lady, Do