of the storm upon the lake, which Nohl also
characterizes with reference to its inner meanings:--

"The ninth scene is a marvel. 'The storms rage in contention,'--not the
storms of the sea, but the storm of desires to which the weak of faith
are exposed. It is not the outward marvel or superstition that is to be
strengthened, but the faith of human nature in itself and its higher
power and destiny. Hence the actual inner tranquillity when, after the
raging orchestral tumult, 'a great stillness' succeeds Christ's words,
which is ingeniously introduced with the motive of the 'Seligkeit,'
because such inner purity alone bestows upon mankind effective power
over the savage forces of the world."

"The Entrance into Jerusalem," a graphic instrumental prelude, introduces
a "Hosanna" for full chorus, followed by a "Benedictus" for mezzo-soprano
with chorus,--a splendidly constructed number, which closes the second
part in a style full of beauty and majesty.

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