er
as the first. After the opening ascription, a short fugue intervenes,
leading to a fresh melody alternately sung by both choruses.

The third movement, after a very brief but spirited orchestral flourish,
opens with an exultant barytone solo ("And behold then the Heavens opened
wide"). The choruses respond with animation ("And yonder a snow-white
Horse"). Again the barytone intervenes ("And lo! a great Name hath He
written"), and then the choruses take up the majestic theme, "King of
Kings and Lord of Lords," each answering the other with triumphant shouts
that gather force and fire as they proceed, and closing with a mighty
hallelujah in which voices, orchestra, and organ join with fullest power
to produce one of the grandest harmonies ever written. The work is one of
extreme difficulty, as the two choirs are treated independently and their
harmonies are complicated, though blended in general effect. Neither
choir receives assistance from the other. In fact, each rank of voices is
required to perform music of the most exacting kind, so that a perfect
performance of this great jubilee hymn requires singers of trained skill
and more than ordinary intelligence. When thus given, few choruses of
modern times reveal such artistic richness and symmetrical proportions.

[17] A German national song, written by Heinrich Harries, a Holstein
clergyman, for the birthday of Christian VII. of Denmark. It was
originally in eight stanzas, but was reduced to five and otherwise
slightly modified for Prussian use by B. G. Schumacher, and in this
form appeared as a "Berliner Volkslied" in the _Spenersche Zeitung_
of Dec. 17, 1793.--_Grove's Dictionary_.

BRUCH.

Max Bruch, one of the most successful choral composers of the present
time, was born at Cologne, Jan. 6, 1838. His father was a government
official, and his mother a singer of more than ordinary ability. He
received his early instructions, under her watchful supervision, from
Professor Breidenstein, at Bonn. In 1852 he continued his studies with
Hiller, Reinecke, and Breuning, at Cologne; and at this time began to
produce compositions which gave unusual promise. In 1865 he was musical
director at Coblenz, and subsequently at Berlin, where he conducted the
Singakademie. In 1867 he was appointed chapel-master to the Prince of
Schwarzburg-Sondershausen,--a post which he held until 1870. Since that
time he has also