ls them that one evening while strolling near
the Holy Sepulchre he saw seventy Christian knights riding in ghostly
procession, with the late Don Munio at their head. This is regarded as an
assurance that all is well with him. _Requiescat in pace._

These are the incidents which Mr. Buck has chosen for musical treatment,
and he has done the work excellently well. After the orchestral
introduction follows a spirited hunting-song for male chorus. The next
scene opens in the chamber of Donna Maria, wife of Don Munio, who laments
his absence in a minor strain, to which succeeds a rondo movement. The
third is religious in character, marked "Evening. Close of vesper service
in the chapel of the castle. Escobedo, the chaplain, with the women, and
such retainers as have not followed Don Munio on his expedition." It
begins with a prelude closing with full orchestra and organ, and leading
to barytone solo and chorus, and a short exhortation to prayer by
Escobedo. The next number is an Ave Maria for full chorus, which is very
beautifully harmonized. In the next scene we encounter Don Munio in the
forest, and are treated to the conventional hunting-song. The next number
hints at the approach of the Moors, which is soon disclosed by a pretty
three-part chorus of "the females of the Moorish cavalcade as they
journey." The eighth scene contains some powerful chorus work, divided
between the furious Spaniards and the frightened women, and set to a very
vigorous accompaniment. After the tumult ends, Abadil very melodiously
appeals to Don Munio, followed by a brief arioso in which the latter
makes his terms, and a spirited chorus of gratitude to the Don, which
close the first part.

After a short prelude, the second part opens with a tenor aria for Abadil
("O, thou my Star") which is very refined in sentiment. It is followed by
the chorale "Jesu, dulcis Memoria," sung by the chapel choir. A duet
ensues between the two lovers on the castle terrace, which is very
Italian in its flavor, and one of the most effective numbers in the
cantata. The next two numbers furnish the wedding music,--a happy bridal
chorus, and a charming bolero for orchestra. These lead to an
unaccompanied quartet between Don Munio, Donna Maria, Abadil, and
Constanza ("It is the Lot of Friends to part"). In the next scene occurs
a vigorous duet between Don Munio and his wife, in which he informs her
of his speedy departure for Palestine, followed by a stirring battle-hy