spering of the Huguenots and Puritans, commencing _sotto voce_, and
gradually increasing to a _forte_ at the close. A few bars for the horn
lead to the bass solo, "Long as thine Art," with horn obligato,--a very
impressive and dignified aria, and one which would speedily become a
favorite in the concert-room if adapted to the words. The final number
("Music from this Height of Time") begins in full choral harmony and
closes with a vigorous and well-written fugue.

[20] Sung upon that occasion by Mr. Myron D. Whitney.

The Golden Legend.

"The Golden Legend" was written in competition for the prize of one
thousand dollars, which the Cincinnati May Festival Association offered
in 1879 for the best work of a native composer. The judges were Theodore
Thomas, Otto Singer, Asgar Hamerik, Carl Zerrahn, and the late Dr.
Leopold Damrosch. Their award was made to "The Golden Legend," and it was
first performed at the Festival of 1880, with Miss Annie B. Norton as
Elsie, Mr. Frederick Harvey as Prince Henry, Mr. J. F. Rudolphsen as
Lucifer, and Mr. M. D. Whitney as Friar Paul.

The text of the cantata is composed of a prologue, epilogue, and twelve
scenes taken from Longfellow's Episode in "Christus" by the same name.
The mediaeval story is a very simple one. Prince Henry of Hoheneck,
stricken down with an incurable ailment, after vainly seeking a remedy,
is visited by Lucifer disguised as a physician, who tempts him to adopt a
remedy prescribed by a doctor of Salerno; namely, the blood of a maiden
who will voluntarily offer herself as a sacrifice. Elsie devotes her life
to the Prince, and they journey together to Salerno, where her death must
take place. Arrived at the spot, the Prince, touched by her magnanimity,
entreats her to forego her purpose; but she insists upon it, bids him
farewell in the school, and enters an inner apartment with Lucifer
disguised as a friar. Before the tragedy can be consummated, the Prince
bursts open the door, with the aid of his followers, and rescues her. The
pair return to the castle on the Rhine, where of course the rapidly
convalescing Prince marries Elsie, and the story closes with an epilogue
reciting the discomfiture of Lucifer and the triumph of good over evil.

Out of this material the composer has constructed his work, eliminating
from and adding to the original matter to suit his musical scheme, but at
the same time preserving the general spirit of the s