acting the part of the narrator, and accompanied by
instrumentation which vividly paints the horrors of the nocturnal tramp,
even to the realistic extent of imitating the various sounds described.
It is unnecessary to specify each of these numbers in detail, as they are
all closely allied in color and general effect. The music which
accompanies them is picturesque and weird, increasing in its power and
actual supernaturalism until it reaches its climax in the dead-house
where the maiden takes refuge; and in these numbers the orchestra bears
the burden of the work. The remaining numbers are almost magical in their
beauty and fascination, particularly the first song of the maiden,
lamenting her lover, and closing with the prayer to the Virgin, which is
thoroughly devotional music, and the second prayer, which saves her from
her peril. There are four duets, soprano and tenor, between the Bride and
Spectre, and one with chorus, in which are recounted the episodes of the
chaplet, prayer-book, and cross, besides the hurried dialogue between
them as he urges her on. These, too, abound in quaint rhythms and strange
harmonies set against a highly-colored instrumental background. The story
is not a pleasant one for musical treatment,--at least for voices,--and
the prevailing tone of the composition is sombre; but of the wonderful
power of the music and its strange fascination there can be no doubt.

FOOTE.

Arthur Foote, a rising young composer of Boston, whose works have already
made more than a local reputation, was born at Salem, Mass., March 5,
1853. While at Harvard College he studied composition with Prof. J. K.
Paine, and after graduation determined to devote himself to the musical
profession. He studied the piano-forte and organ with Mr. B. J. Lang of
Boston, and soon made his mark as a musician of more than ordinary
promise. Among his published works which have attracted favorable
attention are various songs and piano compositions; pieces for violin and
piano, violoncello and piano; a string quartet; trio for piano, violin,
and violoncello; and "Hiawatha," a ballad for male voices and orchestra.
A suite for strings, in manuscript, has obtained the honor of performance
at the London symphony concerts (January, 1887), and an overture, "In the
Mountains," also in manuscript, was played by the Boston Symphony
Orchestra in February, 1887. He is now living in Boston, where he is
engage