annel orchestra, and singers who could hardly
be heard, and who evidenced their nationality by resolutely holding
back every movement. But in the last verse, _alla breve_--

'Ecce panis angelorum'--

there came a surprise of a different quality. It was scenically
accompanied by an unforeseen exposition of the Host, in a gorgeous gilt
tabernacle, that slowly turned above the altar, so as to reveal the
consecrated elements to the congregation. Incense was swung from
censers, and the evening sun, breaking in with a sudden brightness,
gave a fairy-like effect to the curling fumes as they rose; while a
very musical bell, that timed the movement twice in a bar, added its
charm to the rite. I felt a quick grasp on my wrist, as Mendelssohn
whispered to me, eagerly, 'Listen! how pretty that is! it makes amends
for all their bad playing and singing,--and I shall hear the rest
better some other time.' That other time I believe never came for the
composer of the 'Lauda Sion,'--since this was only the year before his
death."

The work is composed in seven numbers. After a short introduction the
voices give out the theme, "Lauda Sion," followed by a chorus, "Laudis
Thema," full of devotional spirit. The soprano then enunciates in the
"Sit Laus plena" phrases repeated by the chorus, followed by a
beautifully accompanied quartet, "In hac Mensa." The fifth number is a
solemn chorale in unison, leading to a soprano solo in the arioso style,
"Caro cibus," which is exquisitely beautiful. The work concludes with a
very dramatic solo and chorus, "Sumit unus," set to the words "Bone
pastor," and the closing verses of the hymn itself. Short as the cantata
is, it is one of the most felicitous of all Mendelssohn's settings of the
ritual.

MOZART.

Johann Chrysostomus Wolfgang Amadeus Mozart, one of the most remarkable
of musical geniuses, and the only one of his contemporaries whose operas
still hold the stage with unimpaired freshness, was born at Salsburg,
Jan. 27, 1756. He was the son of Leopold Mozart, the Salzburgian
Vice-Capellmeister, who gave him and his sister Nannerl their earliest
instruction in music, and with such good results that the children
travelled and gave concerts with great success. Before he was seven years
of age he had composed several pieces for piano and violin, his earliest
having been written at the age of five. At twelve he became court
c