ads to an exultant chorus ("Awake, O Arm of the Lord"), changing to a
well-written fugue in the middle part ("Art thou not it?"), and returning
to the first theme in the close. The next number is an effective alto
solo ("Art thou not it which hath dried the Sea?") alternating with
chorus. It is followed by a slow movement for alto solo and chorus
("Therefore the Redeemed of the Lord shall return"), which closes very
gracefully and tenderly on the words, "Sorrow and Mourning shall flee
away." This little work has become a favorite with singing societies, by
the scholarly and effective manner in which it is written.

RANDEGGER.

Alberto Randegger was born at Trieste, April 13, 1832, and began the
study of music at an early age with Lafont and Ricci. In his twentieth
year he had written numerous minor pieces of church music, several masses
and two ballets which were produced with success in his native city. From
1852 to 1854 he was engaged as a conductor in the theatres of Fiume,
Zera, Brescia, and Venice. In the latter year he brought out a grand
opera in Brescia, called "Bianca Capello," shortly after which he went to
London, where he has since resided and made a world-wide reputation as a
teacher. In 1857 he conducted Italian opera at St. James's Theatre; in
1864 brought out a comic opera, "The Rival Beauties," at the Theatre
Royal, Leeds; in 1868 was appointed Professor of Singing at the Royal
Academy of Music, in which he has since become a director; in 1879-80 was
conductor for the Carl Rosa English Opera Company at Her Majesty's
Theatre, London; and has since been appointed conductor of the Norwich
Festival in the place of Benedict. His principal works, besides those
already mentioned, are: "Medea," a scena, sung by Madame Rudersdorff at
the Gewandhaus, Leipsic (1869); the One hundred and fiftieth Psalm, for
soprano solo, chorus, orchestra, and organ (1872); cantata, "Fridolin"
(1873); soprano scena, "Saffo" (1875); funeral anthem for the death of
the Prince Consort; and a large number of songs which are great favorites
on the concert-stage.

Fridolin.

"Fridolin, or the Message to the Forge" was written for the Birmingham
Triennial Musical Festival of 1873. The words, by Mme. Erminia
Rudersdorff, are founded on Schiller's ballad, "Der Gang nach dem
Eisenhammer." The _dramatis personae_ are Waldemar, Count of Saverne;
Eglantine, Countess of