Whon the Phülharmonic club stepped out on the platform of University hall and saw such a magnificont audlence as was present attho first Choral Dnion concert, it was not strango that thcy all telt t lio insplration of the occasion. Nothing londs such encourngement to the artist ns the presence of a largo and intelligent audience. The iirst number of the programme, (whicli was by the wiiy, a model one), was the D major Quartett of Moiart. In no chamber muslc do we diseern more eïearly tüe beautlee oJ this most refined and intii'lNH'tual ii orm, i.e. the Quartet, than in this. work. lts themes are as elear cut as a carneo, the worklng out of the gubjects is logical, concise and strong, so that the musical enthusiast is justifted Ln calling this one of the goms of chamber music. To play Such muslc roquires not only tliat eaeh player shall bc master of his instrument, but also that the, Individual player shall eontrlbute this mastery t-o the. Kcnn-al ensemble añil lie rontent to be slmpfly a part of the whole. Kvery great Quartette js constituted tims, and the faet that the Philharmonic Club eaeh year approaches more and more closely to this ideal of perfection, accounts for the rapid extensión of lts fame. The perfect composition in this form carrles out this same idea and the magterplece of chamber music invariably show this same fus-ing together of the different movements into ttoe complete work. So that ia not one particular movement whicli we linger over, but the whole work. An analysis of this work shows it to be masterly from a 6tructural standpolnt and Moiart has never coneeived lovliir melodie than are contained in this D major Quartett. If this work reveáis such elegance of musical form and such delicacy of detail, the Schumann Quintette, which brought the concert to a close, shows as unmistakably the nobility of conception and virility of etyïe which make It pr'-eminntly the greatest work for this combination of instruments ever written. It stands alone, in fhe literature of chamber music. The different movements mighf be analyzed in such a mannor as to make elear the beauty and strength of its structure. We pretor to spenk of it as an embodinient of one f manu's happlesi and most finished inspira! ons. TÖ play such a work requlrea the mosi fllnlshed work on the part of the string playors, and a great pianist. That Mrs. Fannla Bloomfield-Zeialer may be considered great, all must concedo, and her playlng of the piano part in tliis wnrk v. a-8 nu arlii'ovomont possiblo oniy to few. No such pootic and withal so forceful in Interpretatioh of this work has been board by the wrlter of these linos. Mrs. Zoisler's solos wcro done exnctly as v.i' could expoct her to lo them, and in thcni we could elearly percelve the reasons for the wonderfnl success. whioh has made lier mi ■ of the greate:-t favoritcs on the concert platform. Force, deücacy. finesse, entlnisiasin. mapnetism. ftre all liers, and above all a clear-ent intellisence that controla all thooe elemeots .and brings thera to the interpretation of the thought conEained In the tnuslc. It will be many a da y bef ore we hear such a performance fiffain. The andience must have been foreibly improssed by this a'.so. fot was it not enthusiastic? Mr. S)a.linir :s a singer with a future before him and to ay that he sansr wh'.I i- too fatnt praise. for 3uch exce-ient interpretations as hls. Tlits account would be incomplete did we not reeall the exquisito CtondoNera of Moskowski, which Mrs ZeisIer played a. a response i o an enthusiastic oncore. Rest of a'M the size of th' audlence Indleated jthat the series wA'.l be a success and that the repubatlOD of the rniversity of Michigan for music, is safe in the hands of the studnts and cltizens, who rojoice in every advancement made by our glor'.oiis l'niversity.