Max Heinrich.

HE is a genius," is the remarle one almost invariably hears associated with the name of this eminent artist. He has few rivals (in his special field of the Song Recital but one) for the singers all say - "but Heinrich stands by himself." His voicë is not remarkable, but his singing s. His singing is just whatit is, because he is a most consummate musician - an artist of wonderful attainments. Ilis conceptions of all styles of music are unfailingly artistic; he siezes upon the salient points of each composers style, and in bis repertoire, which Deludes every seliool, no one can determine, one inight almost say, liis own special likings. He is so eminently catholic in his tastes that he can appreciate at its full wortli the value of a simple bailad no less than that oí the greatest dramatic arias, and reveáis each at its best to the listener. In the great praise which lias been accorded liiiu in every country by critica and "No special form can be declared to be the only one suitable for sacred innsic, and even Bach and Handel wxote their masterpieces as they did because that was tl 10 then universally accepted style of eomposition. There is certainly something in the Hilofugato nobler nn! ii r lian in a p'urely melodie composilion. Still, even simple melodies liigli and noble feelings, ami we see no objection to the praises of God being aung in melodies instead of choráis or fugues or Gregoriun i homes. Verdi's Requiem, it has been said, puts the hearer toooften in mind of the stage - its melodies would do as wel] for an oiiera. lts airs, dnets and concerted pieces would be wonderfully effective in RigolettO, Trovatore and Aida, and are therefore, too vulgar to be admitted in a sacred composition, in wbich everything r 1 1 at has any connection with earth must be carefully avoided. But tliis is onr judgment and not tlie composer's.i Did Palestrina choose for bis sacred rmisic a d i Herent style from the one in which he wrote his madrigals? Did not Handel in The Messiah adapt the words of the sacred text to music wbich he had previously written with other intentions? And why sliould not Verdi ballowed to do as they did, and give vent to his feeliiifis in the way ttíát is most familiar to liim? Of all branclies of art there is one that must neeessarily be in accordance with the feelings, and that is religious art, and on that ground wc think that Verdi was right in setiin the Requiem to music in a style that is altnost entirely popular."