in the following: 'Met in the street three little boarding-school girls in a buggy, who threw me kisses.' Again this amusing item: 'I have to write my autograph hundreds of times.' Of the numerous war-songs written in that exciting period he gives the palm to the Battle-Cry of Freedom. 'It ought to become our national air,' he writes; 'it has animation, its harmonies are distinguished, it has tune, rhythm; and I discover in it a kind of epic colouring, something sadly heroic, which a battle-song should have.'

With a family history highly romantic on his mother's side-(the maternal grandfather was the Comte de Brusle, the Governor of St. Domingo, forced to fly for his life when the revolution broke out in that island: Louisiana was then a dependency of the French crown, and the Anglicism of New Orleans had not yet been invented for the staunch French colony of la Nouvelle Orléans)—we can readily understand the romantic and chivalrous nature of Gottschalk. His portraits all portray the exceeding refinement, almost spiritual character, of his mind in the delicate lineaments, the high and noble brow, and introspective, dreamy glance of the beautiful eyes. Fate was exceptionally cruel in cutting short so glorious a

career; the good he might have done for American music when age had mellowed his judgment, and time had set the seal of Master on his fame, is incontestable. And it is indeed. to be deplored that no star has risen since his set beneath the glowing skies of Brazil, to shed the same glorious light on American art. Flowers were ever his delight and consolation. 'They soothe me into better thoughts, and make me more worthy to be your friend,' he wrote to his friend and biographer Octavia Hensel; and in the words of that devoted chronicler of his genius and virtues: 'Flowers themselves shall be placed upon his grave. In the spirit of their symbolism I offer to his memory these words and thoughts, caught from the sunlight of his genius, nourished by the remembrance of his kindly words and kindlier deeds.'

GUNG'L

1810-1889

ILITARY music dates far back into

M antiquity. The walls of Jericho

crumbled into dust before the blast of the trumpet, and in much more modern periods the Roman legions were accompanied by staffs of trumpeters and cymbalists. Until quite recently, however, it has been reserved for the issuing of signals and the beating of time. During the Thirty Years' War are to be found the first traces of an endeavour to use it as an incentive to martial enthusiasm. Once elevated to that prominence, it soon became the indispensable adjunct of every army. Frederick the Great attached great importance to the efficiency of his bands. But it was not until 1828 that military music began to assume real importance, and to develop the rank it has since gained. Inventions of improvements to the trumpet opened up possibilities of effect which had hitherto been deemed impracticable.

Not only was the widest scope afforded for military purposes, but it was seen that for open-air concerts, for dancing and similar purposes, where volume rather than subtlety of tone was required, wind instruments would be more appropriate than strings.

Among the bandmasters who availed themselves of the new opportunities, Gung'l, Lanner, and Strauss stand out pre-eminent. Gung'l is the pioneer; Lanner and Strauss belong to a later period, and simply elaborated the tendency he had established.

The lightness and steady rhythm of dance music could not fail to establish its close relationship with military marches, and presently the waltz assumed unrivalled dimensions in the répertoire of popular band-music. Vienna, the acknowledged seat of classical music, became the centre of this new movement in popular music. The Wiener Walzer achieved a celebrity of its own. The light-hearted character of the dwellers on the 'blaue Donau' is proverbial. They seem to have made enjoyment a principal object in life; and the sojourning stranger notices the fact with admiration, and is readily drawn into the vortex of animated gaiety. Le congrès s'amuse, was said of an august assembly which certainly had serious work to

do, but was probably subject to the contagion of surroundings. War, occupation, defeat, political and social reverses, have each in turn failed to cloud or hamper the spirit of the gayest of cities. What more appropriate than that Vienna should stand as godfather to the waltz? It is the music best fitted to the tastes and habits of the city, and is evidently much better suited to its goût than the noble and calm beauty of the classics. Indeed, the pertinacious adherence of the great masters to a city which treated them with almost brutal indifference, and exhibited an entire lack of capacity for their appreciation, presents a curious problem.

Gung' had the gift of the waltz. About three hundred have been set down as his composition; and for a time he was reputed first in his profession. He was born at Szambek in Hungary, and was intended for the calling of a teacher; but, drifting away from his surroundings, he entered the band of an artillery regiment, where his talents speedily gained for him the post of bandmaster. He wielded the bâton for eight years, and wrote, for his regiment, the Hungarian March, the first of his long list of compositions. This spirited piece differed entirely in character from the current music, and gave such satisfaction to the officers that,