The San Francisco call., 1898-01-20

have already said what she was. She not only sang, but composed the trying role of Fanny as truly great artist, showing herself to be a clever comedian, supple, surprisingly varied and full of power, and at the same time an inspired singer of the first order. One could not be too prodigal in praising this talent, so com plete. so rich and so true. How she was feted! what braves! what recalls! what acclamations" Le Petit Journal says: Mile. Emma Calve seems born to inter pret passionate roles. Grand, superb, with beautiful black eyes, which seem to flash fire; high forehead under thick, jet black hair, she did the drama itself. On the stage she was the most ardent Who could believe now that at her debut she was the coldest of singers, gauche and considered to be without any dra- matic talent? All at once she set out for Italy, where she went to create 'Caval- leria Rusticana,' and when she came back she was completely transformed. She made that evident in Carmen in La Navarraise' and finally in 'Sapho' Conscientious to the last point, she care fully studies the smallest detail of her roles, and afterward renders them with astonishing fidelity. She is a marvellous artist. She is also an excellent woman, simple in her tastes, charitable to those who suffer; in a word, a voice and a heart of gold"
 Apropos to the present craze for pro- gramme music, it Is interesting to see what Rubinstein says on the subject: 'I had a strange dream. found myself in a temple, where all the different instru- ments of the orchestra had met together, when the piano, with an arrogant air, advanced and requested to be allowed to enter. The instruments made it submit to a rigorous examination and execute after them different melodies and series of chords, after which they finished by declaring that it was not of their family. The piano at first felt very much re- buffed, and began to cry; but, taking courage all at once, it declared with pride that 1t was whole independent orches- tra by itself, and did not require the other instruments. These, very much provoked sent 1t out of the room. I have endeav- ored to render this dream musically in my third concerto Gin G major). I had also intended to give an explicative pro- gramme,' but persuaded that in this kind of composition one auditor hears one thing while another comprehends some thing quite different, I have finally re- nounced trying to express the plan of my compositions" Wise Rubinstein! It re- minds one of the piece of music which was written to express an Englishman changing his religion, quitting his coun- try and leaving his umbrella behind him. And his horror when it began to rain!
 writer In the Menestrel speaks in the following terms of Alphonse Daudet, the celebrated novelist: we need not re- trace the grand literary career of the poet-novelist who has just disappeared so suddenly, torn from the admiration of the world, an irreparable loss to France But we must not forget that two of his finest works have served the genius of two of our most celebrated musicians. First, the 'Arlessiene,' on which Bizet threw the first rays of his glorious youth, and yesterday this 'Sapho,' by which Massenet has continued in so happy a manner the musical series of his great works. It was this last which led us to revisit Daudet, whom we had lost sight of for many years. He was seated before his desk, still with the beautiful Christ like head of his early years, but the abundant hair and wavy beard were streaked with silver threads. 'Ah, good day, friend; how goes the old house?' And the conversation continued as if twenty-five years had not elapsed since 1t commenced. It is only in Paris such a thing could happen. Twenty-Five years in the agitated and preoccupied life we lead Is like a drop of water in the ocean. And all at once death arrives. We know each other, often love each other; have l the same sympathies and the same esteem, and there is scarcely time to see each other or to say what one feels. The only hope is in the hereafter
 Tn Germany there has lately been pub 1 lished 6 series of documents upon the l music at the court of Weimer, in the