Bavarian Music of the Sixteenth Century. Dr. Sandberger is the son of a distinguished professor of geology at the University of Wurtzburg. After studying music at the conservatory of his native town he went farther at Munich and later pursued

special studies with Dr. Spitta, at Berlin. He has written a good deal of music, including one opera.

Last of all, we have a portrait of the Vienna celebrity, Dr. Richard Wallaschek, first recognized through his important

treatise upon "Aesthetik der Tonkunst." Later he has become known in connection with investigations of folk music. The late Professor John C. Fillmore carried on quite an extensive correspondence with Dr. Wallaschek, who translated some of Fillmore's work into German. Dr. Wailaschek writes me: "I am shocked to hear of Mr. Fillmore's death. He was one of the very few investigators in the domain of musical ethnology, and has always given me much pleasure and instruction

by the interesting letters he wrote on that subject. His name used often to appear on the board of my lecture room and I am extremely sorry that we have nothing more to expect from his untiring energy in investigating the character of Indian music."

NOTEWORTHY PERSONALITIES

MR. JOHN C. WILCOX.

Among the young artists about entering upon a wider publicity as singers, few bring to their career a more thorough training, a more musical temperament or agreeable disposition than Mr. John C. Wilcox, formerly of Detroit. As a singer Mr. Wilcox owes his training to that consummate master of tone production, Mr. John Dennis Mehan, of Detroit. Mr. Mehan declares that no pupil he has ever had shows his method in more perfect style than this young artist. Mr. Wilcox is also literary, and a few years ago, in company with some other young men, he established the "Song Journal" at Detroit. The name of this periodical they later changed to the "Concert-Goer" and established several offices in different cities. Under this name it continues, a good example of sincerity and true love of music.

Mr. Wilcox's voice is a rich baritone, the quality of which has gained almost unqualified approval from such dissimilar experts as Campanari, the famous baritone, who coached Mr. Wilcox diligently while he was in Chicago, and who has repeatedly urged him to come to New York, predicting for him a brilliant career, and offering him his own good offices, both professional and social. Another highly qualified voice expert who predicts a fine career for Mr. Wilcox is Mrs. Magnus; but this is no more than Signor Buzzi-Pecci, the Italian expert of the Musical College, and many others have done.

Mr. Wilcox has been before the public more or less for some years now, and there is no doubt of the richness and musical quality of his organ, nor of his admirable preparation for oratorio and concert work. Campanari urges him to go into opera, but upon this point Mr. Wilcox is as yet undecided. Whatever line he may hereafter select, he will have in it the best wishes of a large public of friends, among whom is to be counted the present writer.

MR. AD. M. FOERSTER.

The career of Mr. Ad. M. Foerster of Pittsburg is proof that an American musician can if he will keep up a constant productivity of serious music while at the same time carrying on a highly prosperous business as a teacher of music. The pages of this magazine have contained many examples of programs given at Mr. Foerster's studio, in which all sorts of excellent composers and all the good American composers have been represented by wise selections. Latterly Mr. Foerster had the good luck to gain one of the prizes offered by the Pittsburg Art Society for his orchestral overture work entitled Prelude to Goethe's Faust. The general idea of this work is stated as follows, concerning which a Pittsburg writer sends the following:

"It is doubtful whether any drama has been more freely drawn upon to supply musical inspiration than Goethe's masterpiece, 'Faust.' The dramatic poem-as Goethe designated it-covers such an immense consensus of human interest that it need not surprise us for having usurped attention in such divers ways, of which the art of music has been a most liberal exponent. Of the operas, 'Faust' and 'Margaretha,' by Gounod, is the most widely known. Among others, some of deeper significance may be named: Boito's 'Mefistofele,' Spohr's 'Faust,' Schumann's 'Scenes from Goethe's Faust,' and Berlioz's 'Damnation of Faust. Of orchestral works, Liszt's Faust Symphony' and Wagner's 'Eine Faust Ouverture' are the best known. An attempt, therefore, to treat anew this subject is fraught with some daring. The design of the present work is somewhat unlike any of the above orchestral works by its compactness and plan of construction.

"The opening measures are sombre and gloomy, depicting Faust in meditation, pondering over vexatious problems, that finally lead him to an outburst of despair. Becoming conscious of brighter aspects, the mood is illustrated by an episode of a peaceful character, begun by the wood-wind and followed by other instruments. Succeeding this occurs the symbol of Margaret-the pure maiden; this tranquil passage is assigned wholly to the wood-wind choir, and is of rather extended range.