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 Radziwell, Lindpaintner, Béaucourt, de Peelaert, Porphire-Désiré Hennebert, F. de Roda, Rietz, Henry Rowley Bishop, Louise Angélique Bertin, Heinrich Zoellner, Lickl, Karl Eberwein, Louis Schloesser, Eduard Lassen, and L. Gordigiani have faded away. We do remember Schumann, but who knows his Faust music, maugre Mr. Newman's earnest praise? Spohr's Faust, too, is forgotten, Spohr of whom W. H. Hadow once wrote, "His whole conception of the art is soft and voluptuous, his Heaven is a Garden of Atlantis, and even his Judgment Day is iridescent." Weber might have composed a Faust. When he was engaged to write an opera for London he was offered a choice between this subject and Oberon. He chose the latter. Beethoven, too, once contemplated the possibilities of the theme. Wagner's Eine Faustouvertüre is not performed as frequently as the prelude to Die Meistersinger, but there are probably few concert-goers who have not heard it. Felix Weingartner's incidental music for Goethe's play was performed at Weimar in 1908. More recently, a young Frenchwoman, Lili Boulanger, who died before she had achieved a style, set to music a scene from the second part of Goethe's Faust and called the result a cantata, but her devil is be-