issue from the next apartment: again they would sound as if from afar. In each case the distance was exactly that from which the passage was heard to the greatest advantage.
The meal concluded, we were in no haste to rise from table. The character of the music now changed. The instruments took a subordinate part, as the background to a grand chorus of multitudinous voices, or as the subdued accompaniment to solos, duets, or trios, executed by voices of power and compass beyond all it had, till then, been my fortune to hear. During the pauses in the performance, the ladies discussed both music and performers in a manner that showed, not only a sound musical training, but also rare artistic appreciation.
"Presently you shall hear Ulmene's piece," said Ialma to me during one of these pauses.
Before I had time to inquire whether by this she meant a favorite piece of her sister's, or an original composition by her, the doubt was solved by the opening of the piece in question. During the progress of the music, which, I am ashamed to confess, was rather beyond me, Ulmene's rapt look was that of the artist intent for errors in execution. To the rest, the strain was evidently familiar and dear. To me the expression of affectionate pride on the faces of husband, sister, and children was a study more interesting than the music. This piece was the finale; or, rather, as I afterwards learned, the telephone was shut off that had conveyed the sound from a distance.
"We prefer our music in the morning," said Utis, when we were conversing on the subject. "It fills up agreeably the leisure that ought to be enjoyed after a
