of the composer to write in magnificent size was overwhelmingly evident,
thus forecasting the splendors of "Hail, California."

The other work written by this visitor from Paris is in oratorio form
and titled, appropriately, "The Promised Land." A huge choir of 400
voices, directed by Wallace Sabin and named in honor of the visitor, the
"Saint-Saens Choir," rendered a good account of the ensemble sections of
the choral composition, while the Exposition orchestra of 80
instrumentalists and the Exposition organ added effectiveness to the
accompaniment. Sabin presided at the organ. In addition to these
appearances, the composer conducted three recitals during the latter
part of June, when all of the compositions offered were his work.

The visit of Dr. Karl Muck with his Boston Symphony Orchestra has become
a luminous memory. The trip is utterly new in the history of music
anywhere, nothing like it ever before having been attempted. It is said
that the transportation bills alone amounted to $15,000, and there were
no stop-overs en route for concert performances to help in defraying
this bulky first cost. It is proper to record here the financial success
of the venture. While the season of twelve concerts was yet young, more
than $40,000 had been taken in at the box office, and the estimated
expenses of $60,000 were liquidated, with a margin of profit. This was
enhanced by an extra concert, the thirteenth. Tickets for the season
were sold in Chicago, New York, Boston, Seattle, Spokane, Tacoma, St.
Louis, Portland, Maine, and Portland, Oregon, while San Francisco and
the bay communities in general sent their thousands to the glorious
recitals. The result will be seen in a stimulation of music in the West.

But the engagements of Saint-Saens and Dr. Muck with his orchestra do
not sum up the important activities of the Exposition's music. There are