PROFESSOR PAINE'S RECITAL.

PROFESSOR PAINE has given the second and third of his piano recitals; the one took place on Thursday evening, the 10th, and the other on Tuesday evening, the 15th. He may well feel flattered by his audiences, for to make one's way through the Yard in a violent rain, even during daylight, is a hazardous undertaking, as we know from bitter experience; and on a dark night the paths, if discovered at all, are far from inviting. Notwithstanding, however, the most unfavorable weather, Boylston Hall was filled, even the aisle-steps being used for seats. We are still confident that, if the recitals had been brought to more general notice, Mr. Paine could have used Sanders Theatre to advantage, and that he could have pretty generally filled the floor seats.

We are glad to remark the increased interest of College men in these recitals; the large bulk of the audiences consisted of students.

The programme at the second recital was as follows: Sonate in C minor, Mozart; Sonates, op. 10, No. 3, and op. 110, by Beethoven; Andante Spiniato, Nocturne in A sharp, and Waltz in A flat, by Chopin. It was strongly a representative programme, for Mozart's C Minor Sonate is one of his greatest, and the op. 110 belongs to the last period of Beethoven's creative activity, - the period of the Ninth Symphony and the Mass in D. The Chopin numbers were more pleasing to the popular taste.

The programme at the third recital consisted of two movements from a Suite of Bach's; Sonates op. 31 and op. 110 by Beethoven; Nocturna op. 37 in G Major, and Tarentelle, by Chopin. The two Chopin numbers were very characteristic, especially the Nocturne; in fact, we know of no other single composition in which the peculiar and almost unique beauty of this thought is so clearly marked. This number was encored, and during the few seconds of applause certain men of '82 manifested an astounding desire to warm the hands. Mr. Paine's performance impressed us as notably conscientious in the fugue of the Beethoven op. 110 and in the Chopin Tarentelle.

Before this recital he gave a brief illustrated description of thematic treatment, which is largely employed in elaborating a composition.

This, we regret to say, is the last of these recitals, but we hope that Mr. Paine may be induced to continue them. He surely has all reason for encouragement.