he songs upon this program represent two other composers. At the head
of the list are placed some highly impassioned compositions by Mr. Geo.
W. Chadwick, of Boston. Mr. Chadwick is one of the most accomplished
American composers. From this set of songs, called "Told in the
Gates," selections are to be made at the convenience of singers.

The collection, as a whole, is one of the most remarkable of recent
times. It would be difficult to find twelve equally stirring songs in
the whole repertory. The key-note is set by the very first song,
"Sweetheart, Thy Lips are Touched with Flame," and in examining it one
hardly knows what to admire most, the symphonic skill of the
accompaniment, the placing of the emphasis for voice, or the intimate
feeling for musical expression, which enables the composer to arrive at
such thrilling effects. At the same time it is not a song for a timid
singer or a timid player. The second one, "Sings the Nightingale to
the Rose," is of a more quiet and reposeful character, well written.
The third, "The Rose Leans over the Pool," a delightful scherzando, in
which playful spirit and skilful use of material combine to produce its
effect. The fourth, "Love's Like a Summer Rose," is a very charming
song indeed for more ordinary occasions; well within the resources of
ordinary singers, but with an effect very unusual. The next, "As the
Waves without Number," a baritone song with a very elaborate
accompaniment and the usual masterly opportunity for the singer. "Dear
Love, when in Thy Arms I Lie," a slow and very expressive melody, with
a delightful bit of obligato in the first measures, where a 'cello
would produce a charming effect; modeled a little after a song of
Schumann's, "Poet's Love":

"Was I not Thine when Allah Spoke the Word
Which Formed from Earth the Sky?"

A colossal song for baritone, having in it tenderness and most intense
passion.

"In Mead where Roses Bloom," adapted for mezzo-soprano.

"Sister Fairest, why Art Thou Sighing?" a gem adapted for the female
voice.

"O Let Night Speak of Me," dedicated to Max Heinrich.

"I Said to the Wind of the South," dedicated to Miss Edmunds. A song
for mezzo-soprano, beautifully done.

It is difficult to speak of these songs in any kind of adequate terms,
because they represent what very rarely happens nowadays: a very
perfect union of music and poetry. The poetry for its own part being
singularly impressive and provocativ