nd
three flutes carry the burden of the accompaniment gracefully); a
pleasant "Reverie" for string orchestra, harp, and organ; and two
impromptus for string orchestra, a "Meditation" representing Cordelia
brooding tenderly over the slumbering King Lear,--art ministering very
tenderly to the mood,--and a cleverly woven "Valse Noble."

Only a few of Schoenefeld's works are published, all of them piano
pieces. It is no slur upon his orchestral glory to say that these are
for the most part unimportant, except the excellent "Impromptu" and
"Prelude." Of the eight numbers in "The Festival," for children, only
the "Mazurka" is likely to make even the smallest child think. The
"Kleine Tanz Suite" is better. The six children's pieces of opus 41,
"Mysteries of the Wood," make considerable appeal to the fancy and
imagination, and are highly interesting. They show Grieg's influence
very plainly, and are quite worth recommending. This cannot be said of
his most inelegant "Valse Elegante," or of his numerous dances,
except, perhaps, his "Valse Caprice."

He won in July, 1899, the prize offered to American composers by Henri
Marteau, for a sonata for violin and piano. The jury was composed of
such men as Dubois, Pierne, Diemer, and Pugno. The sonata is _quasi
fantasia_, and begins strongly with an evident intention to make use
of negro-tone. The first subject is so vigorously declared that one is
surprised to find that it is elastic enough to express a sweet pathos
and a deep gloom. It is rather fully developed before the second
subject enters; this, on the other hand, is hardly insinuated in its
relative major before the rather inelaborate elaboration begins. In
the romanza, syncopation and imitation are much relied on, though the
general atmosphere is that of a nocturne, a trio of dance-like manner
breaking in. The final rondo combines a clog with a choral intermezzo.
The work is noteworthy for its deep sincerity and great lyric beauty.

_Maurice Arnold._

The plantation dances of Maurice Arnold have an intrinsic interest
quite aside from their intrinsic value. Arnold, whose full name is
Maurice Arnold-Strothotte, was born in St. Louis in 1865. His mother
was a prominent pianist and gave him his first lessons in music. At
the age of fifteen he went to Cincinnati, studying at the College of
Music for three years. In 1883 he went to Germany to study
counterpoint and composition with Vierling and Urban in Berlin. The
latter disc