rm. Besides these there are a
fugue for eight hands, a "Minstrel Serenade" for violin and piano, and
six duets for violin and viola.

There are also a few part songs and some solos, among which mention
should be made of "Ein Maerlein," in the old German style, an
exquisitely tender "Barcarolle," and a setting of the poem, "I Think
of Thee in Silent Night," which makes use of a particularly beautiful
phrase for pre-, inter-, and postlude. Arnold has also written some
ballet music, a tarantelle for string orchestra, and is at work upon a
symphony, and a book, "Some Points in Modern Orchestration." His
violin sonata (now in MS.) shows his original talent at its best. In
the first movement, the first subject is a snappy and taking example
of negro-tone, the second has the perfume of moonlit magnolia in its
lyricism. (In the reprise this subject, which had originally appeared
in the dominant major, recurs in the tonic major, the key of the
sonata being E minor.) The second movement is also in the darky
spirit, but full of melancholy. For finale the composer has flown to
Ireland and written a bully jig full of dash and spirit.

_N. Clifford Page._

The influence of Japanese and Chinese art upon our world of decoration
has long been realized. After considering the amount of interest shown
in the Celestial music by American composers, one is tempted to
prophesy a decided influence in this line, and a considerable spread
of Japanese influence in the world of music also. Japanese music has a
decorative effect that is sometimes almost as captivating as in
painting.

The city of San Francisco is the natural gateway for any such impulse,
and not a little of it has already passed the custom house. In this
field Edgar S. Kelley's influence is predominating, and it is not
surprising that he should pass the contagion on to his pupil,
Nathaniel Clifford Page, who was born in San Francisco, October 26,
1866. His ancestors were American for many years prior to the
Revolution. He composed operas at the age of twelve, and has used many
of these immature ideas with advantage in the later years. He began
the serious study of music at the age of sixteen, Kelley being his
principal teacher. His first opera, composed and orchestrated before
he became of age, was entitled "The First Lieutenant." It was produced
in 1889 at the Tivoli Opera House in San Francisco, where most of the
critics spoke highly of its instrumental and Oriental color,