orms.

Opus 19 consists of "Four Sketches," of which the "Etude Melodieuse"
is as good as is necessary in that overworked style, wherein a thin
melody is set about with a thinner ripple of arpeggios. The "Romanza"
is lyric and delightful, while the "Scherzino" is delicious and crisp
as celery; it is worthy of Schumann, whom it suggests, and many of
whose cool tones and mannerisms it borrows.

The "5 Morceaux Characteristiques" are on the whole better. The
"Scherzo" is shimmering with playfulness, and, in the Beethoven
fashion, has a tender intermezzo amoroso. This seriousness is enforced
with an ending of a most plaintive nature. The "Caprice" is brilliant
and whimsical, with some odd effects in accent. The "Gavotte" makes
unusual employment of triplets, but lacks the precious yeast of
enthusiasm necessary to a prime gavotte.

This enthusiasm is not lacking however from his "Impromptu," and it
makes his "Elegie" a masterly work, possibly his best in the smaller
lines. This piece is altogether elegiac in spirit, intense in its
sombrest depths, impatient with wild outcries,--like Chopin's "Funeral
March,"--and working up to an immense passion at the end. This
subsides in ravishingly liquid arpeggios,--"melodious tears"?--which
obtain the kindred effect of Chopin's tinkling "Berceuse" in a
slightly different way. This notable work is marred by an interlude in
which the left hand mumbles harshness in the bass, while the right
hand is busy with airy fioriture. It is too close a copy of the finish
of the first movement of Beethoven's "Moonlight" sonata. The
lengthening skips of the left hand are also Beethovenesque trademarks.

Parker is rather old-fashioned in his forms of musical speech. That
is, he has what you might call the narrative style. He follows his
theme as an absorbing plot, engaging enough in itself, without
gorgeous digressions and pendent pictures. His work has something of
the Italian method. A melody or a theme, he seems to think, is only
marred by abstruse harmony, and is endangered by diversions. One might
almost say that a uniform lack of attention to color-possibilities and
a monotonous fidelity to a cool, gray tone characterize him. His
fondness for the plain, cold octave is notable. It is emphasized by
the ill-success of his "Six Lyrics for Piano, without octaves." They
are all of thin value, and the "Novelette" is dangerously
Schumannesque.

The "Three Love Songs" are happy, "Love's Chase" keepi