ng up the arch
raillery and whim of Beddoe's verse. "Orsame's Song" is smooth and
graceful, ending with a well-blurted, abrupt "The devil take her!" The
"Night-piece to Julia" is notable. We have no poet whose lyrics are
harder to set to music than good Robin Herrick's. They have a lilt of
their own that is incompatible with ordinary music. Parker has,
however, been completely successful in this instance. A mysterious,
night-like carillon accompaniment, delicate as harebells, gives sudden
way to a superb support of a powerful outburst at the end of the song.

[Music:

The stars of the night
Will lend thee their light,
Like tapers without number.
Then, Julia let me woo thee,
Thus to come unto me;
And when I shall meet
Thy silvery feet
My soul I'll pour into thee,
My soul I'll pour into thee, into thee.

Copyright, 1886, by Arthur P. Schmidt & Co.

FRAGMENT OF MR. PARKER'S SONG, "NIGHT-PIECE TO JULIA."]

The "Six Songs" show not a little of that modernity and opulent color
I have denied to the most of Mr. Parker's work. "Oh, Ask Me Not" is
nothing less than inspiration, rapturously beautiful, with a rich use
of unexpected intervals. The "Egyptian Serenade" is both novel and
beautiful. The other songs are good; even the comic-operatic flavor of
the "Cavalry Song" is redeemed by its catchy sweep.

Among a large number of works for the pipe-organ, few are so marked by
that purposeless rambling organists are so prone to, as the
"Fantaisie." The "Melody and Intermezzo" of opus 20 makes a sprightly
humoresque. The "Andante Religioso" of opus 17 has really an
allegretto effect, and is much better as a gay pastorale than as a
devotional exercise. It is much more shepherdly than the avowed
"Pastorale" (opus 20), and almost as much so as the "Eclogue,"
delicious with the organ's possibilities for reed and pipe effects.
The "Romanza" is a gem of the first water. A charming quaint effect
is got by the accompaniment of the air, played legato on the swell,
with an echo, staccato, of its own chords on the great. The interlude
is a tender melody, beautifully managed. The two "Concert Pieces" are
marked by a large simplicity in treatment, and have this rare merit,
that they are less gymnastic exercises than expressions of feeling. A
fiery "Triumphal March," a delightful "Canzonetta," and a noble
"Larghetto," of sombre, yet rich and well-modulated, colors, complete
the list of his works for t