ces
gave a concert of his own compositions, winning the congratulations of
Grieg, Lassen, Liszt, and many other celebrated musicians. A prominent
German critic headed his review of the performance: "A new star on the
musical firmament."

Van der Stucken was now called to the directorship of the famous Arion
Male Chorus in New York, a position which he held for eleven years
with remarkable results. In 1892 he took his chorus on a tour in
Europe and won superlative praises everywhere.

In 1885 and successive years Van der Stucken conducted orchestral
"Novelty Concerts," which have an historical importance as giving the
first hearing to symphonic works by American composers. In Berlin and
in Paris he also gave our musicians the privilege of public
performance. From 1891 to 1894 he devoted himself to reforming the
Northeastern Saeengerbund, achieving the enormous task of making five
thousand male voices sing difficult music artistically. Since 1895 Van
der Stucken has been conductor of the newly formed Cincinnati Symphony
Orchestra, as well as dean of the faculty of the College of Music in
that city. The influence of this man, who is certainly one of the most
important musicians of his time, is bringing Cincinnati back to its
old musical prestige.

As a composer, Van der Stucken shows the same originality and power
that characterize him as an organizer. His prelude to the opera
"Vlasda" (op. 9) is one long rapture of passionate sweetness, superbly
instrumented. An arrangement of it has been made for the piano for
four hands by Horatio W. Parker.

Van der Stucken's music to "The Tempest" (op. 8) is published in three
forms. Besides the orchestral score, there is an arrangement for piano
solo, by A. Siloti, of the "Dance of the Gnomes," "Dance of the
Nymphs," and "Dance of the Reapers," the first and third being
especially well transcribed. For four hands, Hans Sitt has arranged
these three dances, as well as a short but rich "Exorcism," some
splendid melodramatic music, and the rattling grotesque, "The
Hound-chase after Caliban." All these pieces are finely imagined and
artistically handled.

For piano solo, there is a group of three Miniatures (op. 7). The
first is an Albumblatt of curious dun colors; the second is a
Capriccietto, a strange whim; the third is a beautiful bit called "May
Blossom."

[Music:

Der Stunde sei geflucht,
wo ich dein Herz gesucht,
wenn in dir diese Liebe
statt milder Fr