rnity.

The "Nonet" is in G minor, and begins with an Allegro in which a most
original and severe subject is developed with infinite grace and
an unusually rich color. The Andante is religioso, and is fervent
rather than sombre. The ending is especially beautiful. A sprightly
Scherzo follows. It is most ingeniously contrived, and the effects are
divided with unusual impartiality among the instruments. A curious and
elaborate allegro molto furnishes the finale, and ends the "Nonet"
surprisingly with an abrupt major chord.

The opening Allegro of the "Quintet" begins with a 'cello solo of
scherzesque quality, but as the other voices join in, it takes on a
more passionate tone, whence it works into rapturously beautiful moods
and ends magnificently. The piano part has a strong value, and even
where it merely ornaments the theme carried by the strings, it is
fascinating. The Scherzo is again of the Beethoven order in its
contagious comicality. The piano has the lion's share of it at first,
but toward the last the other instruments leave off embroidery and
take to cracking jokes for themselves. The Andante is a genuinely fine
piece of work. It ranges from melting tenderness to impassioned rage
and a purified nobility. The piano part is highly elaborated, but the
other instruments have a scholarly, a vocal, individuality. I was
shocked to see a cadenza for the piano just before the close, but its
tender brilliance was in thorough accord with the sincerity of the
movement. The "Quintet" ends with a splendid Allegro.

In MS. are three interesting works for the violin, a Rhapsody, a
Perpetual Motion, and a Fantasie.

This last has a piano accompaniment of much ingenuity. The fantasial
nature of the work lies principally in its development, which is
remarkably lyrical, various melodies being built up beautifully on
fractions of the main subjects. There is nothing perfunctory, and the
work is full of art and appeal. Gilchrist is one of our most polished
composers contrapuntally, but has been here in a very lyric mood.

He is the founder and conductor of the Mendelssohn Club of
Philadelphia, an unusually effective organization; one of the founders
of the local Manuscript Club; the conductor of a choral society of two
hundred voices, at Harrisburg, and the director of two church choirs.

_G.W. Chadwick._

[Illustration: Autograph of G.W. Chadwick]

[Illustration: GEORGE WHITEFIELD CHADWICK.]

One of the most sophisticat