he sprawling
Caliban, make up a cast of characters in the development of which
music is peculiarly competent. The stertorous monologue of Caliban and
his hobbling dance, and the taunting and pinching torment he is
submitted to, make excellent humor.

_Henry K. Hadley._

[Illustration: HENRY K. HADLEY.]

The word symphony has a terrifying sound, particularly when it is
applied to a modern work; for latter-day music is essentially romantic
in nature, and it is only a very rare composer that has the
inclination or the ability to force the classic form to meet his new
ideas. The result is that such a work usually lacks spontaneity,
conviction. The modern writer does much better with the symphonic
poem.

The number of American symphonies worth listening to, could be counted
on the fingers with several digits to spare. A new finger has been
preempted by Henry K. Hadley's symphony called "Youth and Life." The
title is doubly happy. Psychologically it is a study of the intense
emotional life of youth, written by an American youth,--a young man
who, by the way, strangely reminds one, in his appearance, of
Macmonnies' American type, as represented by his ideal statue of
Nathan Hale.

And musically the work is imbued with both youth and life. It has
blood and heart in it. The first movement is a conflict between good
and evil motives struggling like the mediaeval angels for the soul of
the hero. The better power wins triumphantly. The second movement,
however, shows doubt and despair, remorse and deep spiritual
depression. The climax of this feeling is a death-knell, which,
smitten softly, gives an indescribably dismal effect, and thrills
without starting. Angelus bells in pedal-point continue through a
period of hope and prayer; but remorse again takes sway. The ability
to obtain this fine solemnity, and follow it with a scherzo of
extraordinary gaiety, proves that a genius is at large among us. The
Scherzo displays a thigh-slapping, song-singing _abandon_ that
typifies youthful frivolity fascinatingly. A fugue is used
incidentally with a burlesque effect that reminds one of Berlioz'
"Amen" parody in the "Damnation of Faust." The Finale exploits motives
of ambition and heroism, with a moment of love. The climax is
vigorous. Without being at all ariose, the symphony is full of melody.
Its melodies are not counterpoint, but expression; and each instrument
or choir of instruments is an individuality.

Hadley is galvanic