of that much abused term, culture. Of all the arts,
music doubtless gets her highest favor.

The aid Boston has been to American music is vital, and far outweighs
that of any other city. That so magnificent an organization as its
Symphony Orchestra could be so popular, shows the solidity of its
general art appreciations. The orchestra has been remarkably willing,
too, to give the American composer a chance to be heard. Boston has
been not only the promulgator, but in a great measure the tutor, of
American music.

In Boston-town, folk take things seriously and studiously. In New York
they take them fiercely, whimsically. Like most generalizations, this
one has possibly more exceptions than inclusions. But it is
convenient.

It is convenient, too, to group together such of the residents of
these two towns, as I have not discussed elsewhere. The Chicago
coterie makes another busy community; and St. Louis and Cleveland have
their activities of more than intramural worth; Cincinnati, which was
once as musically thriving as its strongly German qualities
necessitated, but which had a swift and strange decline, seems to be
plucking up heart again. For this, the energy of Frank van der Stucken
is largely to credit. Aside from the foreign-born composers there, one
should mention the work of Richard Kieserling, Jr., and Emil Wiegand.
The former went to Europe in 1891 and studied at the Leipzig
Conservatory, under Reinecke, Homeyer, Rust, Schreck and Jadassohn. He
also studied conducting under Sitt. At his graduation, he conducted a
performance of his own composition, "Jeanne d'Arc." He returned to his
native city, Cincinnati, in 1895, where he has since remained,
teaching and conducting. Among his works, besides piano pieces and
songs, are: "A May Song," for women's chorus and piano; six pieces for
violin and piano; "Harold," a ballad for male chorus, barytone solo,
and orchestra; "Were It Not For Love," composed for male chorus;
several sets of male choruses; a motet for mixed chorus a cappella; a
berceuse for string orchestra, an introduction and rondo for violin
and orchestra; and a "Marche Nuptiale," for grand orchestra.

Emil Wiegand was also born in Cincinnati, and had his first tuition on
the violin from his father. His theoretical studies have been received
entirely in Cincinnati. He is a member of the local Symphonic
Orchestra, and has composed an overture for grand orchestra, a string
quartette, and various pieces