t the Worcester Musical Festival by Mme. Nordica.
This I have not seen, nor his romantic opera, "Rip Van Winkle." In
June, 1895, Brown University conferred on him the degree of Doctor of
Music. Two albums of his songs are published.

A writer of many religious solos and part songs is E.W. Hanscom, who
lives in Auburn, Me. He was born at Durham, in the same State,
December 28, 1848. He has made two extended visits to London, Berlin
and Vienna, for special work under eminent teachers, but has chiefly
studied in Maine. Besides his sacred songs Hanscom has published a
group of six songs, all written intelligently, and an especially good
lyric, "Go, Rose, and in Her Golden Hair," a very richly harmonized
"Lullaby," and two "Christmas Songs," with violin obbligato.

In Delaware, Ohio, at the Ohio Wesleyan University, is a composer,
Willard J. Baltzell, who has found inspiration for many worthy
compositions, but publishers for only two, both of these part songs,
"Dreamland" and "Life is a Flower," of which the latter is very
excellent writing.

Baltzell was for some years a victim of the musical lassitude of
Philadelphia. He had his musical training there. He has written in the
large forms a suite founded on Rossetti's "Love's Nocturne," an
overture, "Three Guardsmen," a "Novelette" for orchestra, a cantata,
"The Mystery of Life," and an unfinished setting of Psalm xvii. with
barytone solo. These are all scored for orchestra, and the manuscript
that I have seen shows notable psychological power. Other works are: a
string quartette, a trio, "Lilith," based on Rossetti's poem, "Eden
Bower," a nonet, and a violin sonata. He has also written for the
piano and organ fugues and other works. These I have not seen; but I
have read many of his songs in manuscript, and they reveal a
remarkable strenuousness, and a fine understanding of the poetry. His
song, "Desire," is full of high-colored flecks of harmony that dance
like the golden motes in a sunbeam. His "Madrigal" has much style and
humor. He has set to music a deal of the verse of Langdon E. Mitchell,
besides a song cycle, "The Journey," which is an interesting
failure,--a failure because it cannot interest any public singer, and
interesting because of its artistic musical landscape suggestion; and
there are the songs, "Fallen Leaf," which is deeply morose, and
"Loss," which has some remarkable details and a strange, but
effective, ambiguous ending. Other songs are a superbly r