apturous
setting of E.C. Stedman's "Thou Art Mine," and a series of songs to
the words of Richard Watson Gilder, a poet who is singularly
interesting to composers: "Thistledown" is irresistibly volatile;
"Because the Rose Must Fade" has a nobility of mood; "The Winter
Heart" is a powerful short song, and "Woman's Thought," aside from one
or two dangerous moments, is stirring and intense. Baltzell writes
elaborate accompaniments, for which his skill is sufficient, and he is
not afraid of his effects.

In the far Xanadu of Colorado lives Rubin Goldmark, a nephew of the
famous Carl Goldmark. He was born in New York in 1872. He attended the
public schools and the College of the City of New York. At the age of
seven he began the study of the piano with Alfred M. Livonius, with
whom he went to Vienna at the age of seventeen. There he studied the
piano with Anton Door, and composition with Fuchs, completing in two
years a three years' course in harmony and counterpoint. Returning to
New York, he studied with Rafael Joseffy and with Doctor Dvorak for
one year. In 1892 he went to Colorado Springs for his health. Having
established a successful College of Music there, he has remained as
its director and as a lecturer on musical topics.

At the age of nineteen he wrote his "Theme and Variations" for
orchestra. They were performed under Mr. Seidl's leadership in 1895
with much success. Their harmonies are singularly clear and sweet, of
the good old school. At the age of twenty Goldmark wrote a trio for
piano, violin, and 'cello. After the first performance of this work at
one of the conservatory concerts, Doctor Dvorak exclaimed, "There are
now two Goldmarks." The work has also had performance at the concerts
of the Kaltenborn Quartette, and has been published. It begins with a
tentative questioning, from which a serious allegro is led forth. It
is lyrical and sane, though not particularly modern, and certainly not
revolutionary in spirit. The second movement, a romanza, shows more
contrapuntal resource, and is full of a deep yearning and appeal,--an
extremely beautiful movement. The scherzo evinces a taking jocosity
with a serious interval. The piano part is especially humorous. The
finale begins with a touch of Ethiopianism that is perhaps
unconscious. The whole movement is very original and quaint.

Goldmark's music shows a steady development from a conservative
simplicity to a modern elaborateness, a development thoroughly t