is somewhat developed, the second subject comes
in whimsically in the relative major. This is written with great
chromatic lusciousness, and is quite liberally developed. It suddenly
disappears into what is ordinarily called the second movement, a
pastoral, in which the piano is answered by the oboe, flute, clarinet,
and finally the horn. This is gradually appassionated until it is
merged into the reprise of the first movement proper. During this
reprise little glints of reminiscence of the pastoral are seen. A coda
of great bravery leads to the last movement, which is marked
"scherzando," but is rather martial in tone. The decidedly noble
composition ends with great brilliancy and strength. It is published
for orchestral score and for two pianos.

Whiting was born in Cambridge, Mass., June 20, 1861. He studied the
piano with William H. Sherwood, and has made a successful career in
concert playing with the Boston Symphony Orchestra and the Kneisel
Quartette, both of which organizations have performed works of his. In
1883 he went to Munich for two years, where he studied counterpoint
and composition with Rheinberger. He is now living in New York as a
concert pianist and teacher.

[Music: Idylle.

Arthur Whiting.

Copyright, 1895, by G. Schirmer.

A FRAGMENT.]

Four works of his for the piano are: "Six Bagatelles," of which the
"Caprice" has a charming infectious coda, while the "Humoreske" is
less simple, and also less amusing. The "Album Leaf" is a pleasing
whimsy, and the "Idylle" is as delicate as fleece. Of the three
"Characteristic Waltzes," the "Valse Sentimentale" is by far the most
interesting. It manages to develop a sort of harmonic haze that is
very romantic.

For the voice, Whiting has written little. Church music interests him
greatly, and he has written various anthems, a morning and evening
service, which keeps largely to the traditional colors of the
Episcopal ecclesiastical manner, yet manages to be fervent without
being theatrical. A trio, a violin sonata, and a piano quintette, a
suite for strings, and a concert overture for orchestra complete the
list of his writings.

On the occasion of a performance of Whiting's "Fantasy," Philip Hale
thus picturesquely summed him up:

"In times past I have been inclined to the opinion that when
Mr. Whiting first pondered the question of a calling he must
have hesitated between chess and music. His music seemed to
me full of openings a