easure on page 11. The final phrase,
strengthened by an organ-point on two notes, is fairly thrilling. A
tenor solo follows, its introductory recitative containing many fine
things, its aria being smoothly melodious. A chorus, of warm harmonies
and a remarkably beautiful and unexpected ending, is next; after which
is a sombre, but impressive alto solo. The two successive choruses,
the quartette, and the soprano solo catch the composer nodding. The
bass solo is better; the final chorus brings us back to the high
plane. Page 62 is particularly big of spirit, and from here on the
chorus climbs fiery heights. In spite of Berlioz' famous parody on the
"Amen" fugues, in the "Damnation of Faust," Shelley has used the word
over a score of times in succession to finish his work. But altogether
the work is one of maturity of feeling and expression, and it is a
notable contribution to American sacred music.

In 1898 "Death and Life" was published. It opens with a dramatic
chorus sung by the mob before the cross, and it ends daringly with a
unisonal descent of the voices that carries even the sopranos down to
A natural. In the duet between Christ and Mary, seeking where they
have laid her Son, the librettist has given Christ a versified
paraphrase which is questionable both as to taste and grammar. The
final chorus, however, has a stir of spring fire that makes the work
especially appropriate for Easter services.

The cantata "Vexilla Regis" is notable for its martial opening chorus,
the bass solo, "Where deep for us the spear was dyed," and its
scholarly and effective ending.

A lapidary's skill and delight for working in small forms belongs to
Gerrit Smith. His "Aquarelles" are a good example of his art in
bijouterie. This collection includes eight songs and eight piano
sketches. The first, "A Lullaby," begins with the unusual skip of a
ninth for the voice. A subdued accentuation is got by the syncopation
of the bass, and the yearning tenderness of the ending finishes an
exquisite song. "Dream-wings" is a graceful fantasy that fittingly
presents the delicate sentiment of Coleridge' lyrics. The setting of
Heine's "Fir-tree" is entirely worthy to stand high among the numerous
settings of this lyric. Smith gets the air of desolation of the bleak
home of the fir-tree by a cold scale of harmony, and a bold simplicity
of accompaniment. The home of the equally lonely palm-tree is strongly
contrasted by a tropical luxuriance of interl