ric power, and an
increase in fervor of emotion. Bourdillon's "The Night Has a Thousand
Eyes," which can never be too much set to music, receives here a truly
superb treatment. The interlude, which also serves for finale, is
especially ravishing. "Heart Longings" is one of Mr. Smith's very best
successes. It shows a free passion and a dramatic fire unusual for his
rather quiet muse. The setting of Bourdillon's fine lyric is indeed so
stirring that it deserves a high place among modern songs. "Melody"
is a lyric not without feeling, but yet inclusive of most of Smith's
faults. Thus the prelude, which is a tritely flowing allegro, serves
also for interlude as well as postlude, and the air and accompaniment
of both stanzas are unvaried, save at the cadence of the latter
stanza. The intense poesy of Anna Reeve Aldrich, a poetess cut short
at the very budding of unlimited promise, deserved better care than
this from a musician. Two of Smith's works were published in Millet's
"Half-hours with the Best Composers,"--one of the first substantial
recognitions of the American music-writer. A "Romance," however, is
the best and most elaborate of his piano pieces, and is altogether an
exquisite fancy. His latest work, a cycle of ten pieces for the piano,
"A Colorado Summer," is most interesting. The pieces are all lyrical
and simple, but they are full of grace and new colors.

[Music: Spring.

Words by Alfred Tennyson.

GERRIT SMITH, OP. 13, NO. 4.

Bird's love and bird's song,
Flying here and there,
Bird's song and bird's love,
And you with gold for hair.
Bird's song and bird's love,
Passing with the weather,
Men's song and men's love,
To love once and forever.

Copyright, 1894, by Arthur P. Schmidt.

A FRAGMENT.]

But Smith's most individual work is his set of songs for children,
which are much compared, and favorably, with Reinecke's work along the
same lines. These are veritable masterpieces of their sort, and they
are mainly grouped into opus 12, called "Twenty-five Song Vignettes."

So well are they written that they are a safe guide, and worthy that
supreme trust, the first formation of a child's taste. Even
dissonances are used, sparingly but bravely enough to give an idea of
the different elements that make music something more than a sweetish
impotence. They are vastly different from the horrible trash children
are usually brought up on, especially in our American schools, to t