e Zephyr" is
dangerously like Chopin's fifteenth Prelude, with a throbbing
organ-point on the same A flat. On this alien foundation, however,
Bartlett has built with rich harmony. The "Harlequin" is graceful and
cheery. It ends with Rubinstein's sign and seal, an arpeggio in
sixths, which is as trite a musical finis as fiction's "They lived
happily ever afterward, surrounded by a large circle of admiring
friends."

Three mazurkas constitute opus 125. They are closely modelled on
Chopin, and naturally lack the first-handedness of these works, in
which, almost alone, the Pole was witty. But Bartlett has made as
original an imitation as possible. The second is particularly
charming.

In manuscript is a Prelude developed interestingly on well-understood
lines. There is a superb "Reverie Poetique." It is that climax of
success, a scholarly inspiration. To the meagre body of American
scherzos, Bartlett's scherzo will be very welcome. It is very festive
and very original. Its richly harmonized interlude shows a complete
emancipation from the overpowering influence of Chopin, and a great
gain in strength as well as individuality.

In his songs Bartlett attains a quality uniformly higher than that of
his piano pieces. "Moonbeams" has many delicacies of harmony.
"Laughing Eyes" is a fitting setting of Mr. "Nym Crinkle" Wheeler's
exquisite lyric. "Come to Me, Dearest," while cheap in general design,
has fine details.

It makes me great dole to have to praise a song about a brooklet; but
the truth is, that Bartlett's "I Hear the Brooklet's Murmur" is
superbly beautiful, wild with regret,--a noble song. It represents the
late German type of _Lied_, as the earlier heavy style is exemplified
in "Good Night, Dear One." Very Teutonic also is the airiness and
grace of "Rosebud."

To that delightful collection of children's songs, "The St. Nicholas
Song Book," Bartlett contributed largely. All of his lyrics are
delicious, and "I Had a Little Pony" should become a nursery classic.

In his "Lord God, Hear My Prayer," Bartlett throws down the gauntlet
to the Bach-Gounod "Ave Maria," with results rather disastrous. He
chooses a Cramer etude, and adds to it parts for voice, violin, and
organ. While Gounod seems passionate and unrestrained, Bartlett shows
his caution and his cage at every step. A Cramer etude is among the
most melancholy things of earth anyway. "Jehovah Nissi" is an
excellent sacred march chorus that won a prize, and t