uberth & Co.]

A later song, "My Guest," shows an increase in elaboration, but
follows the florid school of Harrison Millard's once so popular
rhapsody, "Waiting." Five songs are grouped into opus 12, and they
reach a much higher finish and a better tendency to make excursions
into other keys. They also show two of Harris' mannerisms, a constant
repetition of verbal phrases and a fondness for writing close,
unbroken chords, in triplets or quartoles. "A Melody" is beautiful;
"Butterflies and Buttercups" is the perfection of grace; "I Know not
if Moonlight or Starlight" is a fine rapture, and "A Disappointment"
is a dire tragedy, all about some young toadstools that thought they
were going to be mushrooms. For postlude two measures from the
cantabile of Chopin's "Funeral March" are used with droll effect.
"Love, Hallo!" is a headlong springtime passion. Two of his latest
songs are "Forever and a Day," with many original touches, and a
"Song from Omar Khayyam," which is made of some of the most cynical of
the tent-maker's quatrains. Harris has given them all their power and
bitterness till the last line, "The flower that once has blown forever
dies," which is written with rare beauty. "A Night-song" is possibly
his best work; it is full of colors, originalities, and lyric
qualities. Opus 13 contains six songs: "Music when Soft Voices Die"
has many uncommon and effective intervals; "The Flower of Oblivion" is
more dramatic than usual, employs discords boldly, and gives the
accompaniment more individuality than before; "A Song of Four
Seasons" is a delicious morsel of gaiety, and "Love within the Lover's
Breast" is a superb song. Harris has written some choric works for men
and women also. They show commendable attention to all the voice
parts.

One of the most prominent figures in American musical history has been
Dr. William Mason. He was born in Boston, January 24, 1829, and was
the son of Lowell Mason, that pioneer in American composition. Dr.
William Mason studied in Boston, and in Germany under Moscheles,
Hauptmann, Richter, and Liszt. His success in concerts abroad and here
gave prestige to his philosophy of technic, and his books on method
have taken the very highest rank.

His pedagogical attainments have overshadowed his composition, but he
has written some excellent music. As he has been an educational force
in classical music, so his compositions show the severe pursuit of
classic forms and ideas. His work is