of the roistering spirit, along with a competence of
musicianship that lifts them above any comparison with the average
balladry. Similarly "The Sword of Ferrara," with its hidalgic pride,
and "The Indifferent Mariner," and the drinking-song, "The Best of All
Good Company," are all what Horace Greeley would have called "mighty
interesting." Not long ago I would have wagered my head against a
hand-saw, that no writer of this time could write a canon with
spontaneity. But then I had not seen Bullard's three duets in canon
form. He has chosen his words so happily and expressed them so easily,
and with such arch raillery, that the duets are delicious. Of equal
gaiety is "The Lass of Norwich Town," which, with its violin
obbligato, won a prize in the _Musical Record_ competition of 1899.

Bullard was born at Boston, in 1864. He studied chemistry at first,
but the claims of music on his interest were too great, and in 1888 he
went to Munich, where he studied with Josef Rheinberger. After four
years of European life he returned to Boston, where he has taught
harmony and counterpoint along rather original lines. He is a writer
with ideas and resources that give promise of a large future. His
scholarship has not led him away from individuality. He is especially
likely to give unexpected turns of expression, little bits of
programmism rather incompatible with the ballad form most of his songs
take. The chief fault with his work is the prevailing dun-ness of his
harmonies. They have not felt the impressionistic revolt from the old
bituminous school. But in partial compensation for this bleakness is a
fine ruggedness.

Of his other published songs, "At Daybreak" shows a beautiful fervor
of repression. "On the Way" is redeemed by a particularly stirring
finish. In opus 8, "A Prayer" is begun in D minor and ended in D
major, with a strong effect of sudden exaltation from gloom. "The
Singer" begins also in sombre style with unusual and abrupt
modulations, and ends in a bright major. "The Hermit" is likewise
grim, but is broad and deep. It uses a hint of "Old Hundred" in the
accompaniment.

Opus 11 couples two dramatic ballads. In this form of condensed drama
is a too-little occupied field of composition, and Bullard has written
some part songs, of which "In the Merry Month of May," "Her Scuttle
Hat," and "The Water Song" are worth mentioning. "O Stern Old Land" is
a rather bathetic candidate for the national hymnship. But his "War