6). Gleason is again his own librettist. Of this
opera I have been privileged to see the complete piano score, and
much of the orchestral.

[Music: Montezuma, Act III, Introduction

Frederic Grant Gleason

EXCERPT FROM AN ORCHESTRAL SCORE BY MR. GLEASON.]

In the first act Guatemozin, who has been exiled by Montezuma, appears
disguised as an ancient minstrel and sings prophetically of the coming
of a god of peace and love to supplant the terrible idol that demands
human sacrifice. This superbly written aria provokes from the
terrified idolaters a chorus of fear and reproach that is strongly
effective. The next act begins with an elaborate aria followed by a
love duet of much beauty. A heavily scored priests' march is one of
the chief numbers, and like most marches written by the unco'
learned, it is a grain of martial melody in a bushel of trumpet
figures and preparation. The Wagnerian _leit-motif_ idea is adopted in
this and other works of his, and the chief objection to his writing is
its too great fidelity to the Wagnerian manner,--notably in the use of
suspensions and passing-notes,--otherwise he is a very powerful
harmonist and an instrumenter of rare sophistication. A soprano aria
with orchestral accompaniment has been taken from the opera and sung
in concert with strong effect.

Another work played at the World's Fair by Thomas, is a "Processional
of the Holy Grail." It is scored elaborately, but is rather brilliant
than large. It complimentarily introduces a hint or two of Wagner's
Grail motif.

The symphonic poem, "Edris," was also performed by the Thomas
Orchestra. It is based upon Marie Corelli's novel, "Ardath," which
gives opportunity for much programmism, but of a mystical highly
colored sort for which music is especially competent. It makes use of
a number of remarkably beautiful motives. One effect much commented
upon was a succession of fifths in the bass, used legitimately enough
to express a dreariness of earth.

This provoked from that conservative of conservatives, the music
copyist, a patronizing annotation, "Quinten!" to which Gleason added
"Gewiss!" A series of augmented triads, smoothly manipulated, was
another curiosity of the score.

Possibly Gleason's happiest work is his exquisite music for that most
exquisite of American poems, "The Culprit Fay." It is described in
detail in Upton's "Standard Cantatas," and liberally quoted from in
Goodrich' "Musical Analysis." While I have seen