utmost largeness and
grandeur. His graceful "Fly, White Butterflies," and "In Harbor," and
the dramatic setting of "The Loreley," the jovial "Gather Ye Rosebuds"
of jaunty Rob Herrick, the foppish tragedy of "La Vie est Vaine" (in
which the composer's French prosody is a whit askew), that gallant,
sweet song, "My True Love Hath My Heart," and a gracious setting of
Heine's flower-song, are all noteworthy lyrics. He has set some of
Tolstoi's words to music, the sinister love of "Doubt Not, O Friend,"
and the hurry and glow of "The First Spring Days," making unusually
powerful songs. In the "Look Off, Dear Love," he did not catch up
with Lanier's great lyric, but he handled his material most
effectively in Aldrich' "Song from the Persian," with its Oriental
wail followed by a martial joy. The high verve that marks his work
lifts his "Sing, O Heavens," out of the rut of Christmas anthems.

Of instrumental work, there is only one small book, "Scenes du Bal," a
series of nine pieces with lyric characterization in the spirit, but
not the manner of Schumann's "Carneval." The most striking numbers are
"Les Bavardes," "Blonde et Brune," and a fire-eating polonaise.

These close the lamentably small number of manifestations of a most
decisive ability.

Another Cleveland composer well spoken of is Charles Sommer.

A young woman of genuine ability, who has been too busy with teaching
and concert pianism to find as much leisure as she deserves for
composition, is Patty Stair, a prominent musical figure in Cleveland.
Her theoretical studies were received entirely at Cleveland, under F.
Bassett. Her published works include a book of "Six Songs," all of
them interesting and artistic, and the "Madrigal" particularly
ingenious; and a comic glee of the most irresistible humor, called "An
Interrupted Serenade;" in manuscript are a most original song,
"Flirtation," a jovial part song for male voices, "Jenny Kissed Me," a
berceuse for violin and piano, a graceful song, "Were I a Brook," a
setting of Thomas Campion's "Petition," and another deeply stirring
religious song for contralto, "O Lamb of God."

_The St. Louis Colony._

The most original and important contribution to American music that
St. Louis has made, is, to my mind, the book of songs written by
William Schuyler. The words were chosen from Stephen Crane's book of
poems, "The Black Riders." The genius of Crane, concomitant with
eccentricity as it was, is one of the most d