of a duet. The finale is
captivating and brilliant, and develops some big climaxes. The work as
a whole is really superb, and ought to be much played. There are,
besides, a "Lyric Finale" to a sonata not yet written, and several
songs for violin, voice, and piano.

A suite for four hands, "In Summer Fields," contains some happy
manifestations of ability, such as "A June Roundelay," "The Dryad's
Grove," and, especially, a humoresque "Junketing," which is surely
destined to become a classic. From some of his pantomimes Loomis has
made excerpts, and remade them with new elaboration for two pianos,
under the name of "Exotics." These are full of variety and of actual
novelty, now of startling discord, now of revelatory beauty. A
so-called "Norland Epic," freely constructed on the sonata formula, is
one of Loomis' most brilliant and personal achievements.

Loomis has an especial aptitude for writing artistic ballet-music, and
for composing in the tone of different nationalities, particularly the
Spanish. His pantomimes contain many irresistible dances, one of them
including a Chinese dance alternating 4-4 with 3-4 time. His
strikingly fleet "Harlequin" has been published.

The gift of adding art to catchiness is a great one. This Loomis
seems to have to an unusual degree, as is evidenced by the dances in
his pantomimes and his series of six pieces "In Ballet Costume," all
of them rich with the finest art along with a Strauss-like
spontaneity. These include "L'Amazone," "Pirouette," "Un Pas Seul,"
"La Coryphee," "The Odalisque," and "The Magyar." One of his largest
works is a concert waltz, "Mi-Careme," for two pianos, with elaborate
and extended introduction and coda.

A series of Genre Pictures contains such lusciousness of felicity as
"At an Italian Festival," and there are a number of musical moments of
engaging charm, for instance, "N'Importe Quoi," "From a Conservatory
Program," "A Tropical Night," a fascinating "Valsette," a nameless
valse, and "Another Scandal," which will prove a gilt-edged
speculation for some tardy publisher. It is brimming with the
delicious horror of excited gossipry. An example of how thoroughly
Loomis is invested with music--how he thinks in it--is his audacious
scherzo, "The Town Crier," printed herewith.

In songs Loomis has been most prolific. He has set twenty-two of
Shakespeare's lyrics to music of the old English school, such as his
uproarious "Let me the cannikin clink," and his da