other "Water Scenes," there is a shimmering "Dragon Fly," a
monody, "Ophelia," with a pedal-point of two periods on the tonic, and
a fluent "Barcarolle" with a deal of high-colored virtuosity.

His book "In Arcady" (1892) contains pastoral scenes, notably an
infectious romp that deserves its legend, "They danced as though they
never would grow old." The next year his opus 20, "A Book of Songs,"
was published. It contains, among other things of merit, a lullaby,
called "Sleep, Little Tulip," with a remarkably artistic and effective
pedal-point on two notes (the submediant and the dominant) sustained
through the entire song with a fine fidelity to the words and the
lullaby spirit; a "Nocturne" in which Nevin has revealed an
unsuspected voluptuousness in Mr. Aldrich' little lyric, and has
written a song of irresistible climaxes. The two songs, "Dites-Moi"
and "In der Nacht," each so completely true to the idiom of the
language of its poem, are typical of Nevin's cosmopolitanism, referred
to before. This same unusual ability is seen in his piano pieces as
well as in his songs. He knows the difference between a _chanson_ and
a _Lied_, and in "Rechte Zeit" has written with truth to German
soldierliness as he has been sympathetic with French nuance in "Le
Vase Brise," the effective song "Mon Desire," which in profile
suggests Saint-Saens' familiar Delilah-song, the striking "Chanson des
Lavandieres" and "Rapelle-Toi," one of Nevin's most elaborate works,
in which Alfred De Musset's verse is splendidly set with much
enharmonious color. Very Italian, too, is the "Serenade" with
accompaniment a la mandolin, which is the most fetching number in the
suite "Captive Memories," published in 1899.

Nevin has also put many an English song to music, notably the deeply
sincere "At Twilight," the strenuous lilt "In a Bower," Bourdillon's
beautiful lyric, "Before the Daybreak," the smooth and unhackneyed
treatment of the difficult stanza of "'Twas April," that popular song,
"One Spring Morning," which has not yet had all the charm sung out of
it, and two songs with obbligati for violin and 'cello, "Deep in the
Rose's Glowing Heart" and "Doris," a song with a finely studied
accompaniment and an aroma of Theokritos.

A suite for the piano is "En Passant," published in 1899; it ranges
from a stately old dance, "At Fontainebleau," to "Napoli," a furious
tarantelle with effective _glissandi_; "In Dreamland" is a most
delicious revery with an