anist at one of the
Hartford churches. In 1876 he removed to Chicago and engaged as teacher
in the Hershey School of Musical Art. At present he is still occupied in
teaching and also fills the position of musical critic for the "Tribune"
of that city. During these years his pen has been very busy, as the list
of his compositions shows. Among his principal works are two operas,
still in manuscript,--"Otho Visconti" and "Montezuma;" the cantatas "God
our Deliverer," "The Culprit Fay," and "Praise of Harmony;" and several
trios, sonatas, and other works for the chamber, as well as many songs.
The selections from his operas which have been played by the Thomas
orchestra show that they are compositions of unusual excellence and
scholarship.

The Culprit Fay.

"The Culprit Fay," a musical setting of Joseph Rodman Drake's well-known
fairy poem, was written in 1879. It is divided into three parts,--the
first containing five, the second five, and the third eight numbers; the
solos being divided among soprano, alto, tenor, and barytone, the last
named taking the part of the Fairy King. The exquisitely graceful fairy
story told in the poem is too well known to need description. It is
admirably adapted to music by its rhythmic fluency as well as by the
delicacy of its poetical sentiment; and while it does not call for
earnestness or strength in any of its movements, there is ample
opportunity for melodious and attractive pictures in tone of the dainty
descriptions of the poet. The composer has improved these opportunities
with much skill, and, notwithstanding the intrinsic lightness of the
score, has secured musical unity and poetical coherence by the artistic
use of the _leit-motif_. Nine of these motives are employed,
characterizing the summer night, the elfin mystery, the life of the
fairies, the fay's love for the mortal maid, the penalty for this
violation of fairy law, night on the river, the spells of the water imps,
the penalties imposed upon the culprit, and the Sylphide Queen's passion
for the Fay. The skilfulness with which these motives are adapted to
characters and situations, and interwoven with the general movement in
their proper recurrence, shows that the composer has not studied Wagner,
the master of the _leit-motif_, in vain.

After a short introduction for the horns and strings, the cantata opens
with a full chorus of graceful, flowing character ("'Tis the Middle Watch
of a Summe