The five-song'd opus 14 shows well matured lyric power, and an increase in fervor of emotion. Bourdillon's "The Night Has a Thousand Eyes," which can never be too much set to music, receives here a truly superb treatment. The interlude, which also serves for finale, is especially ravishing. "Heart Longings" is one of Mr. Smith's very best successes. It shows a free passion and a dramatic fire unusual for his rather quiet muse. The setting of Bourdillon's fine lyric is indeed so stirring that it deserves a high place among modern songs. "Melody" is a lyric not without feeling, but yet inclusive of most of Smith's faults. Thus the prelude, which is a tritely flowing allegro, serves also for interlude as well as postlude, and the air and accompaniment of both stanzas are unvaried, save at the cadence of the latter stanza. The intense poesy of Anna Reeve Aldrich, a poetess cut short at the very budding of unlimited promise, deserved better care than this from a musician. Two of Smith's works were published in Millet's "Half-hours with the Best Composers,"--one of the first substantial recognitions of the American music-writer. A "Romance," however, is the best and most elaborate of his piano pieces, and is altogether an exquisite fancy. His latest work, a cycle of ten pieces for the piano, "A Colorado Summer," is most interesting. The pieces are all lyrical and simple, but they are full of grace and new colors. [Music: Spring. Words by Alfred Tennyson. GERRIT SMITH, OP. 13, NO. 4. Bird's love and bird's song, Flying here and there, Bird's song and bird's love, And you with gold for hair. Bird's song and bird's love, Passing with the weather, Men's song and men's love, To love once and forever. Copyright, 1894, by Arthur P. Schmidt. A FRAGMENT.] But Smith's most individual work is his set of songs for children, which are much compared, and favorably, with Reinecke's work along the same lines. These are veritable masterpieces of their sort, and they are mainly grouped into opus 12, called "Twenty-five Song Vignettes."