Opus 107 includes three "characteristic pieces." "The Zephyr" is dangerously like Chopin's fifteenth Prelude, with a throbbing organ-point on the same A flat. On this alien foundation, however, Bartlett has built with rich harmony. The "Harlequin" is graceful and cheery. It ends with Rubinstein's sign and seal, an arpeggio in sixths, which is as trite a musical finis as fiction's "They lived happily ever afterward, surrounded by a large circle of admiring friends." Three mazurkas constitute opus 125. They are closely modelled on Chopin, and naturally lack the first-handedness of these works, in which, almost alone, the Pole was witty. But Bartlett has made as original an imitation as possible. The second is particularly charming. In manuscript is a Prelude developed interestingly on well-understood lines. There is a superb "Reverie Poetique." It is that climax of success, a scholarly inspiration. To the meagre body of American scherzos, Bartlett's scherzo will be very welcome. It is very festive and very original. Its richly harmonized interlude shows a complete emancipation from the overpowering influence of Chopin, and a great gain in strength as well as individuality. In his songs Bartlett attains a quality uniformly higher than that of his piano pieces. "Moonbeams" has many delicacies of harmony. "Laughing Eyes" is a fitting setting of Mr. "Nym Crinkle" Wheeler's exquisite lyric. "Come to Me, Dearest," while cheap in general design, has fine details. It makes me great dole to have to praise a song about a brooklet; but the truth is, that Bartlett's "I Hear the Brooklet's Murmur" is superbly beautiful, wild with regret,--a noble song. It represents the late German type of _Lied_, as the earlier heavy style is exemplified in "Good Night, Dear One." Very Teutonic also is the airiness and grace of "Rosebud." To that delightful collection of children's songs, "The St. Nicholas Song Book," Bartlett contributed largely. All of his lyrics are delicious, and "I Had a Little Pony" should become a nursery classic. In his "Lord God, Hear My Prayer," Bartlett throws down the gauntlet to the Bach-Gounod "Ave Maria," with results rather disastrous. He chooses a Cramer etude, and adds to it parts for voice, violin, and organ. While Gounod seems passionate and unrestrained, Bartlett shows his caution and his cage at every step. A Cramer etude is among the most melancholy things of earth anyway. "Jehovah Nissi" is an excellent sacred march chorus that won a prize, and there is a cantata, "The Last Chieftain." Bartlett's cantata is without efforts at Indian color, but is a solid work with much dignity, barbaric severity, and fire.