Bartlett was born at Olive, N.Y., December 28, 1846. His ancestry runs far back into New England, his mother being a descendant of John Rogers, the martyr. Bartlett is said to have "lisped in numbers," singing correctly before he could articulate words. The violin was his first love, and at the age of eight he was playing in public. He took up the piano and organ also, and in his fourteenth year was a church organist. He studied the piano with S.B. Mills, Emil Guyon (a pupil of Thalberg), and Alfred Pease. The organ and composition he studied with O.F. Jacobsen and Max Braun. With the exception of a musical pilgrimage in 1887, Bartlett has not come nearer the advantages of Europe than study here under men who studied there. He has resided for many years in New York as organist and teacher. As a composer he has been one of our most prolific music-makers. His work shows a steady development in value, and the best is doubtless yet to come. He finds a congenial field in the orchestra. Seidl played his instrumentation of Chopin's "Military Polonaise" several times. As the work seemed to need a finale in its larger form, Bartlett took a liberty whose success was its justification, and added a finish made up of the three principal themes interwoven. A recent work is his "Concertstueck," for violin and orchestra. It is not pianistic in instrumentation, and will appeal to violinists. While not marked with _recherches_ violin tricks, or violent attempts at bravura, it has both brilliance and solidity, and is delightfully colored in orchestration. There are no pauses between the movements, but they are well varied in their unity. There is an unfinished oratorio, "Samuel," an incomplete opera, "Hinotito," and a cantata of which only the tenor solo, "Khamsin," is done. This is by far the best work Bartlett has written, and displays unexpected dramatic powers. The variation of the episodes of the various phases of the awful drought to the climax in "The Plague," make up a piece of most impressive strength. The orchestration is remarkably fine with effect, color, and variety. If the cantata is finished on this scale, its production will be a national event. The New England farmer is usually taken as a type of sturdy Philistinism in artistic matters. It was a most exceptional good fortune that gave C.B. Hawley a father who added to the dignity of being a tiller of the soil the refinements of great musical taste and skill. His house at Brookfield, Conn., contained not only a grand piano, but a pipe organ as well; and Hawley's mother was blessed with a beautiful and cultivated voice. At the age of thirteen (he was born St. Valentine's Day, 1858) Hawley was a church organist and the conductor of musical affairs in the Cheshire Military Academy, from which he graduated. He went to New York at the age of seventeen, studying the voice with George James Webb, Rivarde, Foederlein, and others, and composition with Dudley Buck, Joseph Mosenthal, and Rutenber.