The gift of adding art to catchiness is a great one. This Loomis seems to have to an unusual degree, as is evidenced by the dances in his pantomimes and his series of six pieces "In Ballet Costume," all of them rich with the finest art along with a Strauss-like spontaneity. These include "L'Amazone," "Pirouette," "Un Pas Seul," "La Coryphee," "The Odalisque," and "The Magyar." One of his largest works is a concert waltz, "Mi-Careme," for two pianos, with elaborate and extended introduction and coda. A series of Genre Pictures contains such lusciousness of felicity as "At an Italian Festival," and there are a number of musical moments of engaging charm, for instance, "N'Importe Quoi," "From a Conservatory Program," "A Tropical Night," a fascinating "Valsette," a nameless valse, and "Another Scandal," which will prove a gilt-edged speculation for some tardy publisher. It is brimming with the delicious horror of excited gossipry. An example of how thoroughly Loomis is invested with music--how he thinks in it--is his audacious scherzo, "The Town Crier," printed herewith. In songs Loomis has been most prolific. He has set twenty-two of Shakespeare's lyrics to music of the old English school, such as his uproarious "Let me the cannikin clink," and his dainty "Tell me where is fancy bred." "The Lark" is written in the pentatonic scale, with accompaniment for two flutes and a harp. In the same vein are various songs of Herrick, a lyrist whose verse is not usually congenial to the modern music-maker. Loomis' "Epitaph on a Virgin" must be classed as a success. Indeed, it reaches positive grandeur at its climax, wherein is woven the grim persistence of a tolling bell. In the same style is a clever setting of Ben Jonson's much music'd "To Celia." In German-tone are his veritably magnificent "Herbstnacht" and his "At Midnight," two studies after Franz. Heine's "Des Waldes Kapellmeister" has been made into a most hilarious humoresque. "Bergerie" is a dozen of Norman Gale's lyrics. "Andalusia" is a flamboyant duet. In Scotch songs there is a positive embarrassment of riches, Loomis' fancies finding especial food and freedom in this school. I find in these settings far more art and grace than I see even in Schumann's many Scotch songs, or those of any other of the Germans. "Oh, for Ane and Twenty" has bagpipe effects. Such flights of ecstasy as "My Wife's a Winsome Wee Thing," and "Bonnie Wee Thing," are simply tyrannical in their appeal. Then there is an irresistible "Polly Stewart;" and "My Peggy's Heart" is fairly ambrosial. These and several others, like "There Was a Bonnie Lass," could be made into an album of songs that would delight a whole suite of generations. A number of his songs are published: they include a "John Anderson, My Jo," that has no particular right to live; a ballad, "Molly," with a touch of art tucked into it; the beautiful "Sylvan Slumbers," and the quaint and fascinating "Dutch Garden."