Though chiefly known as a writer of marches, in which he has won glory enough for the average human ambition, Sousa has also taken a large place in American comic opera. His first piece, "The Smugglers," was produced in 1879, and scored the usual failure of a first work. His "Katherine" was never produced, his "Desiree" was brought out in 1884 by the McCaull Opera Company, and his "Queen of Hearts," a one-act piece, was given two years later. He forsook opera then for ten years; but in 1896 De Wolf Hopper produced his "El Capitan" with great success. The chief tune of the piece was a march used with Meyerbeerian effectiveness to bring down the curtain. The stout verve of this "El Capitan" march gave it a large vogue outside the opera. Hopper next produced "The Charlatan," a work bordering upon opera comique in its first version. Both of these works scored even larger success in London than at home. [Music: Used by permission of the John Church Company, owners of the copyright. A PAGE FROM "EL CAPITAN," BY JOHN PHILIP SOUSA.] In "The Bride Elect," Sousa wrote his own libretto, and while there was the usual stirring march as the piece de resistance, the work as a whole was less clangorous of the cymbal than the operas of many a tamer composer. In "Chris and the Wonderful Lamp," an extravaganza, the chief ensemble was worked up from a previous march, "Hands Across the Sea." But Sousa can write other things than marches, and his scoring is full of variety, freedom, and contrapuntal brilliance. _Henry Schoenefeld._ [Illustration: HENRY SCHOENEFELD.] Long before Dvorak discovered America, we aboriginals had been trying to invent a national musical dialect which should identify us as completely to the foreigner as our nasal intonation and our fondness for the correct and venerable use of the word "guess." But Dvorak is to credit for taking the problem off the shelf, and persuading our composers to think. I cannot coax myself into the enthusiasm some have felt for Dvorak's own explorations in darkest Africa. His quartette (op. 96) and his "New World" symphony are about as full of accent and infidelity as Mlle. Yvette Guilbert's picturesque efforts to sing in English. But almost anything is better than the phlegm that says, "The old ways are good enough for all time;" and the Bohemian missionary must always hold a place in the chronicle of American music.