He won in July, 1899, the prize offered to American composers by Henri Marteau, for a sonata for violin and piano. The jury was composed of such men as Dubois, Pierne, Diemer, and Pugno. The sonata is _quasi fantasia_, and begins strongly with an evident intention to make use of negro-tone. The first subject is so vigorously declared that one is surprised to find that it is elastic enough to express a sweet pathos and a deep gloom. It is rather fully developed before the second subject enters; this, on the other hand, is hardly insinuated in its relative major before the rather inelaborate elaboration begins. In the romanza, syncopation and imitation are much relied on, though the general atmosphere is that of a nocturne, a trio of dance-like manner breaking in. The final rondo combines a clog with a choral intermezzo. The work is noteworthy for its deep sincerity and great lyric beauty. _Maurice Arnold._ The plantation dances of Maurice Arnold have an intrinsic interest quite aside from their intrinsic value. Arnold, whose full name is Maurice Arnold-Strothotte, was born in St. Louis in 1865. His mother was a prominent pianist and gave him his first lessons in music. At the age of fifteen he went to Cincinnati, studying at the College of Music for three years. In 1883 he went to Germany to study counterpoint and composition with Vierling and Urban in Berlin. The latter discouraged him when he attempted to imbue a suite with a negro plantation spirit. Arnold now went upon a tramping tour in Hungary, Bulgaria, and Turkey. Some of his compositions show the influence of his journey. He then entered the Cologne Conservatory, studying under Wuellner, Neitzel, and G. Jensen. His first piano sonata was performed there at a public concert. He next went to Breslau, where, under the instruction of Max Bruch, he wrote his cantata, "The Wild Chase," and gave public performance to other orchestral work. Returning now to St. Louis, he busied himself as solo violinist and teacher, travelling also as a conductor of opera companies. When Dvorak came here Arnold wrote his "Plantation Dances," which were produced in a concert under the auspices of the Bohemian composer. Arnold was instructor of harmony at the National Conservatory under Dvorak. The "Plantation Dances" are Arnold's thirty-third opus, and they have been much played by orchestras; they are also published as a piano duet; the second dance also as a solo. Arnold has not made direct use of Ethiopian themes, but has sought the African spirit. The first of the dances is very nigresque; the second hardly at all, though it is a delicious piece of music; the third dance uses banjo figures and realizes darky hilarity in fine style; the fourth is a cake walk and hits off the droll humor of that pompous ceremony fascinatingly.