Van der Stucken's music to "The Tempest" (op. 8) is published in three forms. Besides the orchestral score, there is an arrangement for piano solo, by A. Siloti, of the "Dance of the Gnomes," "Dance of the Nymphs," and "Dance of the Reapers," the first and third being especially well transcribed. For four hands, Hans Sitt has arranged these three dances, as well as a short but rich "Exorcism," some splendid melodramatic music, and the rattling grotesque, "The Hound-chase after Caliban." All these pieces are finely imagined and artistically handled. For piano solo, there is a group of three Miniatures (op. 7). The first is an Albumblatt of curious dun colors; the second is a Capriccietto, a strange whim; the third is a beautiful bit called "May Blossom." [Music: Der Stunde sei geflucht, wo ich dein Herz gesucht, wenn in dir diese Liebe statt milder Freudentriebe soll tragen herbe Frucht! Gesegnet ist die Stunde, sprach sie mit suessem Munde, mir ist kein Leid geschehn den Himmel fuehl' ich stehn in meines Herzens Grunde. That hour with curse be fraught, In which thy heart I sought, If I, in love bestowing, Instead of gladness knowing, A bitter grief have bought: "My soul that hour e'er blesses," A rosy mouth confesses, "Thy love is all I crave, Then heav'n itself I have Within my heart's recesses." Copyright, 1892, by Friedrich Luckhardt, Berlin. By permission of Luckhardt & Belder, New York. FRAGMENT OF MR. VAN DER STUCKEN'S "DIE STUNDE SEI GESEGNET."] Of Van der Stucken's songs I have seen two groups, the first a setting of five love lyrics by Rueckert. None of these are over two pages long, except the last. They are written in the best modern _Lied_ style, and are quite unhackneyed. It is always the unexpected that happens, though this unexpected thing almost always proves to be a right thing. Without any sense of strain or bombast he reaches superb climaxes; without eccentricity he is individual; and his songs are truly interpreters of the words they express. Of these five, "Wann die Rosen aufgeblueht" is a wonderfully fine and fiery work; "Die Stunde sei gesegnet" has one of the most beautiful endings imaginable; "Mir ist, nun ich die habe" has a deep significance in much simplicity, and its ending, by breaking the rule against consecutive octaves, attains, as rule-breakings have an unpleasant habit of doing, an excellent effect. "Liebste, nur dich seh'n" is a passionate lyric; and "Wenn die Voeglein sich gepaart" is florid and trilly, but legitimately so; it should find much concert use. These songs, indeed, are all more than melodies; they are expressions.