In the single songs the influence of Gilchrist's early training in hymns is patent. In only a few instances do they follow the latter-day methods of Schumann and Franz. "A Song of Doubt and a Song of Faith" is possibly his best vocal solo. It begins with a plaint, that is full of cynic despair; thence it breaks suddenly into a cheerful andante. "The Two Villages" is a strong piece of work on the conventional lines of what might be called the Sunday ballad. "A Dirge for Summer" has a marked originality, and is of that deep brooding which is particularly congenial to Gilchrist's muse. The Scotch songs are charming: "My Heart is Sair" is full of fine feeling, and must be classed among the very best of the many settings of this lyric of Burns'. Most modern in feeling of all Gilchrist's vocal solos is the group of "Eight Songs." They interpret the text faithfully and the accompaniment is in accord with the song, but yet possessed of its own individuality. "A Love Song" is tender and has a well-woven accompaniment; "The Voice of the Sea" is effective, but hardly attains the large simplicity of Aldrich' poem; "Autumn" is exquisitely cheery; "Goldenrod" is ornately graceful, while "The Dear Long Ago" is quaint; "Lullaby" is of an exquisitely novel rhythm in this overworked form. [Music: A LOVE SONG. By Barry Cornwall. Music by W.W. Gilchrist. Love me if I live, Love me if I die. What to me is life or death, So that thou, that thou be near. What to me is life or death, So that thou be near, So that thou be near. Copyright, 1885, by Arthur P. Schmidt & Co. A FRAGMENT.] There is much contrast between the lightness of his book, "Songs for the Children," and his ponderous setting of Kipling's "Recessional." The treatment of Paul Laurence Dunbar's "Southern Lullaby" is unusual, and the songs, "My Ladye" and "The Ideal," both in MS., are noteworthy. Gilchrist has written a vast amount of religious music, including several "Te Deums," of which the one in C and that in A flat are the best, to my thinking. He has written little for the piano except a series of duets, of which the charming "Melodie" and the fetching "Styrienne" are the best. It is by his orchestral works, however, that he gains the highest consideration. These include a symphony for full orchestra, which has been frequently performed with success; a suite for orchestra; a suite for piano and orchestra; as well as a nonet, a quintet, and a trio, for strings and wind. None of these have been published, but I have had the privilege of examining some of the manuscripts.