The "Serenade" displays an interesting rhythm; "The Miller's Daughter" is tender, and "A Warning" is delightfully witty. One regrets, however, that its best points were previously used in Schumann's perfect folk-song, "Wenn ich frueh in den Garten geh'." Chadwick has two folk-songs of his own, however, which are superb. "He Loves Me" is a tender, cradle-song-like bit of delicious color. The "Lullaby" is a genuinely interesting study in this overworked form. "The Lily" has the passionate lyricism of Chaminade, and "Sweet Wind that Blows" is a fine frenzy. The "Nocturne" is dainty and has its one good climax. "Before the Dawn" has some of Chadwick's best work; it is especially marked by a daring harmonic--you might say--_impasto_. His principal works, besides those mentioned, may be catalogued (I am unable to do more than catalogue most of them, having seen only one of them, "The Lily Nymph," performed, and having read the score of only the "Melpomene" overture): Concert overtures, "Rip Van Winkle" (written in Leipzig, 1879, and played there the same year), "Thalia" (1883), "Melpomene" (1887), "The Miller's Daughter" (1887), and "Adonais" (in memory of a friend, 1899); Symphonies, in C (1882), in B (1885); an Andante for string orchestra (1884), and numerous pieces of chamber-music. In the case of the cantata, "The Lily Nymph," Chadwick's art was quite futilized by the superb inanities of the book he used. The "Melpomene" is a work of infinitely more specific gravity. It is one of the most important of American orchestral works. As his "Thalia" was an "overture to an imaginary comedy," so this, to an imaginary tragedy. It has been played by the Boston Symphony and many other orchestras. It has that definiteness of mood with that indefiniteness of circumstance in which music wins its most dignified prosperity.