The word symphony has a terrifying sound, particularly when it is applied to a modern work; for latter-day music is essentially romantic in nature, and it is only a very rare composer that has the inclination or the ability to force the classic form to meet his new ideas. The result is that such a work usually lacks spontaneity, conviction. The modern writer does much better with the symphonic poem. The number of American symphonies worth listening to, could be counted on the fingers with several digits to spare. A new finger has been preempted by Henry K. Hadley's symphony called "Youth and Life." The title is doubly happy. Psychologically it is a study of the intense emotional life of youth, written by an American youth,--a young man who, by the way, strangely reminds one, in his appearance, of Macmonnies' American type, as represented by his ideal statue of Nathan Hale. And musically the work is imbued with both youth and life. It has blood and heart in it. The first movement is a conflict between good and evil motives struggling like the mediaeval angels for the soul of the hero. The better power wins triumphantly. The second movement, however, shows doubt and despair, remorse and deep spiritual depression. The climax of this feeling is a death-knell, which, smitten softly, gives an indescribably dismal effect, and thrills without starting. Angelus bells in pedal-point continue through a period of hope and prayer; but remorse again takes sway. The ability to obtain this fine solemnity, and follow it with a scherzo of extraordinary gaiety, proves that a genius is at large among us. The Scherzo displays a thigh-slapping, song-singing _abandon_ that typifies youthful frivolity fascinatingly. A fugue is used incidentally with a burlesque effect that reminds one of Berlioz' "Amen" parody in the "Damnation of Faust." The Finale exploits motives of ambition and heroism, with a moment of love. The climax is vigorous. Without being at all ariose, the symphony is full of melody. Its melodies are not counterpoint, but expression; and each instrument or choir of instruments is an individuality. Hadley is galvanic with energy and optimism, dextrous to a remarkable degree in the mechanism of composition. His scoring is mature, fervent, and certain. His symphony is legitimately programmatic and alive with brains, biceps, and blood,--all three,--the three great B's of composition.