Many of the works that I have had the privilege of examining in MS. have since been published; there is much originality, much attainment, and more promise in a number of his songs. His setting of Marlowe's "Come Live with Me," in spite of a few eccentricities, shows, on the whole, a great fluency of melody over an elaborately beautiful accompaniment. His solemn and mysterious "Forest Song" could deserve the advertisement of being "drawn from the wood." "Die erste Liebe" shows a contemplative originality in harmony, and ends with a curious dissonance and resolution. "O'er the Woods' Brow" is very strange and interesting, though somewhat abstruse. Less so is a song, "An den Abendsstern;" it has a comparison-forcing name, but is a delightful song. "Es muss ein Wunderbares sein" is notable for novel effects in harmonies of crystal with light dissonances to edge the facets. A sonata for piano and violin and a romanza for 'cello have been published, and his "Hiawatha" overture has been played by the Boston Symphony Orchestra. On this occasion the always quoteworthy mezzotintist, James Huneker, wrote: "The nephew of a very remarkable composer,--for Carl Goldmark outranks to-day all the Griegs, Massenets, Mascagnis, Saint-Saens, and Dvoraks you can gather,--he needs must fear the presence in his scores of the avuncular apparition. His 'Hiawatha' overture was played by Mr. Gericke and the Boston Symphony Orchestra Wednesday of last week. At the first cantilena on the strings I nearly jumped out of my seat. It was bewilderingly luscious and Goldmarkian,--a young Goldmark come to judgment. The family gifts are color and rhythm. This youth has them, and he also has brains. Original invention is yet to come, but I have hopes. The overture, which is not Indian, is full of good things, withal too lengthy in the free fantasia. There is life, and while there's life there's rhythm, and a nice variety there is. The allegro has one stout tune, and the rush and dynamic glow lasts. He lasts, does Rubin Goldmark, and I could have heard the piece through twice. The young American composer has not been idle lately." _The New York Colony._ In every period where art is alive there must be violent faction, and wherever there is violent faction there is sure to be a _tertium quid_ that endeavors to bridge the quarrel. The Daniel Websters call forth the Robert Haynes, and the two together evoke the compromisers, the Henry Clays. In the struggle between modernity and classicism that always rages when music is in vitality, one always finds certain ardent spirits who endeavor to reconcile the conflicting theories of the different schools, and to materialize the reconciliation in their own work. An interesting example of this is to be found in the anatomical construction of one of the best American piano compositions, the fantasy for piano and orchestra by Arthur Whiting.