Four works of his for the piano are: "Six Bagatelles," of which the "Caprice" has a charming infectious coda, while the "Humoreske" is less simple, and also less amusing. The "Album Leaf" is a pleasing whimsy, and the "Idylle" is as delicate as fleece. Of the three "Characteristic Waltzes," the "Valse Sentimentale" is by far the most interesting. It manages to develop a sort of harmonic haze that is very romantic. For the voice, Whiting has written little. Church music interests him greatly, and he has written various anthems, a morning and evening service, which keeps largely to the traditional colors of the Episcopal ecclesiastical manner, yet manages to be fervent without being theatrical. A trio, a violin sonata, and a piano quintette, a suite for strings, and a concert overture for orchestra complete the list of his writings. On the occasion of a performance of Whiting's "Fantasy," Philip Hale thus picturesquely summed him up: "In times past I have been inclined to the opinion that when Mr. Whiting first pondered the question of a calling he must have hesitated between chess and music. His music seemed to me full of openings and gambits and queer things contrived as in a game. He was the player, and the audience was his antagonist. Mr. Whiting was generally the easy conqueror. The audience gave up the contest and admired the skill of the musician. "You respected the music of Mr. Whiting, but you did not feel for it any personal affection. The music lacked humanity. Mr. Whiting had, and no doubt has, high ideals. Sensuousness in music seemed to him as something intolerable, something against public morals, something that should be suppressed by the selectmen. Perhaps he never went so far as to petition for an injunction against sex in music; but rigorous intellectuality was his one aim. He might have written A Serious Call to Devout and Holy Composition, or A Practical Treatise upon Musical Perfection, to which is now added, by the same author, The Absolute Unlawfulness of the Stage Entertainment Fully Demonstrated. "There was almost intolerance in Mr. Whiting's musical attitude. He himself is a man of wit rather than humor, a man with a very pretty knack at sarcasm. He is industrious, fastidious, a severe judge of his own works. As a musician he was even in his dryest days worthy of sincere respect.