A symphony in F (opus 23), twice rewritten but not yet performed, contains a slow movement that represents the composer at his highest level of contemplative beauty. The overture 'Paolo and Francesca' (opus 21) marks a departure from his usual absolutism; it is a work of large dimensions and great warmth of feeling, and made a deep impression upon the listeners when performed by the Theodore Thomas Orchestra on January 17-18, 1908. The same orchestra has given performances of Oldberg's 'Academic Overture,' written for the Northwest University at Evanston, Ill., a 'Theme and Variations' (opus 19), and a set of 'Symphonic Variations,' for organ and orchestra (opus 35), the variation form being one in the possibilities of which Oldberg has great faith. An almost uniform success has followed these various performances. A second symphony, in C minor (opus 34) has followed the first in F, and there is a recent 'Orchestral Rhapsody' (opus 36). An 'Arabesque' for piano (opus 31) shows the composer in a new vein. The admirable 'Symphonic' concerto for piano and orchestra (opus 17), and the horn concerto (opus 20), are almost entirely unknown. There are besides these works a considerable number of piano works, a sonata (opus 28) of great lyrical charm, a very extraordinary set of 'Thematic Variations,' a poetic and stirring 'Legend,' a set of three beautiful and highly interesting 'Miniatures,' and various other works. Mr. Oldberg was born at Youngstown, Ohio, in 1874. He is of Norse extraction, being of the third generation on American soil, and holds the chair of music at the Northwestern University. * * * * * Much space would be required in which to give an adequate account of the creative activities of Henry Hadley (b. 1871), one of the most spontaneous and prolific of American composers, and one of the best known, at home and abroad. By temperament and choice of subject matter Hadley places himself in the ranks of the romanticists, but his tenacious loyalty to the symphonic form, among a wide variety of other forms, bespeaks a neo-classical leaning and is scarcely to be explained by a mere desire to essay expression in all forms. Moreover, while in orchestral technique Hadley is a student and, in some sort, a disciple of Richard Strauss, unlike that composer he inclines, in his orchestral works other than symphonic, to the overture form rather than the less closely knit 'tone-poem.' In orchestral realism he follows Strauss but a short way, eschewing violence and holding a rather unique middle course between realism and impressionism; something more than impressionist merely, a _suggestive realist_ he might be termed.