Everywhere in Hadley's music is energy, fancy, the spirit of youth. It bubbles and glints, running an inexhaustible gamut of varying tints and ingenious and poetic tonal designs. It is the music of immense enjoyment of objective life, of actions, sights, emotions. Too eager and full of action to be deeply reflective, too happy to be philosophic, it is the part of Hadley's music to quicken the sense of life and of delight in the teeming visible world about us. Sombre, pensive, or bleak it may be at times, according to the composer's expressive need, but it is the tone-poet's fancy that decrees it, never a confession of _Weltschmerz_ on the composer's part. The first symphony, 'Youth and Life' (opus 25), is highly characteristic of the buoyancy, the nervous energy, and the imaginative fertility of the composer. The second, 'The Four Seasons' (opus 30), is a delicate balance, within the classical form, of romanticism, impressionism, and symbolism. It is romanticism that predominates, however, although such distinct impressions as those of wintry blasts and falling autumn leaves are happy and noteworthy features of the work. The languor and sun-warmed luxuriance of mid-summer finds poignant and beautiful expression. The third symphony, in B minor (opus 60), seems to be less well known than the others. The fourth symphony, 'North, East, South, West' (opus 64), was received with enthusiasm when produced under the direction of the composer at a meeting of the Litchfield County Choral Union, on June 6, 1911. Hadley indulges in a little aboriginal Americanism in the 'South' and 'West' movements, though his only definitely discernible 'nationalism' lies in his inherent temperamental character. The four symphonies reveal a constantly progressive growth in modern harmonic vision and in orchestral mastery. The only American composer to enter the field of symphonic conducting as a profession, Hadley, in his technical development, has made the most of his contact with the orchestra. There are three overtures, 'Hector and Andromache,' the jubilant 'In Bohemia,' and one of sombre character to Stephen Phillips' 'Herod.' A tone-poem, 'Salome,' finds him at his nearest to Strauss in ideals, even if not in style. His most recent orchestral work, produced in 1914, is entitled 'Lucifer.' From earlier days are several 'Ballet Suites,' an 'Oriental Suite' and a 'Symphonic Fantasie.' The still more recent 'Culprit Fay,' after Rodman Drake's poem, has won various and deserved honors. Hadley's one grand opera, 'Safie,' dating from his incumbency as opera conductor in Mainz, Germany, was produced there on April 4, 1909, but has not been heard in America. There are songs in great number and variety, several cantatas, a number of works in different small forms, and considerable church music.