His trio for piano, violin and 'cello is an exceptionally substantial opus 1, and his 'Hiawatha' overture won enthusiastic praise from no less discerning a critic than James Huneker. Among his earlier works are a sonata for piano and violin, a 'Romanza' for 'cello, and a number of piano compositions and songs, the latter especially revealing an imagination of distinctive character. An 'Ode to Colorado' for mixed voices issues from the composer's occasional residence in Colorado Springs, as also four 'Prairie Idylls' for piano. From Goldmark's maturer powers springs the quartet in A major, for piano and strings, which, in its class, won the Paderewski Prize in 1909, the poetic merits of the work being revealed in a subsequent performance by the Kneisel Quartet. The impressive and highly-appraised tone-poem 'Samson' was produced by the Boston Symphony Orchestra in March, 1914. * * * * * One of the first of the post-Chadwickian generation of American composers to step into prominence was Howard Brockway (b. 1870), who received a very thorough training under the American O. B. Boise in Berlin. He brought back, among other large works, a symphony which he had composed at the age of twenty-four and which had called much attention to his gifts and potential career when performed at a concert of his works in Berlin. Walter Damrosch once said, 'The trouble with American composers is they write one symphony when they come back from Europe and then do nothing more.' A significant half-truth is contained in the remark. The classical musical education requires, tacitly or otherwise, the symphonic effort. Then come the American environment and the dampening absence of a market for symphonies by Young (and Old) America; then the writing of songs in order to find a way to a hearing; and _then_, if the composer is to belie the Damroschian dictum, a gradual artistic resurrection harmonious with American institutions, purposes, and ideals. Brockway did, in fact, give out a quantity of small works, songs and piano compositions, on his return to America, all of which, it may be said, reveal a sensitive and truly poetic musical nature, capable of lifting itself well up through the dense and earthy atmosphere of technique into the realm of poetic perception and expression. The outcome of his return to large forms it is a bit early to predict. The knowledge of a manuscript quintet for strings and piano, and a piano concerto, under his highest opus numbers, 36 and 37, adumbrates an auspicious future for his expression in large forms. Meanwhile a suite for 'cello and piano (opus 35) has been given out, and an admirable cantata, 'Sir Olaf,' has been heard. From his earlier portfolio credit is to be given him for the beautiful violin sonata (opus 9) and the significant 'Ballade' and 'Sylvan Suite' (op. 11 and 19), both for orchestra. * * * * *