An extraordinarily prolific composer is Homer N. Bartlett (1845-1911), the separation of whose more distinguished works from the mass that he has written will be effected only by the sifting process of time. From the _Salonstück_ period of his 'outrageously' popular 'Grand Polka de Concert' (opus 1), through the ambitious violin concerto (opus 109), which was entirely rewritten in 1908, and the symphonic poem 'Apollo' from the same period, to the works bearing the Himalayan opus numbers 215 and 220, a 'Meditation' and an _Air à la Bourrée_ for violin, is a far cry. In providing a list of his works the composer writes at the end, 'opus numbers here increase to 231, although I am striving to keep them down.' This great output shows a steady increase in distinction, and covers a wide range of tendencies, almost wholly in the direction of romanticism. 'Khamsin,' which Hughes refers to as a fragment of a cantata, was rewritten in 1908 as an extended dramatic aria for tenor solo, in three connected parts. In its earlier form it was heard at a New York Manuscript Society concert, and is regarded as representative of the best and most dramatically inspired of Bartlett's work. Two movements of an ingeniously exotic 'Japanese Suite' for orchestra were heard at the Central Park orchestral concerts in 1910 and revealed a good control of orchestral resource. There are also clever piano compositions on Japanese themes, a Japanese 'Revery' and 'Romance' (opus 221), and 'Kuma Saka' (opus 218) for four hands. There are also an opera, 'La Vallière,' written in 1887, an operetta, 'Magic Hours' (opus 225), and many choruses, songs, piano compositions, including a prize-winning nocturne ('Kranbach' prize), violin compositions, organ works, and songs. Bartlett was born in 1846 at Olive, N. Y., and has been active as a teacher and organist in New York City.