His symphony in F minor was performed by the Chicago Orchestra under Stock in December, 1912, and was well received. It is thoroughly representative of the composer's blending of modern and classic ideals and methods. The quartet in E minor (opus 19), departing from earlier styles chiefly in rhythmic intricacy, has been played by the Kneisels in many cities. An 'Overture Joyeuse' (opus 11) was conducted by the composer at one of the Chickering production concerts in 1904; it finds the composer scarcely emancipated from academic trammels. This and a much later 'symphonic sketch,' 'Prince Hal,' have both been conducted by the composer with the New Haven Symphony Orchestra. A 'Symphonic Ballad' (opus 24) has been given with this orchestra, and also at the concerts of the St. Louis Symphony Orchestra. 'Pan,' a chorus for women's voices, on Elizabeth Barrett Browning's poem, with orchestra and Pan-pipe obbligato inevitably assigned to the oboe, has been widely heard, and is a work brimming with color and rhythm. 'The Wind-Swept Wheat' and 'The Dark' are also for women's chorus with orchestra. A mixed chorus with orchestra, 'The Fallen Star,' won the Paderewski Prize in 1909. A trio in G major (opus 16) and an orchestral 'Allegro Giocoso' have, like all the foregoing works, been publicly performed, as well as numerous anthems and songs. Smith was born in Ann Arbor, Mich., and educated at Yale. * * * * * A composer of the younger Boston group is Edward Burlingame Hill (b. in 1872), a music-maker of reflective temperament whose work, always refined and thoughtfully molded, inclines to tints and moods of delicate and subtle texture. His musical studies were conducted at Harvard University, under Professor Paine, but the music of MacDowell, then a resident of Boston, was the chief influencing factor in his earlier work. At this time he wrote several piano sonatas, one in F sharp, one in E after Kipling's 'The Light that Failed,' and a 'Sonata Patriotica,' the title of the latter being far from an indication of any nationalistic tendency in his later work. These works have not been published. Under the same influence he wrote a number of short piano compositions and songs, among the former a set of 'Four Sketches after Stephen Crane', (opus 7), containing an engaging satirical pleasantry on the 'little devils grinning in sin,' and 'Country Idyls' (opus 10), exquisitely tinted and showing a quality of charm which is not the most prominent attribute of American music in general. The titles of some of the above-mentioned works reveal the composer's discriminating literary tastes, which are further borne out in the choice of the poems for his songs, among their authors being the names of Tennyson, Rossetti, Henley, Arthur Symons, Ambrosius, and Dowson. He has written many part-songs to Elizabethan words. A work of much more importance than any of the foregoing is 'The Nuns of the Perpetual