Adoration' for chorus and orchestra (opus 15), on the poem by Dowson, which was performed at a concert of the Modern Music Society of New York in 1914, under the direction of Benjamin Lambord. It reveals refined musicianship of a high order and, rather dangerously for the maintenance of interest, though advantageously for an exhibition of the psychological penetration of the composer, sustains a peculiar mood of spiritual aloofness. A pantomime 'Jack Frost in Midsummer' (opus 16), which has been publicly performed, is one of the best of the later works of Hill, who is more distinguished in artistic personality than in the quality of being prolific. Another pantomime is 'Pan and the Star.' He has in manuscript an overture to 'She Stoops to Conquer,' and a set of variations for string quartet. Hill was comparatively early attracted to the modern French school and his later work has been strongly influenced by it, though not to the point of radical ultra-modernity. This tendency is exhibited at its most advanced in the symphonic poem, 'The Parting of Launcelot and Guenevere,' after the poem by Stephen Phillips. As in 'Pan and the Star,' the composer's dramatic instinct comes strongly into play, and the work might be as aptly called a dramatic symphony, since the dramatic aspects of the poem have appealed most strongly to the composer. Another representative of the Harvard University influence is Philip Greeley Clapp, whose tone-poem 'Norge' and a symphony have been performed by the Boston Symphony Orchestra, the latter in the spring of 1914 under the composer's direction. The former received considerable commendation, but the latter was not greeted with unmixed cordiality. Olin Downes, the critic of the _Post_, pronouncing denunciation upon it in unequivocal fashion, though Philip Hale regarded it with a measure of favor. Clapp is gifted with ideas and temperament, but is considered not yet to have issued from the formative stage or to have acquired a definite and personal style. The forms in which he writes indicate a strong classical tendency, but his sympathies with respect to thematic treatment and harmony are modern. Among his works are a quartet for strings, in C minor, a prelude 'In Summer,' for orchestra, a number of songs for solo voice, as well as part-songs, and several songs with orchestral accompaniment.