orchestra, followed, and a massive orchestral 'Negro Rhapsody,' first produced at the 'Norfolk Festival' under the composer's direction in 1913. 'The Dance in the Place Congo,' for orchestra, after a vivid word-painting by George W. Cable, is the composer's most extensive work. There are also for orchestra 'American Dances in Ragtime Rhythm,' and, in another vein, an impressive 'Symphonic Prologue' to J. M. Synge's 'Riders to the Sea,' conducted by the composer at the MacDowell festival at Peterboro, N. H., in 1914. There is a song on Whitman's 'Give me the splendid silent sun,' a chorus with orchestra, 'To Thee, America,' five 'Indian Scenes' for piano, and other works. Often rough in technique, though greatly resourceful, and rich in orchestral imagination, it is to the spirit of the time and nation that Gilbert makes his contribution and his appeal. He is the avowed enemy of tradition and fashion, whether in art, dress, or speech, and a fighter for freedom and individuality in music. A. F. * * * * * Arthur Farwell is a composer who may well be called representatively American, inasmuch as his work contains elements which exemplify the spirit and aims of our native art. Mr. Farwell is perhaps most widely known for his studies in Indian music and for such of his compositions as are built from this material. He has realized, however, that presenting as it does only one phase, and that a more or less exotic one, Indian music in no way can stand as an accepted basis of our national musical art. Mr. Farwell has kept well abreast of the tide of modern music and has cultivated a style in which its idioms are employed with considerable originality and imbued with the rare poetic feeling that is his. It is with this broadness of view also that Mr. Farwell conducted the Wa-Wan Press, established by him in 1901. This institution had as one of its principal missions the promulgation of the Indian and other folk elements in American composition and the exploitation of such works as employed this element. Its pages were, nevertheless, open to all native composers, irrespective of 'school,' who had something to say, and its founder has to his great credit the record of having lent early recognition to a number of the younger and progressive American composers.