Farwell's earlier compositions reveal the usual sway of varied influences with a tendency to the original harmonic treatment that has remained the distinctive feature of his late work. He may be said to have first 'found himself' in an overture, 'Cornell' (op. 9), written while he was a musical lecturer at Cornell University. Combining Indian themes and college songs in a sort of American academic overture, the vigor of style and effectiveness of scoring has gained for this work a permanent place in the orchestral répertoire. Following this Mr. Farwell devoted himself for some time to the study of and experiments in Indian music, and thus follow in his list of works several of his best-known compositions; the book of 'American Indian Melodies,' for piano; 'Dawn'; 'Ichibuzzh'; and 'The Domain of the Hurakan.' The orchestral version of the last-named work is a score of great impressiveness and of brilliant color. It has had several conspicuous performances which have done much to win recognition for his larger gifts. The 'Symbolistic Studies,' comprising opera 16, 17, 18, and 24, are tone-poems with a generic title. The composer describes them as being 'program music, the program of which is merely suggested,' an attempt, in other words, to create a form that shall offer the composer the means of unrestricted expression, while its musical coherence shall preserve an intrinsic worth and general appeal as absolute music. In the 'Impressions of the Wa-Wan Ceremony' (opus 21) and the 'Navajo War Dance' (opus 29) Mr. Farwell has made further interesting and effective treatment of the Indian color. The set of pieces comprised under the former title contains some very atmospheric pages in which the strange monotony that marks the Indian song is obtained by novel uses of diatonic material at once bold and beautiful. The barbaric crudity is still further implied in the 'Navajo War Dance,' where Farwell has renounced almost all defined harmony, preserving only the vigorous rhythm of the dance in the bold intervals of the Indian melody. Mr. Farwell was one of the first composers to write music for the so-called community pageants. In the 'Pageant of Meriden' and the 'Pageant of Darien' he has obtained a remarkable success by the masterly skill with which he has welded the diffusive elements of pictorial description, folk-song suggestion, dances and choruses, into a coherent and artistic whole. Equally successful along similar lines was Farwell's music for Louis N. Parker's play, 'Joseph and His Brethren,' and Sheldon's 'Garden of Paradise.'