In his vocal compositions Farwell shows some of his best inspirations. Among the larger of these works is a tone-poem for voice and orchestra, opus 34 (the words from Sterling's 'Duandon'), a score of rich color and poetic description in which the voice has little of what has heretofore been known as melody, but performs a more modern function of sounding the salient notes of harmonies that are woven in an ultra-modern profusion of color. The same is true of several other large songs, such as 'A Ruined Garden' (opus 14), 'Drake's Drum' (opus 22), and 'The Farewell' (opus 33). In the second section of 'A Ruined Garden,' however, there is a clearer line of melody over a harmonic scheme of haunting loveliness. This song is one of the more popular ones of Mr. Farwell's list, having been sung frequently by Florence Hinkle and others of note. There is an orchestral version of the accompaniment which enhances its rich color effects. In his two most recent songs, 'Bridal Song' and 'Daughter of Ocean' (opus 43), the composer has applied in a more modern and highly colored scheme some of the experiments with secondary seventh chords that lend such interest to his later Indian studies. In some of his shorter songs Farwell has again made some valuable contributions to the nationalistic development. Besides the interesting cowboy song, 'The Lone Prairie,' already mentioned (see Chap. VII), there is a remarkable utilization of the negro element in 'Moanin' Dove,' one of the 'negro spiritual' harmonizations beautiful in its atmosphere of crooning sadness. In concerted vocal music Farwell has made a setting of Whitman's 'Captain, My Captain' for chorus and orchestra (opus 34), a 'Hymn to Liberty,' sung at a celebration in the New York city hall (1910); some male and mixed choruses, and part-songs for children. B. L. * * * * *