Benjamin Lambord is a composer whose work reflects in a striking manner the evolutionary upheaval which, in the present generation, has carried the nation from the end of the old epoch to the beginning of the new. There could not well be a closer fidelity to the old German musical spirit and style, especially as pertains to the _Lied_, than in Lambord's early songs. Even that restricted medium, however, lent itself to all levels of creative impotence or dignity, and if there is a particular distinguishing characteristic in Lambord's work in that style, it is to be found in a peculiar depth of sincerity, an adumbration of personality yet to emerge in individualized expression. This quality will be observed in the first number, Christina Rossetti's 'Remember or Forget,' of the composer's opus 1, which consists of three songs. 'Four Songs,' opus 4, fall under the same dispensation; all indicate a leaning to poetry of high character. A trio for violin, 'cello, and piano (opus 5) from the same period shows good impulse and bold and well-defined themes, but is conventional in harmony and structure generally. An elaborate 'Valse Fantastique' (opus 6) shows a similar energy and boldness of contour. The modern musical ear must search diligently, however, to discover its fantastic element. 'Two Songs' (opus 7), on poems of Heine and Rückert, are deeply felt, and '_Lehn deine Wang_' in particular manifests a tendency to enrich the older medium. With opus 10, 'Two Songs with Orchestra,' however, the composer stands forth in a wholly new light, as an ultra-modern of exceptional powers, and with a subtlety, an imagination and a rich and varied color-sense of which the earlier works can be said to give no appreciable indication. The second of these songs, 'Clytie,' on a poem by André Chénier, is a highly mature expression in the ultra-modern Germanic idiom, technically speaking, though in its musical quality there is much of subtle individuality. The voice part is managed with an appreciation of both delicacy and power, as well as the requirements of artistic diction, and the accompaniment is a web of sensitive modulation and dissonance pregnant with sensuous beauty at every point. The upbuilding of the climax is masterly. The song was presented with much success at a concert of the Modern Music Society in New York in the season of 1913-14, when it was sung by Miss Maggie Teyte. At the same concert, under the composer's direction, was heard a number from his opus 11, 'Verses from Omar,' for chorus and orchestra. Here Lambord adds to his expressional scheme an effective pseudo-Oriental quality, gaining an insistent atmosphere with very simple means. Particularly interesting is the way in which he has varied the manner of employment of his main theme, showing a keen sense of thematic organization. Peculiarly gratifying is the _a cappella_ rendering of the lines beginning 'But ah! that Spring should vanish with the rose' after