the powerful climax for chorus and orchestra combined. The composer also has an 'Introduction and Ballet' (opus 8) for orchestra, a work of considerable elaborateness and much rhythmic and melodic variety, one which shows his thorough grasp of orchestral technique. With the nationalistic school Lambord has nothing in common. He is, however, a native New Englander, being born in Portland, Me., in 1879, and his earlier studies in composition were pursued under MacDowell at Columbia University. Later he travelled in France and Germany and studied orchestration with Vidal in Paris. III In the modification of the romantic through the influence of the ultra-modern school, the musical development of Campbell-Tipton presents a circumstance which is typical of the experience of many American composers whose formative period coincides with the present transitional epoch. The style of the composer's earlier work rested upon a broad Germanic basis, modern, yet scarcely having passed from the modernity of Liszt to that of Strauss. His work in the earlier vein is vigorous, structurally firm, definite in its melodic contours, and warm in its harmonic color. Force of personality asserts itself, even if the means employed are not highly individualized and lean overheavily upon tradition. To this period belong 'Ten Piano Compositions' (opus 1); 'Romanza Appassionata' (opus 2), for violin and piano; 'Tone Poems' (opus 3), for voice and piano; two 'Legends,' and other works, especially songs. The culminating expression of this period is the 'Sonata Heroic,' for piano, a work of solidity and brilliance, in one broadly conceived movement. It is quasi-programmatical and is founded upon two themes, representing the 'Hero' and the 'Ideal,' the latter in particular being a melody of much warmth and beauty. These are variously interwoven in the development section, and lead to a return upon the second theme and a climax upon the heroic theme. The work has had various public performances in America and Europe. 'Four Sea Lyrics,' for tenor with piano accompaniment, on poems by Arthur Symons, belong, broadly speaking, to the period of the sonata. They are works of distinguished character, 'The Crying of Water' being especially poignant in its expressiveness. The somewhat elaborately worked out 'Suite Pastorale' (opus 27), for violin and piano, and 'Two Preludes' (opus 26), mark no particular departure in style, except that the second of the latter is so modern as to have no bar divisions.