The choral works from the pen of Arthur Foote (b. 1853) are not numerous, but they are fine in musical quality and workmanship. There are only three of them and all are settings of poems by Longfellow--‘The Farewell of Hiawatha’ (1879), a ballad for baritone solo, male chorus and orchestra, ‘The Wreck of the Hesperus’ for mixed voices and ‘The Skeleton in Armor.’ George Whitfield Chadwick (b. 1854) has written more voluminously in the smaller choral forms, all of his writing being distinguished by a keen feeling for vocal values and a rich harmonic sense. His chief works in cantata form are ‘The Viking’s Last Voyage’ for baritone solo, male chorus and orchestra, 1880 (Boston Apollo Club, 1881); ‘Lovely Rosabelle’ for solos, mixed chorus and orchestra, 1889 (Boston Orchestral Club, 1890); _Phœnix Expirans_, 1891 (Springfield Festival, 1892); ‘Columbian Ode,’ 1892, written for the dedication of the buildings of the World’s Fair, Chicago, May, 1893; ‘The Lily Nymph,’ 1895 (Springfield Festival, 1896); and _Ecce jam noctis_, 1897, written for the commencement exercises of Yale University, 1897, on the occasion of his receiving from Yale the honorary degree of Master of Arts. Horatio William Parker (b. 1863) has been a prolific writer of choral works, both before 1900 and since that date, and, through his skilful handling of vocal masses and a superb contrapuntal technique, has won for himself a foremost place among living masters of choral writing. While a student under Rheinberger at Munich, two of his choral works, ‘The Ballad of a Knight and his Daughter’ (1884) and ‘King Trojan’ (1885), were given public performance there and were later published. ‘The Ballad of the Normans’ (_Normannenzug_) for male chorus and orchestra appeared in 1889; ‘The Kobolds’ (poem by Arlo Bates) for chorus and orchestra was performed at the Springfield (Mass.) Festival in May, 1891; ‘Harold Harfagar’ for chorus and orchestra was performed in 1891 in New York; ‘The Dream-King and his Love’ (poem by Geibel) for tenor solo, chorus and orchestra won a prize in 1893 offered by the National Conservatory of Music in New York City, of which Dvořák was then director and in which the composer was a teacher; ‘The Holy Child,’ a Christmas cantata, was published in 1893; and ‘A Wanderer’s Psalm’ was written for and performed at the Hereford Festival, England, in 1900. A composition which finely illustrates his great ability in handling problems of vocal counterpoint is his motet for double chorus _a cappella_, _Adstant angelorum chori_ (poem by Thomas à Kempis), which won the prize given by the Musical Art Society of New York City in 1898.