‘Judith,’ a lyric drama in three acts, was published in 1901. The persons represented are Judith, mezzo-soprano; Achior, tenor; Holofernes, baritone; Ozias, bass; and Sentinel, tenor. The text by William Chauncey Langdon is cast in three acts. The first, in Bethulia, pictures the sorrows of Israel beset by Asshur’s host, to which the Israelites are about to yield when the entreaties of Ozias persuade them to trust the Lord five days longer. Judith relates her vision, in which her departed husband directs her to save her people by destroying Holofernes. The second act brings her to the camp of Holofernes, who is completely infatuated with her beauty. She insists upon becoming his cup-bearer, and after he has partaken too freely of wine, she (still responding to the vision) slays him with his own sword and conceals his head in the folds of her dress as she passes the guards, whom Holofernes had commanded to let her pass freely in and out. The third act begins with her return to Bethulia just as Ozias once more kneels at the wall, praying for deliverance. As she shows the head of Holofernes there is great rejoicing and the victory of the Israelites over the Assyrians is proclaimed. ‘Noël,’ a Christmas pastoral for four solos, chorus and orchestra, was written for the Litchfield County (Conn.) University Club and published in 1909. The text is compiled from various sources, most of which are named. The work consists of twelve numbers, besides an orchestral prelude entitled ‘The Star.’ No. 1 is a chorus, ‘This is the month’ (words by Milton); No. 2, ‘From the eastern mountains’ (words by Thwing), depicts the journey of the Wise Men; No. 3, ‘Long and darksome was the night,’ is an alto solo (words by Ray Palmer, 1830); No. 4 is a chorus for female voices, _Parvum quando cerno Deum_, the authorship of the Latin text being unknown; No. 5 is a bass solo, ‘I was a foe to God,’ words by Torsteegen, 1731; and No. 6 a chorus of praise, ‘Praise Him, O ye heaven of heavens,’ with words by Prudentius, A. D. 405. No. 7 begins the second part with ‘While to Bethlehem we are going,’ for alto solo and chorus, words by Violante de Ceo, 1601; No. 8 is a soprano solo, ‘Hark! a voice from yonder manger,’ words by Gerhardt, 1656; No. 9 is a carol from the Latin of the fourteenth century, ‘A child is born in Bethlehem,’ which can be sung unaccompanied; No. 10 is a tenor solo, ‘O holy Child, Thy manger streams,’ words from the Danish; No. 11, a quartet, ‘Hither come ye heavy-hearted,’ words by Gerhardt, 1656; and the last number, ‘How lovely shines the morning star,’ words by Nikolai, 1597, is a stately chorale and fugue for chorus and quartet. VII