It is particularly in orchestration that MacDowell discloses certain French characteristics. Many of his pages might have been written by Saint-Saëns himself, but the "solid" foundation inoculated by the exacting requirements of his German training is never entirely absent. As a result, MacDowell's scoring frequently surpasses even that of his illustrious French contemporary. MacDowell proves no exception to the rule in that his popularity is due not so much to his more significant orchestral works as to his smaller offerings such as his attractive and highly ingenious pieces for the pianoforte. He has still many years before him, and gives promise of ever increasing power and versatility. America may well be proud of him![110] [Footnote 110: The entire country mourns the premature death of Edward Alexander MacDowell, which occurred in New York on January 23, 1908.] PARKER (1863). In several respects Parker's orchestral and choral style bears some affinity to that of both Foote and Chadwick. His subject-matter, like theirs, is serious--at times even severe; his formal structures are conservative; his command of vocal forces is supreme. Again, his orchestral colors, like theirs, are accused of being cold and gray,--devoid of scintillating tints and glowing hues. This may be true to a certain extent. But when one considers the _genre_ of choral composition to which these three composers are addicted, it will be readily seen that a radical readjustment of their orchestral pages in favor of warmer coloring would be inconsistent with the nature of their oratorical settings. Among the most conspicuous of Parker's productions are the overtures "Regulus" and "Count Robert of Paris," the ballad for chorus and orchestra "King Trojan," and, of course, his masterpiece "Hora Novissima." Parker shares with MacDowell the good fortune of having already won enduring recognition in foreign lands,--Parker in England, MacDowell in France, Germany and Russia. Yale University was one of the first institutions of this country to follow Harvard's lead in establishing a chair of music, and showed sound judgment in selecting so eminent a composer as Parker to occupy that chair. * * * * *