Frank van der Stucken (1858) cuts a large figure in the evolution of American music. He is frequently though erroneously regarded as a German, but he was born in Texas, and studied not only in Leipzig but under Benoit in Antwerp as well. He first rose to prominence as director of the Arion Male Chorus Society of New York. In 1885 he instituted a series of "Novelty Concerts" that opened up new possibilities to America's neglected composers. Since undertaking the directorship of the Cincinnati Symphony Orchestra in 1895, van der Stucken has made himself a national benefactor by encouraging and repeatedly performing American productions. He is himself a composer of no mean ability, possesses decidedly modern tendencies, and orchestrates with unerring certainty. His compositions cover a wide field and include an opera "Vlasda," a symphonic prologue "William Ratcliff," and a Suite on Shakespeare's "Tempest." Walter Damrosch (1862) has acquired the right to be ranked with America's orchestral composers on account of his grand opera "The Scarlet Letter," and Reginald de Koven (1859) knows how to enhance the scores of his comic operas with a lightness of touch and some clever devices. "Robin Hood" and "The Fencingmaster" are sprightly and refined even though guilty of occasional plagiarism. Mrs. Beach is rightfully looked upon as an eminent leader among the women composers of America and is fully entitled to equal rank with her fair contemporaries in France, Cécile Chaminade and Augusta Holmès. Her "Gaelic Symphony" has been performed not only by the Boston Symphony Orchestra and by Theodore Thomas, but has been granted numerous performances by other representative organizations as well. Mrs. Beach's scores are exceedingly elaborate--possibly too much so. Nevertheless, her command of orchestral resources is remarkable, and in her Mass in E flat, op. 5, she has obtained impressive effects, rich colors and dramatic climaxes. The scores of Bonvin and Lewis have already been referred to. The former evolves his conceptions by means of the most intricate polyphony and with an opulence of orchestral effects. Lewis has branched out into lines distinctly his own. A Brahms background of grayish orchestration is in evidence, but his rhythm is absolutely unfettered, his harmonies are bold, and his mastery of thematic treatment is unusual.