The collection, as a whole, is one of the most remarkable of recent times. It would be difficult to find twelve equally stirring songs in the whole repertory. The key-note is set by the very first song, "Sweetheart, Thy Lips are Touched with Flame," and in examining it one hardly knows what to admire most, the symphonic skill of the accompaniment, the placing of the emphasis for voice, or the intimate feeling for musical expression, which enables the composer to arrive at such thrilling effects. At the same time it is not a song for a timid singer or a timid player. The second one, "Sings the Nightingale to the Rose," is of a more quiet and reposeful character, well written. The third, "The Rose Leans over the Pool," a delightful scherzando, in which playful spirit and skilful use of material combine to produce its effect. The fourth, "Love's Like a Summer Rose," is a very charming song indeed for more ordinary occasions; well within the resources of ordinary singers, but with an effect very unusual. The next, "As the Waves without Number," a baritone song with a very elaborate accompaniment and the usual masterly opportunity for the singer. "Dear Love, when in Thy Arms I Lie," a slow and very expressive melody, with a delightful bit of obligato in the first measures, where a 'cello would produce a charming effect; modeled a little after a song of Schumann's, "Poet's Love":
"Was I not Thine when Allah Spoke the Word
Which Formed from Earth the Sky?"
A colossal song for baritone, having in it tenderness and most intense passion.
"In Mead where Roses Bloom," adapted for mezzo-soprano.
"Sister Fairest, why Art Thou Sighing?" a gem adapted for the female voice.
"O Let Night Speak of Me," dedicated to Max Heinrich.
"I Said to the Wind of the South," dedicated to Miss Edmunds. A song for mezzo-soprano, beautifully done.
It is difficult to speak of these songs in any kind of adequate terms, because they represent what very rarely happens nowadays: a very perfect union of music and poetry. The poetry for its own part being singularly impressive and provocative of song; and the music, in turn, sympathetic, masterly, and equal to the occasion; considered, therefore, from an ideal point of view, as to the poetic expression of musical moods or as the musical expression of poetic moods, both alike retaining the deepest and strongest sentiments, nothing lately has pleased so well. All the poems are by Arlo Bates. It is a collection of songs which every American lover of music ought to possess.
The other songs I take from a set by Mr. Homer A. Norris, a young but very talented and promising composer. The first is called "Twilight," and a lovely piece it is.
PROGRAM.
Edgar S. Kelley:
"The Flower Seekers."
"Confluentia."
Wilson G. Smith:
Valse-Menuet, Opus 43, No. 1.
"Reverie at the Piano."
Second Polka Caprice.
Marche Fantastique.
Homer A. Norris, song:
"Twilight."
E. R. Kroeger:
Second, Third, and Fourth Sonnets.
Emil Liebling:
Romance Dramatique.
"Spring Song,"
Madeleine Waltz.
Geo. W. Chadwick, songs:
According to the taste and convenience of the singers.
Wm. H. Sherwood:
Romance Appassionata, Opus 8.
Gypsy Dance, Opus 10.
Mazurka, Opus 6.
Scherzo Caprice, Opus 9.