Cincinnati, and at Berlin. He is a pianist and composer and has
published a very large number of pieces (something like 150) among
which it is quite possible more attractive selections could be found
than those upon the present program; still, these are the best I know
of his. His work is light, melodious, and pleasant to play. The list
from Mr. Smith comprises several very pleasant pieces. The "Valse
Menuet," opus 43, No. 1; the "Reverie at the Piano," a sort of song
without words; the second, "Polka Caprice," which is very bright and
pleasant; and the "Marche Fantastique," opus 73, which is more
brilliant and diversified in its style than the others.

Mr. Ernest Kroeger is a native of St. Louis and received his education
there. He has written a large number of pieces for the piano (eighty
or more), many songs, and quite a list of chamber and orchestral
compositions.

I have here three Sonnets. The first one is in G minor, a sort of
cheerful nocturne, with nice melody and good musicianship. There is a
vein of melancholy about it. The next one, allegretto in B minor, is
very charming, and the last one is the strongest of all, I think. If a
stronger representation of Mr. Kroeger's art is desired, his first
suite for the piano can be taken.

Mr. Emil Liebling is better known as a teacher and pianist than as a
composer, but it has been his good fortune to win high commendation for
the few works he has published. He made his studies in composition
under the late Heinrich Dorn, the same who was the master of Schumann
in composition--though this may be no more than a coincidence. Mr.
Liebling, although born in Berlin, has resided in the United States for
nearly thirty years. He is essentially American. The two Romances
represent the most serious side of his work, in addition to which I
have put on that very popular little scherzo, "Spring Song," and a very
pleasing parlor waltz.

Mr. William Sherwood, the distinguished pianist, is not generally known
as a composer, but in any other country than this his strong tendency
toward composition would have found encouragement, and he would have
been well known and probably as distinguished in this department as he
is now in playing. I have placed Mr. Sherwood's compositions last
because they are the strongest of any in the list, and also the most
difficult; when well played they are very effective and deserve to be
better known than has hitherto been the case.

T