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yle balladry to both its own opportunity and the otherwise-smothered fire of such a poem as Sidney Lanier's "Sunset," which is positively Shakespearean in its passionate perfection. In religious music, however, Mr. Buck has made a niche of its own for his music, which it occupies with grace and dignity. _Horatio W. Parker._ [Illustration: Autograph of Horatio W. Parker] [Illustration: HORATIO W. PARKER.] When one considers the enormous space occupied by the hymn-tune in New England musical activity, it is small wonder that most of its composers should display hymnal proclivities. Both Buck and Parker are natives of New England. Parker was born, September 15, 1863, at Auburndale, Mass. His mother was his first teacher of music. She was an organist, and gave him a thorough technical schooling which won the highest commendation later from Rheinberger, who entrusted to him the first performance of a new organ concerto. After some study in Boston under Stephen A. Emery, John Orth, and G.W. Chadwick, Parker went to Munich at the age of eighteen, where he came under the special favor of Rheinberger, and where various compositions were performed by the Royal Music School orchestra. After three years of Europe, he returned to America and assumed the direction of the music at St. Paul's school. He has held various posts since, and has been, since 1894, the Battell Professor of Music at Yale. His rather imposing list of works includes a symphony (1885), an operetta, a concert overture (1884), an overture, "Regulus" (1885), performed in Munich and in London, and an overture, "Count Robert of Paris" (1890), performed in New York, a ballad for chorus and orchestra, "King Trojan," presented in Munich in 1885, the Twenty-third Psalm for female chorus and orchestra (1884), an "Idylle" (1891); "The Normans," "The Kobolds," and "Harold Harfager," all for chorus and orchestra, and all dated 1891; an oratorio, three or more cantatas, and various bits of chamber-music. His opus number has already reached forty-three, and it is eked out to a very small degree by such imponderous works as organ and piano solos, hymns, and songs. In 1893, Parker won the National Conservatory prize for a cantata, and in 1898 the McCagg prize for an a cappella chorus. Parker's piano compositions and secular songs are not numerous. They seem rather the incidental byplays and recreations of a fanry chiefly turned to sacred music of the larger f
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