s aids the general
picture.

A thoroughly charming work is the setting of Lowell's poem, "The
Rose," for solos and chorus. The dreariness of the lonely poet and the
lonely maid contrasts strongly with the rapture of their meeting. As
the first half of the poem is morose yet melodious, the latter is
bright with ecstasy; the ending is of the deepest tenderness.

By all odds the best of these choruses, however, is "The Legend of the
Bended Bow," a fine war-chant by Mrs. Hemans. Tradition tells that in
ancient Britain the people were summoned to war by messengers who
carried a bended bow; the poem tells of the various patriots
approached. The reaper is bidden to leave his standing corn, the
huntsman to turn from the chase; the chieftain, the prince, mothers,
sisters, sweethearts, and the bards are all approached and counselled
to bravery. After each episode follow the words "And the bow passed
on," but the music has been so well managed that the danger of such a
repetition is turned into grim force. The only prelude is five great
blasts of the horns. A brawny vigor is got by a frequent use of
imitation and unison in the voices. The choric work is marked
throughout with the most intense and epic power, almost savagery; a
magnificent martial zest. The climax is big. It is certainly one of
the best things of its kind ever done over here.

Another work of fine quality throughout is "A Christmas Idyl," for
solos, chorus, and orchestra. A terrible sombreness is achieved in its
former half by a notable simplicity. The latter part is in brighter
tone; the solo, "And Thou, Bethlehem," is especially exultant. In
manuscript is "An Easter Idyl," of large proportions, for solos,
chorus, and orchestra, or organ.

In the single songs the influence of Gilchrist's early training in
hymns is patent. In only a few instances do they follow the latter-day
methods of Schumann and Franz. "A Song of Doubt and a Song of Faith"
is possibly his best vocal solo. It begins with a plaint, that is full
of cynic despair; thence it breaks suddenly into a cheerful andante.
"The Two Villages" is a strong piece of work on the conventional
lines of what might be called the Sunday ballad. "A Dirge for Summer"
has a marked originality, and is of that deep brooding which is
particularly congenial to Gilchrist's muse. The Scotch songs are
charming: "My Heart is Sair" is full of fine feeling, and must be
classed among the very best of the many settings of this