lyric of
Burns'.

Most modern in feeling of all Gilchrist's vocal solos is the group of
"Eight Songs." They interpret the text faithfully and the
accompaniment is in accord with the song, but yet possessed of its own
individuality. "A Love Song" is tender and has a well-woven
accompaniment; "The Voice of the Sea" is effective, but hardly attains
the large simplicity of Aldrich' poem; "Autumn" is exquisitely cheery;
"Goldenrod" is ornately graceful, while "The Dear Long Ago" is quaint;
"Lullaby" is of an exquisitely novel rhythm in this overworked form.

[Music: A LOVE SONG.

By Barry Cornwall.

Music by W.W. Gilchrist.

Love me if I live,
Love me if I die.
What to me is life or death,
So that thou, that thou be near.
What to me is life or death,
So that thou be near,
So that thou be near.

Copyright, 1885, by Arthur P. Schmidt & Co.

A FRAGMENT.]

There is much contrast between the lightness of his book, "Songs for
the Children," and his ponderous setting of Kipling's "Recessional."
The treatment of Paul Laurence Dunbar's "Southern Lullaby" is unusual,
and the songs, "My Ladye" and "The Ideal," both in MS., are
noteworthy.

Gilchrist has written a vast amount of religious music, including
several "Te Deums," of which the one in C and that in A flat are the
best, to my thinking. He has written little for the piano except a
series of duets, of which the charming "Melodie" and the fetching
"Styrienne" are the best.

It is by his orchestral works, however, that he gains the highest
consideration. These include a symphony for full orchestra, which has
been frequently performed with success; a suite for orchestra; a suite
for piano and orchestra; as well as a nonet, a quintet, and a trio,
for strings and wind. None of these have been published, but I have
had the privilege of examining some of the manuscripts.

The spirit and the treatment of these works is strongly classical.
While the orchestration is scholarly and mellow, it is not in the
least Wagnerian, either in manipulation or in lusciousness. The
symphony is not at all programmatic. The Scherzo is of most exuberant
gaiety. Its accentuation is much like that in Beethoven's piano
sonata (op. 14, No. 2). Imitation is liberally used in the scoring,
with a delightfully comic effect as of an altercation. The symphony
ends with a dashing finale that is stormy with cheer. Gilchrist is at
work upon a second symphony of more mode