ed, and, at the same time, most eclectic of
native music-makers, is George W. Chadwick, to whom the general
consent of authorities would grant a place among the very foremost of
the foremost American composers.

His reputation rests chiefly on his two symphonies, a number of
concert overtures, and many pieces of chamber-music, which are much
praised. Chadwick was born at Lowell, Mass., November 13, 1854. His
parents were American, and it was not till 1877, after studying with
Eugene Thayer in Boston, and teaching music in the college at Olivet,
Mich., that Chadwick studied for two years at Leipzig, under Jadassohn
and Reinecke, and later at Munich for a year under Rheinberger. In
1880 he returned to America and settled in Boston, where he has since
lived, as organist, teacher, and conductor, an important figure in
the town's musical life.

Among his few works for the piano, are "Six Characteristic Pieces"
(op. 7). The "Reminiscence of Chopin" is an interesting and skilful
chain of partial themes and suggestions from Chopin. The "Etude" is a
monotonous study in a somewhat Schumannesque manner, with a graceful
finish. The "Congratulation" is a cheerful bagatelle; the "Irish
Melody" is sturdy, simple, and fetching; but the "Scherzino" is a hard
bit of humor with Beethoven mannerisms lacking all the master's
unction.

The opus ends with an unfortunate composition inexcusably titled
"Please Do!"

There are two bright "Caprices" and three excellent waltzes, of which
the third is the best. It is a dreamy, tender work on a theme by
"B.J.L.," which refers, I presume, to Mr. B.J. Lang.

Chadwick has done a vast amount of part-song writing. His "Lovely
Rosabelle" is for chorus and orchestra, and is marked with many
original effects. His "Reiterlied" is superbly joyful. A setting of
Lewis Carroll's immortal "Jabberwocky" shows much rich humor of the
college glee-club sort. There is an irresistibly humorous episode
where the instrument of destruction goes "snicker snack," and a fine
hilarity at

"'O frabjous day
Callooh, callay,'
He chortled in his joy."

What would part-song writers do if the Vikings had never been
invented? Where would they get their wild choruses for men, with a
prize to the singer that makes the most noise? Chadwick falls into
line with "The Viking's Last Voyage" (1881), for barytone solo, male
chorus, and orchestra, which gives him a very high place among writers
in this form. He has als