ly scored, chants alone, and the division of the
theme among the wood-wind over the rushing strings is especially
effective; a very whimsical Andante with frequent changes of tempo,
and soli for the English horn in antiphony with the first oboe; and a
madcap Presto that whisks itself out in the first violins.

Two other published works are a string quartette (op. 4) and a
quintette for piano and strings (op. 36). This begins in A minor with
a well woven and well derived set of themes, and ends in a scherzo in
A major with spinning-song characteristics. Between these two
movements comes an intermezzo of strongly marked Scotch tone. This has
been performed by the Kneisel Quartette.

_S.G. Pratt._

Almost every musician has heard of Christopher Columbus, and holds
him in a certain esteem as a man without whose push the invention of
America would have been long deferred; but few American musicians have
felt under a sufficient debt of gratitude to make his troubles and
triumphs the foundation of an appropriate musical work. Silas G. Pratt
was bold enough to undertake the monumental task; and he expended upon
it large resources of scholarship, research, and enthusiasm. The work
was performed at New York during the Quadricentennial of the discovery
of America.

If Pratt had been born in old Egypt, he would have found his chief
diversion in the building of pyramids, so undismayed is he by the size
of a task. His patriotism is a sharp spur to him, and has enabled him
to write an orchestral composition devoted to Paul Revere's Ride; a
fantasy descriptive of a battle between the Northern and Southern
armies; "The Battle of Manila;" "The Anniversary Overture," in
commemoration of the centennial of American Independence, performed in
Berlin twice, and in London at the Crystal Palace, during Grant's
visit there; and a march called by the curious name of "Homage to
Chicago." Besides these works Pratt has written the "Magdalen's
Lament," his first orchestral composition, suggested by Murillo's
picture; the lyric opera, "Antonio;" a first symphony, of which the
adagio was performed in Berlin, the other movements being produced in
Boston and Chicago; a second symphony, "The Prodigal Son;" a romantic
opera, "Zenobia," produced in Chicago; a lyric opera, "Lucille," which
ran for three weeks in Chicago; a symphonic suite based on the
"Tempest;" a canon for a string quartette; a serenade for string
orchestra; a grotesque suite, "The B