uperb music. It ends hauntingly with an
unresolved major ninth chord on the dominant of the dominant. So the
frenzy of "In Blossom Time" is emotion of a human, rather than a
botanical sort. "The Cradle Song" adapts the Siegfried Idyl, and the
"Old Proverb" is rollicking. The two songs of opus 34 are fitted with
words by Byron. The three songs of opus 44 also make use of this poet,
now so little in vogue with composers. There are three songs in opus
42: a pathetic "Little Wild Rose," and "By the Seaside," which is full
of solemnity. "The Shepherd's Lament" is one of his best lyrics, with
a strange accompaniment containing an inverted pedal-point in octaves.
There are also several part songs.

In larger forms, Mr. Foerster is even more successful. Opus 10 is a
Character-piece for full orchestra, based on Karl Schaefer's poem,
"Thusnelda." It is short but vigorous, and well unified. Opus 15 is a
Fantasie for violin and piano, the piano having really the better of
it. The treatment is very original, and the strong idea well
preserved. Opus 21 is a Quartette for violin, viola, 'cello, and
piano. The first movement begins solemnly, but breaks into an
appassionato. All four instruments have an equal voice in the parley,
and all the outbursts are emotional rather than contrapuntal. A climax
of tremendous power is attained. The second movement omits the piano
for a beautiful adagio. The third is an hilarious allegro, and the
finale is an even gayer presto, with movements of sudden sobriety,
suddenly swept away. Foerster calls this Quartette "far inferior" to a
second one, opus 40. This, however, I have not seen; but I do not
hesitate to call opus 21 a masterly work.

Opus 24 is an "Albumblatt" for 'cello and piano. It is a wonderwork
of feeling and deep richness of harmony, of absolute sincerity and
inspiration. Opus 29 is a Trio for violin, 'cello, and piano. The
three begin in unison, andante, whence the 'cello breaks away,
followed soon by the others, into the joviality of a drinking bout.
There is a military moment, a lyric of more seriousness, and a finish
agitato. The second movement is a larghetto highly embroidered. The
third movement is a vivace with the spirit of a Beethoven presto.

Opus 36 is a suite for violin and piano, beginning with a most
engaging and most skilful Novelette.

In MS. are: an elaborate ballad, "Hero and Leander," which, in spite
of an unworthy postlude and certain "Tristan und Isolde" memories