ptly and
archly: "And they thought no one knew it!"

Besides these scherzos, Hawley has written a few religious part songs
of a high order, particularly the noble "Trisagion and Sanctus," with
its "Holy, Holy!" now hushed in reverential awe and now pealing in
exultant worship. But of all his songs, I like best his "When Love is
Gone," fraught with calm intensity, and closing in beauty as
ineffable as a last glimmer of dying day.

To the stencil-plate chivalry of the lyrics of the ubiquitous F.E.
Weatherby and John Oxenford, the song-status of England can blame a
deal of its stagnation. It is not often that these word-wringers have
enticed American composers. One of the few victims is John Hyatt
Brewer, who was born in Brooklyn, in 1856, and has lived there ever
since.

[Music: When Love is gone.

(_Soprano, or Tenor._)

C.B. HAWLEY.

The mind has a thousand eyes,
The heart but one;
Yet the light of a whole life dies
When love is gone, when love is gone.

Copyright, 1894, by G. Schirmer.]

Brewer made his debut as a six-year-old singer, and sang till his
fourteenth year. A year later he was an organist in Brooklyn, where he
has held various positions in the same capacity ever since,
additionally busying himself as a teacher of voice, piano, organ, and
harmony. His studies in piano and harmony were pursued under Rafael
Navarro. Counterpoint, fugue, and composition he studied under Dudley
Buck.

In 1878 Brewer became the second tenor and accompanist of the Apollo
Club, of which Mr. Buck is the director. He has conducted numerous
vocal societies and an amateur orchestra.

Of his cantatas, "Hesperus" is a work of the greatest promise and
large performance.

For male voices Brewer has written a cantata called "The Birth of
Love." Its fiery ending is uncharacteristic, but the beautiful tenor
solo and an excellent bass song prove his forte to lie in the realm
of tenderness. Brewer's music has little fondness for climaxes, but in
a tender pathos that is not tragedy, but a sort of lotos-eater's
dreaminess and regret, he is congenially placed. Smoothness is one of
his best qualities.

Out of a number of part songs for men, one should mark a vigorous
"Fisher's Song," a "May Song," which has an effective "barber's
chord," and "The Katydid," a witty realization of Oliver Wendell
Holmes' captivating poem. His "Sensible Serenade" has also an
excellent flow of wit. Both these songs should please glee