Fireflies" is a shimmering and flitting caprice of much ingenuity,
but it keeps in the field of dissonance almost interminably, and clear
harmony is not so much the homing-place of its dissonance, as an
infrequent glint through an inadvertent chink. This neat composition
is one of four "Sketches for the Piano," of which "Phantoms" is
delightful with ghostliness. "In Autumn" is a most excellent
tone-poem, and "Dreaming" is a well-varied lyric. As a colorist Mrs.
Beach is most original and studious. Her tireless hunt for new tints
often diverts her indeed from the direct forthright of her meaning,
but the "Danse des Fleurs" is rich in its gorgeousness. The flowing
grace of the "Menuet Italien" makes it an uncharacteristic but
charming work.

[Music: PHANTOMS.

"Toute fragiles fleurs, sitot mortes que nees."
Victor Hugo.

Mrs. H.H.A. Beach.

Copyright, 1892, by Arthur P. Schmidt.

A FRAGMENT.]

Horace, you know, promises to write so that any one will think him
easy to equal, though much sweat will be shed in the effort. It is the
transparency of her studiousness, and the conspicuous labor in
polishing off effects and mining opportunity to the core, that chiefly
mars the work of Mrs. Beach, in my opinion. One or two of the little
pieces that make up the half-dozen of the "Children's Carnival" are
among her best work, for the very cheery ease of their look.
"Pantalon," "Harlequin," "Columbine," and "Secrets" are infinitely
better art than a dozen valse-caprices.

Both the defects and effects of her qualities haunt Mrs. Beach' songs.
When she is sparing in her erudition she is delightful. Fourteen of
her songs are gathered into a "Cyclus." The first is an "Ariette,"
with an accompaniment imitating the guitar. It is both tender and
graceful. Probably her best song is the setting of W.E. Henley's fine
poem, "Dark is the Night." It is of the "Erl-King" style, but highly
original and tremendously fierce and eerie. The same poet's "Western
Wind" is given a setting contrastingly dainty and serene. "The
Blackbird" is delicious and quite unhackneyed. "A Secret" is bizarre,
and "Empress of the Night" is brilliant. With the exception of a
certain excess of dissonance for a love-song, "Wilt Thou Be My
Dearie?" is perfect with amorous tenderness. "Just for This!" is a
delightful vocal scherzo of complete originality and entire success.
"A Song of Love" is passionate and yet lyric, ornamente