There are other reasons that might lead one to presume that these recent works represent a slump. For Ornstein has been devoting too much of his energy to concertizing. He has been traveling madly over the United States and Canada for the last few years, living in Pullman sleepers and playing to audiences of all sorts. During the first years that he was in America after the outbreak of war in Europe, he at least played the music that he loved. But no one was ready for programs beginning with Korngold and Cyril Scott and ending with Ravel and Scriabine and Ornstein himself. So little by little Ornstein began adulterating his programs, adding a popular piece here, another there. Recently, he has been playing music into which he cannot put his heart at all, Liszt and Rubinstein as well as Beethoven and Schumann. He has been performing it none too brilliantly. Such an existence cannot but dull the man's edge. No one can play the Twelfth Hungarian Rhapsody or the transcription of the Mendelssohn Wedding March or the Rigoletto Fantasy continually without being punished. No one who does not love them can play the Sonata Appassionata or the Etudes symphoniques or the waltzes of Chopin long without becoming dulled and spoiled. So with composition become an interval between two trains, and expression an attempt to please audiences and to establish oneself with the public as a popular pianist, it is not the most preposterous of thoughts that Leo Ornstein has lost something he once possessed in beautiful and superabundant form.

Still, it is fairly incredible. It is impossible that great and permanent harm should have been done him already. He was too vital and sane a being to be so easily corrupted. For those who knew him in the first years of his return from Paris, he was nothing if not the genius. If he was less accomplished, less resourceful and magistral an artist than Strawinsky, for instance, whom he resembles in a certain general way, he was at least a more human, a more passionate being. It is this great vitality, this rich temperament, that makes one sure that we are not going to have in Leo Ornstein another Richard Strauss, another Strauss who has never had the many fertile years vouchsafed the other. It makes us sure that he will finally come to terms with his managers and audiences, and that the harm already done him by his way of life will grow no greater. It convinces us that his present mood is but the result of a necessary process of transition from one basis to another; that the man is really summoning himself for the works that will express him in his manhood. And we are positive that there will shortly come from him weighty musical forms with colors as burning and deep as those of his first pieces, and of like intensity and boldness; and that Leo Ornstein is sure of reaching the high heaven of art for which he seemed and still seems bound.



Bloch

Once before, East and West have met and merged. On the plains where the soldiers of Darius and Alexander slaughtered one another, and where the Macedonian phalanxes recoiled before the castellated elephants of Porus, a marriage was consummated. Hovering over the heads of the opposing armies, the angel of Europe and the angel of Asia embraced, and sent their lifebloods coursing through each other. Passage was made to India. The two continents slowly faced about. Two reservoirs that had been accumulating for eons the precious distillations of two great centers of the human race began mingling their essences. In whatever the East did, there was evident the hand of the West. In whatever the West thought there was visible the prismatic intelligence of the East. The gods of Greece showed their smooth foreheads on the banks of the Ganges. Oriental systems refracted the blonde Mediterranean light into an hundred subtle tints. But the empire of Alexander crumbled, Parthians annihilated the legions of Crassus. Persians and Seljuks and Ottomans barred Europe from the East. Steady communication ceased. Asia withdrew under her cloudy mysterious curtains. Legendary fumes, Cathay, Zipango, the Indias of the Great Ocean, arose. Once again, the two basins were cut off. Once again, each began secreting a substance radically different from the other's, a substance growing more individual with each elapsing century. For almost two thousand years, East and West developed away one from the other.

And now, a second time, in our own hour, the two have drawn close and confronted each other. Once again, a fusion has taken place. We are to-day in the midst of a movement likely to surpass the period of Hellenization in duration and extent. This time, perhaps, no dramatic march of Macedonians to the banks of the Indus has served to make the connection. Nevertheless, in the image of Amy Lowell, guns have again shown themselves keys. For a couple of centuries, great gates have been swinging throughout the East at the behest of frigates and armed merchantmen. And slowly, once again, Asia has been seeping into Europe. Warm spicy gusts have been drifting over the West, steadily permeating the air. At first, there appeared to be nothing serious in the infiltration. The eighteenth century was apparently coquetting only with Eastern motifs. If Chinese palaces put in their appearance at Drottningholm and Pillnitz, in all portions of the continent; if Chippendale began giving curious delicate twists to his furniture, it seemed nothing more than a matter of caprice. The zest for Persian letters, Oriental nouvelles, Turkish marches, arose apparently only from the desire for masquerade. Gretry, Mozart, Wieland, scarcely took their seraglios, pashas, bulbuls earnestly. But, gradually, with the arrival of the nineteenth century, what had hitherto seemed play only, began to assume a different shape. The East was indeed dawning upon the West again. The mists were being burned away. Through Sir William Jones and Friedrich Schlegel, the wisdom of the dangerous slippery Indies was opened to Europe. Goethe, as ever the outrider, revealed the new orientation in his "West-Oestlicher Divan" and his "Chinesich-Deutsche Jahres-und-Tages-Zeiten." In 1829, Victor Hugo published "Les Orientales"; in 1859, Fitzgerald his "Omar." If Weber little more than toyed with Chinese and Turkish musical color in "Turandot" and in "Oberon," Felicien David in his songs and in his "Le Desert" attempted seriously to infiltrate into European music the musical feeling of the Levant. In the corner of Schopenhauer's apartment there sat an effigy of the Buddha; volumes of the Upanishads lay on his table. In 1863 for the first time, a Paris shop offered for sale a few Japanese prints. Manet, Whistler, Monet, the brothers De Goncourt came and bought. But though the craze for painting Princesses du Pays de la Porcelaine ended rapidly, European painting was revolutionized. Surfaces once more came into being. Color was born again under the brushes of the impressionists and the post-impressionists. The sense of touch was freed. In all the arts the art of Japan became powerful. De Maupassant wrote a prose that is full of the technique of the Japanese prints; that works chiefly through means of sharp little lines and dainty spotting. All five senses were being born again. People listened with new keenness to the sounds of instruments. The Russian sons of Berlioz with their new orchestral chemistry arrived. The orchestral machine expanded and grew subtle. Huysmans dreamt of symphonies of liqueurs, concertos of perfumery.

And the new century, when it came, showed that it was no deliberately assumed thing, this fusion of Oriental and Occidental modes of feeling, showed that it was a thing arising deep in the being. Something that had long lain inert had been reborn at the contact in Western men. A part of personality that had lain dead had of a sudden been suffused with blood and warmth; light played over a hemisphere of the mind long dark. The very hand that drew, the very mouth that matched words, the very body that beat and curved and swayed in movement, were Western and Eastern at the same time. It was no longer the Greek conception of form that prevailed on the banks of the Seine, or wherever art was produced. Art was become again, what the Orientals had always known it to be, significant form. It was as though Persia had been born again in Henri Matisse, for instance. A sense of design and color the like of which had hitherto been manifest only in the vases and bloomy carpets of Teheran dictated his exquisite patterns. Hokusai and Outamaro got in Vincent Van Gogh a brother. The sultry atmosphere and animal richness of Hindoo art reappeared in Gauguin's wood-cuts. One has but to go to any really modern art, whether produced in Paris or in Munich or in New York, to see again the subtle browns and silvers and vermilions, the delicate sensuous touch, the infinitely various patterns, the forms that carry with them the earth from Arabia to Japan.

As in the plastic arts, so in poetry. The imagists, Ezra Pound in particular, were Chinese long before they discovered Cathay in the works of Ernest Fennellosa. And in music, certainly, the East is on us; has been on us since the Russian five began their careers and expressed their own half-European, half-Mongol, natures. The stream has commenced setting since the Arabian Nights, the Persian odalisques, the Tartar tribesmen became music. And the Chinese sensibility of Scriabine, the Oriental chromatics of the later Rimsky-Korsakoff, the sinuous scales and voluptuous colors and silken textures of Debussy, the shrill fantastic Japanese idiom of Strawinsky, have shown us the fusion was near.

But in the music of no composer is it as plainly evident as it is in that of Ernest Bloch. In a work like this composer's suite for viola and piano, one has a sense of a completeness of fusion such as no other gives. Here, the West has advanced furthest east, the East furthest west. Two things are balanced in the work, two things developed through a score of centuries by two uncommunicating regions. The organizing power of Europe is married to the sensuousness of Asia. The virile formative power of the heirs of Bach is here. An extended form is solid as mountains, projects volumes through time. One four-square movement is set atop another. There is no weakening, no slackening, no drop. One can put one's hand around these brown-gold blocks. And at the same time, this organizing power makes to live a dusky sensuality, a velvety richness of texture, a sultriness and wetness that sets us amid the bronzed glowing wood-carvings of Africans, the dark sunsets of Ceylon, the pagodas in which the Chinaman sits and sings of his felicity, his family, his garden. The lyric blue of Chinese art, the tropical forests with their horrid heat and dense growths and cruel animal life, the Polynesian seas of azure tulle, the spice-laden breezes, chant here. The monotony, the melancholy, the bitterness of the East, things that had hitherto sounded only from the darkly shining zither of the Arabs, or from the deathly gongs and tam-tams of the Mongolians, speak through Western instruments. It is as though something had been brought out from a steaming Burmese swamp and exposed to the terrible beat of a New York thoroughfare, and that out of that transplantation a matter utterly new and sad and strange, favoring both father and mother, and yet of a character distinctly individual, had been created.

For no composer was better fitted by nature to receive the stimulus of the onrushing East. As a Jew, Bloch carried within himself a fragment of the Orient; was in himself an outpost of the mother of continents. And he is one of the few Jewish composers really, fundamentally self-expressive. He is one of the few that have fully accepted themselves, fully accepted the fate that made them Jewish and stigmatized them. After all, it was not the fact that they were "homeless" as Wagner pretended, that prevented the company of Meyerbeers and Mendelssohns from creating. It was rather more the fact that, inwardly, they refused to accept themselves for what they were. The weakness of their art is to be understood only as the result of the spiritual warfare that threatens to divide every Jew against himself. There was operative in them, whether they were aware of it or no, a secret desire to escape their stigmata. They were deliberately deaf to the promptings of the beings that were so firmly planted in the racial soil. They were fugitive from the national consciousness. The bourn of impulse was half stopped. It was not that they did not write "Jewish" music, utilize solely racial scales and melodies. The artist of Jewish extraction need not do so to be saved. The whole world is open before him. He can express his day as he will. One thing, however, is necessary. He must not seek to inhibit any portion of his impulse. He must not attempt to deny his modes of apprehension and realization because they are racially colored. He must possess spiritual harmony. The whole man must go into his expression. And it was just the "whole man" who did not go into the work of the composers who have hitherto represented "Judaism in Music." An inhibited, harried impulse is manifest in their art.

For, like Meyerbeer, convinced of the worthlessness of their feelings, they manufactured spectacles for the operatic stage, and pandered to a taste which they least of all respected. Or, like Mendelssohn, they tried to adapt themselves to the alien atmosphere of Teutonic romance, and produced a musical jargon that resembles nothing in the world so much as Yiddish. Or, with Rubinstein, they gloved themselves in a pretty salon style in order to conceal all vestiges of the flesh, or tried, with Gustav Mahler, to intone "Ave Maria." Some, no doubt, would have preferred to have been true to themselves. Goldmark (the uncle) is an example. But his desire remained intention, largely. For his method was a trifle childish. He conceived it as a lying on couches amid cushions, sniffing Orient perfumes in scent-bottles. He did not realize that the couch was the comfortable German canape, the cushions the romantic style of Weber and the early Wagner, and that through the

"Sabaean odors from the spicy shore Of Araby the blest"

there drifted the doubtlessly very appetizing smell of Viennese cookery.

But there is music of Ernest Bloch that is a large, a poignant, an authentic expression of what is racial in the Jew. There is music of his that is authentic by virtue of qualities more fundamentally racial than the synagogical modes on which it bases itself, the Semitic pomp and color that inform it. There are moments when one hears in this music the harsh and haughty accents of the Hebrew tongue, sees the abrupt gestures of the Hebrew soul, feels the titanic burst of energy that created the race and carried it intact across lands and times, out of the eternal Egypt, through the eternal Red Sea. There are moments when this music makes one feel as though an element that had remained unchanged throughout three thousand years, an element that is in every Jew and by which every Jew must know himself and his descent, were caught up in it and fixed there. Bloch has composed settings for the Psalms that are the very impulse of the Davidic hymns incarnate in another medium; make it seem as though the genius that had once flowered at the court of the king had attained miraculous second blooming. The setting of the 114th Psalm is the very voice of the rejoicing over the passage of the Red Sea, the very lusty blowing on ox horns, the very hieratic dance. The voice of Jehovah, has it spoken to those who throughout the ages have called for it much differently than it speaks at the close of Bloch's 22nd Psalm?

And it is something like the voice of Job that speaks in the desolation of the third of the "Poemes juives." Once again, the Ecclesiast utters his disillusion, his cruel disappointment, his sense of the utter vanity of existence in the soliloquy of the 'cello in the rhapsody "Schelomo." Once again, the tent of the tabernacle that Jehovah ordered Moses to erect in the wilderness, and hang with curtains and with veils, lifts itself in the introduction to the symphony "Israel." The great kingly limbs and beard and bosom of Abraham are, once again, in the first movement of the work; the dark, grave, soft-eyed women of the Old Testament, Rebecca, Rachel, Ruth, re-appear in the second, with its flowing voices.

Racial traits abound in this body of work. These ponderous forms, these sudden movements, these imperious, barbaric, ritual trumpet blasts, bring to mind all one knows of Semitic art, recall the crowned winged bulls of the Assyrians as well as Flaubert's Carthage, with its pyramided temples and cisterns and neighing horses in the acropolis. Bloch's themes oftentimes have the subtle, far-flung, monotonous line of the synagogic chants. Many of his melodic bits, although pure inventions, are indubitably hereditary. The mode of a race is, after all, but the intensified inflection of its speech. And Bloch's melodic line, with its strange intervals, its occasional quarter notes, approximates curiously to the inflections of the Hebrew tongue. Like so much of the Gregorian chant, which it oftentimes recalls, one can conceive this music as part of the Temple service in Jerusalem. And like the melodic line, so, too, the phrases assigned to the trumpets in the setting of the three Psalms and in the symphony "Israel." They, also, might once have resounded through the courts of Herod's temple. The unusual accents, the unusual intervals, give the instruments a timbre at once imperious, barbaric, ritual. And how different from the theatric Orientalism of so many of the Russians are the crude dissonances of Bloch, the terrible consecutive fourths and fifths, the impetuous rhythms, savage and frenetic in their emphasis. This music is shrill and tawny and bitter with the desert. Its flavor is indeed new to European music. Certainly, in the province of the string quartet, nothing quite like the salty and acrid, the fruity, drugging savor of Bloch's work, has ever before appeared.

And it was not until the Jewish note appeared in his work that Bloch spoke his proper language. The works that precede the "Trois Poemes juives," the first of his compositions in which the racial gesture is consciously made, do not really represent the man as he is. No doubt, the brilliant and ironic scherzo of the C-sharp minor Symphony, whose verve and passion and vigor make the composer of "L'Apprenti sorcier" seem apprentice indeed, is already characteristic of the composer of the string quartet and the suite for viola and piano. But much of the symphony is derivative. One glimpses the influence of Liszt and Tchaikowsky and Strauss in it. So too with the opera "Macbeth," written a few years after the composition of the symphony, when the composer was twenty-four. Despite the effectiveness of the setting it gives the melodrama cleverly abstracted from Shakespeare's tragedy by Edmond Flegg, the score bears a still undecided signature. One feels that the composer has recently encountered the personalities of Moussorgsky and Debussy. No doubt, one begins to sense the proper personality of Bloch in the delicate coloring of the two little orchestral sketches "Hiver-Printemps," in the mournful English horn against the harp in "Hiver," in the chirruping hurdy-gurdy commencement of "Printemps." Unfortunately, the cantilena in the second number still points backward. But with the "Trois Poemes juives," the original Bloch is at hand. These compositions were conceived at first as studies for "Jezabel," the opera Bloch intended composing directly after he had completed the scoring of "Macbeth" in 1904. To-day, "Jezabel" still exists only in the libretto of Flegg and in the series of sketches deposited in the composer's portfolio. The moment in which Bloch is to find it possible for him to realize the work has not yet arrived. Planned at first to follow directly upon "Macbeth," "Jezabel" promises fairly to become the goal of his first great creative period. But out of the conception of the opera itself, out of the desire of creating a work around this Old Testamentary figure, out of the train of emotion excited by the project, there have already flowed results of a first magnitude for Bloch and for modern music. For in the process of searching out a style befitting this biblical drama, and in the effort to master the idiom necessary to it, Bloch executed the compositions that have placed him so eminently in the company of the few modern masters. The three Psalms, "Schelomo," "Israel," portions of the quartet, have but trodden further in the direction marked out by the "Trois Poemes juives." "Jezabel" has turned out to be one of those dreams that lead men on to the knowledge of themselves.

And yet, the "Jewish composer" that the man is so often said to be, he most surely is not. He is too much the man of his time, too much the universal genius, to be thus placed in a single category. His art succeeds to that of Moussorgsky and Debussy quite as much as does that of Strawinsky and Ravel; he rests quite as heavily on the great European traditions of music as he does on his own hereditary strain. Indeed, he is of the modern masters one of those the most conscious of the tradition of his art. He falls heir to Bach and to Haydn and to Beethoven quite as much as any living musician. Quite as much as that of any other his music is an image of the time. In the quartet, his magistral work, the Hebraic element is only one of several. The trio of the scherzo is like a section of some Polynesian forest, with its tropic warmth, its monstrous growths, its swampy earth, its chattering monkeys and birds of paradise. There is the beat of the age of steel in the finale. And the delicate Pastorale is redolent of the gentle fields of Europe, smells of the hay, gives again the nun-like close of day in temperate skies. It is only that as a Jew it was necessary for Ernest Bloch to say yea to his own heredity before his genius could appear. And to what a degree it has appeared, one can gauge from the intensity with which his age mirrors itself in the music he has already composed. His music is the modern man in his lately gotten sense of the tininess of the human elements in the race, the enormity of the animal past. For Ernest Bloch, the primeval forest with its thick spawning life, its ferocious beasts, its brutish phallic-worshiping humanity, is still here. Before him there still lie the hundreds and hundreds of thousands of years of development necessary to make a sapient creature of man. And he writes like one who has been plunged into a darkness and sadness and bitterness all the greater for the vision of the rainbow that has been given him, for the glimpse he has had of the "pays du soleil," the land of man lifting himself at last from the brute and becoming human. For he knows too well that only aeons after he is dead will the night finally pass.

And he is the modern insomuch as the fusion of East and West is illuminated by what he does. The coloration of his orchestra, the cries of his instruments, the line of his melody, the throbbing of his pulses, make us feel the great tide sweeping us on, the wave rolling over all the world. In his art, we feel the earth itself turning toward the light of the East.



APPENDIX

WAGNER

Wilhelm Richard Wagner was born in Leipzig on May 22nd, 1813. He died in Venice February 13th, 1883. The facts of his career are too well known to justify rehearsal.

The dates of the composition and first performances of his operas are: "Rienzi," 1838-40; premiere in Dresden, 1842. "Tannhaeuser," 1843-45 (Paris version, 1860); Dresden, 1845. "Lohengrin," 1845-48; Weimar, 1850. "Das Rheingold," 1848-53; Munich, 1869. "Die Walkuere," 1848-56; Munich, 1870. "Tristan und Isolde," 1857-59; Munich, 1865. "Siegfried," 1857-69; Bayreuth, 1876. "Die Meistersinger von Nuernberg," 1861-67; Munich, 1868. "Die Goetterdaemmerung," 1870-74; Bayreuth, 1876. "Parsifal," 1876-82; Bayreuth, 1882.

STRAUSS

Richard Strauss was born in Munich June 11th, 1864. His father, Franz Strauss, was first horn-player in the Munich Court Orchestra. His mother was the daughter of the beer brewer, Georg Pschorr. He began composing at the tender age of six. From 1870 to 1874 he attended the elementary school at Munich. In 1874 he matriculated at the Gymnasium, and remained there until 1882. During the next year he attended lectures at the University of Munich. From 1875 to 1880 he studied harmony, counterpoint and instrumentation with Hofkapellmeister F. W. Meyer. His compositions were performed publicly from 1880 on. In 1885 he made the acquaintance of Alexander Ritter, who, together with Hans von Buelow, is supposed to have converted young Strauss, until then a good Brahmsian, to Wagnerism and modernism. In 1885 at Buelow's invitation, Strauss conducted a concert of the Meiningen Orchestra. In November of that year he succeeded Buelow as conductor of the organization. In 1886 he become third Kapellmeister at the Munich Opera; in 1889, director at Weimar. 1892-3 was spent in Egypt and Sicily after an attack of inflammation of the lungs. In 1894 he became chief Kapellmeister at Munich. In 1895 his European concert-tours commenced. He conducted in Budapest, Brussels, Moscow, Amsterdam, London, Barcelona, Paris, Zuerich and Madrid. In 1898 he became conductor of the Berlin Royal Opera. In 1904 he came to America to conduct at four festival concerts given in his honor in New York. In one month he gave twenty-one concerts in different cities with nearly as many orchestras. The tour ended with the hubbub over the fact that Strauss had conducted a concert in John Wanamaker's. Since 1898 Strauss has resided chiefly in Charlottenburg and, in the summer, at Marquardstein near Garmisch.

The dates of the composition of his principal works are:

"Serenade for Wind Instruments," Opus 7, 1882-83; "Eight Songs," Opus 10, 1882-83; "Aus Italien," Opus 16, 1886; "Don Juan," Opus 20, 1888; "Tod und Verklaerung," Opus 24, 1889; "Four Songs," Opus 27, 1892-93; "Till Eulenspiegel's Lustige Streiche," Opus 28, 1894-95; "Three Songs," Opus 29, 1894-95; "Also Sprach Zarathustra," Opus 30, 1894-95; "Don Quixote," Opus 35, 1897; "Ein Heldenleben," Opus 40, 1898; "Feuersnot," Opus 50, 1900-01; "Taillefer," Opus 52, 1903; "Sinfonia Domestica," Opus 53, 1903; "Salome," Opus 54, 1904-05; "Elektra," Opus 58, 1906-08; "Der Rosenkavalier," Opus 59, 1909-10; "Ariadne auf Naxos," Opus 60, 1911-12; "Josef's Legende," 1913; "Eine Alpensymphonie," 1914-15; "Die Frau ohne Schatten," 1915-17.

MOUSSORGSKY

Modest Petrovitch Moussorgsky was born March 16th, 1839, in the village of Karevo in the government of Pskow, Russia. His parents were members of the lesser nobility. His mother gave him his first piano lessons. At the age of ten he was sent to the School of St. Peter and St. Paul in Petrograd. His piano-studies were continued with a certain Professor Herke. At the age of twelve he played in public a Rondo de concert by Herz. In 1852 he matriculated at the school for ensigns, and the same year had his first composition, a polka, published. In 1856, while serving as an officer in the Preobrajensky Guards, he made the acquaintance of Borodin. Soon after, he met Dargomyjski. It was with him that, in his own words, "he for the first time lived the musical life." Later, he became acquainted also with Cui, Balakirew and Rimsky-Korsakoff. He took lessons in composition of Balakirew, and finally realized what his direction really was. A nervous malady prevented him from working in 1859. But directly after his convalescence, he resigned from the guards, and set to work in earnest. In order to support himself, he accepted a position in the government service. He lived in Petrograd with five friends. In 1865 he was once more attacked by his malady, and had to retire to the country for three years. In 1869 he returned to Petrograd, living with his friends the Opotchinines. His moment of success came in 1874, with the performance of "Boris." Directly after, his health commenced to fail. In 1879 he resigned his office, and sought to support himself by playing accompaniments. He died in 1881 in a military hospital.

The dates of composition of his principal works are:

"Boris Godounow," 1868-71; "Khovanchtchina," 1872-81; "The Marriage" (one act), 1868; "The Fair at Sorotchinsk" (fragment), 1877-81; "The Defeat of Sennacherib," 1867-74; "Jesus Navine," 1877; "Sans Soleil," 1874; "La Chambre d'Enfants," 1874; "Chants et Danses de la Mort," 1875; "Marcia all Turka," 1880; "La Nuit sur le Mont-Chauve," 1867-75; "Tableaux d'une Exposition," 1874; "Hopak," 1877.

LISZT

Franz Liszt was born near Odenburg, Hungary, October 22nd, 1811. He died in Bayreuth, July 31st, 1886. He played in public for the first time at the age of nine, in Odenburg. In 1829 he came to Vienna, remaining there eighteen months studying piano under Czerny, and composition with Salieri. He then was taken to Paris, where he studied under Reicha till 1825. In 1831 he heard Paganini play. It is supposed that he was so impressed that he decided to become the Paganini of the piano. He was very much in demand in Paris as an artist. In 1835 he carried the Comtesse d'Agoult off from a ball, and went with her to Geneva. He remained in Geneva until 1839, when his triumphal progresses through Europe commenced. In 1848 he became Kapellmeister in Weimar. Here, he caused "Lohengrin" to be produced, and had "Der Fliegende Hollaender" and "Tannhaeuser," as well as operas of Berlioz and Schumann, revived. It was while he was in Weimar that he formed a relationship with the Princess Sayn-Wittgenstein. In 1859 he went to Rome, where he remained till 1870. In 1866 Pius IX made him an Abbe. After 1870 he returned to Weimar, living there and in Budapest and in Rome.

His principal orchestral works are: "Eine Faustsymphonie," "Dante," "Bergsymphonie," "Tasso," "Les Preludes," "Orpheus," "Mazeppa," "Hungaria," "Hunnenschlacht," "Die Ideale," "Two Episodes from Lenau's Faust," etc.

His principal choral works are "Die Legende von der Heiligen Elisabeth" and "Christus."

His principal compositions for the pianoforte are: "Sonata in B-minor," "Concerto in E-flat," "Concerto in A," "Annees de pelerinage," "Consolations," "Two Legendes," "Liebestraeume," "Six Preludes and Fugues (Bach)," etc., etc. Also innumerable transcriptions.

BERLIOZ

Louis Hector Berlioz was born at La Cote Saint-Andre near Grenoble on December 11th, 1803. His father was a physician, and wished his son to follow his profession. So Hector was sent to Paris to study. Instead of studying medicine he commenced to compose. A mass of his was performed at Saint-Roch in 1824. In 1826 he sought to enter the Conservatoire, but failed in the preliminary examination. In 1827, 1828 and 1829, he competed for the Prix de Rome, and failed. In 1830 he finally secured it. While in Rome in 1831, he composed the "Symphonie Fantastique" and "Lelio." In 1833 he married his adored Miss Smithson. In 1834 "Harold" was performed for the first time. "The Requiem" was composed in 1836, "Benvenuto Cellini" in 1837, "Romeo" in 1839. In 1840 Berlioz made his first journey to Brussels; in 1842-43 he toured Germany. The "Carnaval Romain" was performed in 1844. In 1845-46 Berlioz gave numerous concerts in France, and toured Austria and Hungary. In December of the latter year "La Damnation de Faust" failed at the Opera Comique. In 1847 Berlioz went to Russia and to England for the first time. In 1849 he began work on his "Te Deum"; in 1850 on "L'Enfance du Christ." The next years were spent in conducting. In 1854, on the death of his wife, he married Mlle. Recio. In 1856 we find Berlioz in North Germany, Brussels and London. He began the composition of "Les Troyens" the same year. At its performance in 1863, the work failed. His last years were darkened by the death of his wife and son. He died March 8th, 1869, in Paris.

FRANCK

Cesar-Auguste Franck was born at Liege, Belgium, December 10th, 1822. His father hoped to make a piano-virtuoso of him, and supervised his musical education. At the age of eleven the young Franck was touring Belgium as a pianist. In 1835 the family emigrated to Paris, and two years later Cesar was admitted to the Conservatoire. He studied composition with Leborne and the piano with Zimmermann. He took the first prize for fugue in 1840. In 1842 his father compelled him to leave the Conservatory and return to Belgium, but two years later he was once more in Paris, seeking to gain his living by teaching and playing. "Ruth" was performed in 1846. He was married in 1848. In 1851 he was appointed organist at the church of Saint-Jean-Saint-Francois, later of the church of Sainte-Clotilde, which post he occupied during the remainder of his years. In 1872 he was appointed professor of organ-playing at the Conservatoire. "Redemption" was performed in 1873. "Les Beatitudes" was performed for the first time in 1880. Shortly after, the professorship of composition at the Conservatory was refused him, and five years later he was decorated with the ribbon of the Legion of Honor as "professor of organ-playing." In 1887 a "Festival Franck" was given under the direction of Pasdeloup at the Cirque d'hiver. His symphony was performed for the first time in 1889. He died November 8th, 1890.

The dates of the composition of his principal works are as follows: "Ruth," 1843-46; "Six pieces pour grand orgue," 1860-62; "Trois offertoires," 1871; "Redemption," 1871-72 (first version), 1874 (second version); "Prelude, fugue et variation," 1873; "Trois pieces pour grand orgue," 1878; "String-quintet," 1878-79; "Les Beatitudes," 1869-79; "Le Chasseur maudit," 1882; "Les Djinns," 1884; "Prelude, choral et fugue," 1884; "Hulda," 1882-85; "Variations symphoniques," 1885; "Sonate," 1886; "Prelude, aria et finale," 1886-87; "Psyche," 1887-88; "Symphonie," 1886-88; "Quatuor," 1889; "Trois chorales," 1890.

DEBUSSY

Claude-Achille Debussy was born August 22nd, 1862, at Saint-Germain-en-Laye. He died at Paris March 22nd, 1918. He entered the Conservatoire at the age of twelve, studying harmony with Lavignac and piano with Marmontel. At the age of eighteen, he paid a brief visit to Russia. But it was not until several years later that he became acquainted with the score of "Boris Godounow," which was destined to have so great an influence on his life, and precipitate his revolt from Wagnerism. In 1884 he gained the Prix de Rome with his cantata "L'Enfant prodigue." During his three-year stay at the Villa Medici he composed "Printemps" and "La Damoiselle elue." "Ariettes oubliees" were published in 1888, followed, in 1890, by "Cinq poemes de Baudelaire"; in 1893 by the string-quartet and the "Prelude a 'l'Apres-midi d'un faune'"; in 1894 by "Proses lyriques"; and in 1898 by "Les Chansons de Bilitis." The "Nocturnes" were performed for the first time in 1899. "Pelleas," upon which Debussy had been working for ten years, was produced at the Opera Comique in 1902. In 1903, "Estampes" were published. "Masques," "L'Isle joyeuse," "Danses pour harp chromatique" and "Trois chansons de France" were published in 1904. The following year saw the disclosure of the first book of "Images" for piano and of "La Mer." The second book of "Images" appeared in 1906; "Iberia" in 1907; "Trois chansons de Charles d'Orleans" and the "Children's Corner" in 1908. "Rondes de Printemps" was performed for the first time in 1909. In 1910 there appeared "Trois ballades de Francois Villon" and the first book of "Preludes for piano." It was in the incidental music to d'Annunzio's Le Martyre de Saint-Sebastien, performed in 1911, that Debussy's genius showed itself for the last time in any fullness. In 1912 "Gigues" were performed; in 1913 there appeared the second book of Preludes for piano. The works produced subsequently are of much smaller importance.

RAVEL

Maurice Ravel was born in Ciboure, Basses-Pyrenees, March 7th, 1875. Shortly after his birth, his family moved to Paris. Henri Ghis was his first piano-teacher, Charles-Rene his first teacher of composition. He took piano-lessons of Ricardo Vines, and in 1891 was awarded a "premiere medaille" in piano-playing at the Conservatoire. In 1897 Ravel entered the class of Faure. In 1898, his "Sites auriculaires" were publicly performed. In 1901 he failed for the first time to gain the Prix de Rome. His quartet was performed in 1904. In 1903 he failed for the fourth time to gain the Prix de Rome. "Histoires naturelles" were performed in 1907, the "Rapsodie espagnole" in 1908. "L'Heure espagnole" was given at the Opera Comique in 1911. "Daphnis et Chloe" was performed by the Russian Ballet in 1912. During the war Ravel served as ambulance driver. He was wounded while serving before Verdun, and dismissed from service. He is living at present in Paris.

The dates of composition of his principal works are:

"Miroirs," 1905; "Sonatine," 1905; "Gaspard de la Nuit," 1908; "Valses nobles et sentimentales," 1911; "Ma Mere l'Oye," 1908; "Histoires naturelles," 1906; "Cinq Melodies populaires grecques," 1907; "Trois Poemes de Mallarme," 1913; "Quatuor a cordes," 1902-03; "Introduction et Allegro pour harpe," 1906; "Rapsodie espagnole," 1907; "Daphnis et Chloe," 1906-11; "L'Heure espagnole," 1907; "Le Tombeau de Couperin," 1914-17.

BORODIN

Alexander Porfirievitch Borodin was born in Petrograd November 12th, 1834, and died there February 27th, 1887.

RIMSKY-KORSAKOFF

Nikolai Andreyevitch Rimsky-Korsakoff was born March 6th, 1844, at Tikhvin, in the government of Novgorod, Russia. His father was a civil governor and landed proprietor. He began to study the pianoforte at the age of six. He was destined for a career in the navy, and, in 1856, he was sent to study at the Petrograd Naval College. In 1861 he made the acquaintance of Balakirew and of the group about him. After a two-year cruise in the navy, Rimsky returned to Petrograd in 1865. In 1866 he was installed in furnished rooms, having decided upon becoming a composer. He began work on "Antar" in 1868. It was performed the following year. In 1871 he became professor of composition and orchestration at the Petrograd Conservatory. In 1872 his opera "The Maid of Pskof" was produced. Rimsky married, on June 30th of that year, Nadejeda Pourgold. Moussorgsky was best man at the ceremony. In 1873 he became Inspector of Naval Bands. In 1874 he toured the Crimea. In 1883 he was called upon to reorganize the Imperial chapel. In 1889 he conducted two Russian concerts at the Paris Exposition. In the following year he conducted two Russian concerts in Brussels. He resigned his position as conductor of the Russian Symphony concerts and the inspectorship of the Imperial chapel in 1894. In 1900 he was in Brussels again. In 1904, due to his political views, he was called upon to vacate his post of Director of the Conservatory. He attended the Russian festival in Paris in the spring of 1907. The French Society of Composers, however, refused to admit him to membership. He died in April, 1908, at his property at Lioubensk.

The titles of his operas are: "The Maid of Pskof," 1872; "A Night in May," 1880; "Sniegouroschka," 1882; "Mlada," 1892; "Christmas Eve Revels," 1895; "Sadko," 1897; "Mozart and Salieri," 1898; "Boyarina Vera Sheloga," 1898; "The Tsar's Bride," 1899; "The Tale of Tsar Saltan," 1900; "Servilia," 1902; "Kashchei the Immortal," 1902; "Pan Voyevoda," 1902; "Kitj," 1907; "Le Coq d'or," 1907.

Among his orchestral compositions are: Symphony No. 1, "Serbian Fantasy," Opus 6; "Symphonic Suite Antar," Opus 9; Symphony, Opus 32. "Spanish Caprice," Opus 34; "Scheherazade," Opus 35; "Easter Overture," Opus 36.

RACHMANINOFF

Sergei Vassilievitch Rachmaninoff was born March 29th, 1873, at Onega in the government of Novgorod, Russia. He entered the Petrograd Conservatory in 1882, studying piano in the class of Demyaresky, theory in that of Professor L. A. Sacchetti. In 1885 he entered the Moscow Conservatory, studying under Zviereiff, Taneyef and Arensky. His first public appearance as a pianist took place in 1892. He has been composing steadily since 1894. His first symphony was produced by Glazounof in 1895. His European tours commenced in 1899. In 1903 he taught in the Moscow Maryinsky Institute. From 1904 to 1906 he conducted at the Imperial Opera in Moscow. His own operas, "The Miser Knight" and "Francesca da Rimini," were performed at that time. After 1907 he lived in Dresden. His first American tour took place in 1909. His second began in 1918.

Among Rachmaninoff's works are three operas, "Aleko," "The Miser Knight," "Francesca da Rimini"; two symphonies, Opus 13 and Opus 27; three concertos for pianoforte, Opus 1, 18 and 30; a symphonic poem "Die Toteninsel," Opus 29; a work for chorus and orchestra, "The Bells"; two 'cello sonatas, Opus 19 and Opus 28; a pianoforte trio, Opus 9; piano pieces, Opera 3, 5, 10, 16, 23, 32; and numerous songs.

SCRIABINE

Alexander Nicolas Scriabine was born in Moscow in 1871, of aristocratic parents. In his tenth year he was placed in the 2nd Moscow Army Cadet Corps. His first piano lessons were taken from G. A. Conus. Musical theory he studied with Professor S. I. Taneieff. While still continuing the Cadet courses, he was enrolled as a student at the Moscow Conservatory of Music. He studied the pianoforte with Vassily Safonoff, counterpoint first with Taneieff and later with Arensky. His studies both in the Conservatory and in the corps were completed by 1891. In 1892 he toured Europe for the first time as pianist, playing in Amsterdam, Brussels, The Hague, Paris, Berlin, Moscow and Petrograd. The next five years Scriabine devoted to both concert-tours and composition. In 1897 he became Professor of Pianoforte, playing at the Moscow conservatory, remaining such for six years. He resigned from his post in 1903 in order to devote himself entirely to composition and concertizing, living principally in Beattenberg, Switzerland, and in Paris. It is during that time that he seems to have been converted to Theosophy. He spent 1905-06 in Genoa and in Geneva. In February, 1906, Scriabine embarked on a tour of the United States. He played in New York City, Chicago, Washington, Cincinnati and other cities. The next years were spent in Beattenberg, Lausanne and Biarritz. From 1908 to 1910, Scriabine lived in Brussels. Then he returned to Moscow, touring Russia in 1910, 1911 and 1912. In 1914 he visited England for the first time. Returning to Russia just before the outbreak of the war, he set about on a work involving the unification of all the arts entitled "Mysterium." On April 7th, 1915, he was taken ill with blood-poisoning. On April 14th he was dead.

His principal orchestral works are: "Le Poeme divine," Opus 43; "Le Poeme de l'Extase," Opus 54; and "Prometheus," Opus 60. It is not easy to say which of his many compositions for the pianoforte are the most important. Sonata No. 7, Opus 64; Sonata No. 8, Opus 66; Sonata No. 9, Opus 68; and Sonata No. 10, Opus 70; are perhaps the most magistral.

STRAWINSKY

Igor Fedorovitch Strawinsky was born at Oranienbaum near Petrograd, June 5th, 1882. His father was a bass singer attached to the court. Igor was destined for a legal career. But in 1902 he met Rimsky-Korsakoff in Heidelberg, and abandoned all idea of studying the law. He studied with Rimsky till 1906. His "Scherzo fantastique," inspired by Maeterlinck's Life of the Bee, which was produced in 1908, attracted the attention of Sergei Diaghilew to the young composer, and secured him a commission to write a ballet for Diaghilew's organization. The immediate result was "L'Oiseau de feu," which was composed and produced in 1910. "Petruschka" was written in 1911, the composer residing in Rome at the time. "Le Sacre du printemps" was written in Clarens, where Strawinsky generally lives. It was produced in Paris in 1913. The opera "Le Rossignol," of which one act was completed in 1909, and two in 1914, was produced in Paris and in London just before the war. A new ballet "Les Noces villageoises" has not as yet been produced.

Other of Strawinsky's compositions are:

Opus 1, "Symphony in E-flat"; Opus 2, "Le Faune et la Bergere," songs with orchestral accompaniment; Opus 3, "Scherzo fantastique"; Opus 4, "Feuerswerk"; Opus 5, "Chant funebre" in memory of Rimsky-Korsakoff; Opus 6, Four Studies for the pianoforte; Opus 7, Two songs; "Les Rois des Etoiles," for chorus and orchestra; Three songs on Japanese poems with orchestral accompaniment; Three pieces for string-quartet; An unpublished pianoforte sonata; A ballet for clowns.

MAHLER

Gustav Mahler was born in Kalischt, Bohemia, July 7th, 1860. He died in Vienna May 18th, 1911. He studied the pianoforte with Epstein, composition and counterpoint with Bruckner. In 1883 he was appointed Kapellmeister in Kassel; in 1885 he was called to Prague; in 1886 he was made conductor of the Leipzig opera. In 1891 he went to Hamburg to conduct the opera, and in 1897 he was made director of the Vienna Court Opera. In 1908 he came to New York to conduct the operas of Wagner, Mozart and Beethoven at the Metropolitan. In 1909 he became conductor of the New York Philharmonic Society. His health broke in 1911, and he returned to Vienna.

Mahler wrote nine symphonies. The first dates from 1891, the second from 1895, the third from 1896, the fourth from 1901, the fifth from 1904, the sixth from 1906, the seventh from 1908, the eighth from 1910, and the ninth from 1911.

Other of his compositions are: "Das Klagende Lied," for soli, chorus, and orchestra; "Das Lied von der Erde," for soli, and orchestra; "Kindertotenlieder," with orchestral accompaniment; "Lieder einer fahrenden Gesellen," with orchestral accompaniment; "Des Knaben Wunderhorn," twelve songs.

REGER

Max Reger was born in Brand, Bavaria, March 19th, 1873. His father was school-teacher at Weiden in the Palatinate, and Reger, it was hoped, would follow his profession. However, the musical profession prevailed. Reger studied with Riemann from 1890 to 1895. At first he decided to perfect himself as a pianist. Later, composition and organ-playing absorbed him. He was made professor of counterpoint in the Royal Academy in Munich in 1905. In 1907 he was made musical director of the University of Leipzig and professor of composition at the Leipzig Conservatory. From 1911 until his death he was Hofkepellmeister at Meiningen. He died in Jena, May 11th, 1916.

His works for orchestra include: "Sinfonietta," Opus 90; "Serenade," Opus 95; "Hiller-Variations," Opus 100; "Symphonic Prologue," Opus 120; "Lustspielouvertuere," Opus 123; "Konzert in Alten Stiel," Opus 125; "Romantische Suite," Opus 128; "Vier Tondichtungen nach Boecklin," Opus 130; "Ballet-Suite," Opus 132; "Mozart-Variations," Opus 140; "Violin-concerto," Opus 101; "Piano-concerto," Opus 114.

His works for chorus include: "Gesang der Verklaerten," Opus 71; "Psalm 100," Opus 106; "Die Nonnen," Opus 112.

His chamber-works include: String-sextet, Opus 118; Pianoforte-quintet, Opus 64; Pianoforte-quartet, Opus 113; Five string-quartets, Opera 54, 74, 109, 121; Serenade for flute, violin and viola, Opus 77a; Trio for flute, violin and viola, Opus 76b; Nine violin sonatas, Opera 1, 3, 41, 72, 84, 103b, 122, 139; Four 'cello sonatas, Opera 5, 28, 71, 116; Three clarinet sonatas, Opera 49, 197; Four sonatas for violin solo, Opus 42.

His organ compositions include: Suite, Opus 16; Fantasy, Opus 27; Fantasy and fugue, Opus 29; Fantasy, Opus 20; Sonata, Opus 33; Two fantasies, Opus 40; Fantasy and fugue, Opus 46; The fantasies, Opus 52; Symphonic fantasy and fugue, Opus 57; Sonata, Opus 60; Fifty-two preludes, Opus 67; Variations and fugue, Opus 73; Suite, Opus 92; Intermezzo, passacaglia and fugue, Opus 127.

His pianoforte works include: Aquarellen, Opus 25; Variations and fugue, Opus 81; "Aus Meinem Tagebuch," Opus 82; Two sonatinas, Opus 89.

He wrote over three hundred songs.

SCHOENBERG

Arnold Schoenberg was born in Vienna September 13th, 1874. He was self-taught until his 20th year. His first instruction was received from his brother-in-law, Alexander von Zemlinsky. In 1901 he went to Berlin, and became the Kapellmeister of the "Uberbrettl," the cabaret managed by Birnbaum, Wedekind and von Wolzogen. Due to the influence of Richard Strauss, he secured a position as instructor in Stern's Conservatory. In 1903 he returned to Vienna. He aroused the interest of Gustav Mahler, who secured performances for several of his works. The Rose Quartet performed the sextet "Verklaerte Nacht" and the Quartet, Opus 7. The "Kammersymphonie" and the choral work "Gurrelieder" were also played. In 1910 Schoenberg was appointed teacher of composition in the Imperial Academy. In 1911 he returned to Berlin, remaining there till 1916 (?). He is said at present to be in Vienna.

Among his compositions are:

Opera 1, 2 and 3, Songs—"Gurrelieder"; Opus 4, sextet "Verklaerte Nacht"; Opus 5, "Pelleas und Melisanda"; Opus 7, 1st String-quartet; Opus 8, Songs with orchestral accompaniment; Opus 9, "Kammersymphonie"; Opus 10, 2nd String-quartet, with setting of "Entrueckung," by Stefan George; Opus 11, three pieces for Piano; Opus 13, a capella choruses; Opus 15, Songs; Opus 16, five Pieces for Orchestra; Opera 17 and 19, Piano pieces; Opus 21, "Die Lieder des Pierrot Lunaire."

A new Kammersymphonie and a monodrama "Erwartung" remain unpublished.

SIBELIUS

Jean Sibelius was born in Tavastehus, Finland, December 8th, 1865. He matriculated at the University of Helsingfors in 1885, but shortly after gave up all idea of studying law, and entered the Conservatory in 1886. Here he remained three years, studying composition with Wegelius. In 1889-90 he studied with Becken in Berlin. In 1891 he went to Vienna to study instrumentation with Karl Goldmark. From 1893-97 he taught composition at the Helsingfors Conservatory. In 1897 the Finnish Senate allotted him the sum of $600 yearly for a period of ten years, in order to permit him leisure for composition. In 1900 he toured Scandinavia, Germany, Belgium and France as conductor of the Helsingfors Philharmonic Orchestra. In 1901 he was invited to conduct his own compositions at the festival of the Deutscher Tonkuenstlerverein in Heidelberg. In 1914, while in America, Yale University conferred upon him the degree of Doctor of Music. At present he is living in Jaersengraeae, Finland.

Among Sibelius's compositions are:

Five Symphonies: No. 1, Opus 39; No. 2, Opus 43; No. 3, Opus 52; No. 4, Opus 63; No. 5 (composed in 1916).

String-quartet "Voces intimae," Opus 56.

"En Saga," Opus 9; "Karelia Overture," Opus 10; "Der Schwan von Tuonela" and "Lemmenkainen zieht heimwarts," Opus 22; "Finlandia," Opus 26; "Suite King Christiern II," Opus 27; "Pohjohla's Daughter," Opus 49; "Naechtlicher Ritt und Sonnenaufgang," Opus 55; "Scenes historiques," Opus 66; "Die Okeaniden," Opus 72. Some fifty songs, etc., etc.

LOEFFLER

Charles Martin Loeffler was born in Muelhausen, Alsace, January 30, 1861. He studied the violin under Massart and Leonard in Paris, and under Joachim in Berlin. He studied composition with Guirand in Paris. Played violin in Pasdeloup's orchestra, then in the orchestras at Nice and Lugano. From 1883 till 1903 he was second leader in the Boston Symphony Orchestra. Since 1903 he has been devoting himself completely to composition. He is living at present in Medford, Massachusetts.

His compositions include: Suite for violin and orchestra, "Les Viellees de l'Ukraine," 1891; Concerto for cello, 1894; Divertissement for orchestra, 1895; "La Mort de Tintagiles," 1897; "Divertissement espagnol" for orchestra and saxaphone; "La Villanelle du Diable"; "A Pagan Poem"; "Hora mystica"; "Psalm 137"; "To One Who Fell in Battle"; Two rhapsodies for oboe, viola and pianoforte; String-sextet; String-quartet; Music for Four Stringed Instruments; Songs on poems by Baudelaire, Verlaine, Yeats, Rossetti, Lodge, Kahn, etc.

ORNSTEIN

Leo Ornstein was born in Krementchug, Russia, December 11th, 1895. His father was cantor in the synagogue. Until 1906 Ornstein was a pupil in the Petrograd Conservatory. Because of the pogroms, his family emigrated to New York. There he attended the Friends' School and studied music in the Institute of Musical Art. Later, he studied with Bertha Fiering Tapper. He made his debut as pianist in January, 1911. In 1913-14 he lived in Europe, in Paris chiefly. He was introduced to the French public by Calvocoressi at a concert in the Sorbonne. In the summer he toured Norway. He returned to America in the autumn, and early next year gave a series of recitals of ultra-modern music at the Fifty-seventh Street Theatre. Next year he continued the series at four semi-private recitals at the home of Mrs. Arthur M. Reis. He has been giving concerts all over the United States and Canada since. He is living at present in Jackson, N. H.

Among Ornstein's compositions there are:

Two symphonic poems, "The Fog" and "The Life of Man" (after Andrev); a Piano-concerto, Opus 44; a setting of the 30th Psalm for chorus; a Quartet for strings, Opus 28; a Miniature String-quartet; a Piano-quintet, Opus 49; two Sonatas for Violin and Piano, Opera 26 and 31; two Sonatas for Cello and Piano, Opera 45 and 78; Three Lieder, Opus 33; Four settings of Blake, Opus 18.—For piano solo: Sonata, Opus 35; Dwarf Suite, Opus 11; Impressions of the Thames, Opus 13; Two Impressions of Notre-Dame, Opus 16; Two Shadow Pieces, Opus 17; Six Short Pieces, Opus 19; Three Preludes, Opus 20; Three Moods, Opus 22; Eleven Short Pieces, Opus 29; Burlesques, Opus 30; Eighteen Preludes—a la Chinoise, Opus 39; Arabesques, Opus 48; Poems of 1917, Opus 68.

BLOCH

Ernest Bloch was born in Geneva, Switzerland, July 24th, 1880. He studied in Geneva with Jaques Dalcroze; in Brussels with Ysaye; at the Hoch Conservatory in Frankfort with I. Knorr; and with Thuille in Munich. His opera "Macbeth" was produced at the Opera Comique in Paris in 1910. In 1915 he was appointed professor of composition in the conservatory in Geneva. In 1916 he came to America as conductor of the Maud Allan Symphony Orchestra. His quartet was performed by the Flonzaleys that season, and in May, 1917, the Society of the Friends of Music devoted a concert entirely to his works. Returning to Switzerland in the summer he once more voyaged to America, this time with the intention of settling here. He taught composition at the David Mannes School from 1917 to 1919. In September, 1919, he won the Coolidge Prize with his Suite for viola. He lives in New York.

Besides "Macbeth," the list of his compositions includes a Symphony in C-sharp minor; "Vivre-Aimer"; "Hiver-Printemps"; "Trois Poemes juives," "Trois Psaumes" (22nd for baritone, 14th and 137th for soprano); "Poemes d'Automne" for mezzo-soprano; "Schelemo," rhapsody for 'cello and orchestra; "Israel" (symphony—two movements); String-quartet; and Suite for viola and piano or viola and orchestra. A sonata for violin and piano is in process of preparation.

THE END