Art does not prosper as hermit. Of course, every great creator has a certain aloofness of soul, and an inner isolation; but he must at times submit his work to the comparison of his fellow artists; he must profit by their discoveries as well as their errors; he must grow overheated in those passionate musical arguments that never convince any one out of his former belief, and serve salutarily to raise the temper, cultivate caloric, and deepen convictions previously held; he must exchange criticisms and discuss standards with others, else he will be eternally making discoveries that are stale and unprofitable to the rest of the world; he will seek to reach men's souls through channels long dammed up, and his achievements will be marred by naÏve triteness and primitive crudeness.

So, while the artistic tendency may be a universal nervous system, artists are inclined to ganglionate. The nerve-knots vary in size and importance, and one chief ganglion may serve as a feeding brain, but it cannot monopolize the activity. In America, particularly, these ganglia, or colonies, are an interesting and vital phase of our development. For a country in which the different federated states are, many of them, as large as old-world kingdoms, it is manifestly impossible for any one capital to dominate. Furthermore, the national spirit is too insubordinate to accept any centre as an oracle.

New York, which has certainly drawn to itself a preponderance of respectable composers, has yet been unable to gather in many of the most important, and like the French Academy, must always suffer in prestige because of its conspicuous absentees. In the second place, New York is the least serious and most fickle city in the country, and is regarded with mingled envy and patronage by other cities.

Boston is even more unpopular with the rest of the country. And New York and other cities have enticed away so many of the leading spirits of her musical colony, that she cannot claim her once overwhelming superiority. And yet, Boston has been, and is, the highest American representative of that much abused term, culture. Of all the arts, music doubtless gets her highest favor.

The aid Boston has been to American music is vital, and far outweighs that of any other city. That so magnificent an organization as its Symphony Orchestra could be so popular, shows the solidity of its general art appreciations. The orchestra has been remarkably willing, too, to give the American composer a chance to be heard. Boston has been not only the promulgator, but in a great measure the tutor, of American music.

In Boston-town, folk take things seriously and studiously. In New York they take them fiercely, whimsically. Like most generalizations, this one has possibly more exceptions than inclusions. But it is convenient.

It is convenient, too, to group together such of the residents of these two towns, as I have not discussed elsewhere. The Chicago coterie makes another busy community; and St. Louis and Cleveland have their activities of more than intramural worth; Cincinnati, which was once as musically thriving as its strongly German qualities necessitated, but which had a swift and strange decline, seems to be plucking up heart again. For this, the energy of Frank van der Stucken is largely to credit. Aside from the foreign-born composers there, one should mention the work of Richard Kieserling, Jr., and Emil Wiegand. The former went to Europe in 1891 and studied at the Leipzig Conservatory, under Reinecke, Homeyer, Rust, Schreck and Jadassohn. He also studied conducting under Sitt. At his graduation, he conducted a performance of his own composition, "Jeanne d'Arc." He returned to his native city, Cincinnati, in 1895, where he has since remained, teaching and conducting. Among his works, besides piano pieces and songs, are: "A May Song," for women's chorus and piano; six pieces for violin and piano; "Harold," a ballad for male chorus, barytone solo, and orchestra; "Were It Not For Love," composed for male chorus; several sets of male choruses; a motet for mixed chorus a cappella; a berceuse for string orchestra, an introduction and rondo for violin and orchestra; and a "Marche Nuptiale," for grand orchestra.

Emil Wiegand was also born in Cincinnati, and had his first tuition on the violin from his father. His theoretical studies have been received entirely in Cincinnati. He is a member of the local Symphonic Orchestra, and has composed an overture for grand orchestra, a string quartette, and various pieces for the violin, piano, and voice.

In San Francisco there is less important musical composition than there was in the days when Kelley and Page were active there. The work of H.B. Pasmore is highly commended by cognoscenti, as are also the works of Frederick Zeck, Jr., who was born in San Francisco, studied in Germany, and has composed symphonies, a symphonic poem, "Lamia," a romantic opera, and other works; Samuel Fleischmann, born in California and educated abroad, a concert pianist, who has written, among other things, an overture, "Hero and Leander," which was performed in New York; and P.C. Allen, who studied in Europe, and has written well.

But the larger cities do not by any means contain all the worthy composition. In many smaller cities, and in a few villages even, can be found men of high culture and earnest endeavor.

In Yonkers, New York, is Frederick R. Burton, who has written a dramatic cantata on Longfellow's "Hiawatha," which has been frequently performed. In this work use is made of an actual Indian theme, which was jotted down by H.E. Krehbiel, and is worked up delightfully in the cantata, an incessant thudding of a drum in an incommensurate rhythm giving it a decidedly barbaric tone. The cantata contains also a quaint and touching contralto aria, and a pathetic setting of the death-song of Minnehaha. Burton is a graduate of Harvard, and a writer as well as a composer. He organized, in 1896, the Yonkers Choral Society, of which he is conductor.

At Hartford, Conn., is Nathan H. Allen, who was born in Marion, Mass., in 1848. In 1867 he went to Berlin, where he was a pupil of Haupt for three years. In this country he has been active as an organist and teacher. Many of his compositions of sacred music have been published, including a cantata, "The Apotheosis of St. Dorothy."

At Providence, R.I., a prominent figure is Jules Jordan, who was born at Willimantic, Conn., November 10, 1850, of colonial ancestry. Though chiefly interested in oratorio singing, in which he has been prominent, he has written a number of songs, some of which have been very popular. The best of these are a rapturous "Love's Philosophy," a delicious "Dutch Lullaby," "An Old Song," and "Stay By and Sing." He has written some religious songs, part songs, and three works for soli, chorus, and orchestra, "Windswept Wheat," "A Night Service," and "Barbara Frietchie;" also "Joel," a dramatic scene for soprano and orchestra, sung at the Worcester Musical Festival by Mme. Nordica. This I have not seen, nor his romantic opera, "Rip Van Winkle." In June, 1895, Brown University conferred on him the degree of Doctor of Music. Two albums of his songs are published.

A writer of many religious solos and part songs is E.W. Hanscom, who lives in Auburn, Me. He was born at Durham, in the same State, December 28, 1848. He has made two extended visits to London, Berlin and Vienna, for special work under eminent teachers, but has chiefly studied in Maine. Besides his sacred songs Hanscom has published a group of six songs, all written intelligently, and an especially good lyric, "Go, Rose, and in Her Golden Hair," a very richly harmonized "Lullaby," and two "Christmas Songs," with violin obbligato.

In Delaware, Ohio, at the Ohio Wesleyan University, is a composer, Willard J. Baltzell, who has found inspiration for many worthy compositions, but publishers for only two, both of these part songs, "Dreamland" and "Life is a Flower," of which the latter is very excellent writing.

Baltzell was for some years a victim of the musical lassitude of Philadelphia. He had his musical training there. He has written in the large forms a suite founded on Rossetti's "Love's Nocturne," an overture, "Three Guardsmen," a "Novelette" for orchestra, a cantata, "The Mystery of Life," and an unfinished setting of Psalm xvii. with barytone solo. These are all scored for orchestra, and the manuscript that I have seen shows notable psychological power. Other works are: a string quartette, a trio, "Lilith," based on Rossetti's poem, "Eden Bower," a nonet, and a violin sonata. He has also written for the piano and organ fugues and other works. These I have not seen; but I have read many of his songs in manuscript, and they reveal a remarkable strenuousness, and a fine understanding of the poetry. His song, "Desire," is full of high-colored flecks of harmony that dance like the golden motes in a sunbeam. His "Madrigal" has much style and humor. He has set to music a deal of the verse of Langdon E. Mitchell, besides a song cycle, "The Journey," which is an interesting failure,—a failure because it cannot interest any public singer, and interesting because of its artistic musical landscape suggestion; and there are the songs, "Fallen Leaf," which is deeply morose, and "Loss," which has some remarkable details and a strange, but effective, ambiguous ending. Other songs are a superbly rapturous setting of E.C. Stedman's "Thou Art Mine," and a series of songs to the words of Richard Watson Gilder, a poet who is singularly interesting to composers: "Thistledown" is irresistibly volatile; "Because the Rose Must Fade" has a nobility of mood; "The Winter Heart" is a powerful short song, and "Woman's Thought," aside from one or two dangerous moments, is stirring and intense. Baltzell writes elaborate accompaniments, for which his skill is sufficient, and he is not afraid of his effects.

In the far Xanadu of Colorado lives Rubin Goldmark, a nephew of the famous Carl Goldmark. He was born in New York in 1872. He attended the public schools and the College of the City of New York. At the age of seven he began the study of the piano with Alfred M. Livonius, with whom he went to Vienna at the age of seventeen. There he studied the piano with Anton Door, and composition with Fuchs, completing in two years a three years' course in harmony and counterpoint. Returning to New York, he studied with Rafael Joseffy and with Doctor DvÔrÁk for one year. In 1892 he went to Colorado Springs for his health. Having established a successful College of Music there, he has remained as its director and as a lecturer on musical topics.

At the age of nineteen he wrote his "Theme and Variations" for orchestra. They were performed under Mr. Seidl's leadership in 1895 with much success. Their harmonies are singularly clear and sweet, of the good old school. At the age of twenty Goldmark wrote a trio for piano, violin, and 'cello. After the first performance of this work at one of the conservatory concerts, Doctor DvÔrÁk exclaimed, "There are now two Goldmarks." The work has also had performance at the concerts of the Kaltenborn Quartette, and has been published. It begins with a tentative questioning, from which a serious allegro is led forth. It is lyrical and sane, though not particularly modern, and certainly not revolutionary in spirit. The second movement, a romanza, shows more contrapuntal resource, and is full of a deep yearning and appeal,—an extremely beautiful movement. The scherzo evinces a taking jocosity with a serious interval. The piano part is especially humorous. The finale begins with a touch of Ethiopianism that is perhaps unconscious. The whole movement is very original and quaint.

Goldmark's music shows a steady development from a conservative simplicity to a modern elaborateness, a development thoroughly to be commended if it does not lead into obscurity. This danger seems to threaten Goldmark's career, judging from his cantata for chorus and orchestra, the "Pilgrimage to Kevlaar," which, while highly interesting in places, and distinctly resourceful, is too abstruse and gloomy to stand much chance of public understanding.

Many of the works that I have had the privilege of examining in MS. have since been published; there is much originality, much attainment, and more promise in a number of his songs. His setting of Marlowe's "Come Live with Me," in spite of a few eccentricities, shows, on the whole, a great fluency of melody over an elaborately beautiful accompaniment. His solemn and mysterious "Forest Song" could deserve the advertisement of being "drawn from the wood." "Die erste Liebe" shows a contemplative originality in harmony, and ends with a curious dissonance and resolution. "O'er the Woods' Brow" is very strange and interesting, though somewhat abstruse. Less so is a song, "An den Abendsstern;" it has a comparison-forcing name, but is a delightful song. "Es muss ein Wunderbares sein" is notable for novel effects in harmonies of crystal with light dissonances to edge the facets. A sonata for piano and violin and a romanza for 'cello have been published, and his "Hiawatha" overture has been played by the Boston Symphony Orchestra. On this occasion the always quoteworthy mezzotintist, James Huneker, wrote:

"The nephew of a very remarkable composer,—for Carl Goldmark outranks to-day all the Griegs, Massenets, Mascagnis, Saint-SaËns, and DvÔrÁks you can gather,—he needs must fear the presence in his scores of the avuncular apparition. His 'Hiawatha' overture was played by Mr. Gericke and the Boston Symphony Orchestra Wednesday of last week. At the first cantilena on the strings I nearly jumped out of my seat. It was bewilderingly luscious and Goldmarkian,—a young Goldmark come to judgment. The family gifts are color and rhythm. This youth has them, and he also has brains. Original invention is yet to come, but I have hopes. The overture, which is not Indian, is full of good things, withal too lengthy in the free fantasia. There is life, and while there's life there's rhythm, and a nice variety there is. The allegro has one stout tune, and the rush and dynamic glow lasts. He lasts, does Rubin Goldmark, and I could have heard the piece through twice. The young American composer has not been idle lately."