bad. I recall Geraldine "Farar." Hugo Wolf, in 1884, and for the following three years, acted as music critic for the Vienna Salonblatt. Ernest Newman says, "He wrote singularly well," but the excerpts and summaries that he offers us in evidence of this prowess are not very convincing. If Wolf's skill as a song writer is not as great as Mr. Newman would have us believe (he places him above Schubert) it may be said without fear of contradiction that as a writer of prose he is little read even by musicians.
Cyril Scott is a facile composer of pretty music, the importance of which it would be a mistake to overestimate. Scott has also published five volumes of poetry and a volume of translations from Stefan George and Baudelaire. The titles of his books are: The Shadows of Silence and the Songs of Yesterday, The Grave of Eros and the Book of Mournful Melodies with Dreams from the East, The Voice of the Ancient, The Vales of Unity, and The Celestial Aftermath, A Springtide of the Heart, and Far-Away Songs. A. Eaglefield Hull, in his somewhat emotional book on Cyril Scott, devotes an entire chapter to this poetry, as he explains that Scott at times believes himself to be greater as poet than as composer. We learn via Mr. Hull that in The Garden of Soul-Sympathy the composer rhapsodizes "in soul-knit 'gladness,' and harmoni-
