'Bolero', an Irish 'Ditty' and a French 'Rigaudon', most of them designed as set pieces to show off the talents of the first performers. But Chadwick also composed complex musical numbers that advance the plot and demonstrate his command of the extended finale as employed by Sullivan..." The Americanism/Modernism period (1895–1909) Here Chadwick is asserting his own musical style more than previously, as in the concert overture Adonais. It includes multiple sections, muted strings, and harps to generate an ethereal quality, unconventional rhythms, and occasional chromaticism. The critic William Foster Apthorp stated,"It is the most modern in spirit of anything I know from his pen... He has outgrown the classic idea... The very character of the thematic material in Adonais is modern, in sharp contrast to the classic reserve shown in the Melpomene overture; the expression is more outspoken, more purely emotional and dramatic." Chadwick further delved into the symphonic genre with his Symphonic Sketches, Sinfonietta, and Suite Symphonique. All have the conventional four-movement pattern, but he created a gossamer atmosphere with humorous themes, programmaticism, modality (pentatonic melodies), and Impressionism. The orchestration contains unexpected elements such as bass clarinet cadenzas, saxophone solos, extended brass solos, and large percussion batteries. His Fourth String Quartet, composed around the same time as Antonín Dvořák's String Quartet in F (op. 96, "American"), displays a more American folk style than his Fifth String Quartet, with catchy tunes and pentatonic third-movement fiddle melodies. Chadwick composed more stage works, notably Judith, based on the tale from the Apocrypha. The piece is melodic and exotic, much like Camille Saint-Saëns's Samson et Delilah. In his Ecce jam noctis for chorus and orchestra composed for Yale University's 1897 commencement ceremony, Chadwick weaved in rhythmic twists like triple-meter strings against the static and homophonical chorus. Lochinvar is another distinctive choral piece with a Celtic flavor, featuring a baritone voice with a violin solo just before the "Introduction of Strathspey" section. The dramatic period (1910–1918) During this period, Chadwick shifted from overtures and symphonies to a more dramatic and programmatic style. At this point, he was more interested in musical effects than in form and construction. His two representative works are the tone poems Aphrodite and Tam O'Shanter, both for large orchestra. The compositions are both highly episodic, programmatic and well-orchestrated. Aphrodite evokes a majestic image of the sea, and Tam O'Shanter (based on the tale by Robert Burns) is a work