The awakening of musical art has been remarkable in all parts of the civilized world, and in many countries not previously distinguished in music composers have arisen who have embodied the rhythms and spirit of the national songs in their works, composed dramatic works upon national subjects, and so have created a national school of music. In some cases the works of these men have proven of world-wide acceptance; in others they have set in operation musical life in their own country, and have been followed quickly by younger composers working in a more cosmopolitan vein, who have created works which have been taken into the current of the world's music and bid fair to hold an honorable position in the pantheon. [Illustration: MICHAIL IVANOVITCH GLINKA.] One of the most brilliant cases of this kind is Russia, that country so vast, so powerful, so mysterious. The first composer in Russia to distinguish himself and to create a national opera was Michail Ivanovitch Glinka (1803-1877), born near Selna. His first schooling was at the Adelsinstitute in St. Petersburg, where he distinguished himself in languages. But presently, under the teaching of Bohme upon the violin and Carl Mayer in pianoforte and theory, he showed the musical stuff which was in him. Leaving Russia for his health, he resided four years in Italy, constantly studying and incessantly composing. On his way back to Russia he placed himself for a time under the teaching of the distinguished S. Dehn in Berlin, in theory. Dehn recognized his originality and encouraged him to write "Russian" music. His first opera, "A Life for the Czar" (December 9, 1836), was a great triumph. The subject was national, the contrast between Polish and Russian subjects in the music was brilliant, and actual or simulated folk songs gave a local coloring highly grateful to the Russian audience. The work received innumerable repetitions and still remains one of the most popular operatic works upon the Russian stage. His next work, "Ruslan and Ludmilla," was also successful, and Liszt, who happened to be in Russia at the moment of its production, accorded the young composer distinguished praise. Berlioz took up the pen in honor of Glinka and of his new Russian school of music, and so the composer's powers were widely celebrated. During the remainder of his life Glinka made long residences in the south, especially in Spain, and several orchestral works, with Spanish coloring, represent this portion of his creative career. His last years were spent in rural life near St. Petersburgh, busy with new opera projects, and especially seeking some rational manner of harmonizing the Russian popular songs. Riemann calls Glinka "the Berlioz of Russia," in the originality of his invention and his clever technique; and something more, namely, that he created a national school of music for his country. The list of his works is very long, embracing compositions in almost every province.