Sgambati has published but little, probably partly on account of the severe self-criticism that is evident in his work, the result of which is seen in the qualities above mentioned. But this is not by any means to imply that his music is lacking in freshness or force; on the contrary, his best work has, which is not too common, a distinction of its own, and there is great vigor and strength in the pianoforte concerto and the symphony, his two works written in the largest form. As every musician, however, in thinking of Dvořák, Brahms, Tschaïkowsky, St. Saëns, etc., has always unconsciously in his mind certain characteristics that he associates with their music, without which it would not be theirs, so in Sgambati are we attracted by his great polish and refinement, as well as by a certain personal charm of manner that is always present (perhaps that is the Italian side of him). Of vocal music, there have been published three sets of songs (Op. 1, 2, 19) and a cantata for one voice with orchestral accompaniment; of chamber music, there are two quintets for piano and strings (Op. 4 and 5) and a quartet for strings in the unusual key of D-flat major. Of these last, the first quintet, in F minor, is generally considered the most striking, but although it and its companion and the string quartet have made their way, it is by his pianoforte works that he is best known. They are: a Notturno (Op. 3); a strong and characteristic Prelude and Fugue (Op. 6); two Etudes (Op. 10); the "Fogli volanti" (Op. 12), several of which are peculiarly charming; the well-known and truly original Gavotte (Op. 14); four pieces; "Preludio," "Vecchio Minuetto," "Nenia," "Toccata" (Op. 18); "Three Nocturnes" (Op. 20); Suite (Op. 21); "Pièces Lyriques" (Op. 23), and the Concerto in G minor (Op. 15). [Illustration: Fac-simile autograph and musical manuscript written by Sgambati.]