These pianoforte pieces do not cover a great number of pages, but in them we often feel something that is none too common, and that it is to be highly prized: we find a personality. It is easy now-a-days to be personal by being vulgar and obtrusive, but it is not so usual to find that quality combined with the reticence and knowledge that mark the finest work, and it is perhaps Sgambati's best trait that we do find that in his music. Most of the pieces are under the disadvantage of being less easy to play than they sound, and the opposite feature is so much liked by players that it is surprising that they have obtained popularity. The Gavotte is not run in the common mould, which has been so much employed for the turning out of numberless pieces of the old dance forms, but is piquant and interesting, and with its appropriate drone-like Musette, is as well-known as any; the "Fogli Volanti" has made many admirers for its author, while the "Vecchio Minuetto" and the "Toccata" from Op. 18, and the first of the Nocturnes (Op. 20) in especial are much played. The first study of Op. 10, in F-sharp minor, has especial interest to pianists in that a clever application is made in it of the system of pedal notation proposed by Hans Schmitt; in this desire to set down exactly what he wishes to express at the pianoforte, Sgambati exhibits a certain likeness to Sterndale Bennett, and indeed the two are somewhat akin in their musical way of thought. The pianoforte concerto is written in a large style, especially the first movement, and has several portions that are striking and unusual; it is grateful for the player, and sure of success. The fact that three trombones are in the score would lead one to fear a certain over-doing of effect, but the brass is so judiciously used as to justify its presence; and in the symphony also the orchestration is skilful and well contrasted, good effects being often obtained by the use of but few instruments. The symphony has had varying fortunes, being received with great warmth in Italy and in London, but having the opposite fate when performed in New York; it was produced at a concert in the Quirinal, March 28, 1881, the King and Queen of Italy being in the audience, and the King conferred upon the composer the order of the Crown of Italy upon that occasion.