There are two peculiar phases of his musical individuality which are most remarkable: first, the fantastic, imaginative vein so happily brought to light in his scherzos, the most charming of which is the scherzo in the “Midsummer Night’s Dream”; second, the lyric element, which is not only characteristic of his “Songs without Words,” but of nearly all his slow movements. His most poetical and romantic works are his concert overtures to “Midsummer Night’s Dream,” “Fingal’s Cave,” “Calm Sea and Prosperous Voyage,” “Melusina” and “Ruy Blas.” These overtures are “program” music in the best sense of the term, and hold a unique place among the foremost. Mendelssohn’s genial and refined nature mirrored itself in his music. Nevertheless, with all the beauty, sweetness, classic form, and purity of his music, one thing is missed,—tragic depth and fire. He did not touch the deepest chords of the heart like Beethoven and Bach, perhaps because his existence was not clouded by adversity, or because he arrived without serious struggles at the complete development of his artistic powers. [Illustration: CONSERVATORY OF MUSIC IN LEIPSIC ] Schumann, on the contrary, for years was denied the artistic opportunities and companionships for which he longed. It was only in his maturity that he acquired the technical facility which had become second nature with Mendelssohn long before he was of age. In depth of sentiment and emotional power, Schumann was the worthy successor of Beethoven. Like Mendelssohn, he was an earnest student of Bach’s music, and we perceive the influence of the older master in such compositions as Schumann’s fugues on Bach’s name, the finales of his piano quartet and quintet, and the grand polyphonic opening of his C major Symphony. Like the old Leipsic cantor, Schumann was a subtle ponderer and deep thinker. As a harmonist he showed more freedom and boldness than Mendelssohn. In his orchestration he followed the footsteps of Mendelssohn, but does not show equal mastery. His piano works stand higher, and here he owed much to Chopin, whom he appreciated more keenly than did Mendelssohn, and followed his example in the use of extended chords, unusual figures of accompaniment, pedal effects, etc., as well as in poetical imagination, that rendered every little dance or melody a miniature poem in tones. In his four great symphonies, Schumann ranks next to Beethoven and Schubert. As a song composer he stands nearest to Schubert in spontaneity and poetic feeling. In spite of the gloomy melancholy that broods in some of his music, he, like Beethoven, was a true humorist. Schumann did not abandon the symphonic form, as perfected by Beethoven, but, like Schubert and others, stamped it with his own individuality; his poetical and romantic nature are revealed in all his creations. Among the gifted associates and disciples of Mendelssohn and Schumann were the following composers:—