Two pupils of Liszt stand out prominently--Carl Tausig (1841-1871) and Eugene D'Albert (1864- ----). The first was distinguished by his extraordinary sense for style, and was thought to surpass his master in absolute flawlessness of technique. To the second Oscar Bie attributes the crown of piano playing in our time. Peter Iljitch Tschaikowsky (1840-1893), the distinguished representative of the modern Russian school, was an original, dramatic and fertile composer and wrote for the piano some of his highly colored and very characteristic music. Edward Grieg (1843- ----), the national tone-poet of Norway, has given the piano some of his most delightful efforts, fresh with the breezes of the North. The veteran French composer, Charles Camille Saint-Saens (1835- ----), has won great renown as a pianist, and was one of the most precocious children on record, having begun the study of the piano when under three years of age. He was the teacher that knew how to develop the individuality of the young Russian, Leopold Godowsky, who has done such remarkable work on two continents, as a teacher and piano virtuoso. Perhaps the most famous piano teacher of recent times is Theodore Leschetitzky, of Vienna. His method is that of common sense, based on keen analytical faculties, and he never trains the hand apart from the musical sense. His most renowned pupil is Ignace Jan Paderewski, the magnetic Pole, whose exquisite touch and tone long made him the idol of the concert room, and who, with time, has gained in robustness, but also in recklessness of style. Another gifted pupil of the Viennese master is Fannie Bloomfield Zeisler, of Chicago, an artiste of rare temperament, musical feeling and nervous power, of whom Dr. Hanslick said that her virtuosity was stupendous, her delicacy in the finest florid work as marvelous as her fascinating energy in the forte passages. The great tidal wave set in motion by the piano has swept over the civilized world, carrying with it hosts of accomplished pianists. Of some of those who are familiar figures in our musical centres it has been said that Teresa Carreno learned from Rubinstein the art of piano necromancy; that Rosenthal is an amazing technician whose interpretations lack tenderness; that De Pachmann is on terms of intimacy with Chopin, and that Rafael Joseffy, the disciple of Tausig, combines all that is best in the others with striking methods of his own. Great is the piano, splendid its literature, many its earnest students, numerous its worthy exponents. That it is so often made a means of empty show is not the fault of the piano, it is due to a tendency of the day that calls for superficial glamor. Herbert Spencer was not so wrong as some of the critics seem to think when, in his last volume, he said that teachers of music and music performers were often corrupters of music. Those certainly are corrupters of music who use the piano solely for meaningless technical feats. VII