Xaver Scharwenka strikes a similar note. Something of Chopin at his best still lives in him; and his Concertos, above all, have given him a name as a composer. His brother Philip renounces the virtuoso, and appears rather as a teacher and former of taste. He has created a rich piano-literature, which prefers to deal in graceful and _galant_ forms, and holds itself utterly aloof from storm and revolution. Scharwenka has the rare merit of having successfully cultivated four-handed piano music; and his “Herbstbilder” and “Abendmusik” belong to the most tasteful productions of this class. Among his multiform “Jugendstücke” the “Kinderspiele,” in several volumes, are the most successful. A similar activity has been shown by Wilhelm Kienzl, who has been able to work the light romantic _genre_ in all its aspects. Kienzl is one of our most fertile piano-composers. His pieces are all occasional, thought out for delicate orchestral effects, and thus are extremely unassuming. His “Boat-Scene” gained the special approval of Liszt, while his Dance Airs and Dance Pictures belong to the most popular class of piano-works. His illustrated cycle “Child-love and Life,” which appeared with text in four languages, seeks to apply to the piano the method of intuitive instruction. The cycle “From my Diary” is the best example of the specially subtle and suggestive touch, by which Kienzl attains his detailed orchestral effects; while the two volumes, “A Poet’s Journey,” are to be regarded as his ripest work. [Illustration] Moritz Moszkowski, who has not yet laid aside his career as a virtuoso, and only the other day appeared with a new piano-concerto, is among the most remarkable in the band of modern piano-poets. A delicate and polished virtuosity, as it appears in the Etincelles and the Tarantelle, is allied with a characteristic force in form, which has made his four-handed Spanish dances, and his “From Foreign Parts,” so popular.