Tschaikowsky was a Russian composer and produced six symphonies, all of which depart from the strict classic form, make free use of Russian style in their melodies, and are intensely romantic in spirit. His fifth symphony introduces a slow waltz instead of a scherzo. His sixth, the "Symphony Pathetique," is one of the noblest of modern symphonies. Its second movement is a waltz in five-fourth measure (five beats to the bar), its third a scherzo which turns into a march, and its last is the slow movement. In the first movement a partial working out of each theme follows immediately upon the first appearance of the theme. Dvorak is a Bohemian, and most of his works are Slavonic in color. He has introduced as a slow movement the "Dumka," or elegy, and in place of the scherzo the "furiant," which is explained by its name. During a stay in the United States he conceived the idea that an American element could be introduced into music by using themes resembling those of negro songs and Indian chants. His chief exemplification of his theory is found in his symphony in E minor, "From the New World." Dvorak's symphonies adhere closely to the principles of the sonata form, and are very popular in style without descending from the level of artistic music. The music of Johannes Brahms has given rise to a great deal of controversy. Most recent writers have shown a tendency to break away from the strict letter of the sonata form, and too many commentators have come to mistake manner for matter. In calling those writers classic who have adhered to the classic sonata they have too often denied to them the possession of romantic feeling. At the same time some commentators have seemed to think that it was a work of virtue to preserve the sonata form precisely as it was left to us by the hand of Beethoven, while others held that any man who adhered to it was a mere formalist. It was criticism of this kind which obscured the merits of the late Johannes Brahms in his early days. It was not difficult for the commentators to perceive that Brahms employed the sonata form, and that he preserved the outlines laid down by Beethoven. For that they praised him, as if it were a _sine qua non_ of absolute music that it should be in the sonata form. It is generally conceded that that form is the most intellectual, the most highly organized, which has yet been devised; but it is not and ought not to be conceded that a man is bound to adhere to that form. If he can produce another which presents an equally convincing process of musical development and conclusion, he deserves laudation as one who is not a mere student of forms, but is a master of the philosophy of form.