The two influences were without doubt from César Franck and Bizet whose sincerity not only influenced musicians but rather quickly gained the public. The third influence was of course, Wagner, who, though he infuriated many, gained followers for his theories everywhere that his music was heard. In France, Reyer and Chabrier were both Wagner enthusiasts and did much to bring him finally into the Paris Opera House a little before the 20th century (adapted from _The Art of Music_). Out of these influences came a fine group of gifted composers,—d’Indy, Dukas, Charpentier and others. Ernest Reyer (1823–1909), who was an ardent follower of Wagner, had a hard time because of the new harmonies he used. His last opera _Salammbo_ is better known to us than the others, and his works are still played in Paris at the Grand Opera. A man famous as composer of the tone poem, _España_, Emmanuel Chabrier (1841–1894) must come in here, for at the time of his death he was writing a most interesting opera, _Briseis_, which was finished by his pupils. The day before he died Robert Louis Stevenson stopped in the middle of a sentence, in his novel _The Weir of Hermiston_, one of his best. The first woman to receive the _Prix de Rome_ in France, Lili Boulanger (1892–1918) did much of her composing in bed during her last illness; her devoted sister Nadia, a prominent musician in Paris, and had received the second _Prix de Rome_, finished the deathbed works. And did we not see Mozart finishing his _Requiem_ on the last day of his life? Illness and impending death seem not to matter to men and women who have genius. This group was striking out for something new, and was influenced by Wagner’s theories, Franck’s return to the old classic style, the Russian school, the re-action against Wagner and the renewed interest in orchestral concerts in Paris (adapted from C. G. Hamilton). SAINT-SAËNS—THE CHILD PRODIGY AND OCTOGENARIAN Camille Saint-Saëns (1835–1921) wrote in all styles from classic to the newest of program music. He is another who gave concerts before he was twelve years old; he studied at the Conservatory, lived in Paris as a composer, organist and pianist, was a learned man and a very good musical critic. Later in life he lived in Algiers, which accounts for the oriental touch in his music. He journeyed over much of the world and we heard him in Carnegie Hall, on his last trip to this country in 1915, on his way to the San Francisco exposition where he played the organ and conducted his opera _Samson and Delilah_. He played some of his most technically difficult pieces when he was in his eighties. He wrote some symphonies, some descriptive symphonic poems, _Le Rouet D’Omphale_, _Phæton_, _Dance Macabre_ (very weird and rhythmic) and others. Out of five, his G minor is the most brilliant piano concerto.