The entire modern French school is strongly tinged with Wagnerism, but the essentially Teutonic nature of Brahms would seem to render his style absolutely uncongenial to a French mind. According to Mons. Hugues Imbert, the impression caused upon Vincent d'Indy by the perusal of Brahms' "Requiem," in 1873, was such that he forthwith started for Germany in order to become acquainted with the master. He first sought him in Vienna, then at Munich, and finally came across him at the Starnberger See, in Bavaria. The result of the long-desired interview does not seem to have been so satisfactory as it might have been, the German composer receiving the young enthusiast with a certain amount of reserve. The first work by Vincent d'Indy which was given in Paris was the overture to the "Piccolomini," which forms the second part of Schiller's trilogy of "Wallenstein." This took place in 1875. It was not until five years later that he terminated his symphony bearing the title of "Wallenstein," a composition conceived upon a large scale, displaying a marked capacity in the handling of the orchestra, and revealing symphonic aptitudes of a high order. Perhaps the most remarkable work that Vincent d'Indy has as yet produced is his dramatic legend "Le Chant de la Cloche," op. 18, the words of which are adapted from Schiller's well-known poem. This composition was awarded the prize offered by the city of Paris in 1886. The predominating influence in this work is that of Wagner. Perhaps somewhat unduly complicated in the matter of detail, the score is remarkable as an example of consummate workmanship and as an evidence of the lofty aspirations and elevated ideas held by its author. I must not omit to mention the Symphony in G for piano and orchestra, op. 25, which has the merit of decided originality in the matter of structure. It is divided into three parts, and is mainly constructed upon a French popular melody, which is subjected to a variety of transformations. So far, his only contribution to the stage consists in a one-act opera, entitled "Attendez moi sous l'Orme," played some ten or twelve years since at the Opéra Comique. Vincent d'Indy is essentially a symphonist, and the same may be said of Gabriel Fauré, whose talent and originality English audiences have occasionally had an opportunity of appreciating. The _habitués_ of the Monday Popular Concerts will not have forgotten a certain quartet played at these exclusive gatherings a year or two ago, and amateurs may recollect the brilliant violin sonata which Saint-Saëns introduced on the occasion of one of his last visits amongst us. Every violinist plays, or ought to play, his delicious "Berceuse." Fauré, who was born in 1845, has written works of high musical value, such as the quartet above mentioned, the violin concerto, op. 14, and the symphony in D minor, op. 40. Many admirable songs and a large number of pianoforte works are also due to his pen.