In "Le Roi Malgré Lui," played at the Opéra Comique in 1887, Chabrier has attempted a different style. This pleasing work is especially striking through the ingenuity of the orchestral treatment, which often redeems the occasional _banalité_ of its themes. It is altogether a delightful example of a modernised form of "opéra comique," and had reached its third representation when the luckless "Opéra Comique" Theatre was burnt to the ground. The orchestral rhapsody "España," constructed upon Spanish melodies, brimful of _entrain_ and scored with a wonderful lightness of touch, has largely contributed to popularise the name of Chabrier in the concert room. There is both fancy and originality in the "Pièces Pittoresques" for piano, published by Messrs. Enoch in the Litolff edition. Chabrier is said to be at work upon an opera entitled "Briseis." I must not pass over in silence composers such as Arthur Coquard, Mdlle. Augusta Holmès, a lady of extraordinary talent, some say genius, Vidal, Chapuis, Hue, Camille Benoit, Marty, Henri Duparc, and Gustave Charpentier, one of the youngest and not the least gifted. With these few lines concerning some of the most remarkable amongst living French composers, I must take leave of my readers. That France will yet produce works destined to keep up and further enhance her prestige there can be no doubt. The essentially dramatic temperament of her composers will continue to assert itself, and it is highly unlikely that they will allow themselves to fall into the exaggerations of any particular system. If during the first half of the century the influence of Rossini has been predominant, that of Wagner has been at least equally so during the latter portion. In either case, French composers have taken as much from each master as would amalgamate with their individuality without abrogating that national element which is so recognisable in their productions. Truth of expression and dramatic characterisation are now universally sought for by operatic composers. Whether these are attained through the employment of one method or another matters but little. A composer is no more bound to construct an opera upon a number of representative themes than he is to reject all set forms. If his inspiration prompts him to compose in one particular style, by all means let him do so, provided he be sincere, and that his music bears the stamp of conviction. Musicians are apt to be too exclusive in their tastes. It should be possible to entertain preferences without necessarily condemning everything that does not come within the radius of one's ideas. The French school has, during this century, left its mark in an undeniable manner upon operatic history, and the versatility of its composers has over and over again been proved.