The simplicity of treatment and perfect clearness in the workmanship noticeable in his chamber music, form a distinct contrast to the complexities indulged in by that section of the modern German school represented by Brahms. The perfectly balanced nature of his mind, and his predilection for works of classic proportions, prevent Saint-Saëns from ever falling into any musical aberrations of intellect. At the same time, he rightly considers that new forms in music do not necessarily imply formlessness, as some people appear to imagine, and in his larger orchestral compositions he has ever displayed a tendency to avoid recognised models. His four symphonic poems illustrate the dual nature of his talent as much as any of his productions. If in these we miss the powerful grandeur of Liszt, we find in its stead a clearer and more compact method of expression. These four works constitute one of the most abiding titles to the composer's fame. They also offer an opportunity of discussing a question over which there has been much controversy--viz., the position occupied by so-called "programme music" in contradistinction to "absolute music." The partisans of musical reaction, who are ever doing their utmost to stifle any attempt at emancipation from routine, and place every obstacle in the way of true progress, have often directed their sneers against this particular form of art. It is difficult to understand the reason that actuates them when they try all they can to shut the doors upon the efforts of musicians whose only desire is to serve the cause of true art to the best of their ability. These dogmatic pedants would lead one to believe that "programme music" is the product of our degenerate age, invented by musicians barren of inspiration, eagerly clutching at anything enabling them to earn even a fictitious reputation. In reality, "programme music," in some form or other, has existed for many generations. Kühnau, the precursor of Bach, has left a sonata intended to describe the fight between David and Goliath. Bach himself has not disdained the "form" in question. His capriccio on the departure of a friend, with its differently labelled parts, comes distinctly under the above denomination. It is as well though, in dealing with this subject, to draw a distinction between purely imitative and descriptive music. Whereas the former exemplifies a puerile, and necessarily inferior, form of art, the latter is susceptible of serving the noblest ends. It stands to reason that a musical imitation of physical sounds must necessarily fall short of the reality.