But—what is even more inexcusable—Max Reger, one of the most famous German composers of the day, has no biography. Nor has Eugen d’Albert, renowned for both his chamber music and operas. (D’Albert repudiated his English antecedents and settled in Germany.) Kreisler also is omitted, although Kubelik, five years Kreisler’s junior, draws a biography. In view of the obvious contempt which the _Encyclopædia Britannica_ has for America, it may be noted in this connection that Kreisler’s first great success was achieved in America, whereas Kubelik made his success in London before coming to this country. Among the German and Austrian composers who are without biographical mention in the _Britannica_, are several of the most significant musical creators of modern times—men who are world figures and whose music is known on every concert stage in the civilized world. On what possible grounds are Mahler, Reger and Eugen d’Albert denied biographies in an encyclopædia which dares advertise itself as a “complete library of knowledge” and as an “international dictionary of biography”? And how is it possible for one to get any adequate idea of the wealth or importance of modern German music from so biased and incomplete a source? Would the Encyclopædia’s editors dare state that such a subject would not appeal to “intelligent” persons? And how will the Encyclopædia’s editors explain away the omission of Hanslick, the most influential musical critic that ever lived, when liberal biographies are given to several English critics? Despite the incomplete and unjust treatment accorded German and Austrian music in the _Encyclopædia Britannica_, modern French music receives scarcely better consideration. Chopin is given space only equal to that of Purcell. Berlioz and Gounod, who are allotted longer biographies than any other modern French composers, receive, nevertheless, considerably less space than Sir Arthur Sullivan. Saint-Saëns and Debussy receive less than half the space given to Sullivan, while Auber and César Franck are given only about equal space with Samuel Arnold, Balfe, Sterndale Bennett, and Charles Stanford! Massenet has less space than William Thomas Best or Joseph Barnby, and three-fourths of it is taken up with a list of his works. The remainder of the biographies are proportionately brief. There is not one of them of such length that you cannot find several longer biographies of much less important English composers.