Tschaikowsky receives less than two columns, a little over half the space given to Sullivan. The criticism of his work is brief and inadequate, and in it there is no mention of his liberal use of folk-songs which form the basis of so many of his important compositions, such as the second movement of his Fourth and the first movement of his First Symphonies. Borodin, another of the important musical leaders of modern Russia, has a biography which is no longer than that of Frederic Clay, the English light-opera writer and whist expert; and which is considerably shorter than the biography of Alfred Cellier. Balakirev, the leader of the “New Russian” school, has even a shorter biography, shorter in fact than the biography of Henry Hugo Pierson, the weak English oratorio writer. The biography of Moussorgsky—a composer whose importance needs no indication here—is only fifteen lines in length, shorter even than William Hawes’s, Henry Lazarus’s, George Elvey’s, or Henry Smart’s! And yet Moussorgsky was “one of the finest creative composers in the ranks of the modern Russian school.” Rimsky-Korsakov, another of the famous modern Russians, whose work has long been familiar both in England and America, draws less space than Michael Costa, the English conductor of Spanish origin, or than Joseph Barnby, the English composer-conductor of _Sweet and Low_ fame. Glazunov is given a biography only equal in length to that of John Goss, the unimportant English writer of church music. And although the biography tells us that he became Professor of the St. Petersburg Conservatory in 1900, it fails to mention that he was made Director in 1908—a bit of inexcusable carelessness which, though of no great importance, reveals the slip-shod incompleteness of the _Britannica’s_ Eleventh Edition. Furthermore, many important works of Glazunov are not noted at all. Here ends the _Encyclopædia’s_ record of modern Russian composers! César Cui, one of the very important modern Russians, has no biography whatever in this great English cultural work, although we find liberal accounts of such British composers as Turle, Walmisley, Potter, Richards (whose one bid to fame is having written _God Bless the Prince of Wales_) and George Alexander Lee, the song-writer whose great popular success was _Come Where the Aspens Quiver_. Nor will you find any biographical information of Arensky, another of the leading Russian composers of the new school; nor of Taneiev or Grechaninov—both of whom have acquired national and international fame. Even Scriabine, a significant Russian composer who has exploited new theories of scales and harmonies of far-reaching influence, is not considered of sufficient importance to be given a place (along with insignificant Englishmen like Lacy and Smart) in the _Encyclopædia Britannica_.