This choral virtuosity is not a recent growth, for it attracted Händel in the eighteenth century. It was also recognized by Mendelssohn. This love for song has been materially fostered by the Established Church, whose elaborate services have furnished composers with both incitement and outlet. Most of England's choral works are dignified and smooth, but they lack intensity. There is an element in English (and American) musical life the evil influence of which cannot be easily over-estimated: it is the popular ballad. In them the best lyric texts in any language are associated with musical conceptions which are usually so devoid of artistic qualities and significance, that no one at all musical would endure them were it not for the halo cast about their imbecility by the poet's art, which they profane. The Scandinavian countries, and Russia, Poland, and Hungary, each with its distinctive folk-song treasury and romantic traditions, have, during this century, awakened to great musical activity, and each of them has produced one or more composers who have made an impression on art evolution. The first named have given us Svendsen, Grieg, and Hamerik, not to mention the artistic but less stalwart Gade, with their weird and at times grotesque rhythms, melodic contour, and harmonies. The sensation produced by these Scandinavian song characteristics when first brought to the notice of the outside world, impelled these talented men to incorporate them into their art. This was a mistake, for great music is as broad as the universe, whereas the vein of national song is narrow and only limitedly fruitful. Had Svendsen escaped infection from this northern piquancy, he might possibly have fitted himself to wear high-priestly robes, for his endowments were of the highest, and his début as a composer was startlingly brilliant. Russia's musical type is less pronounced than the Scandinavian. Her producers have therefore developed on cosmopolitan lines. Tschaikowski, who was beyond compare the most gifted composer that Russia has given to the world, may with the passage of time be recognized as the natural heir of our priestly line. His emotional power, clean-cut individuality (originality), fine sense of rhythmic values and color combinations, and his inexhaustible lyric invention place him at the head of symphonists of his time. An event which reflected honor on the empire of the Czar was the birth within her borders of that giant of all pianists, Anton Rubinstein. I speak of him as a pianist rather than as a composer, for while he often showed the possession of uncommon creative faculties, he was too diffuse, seldom focussed his tonal diction to such coherent strength as would make his writings comparable with his playing.