Glazounoff, Taneieff, and Glière represent the cosmopolitan element among Russian composers of to-day. Of these Glazounoff is the most notable. His early symphonic poem, _Stenka Razine_, gave promise of an original and brilliant career, but instead he has become steadily more reactionary. Among his eight symphonies there is scarcely one that is preëminent from beginning to end. His ballets, _Raymonda_, 'The Seasons,' and 'Love's Ruses,' have been surpassed by younger men. His violin concerto is among his most able works. A master of technique and structure and a remarkably erudite figure, his lack of progressiveness has been against him. A younger composer, Tcherepnine, is known for his skillful ballets, 'Narcissus,' 'Pan and Echo,' and 'The Pavilion of Armida,' which incline, nevertheless, towards the conventional. Rachmaninoff is also of reactionary tendencies, although his piano concertos and his fine symphonic poem, 'The Isle of the Dead,' have shown his distinction. The rise of the modern French school, largely owing to a patriotic reaction after the Franco-Prussian war and the liberal policies of the National Society, has brought about one of the most fertile movements in modern music. The transition from the operas of Gounod, Thomas, Bizet, and the early Massenet to those of Chabrier, Lalo, d'Indy, Bruneau, Charpentier, Debussy, Dukas, Ravel, and Fauré is remarkable for its concentrated progress in dramatic truthfulness. Similarly, beginning with the eclectic and facile Saint-Saëns, the more romantic and fearless Lalo, and the mystic Franck, through the audacious Chabrier and the suave and poetic Fauré, including the serious and devoted followers of Franck, d'Indy, Duparc, de Castillon, Chausson, and Lekeu, the versatile Dukas, to the epoch-making Debussy with the younger men like Ravel, Schmitt and Roussel, French instrumental music has developed, on the one hand, a fervently classic spirit despite its modernism and, on the other, an impressionistic exoticism which is without parallel in modern music. Aside from a vitally new harmonic idiom, which in Debussy reaches its greatest originality despite d'Indy, Fauré, and the later developments of Ravel, the attainment of racially distinct dramatic style in such works as Debussy's _Pelléas et Mélisande_, Dukas' _Ariane et Barbe-bleue_, Ravel's _L'Heure espagnole_, and Fauré's _Pénélope_ is one of the crowning achievements of this group. Furthermore, following the examples of the younger Russians, the ballets of _Jeux_ and _Khamma_ by Debussy, _La Péri_ by Dukas, _La Tragédie de Salomé_ by Florent Schmitt, _Le Festin de l'Arraignée_ by Roussel, _Orphée_ by Roger-Ducasse, and, most significant of all, _Daphnis et Chloé_ by Maurice Ravel, have given a remarkable impetus to a genuine choreographic revival.