There has been no nationalistic development in England comparable to that in other countries, although there has been no lack of serious and sustained effort to be both modern and individual. The most important of British composers is undoubtedly Elgar, who has attained something like independence with his brilliant and well-made orchestral works, and more especially for his oratorio 'The Dream of Gerontius.' If Elgar only carried on further a systematized use of the leading motive as suggested by Liszt in his oratorios, it was done with a dramatic resource and eloquence which made the method his own. Bantock, gifted with an orchestral perception above the average, showing a natural aptitude for exoticism, achieved a successful fusion of eclectic elements with individuality in his three-part setting of the Rubaîyat of Omar Khayyám. Other choral works and orchestral pieces have met with a more uncertain reception. William Wallace has been conspicuous for his imaginative symphonic poems, and the insight of his essays on music. Frederick Delius, partly German, has maintained a personal and somewhat detached individuality in orchestral, choral and dramatic works of distinctive value. Josef Holbrooke has been mentioned already for his unusual mastery of orchestral technique, and his courageous and ambitious attempts in opera. Many younger composers are striving to be personal and independent, though involuntarily affected by one or another of existent currents in modern music. Of these Cyril Scott attempts a praiseworthy modernistic and impressionistic sentiment, in which he leans heavily on Debussy's harmonic innovations. Thus, while English composers have been active, they have fallen to the ready temptations of eclecticism, a growing force in music of to-day, and in consequence their art has not the same measure of nationalistic import as in Russia, France, and Germany. III