of classicality. César Franck's symphony in D minor embodies most of his best qualities, together with much structural originality. Lalo's more fragile work in G minor displays a workmanship and individuality which entitles it to record. Chausson's Symphony in B-flat, despite its kinship with Franck, possesses a significance quite beyond its actual recognition. D'Indy, after composing an excellent cyclic work upon a French folk-song, produced his instrumental masterpiece with a second in B-flat, which for logical structure and fusion of classic elements with modernistic sentiment deserves to be classed as one of the finest of its time. If Russian symphony composers have not as a whole reached as high a mark as in the freer and more imaginative forms, nevertheless Rimsky-Korsakoff, Borodine, Balakireff, Glazounoff, Rachmaninoff, and Taneieff have displayed sympathy with classic ideals, and have achieved excellent if not surpassing results within these limits. The symphonies of Parry, Cowen and others in England have enlarged little upon the conventional scope. Elgar raised high hopes with his first symphony in A-flat, but speedily dismissed them with his second in E-flat. Sibelius, in Finland, having given proof of his uncommon creative force and delineative imagination in his tone-poems, has also exhibited unusual originality and vitality in his four symphonies. The last of these virtually departs from a genuine symphonic form, but its novelty alike in ideas and treatment suggests that he, too, demands greater elasticity of resource. For the problem of combining the native style and technical requirements of the symphony with modern sentiment is one of increasing difficulty. The field of piano music, chamber works, songs and choral works is of too wide a range for detailed indication of achievement. The piano music of Balakireff, Liapounoff, Rachmaninoff, Scriabine, of Grieg, of Franck, Debussy, Dukas, and Ravel, of Cyril Scott and others merits a high place. The chamber music of Smetana, Dvořák, Grieg (despite its shortcomings), Franck, d'Indy, Fauré, Ravel, of Wolf, Strauss and Reger deserves an equal record. The songs of Wolf and Strauss, of Duparc, Fauré and Debussy, of Moussorgsky, of Sibelius; the choral works of Franck, d'Indy, Pierné, Schmitt, of Delius, Bantock, Elgar and other Englishmen are conspicuous for technical and expressive mastery. II