In Russia more has been done. The Neo-Russians turn more naturally to symphonic and operatic composition than to the choral forms, and although quite a few of the great contemporaries are identified with choral compositions, collectively there has not been a great deal written, with the exception of music for the liturgic services of the Greek Catholic Church, to which Tschaikowsky, Bortniansky, and others have made notable contributions. This liturgic music does not call for consideration here, as it is discussed elsewhere. The folk-music of Russia, which plays such a prominent part as thematic material in the works of the Neo-Russian school, is chorally more identified with the operatic vocal ensemble, which is also outside the scope of the present chapter. The original choral compositions of contemporary Russia stand high, qualitatively. Moussorgsky is represented by his virile ‘Destruction of Sennacherib’ (1866) for chorus and orchestra, and a choral number from his opera, _Salâmmbo_, revised, polished and enlarged as a chorus for mixed voices and solo under the title of ‘Joshua,’ one of the few of the composer’s works which show a strong Oriental flavor. Nor has Rimsky-Korsakoff, the friend and editor of Moussorgsky, written much more. There is a cantata for tenor, bass, male chorus and orchestra, ‘The Doom of Olga’ (Newcastle-on-Tyne, 1909); another, _Switezianka_, for soprano, tenor, chorus and orchestra, a cantata entitled _Doubmouchka_ and a ‘Gloria’ for orchestra and chorus; as well as fifteen folk-songs arranged for mixed voices. Glazounoff, the symphonist, a pupil of Rimsky-Korsakoff, is the author, jointly with Liadow, of a cantata in memory of the celebrated Russian sculptor Antokolsky, for tenor solo, chorus and orchestra, written after his defection from the ranks of the national school; and Liadow himself has set forty-five folk-songs for female voices and composed a musical setting, for mixed voices and orchestra, of the last scene from Schiller’s ‘Bride of Messina.’