Alexander Glazounoff (b. 1865) has more fire than Arensky, but in spite of his pronounced loyalty to Russian ideals in music, the influences of Schumann and Chopin are evident in his pianoforte style. Apart from several short pieces, he has written a Theme and Variations, opus 72, and two sonatas, one in B-flat, opus 74, and one in E, opus 75, both of which are more distinguished by fluent writing than by characteristically Russian ideas. The Prelude and Fugue, opus 62, is the most unusual and the most profound of his works for pianoforte. The pianoforte works of Serge Rachmaninoff are essentially Russian, in many ways a fulfillment of the promise given by Balakireff’s. The style is brilliant and always effective. Melodies, harmonies are unusual, and his rhythms are bold and full of at times a savage life. He may be said to have won attention as a composer for the pianoforte by the Prelude in C-sharp minor; of which it must be said that endlessly as it has been played it still remains a piece of profound meaning and effect. He has published at least twenty-three preludes, of which this still remains the best-known, with the possible exception of that in G minor. Here again there is a spirit not common to Western Europe; one hears it in the steady powerful rhythm, the outbursts of sound, the strange intensity of the melody of the middle section. The two sonatas, opus 28 in D minor, and opus 36 in B-flat minor, seem on the whole less powerful and vigorous than the three concertos, of which the third, opus 30, in D minor, is truly a gorgeous work. There are, besides these big works and the preludes, some études, opus 33, some variations on a theme of Chopin, opus 22, and a few salon pieces, mostly in brilliant style. Anatole Liadoff (b. 1855) and Nicholas de Stcherbatcheff (b. 1853) also draw generously upon their native music. The former is more of a painter in music, fond of color; the latter is fond of short forms and is master of a dainty style. More intensely national than these, though, strictly speaking, not Russian, is the Lett Joseph Wihtol (b. 1863). He has interested himself deeply in the folk-songs of his own province, which are more like Swedish than Russian folk-songs; and his most considerable work is a set of variations, opus 6, on a Lettish theme. Niemann[40] likens them to the Ballade of Grieg. Finally, among the most interesting of all the Russian composers, although in some respects the least Russian among them, is to be reckoned the late Alexander Scriabin. His works for the pianoforte comprise a great many sets of short pieces, some études, a concerto, and ten sonatas. On the whole they give a very distinct impression that Scriabin is not a creative genius of the highest order; and he has given over the fresh, albeit humble, life of the music of his native land only at first to imitate Chopin, Schumann, and Brahms; and later to devise a sort of music which is unusual without wholly justifying itself.