Far, far different must be the verdict on the Sonata in E, opus 63. Here, though one still finds a classical ideal of form, there are bold, clashing harmonies, and endless complexities of rhythm. The scoring is tremendous, the effect big as an orchestra. The sonata is in three movements, all of which represent the development of one central idea. The first movement, which is preceded by a long and fiery introduction, is made up of a series of variations on this central idea. A subsidiary idea, which, as in the ‘Symphonic Variations’ of Franck, was suggested in the introduction, is woven into the music here and there. The complicated second movement, in 5/4 time, constantly suggests the subsidiary motives of the first; and in the last, which shows the broad plan of the classical sonata form, the theme of the first movement finds a full and glorious expression. Technically the sonata is extremely difficult. Some of the variations of the first movement, with their trills, recall the pianoforte style of the last Beethoven sonatas, however. The interlocking of the hands in the second movement is in a measure new in effect, though not new in principle. The scoring of the last movement is not free of commonplaces. On the whole, the sonata may be considered modern in harmonies, melodies, and rhythms, though a more or less classical harmonic foundation may be detected. The form is obviously a further development of the principles so clearly exemplified in the works of César Franck, which were drawn from Bach and Beethoven. It does not seem unfair to say that the scoring is rather orchestral than distinctively pianistic; so that the sonata may be considered more significant as a contribution to music in general than as one to pianoforte music in particular. IV None of the French composers has written more for the pianoforte than Gabriel Fauré. In his music, too, there is a strong element of tradition, though as a harmonist he is perhaps more spontaneously original than d’Indy. He prefers to work in short forms, and he avoids titles of detailed significance. He has written eleven Barcarolles, ten or more Nocturnes, nearly as many Impromptus, a set of eight Preludes, published as opus 103, and a few pieces of nondescript character including dances and romances. The impression made by a glance over the pages of this considerable amount of music is one of great sameness. Fauré’s style is delicate and well adjusted to the keyboard but there is little to observe in it that is strikingly original. Nor do the pieces give proof of much development in technique or in means of expression. There is little trace of the exquisite impressionism of the songs. The pianoforte music is hardly more than pleasing, and is only rarely brilliant.