The Charpentier orchestra and neither Strauss-like nor Wagnerian. His "Louise" is constructed according to Wagner but creates an atmosphere rather emphasizing themes. It has musical originality, dramatic novelty and picturesque reproductions of life, style, and a blend of romanticism and reality. He is influenced by Massenet in musical speech and orchestral style. He emphasizes the lyrical element by the use of melodic recitative rather than by aria. He develops motives for descriptive importance with polyphonic style. The individual sonority of the orchestra reduses the stress on the orchestra's departure from the Wagnerian ideas. He reduced the dependence of these ideas to a minimum, and asserted the value of reliance on the native sources of music and drama. Bruneau was a pupil of Massenet with undistinguished melodic patterns. He followed Wagner in the close continuity of drama and accurate characterization in music, fitting a characterization for varying dramatic atmospheres. His "Kerim" displays militarism and is a contrast to the pastoral elements in "L'Attaque du Moulin". His thematic manipulation is not flexible enough but his harmonic idiom is ingenuous and true to the qualities of race and time. D'Albert's "Tiefland" has a prologue and two acts, and combines the Wagner and Puccini swift and pliant orchestra, which colors and intensifies, but dispenses with the elaboration of Wagner's symphonic chorus. Chenier's "Liberia", strange to say, has one strain repeated and repeated. Chabrier is noted for his delicate expression and his fidelity and vigor of delineation. In "Briseis" the fresh aroma of the sea is suggested by the soft singing of the sailors without any overture or prelude. Bruneau in "Zola" writes flexible music and has a capacity for unmetred prose used for vocal purposes, a caustic rugged sincerity with an element of passion and little tenderness. Charpentier's "Louise" has the quick lithe movement of the Parisian character; gay, amused and amusing. Richard Strauss uses a more complex orchestra than Wagner and we find leading motives as in Wagner. He is one of the most severely criticized composers of modern times. He has been accused of outrageous infraction of every musical law. The mood in "Electra" is implicit in the play, but it is reinforced by Strauss' orchestration. Where Beethoven or Wagner entrances are splendid, the instrumental equivalent of Strauss grates. He is typical to the moods, etc., of the play. He uses discords to represent a mad woman, but is musically beautiful in the recognition of brother and sister and love. The chief characters are depicted by leading motives, dissonance and orchestral bewilderments, and his power of characterization is extraordinary. There are forty-five themes in "Electra". He uses different instruments to represent the different animals, etc. For instance, the grunting of the pigs is represented by six bassoons and a flute.