horns. The introduction of a complete group of tubas was certainly an entirely new idea. Much of Wagner's warm and rich orchestration is due to a substratum of soft brass harmonies that are apparently not audible at all. No composer knew better than he how to obtain the best effects from instruments of percussion without overstepping the bounds of artistic refinement. His use of kettle-drums was more practical than that of Berlioz; but it should not be forgotten that when Meyerbeer or Berlioz needed a numerical variety of tones or rapid changes in pitch, it was necessary to employ a number of drums and several performers, whereas Wagner was able in later years to attain the same object with fewer drums, in consequence of the perfecting of the "machine-drum" which allows of almost instantaneous change of pitch. The art of conducting received also a powerful impetus from Wagner, and his untiring efforts to raise the standard of the dramatic and concert stage were ably seconded by Liszt and subsequently by von Bülow. When exercising the functions of a conductor, one of Wagner's strong principles of interpretation consisted in modifying a tempo in accordance with the momentary character of the dominating melodic themes. [Footnote 59: Ex. 70, 71.] [Footnote 60: Ex. 71.] [Footnote 61: Ex. 73.] [Footnote 62: Ex. 69, 72.] The bitterness of conflict over Wagner's works has expended itself; hostile criticism is now exceptional. To-day Wagner stands forth as the accepted champion of dramatic reforms, as the most eminent composer of the nineteenth century, and as the greatest master of orchestration in the annals of the world. VIII. In these days the "New Movement" is no longer new, for the trend of modern music is ever progressive. For convenience, however, this classification may include Cornelius, Bruckner, Lassen, A. Ritter, Draeseke, Weingartner, Nicodé, finally Richard Strauss.