Reyer (1823) belongs more properly under the heading of operatic composers, since he devoted himself primarily to that branch of musical art. He is nevertheless mentioned at this point in consequence of the interest attached to his ode-symphony "Le Selam," which, though not an imitation of David's "Le Désert," is intended as a sequel to it. He is ranked as a conspicuous representative of the young French romantic school. Reyer's reputation is generally confined to France, whereas Reber's eminent pupil, Godard (1849), has become widely known as a prolific writer possessing marked individuality. This foreign recognition is due to his works in smaller form, being a _genre_ of composition in which he excels. In France, however, Godard has occupied a conspicuous position on the programs of orchestral concert music. His activity in this direction has been indeed prodigious, and the results should command a more extensive acquaintance by virtue of their charming musical ideas and graceful instrumentation. These orchestral works bring to light the varied range of his imagination, and for this very reason some of the most characteristic titles will bear citation. In addition to a pianoforte concerto and a "Concerto romantique" for violin, Godard has written an orchestral suite: "Scènes poétiques," a "Symphonie-ballet," an "Ouverture dramatique," a "Symphonie gothique," a "Symphonie orientale," a "Symphonie légendaire," the lyric scena: "Diane et Actéon," and the dramatic poem for soli, chorus and orchestra: "Le Tasse." The last named is considered to be his best work. His chamber music also merits just commendation. It is evident, therefore, that Godard's already extensive foreign reputation is overshadowed only by the broader recognition awarded him in France. An examination of the works of Vincent d'Indy (1852) reintroduces the subject of contemporary musical art in one of its extreme phases. In earnest endeavor and in faithful adherence to high ideals d'Indy has proved himself a worthy successor to his teacher, César Franck, whom he copies in exceedingly complicated development of subject-matter. Not content with incorporating in his works the most advanced tenets of Wagner, he further has explored the pathway opened up by Brahms. Wagnerian tendencies have crept into all modern French music, whereas Brahms has as yet found few imitators among the composers of the Romance nations. Like each and every French writer, d'Indy has tried his hand in operatic lines; his chamber music, too, is surprisingly clever and effective. Nevertheless, he is essentially a symphonist; "Wallenstein" is evolved on broad and dignified lines, and displays a masterful deployment of orchestral resources. "Le Chant de la Cloche," dramatic legend adapted from Schiller, is perhaps the most remarkable of d'Indy's works; it shows marked resemblance to Wagner's later style by reason of its elaboration of detail and intricacy of orchestration.