remarkably full and sonorous in spite of the absence of triplets of wood instruments, of English horn, of bass-clarinet, of bass-tuba, and of the harp. In all of Gounod's works it will be found that particularly the brasses are made to yield soft harmonies of limpid purity, whereas the instruments of percussion are reserved to reproduce novel and picturesque effects. Incidental mention must further be made of his free use of the harp, as illustrated, for example, by the slow scale for that instrument in the middle of the introduction to "Faust." SAINT-SAËNS[83] (1835), greatest of living French composers and mightiest of her orchestral exponents after Berlioz, is assuredly a modern composer in the full sense of that expression. Yet the background of his principles differs but slightly from those of Thomas and Gounod. Plainly in evidence are the outlines of Meyerbeer's operatic forms, in spite of Saint-Saëns' obvious desire to break away from recognized models. On the other hand, the suppression of detached numbers and the adherence to representative and guiding themes disclose his involuntary leanings toward the doctrines of the Bayreuth master, notwithstanding his openly avowed avoidance of such intentions beyond the willingness to accept the advanced spirit of the age. But as to this, it has even been claimed that Saint-Saëns was the first French master to apply Wagnerian principles, even though doing so with discretion. Finally, this peerless contemporary seems to have appropriated to himself all the virtues of eclectic orchestration without one mitigating vice, and crowns this achievement with the indelible impress of his own intensely original individuality to an extent that is verily epoch-making in the history of orchestral evolution. The dual aspect of his symphonic works presents a unique contrast, displaying, as it does, their author's versatility. Saint-Saëns has expressed himself both in symphonies and in symphonic poems. There are four of each on record. Of the former, that in C minor may be looked upon as the most interesting. It contains no programmatic idea, and at first sight would appear to embody a departure from classic form in that it is laid out in two grand divisions. Closer scrutiny, however, reveals a faithful adherence to accepted usage, for the first division contains an introduction, an allegro, and an adagio, whereas the formal structure of the second division can be analyzed into what are in reality a scherzo and a finale. Reminiscent themes and episodes from the first division reoccur in the second, in order to give coherence and organic unity to the work as a whole. Another interesting feature of this symphony is the adaptation of Wagner's "Lohengrin" methods for the wood-wind. The score also includes parts for organ as well as for pianoforte. The four symphonic poems are none of them of the same magnitude and significance as those of Liszt; but just as Liszt's form is simpler