and more readily to be grasped than that of Berlioz, so Saint-Saëns' formal structure may be regarded as advancing yet further, if clearness and compactness be the desired objective. "Phaéton"[84] and "Le rouet d'Omphale"[85] display marvellous skill in scoring; "La jeunesse d'Hercule"[86] is the most elaborate, whereas the "Danse Macabre"[87] is the most characteristic as well as the most popular. Saint-Saëns' chamber music affords an interesting study in diversity of style between it and that of his eminent contemporary, Brahms. Both styles display a master's touch, but Saint-Saëns' chamber music is conspicuous for its simplicity of treatment and admirable clearness. He has given still further proof of versatility in a series of memorable concertos. Had Saint-Saëns been content to write nothing beyond such sterling instrumental works as just referred to, his reputation would not have suffered. But the full strength of his greatness reveals itself in attainments of still wider significance. In addition to several oratorios, including the so-called Biblical opera "Le Déluge," no less than nine operas must be accredited to his pen, and of these, "Samson et Dalila" looms up as the ideal embodiment of Saint-Saëns' highest creative genius. Lofty imagination, naturalness of expression and dramatic intensity join in making this opera his greatest masterpiece. Unique is the opening chorus for the captive Hebrews in oratorio style, whereas the ballet in the last act presents an effective adaptation of the peculiar Eastern scale. The orchestration is elaborate, rich and varied,--intricate without being obtuse. Saint-Saëns wields his large orchestral forces with unerring judgment; the score abounds in effects now scintillating or impassioned, now melancholy or heroic. The addition to the usual couplets of wood-wind of a third flute, an English horn, a bass-clarinet and a contra-bassoon again demonstrates the indispensability of triplets of related instruments. Opportunity for obtaining pure tone-color in independent harmony from each family of the brass is effected by employing four horns, by the union of two trumpets and two cornets, by adding to the three trombones a bass-tuba, and by making further requisition for two opheicleides, which together with the bass-tuba are capable of independent deployment. The strings are reënforced by two harps. The array of instruments of percussion would appear rather formidable; nevertheless, they are never used aggressively. This group includes three kettle-drums, a bass-drum, cymbals, tam-tam, a triangle, a Glockenspiel, a tambour de basque, and _crotales_ or castagnettes made of wood and iron. May Saint-Saëns live to enthrall the world a second time with a work that shall rival if not surpass in beauty the rare seductive charm of "Samson et Dalila"! [Footnote 83: See Appendix of Musical Illustrations, Examples 76 to 82.] [Footnote 84: Ex. 79.] [Footnote 85: Ex. 76, 77, 78.] [Footnote 86: Ex. 82.]