[Footnote 91: Wolf-Ferrari (1876) is probably the youngest living composer to whom already more than fleeting recognition has been accorded. It is not an easy matter to decide under what classification he should be placed. With a German father, his mother an Italian, and married to an American, his instincts are Italian, though he owes the stability of his musical training to Rheinberger at Munich. His melodic form is conspicuously Italian, while his harmonic substructure is more or less Teutonic. His orchestration is eclectic; on the other hand, its cardinal characteristic consists of a happy appropriation of Mozart's naïve touch. In a word, one might go yet farther and say that it is precisely this naïveté, not alone in orchestration but in musical substance as well, that makes Wolf-Ferrari's music so refreshing. He owes the opening up of his career to the opera "Die neugierigen Frauen," which has enjoyed a notable and wide-spread popularity in Germany, whereas he has already demonstrated his ability to handle large vocal and orchestral forces for concert performance by his setting of Dante's "La vita nuova," which has also excited favorable comment in Germany and has just been performed in New York with success.] (Summary on page 178.) CHAPTER XIII. HUNGARY AND BOHEMIA; SCANDINAVIA AND RUSSIA; ENGLAND AND AMERICA. I. =Hungary.= The music of Hungary with specific relation to orchestration calls for but brief comment beyond what has already been said in connection with Liszt on page 92 and with Goldmark on page 85. It will be remembered, however, that Liszt's Hungarian origin revealed itself not so much in an indigenous style of composition as in the propagation of those musical characteristics peculiar to his race. This adaptation and development of native dance tunes received plastic form in his "Hungarian Rhapsodies." Goldmark, on the other hand, cannot properly be regarded as an Hungarian composer at all. His music is German rather than Magyar, eclectic rather than local. He revels in the insidious atmosphere of the Far East. These two men are, however, the only composers of unusual eminence Hungary has produced. A small group of men may have remained more faithful to Magyar traditions than Liszt and Goldmark, but the results of their efforts are not significant. What these secondary composers did accomplish can be embraced in a few words. Before doing so, however, it might be well to settle upon the exact definition of "Hungarian" music. A quotation from Parry's "Art of Music" would appear to answer this question to the best advantage: "The original Hungarian music is extraordinarily characteristic in rhythm and vigorous in melody, but devoid of ornament. The recognized musicians of Hungary are gypsies, who are of Oriental descent, and are well known for their taste for finery and ornamentation all the world over; and in their hands Hungarian music has become the most