As has been already intimated, the paramount accomplishment of this modern luminary was his colossal development of orchestral resources. One can point to his symphonies as models for brilliant scoring. The "Spectre's Bride," the Stabat Mater, the Requiem abound in beautiful combinations. The orchestration is warm and rich[94] without being overburdened, interesting and varied, yet appropriate and consistent. Minor details receive careful attention. The string writing is clear and bright,[95] whereas in the handling of the wood-wind instruments Dvo[vr]ák shares with Brahms the tendency to fall back upon Schubert's methods.[96] [Footnote 94: Ex. 93, 96.] [Footnote 95: Ex. 91.] [Footnote 96: Ex. 90.] One by one our great contemporary masters are passing away. Be it hoped that at a not far distant day Bohemia may again send forth a missionary to our climes worthy of rank with Dvo[vr]ák! SCANDINAVIA AND RUSSIA. IV. =Scandinavia.= Analogous to the development during the nineteenth century of Hungarian and Bohemian folk-tunes is that of the Scandinavian countries. Just as Germany can point to her _Lied_ and France to her _chanson_ as the basis for scientific secular music on the Continent, so is the recognition of the younger musical countries dependent upon the distinctive features of their native melodies. America presents a unique exception to this rule. For variety and expression, Norwegian and Swedish folk-tunes compare favorably with those of Russia. A conspicuous characteristic of early Scandinavian folk-tunes is the progression to the minor seventh of the scale through its fifth. [Music] Again, many peculiarities popularly regarded as Grieg's exclusive property constitute in reality the fundamental characteristics of the original source from which he has drawn his inspiration. The national music of all three countries, Denmark, Norway, Sweden, embodies shortness of theme, reiteration of the same interval, shifting tonality, alliance of binary and ternary rhythm, and the plaintive fall of the leading tone to the dominant. To Denmark belongs the honor of having produced the pioneer exponent of native melodies and native characteristics--Gade. His achievements have since been eclipsed by Norway's sturdy representative--Grieg. In the earlier part of the century several Swedish composers made a creditable showing, but in recent years Norway seems to have established her ascendency. After Gade, the only Danish composer who has attracted especial attention beyond the boundaries of his own lands is Enna. Few modern Swedish composers have risen conspicuously above their predecessors, Lindblad, Hallström and Södermann. Norway, on the other hand, possesses not only Grieg, but Svendsen and Sinding as well. The racial affinity disclosed by the music of all these composers makes possible a collective review of their achievements in chronological order. V.