[Footnote 100: In the fall of 1905, Stennhammer's opera "Das Fest auf Solhaug" was heard for the first time at the Royal Opera House in Berlin. A condensed version of Ibsen's drama constitutes the libretto. From the very beginning of the introduction to the final note of the last act the listener is primarily impressed by and almost solely interested in the limpid pureness and delicacy, the masterly finish of detail both inner and outer, and the sensitive appreciation for the suppression of dynamic excess as revealed in its _orchestration_. But the immaturity in the literary form and style of this earlier conception of Ibsen precludes the possibility of more than momentary interest for Stennhammer's opera, unless, perhaps, within the confines of Scandinavian shores.] VI. =Russia.= Among the phenomena of the nineteenth century must be reckoned the wonderful artistic evolutions in Russia and in America. Of the two countries, Russia has thus far forged ahead by reason of her indigenous melodic wealth, whereas America has no similar source to draw from. Again, the melancholy and semi-barbaric coloring of Russian folk-tunes appeals more readily to the world at large than do the assuredly more healthy though somewhat eclectic offerings of the young American school. None the less, the artistic future of the latter country is to be regarded in the most optimistic light, and this certainly will be subsequently enlarged upon under its proper heading. Russian folk-songs embody certain characteristics that are likewise at the root of Scandinavian folk-songs. In their natural and unadorned state they suggest the rhythmic freedom of Scandinavia, and their dance forms are similarly wild and irresistible. Further characteristics that are more distinctly Russian consist of odd modulations, of plaintive minor cadences, of harmonies resolving abruptly into the unison, and of the frequent recurrence of a principal theme alternating with various reiterated phrases. A possible reminiscence of the Lydian and Dorian modes of ancient Greece might also be suggested. This is the basis upon which an epoch-making school of highly-seasoned dramatic and orchestral music has been reared.