Dargomizski (1813), second representative of the old lyric-school and eventually a convert to the new Russian movement, stands as a noteworthy example for gradual artistic expansion. Clinging at first to the forms prevalent in France and in Italy, he gradually came to attach greater importance to _recitative_, and finally went even too far. This extreme as to absence of melody as well as of structural form reached its culmination in his posthumous opera "The Marble Guest," which has since been most effectively orchestrated by Rimski-Korsakoff. The work is advanced both in thought and treatment, and may be regarded as the initiatory modern Russian opera. Two of Dargomizski's minor orchestral compositions, the "Finnish Fantasia" and the "Cossack Dance," acquired considerable popularity. Dargomizski is particularly to be commended for his attitude as a patron of the young Russian enthusiasts whose tendencies were inclined toward Berlioz, Schumann, Liszt and Wagner. Serow (1820)--usually spelt Seroff in the English language--belongs properly to the earlier school, although he was a zealous disciple of Wagner, and, like him, prepared his own librettos. The style of his music is such as to carry us almost imperceptibly across the short bridge joining the first and second groups of Russian composers. VIII. As just stated, the second group of young composers found a champion in their senior, Dargomizski. The tenets of the "New Russian Movement" are closely allied to those of the "New German Movement." The programmatic and philosophical theories of Berlioz and Liszt applied to the dramatic orchestra, and the unreserved adaptation of Wagner's speech-singing and instrumentation form the basis for their creed. On the other hand, they demand that all "program-music" shall be of such intrinsic merit as to withstand the test of being deprived of its program. Prominent among these innovators was Borodin (1834). His originality displayed itself conspicuously in independent orchestral music as exemplified by his two symphonies. The style is attractive and polished, whereas a wealth of orchestral effects and instrumental tone-color is at his command. Further proof of his fertility is revealed in the opera "Fürst Igor," in the symphonic poem "Mittelasien," and in his chamber music. Cesar Cui (1835) holds a position of prominence only secondary to that of Rubinstein and Tschaikowsky. He was an ardent literary advocate for Berlioz, Schumann and Liszt, whereas his vocal writing is in reality the exposition of a style akin to the requirements of French prosody. Balakireff (1836) and Mussorgski (1839) also belong to this second group of Russian composers. The former has been called the direct successor of Glinka. The compositions of the latter display daring originality and a gift for charming melody, although the harmonization is not always skilful. Nevertheless, both these men are outranked by Rimski-Korsakoff (1844), whose eminence is fully