equal to that of Borodin and Cesar Cui. His works include several remarkable symphonies, three operas, chamber music and salon pieces. Special attention should be called to the program-symphony "Antar" and to a legend for orchestra, "Sadko." One of the youngest exponents of combined melodic and declamatory styles is Arensky (1862), and the interest recently excited by the third symphony in C minor of Glazounoff (1865) entitles him also to recognition under this heading. This discussion may evoke the criticism that thus far too little has been said about orchestration proper and nothing whatever about the details of instrumentation. As to this, however, it must be remembered that modern Russian orchestration owes its fundamental characteristics to only one man--Tschaikowsky; consequently, the examination of these characteristics has been reserved for discussion in connection with _his_ titanic achievements. All contemporary and sequent orchestral treatment in the hands of his countrymen is but the reflection of Tschaikowsky's style combined with the further progressive methods of German and French orchestration. It is the indirect influence these other composers have exercised upon the art of orchestration rather than their actual instrumentation that has needed elucidation. IX. For convenience, Rubinstein and Tschaikowsky have been classed together as representing a third group of Russian composers. Theoretically they possess nothing in common other than their cosmopolitan proclivities. RUBINSTEIN (1830-1894), regarded in the light of a Russian composer, cannot be compared with Glinka as an operatic writer or with Tschaikowsky as an orchestrator. Regarded as a classical-romanticist, he must be included in the list of composers following traditional forms. What is more, he was an extremist in his antagonism to the innovations of the New German Movement. This hostility exerted a baneful influence upon his instrumentation. His intentions were high, but the results of uneven value. His music reveals a search after fulness of contents, passionate strength, and a certain predilection for the peculiar. Euphony and rounded form are less pronounced, though occasional evidence of delicacy and even of tenderness is not lacking. Rubinstein cannot be eulogized as a dramatic writer, although "Feramors" is a pleasing lyric opera, and the Biblical stage-play "Sulamith" presents a poetic idyl imbued with Eastern color. Interesting is the embodiment of seven movements in the "Ocean Symphony," a work that holds high rank in musical literature. In string writing, Rubinstein revealed fine appreciation of tone-color. The instruments are handled with rare skill and that quite especially in his chamber music. But in spite of a not infrequent display of superb power, his orchestration, on the whole, was hampered by the narrow prejudice which limited his horizon.