The history of Slavonic music up to the present day will be concluded with the following brief remarks concerning TSCHAIKOWSKY[101] (1840-1893). Though he is mentioned last, one must not forget that his activity covers the same period as that of the originators of the neo-Russian school. [Footnote 101: See Appendix of Musical Illustrations, Examples 83 to 89.] The composite of his high-strung and intensely æsthetic nature may be summed up by saying that at heart he was in sympathy with Liszt; his structural form rests upon the intellectuality of classicism; his conceptions emanated from Muscovite melodies but are stamped with the insignia of genius all his own; his style is essentially lyrical, and betrays the delicacy and refinement of a cultured Russian. What is more, there are momentary suggestions even of coyness that are again strikingly contrasted by a certain barbaric element worthy of a barely-civilized Cossack. The peculiar fascination exerted by his music may be traced first and foremost to its dominating melancholy character, although this plaintive strain is again set off by a certain vigor, which Henderson calls "the outcome of a certain grim determination always present in the Russian heart." It has also been described by Dannreuther as "fiery exultation on a basis of languid melancholy." The means which Tschaikowsky found to express himself in a language of profound pathos embodied the free use of sombre chromatic harmony, of minor modes, and above all of weird and gloomy orchestration.[102] The general outlines of Tschaikowsky's music embrace melodic subtleties, bold modulations, florid figuration, strongly marked rhythm and cadences peculiar to his own land, huge dimensions, fantastic portrayal, broad dignity of utterance, and magnificent orchestral effects. The embodiment of native folk-music in no way interferes with his own intense originality and genuine spontaneity. [Footnote 102: Ex. 83, 86, 89.]