(2) =Bohemia.= The development of orchestration in Bohemia affords a striking contrast to that in Hungary. SMETANA, the pioneer, was content to employ comparatively simple means,--indeed, his scores occasionally reveal a suggestion of Mozart's naïve touch. On the other hand, his eminent successor, DVO[VR]ÁK, developed the art to a point excelled by none. The latter ranks among the four greatest orchestrators since Wagner. Like Smetana, Dvo[vr]ák evolved his music from the native folk-song. He was on the whole, an adherent to strict forms, but subjected these to the utmost freedom and originality of treatment. His greatest powers displayed themselves in the colossal development of orchestral resources. His orchestration is appropriate and consistent, varied, warm and brilliant. It abounds in beautiful combinations. It is rich but never overburdened. Further distinctive features include clear and bright string writing, methods of employing the wood-wind similar to those of Schubert, and an occasional touch of the supernatural suggestive of Spohr and Weber. In a word, Dvo[vr]ák was a master of vivacious and refined orchestration. * * * * * (3) =Scandinavia.= The music of Scandinavia is likewise evolved from native folk-melodies. The Northern composers are not particularly dramatic nor have they developed many novel traits of instrumentation. They resemble the Hungarians in having wielded but an indirect influence upon orchestration, this influence being restricted to the indigenous properties of their melody, rhythm and local coloring. Their chief representatives are GADE, the pioneer, and his illustrious successor--GRIEG. The former, under the beneficial influence of Mendelssohn, developed high efficiency in the art of orchestration. He appreciated both the possibilities and the limitations of each instrument, and revealed his nationality by the application of suggestive tone-color. Grieg's instrumentation is not conspicuously influenced by modern tendencies. Though he cannot be ranked as a great orchestrator, his writing for strings alone is of surpassing beauty, nor does his deployment of larger forces lack novelty and effectiveness. * * * * * (4) =Russia.= The gradual ascendency of Russian music is one of the phenomena of the nineteenth century. Here again the native folk-song forms the basis for scientific development. Russian composers may be divided into three classes:--the old lyric school,--the new Russian school,--Rubinstein and Tschaikowsky in a class by themselves. GLINKA, pioneer of the old lyric school, accomplished for his country what Gade and Smetana did for theirs. His orchestration calls for but little comment excepting that it is clever and at times even brilliant.