Schumann's four symphonies rank next in importance to those of Beethoven and Schubert, and in depth of sentiment and emotional power he proved himself a worthy successor to Beethoven. His symphonies are stamped with distinctive individuality, traditional form being subjected to certain modifications that were in keeping with the progressive tendencies of his nature. Thus the D minor symphony is intended to be played entire without a pause, and subject-matter from one movement reasserts itself in another. It would be a waste of time to analyze Schumann's instrumentation too closely. He followed but could not equal that of Mendelssohn. Artistic feeling for orchestral effects and occasional good scoring are to be found, but much of the latter is thick and heavy. He was apt to follow Rossini's more or less trivial methods of employing the third enlarged orchestral group. Even Schubert was not entirely exempt from this mannerism. Such incongruities as the employment of a bassoon as a bass to trombones could also be cited. Of material advantage, however, was his introduction into German orchestras of valve-horns and valve-trumpets. But in a word, it is the substantial worth of the music itself, not the instrumentation, that has made Schumann's orchestral works immortal. VIII. Among the prominent associates and disciples of Schumann should be mentioned Volkmann, Reinecke, Bargiel, and Jensen. The compositions of Volkmann (1815) show affinity to Schumann's. His pianoforte works bear fanciful titles, and his symphonies and quartets are massive and musicianly. But like most satellites, he was not possessed of sufficient spontaneity to acquire wide-spread or enduring recognition. The compositions of Carl Reinecke (1824), who held the honorable position of director of the Gewandhaus Concerts from 1860 until 1895, show the influence more especially of Schumann, although that of Mendelssohn as well as of Wagner and Brahms is also apparent. He owes his reputation as a composer largely to his smaller works, in which the tastes of a refined pianist are much in evidence. Few could be compared with him as an interpreter of Mozart, and his activity not alone as a composer of merit but also as a prominent pianist and distinguished conductor has won him universal fame. Bargiel (1828) was one of the foremost disciples of Schumann whose principles he zealously disseminated, both in his capacity as a fine teacher and as composer. His symphonies, chamber music and quite especially his psalms for chorus and orchestra show considerable originality and fine musicianship. Likewise Jensen (1837) took Schumann unreservedly as his model in spite of being in sympathetic accord with Gade. His songs and pianoforte pieces in the lyric _genre_ are imbued with true feeling and rare sensuous charm. IX.