In view of the fact that Raff's style is a compound of classicism and romanticism, together with yet more advanced tendencies so far as the "program" element is concerned, his title as pioneer of the classical-romanticists has been applied with good judgment. The succeeding luminaries of this school revealed similar tendencies. Rubinstein, Goldmark and Bruch are all to a more or less degree exponents of the programmatic idea. Even so conservative a composer as Rheinberger, whom some are tempted to call even a reactionist, was at times subjugated by its fascination. This is borne out by his "Wallenstein" symphony. Brahms stands forth in his solitary grandeur as the one exception to the rule. Towering above his fellow classical-romanticists, he attained the exaltation of his fame by a path they could not tread. It is to him that we now must turn. II. BRAHMS (1833-1897). In the April number, 1895, of the magazine entitled "Music" are to be found the following remarkable assertions in an otherwise admirable article by Mr. W.S.B. Matthews:--"Händel is antiquated; Bach still lives, but we can enjoy his works only as exceptions to our current diet; Haydn symphonies sound like string quartets played a trifle large and seasoned with a few notes of trumpets and wood-wind. Mozart in feminine phrase is 'too sweet for any use,' and Mendelssohn has departed to the place where good boys go. We have left to us the over-worked immortal nine of Beethoven (now rather shrunk to five) and two of Schubert; we tolerate Schumann for the sake of his ideas. We hear Tschaikowsky because he is a master in his way. But the greatest of tone-poets now living, and the greatest since Beethoven, appears to be Brahms."