Antithetical to Goldmark's dependency upon the orchestra for effect is the euphonious choral style of BRUCH (1838). Here are to be found naturalness of invention, graceful and flowing melody, simplicity, and above all beauty of harmonic structure. Bruch exhibits extraordinary power in handling large vocal forces, and displays, moreover, marked predilection for Greek and Scandinavian subjects. The cantatas "Odysseus" and "Arminius," for soli, mixed chorus and orchestra, are counted among his most important works and embody the most favorable phase of his orchestration. "Salamis," a cantata for male chorus, is an inspiring song of victory, and "Frithjof," likewise written for men's voices, is an intensely dramatic exposition of six scenes chosen from the Frithjof Saga of Tegner. Best known is perhaps the "Lied von der Glocke," whereas the grave and earnest accents of the Hebraic "Kol Nidrei," together with the tragic intensity and passionate nature of the violin concerto in G minor, opus 26, show what Bruch could do when employing the orchestra to throw a solo instrument into relief. His independent orchestral works are not sufficiently spontaneous, whereas his accompaniments embody perfect taste, genuine expression and an abundance of energetic force. The very nature of his themes is such as to require either vocal forces or a solo stringed instrument to present them in the most favorable light. Bruch possesses supreme mastery of modern orchestral resources, but is at his best in the art of accompaniment. V.