Miguel Hilarión Eslava (born in Burlada, October 21, 1807, died at Madrid, July 23, 1878) is chiefly famous for his compilation, the "Lira Sacra-Hispana," mentioned heretofore. He also composed over 140 pieces of church music, masses, motets, songs, etc., after he had been appointed chapelmaster of Queen Isabella in 1844, and several operas, including _El Solitario_, _La Tregua del Ptolemaide_, and _Pedro el Cruel_. He also wrote several books of theory and composition: "Método de Solfeo" (1846) and "Escuela de Armonía y Composición" in three parts (harmony, composition, and melody). He edited (1855-6) the "Gaceta Musical de Madrid." There is the celebrated virtuoso, Pablo de Sarasate, who wrote music, but his memory is perhaps better preserved in Whistler's diabolical portrait than in his own compositions. Felipe Pedrell (born February 19, 1841) is also perhaps more important as a writer on musical subjects and for his influence on the younger school of composers (he teaches in the conservatory of Barcelona, and his attitude towards nationalism has already been discussed), than he is as a composer. Still, Edouard Lopez-Chavarri does not hesitate to pronounce his trilogy _Los Pireneos_ (Barcelona, 1902; the prologue was performed in Venice in 1897) the most important work for the theatre written in Spain. His first opera, _El Último Abencerraje_, was produced in Barcelona in 1874. Some of his other works are _Quasimodo_, 1875; _El Tasso á Ferrara_, _Cleopatra_, _Mazeppa_ (Madrid, 1881), _La Celestina_ (1904), and _La Matinada_ (1905). J. A. Fuller-Maitland says that the influence of Wagner is traceable in all his stage work. (Wagner is adored in Spain; _Parsifal_ was given eighteen times in one month at the Liceo in Barcelona.) If this be true, his case will be found to bear other resemblances to that of the Russian "Five," who found it difficult to exorcise all foreign influences in their pursuit of nationalism. He was made a member of the Spanish Academy in 1894 and shortly thereafter became Professor of Musical History and Æsthetics at the Royal Conservatory at Madrid. Besides his "Hispaniae Schola Musica Sacra" he has written a number of other books, and translated Richter's treatise on Harmony into Spanish. He has made several excursions into the history of folk-lore and the principal results are contained in "Músicos Anónimos" and "Por nuestra Música." Other works are "Teatro Lírico Español anterior al siglo XIX," "Lírica Nacionalizada," "De Música Religiosa," "Músiquerias y más Músiquesias." One of his books, "Músicos Contemporáneos y de Otros Tiempos" (in the library of the Hispanic Society of New York) is very catholic in its range of subject. It includes essays on the _Don Quixote_ of Strauss, the _Boris Godunow_ of Moussorgsky, Smetana, Manuel García, Edward Elgar, Jaques-Dalcroze, Bruckner, Mahler, Albéniz, Palestrina, Busoni, and the tenth symphony of Beethoven!