E. Fernández Arbós (born in Madrid, December 25, 1863) is better known as a conductor and violinist than as composer. Still, he has written music, especially for his own instrument. He was a pupil of both Vieuxtemps and Joachim; and he has travelled much, teaching at the Hamburg Conservatory, and acting as concertmaster for the Boston Symphony and the Glasgow Orchestras. He has been a professor at the Madrid conservatory for some time, giving orchestral and chamber music concerts, both there and in London. He has written at least one light opera, presumably a zarzuela, _El Centro de la Tierra_ (Madrid; December 22, 1895); three trios for piano and strings, songs, and an orchestral suite. I have already referred to the Valverdes, father and son. The father, in collaboration with Federico Chueca, wrote _La Gran Vía_. Many another popular zarzuela is signed by him. The son has lived so long in France that much of his music is cast in the style of the French music hall; too it is in a popular vein. Still in his best tangos he strikes a Spanish folk-note not to be despised. He wrote the music for the play, _La Maison de Danses_, produced, with Polaire, at the Vaudeville in Paris, and two of his operettas, _La Rose de Grenade_ and _l'Amour en Espagne_, have been performed in Paris, not without success, I am told by La Argentina, who danced in them. Other modern composers who have been mentioned to me are Manuel de Falla, Joaquín Turina (George Copeland has played his _A los Toros_), Usandizaga (who died in 1915), the composer of _Las Golondrinas_, Oscar Esplá, Conrado del Campo, and Enrique Morera. Enrique Granados was perhaps the first of the important Spanish composers to visit North America. His place in the list of modern Iberian musicians is indubitably a high one; though it must not be taken for granted that _all_ the best music of Spain crosses the Pyrenees (for reasons already noted it is evident that some Spanish music can never be heard to advantage outside of Spain), and it is by no means to be taken for granted that Granados was a greater musician than several who dwell in Barcelona and Madrid without making excursions into the outer world. In his own country I am told Granados was admired chiefly as a pianist, and his performances on that instrument in New York stamped him as an original interpretative artist, one capable of extracting the last tonal meaning out of his own compositions for the pianoforte, which are his best work.