piano music in small amount, and an opera, _Boris Godunow_." In the report of the proceedings of the thirty-fourth session of the London Musical Association (1907-8) Dr. Thomas Lea Southgate is quoted as complaining to Sir George Grove because under "Schools of Composition" in the old edition of Grove's Dictionary the Spanish School was dismissed in twenty lines. Sir George, he says, replied, "Well, I gave it to Rockstro because nobody knows anything about Spanish music."--The bibliography of modern Spanish music is indeed indescribably meagre, although a good deal has been written in and out of Spain about the early religious composers of the Iberian peninsula. These matters will be discussed in due course. In the meantime it has afforded me some amusement to put together a list (which may be of interest to both the casual reader and the student of music) of compositions suggested by Spain to composers of other nationalities. (This list is by no means complete. I have not attempted to include in it works which are not more or less familiar to the public of the present day; without boundaries it could easily be extended into a small volume.) The répertoire of the concert room and the opera house is streaked through and through with Spanish atmosphere and, on the whole, I should say, the best Spanish music has not been written by Spaniards, although most of it, like the best music written in Spain, is based primarily on the rhythm of folk-tunes, dances and songs. Of orchestral pieces I think I must put at the head of the list Chabrier's rhapsody, _España_, as colourful and rhythmic a combination of tone as the auditor of a symphony concert is often bidden to hear. It depends for its melody and rhythm on two Spanish dances, the jota, fast and fiery, and the malagueña, slow and sensuous. These are true Spanish tunes; Chabrier, according to report, invented only the rude theme given to the trombones. The piece was originally written for piano, and after Chabrier's death was transformed (with other music by the same composer) into a ballet, _España_, performed at the Paris Opéra, 1911. Waldteufel based one of his most popular waltzes on the theme of this rhapsody. Chabrier's _Habanera_ for the pianoforte (1885) was his last musical reminiscence of his journey to Spain. It is French composers generally who have achieved better effects with Spanish atmosphere than men of other nations, and next to Chabrier's music I should put Debussy's _Iberia_, the second of his _Images_ (1910). It contains three movements designated respectively as "In the streets and roads," "The perfumes of the night," and "The morning of a fête-day." It is indeed rather the smell and the look of Spain than the rhythm that this music gives us, entirely impressionistic that it is, but rhythm is not lacking, and such characteristic instruments as castanets, tambourines, and xylophones are required by the score. "Perfumes of the night" comes