“Strauss advances yet farther by making permanent Wagner’s occasional incorporation into the Orchestra of a second harp, an E-flat clarinet, a double quartet of horns, five instead of four trumpets, and a tenor tuba in addition to a bass tuba. The occasional addition of unusual instruments, such as an _oboe d’amore_ and saxophones, is required.”[83] In 1864 one of the chief critics of Russia pointed out Tschaikowsky as “the future star of Russian music.” His prediction was verified. Tschaikowsky is now ranked with the great masters. His great popularity in this country is largely due to Mr. Walter Damrosch, who invited him to take part in a series of festival concerts in 1891 at the opening of Carnegie Hall in New York. Here Tschaikowsky conducted several of his works, many of which were already known and loved by concert-goers. We are all familiar now with Tschaikowsky’s great sweeps of tone; dark, melancholy harmonies; and strange, barbaric rhythms. “Tschaikowsky is eclectic, and many cosmopolitan woofs run through the fabric of his music. Italy influenced, then Germany, then France; and, in his later day, he let lightly fall the reins on the neck of his Pegasus and was much given to joyously riding in the fabled country of ballet, pantomime, and other delightful places.”[84] This is perfectly true, but beyond and above all else Tschaikowsky is _Russian_. “Like most Slavs,” writes Ernest Newman, “he drew sustenance more from France than Germany. Brahms he thought dull; Wagner he never really understood. He loved music, he said, that came from the heart, that expressed ‘a deep humanity,’ like Grieg’s. To the delicate brain and nerves of the modern man he added the long-accumulated eruptive passions of his race. He takes the language made by the great Germans and uses it to express the complex pessimism of another culture. The color of life in his music ranges from pale gray to intense black, with here and there a note of angry scarlet tearing through the mass of cloud.”