than Russian in particular. Similar exotic intervals may be found in the
"Aïda" of Verdi, a pure Italian. Rubinstein, like Mendelssohn and
Meyerbeer, was a Hebrew. His day will yet come, for his Dramatic and
Ocean symphonies are among the grandest orchestral works in existence.

His countryman, Tschaikowsky, also was neglected during his lifetime;
but since his death he has become, especially in London, almost as
popular as Wagner; and deservedly so, for he was a genius of the
highest type, less in his songs and pianoforte works than in his
symphonies and symphonic poems, which include some of the most inspired
pages in modern music. In some of his compositions there is a barbaric
splendor which proclaims the Russian and delights those who like exotic
novelty in music. Like all the Russians, Tschaikowsky was strongly
influenced by Liszt; indeed, it may be said that in Russia Liszt was
more potent in shaping the course of modern music than even Wagner.

Another Slavic composer, the Bohemian Dvorák, is of special interest to
Americans not only because he is one of the greatest of modern
orchestral writers (a colorist of rare charm), but because he presided
for several years over Mrs. Thurber's National Conservatory of Music in
New York, and there wrote that truly melodious and deeply emotional
work, "From the New World," which has become almost as popular as
Tschaikowsky's "Pathétique." His Bohemian rhythms have a unique charm.

Among the Scandinavian composers the greatest, by far, is Grieg, one of
the most original melodists and harmonists of all times. His songs, in
particular, are destined to immortality; they are among the very best
written since Schubert. Of his pianoforte and chamber music, too, it can
be said that everything is new, free from commonplace, and ultra-modern.
He has written mostly short pieces, and for that reason has had to wait