rity of metre.
This is a direct heritage from the folk-song, which Glinka and
his successors have borrowed largely.

The leading musical spirits of his day were quick to accredit him
a kindred genius. Berlioz welcomed him gladly, and furthered his
cause by eloquent writing as well as by obtaining him a hearing
in Paris. Liszt was another enthusiastic "Glinkite," and Schumann,
unfailingly keen to notice new talent pursuing a new path, speedily
drew attention to a Russian who was doing for the music of his
country what Chopin and Moniusco had done for Poland. Rubinstein,
who was still a boy when Glinka's sun was near setting, grew up
with a warm admiration for the founder of his native school, and
in 1855 he spent some of his ardour upon a highly laudatory article
in the _Wiener Zeitschrift fir Musik_, placing Glinka on a par with
Beethoven. Glinka thoroughly detesting anything that savoured of
flattery, took the young musician soundly to task for his pains;
but Rubinstein remained true to his tenets, and later on, when
years had matured his judgment, we find him including the name of
Glinka with that of Bach, Beethoven, Schubert and Chopin, as the
chief germinators of modern music; whilst one of the last acts of
his generous public career was a concert given in aid of a national
monument to the composer of _La Vie pour le Tsar_. With one or
two minor exceptions, successive Russian masters have followed
faithfully in Glinka's footsteps. To Borodine, Dargomijsky, Seroff,
Balakireff, and Rimsky-Korsakoff a full meed of nationality has been
granted. To Rubinstein and Tschaikowski criticism is at present
disposed to deny the quality in its most salient features. But
their prolific mass of compositions has so far scarcely been
sufficiently explored outside their own Russian domain for a final
judgment to be hazarded. A nearer inspection of their work, indeed,
together with a more accurate study of Russian art as a whole,
distinctly leads to the opinion that a revolution of feeling may
eventually spring up, especially on the subject of their operas.
Also Rubinstein's dramatic works, now mostly dismissed by foreigners
as his weakest productions, may in due course be accepted as his
finest creations. From the different reasons previously deduced
there can be little doubt that in opera Glinka purposely laid the
corner-stone of what he earnestly believed to be a true Russian
school, and a glance at contemporary musical activity s