terially different from that
of the German composers of the purest type. It is only a question of
exaggerating certain features--to judge them from the German
standpoint. This is true, in a general way, of the entire list of
Russian composers, all of whom have been influenced a good deal from
Leipsic, although Russia has had for many years a very strong music
school of its own at St. Petersburg, established by Rubinstein in 1862.
It was at this school that Tschaikowsky and Glazounow were educated.
In the Austro-Hungary empire there are two nationalities which have
left quite an impress upon their music productions. They are the
Bohemians and the Hungarians. The Hungarian, representing the extreme
of the emphasis and caprice; the Bohemian, showing a great deal of
impetuosity;--which, however, they lose in their productions in
proportion as they become polished and finished writers. Bohemianism,
in German music, has more the character of provincialism than of a
national mark.

In France there has been a national school this long time in which all
the young composers are educated; a school which has turned out men
like Berlioz, Gounod, Bizet, Delibes, Massenet, and a great and honored
roll of composers and artists. French music differs from German
primarily in taking itself less seriously. Everything tends to be
shorter; there is a more fanciful and capricious use of passing tones
and by-tones of every sort, and its general complexion is that of
daintiness and sensuous sweetness, rather than of deep thought. The
French school is therefore well adapted for imparting refinement to the
style of a performer.

The writers of the Scandinavian peninsula have certain peculiarities in
their melody which impart to their work a trait of local color. This
one finds in the writings of Grieg, Svendsen, and to some extent in
those of Gade. A similar coloring was hit upon much earlier by
Mendelssohn in the beginning of the "Hebrides" overture.

America can not be said, as yet, to have attained a national school.
We had one genius who might be called self-instructed--viz., Louis
Moreau Gottschalk. All of our composers since have been German
educated, or educated under teachers who themselves were German taught,
and as yet our music is little more than a slightly modified German
production, although our composers are beginning to show as much
originality and force as the better class of the writers of any country.

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