in B minor.
"Kamennoi-Ostrow," No. 22.
Valse Caprice, in E-flat.
Barcarolle in G major.
"La Melancholic."
"Polka Boheme."
Melodie in F.
Staccato Study in C major.

Tschaikowsky:
Scherzo from Opus 2.
Barcarolle in G minor. Opus 37. No. 6.
Song without Words. In F major. Opus 12.
"Weihnachten" Waltz. Opus 37, No. 1.
Songs (_ad lib._).
Polonaise from "Eugen Onegin," arranged by Liszt. Or
Waltz from "Eugen Onegin," arranged by Pabst.

Excellent four-hand arrangements are to be had of all the orchestral
works by Rubinstein and Tschaikowsky. Address the publishers of this
work for particulars.

CHAPTER V.

THE LATER ROMANTICISTS.

Among the numerous composers of Germany in recent times, of whom there
are a very large number worthy of special notice, there are four who,
by reason of their personal qualities and the general directions in
which they have expressed their talent, demand special attention.
Their names are Adolf Jensen, Xaver Scharwenka, Moritz Moszkowski, and
I. J. Paderewski. As will be noticed from the names, three of these
artists are Polish in nationality and stock.

Adolf Jensen (born at Koenigsburg, January 12, 1837; died January 23,
1879) was mainly a self-taught composer, inasmuch as he had only two
years' instruction. Nevertheless, at the age of twenty he was
sufficiently advanced to be appointed conductor of the orchestra at
Posen. Afterward he lived in Russia, and at Copenhagen, and was
finally back as teacher in the school of Tausig, in Berlin. Very soon
afterward, however, he contracted a pulmonary disease, which was the
cause of his death.

Jensen was a very prolific composer in many departments, but especially
brilliant as a song writer and as a composer of romantic pieces for the
pianoforte. As a song writer, Riemann considers him the legitimate
successor of Schumann; and among the hundreds of songs which he
produced are many of very great beauty. His piano pieces are elegantly
written,--somewhat Schumannesque in point of style, although not nearly
so rugged and much more fluent,--and the pieces on the program below
give a sufficiently fair idea of the general features of his style in
this department. The selection of songs may, perhaps, be left to the
convenience and taste of the singers, since it is impossible to
designate any two or three songs of his which so fully illustr