de the pale of modern artistic
development. No longer is music confined exclusively to the Italians,
French and Germans. A national spokesman for the Finns is the gifted
Sibelius, the composer of five symphonies, several Symphonic poems,
numerous songs and pianoforte pieces; his second Symphony in E minor
being a work of haunting beauty, and the Fourth noted for its bold use
of the dissonant element. The Roumanians have come to the fore in
Enesco, who has written several characteristic works for orchestra.
The Spaniards are endeavoring to restore their former glories--for we
must not forget that, in past centuries, the Spanish composers Morales
and Vittoria ranked with the great painters which that nation has
produced. Three Spanish composers, indeed, are worthy of distinct
recognition: Albeniz for his pianoforte pieces, _tangos_,
_malaguenas_, etc., in which there is such a fascinating treatment of
national dance rhythms; Granados,[338] with several operas to his
credit, and Laparra, the composer of a fantastic suite recently played
by the Boston Symphony Orchestra. Spanish rhythms, melodies and local
color have been frequently incorporated in the works of other
composers, _e.g._, by Bizet in _Carmen_, by Debussy in _Iberia_, and
in the pianoforte piece _Soiree dans Granade_, by Chabrier in
_Espana_, by Lalo in several works, and by the Russians, Glinka and
Rimsky-Korsakoff, in brilliant orchestral works. The Spanish
influence,[339] in fact, may be called one of the most potent in
modern music.

[Footnote 338: Who lost his life on the Sussex when it was torpedoed
by the Germans.]

[Footnote 339: For a comprehensive account, historical and critical,
of this influence consult the volume by Carl Van Vechten _The Music of
Spain_.]

Although there is no doubt of the strong musical instinct inherent in
the Hungarians--witness the prevalence of Hungarian rhythms in
Schubert, Liszt, Brahms and others--their country has always been so
torn with political dissensions that the lack of a national artistic
culture is not to be wondered at. Recently however three Hungarian
composers, Dohnanyi, Moor and Bela Bartok, have produced works
embodying racial tendencies and yet of such significant content and
sound workmanship as to attract the attention of the world outside.

Italy, also, is awakening from a long sleep, and there is now a group
of young men representing New Italy (of whom Malipiero and Casella are
the best known) whi