he whole of his works, including his Sonata, Trio,
Quartette, Quintette, Symphonic Variations, Preludes and Fugues, Mass,
_Redemption_, _Psyche_, and a part of _Les Beatitudes_.

Saint-Saens: _Phaeton_, _Second Symphony_, Sonatas, Persian Melodies,
the _Rapsodie d'Auvergne_, and a quartette.

Vincent d'Indy: The trilogy of _Wallenstein_, the _Poeme des Montagues_,
the _Symphonie sur un theme montagnard_, and quartettes.

Chabrier: Part of _Gwendoline_.

Lalo: Fragments of the _Roi d'Ys_, Rhapsodies and Symphonies.

Bruneau: _Penthesilee_, _La Belle au Bois Dormant_.

Chausson: _Viviane_, _Helene_, _La Tempete_, a quartette and a symphony.

Debussy: _La Damoiselle elue_, the _Prelude a l'apres-midi d'un faune_,
a quartette, pieces for the pianoforte, and melodies.

Dukas: _L'Apprenti Sorcier_, and a sonata for the pianoforte.

Lekeu: _Andromede_.

Alberic Magnard: Symphonies and a quartette.

Ravel: _Scheherazade_, _Histoires Naturelles_, etc.

Saint-Saens was director with Bussine until 1886. But from 1881 the
influence of Franck and his disciples became more and more felt; and
Saint-Saens began to lose interest in the efforts of the new school. In
1886 there was a division of opinion about a proposition of Vincent
d'Indy's to introduce the works of classical masters and foreign
composers into the programmes. This proposition was adopted; but
Saint-Saens and Bussine sent in their resignations. Franck then became
the true president, although he refused the title; and after his death,
in 1890, Vincent d'Indy took his place. Under these two directors a
quite important place was given to old and classical music by composers
such as Palestrina, Vittoria, Josquin, Bach, Haendel, Rameau, Gluck,
Beethoven, Schumann, Liszt, and Brahms. Foreign contemporary music only
occupied a very limited place. Wagner's name only appears once, in a
transcription of the _Venusberg_ for the pianoforte; and Richard
Strauss's name figures only against his Quartette. Grieg had his hour of
popularity there about 1887, as well as the Russians--Moussorgski,
Borodine, Rimsky-Korsakow, Liadow, and Glazounow--whom M. Debussy has
perhaps helped to make known to us. At the present moment the Society
seems more exclusively French than ever; and the influence of M. Vincent
d'Indy and the school of Franck is predominant. That is only natural;
the _Societe Nationale_ most truly earned its title to glory by
discerning Cesar Franck's genius; for th