Bernhard Scholz of Frankfort, born in 1835, with 8 operas (from 1858), the latest of which are Ingo (1898, Frankfort) and Anno 1757 (1903, Berlin), and much instrumental music; Max Zenger of Munich, born in 1837, with 4 operas (from 1863), notably Wieland der Schmied (1880, Munich), the striking oratorio Kain (1867), many cantatas, 2 symphonies, etc.; Victor Nessler of Strassburg (d. 1890), with 11 operas and operettas (from 1864), especially Der Rattenfänger von Hameln (1879) and Der Trompeter von Säkkingen (1884), and many choral ballades; Ignaz Brull of Vienna (d. 1907), born in 1846, an able pianist, with 10 operas (from 1864), of which Das goldene Kreuz (1875, Berlin) and the comic Der Husar (1898, Vienna) have had decided success, besides many other works; Joseph Rheinberger of Munich (d. 1901), a prolific composer in all forms, especially those for organ, piano or chorus that admit of great contrapuntal skill, with 3 operas (from 1869), an oratorio, many cantatas, extensive sacred works, a variety of other vocal and instrumental music, etc.; Heinrich Hofmann of Berlin (d. 1902), with 7 operas, beginning with Cartouche (1869), important orchestral works, chamber music, an oratorio (1896), many choral cantatas, elegant piano-pieces, etc.; August Klughardt of Dessau (d. 1902), an admirer of Liszt, with 4 operas (from 1871), 3 oratorios, 5 symphonies, several overtures, symphonic poems, chamber music and many songs; Hermann Goetz of Zurich (d. 1876, 36 years old), with 2 operas, especially Die Zähmung der Widerspenstigen (1874, Mannheim), a symphony, some cantatas and chamber pieces; Karl Grammann of Dresden (d. 1897), with 6 operas (from 1875), 2 symphonies and various other works in Wagnerian style; Albert Thierfelder of Rostock, born in 1846, with 5 operas (from 1877), 2 symphonies, several cantatas and chamber works; August Bungert of Berlin, born in 1846, with a comic opera (1884) and two extended opera-cycles, Die Ilias (2 works) and Die Odyssee (4 works), begun in 1871, a symphonic poem, a cantata and other works; Cyrill Kistler of Kissingen, born in 1848, with 4 operas (from 1884); Richard Heuberger of Vienna, born in 1850, with 8 operas and operettas (from 1886), especially Mirjam (1889-94), many works for orchestra and chorus, etc; Wilhelm Kienzl of Gratz, born in 1857, with 4 operas (from 1886), especially Heilmar (1892, Munich) and Der Evangelimann (1895, Berlin), besides much original criticism; Felix von Woyrsch of Altona, born in 1860, with 4 operas (from 1886), among them Wikingerfahrt (1896, Nuremberg), several chorus works, a symphony, etc.; Robert Fuchs of Vienna, born in 1847, with 2 operas (1889, '92), and striking orchestral and chamber music; the distinguished conductor and critic Felix Weingartner of Munich, born in 1863, with 3 operas (from 1884), including Genesius (1892) and the dramatic trilogy Orestes (1902, Leipsic), 2 symphonies, symphonic poems, etc.; Engelbert Humperdinck of Berlin, born in 1854, famous for his Hänsel und Gretel (1893, Weimar) and 4 other operas; Max Schillings of Munich, born in 1868, with 2 operas (from 1894); and Eugène d'Albert, born in 1864 (Glasgow), first famous as a pianist, with 7 operas (from 1893), including Gernot (1897, Mannheim), Kain (1900, Berlin) and Im Tiefland (1903, Prague), 2 piano-concertos, a symphony, etc.
Richard Strauss of Berlin, born in 1864, is at present the most conspicuous figure in both the orchestral and the operatic fields. His command of every
