[99] This would appear to be a fitting place for mention of the Finnish composer, Sibelius (1865), who has, during the immediate past few years, added a new name to the list of modern Northern writers for the orchestra, besides being distinctly the first composer of Finland to acquire international reputation.
[100] In the fall of 1905, Stennhammer's opera "Das Fest auf Solhaug" was heard for the first time at the Royal Opera House in Berlin. A condensed version of Ibsen's drama constitutes the libretto. From the very beginning of the introduction to the final note of the last act the listener is primarily impressed by and almost solely interested in the limpid pureness and delicacy, the masterly finish of detail both inner and outer, and the sensitive appreciation for the suppression of dynamic excess as revealed in its orchestration. But the immaturity in the literary form and style of this earlier conception of Ibsen precludes the possibility of more than momentary interest for Stennhammer's opera, unless, perhaps, within the confines of Scandinavian shores.
[101] See [Appendix of Musical Illustrations], Examples [83] to [89].
[106] A. Goring Thomas (1851) should, chronologically, be referred to at this point in view of the present continued popularity and frequent performance in the United States of his cantata "The Swan and the Skylark," even though the work is said to have been orchestrated by Stanford. On the other hand, more pronounced independence is evidenced in such of Thomas' representative works as the opera "Esmeralda" and the choral ode "The Sun Worshippers." The general substance of his compositions displays delicacy and refinement in orchestration and the possession of a real melodic gift.
[107] The favorable comment excited a few years ago by the cantata "Hiawatha" by S. Coleridge-Taylor (1875) has proved to be of more than passing endurance. Mention of his activity, which includes also such works as an operetta, "Dream Lovers," is therefore in place. Coleridge-Taylor is the first composer of African descent to command serious recognition.
[108] Elgar's "The Apostles" is the general title of a cycle of four works for voices and orchestra, of which Part II, named "The Kingdom," was completed and performed since the above was written. "The Kingdom" further discloses the remarkable individuality of Elgar's style, which in turn bespeaks the exalted spiritual nature of the man.