[37] Orestes is a trilogy based on Æschylus and consisting of: I, Agamemnon; II, Das Totenopfer; III, Die Erinyen.
[38] For biographical details, see below (p. 258).
[39] His sextet for piano and wind instruments in B major (op. 6) in classic style, but of brilliant originality, first made his name known. In the later works he sacrificed some of the emotionalism, the lyric freshness and warmth of color of the southern lyricist for the sake of modernity. This is noticeable in his piano quintet in E-flat, op. 20; his 'cello sonata, op. 22; and his violin sonata, op. 30. There are also a 'Romantic Overture' and Traumsommernacht for orchestra, and an organ sonata.
[40] Das goldene Kreuz is a charming aftergrowth of the German comic opera of the Lortzing type with a touch of Viennese sentimentality. Others by the same composer are Der Landfriede, Bianca, Das steinerne Herz, Schach dem König, etc.
[41] The work of Brahms as a whole has been treated in another portion of this work (Vol. II, Chap. XV). It will, however, be necessary to say a few words with regard to him in this section, in order to bring the essential nature of Wolf's achievement into a clearer light.
[42] Die Musik seit Richard Wagner, 1914.
[43] See Volume V, pp. 342 ff.
CHAPTER IX
THE FOLLOWERS OF CÉSAR FRANCK
The Foundations of modern French nationalism: Berlioz; the operatic masters; Saint-Saëns, Lalo, Franck, etc.; conditions favoring native art development—The pioneers of ultra-modernism: Emanuel Chabrier and Gabriel Fauré—Vincent d'Indy: his instrumental and his dramatic works—Other pupils of Franck: Ernest Chausson; Henri Duparc; Alexis de Castillon; Guy Ropartz.