X—COMPOSERS OF MODERN GERMANY AND NORTHERN EUROPE
Almost all Germans follow Wagner to-day, but Goldmark in his Queen of Sheba shows independence, especially in his orchestration. Humperdinck's lovely Hansel and Gretel has given him a place of importance.
The Bohemian, Smetana, who wrote The Bartered Bride cleverly used his national airs, and this and his other operas are typical of his country.
Glinka, born in 1808, founded the Russian school; his fine opera A Life for the Czar is well known.
Richard Strauss, a follower of Wagner, is the composer of Salome and Elektra; the music is rich and complicated, and his talent unquestioned.
In England, Balfe, born in 1808, wrote several operas, the best known the Bohemian Girl, with its familiar airs. Since his day there has been little serious work done, but light opera, notably Sullivan's Pinafore, the Mikado, and others have had great success.
In America we have Horatio Parker, with his recent Mona, a production full of originality, if one not yet popular; Reginald De Koven, who wrote the excellent Robin Hood, and Victor Herbert, the author of lighter works.
In addition to using this résumé of opera, clubs should make out programs on popular topics; or there may be one topic used to close each program.
Subsidizing the opera: shall this be done by the state, as in Germany; or by individuals, as in New York?