Cyrill Kistler (Augsburg, Germany, 1848) was at one time thought to be Wagner’s real successor, but nearly all his works are now laid aside. They show an evident striving after musical grandeur, but are not wholly successful in attaining that effect. Kistler studied with Lachner and others at Munich, but became a Wagner enthusiast in spite of their formal training. In his first opera, “Kunihild,” the heroine is wooed by one of three brothers, who is successful in the magic ride necessary to win her. But there has been a feud between the houses, and another brother, to prevent the marriage, kills the bridegroom. A comic opera, “Eulenspiegel,” preceded by ten years the symphonic poem of Strauss. “Baldurs Tod” is based on the beautiful Norse Saga of the Sun-God. “Im Honigmond” is a smaller work, in romantic style. A more important production in the same vein is “Röslein im Hag,” which bids fair to be successful. “Der Vogt von Mühlstein” is a work of still more recent date.

August Bungert (Mühlheim, Germany, 1846) studied at Cologne and Paris, taking up composition at Berlin under the renowned Fr. Kiel. He has produced a light opera, “Die Studenten von Salamanca,” a “Tasso” overture, and the symphonic poem “Auf der Wartburg.” But his life-work has been the composition of a Hexalogy, or set of six operas, on Homeric subjects. The first two, “Achilles” and “Klytemnestra,” are from the Iliad, while the Odyssey furnishes the material for “Kirke,” “Nausikaa,” “Odysseus Heimkehr,” and “Odysseus Tod.” The abiding beauty of the old Greek poems has been faithfully preserved in the librettos, and the music has reflected, to some degree, the noble dignity of these epics. The first three works of the Odyssey cycle have been given, and have produced an excellent impression on the critics.

Siegfried Wagner.

Siegfried Wagner (Triebschen, Switzerland, 1869), son of the immortal Richard, has an undoubted right to carry on the family traditions. He studied with Kniese and Humperdinck, and became a very energetic conductor. His first opera, “Der Bärenhäuter,” is the story of a mediæval soldier who sells himself to the devil, but is redeemed by finding a sweetheart who will remain true during three years of absence. “Herzog Wildfang,” the next work, treats of a fiery duke who is made unpopular and supplanted by his crafty adviser, Mathias Blank. Mathias is afterward caught in trying to win the beautiful Osterlind by trickery, and his dishonesty in office is also exposed; whereupon the rightful duke comes to his own again, and Osterlind marries her real lover. “Der Kobold,” a third work, treats of the legend that the souls of murdered children wander about as kobolds until released by the sacrifice of the last of their race. “Bruder Lustig,” the fourth opera, is based on an Austrian subject.

D’Albert.—In Eugen d’Albert (Glasgow, Scotland, 1864), we find a man of real musical gifts. He studied under such men as Stainer and Prout in England, but he claims that his true musical education began only in later days, under Richter and Liszt. He has won international fame as a pianist, and has shown real musicianship in his purely orchestral works. These include two concertos for piano, one for violoncello, the “Esther” and “Hyperion” overtures, and a worthy symphony; all showing harmonic beauty and richness of color, without any inflation or exaggerated effects. His first opera, “The Ruby,” tells of a princess imprisoned in the form of that magic gem, but released by a poor young man who wins her. “Ghismonda” deals with the love of a princess for a young man of low degree, but noble character. On being surprised with the princess, he dies rather than reveal her love for him, but she proclaims his chivalry to the world. “Gernot” is an elfin opera, with much delicate music. “Die Abreise” shows the reconciliation of a married couple who have begun to drift apart, and the departure of the over-amorous cavalier who tried to widen the breach for his own purposes. “Kain” is a weirdly effective one-act drama, of the realistic school. “Der Improvisator” has for its libretto a rather weak arrangement of Hugo’s “Angelo, Tyrant of Padua,” while “Tiefland” is founded on a Spanish tale, in which true love triumphs over the schemes of a wicked Alcalde.

Hugo Wolf (Vienna, Austria, 1860—Vienna, 1902) had a constant struggle with poverty, and enjoyed but a short period of fame before yielding to insanity and death. His opera, “Der Corregidor,” is a delightful work, in comic vein, and the humorous scenes on the stage are treated with remarkable animation and skill in the orchestra. The Corregidor is a Spanish magistrate, who is too much smitten with Frasquita, the beautiful wife of the miller, Tio Lucas. The pair play him many tricks, and the opera ends with his discomfiture before his own consort. Wolf’s fame is much increased by the rare power and beauty of his many songs. Especially worthy of note are the “Feuerreiter,” “Gebet,” “Gesang Weylas,” and the “Italienisches Liederbuch.” His symphonic poem, “Penthesilea,” is another important work. His style is sometimes bizarre and involved, but his themes are always effective and significant.

Other Composers.—Max Bruch (Cologne, Germany, 1838) studied under Hiller, Reinecke, and Breuning. His chief opera, “Hermione,” is not important, but he has won lasting fame by the breadth and nobility of his epic cantatas, such as “Frithjof,” “Odysseus,” “Arminius,” and others. His concertos and serenade for violin are favorite works with soloists. Ludwig Thuille, a friend of Strauss, is given high praise by musicians, and his new opera “Gugeline” has been well received. Heinrich Zollner has won a popular success by his setting of Hauptmann’s delicate play, “The Sunken Bell.” Hans Pfitzner has produced an excellent work in his romantic forest-opera, “Die Rose vom Liebesgarten.” Leo Blech’s “Alpenkönig und Menschenfeind” has received numerous performances, while E. Klose’s fairy opera, “Ilsebill,” is a worthy example of its school.

Opera in Germany.—Since Wagner’s time, there has been no striking development in German opera, and his works still remain by far the most important in that field. None can rival him in the power, variety, and expressive qualities of his music. Strauss surpasses him in intricacy and novelty of instrumental effects, but Wagner himself first cleared the path in which Strauss was to follow. The greatest successes of Goldmark are those of twenty and thirty years ago. Humperdinck’s one chief work is frankly popular in style, and its attractiveness cannot fairly be compared with the grandeur of the music-dramas, even though it should found a school of its own. Bungert’s works, though well received, have not been given many performances, while many of those who have tried to imitate Wagner have echoed merely his outward mannerisms, and not the inward greatness of his works. It must be remembered, however, that a world-genius like that of Wagner does not appear in every country or every century, and that his importance prevents his successors from gaining their full meed of appreciation.