Identifier: moderncomposerso00elso (find matches)
Title: Modern composers of Europe : being an account of the most recent musical progress in the various European nations, with some notes on their history, and critical and biographical sketches of the contemporary musical leaders in each country
Year: 1905 (1900s)
Authors: Elson, Arthur, 1873-1940
Subjects: Composers
Publisher: Boston : L.C. Page
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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ded, he gave excerptsfrom Parsifal and other works, culminating witha complete performance of the Ring, which heaccompanied on the piano while reading from theorchestral score, — a feat that astonished the audi-ence. The piano sonatas and chamber music of his boy-hood were now supplemented by a piano quartette,a fantasia, and other works. In the orchestral field,the young man began to win his laurels by the ballad Odinsmeeresritt. This was followed by the one-act opera Helfried, for which he wrote bothwords and music. This opera, wholly in the Wag-nerian vein, scored a decided success at Graz in 1893.Two years later Siegmund and his father travelledto Berlin, hoping to interest the managers and publicof the capital in a second opera, Zinnober;fi buttheir efforts were in vain. The new work, however,was given a hearing at the Munich court theatre,under Strauss, in 1898. The libretto is based on afanciful tale of Hoffmann, and the title role, thedwarf Zinnober, is not sung, but spoken.
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SIEGMUND VON HAUSEGGER. GERMAN TONE-POETS AND SYMPHONISTS 29 A number of songs and choruses followed, all ofunusual merit. Then came the first revelation ofHauseggers real greatness, in the form of his Dionysiac Fantasie, a symphonic poem for fullorchestra. This was followed by a still more im-portant work, in the same field, — the symphonicpoem Barbarossa, first performed in March,1900, and many times repeated in Europe andAmerica. In these works the composer achieveda surety of orchestral utterance, a full grasp of in-strumental resources, and, above all, a thoroughmastery of melodic charm and harmonic richness.If not yet the equal of Strauss in variety and power,Hausegger has certainly surpassed him in directloveliness. A single work does not create a newschool, but Barbarossa seems a step in the rightdirection. Its beauties are clear, sane, unforced,and when the frenetic school of impressionists havehad their day, this composition will surely comeinto its own. The tale of Barbar

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