re can be no suspicion of imitation, much less of
plagiarism. Humperdinck is the first German operatic composer of
distinct individuality since the death of Wagner. He has shown that the
methods of the great composer can be used as a garment to cover an
individuality as distinct as that of any writer in the history of opera.

Humperdinck's share of 'Die sieben Geislein,' a children's ballad opera
which was published some years ago, consists only of a few songs of an
unimportant character, which will not enhance his reputation.
'Koenigskinder,' which was produced in 1897, must be classed as a play
with incidental music rather than as an opera. The composer directed
that the accompanied dialogue, of which there is a good deal, should be
rhythmically chanted, but when the work came to be performed these
directions were practically ignored by the players. 'Koenigskinder' was
followed in 1902 by 'Dornroeschen,' another fairy play accompanied by
incidental music, which won little success, nor has good fortune
attended his latest opera, 'Die Heirath wider Willen' (1905).

Among the younger generation of German composers, mention must be made
of Max Schillings, whose very promising 'Ingwelde' (1894) has recently
been succeeded by a remarkable work entitled 'Moloch' (1907); and of
Wilhelm Kienzl, the composer of 'Der Evangelimann' (1895). In
'Ingwelde' Schillings followed the Wagnerian tradition almost too
faithfully, but 'Moloch' is a work of very distinct individuality. 'Der
Evangelimann,' on the other hand, is thoroughly eclectic in style, and
the influence not only of Wagner, but of Meyerbeer, Gounod and even
Mascagni, may be traced in its pages. Kienzl's later works have met with
little favour. 'Donna Diana' (1895), by a composer named Reznicek, is a
comic opera founded upon a Spanish subject, which has had a most
successful career in Germany during the past few years. It is elaborate
in construction, and indeed the score seems to be too complicated to
harmonise well with the comic incidents of the story. More recently the
composer has won success with a work on the subject of Till
Eulenspiegel. Heinrich Zoellner came to the front in 1899 with 'Die
versunkene Glocke,' an opera founded upon Gerhart Hauptmann's famous
play, which is said to reproduce the symbolic charm of the original with
conspicuous success. Eugene d'Albert, though English by birth, has for
so long identified himself with Germany, that the success of his co