Germany still leads the van in the art of orchestration, of which she possesses many eminent exponents such as Max Shillings and Cyrill Kistler,--slavish imitators of extreme Wagnerism, and Humperdinck, Thuille, Kienzl, Georg Schumann, Mahler,--less extreme in their views but more successful in their results.
During the nineteenth century a small group of men were especially instrumental in transplanting the daintiness and refinement of modern French light opera into indigenous German productions. Conspicuous among these is Lortzing, supported by Nicolai, Flotow, Suppé and Johann Strauss junior.
(1) =France.= The French composers of the nineteenth century may for convenience be divided into several distinctive groups. After Berlioz, a number of representative writers devoted themselves with signal success to the development of orchestral concert music. Conspicuous among these are David, Franck, Lalo, Godard, d'Indy.
DAVID possessed, in addition to the characteristic feature of _clearness_, a highly developed talent for artistic disposition of his plans, for poetic picture-painting, and for rich and descriptive orchestral color, especially when portraying Oriental subjects. Like Berlioz, he introduced certain scenic qualities into his orchestration, which is ever buoyant, supple, and varied.
CÉSAR FRANCK differs from his French contemporaries by reason of what might be termed the masculine severity of his inspiration, together with monumental mastery of polyphonic design, exhaustless command of orchestral resources.
LALO. In antithesis to Franck's severe and somewhat solemn style of writing, that of Lalo betrays a fund of spontaneous invention, curious rhythmic effects, charming and sprightly instrumentation, and great aptitude for imbuing his works with the necessary local coloring.
GODARD. In France, Godard occupies a conspicuous position on the programs of orchestral concert music. His musical ideas and instrumentation are both graceful and charming.
D'INDY. In earnest endeavor and in faithful adherence to high ideals d'Indy has proved himself a worthy successor to his teacher, César Franck, whom he copies in exceedingly complicated development of subject-matter. Not content with incorporating in his works the most advanced tenets of Wagner, he further has explored the pathway opened up by Brahms. He is essentially a symphonist, evolves his conceptions on broad and dignified lines, and displays a masterful deployment of orchestral resources.