Among other modern German composers are Wolf, Schilling, Huber, Mahler, Humper dinck, Weingartner, Reger, Korngold, Pfitzner, and Schonberg (qq.v.). Of these Arnold Schiinberg is the only really first class com poser. A general review of German music by Pierre Lalo, the Parisian musical critic, son of the composer of (Le' Roi d'Ys,> is interesting for comparative value. Lalo's professional duties called him to Germany annually for 20 years. Writing in 1915 and deprecating the decline in German musical taste marking its modern standards, he remarks: °During 150 years Germanic countries produced a great number of magnificent musical geniuses, and during those years no other country could rival them. But it was only during that period; in the Middle Ages music was Italian, not German; at the Renaissance, it was French and Flemish; in the 17th and to the middle of the 18th century it was sometimes Italian and sometimes French. It is only with Handel and Bach that the greatness of German music begins—and it has ended with Wagner.° A closing word must be said about the great array of critics, biographers, historians and teachers which Germany has produced. Such men as Jahn, Spita, Pohl, and Chrysander in their well-known biographies; Ehlert, Hanslick, Ambros as critics; Haupt, Jadassohn, Rheinberger, and Riemann as theorists and teachers have had world-wide influence and are largely responsible for the fact that Ger many up to the outbreak of the European War in 1914 was the chief centre of a comprehensive musical activity.
Bibliography.— Ambros, (Geschichte der Musik); Dickinson, The Study of the History of Music); Eitner,