172 Professor Ernst Pauer [Jan. 30, 



several highly esteemed younger composers, such as Friedrich Gerns- 

 heim, Woldemar Bargiel, Salomon Jadassohn, Julius Schulhoff, 

 Camille St. Saens, Heinrich Hofmann — but their turn may come on 

 a future occasion. 



The spirit and expression of our present pianoforte-music is 

 decidedly that of elegance, more cleverness than feeling, and a very 

 carefully considered refinement. None of the present composers 

 possesses the genius of a Mozart, Beethoven or Schubert; but they may 

 lav claim to a talent of the highest order, and have by earnest study, 

 undaunted perseverance, and accomplishment certainly attained a 

 high degree of artistic excellence. All the present composers have 

 more or less been influenced by Mendelssohn, Chopin, Schumann, and 

 Richard Wagner. Some of the works are made up from apparently 

 very insignificant material, but the cleverness with which this 

 material is handled is so conspicuous that to the less experienced ear 

 it sounds like the product of a great genius. We begin our review 

 with the celebrated 



1. Anton Rubinstein 

 (Born November 30, 1830, at Wechwotynez, near Jassy). 



(a) Nocturne in G. 



(b) Capriccio in E flat. 



The Nocturne is full of sweet expression, slightly tinged with 

 exquisite melancholy ; it is more remarkable for the euphony of its 

 tone effect than for the richness and solidity of its content. The 

 Capriccio is a crisp, interesting and sparkling Scherzo, which exhibits 

 greater care in thematic work than Rubinstein generally devotes to 

 his compositions. The characteristic qualities of the celebrated 

 composer are a strong and impulsive feeling, a certain amount of 

 elegance, and undoubted energy. 



No. 2. — Johannes Brahms 

 (Born May 7, 1833, at Hamburg). 



(a) Intermezzo in A flat. 



(b) Capriccio in B Minor. 



The same high position Richard Wagner holds in the domain of 

 dramatic music, Brahms occupies in the realm of instrumental music ; 

 the basis on which Brahms's works rest is a scientific one, but it is 

 a science suffused with modern feeling and the harmonies which 

 complete the scientific matter are such as derive their origin from 

 the romantic phase of our art. There is an intellectual agency in his 

 pieces which will perhaps not strike the listener at once, but which 

 is found out by degrees. The Intermezzo is actually a mere sketch, 

 which however, is complete in itself, full of charm, and showing a 



