Edward Lassen (born 1830), though a Dane by birth, has been identified with music in Germany for the greater part of his life. He was first made known as a composer through the kind offices of Liszt, who produced on the Weimar stage Lassen’s “Le Roi Edgard,” “Frauenlob,” and “Der Gefangene.” These operas met with a decided success. Lassen succeeded Liszt as chief director of the Weimar opera, and still holds that position. His published works include the music to Hebbel’s “Nibelungen,” Sophocles’ “Œdipus,” Calderon’s “Circe,” and Goethe’s “Faust” and “Pandora,” “Fest Cantate,” “Te Deum,” and several symphonies. During the last few years he has occupied himself principally with the composition of songs, which are much admired. His latest work of importance is his violin concerto. Another worthy representative of the new German music is Alexander Ritter, the composer of numerous vocal works, including operas. There is no doubt concerning the seriousness of his artistic endeavors, nor of his great abilities; but, as with Nicodé, he has large utterance, and but little of real importance to say. [Illustration: FRANZ von SUPPE. From a photograph from life by Luckhardt, of Vienna. (See page 596.) ] By far the most interesting and the most promising of this class of modern composers is Richard Strauss. He is not related to the Vienna Strauss family. Young Strauss is now Lassen’s assistant director at the Weimar theatre, and has shown remarkable ability both as an opera and concert conductor. Although not yet thirty years old, he has produced a considerable number of large works and numerous smaller ones. His earlier efforts show the influence of Brahms, but for the last few years he has adopted the Wagner-Liszt manner. Three symphonic poems, “Death and Redemption,” “Macbeth” and “Don Juan,” as well as a symphonic fantasia, “In Italy,” have been greatly admired. Evidently this young composer has a more promising future than any of his young contemporaries. Felix Weingartner, the talented conductor of the Royal Opera of Berlin, is a young composer of promise. Besides numerous songs and a serenade for string orchestra, he has written two operas. The second of these, “Genesius,” was produced in Berlin in November, 1892, but, as might have been expected, it was not warmly received by the public. Weingartner, like Strauss, is extremely modern in his musical tendencies, and his works, although interesting to connoisseurs and lauded by certain critics, will not at once find public recognition.