In turning to the magnum opus of Nicodé (1853), we find ourselves face to face with one of the most interesting specimens of modern orchestration--which is saying a great deal in this age when the art of scoring has reached such stupendous virtuosity. "Das Meer," symphonic ode for solo voices, male chorus, orchestra, and organ, may not reveal striking originality of subject-matter, but it is a magnificent exposition of realism and discloses the author's keen appreciation for the imaginative, the descriptive, the picturesque. One could readily suppose that Nicodé might have been more or less influenced by Rubinstein's "Ocean Symphony," but this is not at all the case. Nicodé's primary aim was the acquisition of superb and startling effects by means of tone-color pure and simple. His technique is enormous. One of his strongest points is the ability to procure scintillating tints by means of multiple division of strings alone. By piling up a large number of independent and seemingly irreconcilable melodic themes one on top of the other, a marvellous effervescent polyphony is procured. The best example of pure tone effect is revealed in the movement entitled "Phosphorescent Lights." The modern symphonic orchestra is, of course, employed, being further augmented by an additional harp, and two tenor-tubas with the usual bass-tuba. The battery assumes gigantic proportions in that demand is made for two pair of kettle-drums, one pair of cymbals, a bass-drum, a triangle, a gong, and a set of bells. Even these additions do not satisfy the composer, for behind the stage is concealed a brass band of three trumpets, seven trombones and a bass-tuba. IX. RICHARD STRAUSS[64] (1864). It is universally conceded that the greatest master of orchestration after Richard Wagner is Richard Strauss. The latter's career thus far bears some affinity to that of Mendelssohn as regards early artistic surroundings, scholarly training in branches other than music, and exemption from monetary anxiety. But whereas Mendelssohn's affluent circumstances and prosperous career were undoubtedly detrimental to the development of profound pathos and tragic intensity, Strauss has made the demonstration that worldly cares and petty professional obstacles are not the essential stimuli for herculean artistic growth embodying the portrayal of experiences not personally experienced. [Footnote 64: See Appendix of Musical Illustrations, Examples 97 to 103.]