(=Biography.=) Strauss was reared in a schooling so orthodox that not even his severest critics can venture to deny his mastery of traditional usages,--indeed, in his earlier works Strauss has given tangible proof of his ability to compose in conservative forms. He is the son of a French-horn player of rare genius, whose memorable performance of his son's horn concerto first taught the present writer the latent possibilities of that instrument. Strauss is said to have produced a polka at the age of six, whereas already during his boyhood days he devoted his spare moments to writing orchestral overtures, choruses, sonatas, and the like. Although enrolled as a student at the Gymnasium and for one year at the University of Munich, he was simultaneously given opportunity to develop his musical talents along the prescribed lines of practical training. His public career as a composer may be said to have begun when two of his choruses were given at a school concert. In 1880 he succeeded in having three of his songs sung at a public concert. He was then only sixteen years old. These minor achievements, however, fall into insignificance in comparison with the recognition awarded him in the following year, when Benno Walther, concertmeister of the Munich Opera, produced the string quartet, op. 2, in the course of the annual series of chamber concerts. Walther's quartet was at that time highly authoritative in musical circles. In the same year Hermann Levi performed the symphony in D minor. Strauss next drew attention to himself with a serenade, op. 7, for thirteen instruments, and thereby interested no less a person than Hans von Bülow. This was destined to influence Strauss' entire career, for in 1885 he was engaged as musical director at Meiningen in a subordinate though honorable position to von Bülow himself. It was von Bülow, therefore, that gave Strauss his initial training as an orchestral conductor, a branch of art in which he has now attained proficiency only secondary to his powers as a composer. At Meiningen he was enabled to assimilate not only von Bülow's magnetic technique and authoritative interpretation, but was also led to grasp Wagner's ideals of conducting. In addition he also appeared occasionally as a concert pianist, and meanwhile completed his more or less conservative symphonic phantasy "Aus Italien." Here, too, he came in contact with the Wagnerian enthusiast, Alexander Ritter, an intimacy that had much to do with the subsequent moulding of his first distinctively original works, "Macbeth" and "Don Juan." Toward the close of 1885 he succeeded von Bülow as conductor of the Meiningen Orchestra, retained the post for one season, and then accepted a subordinate position in his native city under Levi and Fischer at the Munich Royal Opera. Like most prophets in their own country, he had to overcome the prejudice of some of the older gentlemen of the orchestra who had been colleagues of his father and had seen the son grow up. For