It is high time to bring this fascinating subject of modern German progressiveness to a close; otherwise there is no knowing whither this history might lead us. In these days even a secondary composer is supposed to be thoroughly conversant with every subtlety in the art of orchestration. Germany still leads the van; the number of her eminent masters of modern instrumentation is legion. The ambition of the ultra-modern school is to out-Wagner Wagner. It will suffice to make mention of Max Schillings' "Ingwelde" or of Cyrill Kistler's "Kunihild und der Brautritt auf Kynast" with its poem in alliterative verse in strictly Wagnerian lines by Graf Sporck. The same exaggerated sense of morbidness and pessimism has found its way as well into other fields of German composition as discovered in certain ones of Hugo Wolf's intensely modern and magnificent songs, or in Max Reger's organ works of questionable worth with their atrocious harmonic mixture, their intricacy of contrapuntal treatment, and their extreme difficulty of execution.[77] These restless signs of evolution are perfectly logical and eminently proper. In many instances the results have been highly successful, but again they have not. On the other hand, a number of living German composers could still be cited who are possessed of sufficient poise to accept the spirit of modern progression without allowing their convictions to carry them to extremes. One of the most successful of these is Humperdinck, whose "Hänsel und Gretel" acquires its effectiveness primarily by means of the orchestra. The exceedingly simple vocal parts are founded entirely on Volksmelodien; _Leit-motiven_ add coherence to the opera as a whole, whereas the scoring is amazingly complicated and elaborate though ever lucid and euphonious.[78] Ludwig Thuille[79] has earned deserved success with his charming "Lobetanz," and Kienzl has captivated the masses with "Der Evangelimann," a work that is both dignified and uplifting in spite of its eclectic appropriations from Meyerbeer, Wagner, Gounod, and even Mascagni. Georg Schumann, also, is to be commended for the "healthy" tendencies of his orchestral works, of which both the symphonic chorale variations and the "Liebesfrühling" overture have been heard in America.[80] [Footnote 77: At the present moment Max Reger is exciting increased comment by reason of his continued revolutionary ideas expressed through the medium of the orchestra.] [Footnote 78: Engelbert Humperdinck directed by invitation his opera "Hänsel und Gretel" at the Metropolitan Opera House, New York, during the season 1905-1906.] [Footnote 79: Ludwig Thuille died since the above lines were written.]