Of the younger composers born after 1860, much may be expected from F.S. Converse of Harvard,[111] who is in close touch with the ultra-modern school of composition with all its attending freedom of form and emancipation from stereotyped pattern, for he has already excited attention both in this country and in England.[112] A promising pupil of Rheinberger is Henry Holden Huss, who is essentially a dramatic and lyric composer. The healthy and above all optimistic tendencies of Henry K. Hadley's compositions, as exemplified by his symphony "Youth and Life," stand out in sharp contrast against the morbidness and pessimism that have apparently won the upper hand in musical art during the last fifteen years. Rubin Goldmark was born in New York and is living at present in that city. He is possessed of a thoroughly artistic nature and has inherited much of his eminent uncle's originality and ability to impart luscious tone-colors to his orchestral tableaux. [Footnote 111: See footnote, page 173.] [Footnote 112: "The Pipe of Desire," a romantic grand opera in one act by F.S. Converse, was twice performed in Boston early in 1906, and reveals significant command of the modern technics of orchestration.] Before concluding this classification of orchestral composers it is desired to remind the reader of the vast significance attached to the labors of Dvo[vr]ák and X. Scharwenka during their sojourn in the United States. Again, other foreigners who have cast in their lot with us, such as Loeffler[113] and Victor Herbert, are now practically regarded as loyal American composers. Both these men are possessed of sovereign command of orchestration. The one uses his art for portraying vivid realism, the other for the purpose of clothing his pleasing conceptions as evolved in daintier vein. [Footnote 113: The recently performed "Pagan Poem" (op. 14) of Charles Martin Loeffler (1861) would indicate that a list of the world's representative masters of modern orchestration made up five years from now would include his name.] There are undoubtedly a number of important American composers whose names have been omitted from these pages. The present writer desires to apologize for any such unintentional omission under the plea that it has not been his good fortune to have his attention called either directly or indirectly to their compositions in larger forms. XIII. (3) =Orchestral and Choral Conductors.= The progress of a country's musical art rests largely in the hands of its orchestral and choral conductors. America has been exceptionally fortunate in this respect, for her history presents an army of luminaries who are unexcelled the world over. The concert and operatic stage of New York owes its very existence to such indefatigable workers as Carl Bergmann (1821), Dr. Leopold Damrosch (1832), Theodore Thomas (1835), Anton Seidl (1850), all four of whom were Germans. And at the present day, there are a number of eminent conductors in New York.