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His works for orchestra include: "Sinfonietta," Opus 90; "Serenade," Opus 95; "Hiller-Variations," Opus 100; "Symphonic Prologue," Opus 120; "Lustspielouvertüre," Opus 123; "Konzert in Alten Stiel," Opus 125; "Romantische Suite," Opus 128; "Vier Tondichtungen nach Böcklin," Opus 130; "Ballet-Suite," Opus 132; "Mozart-Variations," Opus 140; "Violin-concerto," Opus 101; "Piano-concerto," Opus 114.
Had he not, in his "Contributions to the Theory of Harmony," proposed one hundred examples of cadences modulating from the common chord of C-major through every possible key and transpository sequence? Had he not written two books of canons displaying the most amazing technical ingenuities; found it simple, as in his "Sinfonietta," to keep five or six strands of counterpoint going?
Not a single one of the orchestral conductors in New York has dared consider performing his "Sinfonietta," to say nothing of the early and comparatively accessible "Marche funèbre" and "A la chinoise." Of the Philharmonic Society, of course, one expects nothing.
In considering his Sinfonietta, the Serenade, the Hiller Variations, the Prologue to a Tragedy, the Lustspiel Overture, the two concertos respectively for pianoforte and violin, we are struck not as much by the easy handling of old forms, as by the stark emotional content of these compositions.
Harmony with him is something different than it is with any other composer. Piano colors of a violence and garishness are hurled against each other. The lowest and highest registers of the instrument clash in "Improvisata." Rhythms battle, convulsively, almost. In portions of the "Sinfonietta," five rhythms are to be found warring against each other.
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