He is the author of "Futuristengefahr" ("Danger of Futurists"), written in response to Ferruccio Busoni's Sketch for a New Aesthetic of Music: ""Busoni places all his hopes for Western music in the future and understands the present and past as a faltering beginning, as the preparation. But what if it were otherwise? What if we find ourselves presently at a high point, or even that we have already passed beyond it?"
From 1886 to 1890, Hans Pfitzner studied at the Dr. Hoch’s Conservatory in Frankfurt with James Kwast (piano) and Iwan Knorr (composition).
In the same year, Pfitzner received an appointment as director of the municipal orchestra and of the conservatory in Strasbourg.
At the end of the war, Pfitzner had to return to Germany and, in 1920, taught a master class in composition at the Preußische Akademie der Künste (Prussion Academy of the Arts) in Berlin.
Pfitzner is best known for his opera Palestrina, generally regarded as his magnum opus.
Pfitzner wrote about one hundred fifteen songs, the earliest ones perhaps somewhat derivative but still effective, while many of the later efforts are among the finest songs from the early-20
Pfitzner's earliest efforts here cannot be dismissed, even if they are not quite on the inspired level of the later songs.
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