His vehement commitment toward the new ideas, of course also demanded - commensurate with his character and personality - that he pursue his emancipation from his role models with an equal sense of purpose while concurrently allowing the emergence of conservatism (in the best sense of the word) within him in order to preserve the attained progress. Draeseke's strong physiognomy and his bold spirit, characteristics which were reflected in his works early on, earned him the nickname of "giant" which Liszt bestowed on him. Accordingly, in his later music predominantly rough, voluminous features are  found but also mildness and softness ! He took and used the stylistic elements generated by the Neo-Germanic movement in music endeavouring to amalgamate them with classical elements in his own way. To accuse Draeseke of heresy would turn things uside down. To consolidate that which had been achieved and to continue it logically, on the other hand, was his actual concern which he was able to prove in the form of his impressive complete works through all musical genres. As a composer of grand choral forms Draeseke was among the most impressive personages of the second half of the past century. With his oratorio Christ he left something to posterity that lies like an erratic block in the musical landscape - admired by many, hardly understood - only performed twice so far in its totality !

(based on an article written by Udo-Rainer Follert)