powerful enough to create a type of style. Soon after 1840 'the new school' began to make itself felt under Wagner at Dresden and Liszt at Weimar, but until after 1860 its ambitious program was strenuously opposed by most of the leading critics and not understood by the general public.
Among Austrian opera-writers may be named Ludwig Wilhelm Reuling
(d. 1879), in 1830-54 conductor at Vienna, with over 35 works (from about
1825), chiefly comic and light, but including the romantic Die Feuerbraut
(1829, Trieste) and the historical Alfred der Grosse (1840, Vienna); Anton Emil Titl (d. 1882), working first at Prague and from 1850 at Vienna, with
5 romantic works, including Die Burgfrau (1832, Brünn) and Das Wolkenkind
(1845, Vienna), with other music; Johann Vesque von Püttlingen ['J. Hoven']
(d. 1883), a lawyer and civil official, with 6 well-received operas, including
Turandot (1838), Johanna d'Arc (1840) and Liebeszauber (1845); the
Tyrolese Joseph Netzer (d. 1864), with 5 operas (from 1839), including Mara
(1841) and Die seltene Hochzeit (1846), besides many songs and orchestral
works; and the exceedingly popular writer of operettas Franz von Suppé (d.
1895), conductor at various Vienna theatres, with about 65 works (from 1834),
which from 1860 followed in quick succession. With the latter may be grouped
Richard Genée (d. 1895), with some 15 operettas (from 1857).
The Bohemian or Czech group includes Franz Škraupkroup. is the accented S really in Latin1?] (d. 1862), in 1827-57 conductor of the Bohemian theatre at Prague, where he was prompt to produce Wagner's early works, with about 10 operas (from 1826), including Oldrich a Božena (1828) and Libušin s['n]atek (1835); the song-writer Joseph Dessauer (d. 1876), with 5 works, beginning with Lidwinna (1836, Prague); Johann Friedrich Kittl (d. 1868), in 1843-65 director of the Prague conservatory, with 4 German operas (1848-54); Franz Skuherský (d. 1892), pupil of Kittl, from 1854 conductor at Innsbruck, from 1866 head of the Prague Organ-School and from 1869 court-choirmaster, with 5 operas (from 1861), including Vladimir, Lora and Der General, besides 20 masses, etc., and important theoretical works (from 1879) the distinguished Friedrich Smetana (d. 1884), in 1848-56 a teacher at Prague and in 1866-74, after some years in Sweden and Germany, opera-conductor there, with 8 operas, beginning with Braniboøi] v Čechách (1865), Prodaná nevešta (1866) and Dalibor (1868); Johann Nepomuk Škraup (d. 1892), from about 1835 active as choirmaster and teacher at Prague, with Švédove v Praže (1867) and Vineta (1870); Wilhelm Blodek (d. 1874), from 1860 in the Prague conservatory, with the comic V studni (1867); and Karl Bendl (d. 1897), from 1865 conductor at Prague, with 5 operas, beginning with Lejla (1868) and Bretislav (1869).
The small Hungarian or Magyar group includes Andreas Bartay (d. 1856), with 3 early works, including Esel (1839); Franz Erkel (d. 1893), the first conductor of the National theatre at Pesth, founder of the Philharmonic concerts, and the first professor of the piano and instrumentation at the conservatory, with 9 operas (1840-74), especially Hunyády László (1844) and Bank Bán (1861); the flutists Franz Doppler (d. 1883), in the Pesth orchestra till
