with 2 operas at Paris (1827-8) was made up by successes at Munich, where he produced 4 operas, including Die Hermannsschlacht (1835), followed by 2 comedies at Weimar (1842-4); the eminent symphonist Franz Lachner (d. 1890), most of whose 4 operas (1828-49) were brought out at Munich, including Caterina Cornaro (1841) and Benvenuto Cellini (1849); the violinist and critic Louis Schlösser (d. 1886), long in court service at Darmstadt, with 6 operas (from about 1835) and much instrumental music; the talented, but short-lived Otto Nicolai (d. 1849, aged 39), trained at Berlin and Rome, whose 4 early works (1838-42) were Italian in text and style, though reproduced in German at Vienna, where in 1841-7 he was court-choirmaster, but whose famous comedy Die lustigen Weiber von Windsor (1849) was brought out at Berlin, where from 1847 he was opera- and cathedral-conductor; Franz Xaver Pentenrieder (d. 1867), court-choirmaster at Munich, with the popular Die Nacht auf Paluzzi and one other (1846); Karl Mangold (d. 1889), violinist, chorus-master and in 1848-69 court-conductor at Darmstadt, with 4 operas, including Tannhäuser (1846), several concert-dramas and successful chorus music and songs; Gustav Schmidt (d. 1882), conductor at Frankfort, with 4 operas, beginning with the favorite Prinz Eugen (1845); the cultivated Franz von Holstein (d. 1878), brought up as a soldier, but in 1853-9 thoroughly trained as a musician, partly by Hauptmann, with 6 operas (from 1845), including the successful Der Heideschacht (1868, Dresden) and others later, fine overtures, chamber music and songs; Ernst II. (d. 1893), Duke of Saxe-Coburg-Gotha, with 7 stage-works (1846-73), including Santa Chiara (1853), Casilda (1855) and Diana von Solange (1858), besides other works; Heinrich Frankenberger (d. 1885), from 1847 in the Sondershausen orchestra, with 3 works (1847-63); the Munich conductor and intendant Karl von Perfall (d. 1907), with 4 operas (1853-86), favorite cantatas and melodramas, including Dornröschen, and excellent songs and part-songs; Wilhelm Karl Mühldorfer, from 1855 conductor at Ulm, from 1867 at Leipsic and since 1881 at Cologne, with 5 romantic works, beginning with Im Kyffhäuser (1855); Wilhelm Westmeyer (d. 1880), with Amanda (1856, Coburg) and Der Wald bei Hermannstadt (1859, Leipsic) and good chamber music; Theodor Hentschel (d. 1892), in 1860-90 conductor at Bremen, with 5 works, beginning with Matrose und Sänger (1857, Leipsic); the Bohemian Theodor Bradský (d. 1881), with Roswitha (1860, Dessau) and several others; and August Langert, from 1860 conductor at various places and from 1873 at Gotha, with a series from Die Jungfrau von Orleans (1861, Coburg) and Die Sangers Fluch (1863, Coburg). Several of these last belong rather to the next period.
The Weimar circle and Wagner are considered elsewhere (see secs. 206-210).
In Denmark mention should be made of the distinguished Emil Hartmann (d. 1900), from 1840 director of the Copenhagen conservatory and from 1849 court-conductor, whose 4 operas (1832-46) were among his earliest works; Siegfried Saloman (d. 1899), whose first 3 operas (1844-7) were written at Copenhagen, including Das Diamantkreuz (1847); and Henrik Rung (d. 1871), with 8 works, beginning with Die Erstürmung von Kopenhagen (1847) and Federigo (1848).
