guided by the powerful influence of the Leipsic conservatory, with its exaltation of elegance, symmetry and dignity, sometimes to the discouragement of warmth and spontaneity. Only a few, like Volkmann and Brahms, came early into the more strenuous and progressive succession to Schumann and were thus ready to make some combination of intricate classical texture with the expression of a wider range of feeling and ideas. It is slightly noticeable that in this last group valuable impetus was received from the source that was fruitful in the case of masters as dissimilar as Haydn and Liszt, namely, the national music of Hungary. Somewhat analogous interminglings of older technical methods with fresh national or racial materials and sentiments were to be seen in still other cases, Russian and Scandinavian.
Without attempting the difficult task of a full classification, several prominent
composers are here grouped together who on the whole opposed the
transformations of style advocated by the 'New-German' enthusiasts.
Franz Lachner (d. 1890), a Bavarian, born in 1803, had training from Ett at Munich and from Stadler and Sechter at Vienna, where he was one of Beethoven's later friends and also prominent among the 'Schubertiaden.' There in 1826 he became conductor at the Kärnthnerthor Theatre, and started the Philharmonic concerts. After two years at Mannheim, in 1836 he was made court-conductor at Munich, where for over 30 years he was a distinguished force. From 1865 he gradually withdrew from activity because of his distaste for the Wagnerian movement. His works include 8 strong symphonies, 8 brilliant orchestral suites, several overtures and much chamber music, besides organ and vocal works, church music, 2 oratorios and 4 operas (1828-49). His style is full of solid learning and contrapuntal ingenuity. Personally he was greatly esteemed throughout southern Germany. His brother Ignaz Lachner (d. 1895) was likewise industrious and worthy, serving as conductor at Vienna, Stuttgart, Munich, Hamburg, Stockholm and Frankfort till 1875.
The musical eminence of Munich in the modern period dates almost wholly from the accession of Ludwig II. in 1864. Early in the century the choirmasters were the opera-writer Winter (d. 1825) and Ferdinand Franzl (d. 1833). Winter was followed by his pupil Joseph Hartmann Stuntz (d. 1859), but his influence was slight. After Lachner came in 1864-5 Wagner (d. 1883); in 1867-9 Bulow (d. 1894); in 1870-7 Franz Wullner (d. 1902); in 1872-94 Hermann Levi (d. 1900); from 1877 Joseph Rheinberger (d. 1901); in 1894-7 Richard Strauss; in 1897-8 Max Erdmannsdorfer; in 1898-1900 Bernhard Stavenhagen, and from 1900 Hermann Zumpe (d. 1903). The Royal Music School, founded in 1846 by Franz Hauser (d. 1870) and directed by him till 1864, was radically reorganized in 1867 under Bulow.
