Emanuel Bach and two other pupils of his father, Christian Nichelman (1717–81) and Johann Friedrich Agricola (1720–74), devoted themselves considerably to song composing. All the operetta composers we have previously mentioned composed separate songs, which, together with single numbers of their operettas, attained widespread popularity. One of the best song composers of the time was Johann Peter Schulz (1747–1800). His “Lieder in Volkston” were modelled on the old folk-songs of Germany. Schulz had true German lyric feeling; he pointed out the way followed by Schubert a generation later. Schulz’s songs have long been universal favorites. It is a strong evidence of the innate naturalness and strength of his songs that they should have retained their place in the affections of the youth of Germany. They are still sung in German school-rooms. As German literature began to free itself from French influence, which had been so potent during the reign of Frederick the Great, poets arose who gave voice to true German feeling and sentiment. The lyrics of Hagedorn, Gellert, Klopstock, Gleim, Kleist and others furnish material for composers. Bürger, the celebrated author of “Lenore,” enriched German literature with his ballads, many of which became popular in musical form. It was Herder who revived true enthusiasm and feeling for the old Volkslied, and with the rise of Goethe’s genius a new era dawned on lyric poetry, and inspired song composers to take higher flights. Johann Rudolph Zumsteeg (1760–1803) was the pioneer composer of ballads. Reichardt, of whom mention has already been made, was the first to win general approbation by his settings of Goethe’s lyrics. Carl Friedrich Zelter (1758–1833) was more closely identified with Goethe, both as friend and composer. In 1800, Zelter became director of the Berlin Singakademie. He established the first male chorus club (Männergesangverein) of Germany, which became the model of the many similar clubs. Haydn, Mozart and Beethoven did not devote special attention to song composing; their life-work was accomplished in a larger field. Yet the canzonets of Haydn, the charming “Veilchen” of Mozart and the romantic “An die ferne Geliebte” of Beethoven are songs of much greater merit than any others of their time, prior to Schubert.