Cornelius (1824) would appear to be thus far the only writer for the German stage since Wagner who has had something decidedly original and lasting to say.[63] Being a protégé of Liszt, he became an ardent partisan for Wagnerism. The cool reception of his "Barbier von Bagdad" when first performed at Weimar in 1858 was the immediate reason for causing Liszt to withdraw from that city in disgust. This lack of appreciation is the more unaccountable in that but eight years had elapsed since the residents of Weimar had welcomed Wagner's "Lohengrin" with enthusiasm. "Der Barbier" was a worthy successor to "Lohengrin"; not that the styles of these two operas have even the remotest affinity to each other, but rather the very originality of the "Barbier" should have commanded unquestionable approval. However, the succeeding generation of theatre-goers has been pleased to commend the work after a fashion, though it is to be regretted that this appreciation has not become whole-souled and universal. Not only is the music itself charming and vivacious, and the plot highly ingenious, but the orchestration is brimming over with mirth and good humor, portrays in the most subtle manner the amorous as well as the sentimental situations, and brings into requisition some very ludicrous traits of instrumentation. Moreover the Finale, "Salamaleikum," is a most magnificent piece of _ensemble_ writing. Cornelius followed Wagner in writing all of his texts himself. "Der Cid" is less spontaneous than its predecessor, but the orchestration is that of a master, being imbued with genuine local coloring together with profound melancholy, suppressed emotion and heroic outbursts. It is interesting to conjecture what the outcome of Cornelius' setting of "Gunlöd" would have been, for he left behind him an unfinished text based upon the elder Scandinavian Edda. [Footnote 63: See footnote on page 118 in reference to the sensation recently created by Richard Strauss' opera "Salome."] Anton Bruckner (1824) is commonly identified with the New Movement, but he might with equal propriety be rated as a classical-romanticist. Although he possesses many warm admirers, the permanent value of his writings is open to question. His formal structure, contrapuntal treatment, and thematic development bear the impress of a scholarly touch, but in spite of certain leanings toward Wagnerian principles, his heavy style and rather precise music have a chilling effect upon the majority of listeners. The melodies are not flowing, the rhythm is monotonous, and the orchestration, though clever, lacks buoyancy and warmth.