The next four composers of this somewhat arbitrary list can be summarily disposed of, since they have advanced the evolution of orchestration to no perceptible degree. This statement is by no means intended to belittle the sterling qualities of their musicianship. All of them have won renown in their respective fields of activity, and their creative efforts disclose broad culture, wide experience, and a facile pen. Their instrumentation is invariably effective. Eduard Lassen (1830) and Felix Draeseke (1835) took a prominent part in propagating the tenets of Liszt and Wagner. Draeseke frankly declared himself for Wagner, and assisted him by means of his literary skill. Lassen succeeded Liszt as Generalmusikdirector of the Weimar Opera. Similar to that of many another talented though at first obscure aspirant, the success of his operas was due to the enterprise of Liszt himself. During his later years Lassen devoted himself almost exclusively to song-writing. As recently as two years before his death, which occurred in 1903, he remarked to the present writer that after having studied and conducted Wagner's works as far back as forty odd years ago, he had come to the conclusion that he himself had no further message to give to the dramatic world; consequently he withdrew from the arduous contest. Alexander Ritter (1833) was an able and painstaking composer, and wrote for the opera as well as for the orchestra alone. His scoring was consistent with his scholarship, but the substance of his productions embodies little that is new. Weingartner (1853) is best known as a concert conductor. His directing exercises a peculiarly magnetic fascination, and that quite especially upon the ladies! His movements are wonderfully graceful, and suggest, at times, a subtle hypnotic power flavoring of Orientalism.