In a general sense, all modern composers belong to the Romantic School, but for the sake of consistency in this general classification, Lachner, Jadassohn and Moszkowski should be mentioned as direct followers of both Mendelssohn and Schumann. Franz Lachner (1803) was prominently connected with the musical life of Munich prior to the rise of Wagner worship in 1865. In spite of his untiring activity as a conductor, he was one of the most prolific and at the same time most popular composers of South Germany. His style betrays the mind of a learned man. The harmonies are modern, but his works are none the less imbued with a certain tinge of classicism. Lachner wrote several operas and oratorios, eight symphonies, and much chamber and church music; but of greatest importance are the suites for grand orchestra of which he wrote eight. They are magnificent specimens of contrapuntal knowledge. Some condemn his writings as being "Kapellmeistermusik" and as containing nothing truly original or great. Riemann's views are radically different:--"Lachner is at his best in his orchestral suites, which, as a kind of modern continuation of Bach-Händel orchestral movements, occupy a distinctive place in musical literature. Sovereign command of contrapuntal devices combined with nobility of invention will secure for them in the future greater appreciation than is accorded them at the present day." Jadassohn (1831) holds an important position in the history of instrumentation, not so much, perhaps, as a result of his own composition as for the excellence of his teaching and of his theoretical works, which include the valuable "Lehrbuch der Instrumentation." A prominent feature of many of his works is the facility with which canonic writing is applied. Among the best-known and most popular of his orchestral compositions is the Serenade, opus 35. Moszkowski (1854) is one of the younger composers whose writings are imbued with the spirit of Mendelssohn and Schumann rather than with the local coloring of Poland as might have been expected since his father was a native of that country. The most popular of his works are the "Spanische Tänze" for pianoforte, whereas the most important in orchestral form is the symphonic poem "Jeanne d'Arc." The style is dignified and musicianly, but lacks the true greatness of originality. The list of faithful adherents to the pure romanticism of the early school is herewith properly concluded. Only an imaginary line, however, separates Spohr and Weber from Raff and Brahms; so the following chapter is nothing more than a continuation of the present discussion. (Summary on page 175.) CHAPTER X. THE CLASSICAL ROMANTICISTS.