from 1810 A. E. Müller (d. 1817); from 1819 the pianist Hummel (d. 1837); in 1836-50 the French opera-writer Chelard (d. 1861); in 1849-61 Liszt (d. 1886); from 1857 for a short time Karl Stör (d. 1889), who had been in court employ since 1827; in 1861-95 the Dane-Belgian Lassen (d. 1904); in 1889-94 also Richard Strauss; in 1895 Eugen d'Albert; and in 1895-8 Bernhard Stavenhagen. Among the concert-masters were in 1849-52 the great Joachim (d. 1907), who did not agree with Liszt's radicalism; in 1853-5 Laub (d. 1875); in 1854-61 Edmund Singer, later of Stuttgart; in 1863-84 August Kömpel (d. 1891); besides the soloists in 1855-8 Leopold Damrosch (d. 1885) and in 1862-72 Isidor Lotto, later of Strassburg. Other violinists of note were from 1803 Karl Eberwein (d. 1868); in 1826-48 Johann Nikolaus Konrad Götze (d. 1861); and in 1853-67 Ludwig Abel (d. 1895). In 1812-42 the theorist J. C. Lobe (d. 1881) was flutist and later violist. Among the 'cellists were in 1850-66 Bernhard Cossmann, later of Frankfort; from 1870 for a time Ernest Demunck, later of London; in c. 1871-85 Eduard Jacobs, later of Brussels; and from 1876 Leopold Grützmacher (d. 1900).
From 1830 the town-organist was the learned expert Johann Gottlob Topfer (d. 1870), who was followed in 1870 by Alexander Wilhelm Gottschalg.
In Liszt's time there was a close connection between Weimar and Sondershausen (35 m. northwest). The orchestra there, developed under previous choirmasters, as from 1800 Johann Simon Hermstedt (d. 1846) and in 1844-52 Gottfried Herrmann (d. 1878), from 1853 advanced to great perfection under Eduard Stein (d. 1864), one of Liszt's intimates—an eminence fully maintained later, in 1867-70 by Max Bruch, in 1871-80 by Max Erdmannsdörfer, and in 1881-86 by Karl Schröder. (It was here that the noted Schröder quartet was formed in 1871.)
