Karl Eduard Maria Elmendorff (October 25, 1891 – October 21, 1962) was a German opera conductor. Born in Düsseldorf, Elmendorff studied music at the Cologne College of Music and Hochschule für Musik Köln from 1913 to 1916 under Fritz Steinbach and Hermann Abendroth. Career Early in his career, Elmendorff was a regular guest conductor in various European cities, including at La Scala: 1916 to 1920 in Düsseldorf 1920 to 1923 in Mainz 1923 to 1924 in Hagen 1925 at the Munich State Opera After Bayreuth, he became the musical director at Mannheim and in 1942 in Dresden. Bayreuth When Fritz Busch refused to return to Bayreuth after the 1924 Festival and with Michael Balling dead the following year, Siegfried Wagner invited Elmendorff and Franz von Hoesslin to Bayreuth. Although Richard Wagner, at the beginning of his 1869 tract On Conducting (Über das Dirigiren), states that he has no intention of imposing a system on conducting practice, he nevertheless takes pains to establish a principle, summed up in the phrase, modification of tempo, which is "the principle conditioning the very life of music". In Damascene terms Wagner recalls how an 1839 performance of Beethoven's ninth symphony, by the Paris Conservatoire Orchestra conducted by François Habeneck, led him to believe that he had heard the symphony for the first time, and as Beethoven himself had conceived it. Habeneck's success was not solely attributable to conscientious diligence, although he did spend over two years studying and rehearsing the work, but rather that the orchestra had "really sang this symphony". Habeneck had, Wagner expounds, "found the right tempo because he took infinite pains to get his orchestra to understand the melos of the symphony. Wagner defines melos as a singing style which shaped melodic phrases with rubato, tonal variation, and shifting accent, and the right comprehension of the melos is the sole guide to the right tempo: these two things are inseparable: the one implies and qualifies the other. Bayreuth conductors were able to develop their own idiosyncrasies, and a house style gradually developed from this Wagnerian Ideal. The Bayreuth style tended toward slower tempi, which not only reflected Cosima's personal ideology, but could also be practically justified as the style demanded by the Festspielhaus's unique acoustics. It was into this undulating sound world of flowing symphonic texture that both Elmendorff and von Hoesslin, men who fully met Bayreuth's conservative criteria, began their Bayreuth