at Großwardein from 1760 to 1761. Carl Ditters von Dittersdorf (1739–1799) was Kapellmeister to the Prince-Bishop of Breslau from 1770 to 1795. Andrea Luchesi (1741–1801) was the last Kapellmeister in the Electoral court of Bonn from 1774 to 1794. Antonio Salieri (1750–1825) was Royal and Imperial Kapellmeister to Joseph II, Holy Roman Emperor from 1788 to 1824. Johann Friedrich Reichardt (1752–1814) was Kapellmeister to Frederick the Great at the royal Berlin opera. Joseph Martin Kraus (1756–1792) was Kapellmeister () in Stockholm at the court of king Gustav III of Sweden. Christian Kalkbrenner (1755–1806) was Kapellmeister of the Prussian Queen (1789) and after 1790 Kapellmeister of Prince Henry of Prussia at Rheinsberg castle. Wilhelm Friedrich Ernst Bach (1759–1845), grandson of Johann Sebastian, was also Kapellmeister of the Prussian Queen (1805–1811). Carl Maria von Weber (1786–1826) was Kapellmeister at the Bresault theater (1804–1807) and Kapellmeister at Dresden for Count Heinrich Vitzthum (1816–1826). Richard Wagner (1813–1883) was Kapellmeister to Frederick Augustus II of Saxony from 1843 to 1849. Paul Wachs (1851–1915) was Kapellmeister at the Church of Saint-Merri in Paris, France. Contemporary usage In contemporary German, the term "Kapellmeister" has become less common than (conductor). When used today it designates the director or chief conductor of an orchestra or choir. It suggests involvement in orchestra or choir policy (for example, selecting repertoire, concert schedules, and guest conductors) as well as conducting. In military settings it refers to a bandmaster. The music director of the Leipzig Gewandhaus Orchestra traditionally holds the old-fashioned title . In other German opera houses, the term generally refers to a deputy conductor reporting to the (general music director, usually also the chief conductor). An opera company may have several Kapellmeister, ranked as (First...), (Second...), etc. The conductor Christian Thielemann has offered a nuanced account of the Dirigent/Kapellmeister distinction in contemporary usage. He suggests that "Kapellmeister" has unfairly acquired a sense of routine or failure to project glamour: "a Kapellmeister now describes a pale, meek figure beating time. A policeman on duty at the podium directing the musical traffic, no more." In fact, Thielemann, who is fully aware of the historical usage of the term, would himself prefer to be called a "Kapellmeister": "it implies such virtues as knowledge of a work, great ability, and dedication to the cause of music". The term "Kapellmeister Tradition" is commonly used to describe these qualities, as exemplified by such historically important conductors as