conducted for several years despite personal disappointment, with continuing veneration of Wagner's genius, at the famous Teatro La Scala in Milan. He had his residence on the idyllic Lake Como. Around 1893, Weißheimer moved to Freiburg im Breisgau in order to focus on his literary career. His 1898 book, Experiences with Richard Wagner, Franz Liszt and many other contemporaries saw three editions in one single year. Around 1900 he moved to Nuremberg and from Freiburg and Nuremberg the way led him back again more often to his native homeland at the Stone Mill. In the casino society there he spent hours with old friends whom he pleased most joyfully with improvisations on works by Wagner and Liszt and on his own compositions. In his last years, Weißheimer led mass choirs at social-democratic Party Congresses. His target was the huge masses of the workers' movement. When Weißheimer died on 16 June 1910 in Nuremberg, his death caused great turmoil. 30.000 unionized socialists paid him their respects and read obituaries of him in the leading newspapers. Works Weißheimer left 106 works, including songs and choral cycles. Even though he tried compositionally to go his own way, he could not emerge from the shadow of his great teacher Liszt, and of Wagner. His operas, his cantatas, and his instrumental music underline this. Even if his "absolute" music pays homage to one of the great string quartet and successful "obligatory violin parts" to Bach's Well-Tempered Clavier, he displays in his other works a clear tendency for program music. Weißheimer's piano pieces Reminiscence of Gioventu and At Beethoven's Grave, as well as his Symphony for Schiller's Knight Toggenburg match the spirit of the New German School. His literary taste is evident in the texts he set to music. German minstrel poems, texts by Johann Wolfgang von Goethe, Friedrich Schiller, Körner, Heinrich Heine and others found a musical home in his songs and cantatas. Weißheimer summarized his individual compositions into larger cycles. Thus arose the 24 songs in the cycle "German minstrel," the 18 settings of Goethe, as well as songs from Heine and Körner, appeared for the men's choir "Eight Songs," along with previously unpublished choral cycles. After his departure with Wagner, Weißheimer turned increasingly to the labor movement and exercised with his compositions for male chorus a particular influence on the cultural aspirations of the Social Democratic Party of Germany. Printed and frequently performed