Karl Elmendorff

Early in his career, Elmendorff was a regular guest conductor in various European cities, including at La Scala: After Bayreuth, he became the musical director at Mannheim and in 1942 in Dresden.

Habeneck's success was not solely attributable to conscientious diligence, although he did spend over two years studying and rehearsing the work,[5] but rather that the orchestra "really sang this symphony".

[10][11] In 1928 Winifred was approached by Elsa Bruckmann to help enlist Muck into the ranks of the Militant League for German Culture (the KfdK).

Winifred agreed to help and, in a letter to Bruckmann dated 15 October 1928, outlined her plan to use Elemendorff ('he's very keen on anything like this' as the easiest and most natural way of achieving their aim.

The centrepiece of the concert was conducted by Elmendorff, and commemorated Siegfried's own 'modest genius'[14] with excerpts from his operas including the overture to Angel of Peace and 'Faith' from Heathen King.

[16] It wasn't until after Furtwängler acrimoniously departed following the 1936 Festival that Elmendorff was officially appointed as an assistant to the principal conductor, Heinz Tietjen.

[20] Jonathan Carr describes Elmendorff's 1928 recording of Tristan und Isolde as 'orchestrally exemplary' whilst also noting that although it was Toscanini was responsible for fully preparing Bayreuth Festival orchestra to achieve great things in the 1930 production of Tannhäuser, it was Elmendorff who (for contractual reasons) conducted the Bayreuth recording.