Wendelin Weißheimer became music director in Augsburg.
Despite his official duties and numerous other engagements he continued to compose.
After scoring songs and ballads of the German Minnesang, as well as from Goethe and other poets, he dealt with his first opera Theodor Körner.
Franz Liszt and Wagner spoke appreciatively of this work.
Lassalle, who had particularly liked the libretto and was equally enthusiastic about the music, had offered to write Weißheimer a textbook on Florian Geyer, Thomas Munzer or the Bohemian Jan Žižka, but his death put an end to this idea.
Wagner had written for Weißheimer a draft for the opera, Wieland the Blacksmith, but gave it back before scoring it.

For the premiere of Theodor Körner at the Berlin Court Opera, Liszt began with the former artistic director Count von Redern.
However, Count von Redern recommended Liszt to run the premiere on a different stage because Prince Louis Ferdinand was to play a role which would affect the Prussian royal family too strongly.
For the premiere to be accommodated elsewhere it would be important to gain Wagner's support, for whom Wendelin had fought for many years.
But Wagner was too immersed in his own work to be of any help.
Weißheimer's negotiations with Munich moved very slowly.

While a conductor at the Augsburg palace, Wendelin married Rosalie Scholle from Leipzig on 10 January 1865.
They were married for 45 years but produced no children.
Rosalie survived her husband, dying at the age of 79 on 25 September 1920 in Darmstadt.
From Augsburg, Weißheimer went to the Kroll Opera in Berlin, then to the theater in Düsseldorf.
From 1866 to 1868 he was in Würzburg.
From here he tried once again a world premiere of his patriotic opera Theodor Körner.
For this reason he looked up to Wagner in Munich.
Wagner was living with Hans and Cosima von Bülow in a house on Arcisstraße, donated to him by the king and where Cosima was a housewife who took care of Wagner's correspondence.
Wagner soon became interested in Mrs. Bülow.
His relationship with Weißheimer began to wane, and Weißheimer drew closer to Peter Cornelius at the premiere of the latter's 1865 opera Der Cid.

The friendship between Weißheimer and Richard Wagner ended in June 1868.
This was after Cosima, without reviewing the music, wrote on 6 July to Weißheimer that the text of his "Theodor Körner" could not be performed in court theaters because its seditious tendency might provoke trouble in peaceful times.
Wendelin, like his father, was stubborn and didn't support her views.
His disagreement with Cosima came between him and Wagner.
The situation was compounded when Wendelin Weißheimer recognised their love affair.
He sided with the betrayed von Bülow.
At the premiere of Die Meistersinger in Munich on 21 June 1868, Weißheimer had his last encounter with Wagner.
Wendelin Weißheimer became music director in Augsburg. Despite his official duties and numerous other engagements he continued to compose. After scoring songs and ballads of the German Minnesang, as well as from Goethe and other poets, he dealt with his first opera Theodor Körner. Franz Liszt and Wagner spoke appreciatively of this work. Lassalle, who had particularly liked the libretto and was equally enthusiastic about the music, had offered to write Weißheimer a textbook on Florian Geyer, Thomas Munzer or the Bohemian Jan Žižka, but his death put an end to this idea. Wagner had written for Weißheimer a draft for the opera, Wieland the Blacksmith, but gave it back before scoring it.
For the premiere of Theodor Körner at the Berlin Court Opera, Liszt began with the former artistic director Count von Redern. However, Count von Redern recommended Liszt to run the premiere on a different stage because Prince Louis Ferdinand was to play a role which would affect the Prussian royal family too strongly. For the premiere to be accommodated elsewhere it would be important to gain Wagner's support, for whom Wendelin had fought for many years. But Wagner was too immersed in his own work to be of any help. Weißheimer's negotiations with Munich moved very slowly.
While a conductor at the Augsburg palace, Wendelin married Rosalie Scholle from Leipzig on 10 January 1865. They were married for 45 years but produced no children. Rosalie survived her husband, dying at the age of 79 on 25 September 1920 in Darmstadt. From Augsburg, Weißheimer went to the Kroll Opera in Berlin, then to the theater in Düsseldorf. From 1866 to 1868 he was in Würzburg. From here he tried once again a world premiere of his patriotic opera Theodor Körner. For this reason he looked up to Wagner in Munich. Wagner was living with Hans and Cosima von Bülow in a house on Arcisstraße, donated to him by the king and where Cosima was a housewife who took care of Wagner's correspondence. Wagner soon became interested in Mrs. Bülow. His relationship with Weißheimer began to wane, and Weißheimer drew closer to Peter Cornelius at the premiere of the latter's 1865 opera Der Cid.
The friendship between Weißheimer and Richard Wagner ended in June 1868. This was after Cosima, without reviewing the music, wrote on 6 July to Weißheimer that the text of his "Theodor Körner" could not be performed in court theaters because its seditious tendency might provoke trouble in peaceful times. Wendelin, like his father, was stubborn and didn't support her views. His disagreement with Cosima came between him and Wagner. The situation was compounded when Wendelin Weißheimer recognised their love affair. He sided with the betrayed von Bülow. At the premiere of Die Meistersinger in Munich on 21 June 1868, Weißheimer had his last encounter with Wagner.
Wendelin Weißheimer