Felix Draeseke (1835–1913) and Salomon Jadassohn (1831–1902) were among the more interesting composers of the Romantic era, falling into the category of "also-rans." Jadassohn was primarily known as one of the longest-serving composition teachers at the Leipzig Conservatory. Surviving photographs of him reinforce the image of a strict pedagogue: his eyes stare fixedly from between a troubled forehead and a bushy beard. Draeseke, on the other hand, enjoyed considerable success during his lifetime, which makes his later neglect more difficult to explain.
Although Jadassohn exhibited essentially conservative tendencies, he was nonetheless influenced by the music of Liszt and Wagner. This is particularly evident in his Piano Concerto No. 1 in C minor, Op. 89 (1887), which abandoned the traditional structure in favor of a linked Introduction quasi recitativo, Adagio sostenuto, and Ballade. In its proportions, it resembles Liszt's first piano concerto, with an improvisational opening section, an expansive slow section, and a complex finale in sonata form. His two compact concertos are full of Lisztian fireworks, formally experimental, and highly entertaining.
Draeseke was among the German composers who stood between the Wagnerian and Brahmsian camps, which likely contributed to his historical obscurity. However, he combined elements of both schools very effectively. Although his thematic material is not immediately memorable and his formal approach was more traditional, his work as a whole offers a very satisfying listening experience. Despite their compositional abilities, both composers were largely forgotten after their deaths, with Jadassohn's Jewish heritage further contributing to the loss of any support for his music in Germany.