The notion of exponents of historical performance practice turning their attention to music beyond the boundaries of the Baroque took some time to gain acceptance. Their methods first had to become part of the musical mainstream. These days, Hermann Max also takes on the great romantic repertoire, with both historical instrument ensembles and modern orchestras. Characteristically, here too his attention is especially drawn to misunderstood, forgotten, or underestimated composers of the period. Whether in Max Bruch’s Arminius a major work of late historicism is brought to light, or in Ferdinand Ries’ great oratorios Der Sieg des Glaubens and Die Könige in Israel a long-neglected romantic composer regains his deserved renown, Hermann Max makes an impassioned plea for this repertoire. Giacomo Meyerbeer, one of the most important protagonists of romanticism, whose reputation still suffers under Richard Wagner’s terrible anti-Semitic scorn, will soon be added to the roster. And yet another greatly underestimated comtemporary of Brahms, Heinrich von Herzogenberg, has also attracted the conductor’s particular interest.