During his tenure at the court of Weimar, Franz Liszt focused much of his creative energy towards composing orchestral music, primarily his symphonic poems and symphonies. Liszt received the title of Court Kapellmeister Extraordinary on 2 November 1842 and eventually moved to Weimar in 1848 with Carolyne zu Sayn-Wittgenstein. As Detlef Altenburg outlines in his article ‘Franz Liszt and the Legacy of the Classical Era’, Liszt and Grand Duke Carl Alexander viewed Liszt's appointment as in artistic succession to Johann Wolfgang von Goethe (1775–1832) rather than the previous most celebrated Kapellmeister, Johann Nepomuk Hummel (1819–37). In this spirit, Liszt organised several festivals celebrating German artists in Weimar, beginning with the Goethe Festival in August 1849. Many of Liszt's symphonic poems, symphonies and other orchestral works are products of his aim to revive the ‘Weimar spirit’. Even the works that are not directly connected to a Weimar figure are still part of his desire to reignite the creativity associated with the Goethezeit. In addition, Liszt considered his orchestral compositions to be a continuation of Beethoven's achievement. According to a view strongly held by Liszt and Wagner, the symphony – with the exception of Berlioz – had become stagnant after Beethoven. Liszt saw it as his mission to take orchestral composition further along the path initiated by the great symphonist.