Page:A Dictionary of Music and Musicians vol 2.djvu/740

(1790?–1831) wrote 5 fantasias, a nocturne, a set of variations, and 12 studies; of the studies Robert Schumann speaks with considerable warmth. Giovanni Battista Sammartini (1700) composed no less than 2800 works, but his industry is more than rivalled, and his efficiency far surpassed, by Carl Czerny (1791–1857), the veritable Lope de la Vega of the pianoforte, who wrote such a quantity that it is actually impossible to give a correct account of all his original compositions, or of his arrangements, transcriptions, etc. Suffice it to say, that his works extend beyond 1000; of these one single number, the 'Decamerone,' contains 300 pieces, and the average content of each opus is 100; indeed there is not a single branch or form of pianoforte music in which Czerny was not active. In addition to this, his energy in arranging oratorios, operas, symphonies, overtures, quartets, quintets, etc., is really wonderful; his name, however, will be perpetuated by his eminently useful and practical studies. Johann Hugo Worzischek (1791–1825), a richly-gifted Viennese composer, wrote a sonata, 12 rhapsodies, 2 books of variations, several polonaises, and 3 rondos, among which the 'Rondeau espagnol' was a particular favourite of the Vienna pianists. Friedrich Wilhelm Grund (1791–187? [App. p.748 "1874"]), a highly esteemed Hamburg professor, is still well known by his well-written studies (op. 21). He composed also sonatas and rondos. Christian Traugott Brunner (1792–1874) composed about 300 pleasing and—for educational purposes—well-written pieces and collections. Cipriani Potter (1792–1871) composed (according to German catalogues, English editions being out of print and not easily attainable) 2 books of variations, 3 toccatas, 1 sonata, 2 books of studies (at one time used in the Royal Academy of Music), two rondos. Of this genial and highly respected professor's pieces, 'Il compiacente,' op. 16, and the divertimento 'La Placidita,' in A major, are still played; a grand duo for two pianos (op. 6) and an introduction and rondo (op. 8) for four hands contain much interesting matter. Mobitz Hauptmann (1792–1868), well known to many English musicians as an excellent teacher, composed 12 detached pieces and several sonatinas. François Hünten (1793–1878), an educational composer of some merit, wrote about 200 collections and works, easy and moderately difficult of execution. Some of Hünten's pieces, such as 'Les Emeraudes,' 'Trois Airs italiens,' op. 65; the rondinos 'Le petit Tambour' and 'An Alexis,' have become very widely known. His studies (op. 158) are exceedingly useful and agreeable. Ignaz Moscheles (1794–1870) composed 7 concertos, among which that in G minor still enjoys a well-merited, high reputation; 5 solo sonatas, 2 duet sonatas (op. 47, op. 112), of which the first, in E♭, deserves recollection, 10 books of variations, 20 rondos, many fantasias ('Recollection of Ireland'), and a great number of smaller pieces. His famous duets, his pieces for 2 pianofortes, 'Hommage à Handel' and 'Les Contrastes,' (8 hands), and his most excellent studies, op. 70 and op. 95, are considered classical, and fully merit that designation. Carl Arnold (1794) wrote 4 sonatas, 3 books of variations, 3 rondos, and a collection of studies, which were well known in Central Germany 30 years ago. Jacques Herz (1794–1880), the elder brother of the celebrated Henri Herz, wrote but a few original pieces (nocturnes). His variations (7 books), 10 rondos, 20 airs de ballet, fantasias, and more particularly his 11 books of brilliant valses on operatic airs, were at one time great favourites. Heinrich Marschner (1795–1861) composed 8 sonatas, 12 rondos, variations, fantasias, and 7 very good duets (Duo, op. 62). Carl Loewe (1796–1869) composed 4 sonatas (the 'Gipsy' sonata was once well known), and several characteristic fantasias, among which, 'Mazeppa,' 'The Brother of Mercy,' and 'Biblical Pictures,' created great attention in their time. Jacob Schmitt (1796–1853) wrote about 400 works, mostly educational; they consist of variations, rondos, nocturnes, excellent sonatinas, good studies, potpourris, and a number of very useful and entertaining duets. Franz Schubert (1797–1828) wrote 10 sonatas, 2 duet sonatas (op. 30, 140), 8 impromptus (op. 90, 142), 6 momens musicals, 2 fantasias, adagio and rondo (very charming), 158 valses, 29 Ländler (German rustic dances), and 21 ecossaises. Among his duets the beautiful fantasia in F minor (op. 103), the scarcely known 'Divertissement en forme d'une Marche brillante et raisonnée' (op. 63), the splendid and highly characteristic 'Divertissement a la Hongroise' (op. 54), the charming rondo in A (op. 107), and the incomparable collection of marches (op. 27, 40, 51, 55, 66, 121), are standard works and full of matchless beauties. Franz Schoberlechner (1797–1843) a Viennese, pupil of Hummel, and well known in Italy and Russia, was in his time very popular. He composed 2 sonatas, 15 books of variations, 5 rondos, fantasias, a 'duet-rondo brillant' in E minor, and several smaller pieces. Heinrich Wohlfahrt (1797) obtained a great reputation through his well-known instruction-books for children; but his sonatinas and other small pieces are also very valuable. Carl Gottlieb Reissiger (1798–1859) wrote 2 sonatas, 5 books of variations, 25 rondos, and several fantasias. Henri Bertini jun. (1798–1876) claims grateful recognition for his 20 books of excellent studies, for about 250 different easy, moderately difficult, and difficult collections of solo pieces, and for a great number of excellent and most useful duets. His arrangement of Bach's 'Wohltemperirtes Clavier' for four hand is not sufficiently well known. Carl Mayer (1799–1862) was a prolific composer; he wrote 2 grand concertos, several brilliant allegros with orchestral accompaniment, many rondos, scherzos, variations, fantasias, toccatas (in E), and collections of elegant and pleasing drawing-room pieces, such as his 'Jugendblüthen,' 'Immor-