Page:A Dictionary of Music and Musicians vol 2.djvu/741

tellen,' 'Shadow pictures,' 'Myrthen,' etc. His numerous duets are excellent for teaching purposes; and his studies, op. 31, 55, 61, 92, 93, 100, and 119 are highly to be recommended. Heinrich friedeich Enckhausen (1799–) obtained a good name for his valuable and useful sonatinas, sonatas, rondos and other educational pieces. Carl Kulenkamp (1799–) wrote about 60 works of a light and agreeable character; amongst them his polonaises and valses obtained considerable reputation. Joseph Christoph Kessler (1800–1872) composed variations, bagatelles, nocturnes, scherzos, preludes, cadenzas, and a sonata, in E♭ (op. 47); and his Grandes Etudes (op. 20) are still greatly and deservedly esteemed. Johann Wenzel Kalliwoda (1800–1866) composed a great number of rondeaus, valses, impromptus, contredanses, and amusing duets. Franz Xaver Chotek (1800–1852), a name well known in Austria, arranged about 130 works on operatic airs, chiefly for amusement and instruction. Carl Schunke (1801–1839) wrote about 60 educational works; among them the collection 'Le Pensionnat' (op. 52), both for solo and duet, became well known. Carl Georg Lickl (1801–1877) wrote about 80 works. Among them the charming collections entitled 'Ischler Bilder' (op. 57), 'Elegieen' (op. 63), and 'Novelletten' (op. 66), deserve a nearer acquaintance. Ferdinand Beyer (1803–1863): this prolific composer published over 800 amusing and instructive pieces, consisting mostly of arrangements, variations, valses, and divertissements. Jean Amédée le Froid de Méreaux (1803–1874) is well known by his excellent collective work 'Les Clavecinistes.' His grand studies and several smaller pieces are well composed, but as they are only published in France, they are but little known in Germany and England. Adolph Heinrich Sponholtz (1803–1851) composed sonatas, characteristic pieces, studies, and several collections of very pleasing dance-music. Salomon Burkhardt (1803–1849) wrote about 70 works, chiefly educational, among them many duets, still very popular in Germany. Jules Benedict (1804, now Sir Julius [App. p.748 "date of death, 1885"]) has written concertos, sonatas, fantasias, variations, reveries, rondos, divertissements, and many transcriptions of classical works. Luise Farrenc (Dumont) (1804–1875) composed about 40 works of considerable merit; among them her studies op. 26, 41, and 42 are well known and much played in Germany. Her cooperation in the publication of her husband's great collective work, 'Le Trésor des Pianistes,' deserves grateful recognition. Carl August Krebs (Miedke, 1804–1880) composed a great number of elegant and pleasing pieces. Friedrich Burgmüller (1804–1874 [App. p.748 "1806"]) composed a great number of educational works, particularly valuable for their accuracy in the matter of expression and musical orthography. Henri Herz (1806–) is one of the most prolific composers for the pianoforte; he has written more than 200 works, among them 60 books of variations, many fantasias, and drawing-room pieces of every description. His studies, op. 20, 100, 119, 151, 152, 153, are very popular on the continent, and his 4 books of technical studies have obtained a world-wide reputation. His duets, op. 16, 50, and 70, are highly to be recommended for teaching. Joseph Nowakowski (1805), a Polish professor, composed 12 etudes (op. 25, dedicated to Chopin), and was very successful with his Polish airs, mazurkas, and polonaises. Julie von Baroni-Cavalcabo—afterwards Julie von Webenau—(1805) wrote a sonata, rondos, 3 caprices, fantasias, and several smaller pieces, of which one 'Au bord du lac' is very charming. The Danish composer Johann Peter Emil Hartmann (1805) wrote a prize sonata, variations, sketches, rondeaus, caprices, of which Schumann speaks sympathetically. George Alexander Osborne (1806) composed a great number of variations, fantasias on operatic and national airs, rondinos, and many drawing-room pieces, of which the favourite valse 'La Pluie des Perles' [App. p.748 omit the word valse"] made the round of the world. Johann Friedrich Kittl (1806–1868) wrote 12 idyls, scherzi, divertimenti, etc., which enjoyed a certain popularity in Bohemia. Anna Caroline de Belleville-Ouby (1806–1880) wrote several elegant and popular drawing-room pieces, of which the fantasia on Scotch airs obtained great success in England. Felix Dobrzinsky (1807–1867), a Pole, devoted himself chiefly to the music of his native country. His variations and fantasias are composed on Polish airs, and his other compositions consist of polonaises and mazurkas, one of which, 'Mazurka a la Kujawianka," became well known. The merits of Julius Knore (1807–1861) reside not in his original pieces, but in his carefully compiled and systematically ordered educational works—'Methodischer Leitfaden für Klavierlehrer,' and 'Materialien für das mechanische Klavierspiel.' Franz Xaver Chwatal (1808–1880 [App. p.748 "1879"]) left a great number of sonatas and sonatinas (for 2 and 4 hands), rondos, variations, fantasias, excellent paraphrases of celebrated songs, collective works, among which the 'Musikalisches Blumengartchen' became well known. His pieces are fluently and agreeably written. Hubert Ferdinand Kufferath (1808– [App. p.748 "date of death 1882"]), a highly respected Brussels professor, composed good studies (op. 2 and 8), divertissements, romanzas, etc.; his arrangements for pianoforte solo of the andantes from Mendelssohn's concertos, op. 25 and 40, are eminently successful. Felix Mendelssohn-Bartholdy (1809–1847) composed 2 concertos, 1 capriccio (op. 22), a rondo (op. 29), a serenade and allegro giojoso (op. 43), all with orchestral accompaniments; 1 sonata (op. 6) 4 fantasias (op. 16 and 28), several scherzi, 3 sets of variations, especially the 17 Variations sérieuses (op. 54); 3 caprices (op. 33), 36 Songs without Words (Nos. 37–48 were published after his death), preludes and fugues (op. 35), 2 sketches, a capriccio (op. 5), 6 Christmas pieces, an andante cantabile and presto agitato, a study in F minor, scherzo à capriccio in F♯ minor, a barcarole in A, and two duets, andante and variations op. 83a,