inent teacher at Antwerp, writing 7 concertos, etc.; and Charles François Jupin (d. 1839), pupil of Baillot, from 1826 teacher and conductor at Strassburg, with several violin-works and an opera (1834). These last illustrate how the influence of Parisian masters radiated to other cities.
From the Austrian group—Ignaz Schuppanzigh (d. 1830), a masterly ensemble-player, much associated with Beethoven, especially as teacher of the viola (1794), leader of the Lichnowsky quartet (1794-5), conductor at the Augarten (1798-9), leader of the Rasumowsky quartet (1808-16 and again later); Franz Clement (d. 1842), who was heard as a prodigy in England soon after 1790, at 18 (1802) became conductor at Vienna, about 1816 was associated with Weber at Prague, in 1818 returned to Vienna and after 1821 toured with the singer Catalani, winning a high place by extreme dexterity, graceful sentiment and a phenomenal memory, and writing 6 concertos and 25 concertinos, studies and many lesser pieces, besides other works (for him Beethoven wrote his concerto in D, 1806); and Leopold Jansa (d. 1875), a Bohemian who from 1824 was in the Vienna court-orchestra, from 1834 was conductor and teacher at the university, and from 1849 taught in London, writing in all 4 concertos, nearly 40 duos, 8 quartets, etc.
From the various German groups—Friedrich Witt (d. 1837), from about 1790 leader at Oettingen and, after tours, from 1802 court-choirmaster at Wurzburg, writing 9 symphonies, some chamber works, 2 operas (1804, '06), 2 oratorios and church music; the five brothers Moralt, four of whom, Joseph (d. 1828), Johann Baptist (d. 1825), Philipp (d. 1829) and Georg (d. 1818), formed a quartet that was famous at Munich from before 1800 and was one of the first to make extended tours for the rendering of chamber music; Ludwig Wilhelm Maurer (d. 1878), pupil of Haack at Potsdam, who from 1801 was in the royal orchestra, from 1806 in Russia, meeting Rode and Baillot and becoming choirmaster to a Moscow noble, from 1818, after touring in Germany and France, choirmaster at Hanover, from 1832 again at Moscow and from 1845 at Dresden, writing 8 concertos, a double concerto, a concertante for 4 violins, a symphony, 2 quartets, etc., besides 6 operas; Friedrich Ernst Fesca (d. 1826), appearing first at Magdeburg, then a pupil of A. E. Müller at Leipsic, in the orchestra there, from 1806 at Oldenburg, from 1808 at Cassel and from 1815 at Carlsruhe, producing in a graceful and effective style 20 quartets, 5 quintets, 3 symphonies and 4 overtures, besides 2 operas (1819, '23) and excellent church music; Johann Nikolaus Konrad Götze (d. 1861), a representative pupil of Spohr, A. E. Müller and Kreutzer, who, after successful German and Austrian tours, from 1826 was court-director at Gotha, retiring in 1848, and the composer of some chamber music and several operas (from 1814); Thomas Täglichsbeck (d. 1867), pupil of Rovelli at Munich, who traveled widely as a virtuoso and in 1827-48 was court-choirmaster at Hechingen, producing many violin-pieces, 2 symphonies, an opera (1823) and some vocal music; Johann Hermann Kufferath (d. 1864), pupil of Spohr and Hauptmann, from 1823 director at Bielefeld and from 1830 at Utrecht, where he became influential as a vocal teacher, producing good overtures, cantatas, sacred works and a vocal method (1836); and Jakob Zeugheer (d. 1865), born at Zurich, pupil of Wassermann and Fränzl,
