Löschhorn (d. 1905), another strong Berlin teacher, with varied works in a fine style; Louis Köhler (d. 1886), who, after a short operatic career, from 1847 was so prominent a piano-teacher at Königsberg that he was called a second Czerny; the able general composer Raff (d. 1882), whose reputation was first made as a piano composer and who produced much in the salon style, besides greater things (see sec. 210); Siegmund Lebert (d. 1884), best known as the promoter in 1856-7 of the Stuttgart conservatory; Johann Vogt (d. 1888), successively teacher at St. Petersburg, Dresden and Berlin; Karl Wehle (d. 1883), a Bohemian, trained at Leipsic and Berlin, who toured the world and then settled at Paris; the Dane August Winding (d. 1899), later head of the Copenhagen conservatory; Wilhelm Speidel (d. 1899), in 1848-54 at Munich and from 1857 associated with Lebert at Stuttgart, a composer for chorus and orchestra as well as piano; Louis Schottmann, since about 1855 a prominent Berlin teacher; the Hamburg conductor and teacher Ludwig Deppe (d. 1890); Gustav Lange of Berlin (d. 1889); Ludwig Stark (d. 1884), Lebert's strongest coadjutor at Stuttgart and an able choral composer; Karl Kölling of Hamburg; Friedrich Damm of Dresden; Robert Pflughaupt (d. 1871), from 1862 at Aix-la-Chapelle; Franz Bendel (d. 1874), a teacher with Kullak at Berlin, with some large works; Albert Biehl, noted for his advanced technical studies; Alexander Dorn (d. 1901), son and pupil of Heinrich Dorn, who worked in 1855-65 in Egypt and from 1868 at the Berlin Hochschule; Dionys Pruckner (d. 1896), from 1859 a distinguished member of the Stuttgart circle; Alexander Winterberger, successively at Vienna, St. Petersburg and Leipsic; the Russian Nicolai von Wilm, in 1858-75 a leading teacher and composer at St. Petersburg; Heinrich Döring, since 1858 prominent at Dresden, writing not only good piano-studies, but male choruses, chamber suites and sacred music; Anton Krause (d. 1907), in 1859-97 conductor and excellent teacher at Barmen; the Bohemian Hans Schmitt, since 1862 a successful teacher in the Vienna conservatory; Friedrich Baumfelder of Dresden; Emil Breslaur of Berlin, not only a specialist in piano-teaching, but a leading spirit in the organization of piano-teachers into societies; Anton Deprosse (d. 1878), who lived chiefly at Munich; Isidor Seiss, since 1871 a teacher in the Cologne conservatory; Louis Brassin (d. 1884), teacher at Berlin and St. Petersburg; and scores of others.
To this list might also be added the names of many composers whose eminence was chiefly won in other fields.
200. The Bravura Pianists.—The increasing valuation of the
piano and its music was further evidenced about 1825 by the
advent of many virtuosi who were more notable as technical
experts than as musicians in the large sense. As a rule, they
sought to feed the popular appetite for sensation, though not
without some degree of artistic skill in method. Under their influence
the resources of pianistic dexterity were developed to the
utmost, the public interest in piano music stimulated, and to some
extent the literature of the instrument enriched. To this class
