Joseph Joachim (d. 1907), born at Pressburg (Hungary) in 1831, was on the whole the greatest name in the period and since. After study at Vienna, he came to Leipsic in 1843 and immediately rose to eminence, finally being David's assistant. In 1849-54 he was leader under Liszt at Weimar, was then conductor and soloist at Hanover, and in 1868 was called to take charge of the new Hochschule at Berlin, where he was extremely influential. As an interpreter he was unrivaled, and as a composer productive, in a style having usually a pathetic intensity, though following classical models of form.
From the east came also the Hungarian Eduard Remenyi (d. 1898), from 1848 for a half-century known round the world as a concert-player of extraordinary brilliance; the Bohemian Ferdinand Laub (d. 1875), from 1853 Joachim's successor at Weimar, from 1855 a foremost master at Berlin, and later at Moscow and Carlsbad; and the Pole Henri Wieniawski (d. 1880), a widely-traveled virtuoso, in 1860-72 at St. Petersburg and in 1874-7 Vieuxtemps' successor at Brussels. The last two were composers to a limited extent.
Of the same period was the Spaniard Gesù Monasterio (d. 1903), trained at Paris, who from 1861 was the centre of classical violinism at the Madrid court and conservatory. The Belgian François Jéhin (d. 1899), born in 1839, developed early as a virtuoso, known through Europe and America, and from 1893 settled at Montreal and from 1896 at Brussels.
Among famous teachers should be mentioned Georg Hellmesberger [Sr.] of Vienna (d. 1873); Lambert Meerts of Brussels (d. 1863); and Lambert Joseph Massart of Paris (d. 1892).
Noted quartets were formed by Joseph Hellmesberger [Sr.] of Vienna (d. 1893), in 1855 by Karl Müller of Meiningen, and later by Joachim, Laub, Jean Becker (d. 1884) and others.
As illustrations of the many 'cellists of substantial musicianship may be named Friedrich August Kummer of Dresden (d. 1879); Adrien François Servais (d. 1866), from 1836 touring and from 1848 at the Brussels conservatory; Karl Schuberth (d. 1863), from 1835 honored at St. Petersburg; Alfredo Piatti (d. 1901), working from 1849 at London; Georg Goltermann (d. 1898), from 1853 prominent at Frankfort; Friedrich Grützmacher (d. 1903), from 1849 at Leipsic and from 1860 at Dresden; his brother Leopold Grützmacher (d. 1900), successively at Leipsic, Schwerin, Prague, Meiningen and Weimar; and Joseph Diem (d. 1894), from 1866 at the Moscow conservatory.
Mention should also be made of the famous double-bassist Giovanni Bottesini (d. 1889), a great concert-player and a prolific composer of operas (1847-80), orchestral and chamber music, and songs.
216. Other Instrumentalists.—The rapidly increasing interest
in orchestration tended to direct attention afresh to the possibilities
of every solo instrument, encouraging the invention of
improvements and of altogether new forms, stimulating extreme
virtuosity and the exact methods of teaching by which it is at-
