1880). Noted bassoonists were Jean Baptiste Joseph Willent of Brussels and Paris (d. 1852); and the distinguished Dutch composer and conductor Johannes Meinardus Coenen of Amsterdam (d. 1899).
The clarinettists included Hyacinthe Eléonore Klosé of Paris (d. 1880); Arnold Joseph Blaes of Brussels (d. 1892); Henry Lazarus of London (d. 1895); Bernhardt Landgraf of Leipsic (d. 1885); and Karl Bärmann [Sr.] of Munich (d. 1885).
Among the hornists were Johann Gottfried Rode of Berlin (d. 1857), and Désiré Artôt of Paris and Brussels (d. 1887). Important cornettists were Joseph Arban of Paris (d. 1889), and Julius Kosleck of Berlin. In the Leipsic orchestra from 1835 was the timpanist Ernst Gotthold Benjamin Pfundt (d. 1871), the inventor of the 'machine-head.'
The harp continued to be carefully studied, prominent virtuosi being Théodore Labarre of Paris (d. 1870); Elias Parish-Alvars of Vienna (d. 1849); Félix Godefroid of Paris (d. 1897); Karl Oberthür of London (d. 1895); Ange Conrad Prumier of Paris (d. 1884); and John Thomas [Aptommas] of London.
Music for the zither advanced into considerable artistic importance. The instrument was specially improved and cultivated by Max Albert of Berlin (d. 1882).
Besides the eminent conductors already named, mention should be made of Karl Liebig (d. 1872), in 1843-67 head of an orchestra at Berlin; Benjamin Bilse (d. 1902), from 1843 town-musician at Liegnitz, developing an exceptional band, and in 1868-84 leader of famous concerts at Berlin; Karl Müller (d. 1894), from 1846 at Münster and from 1860 at Frankfort; Johann Herbeck (d. 1877), from 1853 influential at Vienna; Julius von Bernuth (d. 1902), from 1857 at Leipsic and from 1867 at Hamburg; and many others later.
217. Waltz Music.—Among the many dances that have become
standard objects of artistic treatment none has been so
popular as the waltz, which was evolved from the simple Austrian
landler about 1780. Originating probably in Bohemia and proceeding
from Vienna as a centre, by 1800 it had become fashionable
in all European cities. The purely musical waltz-form was
promptly utilized by the Viennese composers generally, beginning
with Mozart and Beethoven. It was finally expanded by Schubert,
while Weber lifted it into an orchestral type. Later the
romantic and the bravura pianists used it constantly for salon and
concert pieces, often with extreme beauty of sentiment and effect,
though usually without reference to actual dancing. But meantime,
at Vienna and to some extent elsewhere, waltzes for dancing
became notable in the hands of clever composers and
conductors who made the form a specialty.
