CELEBRATED PIANISTS
PAST AND PRESENT
A COLLECTION OF 116 BIOGRAPHIES OF
GREAT PIANOFORTE PLAYERS
BY
A. EHRLICH
WITH 114 PORTRAITS
HAROLD REEVES
210 Shaftesbury Avenue, London, W.C.2
PREFACE.
TN causing my book of "Celebrated Pianists" to follow that of
"Celebrated Violinists", I am of necessity obliged to repeat what
I then asserted. Whoever looks at this book in its complete form
can hardly conceive what great difficulties have had to be surmounted
in its production. Although sufficient biographical notices of older
masters exist, it has in many cases been no easy task to obtain
reliable portraits of them. Still less easy has it been to find literary,
and artistic information respecting living artists. First-rate players are
like birds of passage, traversing land and ocean, and consequently,
opportunities of acquiring reliable accounts of their lives and portraits
of them, are infrequent. Personal accounts of them on the one hand,
and their portraits on the other, and in many cases even both, have
not been obtainable, so that at the last moment their names have had
to be omitted from the programme. For similar reasons the lives of
many artists have been scantilly described, rather than be omitted
altogether ; while others by no means more entitled to consideration
have had more exhaustive accounts allotted to them, simply because the
biographical sources have been more abundant and easier of access.
In reality the art of compression had to be severely exercised to
avoid the possibility of running the work into volumes, which would
have been beyond the purpose of producing a handy book. For this
reason only the more noted historical masters : as, J. S. Bach, Mozart,
Beethoven, Chopin, Weber, Mendelssohn, Liszt, Field, Rubinstein,
Tausig, Brahms &c. could be dealt with in detail ; but it is just in this
more extended description of the principal pillars of musical history,
IV PREFACE.
that the progressive development of the art of piano playing in regard
to composition as well as to technic, could be made clear and
positive.
It was only by adopting the system of alphabetical arrangement
that the insurmountable difficulties of artistic comparison could be
avoided. A greater equality of excellence is more easily noticed among
pianoforte players than with violinists. It is impossible to exactly
guage the degree of excellence of one against the other. As regards
technik younger virtuosi are very nearly equal. Still the discerning
reader will observe that his attention has been directed as far as
possible to the peculiarities of those described and their signification for
the various periods of artistic progression. As also that the greatest
possible care has been bestowed on the technical reproduction of their
portraits.
Although it must be admitted that this book is to a certain extent
incomplete, in consequence of the difficulties already mentioned, I
trust it will be cordially welcomed by all friends of the pianoforte.
For younger students of music it will afford instruction and supply
fresh encouragement and stimulation to farther exertion.
A. EHRLICH.
CONTENTS.
Page
D'ALBERT, EUGEN I
BACH, JOHANN SEBASTIAN 3
BACH, KARL PHILIPP EMANUEL 7
BACHE, WALTER 10
EARTH, KARL HEINRICH 12
BEETHOVEN, LUDWIG VAN 14
BENDEL, FRANZ 30
BENNETT, WILLIAM STERNDALE 32
BERTINI, HENRI 35
BRAHMS, JOHANNES 37
BRASSIN, LOUIS 43
BRONSART VON SCHELLENDORF, HANS 45
BRONSART, 1NGEBORG VON 47
BRULL, IGNAZ 49
BULOW, DR. HANS VON 51
CARENNO, TERESA 57
CHOPIN, FREDERIC 60
CLEMENTI, MUZIO ; 65
COUPERIN, FRANCOIS 68
CRAMER, JOHANN BAPTIST . 70
CZERNY, KARL 73
DANNREUTHER, EDWARD 75
DA VIES, FANNY 77
DIEMER, LOUIS . 79
DOOR, ANTON 81
VI CONTENTS.
Page
DREYSCHOCK, ALEXANDER 83
DUSSEK, JOHANN LADISLAUS 86
EHRLICH, HEINRICH 89
EIBENSCHUTZ, ALBERT 91
EIBENSCHUTZ, ILONA 93
ESSIPOFF, ANNETTE 95
FIELD, JOHN 97
FISCHHOF, ROBERT . JO2
FREUND, ROBERT 104
FRIEDHEIM, ARTHUR .106
GODDARD, ARABELLA 109
GOTTSCHALK, LOUIS MORITZ in
GRIEG, ED YARD HAGERUP 112
GRUNFELD, ALFRED 115
HALLE, SIR CHARLES 117
HELLER, STEPHEN 119
HENSELT, ADOLF VON 121
HERZ, HENRI 124
HEYMANN, KARL 127
HILLER, FERDINAND 129
HUMMEL, JOHANN NEPOMUK 133
JAELL, ALFRED ,36
JOSEFFY, RAFAEL I3 8
KALKBRENNER, FRIEDRICH WILHELM MICHAEL , . 140
KETTEN, HENRI H3
KIRCHNER, THEODOR 144
KLEEBERG, CLOTILDE J 4 6
KONTSKI, ANTON VON 148
KREBS-BRENNING, MARY ! . ! 150
KULLAK, DR. THEODOR ! 53
LESCHETITZKY, THEODOR 156
LIE, ERIKA . 158
LISZT, FRANZ lbo
LITOLFF, HENRY , 75
MARX, BERTHE T;8
MASON, WILLIAM 180
MAYER, CHARLES ,gi
CONTENTS. VII
Page
MEHLIG, ANNA 183
MENDELSSOHN-BARTHOLDY, FELIX 185
MENTER, SOPHIE 194
MEYER, LEOPOLD VON. . . 198
MIKULI, KARL 200
MILLS, SEBASTIAN BACH 202
MORTIER DE FONTAINE 204
MOSCHELES, IGNAZ 206
MOZART, W. A 210
PACHMANN, WLADIMIR DE 249
PADEREWSKI, IGNAZ JOH ANN ' . . . 251
PAUER, ERNST 254
PAUER, MAX 256
PERABO, ERNST ' 258
PIXIS, JOHANN PETER 261
PLANTE, FRANCOIS 263
PRUCKNER, DIONYS . . 265
PRUDENT, EMILE 267
RAMEAU, JEAN PHILIPP 269
REHBERG, WILLY 272
REINECKE, KARL 274
REISENAUER, ALFRED 278
REMMERT, MARTHA 281
RENDANO, ALFONSO 282
RIES, FERDINAND 284
ROSENTHAL, MORITZ 287
RUBINSTEIN, ANTON 290
RUBINSTEIN, NIKOLAUS . . 294
RUMMEL, FRANZ 296
SAINT-SAENS, CAMILLE 298
SAUER, EMIL 300
SCARLATTI, DOMENICO . 301
SCHARWENKA, XAVER .303
SCHMITT, ALOIS 306
SCHULHOFF, JULIUS 308
SCHUMANN, CLARA , 310
SEISS, ISIDOR. ... . 314
CONTENTS.
Page
SGAMBATI, GIOVANNI 316
SILOTI, ALEXANDER ; . . . . . . . 318
STAVENHAGEN, BERNHARD 320
STEIBELT, DANIEL 322
SZARVADY, WILHELMINE 326
TAUBERT, WILHELM 328
TAUSIG, CARL 331
THALBERG, SIGISMUND 336
THERN, WILLI 341
THERN, LOUIS 343
TOMASCHEK, JOHANN WENZEL 345
WEBER, KARL MARIA VON 347
WIECK, MARIE 356
WIENIAWSKI, JOSEPH 358
ZARZYCKI, ALEXANDER 3 bi
ZICHY, GEZA, GRAF 363
ZIMMERMANN, AGNES 366
EUGEN D'ALBERT.
IN consequence of the alphabetical order of the pre-
sent work it is a remarkable co-incidence that the
great number of musicians to be represented should
commence with one of the youngest, who at the same
time being one of the most renowned, has reached
the height of modern pianoforte playing. Just as
remarkable is it, that in his teachers and instructors the
most advanced musical school is united with the most
perfect knowledge of old pianoforte music, a circum-
stance, which has not been without influence upon
his theoretical studies.
This young musician, born at Glasgow on the
Celbr. Pianists. I
EUGEN D'ALBERT.
April 1864 was tne son of a French musician
and a German lady. Receiving his first musical in-
struction from his father, he then entered the best
existing school, in London, under Ernest Pauer,
Pianoforte teacher at the Royal Academy of Music.
He could already master to a certain extent the vir-
tuoso style of playing when Hans Richter, who gave
concerts every season in London, made his acquain-
tance, and took him to Vienna in the year 1880. At
that time the first master of all modern pianoforte
players Franz Liszt, was still living, and rightly un-
derstanding what was still necessary for the per-
fection of d' Albert's talents, Hans Richter transferred
him, in 1881, to Liszt's care to complete his studies.
It is a peculiarity of the latter's life that just in his
last years he took such a kind fatherly interest in
those students who were successfully striving to ad-
vance in their career. This was the case with regard
to d'Albert, for through Liszt's influence he made his
appearance in the same year at concerts in Vienna,
Berlin and Weimar with eminent success. He was
appointed Pianist to the Grand-Duke of Weimar, and
has far advanced in his career as a performer with
increasing success, and at present exercises great
and attractive influence at the best concerts.
As a composer d'Albert has published two concer-
tos for the piano, a suite consisting of five parts,
some lighter pieces, besides two overtures, (to Hol-
der lin's "Hyperion", and Hebbel's "Maria Magda-
lena") some songs, a string quartet and an opera.
Having been divorced from his wife, d'Albert
married the distinguished pianist/Teresa Carenno in
the year 1892, she having been twice married and di-
vorced, her first husband being the violinist, E. Sauret.
JOHANN SEBASTIAN BACH.
ALTHOUGH this great musician was no celebrated
JrL pianist in the present sense of the word, yet there
is no doubt that on account of his numerous musical
works he must be acknowledged as one. Even to the
present day his "wohltemperirtes Klavier" should
form an incomparable work of instruction for all as-
piring pianists. Of his other pieces for the piano
many belong, as a never failing model, to the me-
lodious, harmonious and technical material for the study
of all really good pianoforte schools ; they are also
justly appreciated by the best teachers of modern
times, as is proved by the present demand for revised
4 x JOHANN SEBASTIAN BACH.
editions. A comprehensive characteristic of J. S. Bach's
position and importance in the musical life of all
times is impossible in this work. Bach's musical
genius like that of Goethe for poetry and literature,
rose magnificently; he combined the whole musical
creation of the past, as far as it was of importance,
and with wonderful power and foresight, he introdu-
ced a new style of musical science, which became a
precept for all important musicians succeeding him,
and especially for the composers of church music.
His works of this class are to the present day,
indispensable and have been excelled by no one
since his time; with their splendid harmony and sweet
melody they fill even the satiated ear with delight
and lead to devotion, springing as they do from deep
religious feeling. The whole secret of perseverance
in the work of those older masters, reduced as they
were to the humblest manner of life by circumstances
and the low position of art at that time is due to this
spirit of piety. The people possessed too little edu-
cation to be able to appreciate Art rightly, and the
haughtiness of the great assigned with scarcely any
exception no higher rank to her best fosterers than
that of their dependents.
Thus J. S. Bach before whose immortal creations,
the great masters of later times, from Mozart and
Beethoven down to Wagner, bowed in veneration,
was nearly always in straitened circumstances, which
only renders his achievements so much the more as-
tonishing.
He was born on the 2i st March 1685 at Eisenach,
his father being Ambrosius Bach. From him he re-
ceived his first musical instruction, which was conti-
nued by his elder brother, Johann Christopher, when
the orphaned boy in his tenth year was consigned to
his care. On attaining his fifteenth year he received
a free post at the School of St. Michael at Liineburg
JOHANN SEBASTIAN BACH. 5
whence he often wandered to Hamburg in order to
hear Reinkens and Lubeck play the organ.
In 1703, he was appointed violinist in the private
chapel of Prince Johann Ernst of Saxe -Weimar, but
he soon after exchanged this post for that of organist
in the town of Arnstadt in Gotha. From here he set
out on a pedestrian tour, during his holidays in 1705,
to Lubeck, to visit the celebrated organist Dietrich
Buxtehude, and exceeding his term of leave he was
very seriously threatened with dismissal. A year later,
in 1707, he was appointed organist of the Church of
St. Blasius at Miihlhausen in Thuringia, after having
married a relative. But here he only remained a
year, and then became court organist and chamber
musician to the Duke of Weimar, in 1714.
His life took an important turn in 1717, when
he became band master and director of chamber music
to Prince Leopold of Anhalt in Kothen; in this po-
sition he was only occupied with orchestral and cham-
ber music, and which he composed almost exclusively.
His wife died in 1720; in the next year he mar-
ried the daughter of a musician, named Wiilken.
In the year 1723 he was elected Cantor at the Tho-
mas School in Leipzig, and he retained this post
until his death on the 28 th July 1750, having become
during the last years of his life almost totally blind.
Six sons and four daughters survived him, five sons
and five daughters having died earlier.
The number of his compositions is almost legion.
For the piano he wrote pieces for two, four, six and
eight hands in connection with one or more instru-
ments or with orchestral accompaniment; Concertos,
Adagios, Sonatas, Gigues, Gavottes, Sarabands,
Fugues, Fantasies, Suites, Capriccios, Chaconnes,
Rondos, Scherzi, Toccatos.
Up to the present time the Bach Society has
published 40 yearly volumes of Cantatas, Oratorios,
6 JOHANN SEBASTIAN BACH.
Masses, Passion Music, Chamber Music, and pianoforte
works, Magnificat and Sanctus, Odes, Works for the
Organ, Orchestral works &c.
A comprehensive summary of J. S. Bach's Com-
positions, consisting of twelve pages, is to be found
in the list of the Musical Publications of Breitkopf
& Hartel. Leipzig.
KARL PHILIPP EMANUEL BACH.
THE father of the Saxon "Bachs" found in his second
son a good and worthy successor to his great
name, who throughout his whole life and by his
conduct strove to make amends for his elder bro-
ther Friedemann's frivolity. He preserved the va-
luable compositions inherited from his father, where-
as Friedemann lost his share, and he alone of all
Sebastian Bach's sons distinguished himself as master
and composer for the piano, although he had not
originally been destined for the musical profession.
He was born on the 1 4 th March 1714 at Weimar,
at the time that his father received the appointment
there, and in 1723 after the election of Johann Se-
bastian as Cantor at the Thomas School at Leipzig
8 KARL PHILIPP EMANUEL BACH.
he went with him, and was educated in that institu-
tion. He, like his brother, received a thorough musi-
cal education in his youth, although it was intended
he should study law, which he began at the Uni-
versity of Leipzig. Besides this he had learned music
engraving' from his father and engraved his first
work "Menuett fur Klavier mit iiberschlagenen Han-
den" in the year 1731. He had scarcely removed
to the University at Frankfort on the Oder for the
continuation of his studies, when his love for music
evinced itself very strongly; he formed a musical
society for the performance of his own compositions,
and practised the lighter style of pianoforte playing.
He went to Berlin in the year 1738, and to his
father's annoyance devoted his time exclusively to
music, although at first unsuccessfully. In the mean-
time the talented Crown Prince Friedrich was attrac-
ted by his playing and after succeeding to the throne
appointed him as his harpist in 1740.
In this position it was his duty to accompany the
King when playing the flute, and in his company
Bach had hard work, the great monarch not being a
strict musician as regards keeping time. During the
King's wars he had much leisure and could compose
at his ease, yet it happened in his case as also in
that of other court musicians at that period, that on
account of the King's difficulties the salaries were not
punctually paid or frequently not at all. The King's
musical efforts in his later years had to give way to
serious political matters which engrossed his time, so
that finally he devoted scarcely any attention to his old
favourite Quantz, the flute player. Bach therefore re-
signed his post in 1767, retaining, through the influence
of Friedrich's sister Princess Amalia, his title of band-
master, and went to Hamburg as conductor of Church
music in place of Telemann. Here he remained, ho-
noured, and esteemed by all until his death on the
KARL PHILIPP EMANUEL BACH. g
14 th September 1788. As a composer, especially of
pianoforte music, Philipp Emanuel Bach achieved great
distinction. On account of his having- been the means of
introducing an easier and more agreeable method in the
performance of symphonies, Sonatas &c. he has been
designated the "Father of Modern Instrumental Music"
and the forerunner of the great classical masters,
Haydn, Mozart and Beethoven. His work "Versuch
iiber die wahre Art Klavier zu spielen" appearing
between the years 1753 1762, explains the various
styles of playing during the century in which he
lived. The number of his compositions for the piano-
forte is especially great, being 210 Solos, 250 Con-
cert pieces, numerous Sonatas, Suites &c. Besides
these he wrote 22 versions of the Passion Music,
2 Oratorios, and many Cantatas.
WALTER BACHE.
BOTH as virtuoso and teacher Bache was one of the
most thorough pianists of modern times, but as
a disciple of Franz Liszt he became especially cele-
brated. He was chiefly indebted to three of the best
masters for his thorough musical education, namely,
Moscheles, Plaidy and Liszt; the latter particularly
being invaluable to him in the study of pianoforte
playing.
Walter Bache was born at Birmingham, June,
1 9 th 1842, in which town the organist Stimpson became
his first music master. In the years 1858 1861 he
entered the Conservatoire at Leipzig, where, besides
Plaidy and Moscheles, Moritz Hauptmann and Ernst
WALTER BACHE. II
Friedrich Richter conducted his studies. After finish-
ing- his course at Leipzig he went to Italy, visited
Milan and Florence, and finally Rome where Franz
Liszt, then Abbe, was residing. For three years, from
1862 1865, ne was Liszt's pupil and followed in his
footsteps. As one of the warmest admirers of this
great master he left Rome and came to London.
Here he met with great success as teacher of the
pianoforte, pianist, and conductor. He gave a yearly
concert at which some great work of a living com-
poser was performed. It was primarily Liszt's works
that he conducted, the Symphonic Poems, Legend
of St. Elizabeth and the Thirteenth Psalm; playing
himself the concertos in E-flat and A-Major.
By the introduction of more modern music he
has justly earned considerable reputation in England.
He was a true artist, with no other aim than
the furtherance of his art, an amiable unselfish cha-
racter and his death, which took place March 26 th
1888, was a real loss to musiced interests in London.
KARL HEINRICH EARTH.
TYROCEEDING from a good school this musician has
1 become one of our best pianoforte teachers and
an excellent performer. He was born on the 1 2 th July
1847, at Pillau in East Prussia; his father, a teacher,
gave him his first instruction on the piano, which
was continued from 18561862 by L. Steinmann at
Potsdam. In the years 1862 1864 Hans v. Billow
was his teacher. Hans v. Bronsart and Tausig also
had a share in his musical training.
In the year 1868 Barth was appointed pianoforte
teacher at the Stern Conservatoire, and in 1871 he
occupied a similar post at the Royal School for
Music under Joachim's direction. His qualifications
as pianist are proved by the fact of his having
undertaken several concert-tours through Germany
and England with Joachim and his wife. Barth,
KARL HEINRICH EARTH. 13
with the violinist de Ahna and the cellist Hausmann
formed a trio which has gained a wide reputation.
He was also Court Pianist to the Crown Prince
Friedrich and. his consort, and has received the title
of "Professor".
LUDWIG VAN BEETHOVEN.*)
IT does not necessarily follow that the greatest mu-
sician of the world should also be the greatest pia-
noforte player in order to merit the most important
place in this work. Spohr, who met Beethoven, when
the latter stood at the zenith of his fame, passed a
very severe criticism upon his pianoforte playing,
censuring it in every particular, but Spohr and
Beethoven are opposed in many respects. Beethoven's
power of composition occupied the first place, even
impeded as he was by total deafness, being un-
able to hear his own playing, and in consequence
of this defect combined with other causes suffering
*) From a portrait by A. v. Kloeber. By consent of the Publisher
Carl Simon. Berlin.
LUDWIG VAN BEETHOVEN. ! 5
from deep depression, even bitterness; whereas Spohr
it is true met with great success as a composer, yet
has always been regarded principally as a great vio-
linist.*)
Nevertheless until the close of the last century
Beethoven was always considered an excellent pianist,
and especially attracted attention among true musical
connoiseurs by his manner of improvising, which
elicited the admiration of musical judges. He pos-
sessed this talent of improvisation in his 1 3 th year after
having attained the facility of playing "Johann Se-
bastian Bach's wohltemperirtes Klavier." A review
of his early life may be of interest to his admirers.
His birthplace was Bonn, but there still remains con-
siderable doubt with regard to the day of his birth,
although the 17 th Dec. 1770 was that of his baptism.
He belonged to a family in which the study of music
had been cultivated through several generations. His
father was tenor- singer, and his grandfather bass-
singer and musical conductor in the Elector's chapel
at Cologne; the latter however was a more important
musician than the former, but he died before L. v.
Beethoven had attained his third year. It is generally
known from all biographies of the great tone -poet
*) The following is Spohr's utterance with regard to Beethoven:
"As Beethoven, when I met him, had already ceased performing in public
as well as in private circles, I had only one opportunity of hearing him
play. I happened to be at his house during the rehearsal of a new
Trio (D-Major). It was no enjoyment, for the piano was out of
tune, which troubled Beethoven little enough as he could hear nothing,
and on account his deafness few signs remained of his former much-
admired professional talent. When the expression "forte" occurred the
poor deaf man thumped to such a degree that the strings vibrated, and
when playing "piano" he played so softly that whole chords were lost,
so that if unable to glance at the notes all connection was at once lost.
Such a hard fate filled me with sadness. For every one it must be
the greatest misfortune to be deaf. How is it then possible for a mu-
sician to endure it without despair? From this moment Beethoven's
almost continual melancholy was no longer a riddle to me."
l6 LUDWIG VAN BEETHOVEN.
that the foolish and tyrannical harshness of his father
deprived him of even the most innocent youthful
pleasures. His intention of making a great musician
of his son was praiseworthy enough, but he erred
in his ideas of education; perhaps from nervous
capriciousness, perhaps also because he felt bitterly
his own musical incompetency, and his humble posi-
tion; all that he could do was threatening, comman-
ding, scolding, and punishing. Little Beethoven felt
himself to be a youthful criminal to whom a daily
amount of punishment must be administered; he worked
hard, but in losing the harmless pleasures of child-
hood, he acquired a certain gloomy shyness, which
clung to him and became a curse to him in after life,
His mother was the reverse of his father; her
gentleness, and tender care fell like sunshine upon
his hard life. Beethoven's want of self-reliance and
carelessness in later years has most unjustly been
attributed to his mother's indulgence and care of him,
but her gentleness was only a natural out -come of
motherly love at the injustice inflicted upon her un-
happy boy. Unfortunately she died too early when
Beethoven was about seventeen years of age.
The first instrument which the boy in his fifth
year began to play was the violin. His father was
his teacher, but as the child showed no talent for it,
it became the cause of many a whipping. He made
better progress on the piano, when in his eighth
year the conductor Pfeiffer undertook his tuition.
Beethoven's history was similar to that of little
Paganini, he obtained technical proficiency at the
cost of his own temperament. In his thirteenth year
the Cologne Court Organist van der Eden began his
instruction on the organ, and in the theory of har-
mony and composition; the organist Neefe also con-
tinued his studies on the organ.
Owing to the false method of education adopted
LUDWIG VAN BEETHOVEN. ! 7
by his father to attain execution rapidly, the boy,
scarcely thirteen years of age, produced six Sonatas
for the Piano in 1783, performances which in riper
years he rejected and only acknowledged those he
had composed from 1795, onwards.
W T hen fifteen years of age, he became assistant
organist to the Elector Max Franz, to whom he had
dedicated his first sonatas. With his patron, (the
brother of the Emperor Joseph II.) Beethoven went
to Vienna, and there made the acquaintance of a
passionate lover of music, Count Waldstein, who was so
attracted by his pianoforte playing, that he remained
his enthusiastic admirer. He induced Beethoven
to return to Vienna and become Haydn's pupil.
After Beethoven, in 1792, had made the acquaintance
of Joseph Haydn in Godesberg near Bonn on his rer
turn from England, the Count, a good pianoforte per-
former himself, wrote to him thus: Dear Beethoven!
You are now on your way to Vienna to ful-
fil your long cherished desire. Mozart's genius is
still mourning and lamenting the death of her pupil.
This Genius found refuge with the inexhaustible
Haydn but no occupation, and now seeks other com-
pany. May Mozart's spirit, by continual industry
descend on you through Haydn! Your true friend
Waldstein." Through Waldstein's influence, the strug-
gling musician gained further patronage, namely that
of Prince Lichnowski, Count Rasumowski and others,
joined in the course of the next year by Count Bruns-
wick, Baron Gleichenstein and St. von Breuning.
Beethoven studied the finest works of Haendel and
Haydn. The latter attempted to give him some
help in the theory of composition but he is said to
have been little adapted for a teacher.
Beethoven felt himself strongly drawn towards
Schenk, the composer of the "Dorf barbier" who cor-
rected his work before it was submitted by him to
Celebr. Pianists.
1 g LUDWIG VAN BEETHOVEN.
Haydn, When his teacher, for the second time, in
1795 set off for England, Albrechtsberger,^ took his
place as teacher of counterpoint, while Salieri initiated
him in the art of composing operas. Without doubt
Beethoven recognized the necessity of adhering to a
strict scholastic course in his study of music, for
which purpose Jux's "Gradus ad Parnassum" was of
considerable service to him; but in his works produ-
ced during this time he was neither influenced by
Haydn nor Mozart but gave evidence of a style of
his own which is especially noticeable in the three
Sonatas for the Pianoforte, Op. 2. and excited both
approbation and disapproval. It is a well-known
fact, that throughout his whole life, Beethoven was
never thoroughly understood and appreciated by his
contemporaries, it being reserved for posterity to-
acknowledge the magnificence of his productions, and
to render them their due. Haydn at this time was so-
biassed in his judgment, that he asserted Beethoven
would meet with more success as a pianoforte player
than as a composer. His misunderstanding of this
growing genius strengthened the foundation already
laid of Beethoven's embittered nature, the seeds of
which, sown in his youth, became continually more
noticeable.
Thayer in his unfinished biography of Beethoven
makes the following remarks: Traits of self-conscious-
ness and even arrogance, faults, which are certainly
very common among talented young men who have
met with success, and who are far less justified in
possessing them than Beethoven was, are unques-
tionably to be recognized in him. The rather high
tone too, which he at times assumed, was an excuse
for Haydn's pleasantries. When Beethoven's visits to
Haydn became rarer and only followed at longer
intervals he used to ask other visitors: "What is our
great Mogul doing?" The same biographer adds
LUDWIG VAN BEETHOVEN. T g
another anecdote from Griesinger's memoirs. "When
he (Griesinger) was attache in Vienna he once met
Beethoven in Prince Lobkowitz's house. At this
time they were both young, and Beethoven, except
for his pianoforte playing, was but little known. In con-
versation with another gentleman present, Beethoven
remarked that he wished to free himself of all the
responsibility attendant upon the disposal of his
musical productions, and would like to meet with some
person who would pay him a settled income for his
life, in return for which the said person should hold
the exclusive right of publishing all his compositions,
and "I would not be idle" he added. "I believe
Goethe does the same with Cotta, and if I am not
mistaken Haendel's London publisher made a similar
bargain with him." "My dear young man", replied
the other "you must not complain, for you are neither
a Goethe nor a Haendel, and it is not to be expec-
ted you ever will attain to such a height, the world
will never again see such genius." Beethoven bit his
lip and was silent. Lobkowitz sought to re-assure him,
and in the conversation which ensued, said to him:
"My dear Beethoven, the gentleman had no intention
of hurting your feelings ; most men cherish the firm
opinion that the present generation are not capable
of producing such great talents as those that are gone
before." "So much the worse, Highness" returned
Beethoven, "but I will not associate with people who
have no faith and confidence in me because I am
still unknown to the world in general."
Thus Beethoven even in his earlier years felt
that he ranked high in his art.
During the first part of the time in Vienna which
he devoted to composing, that is to say until the year
1800, he completed six pianoforte trios, and nine so-
natas. The most influential paper then in circulation,
the "Allgemeine Musikalische Zeitung" published in
20 LUDWIG VAN BEETHOVEN.
Leipzig, granted the composer the right to importance
but blamed his "harmonious boldness" and "rhythmi-
cal extravagances". But all the opposition and ad-
miration which the criticized composer received from
his works moved him to no concession, which could
be regarded as a deviation from his distinctive
character as a musician ; he refined his productions
gradually, and, but for this one exception, has be-
come an example of immovable constancy; the
greater beauty of his later works evinced itself by
a better style, and truly gigantic progress in the
construction of his harmony, in figurative revision,
rhythm, and wealth of ideas, so that in many respects
he became an enigma not only to his contemporaries
but also to posterity. In the first half, and indeed
in the second half of our century, musicians and able
conductors had trouble enough in getting Beethoven's
works rightly appreciated. What has since been
the case, in order to establish a universal musical idea
(with Schumann and Wagner) was at all times evi-
dent with regard to Beethoven; many musicians
neither would nor could penetrate the depths of his
innovations, and the unlearned wearied themselves
in the attempt. Thus, it was no wonder that the
narrow-minded public at the beginning of the nine-
teenth century was not able to understand what he
produced, and objected to placing him on a level
with the musicians of the day, Haydn and Mozart,
with their gems of harmony and melody and their
simple style.
Nevertheless Beethoven withstood the struggle
with rigid firmness; he had a strong and influential
party, received good remuneration for his composi-
tions better than Mozart , and without accepting any
fixed post received annual salaries, 600 florins from
Prince Lichnowski and 4000 from Archduke Rudolph
and the Princes Lobkowitz and Kinski, but these he
LUDWIG VAN BEETHOVEN. 2 I
soon lost on account of the unsettled state of politics
prevailing" at that time and also perhaps on account
of his uncouth manners. This personal roughness lay
partially in his inclination to democracy, and also in
his increasing deafness from the year 1800, which
deprived his musical soul, o'erclouded as it was, of
nearly every pleasure. It must also be mentioned
that Beethoven's avaricious, inconsiderate and un-
grateful relations, his brothers and nephews, wearied
his life out with their begging and intriguing, al-
most ruining him financially in spite of his good
income, so that at times he was incapable of pro-
curing the simplest necessities of life for his own
wants. For household affairs he had neither time
nor inclination, thus making it easy for others to
plunder him. How far his disregard for exterior
matters extended, his absentmindedness and forget-
fulness, occasioned by the retired life he led, and his
devotion to art, is shown by the following incident.
Beethoven dedicated his twelve Variations on Russian
Dances to Lady Browne, and in return for this, as
Franz Ries relates, Lord Browne presented him with
a beautiful riding-horse. Beethoven rode it several
times, and then forgot it, and what was still worse
its food also. His servant began to lend the horse
out for money and delivered no bill for its food in
order not to recall the fact of its existence to him.
Finally to Beethoven's great astonishment a very long-
one was presented to him when the horse and his
neglect recurred to his memory. He even neglected
his outward appearance in the morose solitude and
secluded life in which he indulged, presenting the
appearance of an artisan or peasant rather than that
of a favoured musician attached to the most aristo-
cratic and refined court. Spohr and other reliable au-
thorities asserted openly that he possessed the roughest
and most repulsive manners, yet evinced at times
, 2 LUDWIG VAN BEETHOVEN.
traits of warmheartedness and sociability. The bio-
graphies which Ries, Schindler, Nohl, Ulibischeff,
Marx, Thayer, Breuning, Nottebohm, and Jahn have
written of him contain hundreds of interesting anec-
dotes, which show forth Beethoven's singularities and
which if repeated would enlarge this sketch to the
size of a book. Only one in reference to the manner
of his conducting will be given. Spohr tells us in
his autobiography that during the time of his ap-
pointment in Vienna, Beethoven was in very straight-
ened circumstances from which he was rescued
by the assistance of his friends. He had been per-
suaded to make several alterations in his opera
"Fidelio" which, upon its first representation during
the occupation of Vienna by the French met with a
very unfavourable reception. The overture in C,
the jailer's song and Fidelio's beautiful Aria were
added, and in its new form it was received with great
applause in the Karnthnerthor Theatre. "His friends
stook advantage of this favourable moment" relates
Spohr "to arrange a concert for him in the large
Redouten Saal, at which his newest productions were
to be performed. All possessing instrumental or vocal
talent were invited to take part in it and not one of
the great Viennese artistes was absent. I and my
orchestra were also present and I saw Beethoven
as conductor for the first time. Although I had heard
much of his manner of conducting, it surprised me
very much. His habit was to conduct the orchestra
with all sorts of strange bodily contortions. As often
as the expression "Sforzando" occurred he waved
his arms, which he had folded on his breast before
in the most vehement manner, at "Piano" he bent
clown and so much the lower the softer he wished the
passage played; when it deepened into "Crescendo"
he gradually rose, and when it increased to "Forte"
sprang into an erect position . . .. Seyfried to
LUDWIG VAN BEETHOVEN. 23
whom I expressed my astonishment at this strange
mode of conducting, told me of a tragic-comic incident
which took place at Beethoven's last concert in Vienna.
Beethoven was playing a new pianoforte concerto of
his own, but forgot at the first Tutti that he was play-
ing solo, sprang from his seat and began to conduct
in his usual manner. At the first Sforzando he threw
his arms so far apart that he knocked down both the
candlesticks from the the piano. The audience
broke out into a laugh, and Beethoven was so angry
at this disturbance that he ordered the orchestra to
cease and begin anew. Seyfried, fearing that the
same mishap might again occur at the same passage,
directed two boys who sang in the chorus to stand
near Beethoven and hold the candlesticks. One of
them unsuspiciously stepped nearer and looked at
the notes, but when Beethoven came to the fatal Sfor-
zando the boy received such a violent blow on his
mouth from Beethoven's right hand, that the poor child
in his fright let the candlestick fall to the ground.
The other boy, more cautious, had followed all
Beethoven's movements with anxious glances, and
was able to evade the blow by dexterously stooping
down. The audience had laughed before, but now it
burst out into fits of laughter, and Beethoven was in
such a rage, that with the first chords he struck he
broke half-a-dozen strings. All his friends' attempts
to restore quiet and order were for a moment
fruitless. The first Allegro of the Concerto was en-
tirely lost. After this concert Beethoven would not
give another. This was the first time since he had
been persuaded to do so. The concert in the Re-
douten Saal was such a brilliant success that a second
with the same result was able to be given, from the
proceeds of which the composer was enabled to live
free of care for a long time.
With regard to Beethoven's political opinions the
24 LUDWIG VAN BEETHOVEN.
circumstance connected with the Eroika symphony is
proof enough ; he is said to have written it in his
enthusiastic moments, in honour of Napoleon, but
afterwards threw aside his intention of dedicating it
to his hero, when Napoleon, throwing off his disguise
became an arrogant tyrant. He also refused a call
to Cassel to the Court of the pleasure -loving Hiero-
nymus of Westphalia in the year 1809, preferring to
be independent in Vienna. What wonderful power
of composition he evinced during this cheerless time,
partly in his quiet hermitage at Modling near Vienna,
partly in his wanderings through fields and woods
in the neighbourhood, producing many symphonies,
the Missa Solemnis, numerous Sonatas and Quartets
&c. suffering bodily as he did, and leading the life of
a poor man. Yet what a depth of enthusiasm for the
beautiful and sublime in art must have inspired him,
surrounded as he was by so few animating external
circumstances, which would not have left a man of
ordinary capacity strength enough to perform the
most common tasks, yet he was able to execute the
greatest works for all time.
His favourite instrument had always been the
piano, and the result of this preference was an un-
suspected amplification of technical performance ex-
tending ^ in all directions, and increasing with the
greater importance of his compositions.
As the lyrical melodious style had been the ru-
ling form until his time, it was Beethoven who intro-
duced the dramatic, and in its train a wealth of cha-
racter, execution, and effect which had never pre-
viously been attained. Through him the instrument
gained a power and capacity of expression which led
to an entirely new epoch of pianoforte playing.
In his biography with reference to the years
17961798 spent in Vienna, Thayer says: He was
the most important pianoforte player of the metro-
LUDWIG VAN BEETHOVEN. ,-
~" O
polls. Karl Czerny, in "Cock's London Musical Mis-
cellany" expressed the following opinion with regard
to Beethoven's playing. "His capacity for impro-
vising was most brilliant and astonishing; in what-
ever society he was, he understood the art of pro-
ducing such an effect upon his listeners that fre-
quently no eye was dry, and many burst into tears,
for there was something most wonderful in his touch,
besides the beauty and originality of his ideas and
the ingenious manner in which he expressed them."
Tomaschek who heard Beethoven in Prague, described
him as "the giant of all pianoforte players", and
says, when speaking of a crowded concert given
by Beethoven in the Konvikt Saal; "I was most
keenly touched by Beethoven's splendid playing,
and especially by the bold execution of his fanta-
sies, indeed I was so deeply affected that for se-
veral days I never touched my piano, and only
my ineradicable love for art and reasonable reflec-
tion enabled me to continue my pianoforte studies as
before, and with increased industry." Tomaschek
wrote this many years after Beethoven's death in
1844, an d to other praises adds the following: "Had
the first works of Beethoven which were published
at that time, (in Prague) only appeared as classical
compositions on account of their rhythm, harmony
and counterpoint they would perhaps have dis-
couraged me from the further prosecution of my
studies, but thus, I was roused and firmly persuaded
from Beethoven's works, that even the greatest genius
must respect the marked signs of theoretical training,
and redoubled my industry in order to reach that
summit from which hallowed Art bestows the kiss
of consecration upon those found worthy to receive
it. Many people when speaking of Beethoven,
involuntarily think at the same time of Mozart to the
latter's disadvantage; but they forget that the works
26 LUDWIG VAN BEETHOVEN.
of the former are composed with more knowledge
and grace than his later compositions and that these
advantages which still make a deep impression upon
the listeners are chiefly due to Mozart's clearly-defined
style. Beethoven left Prague and I felt the benefit
of having heard the productions of the greatest mas-
ter of pianoforte playing."
In a little anecdote Thayer tells us what sad
prejudices prevailed about Beethoven during his
life-time, especially among musicians. Dolezalek
once brought a study of a Beethoven Quartet to
his teacher, Albrechtsberger, who had also been
Beethoven's teacher. "By whom is it?" asked Albrechts-
berger. "Beethoven", answered Dolezalek. To this
the teacher in his wisdom replied: "Have nothing to
do with him, he has learnt nothing and will never
produce anything."
It can be easily imagined that such criticism
coming to Beethoven's knowledge would pain him
terribly, and that his increasing struggle with the
prejudices of narrow-minded and envious people made
him, (already rendered morose in his earlier years)
still more unsociable and embittered, without even
taking into consideration other hardships, his total
deafness, bad health, sudden cessation of all tender
affections and periods of pecuniary distress. It is
also certainly unjust to describe Beethoven as being
naturally rough and uncouth; a musician, capable of
expressing such tender and lofty musical ideas in so
touching and pathetic a manner, must of necessity
have possessed delicate feelings himself. A sad chain
of circumstances deprived him of almost every thing
that in human conception is capable of forming man's
happiness; he tried to struggle bravely against
misfortune, and in doing so became morose and
unsympathetic. The last years of the great musi-
cian's life, now become a model for all posterity
LUDWIG VAN BEETHOVEN. 27
were troubled by painful illness. In addition to the
heavy affliction of total deafness, he suffered from
dropsy with which he had to contend, and on account
of which he underwent an operation. The effects of
a severe chill brought on by his habit of wandering
over the moor in all sorts of weather and often
bare-headed, hastened his death, which occurred
on the 26 th March 1827. He was deeply regretted
by all who knew him personally, or had found delight
in his productions. Unlike Mozart's wretched burial,
his funeral obsequies were solemnized with all gran-
deur.
It has often been said in after years of eminent
men, who during their, lives have been undervalued
or have suffered from envy or rivalry: Ah! if he
could return! Of Beethoven this saying constantly
recurs: "If he were only amongst us now what triumphs
he would achieve!" Indeed united Posterity has for a
long time past been engaged in spirit, weaving wreaths
of honour for him. Not only has Beethoven's music
been appreciated by the upper and more exclusive
classes in consequence of their deeper and more cul-
tivated study, but it has forced its way to extended
regions. Not confined to larger centres but in much
smaller places have those powerful works the "Sym-
phonies" formed the glory and pride of their- local
concerts.
Every intelligent director now finds himself at
ease with those problems which in Beethoven's time
were scarcely understood by the most proficient masters.
The larger and lay Public accept the solution of
those problems with taste and understanding, unwearied
by their occasional length and enjoying them with
enthusiasm. Players of instrumental parts as also
singers have all striven to ensure the understan-
ding and success of their performance, and in that
success have been richly compensated for their trouble,
2 g LUDWIG VAN BEETHOVEN.
whereas seventy or eighty years ago musicians hardly
deigned to play those works at all, looking at them
with scant courtesy. His violin concerto formerly
never found in any program is now recognized as
one of the most brilliant pieces for the most perfect
players. His later quartets which even 40 years ago
were looked upon as "music of the future" are now
performed at all chamber - music gatherings and
wherever good understanding for classical music
exists.
He who can appreciate Beethoven honours him-
self by the act as he proves thereby what immense
pregress the cultivation of and interest in genuine
classical music has been made.
A still higher acknowledgment of Beethoven's
greatness remains to be asserted. Not one of his
successors has ever been able to shake the pillar of
his glory. Even Richard Wagner never hesitated
to acknowledge him as his master. And Beethoven
remains that which he was in the second phase of
his life: The Master of Masters.
The following are his compositions: For the Pia-
noforte only: 38 Sonatas, 242 Variatons, 54 smaller
Pieces, a Sonata for two pianos, 3 Marches, 9 Varia-
tions; For the Piano together with other Instru-
ments: 5 Concertos with orchestral accompaniments,
i Concerto with violin and violincello, i Choral
Fantasia, i Rondo with orchestra, i Rondo with
violin, 1 6 Sonatas with violin, or violincello or horn,
1 1 Trios with the Violin, Clarionet and Violincello,
4 Quartets with the Violin, Viola and Violincello,
i Quintet with the Oboe, Clarionet, Bassoon, and Horn;
Orchestral Works: 9 Symphonies, "Die Schlacht
bei Vittoria", "Die Geschopfe des Prometheus", music
to "Egmont", i Allegretto, March from Tarpeja,
1 Military March, 9 Overtures i Concerto, and
2 Romances for the Violin and Orchestra, 36 Dances:
LUDWIG VAN BEETHOVEN. 2 9
Dramatic Music: the Opera "Fidelio", "The Ruins
of Athens", Overture to "King Stephen", "The glo-
rious moment", "Meerstille und Gliickliche Fahrt";
Church Music: 2 Masses, "Christ on the Mount of
Olives"; for Chorus and Orchestra: Aria and Scene
"Ah perfido", i Trio, i "Song of sacrifice", i "Bun-
deslied", i "Funeral song": Chamber Music: i Sep-
tet, 2 Sextets, 3 Quintets, 2 Fugues, 16 Quar-
tet, 5 String-trios; Wind Instruments: i Octet,
i Septet, i Trio, 3 Duets, i Serenade, i Rondino;
besides these: 65 Songs, (also canons) with Piano-
forte Accompaniment, as well as about 200 English,
Scotch, Irish and Welsh songs with piano, violin, and
violincello accompaniment.
FRANZ BENDEL.
TTNFORTUNATELY but little is known of this excellent
U pianist and composer for the pianoforte. He
was born on the 23 rd March 1833, some say in Bo-
hemia, others at Schonlinde near Rumburg. Schon-
linde is a small Bohemian market-town in the Rum-
burg district. The well-known Schubert dictionary
newly revised by Emil Breslaur gives the same
information, also stating that he received his first
musical instruction in his native town from Proksch;
according to this his native town must have been
Schonlinde where Proksch was resident, but in reality
it was the well-known school of Music of Joseph Proksch
FRANZ BENDEL. -I
in Prague which still exists, and where Bendel studied.
From Prague he went to Weimar to Franz Liszt, who
completed his instruction. He then travelled through
Germany, meeting with great success as a pianoforte
performer; but no further particulars of time and
places are known.
From the year 1862 he lived in Berlin, and for
some years was teacher of the pianoforte at the New
Kullak Academy of Music. He died on the 3 rd July 1874.
Bendel was most active as a composer. The
number of his compositions for the piano (light
and descriptive pieces, Fantasias, Idyls &c.) is over
one hundred. The most admired are the Fantasias
on a theme from Gounod's "Faust and Margaret",
Meyerbeer's "Afrikanerin" and on Bohemian National
songs, (op. 8, 45 and 47). A Pianoforte Concerto, a
Sonata for the Pianoforte and Violin, a Trio, several
Masses and Symphonies, and various books of Songs
are also among his compositions.
WILLIAM STERNDALE BENNET.
BENNET is indisputably one of the finest musicians
England has ever produced. By many he is
thought to be the founder of a special English school,
but that is not the case. He has done very much
for the culture of true art, and in this way has
distinguished himself not only at home but in foreign
countries. His musical style is very much akin to
that of Mendelssohn, and it is often maintained, that
he is an imitator, but this is doing him an injustice.
On his first appearance as a pianoforte performer
WILLIAM STERNDALE BENNETT.
33
(playing his own Concerto in D-minor) at the Royal
Academy of Music in London, of which he was a
pupil, Mendelssohn was present and recognized his
extraordinary capabilities. The latter was his friend
and seven years his senior.
Bennett was born at Sheffield on the 13 th April
1816. He belonged to a musical family. In his
eighth year he became a chorister in King's College
Chapel, Cambridge and in his tenth year, pupil at
the Royal Academy, where he was taught by Holmes,
Crotch, Potter and Lucas. In the year 1833, ne
passed his examination, and the Pianoforte Concerto
composed and performed by him on this occasion
was published at the expense of the Academy. In
the year 1837, through the kindness of the piano-
forte manufacturer, Broadwood, means of his own
not being at hand, he went to Leipzig for a year
in which town Mendelssohn had already taken part
as Conductor in the Gewandhaus concerts for twelve
months. Here he enlarged his artistic sphere, and
Mendelssohn as well as R. Schumann took great in-
terest in him.
In 1841 he went to Leipzig for the second time,
and remained there another year. For several years
he was actively engaged in England as a pianoforte
performer and teacher, having many pupils and being
in much requisition. In 1840, he founded the Bach
Society in London, having as its aim the spread of
Sebastian Bach's works by publication and perfor-
mance. Thus, among other compositions, St. Matthew's
Passion Music was performed for the first time in
England. A proof of the high estimation in which
he was held is the fact of his having been chosen
conductor of the Philharmonic Society in London in
1856. Soon after this he received the degree of Doctor
from the Cambridge University; in 1867, he was
created Master of Arts, and in 1870, Honorary Doctor
Celebr. Pianists. ,
34 WILLIAM STERNDALE BENNETT.
of the Oxford University. In the following year he
was made a Knight by the Queen, but this distinc-
tion he only survived a few years, dying in London
on the i st Feb. 1875.
As a composer Bennett has written 4 Concertos,
as well as a number of Sonatas, Caprices, and Ron-
dos, i Symphony, 4 Overtures, i Oratorio, i Cantata,
the music to "Ajax", i Cello Sonata, i Trio, and a
number of Songs.
HENRY BERTINI.
THE Bertini brothers seem to have originated from
a very musical* Italian family, to which the con-
ductor Guiseppe Bertini also belonged. The elder
of the two brothers, Benoit Auguste, born at Lyons
in 1780, received his tuition from Clementi in London,
and made himself known in the year 1830, by a
book which he wrote in English upon the "Phonolo-
gical system for the acquirement of extreme facility
on all instruments and in singing". His younger
brother, Henri, born on the 28 th October, 1798, in
London, seems to have been quite dependent upon
Benoit, for he was not only initiated into the art of
3*
3 6 HENRI BERTINI.
music and instructed by him, but was taken to Paris
and elsewhere when scarcely six years old. Unfor-
tunately only few particulars of their lives are
known.
Benoit, when a pianist, resided in London, where,
as teacher his services were much in request. Henry
lived in Paris, gave several concerts which must
have proved successful, as some years later he was
able to purchase an estate near Grenoble in the south
of France, where he lived from the year 1859. His
numerous Etudes distinguished for their especial tech-
nical utility, beautiful melody, and fine harmony were
very generally used in schools and also brought him
considerable sums. Buonamici published fifty of
these eludes with introductory remarks and revised
fingering.
Henri Bertini died at his country-seat on the
i8 st October. 1876.
JOHANNES BRAHMS.
THE greatest living master of composition in the
present day, has also made himself a name as a
pianist, and his compositions for the piano are chiefly
master -pieces, which form a part of the peculiar
charm of his musical nature.
Born on the y th May 1833 in Hamburg, he re-
ceived his first musical instruction from his father,
(a double-bass player) and this was continued by
Ed. Marxsen, a pupil of Seyfried and Bocklet. Fully
trained and richly endowed with musical creative
powers he started on concert- tours with the Hunga-
rian violinist, Rem6nyi, whose playing always showed
a marked preference for everything Hungarian, and
3 8 JOHANNES BRAHMS.
this may perhaps have influenced Brahms' taste in
some measure. He then made Joseph Joachim's ac-
quaintance, and being almost of the same age and
both inspired with enthusiasm, they set off on their
travels together. In the year 1853, they came to Diis-
seldorf, and here it was one of the last great deeds
of Robert Schumann before his fatal illness, to draw
attention to this young genius. He was astonished
at the young man's beautiful playing but still more
at the performance of his compositions, and with the
impartiality and foresight peculiar to his nature, he
declared in a decisive paragraph printed in the "New
Journal of Music" "New Paths", that in Johannes
Brahms a new Messiah had arisen from whom the
world might expect musical signs and wonders. "I
thought", wrote Schumann at that time "some one
would appear destined to give full expression of the
age in ideal form, not gradually, but like Minerva in
full panoply. He has now come, in his youth and
vigour, the Graces and Gods have been his guardians.
He is called Johannes Brahms, and comes from Ham-
burg where he has been quietly composing ... in
appearance he bears all the signs of his high calling.
When at the piano, he unveiled wonders to us, we
seemed to be in enchanted regions. His playing was
like that of an orchestra, at one time pathetic, and
then again full of triumph. "Everything was there,
sonatas, hidden symphonies, songs ; full of poetic
feeling although without words, melody reigned
throughout; the pianoforte pieces were sometimes
wild, and then again wonderfully graceful, all the
melodies of such a different character. Then it
seemed as if he united all into a waterfall, bearing
the peaceful rainbow over the dashing waves, and
surrounded on the shore by butterflies and ac-
companied by the songs of nightingales. His
companions hail his appearance in the world
JOHANNES BRAHMS. 3 g
where, perchance wounds are awaiting him, but palms
and laurels too with joy."
Schumann's words proved true; a long- time
elapsed before Brahms was able to reap his palms and
laurels. To begin with, he had a cold reception and
met with no success with his Concerto in D- minor,
which he performed at the Leipzig Gewandhaus. All
the rare strength and perseverance which the young
musician possessed were very necessary to him; for
although this was apparent in his first compositions
for the piano, ballads, and songs, yet he had to con-
tend long against those still wandering in old ac-
customed paths, before gaining the day.
Brahms remained at Detmold for some time as
Chorus Director and composed steadily ; then he went
to his birthplace and in the year 1862, to Vienna, in
which city he had accepted the post of Director of
the Singing Academy. Had the inhabitants of the
Imperial city on the Danube then recognized his ge-
nius, he would most certainly have remained there,
but as it was he left in 1864, an d sought a per-
manency at various places : Hamburg, Zurich, Baden-
Baden &c. In 1869 he re -visited Vienna, and then
began for him an era of success. It was especially
his "German Requiem" with its peculiar grandeur,
which won the hearts of all listeners, and spread his
fame in England.
When Herbeck was appointed Kapellmeister of
the Royal Opera House in Vienna, he resigned the
directorship of the concerts of the "Gesellschaft der
Musik-Freunde", Brahms succeeded him and retained
the position until 1874, when Herbeck in consequence
of some difference vacated his post at the Court
Opera House. Brahms never showed much inclination
for the wearisome work which a conductorship involves,
and never again sought a permanent post after
Herbeck resumed his position as conductor in the
4Q JOHANNES BRAHMS.
"Gesellschaft der Musik-Freunde". In order that he
might be free and unfettered as a composer, he refu-
sed the most brilliant offers. After his retirement
he lived at Heidelberg- until 1878, and then selected,
Vienna as his place of abode. In the previous year
1877, he received the title of Honorary Doctor of
Music and Philosophy from the Cambridge University,
and in 1881, the same title was conferred upon him
by the University of Breslau.
Not without much toil, for the industry displayed
in his great works must have been tremendous, but
free and unaffected by any criticism a glorious success
finally came to the master; all important concerts
numbered his works on their programmes, and his
compositions are now to be heard in many families
where music is more than superficially studied.
In a biographical sketch prompted by a large
portrait of Brahms, which appeared in the "Neue
Blatt", the critical editor gave the following opinion
of the great musician : "Brahms is the only living
composer, to be recognized as individual among those
creative musicians who follow in the Wagner, Men-
delssohn or Schumann track. Not that he has kept
free from the influence of other masters in thought
and feeling; Brahms, however, possesses a peculiar
mode of expression, distinctly his own; he is never
loquacious in his music, on the contrary, generally
serious and in earnest, putting his thoughts into
pithy forms. Nothing sweet or sickly is to be found
in his music ; the construction of his greatest works
displays a power of arrangement which perhaps has
only been equalled by Beethoven; in most of them
there is a shade of soft melancholy, at times they
are even harsh. Brahms is frequently, like Rem-
brandt, a dark painter in his colours as well as ideas.
For this reason many frivolous and superficial people
have no love for him; and many musicians to whom
JOHANNES BRAHMS. 41
Brahms is a vexation because they get no applause
when performing his compositions, assert that his
music is colourless as a November sky or call it
discordant and inharmonious. These are of course
only mean, ill-natured speeches, and the fact that
Brahms produces every year new compositions with
which he delights and surprises his friends shows
how little these unjust criticisms affect him/'
Brahms is at present a long way from being
popular in the sense that Mozart, Haydn, Beethoven
or even Schumann are. His works are too difficult
of execution, especially in point of rhythm, for that,
for a composer can hardly be called really popular
until the amateur plays his works and rhythm is al-
ways the amateur's stumbling block. But the same
was said of Beethoven's and Schumann's works.
The day, however, is not far distant when Brahms
will be understood and appreciated in all circles where
there is a genuine love for really good music.
Brahms' compositions number more than one
hundred. For the Piano: Solos, Duets, some with
instrumental accompaniment, i Quintet, 3 Quartets,
4 Trios, 4 Duets, 4 Sonatas, Variations on one of
Haydn's Themes, 8 Books of Hungarian Dances, Va-
riations on a Schumann Theme, 2 Waltzes, Arrange-
ments of his Symphonies No. 3 and 4; 4 Ballads,
4 Capriccios, i Chaconne in Bach's style for the
left hand only, i Etude in Chopin's style, i Arrange-
ment for performance in public of a Gavotte by Gluck
4 Intermezzos, i Presto from J. S. Bach in two ar-
rangements, 2 Rhapsodies, i Rondo in C. M. von
Weber's style, i Scherzo, 5 Studies, 2 Books of Varia-
tions on a Theme byPaganini, Variations on a Theme
of his own and on a Hungarian Song, and one on a
Theme of Haendel. Orchestral Music: 2 Serenades,
4 Symphonies, Variations on a Theme by Haydn,
2 Overtures. For Stringed Instruments: i Violin-
4 2 JOHANNES BRAHMS.
concerto, 2 Sextets, 2 Quintets, 3 Quartets, i Quintet
for the clarionet and stringed instruments, various
pieces for the Organ, and numerous sacred and se-
cular songs with pianoforte and instrumental accom-
paniment.
LOUIS BRASSIN.
HPHE three brothers bearing* this name have all
1 distinguished themselves: Louis born on the
24 th June at Aachen, Leopold at Strasburg, (Alsace)
on the 28 th May 1843, and Gerhard at Aachen on the
io th June 1844. The latter was a violinist, the two
former were pianoforte players and teachers. The
father of these three musicians was the well-known
baritone Brassin, who for a long time was engaged
at the town theatre at Leipzig, and whose perfor-
mance was much admired both there and abroad.
Thus with his own efficient knowledge of music he
was admirably qualified to control the education of his
sons. Leopold and Gerhard were teachers at the
Musical Academy in Berne, and from 1857, tne f r ~
44 LOUIS BRASSIN.
mer was Pianist to the Duke of Saxe-Coburg-Gotha;
he lived later on in St. Petersburg, and died in Con-
stantinople in the year 1890. He has written several
works for the Piano: Concertos for two pianos, with
orchestral accompaniment, and other important pieces,
overtures, string quartets, songs &c.
Louis was of more importance as a pianist and
teacher. He gave many concerts in various countries,
partly with his brother, the violinist, and filled in suc-
cession three good appointments as teacher: in 1866,
as the successor of Hans v, Bulow at the Stern Con-
servatoire in Berlin, in 1869, at the Brussels Conser-
vatoire and 1879, at the Conservatoire of St. Peters-
burg: thus he spent 18 years in tuition and during this
long period trained many clever pupils for the piano.
He died in St. Petersburg on the 1 7 th May 1884.
HANS BRONSART VON SCHELLENDORF.
BORN in Berlin, Feb. n th , 1830, Hans von Bronsart
as pianist, composer and music director has made
a considerable name for himself. Belonging to a mi-
litary family, his father being* Lieutenant - General
Bronsart v. Schellendorf, and several of his nearest
relations holding high military posts, his inclination was
more in favour of the musical than the military pro-
fession. Coming to Danzig with his parents in his
early youth he began the study of music in his eighth
year, and made considerable progress on the piano,
so that in his eleventh year he was able to perform
Liszt's Transcription of Franz Schubert's "Lob der
Thranen".
After having passed his examination at the
4 6 HANS BRONSART VON SCHELLENDORF.
grammar school at Danzig at Easter 1845, he removed
to the Berlin University for the purpose of studying
philosophy; taking lessons at the same time from
Theodor Kullak and learning the theory of harmony
and counterpoint from Siegfried Dehn.
In 1854 he became Liszt's pupil in Weimar, and
after three years thorough study, he completed his
musical education. He then commenced his travels,
first going to Paris, where he gave two concerts in aid
of charities, and then performing in many German
towns and in St. Petersburg. Having in the meantime
attracted attention as a composer for the piano and or-
chestra, his appearance at Leipzig led to his appoint-
ment as conductor of the Euterpe concerts in the year
1860; when resident in this town he married Ingeborg
Starck (see next page.) in 1861. In the year 1865,
he succeeded Hans v. Billow, as conductor of the
concerts given by the "Gesellschaft der Musik-Freunde"
at Berlin, but in 1867 ne received a call to Hanover
as manager of the Royal Theatre, in which position he
brought forward good performers for the opera and
theatre. Later on he became manager at the Court
Theatre at Weimar, which position he still retains.
Of his compositions for the piano his Concerto in
F- sharp minor, "Aus der Jugendzeit", a Fantasia and
other pieces are widely known. Besides these works
he wrote an opera "Der Corsar", a Fantasia for violin
and organ, a "Spring Fantasia" for orchestra, a Can-
tata entitled "Christnacht", a Trio in G-minor, a Sextet
for stringed instruments and other pieces.
.
INGEBORG VON BRONSART.
TNGEBORG, nee Stark, the wife of the Court Theatre
JL "Intendant" Bronsart v. Schellendorf, was born on
the 24^ August 1840, in St. Petersburg. Her first
pianoforte teachers were Constantine Decker, and Ni-
colaus v. Martinon an excellent amateur; later on
Adolf Henselt continued her musical education and
from the year 1858, Franz Liszt, who completed it.
She began composing at an early age; in her
twelfth year she performed a composition of her own
at St. Petersburg, which had been arranged with in-
strumental accompaniments by her teacher Decker.
4 8 INGEBORG VON BRONSART.
When in St. Petersburg she published a number of
studies, light pieces, Fugues, and Sonatas, the result
of serious and careful study. When living in Weimar
she published a Concerto, Sonatas, Fugues &c.
She appeared with much success as a pianist in
various towns, including Leipzig, where she made
Hans v. Bronsart's acquaintance and married him.
Ingeborg v. Bronsart has composed three operas,
(one of them "Jery and Bateli", has been performed
many times), Songs, Romances for the violin and
violincello with pianoforte accompaniment, a "Kaiser-
marsch" &c.
IGNAZ BRULL
A LTHOUGH Ignaz Briill was for some years a per-
./Y former on the pianoforte, yet he was soon induced
to relinquish his career as a pianist owing to the
success his compositions met with, in particular his
opera "The Golden Cross", and from this period he
devoted all his time and attention to composition.
Born on the y th November 1846, at Prossnitz in
Moravia, he accompanied his parents to Vienna in
1850, and as he displayed much inclination and talent
for music at a very early age, he received instruc-
tion on the pianoforte and in theory from Epstein,
Rufinatscha, and Desoff ; he composed steadily and in
Celebr. Pianists. *
50 IGNAZ BRULL.
the year 1861, his first important composition (a Con-
certo for the pianoforte and orchestra) was performed
in Vienna, he himself taking part in it. Whilst travel-
ling" as a pianoforte performer an orchestral Serenade
of his was performed at Stuttgart in 1864, an d two
other Concertos for the piano in Vienna, Berlin, Leipzig,
and Breslau.
In 1872, he was appointed piano teacher at the
Horack Music Institute in Vienna, and retained this
post until 1878. He then gave up his time wholly
to composition. His productions for one or two pianos
alone or together with the violin, violincello, and
orchestra are numerous; in addition he has composed
a Violin Concerto, a Cello Sonata, a Trio, an overture
to "Macbeth", a Ballet, a "Marchen aus der Champagne",
Choruses and Songs; and besides the "Golden Cross"
he wrote five other operas, "The Beggar of Samar-
kand", "Der Landfriede", "Bianca", "Queen Marietta",
and "The stone Cross", but none of them were re-
ceived with the same enthusiasm as the "Golden Cross".
Kr*&pe,
DR. HANS VON BULOW.
AS one of the cleverest musicians, authors, conduc-
J\. tors and pioneers for true art Hans v. Billow
stands on an equality with the most eminent men of
his time. He has achieved wonders for the elevation
and spread of musical art, and even when the manner
of his attack seems to have been misunderstood, it
originated in his enthusiasm for all that is truly great
and noble in music and its advancement in every day
life. Almost unparalleled in its consistency, self-
denial, and nobility is his furtherance of Wagner's
music, and he is always full of eager generosity to
forward into notice the works of important composers,
whose productions have not met with a favourable
5 2 DR. HANS VON BULOW.
reception from the public. To Wagner's name we
need only add those of Brahms and Berlioz in order
to rightly appreciate Billow's efforts in this direction.
By his brave championship, powerful writings, piano-
forte playing and conductor's baton, Billow has verified
the words "Many foes, much honour"; spending his
whole life in the service of music, he has only con-
quered after many a hard struggle.
Hans Guido v. Billow was born at Dresden,
Jan. 8 th 1830. In his childhood he displayed little
talent or inclination for music. It was a lady, Fraulein
Schmiedel, who gave him his first pianoforte instruc-
tion, for she possessed more energy and perseverance
than many a man, and never rested until she had
instilled the boy with a love of music. Later on,
Friedrich Wieck, Litolff, Eberwein, and Moritz
Hauptmann became his teachers.
In consequence of his father's removal to Stutt-
gart in 1846, Hans v. Billow entered the grammar
school in that city; in 1848, he removed to the Uni-
versity at Leipzig for the purpose of studying law,
but left there for the Berlin University in 1850. In
the last mentioned city he commenced literary work,
writing for the "Evening Post", and adopted the ideas
of the prevailing political movement which had been
especially fostered in him by Wagner's treatise "Art
and the Revolution".
After having visited Richard Wagner in his exile
at Zurich in the year 1850, who gave him ready ad-
vice concerning his future career, and practical in-
struction in the art of conducting at the town theatre
at Zurich, Wagner recommended him to Liszt at
Weimar, who undertook his tuition in pianoforte
playing in 1851. In the following year, he appeared
for the first time as a performer at a Musical Festival
atBallenstedt conducted by Liszt and in 1853, and 1855,
he went on concert-tours through Germany to Vienna.
DR. HANS VON BULOW. 53
The result of his appearance as a pianoforte player
in Berlin was his appointment at the Stern Conser-
vatoire to the post rendered vacant by Kullak's re-
signation in 1855. In 1857, he married Liszt's daughter
Cosima, and in 1858, was appointed Pianist at the
Prussian Court. In recognition of his services on
behalf of music and literary work, the Jena Univer-
sity, in 1863, conferred upon him the title of doctor
of Philosophy. In the year 1864, he visited Russia
as a pianist and director of concerts, and in 1865,
went to Munich as Pianist to the King of Bavaria,
in which city his method of conducting Wagner's
musical drama "Tristan and Isolde" gained him a
high reputation.
Political motives being probably the cause of his
departure from Munich in the year 1866, he went to
Basle in Switzerland, but soon after received the
royal appointment of conductor and director of the
Academy of Music at Munich, which necessitated his
return to that city.
He now devoted much time and energy to
Wagner's operas, as well as to the Academy. Being
divorced from his wife in 1 869, who afterwards became
the wife of Richard Wagner, he resigned his appoint-
ments and went to Florence, where he remained three
years and devoted himself to introducing German
music into Italy. In 1872, began the new era of his
European concert -tours which procured for him the
reputation of being one of the most important con-
ductors of the age. He gave concerts in America in
1875, and in England in 1876.
In 1877, he was made conductor at the opera
house in Hanover, where he remained until 1880, and
then received the post of manager of music (Intendant)
at the Meiningen Court. At the concert-tours which
he undertook with the orchestra and by consent of
the Duke, he showed in a practical form how a good
54 DR. HANS VON BULOW.
orchestra, by strictly obeying an efficient leader, is
capable of penetrating the depths of classical master-
pieces, and of doing them full justice. The fact of
his resigning this post in 1885, inconsequence of some
difference, was less of a loss to him, than to the In-
stitute which he had brought into repute. From this
period, by conducting large orchestras, Philharmonic
Societies in St. Petersburg, Berlin and Hamburg, he
has brilliantly revealed his capacities as a conductor,
and accomplished wonders both as a conductor and
pianist.
His memory is marvellous; playing and conducting
without the aid of notes, and through him the art of
conducting in this manner has become the fashion ;
although he has never had a rival, for the repertoire
which he retains is the most extensive ; he masters
it so completely that under his guidance the greatest
and longest works are accurately performed even to
the smallest detail. Meanwhile, without for a moment
doubting Herr v. Billow's talents as a conductor, es-
pecially in what concerns an exact and precise per-
formance, yet I must not omit mentioning that his
peculiar individual conception of many classical master-
pieces is open to criticism. Whether a conductor is
justified in supplying his own conception of the work
instead of that established by tradition remains a
question which other critics may decide. The result
may be a success, and any deviation can easily be
tolerated when such a perfect musician as Dr. v. Billow
is concerned. Yet unfortunately many others, with
inferior talents for conducting have arisen as imitators,
who believe themselves equally justified by the exam-
ple of their great predecessor in introducing all sorts
of peculiarities into the works of the great classical
masters. Thus, it happens that now-a-days one hears
performances of the works of Beethoven, Mozart, Haydn,
Mendelssohn and Schumann, which most certainly do
DR. HANS VON BULOW. 55
not coincide with the intentions of these great men,
and which altogether give a false idea of the compo-
sitions. Hurrying or slackening Tempi, Accellerandos,
Rallentandos, and even pauses are introduced; all this
does violence to the spirit of the works. Every con-
ductor of a small theatrical orchestra think himself
entitled to use his judgment in the performance of
"Fidelio" or any opera by Mozart, and to give his
reading of this or that part instead of doing their
utmost to express the composer's intention.
The same disagreeable tendency prevails among
painters and authors as well as musicians, and the
only motive is to get their productions noticed at any
price. The public must be roused, and as this cannot
always be accomplished by fair means on account of
the lack of fine appreciation of real art, imaginary
connoiseurs set themselves up, who unfortunately em-
ploy foul ones.
Thus Herr v. Billow cannot escape the charge
of having encouraged this quite unjustifiable musical
mania by his capriciousness in conducting.
As a pianist he has always proved himself to be
a faithful and enthusiastic exponent of classical music,
thus, by his performance of the five last Sonatas by
Beethoven, he has made the public acquainted with
them, as well as procuring recognition for new com-
positions.
His indefatigable, unflinching perseverance corres-
ponds with the extent and depth of his musical know-
ledge. In America he gave 139 concerts during one
single visit over there. He does not allow such mean
attacks, as those lately prepared for him at two Phil-
harmonic Concerts in Berlin, to daunt him from devo-
ting himself entirely to the noble art of music with
his entire soul.
Hans v. Biilow has published a number of pieces
for the piano besides having made himself a name by
5 6 DR. HANS VON BULOW.
his editing of Beethoven's Sonatas (beginning atop. 53)
also that of Cramer's Studies. He has also arranged
a series of works by Wagner and Berlioz in a masterly
manner, besides composing an overture to Shakespeare's
"Julius Cesar", a ballad "The Singer's Curse" by
Uhland, "Nirwana", Songs &c.
TERESA CARENNO.
ALL critics of the present day agree in putting Teresa
Carenno at the head of modern pianists. Her
playing is unequalled, her technical knowledge is
perfect, and she captivates even those who make it
a rule to admire nothing. In fact her whole perfor-
mance is great and phenomenal. At the same time,
her greatest admirers admit that it is not all perfec-
tion, although her playing is impassioned and full of
power, yet it lacks tenderness and her touch is often
hard. But it is well known that on her first ap-
pearance in Germany she excited great enthusiasm
by her artistic peculiarities, and her expressive
5 8 TERESA CARENNO.
playing. In 1889, she appeared in Berlin, and gave
a concert in the Sing Academy ; Hans v. Billow
hearing her on this occasion described her as "the
most interesting pianoforte player of the present
age". With regard to the strength of her playing
she is only to be compared with Sophie Menter, who,
in the overcoming of technical difficulties, for instance
in the performance of Liszt's and Rubinstein's concer-
tos, excels even male performers. It is said of these
two pianists that they are the only ones, who, in
spite of the restrictions laid by nature upon their sex,
have been able to overcome tremendous pianoforte
difficulties.
Teresa Carenno's southern temperament may have
decided her artistic tendency. Born at Caracas in
the Republic of Venezuela on the 22 nd December 1853,
her father being a Minister of Finance she displayed
musical talent as a child and according to reliable
authorities received pianoforte instruction in New
York from Moritz Gottschalk who died in 1869.
It is also asserted that she was sent to Paris for
further study, and was taught by H. Matthias, one
.of Chopin's pupils. She then returned to America
and celebrated many triumphs in large American
cities. It was in America too that she made the ac-
quaintance of the violinist Sauret, whose wife she
became. They went on concert - tours to large
American cities, meeting with a hearty reception
every where. After several years had elapsed they
were divorced, and Madame Sauret married again.
Being divorced from her second husband the married
the pianist d'Albert, whose compositions she now
equently plays in German towns, her powerful
performance often proving the means of furthering-
their success.
.J 11 L f^ ig the artiste a PPeared for the first time
on the 29* March 1890, and met with decided success,
TERESA CARENNO. 59
Since then she has been enthusiastically received in
all the large musical towns of Germany. Quite re-
cently she performed her husband's newest compo-
sition, (a piano Concerto in E) at a Philharmonic
Concert in Berlin.
FREDERIC CHOPIN.
WE can only repeat of Chopin what has already often
been asserted ; he was a genius of rare origina-
lity, a musical poet, who neither imitated the styles
and ideas of others, nor troubled himself about them,
but formed his own thoughts, made experiments and
evolved works from the abundance of his own ideas
and feelings. His compositions at times give evidence
of a gay humour, but still oftener they are serious
and often melancholy. The performance of them
FREDERIC CHOPIN. 6 1
is nearly always technically difficult, and to ensure
their success, good taste and musical knowledge are
requisite on the part of the performer, whether the
composition selected be a dance, variation, nocturne,
prelude or etude, but then, if well played, success is
certain.
A connoiseur once expressed his opinion upon
the especial style of Chopin's music. "Poland im-
presses it with sorrow; France with animation and
grace; Germany with depth." Chopin in his youth
when studying at the Conservatoire at Warsaw was
taxed by many with taking a course of his own. One
of his teachers, Eisner, would then reply to the charge
"Let him alone ! He does not follow the beaten track,
becauses he possesses unusual musical abilities. He
does not adhere strictly to the old method but in-
stead of it follows one of his own, and in his works
he will display an originality, unknown up to the
present time."
Eisner was right. Chopin introduced a new style
in essential matters, and especially in technical work,
which was recommended by Liszt, who also adopted
it, as well as many other musicians. He treated the
piano as a living being always seeking new pecu-
liarities and charms. Thus for instance he had a
preference for extended chords, and as, on account of
the natural formation of his hands he was -unable to
master them, he procured artificial means by con-
structing an apparatus which forced the fingers apart
and which he even wore when asleep. According
to the opinion of all his musical contemporaries he
was a first-rate pianist, always original, and inex-
haustible in the application of all sorts of contrivances
for the improvement of instruments.
Frederic Chopin was of French and Polish origin,
his father Nicholas, born at Nancy, was an -enthu-
siastic adherent of Stanislaus Leszczynsky, who had
62
FREDERIC CHOPIN.
inherited the dukedoms of Lorraine and Bar. The
sympathy which was shown for the descendant of the
Polish throne by the inhabitants of Lorraine, was con-
ferred by his friends and countrymen on Poland, the
home of the exiled. Nicholas Chopin removed
thence and accepted a tutorship in Warsaw in the
year 1787. He afterwards held three posts in suc-
cession at academies in Warsaw; he then established
a boarding school for boys, and married a Polish
lady named Krzyzanowska in 1806. Chopin was born
on the i st March 1810, at Zelazowa Wola, near
Warsaw. His home was one of grace and refinement,
which was of great importance in deciding the boy's
character. He was a gentle, nervous child on whom
music had a strange effect. He received good piano-
forte instruction and made rapid progress. Like
Mozart, for whom in later years he cherished the
deepest veneration, he displayed considerable capacity
for composing even in his early years, and was con-
sidered a prodigy by those who heard him, yet he,
unlike Mozart, did not play for money and was taken
on no tours.
When Frederic was ten years of age the singer
Catalan! came to Warsaw; she was delighted with
the boy's playing and as a souvenir presented him
with a watch, bearing the following inscription : ,,Ma-
dame Catalani a Frederic Chopin, age de dix ans."
Early as Chopin began composing, he did not
limit himself to the practising and performance of
new or complete compositions, but loved to improvise
his own fancies, for hours together; especially liking
to do this in the dusk, thus being able to live en-
tirely in a world composed of his own thoughts, but
from this cause his nature received touches of me-
lancholy.
The following is a marked incident in his life.
In 1825, when Chopin was fifteen years of age the
FREDERIC CHOPIN. 63
Czar Alexander came to Warsaw and wished to hear
a newly invented instrument performed, the Aeol-
melodicon probably our harmonium, and Chopin being
considered the most competent pupil of the Lyceum,
was chosen to perform on it. The Czar was so plea-
sed with his playing, that, full of admiration for Cho-
pin's wonderful talent, he presented him with a costly
diamond ring.
According to some authorities Chopin left War-
saw and Poland in 1828, but what seems more reliable
is that he left it in 1831, driven away by the outbreak
of the Polish revolution ; his gentle quiet nature being
averse to all violence. He went on tours as a pianist
and met with success everywhere, especially at
Vienna and Leipzig. It was in the latter town that
his playing, especially the performance of his Varia-
tions on a Theme from "Don Juan" (op. 2), so char-
med young Schumann.
Chopin then went to Paris, which became his
permanent abode. He met with a warm reception
both as a pianist and composer; a number of eminent
men, Meyerbeer, Berlioz, Liszt, Ernst, Balzac, Heinrich
Heine &c. honoured him with their friendship and
sympathy. The best circles welcomed him, he became
the fashion, and in this case at least the fashion
showed good taste.
Madame Dudevant (Georges Sand) was one of
his most enthusiastic admirers, and when in the year
1838, Chopin showed symtoms of disease of the chest
she persuaded him to accompany her to the island of
Majorca for the benefit of his health. After an appa-
rent improvement they returned to Paris; but as he
remained in weak health, this pleasure-loving woman
left him.
Only the most perfect regularity and absence of
all exhausting pleasures kept Chopin alive. In the
spring of the year, 1849, however, carrying out his
6 4
FREDERIC CHOPIN.
own wish and that of his friends, he travelled to
England for the purpose of giving- a few concerts. His
journey seems to have absorbed his little remaining
strength, and he died in the same year, on the
i7 th October, being interred beside Cherubini and
Bellini amid the strains of Mozart's "Requiem".
Chopin's compositions comprise 2 Concertos in
E- and F-minor, 3 Sonatas, 4 Ballads, 4 Fantasies,
12 Polanaises, 52 Mazurkas, 13 Walzes, 3 Ecossaisses,
i Krakowiak, i Bolero, i Tarantella, i Barcarole,
i Berceuse, 25 Preludes, 19 Nocturnes, 5 Rondos,
4 Scherzi, 4 Variations, i Funeral March, i Concert
Allegro, 27 Concert Studies, i Trio, i Rondo for four
hands, 2 Sonatas for the piano and cello, and 16
Polish Songs.
MUZIO CLEMENTI.
S a pianist, teacher and composer for his own instru-
ment Clementi has become very celebrated. As
a pianist he rivalled Mozart and he taught Cramer,
Field, Moscheles, and Kalkbrenner. His position in
the history of music is characterized but not exhaus-
ted with this assertion; it was said of him that with
his "Gradus ad Parnassum" he laid the foundation
of modern pianoforte playing.
An older competent and critic makes the following-
comparison with regard to him. He says: "As Viotti
is the father of modern violin-playing, so is Clementi
to be regarded as the father of modern piano playing.
Cherubini and Clementi are considered to be Beethoven's
predecessors, Cherubini in a greater and Clementi
in a lesser degree. Beethoven always thought highly
Celebr. Pianists. C
56 MUZIO CLEMENT!.
of him. He is the first composer of ability as
regards the Sc<nata, the fundamental form of which
remains the same to the present day."
Born at Rome in the year 1752, (day unknown)
Clementi received instruction in pianoforte playing
from the organist Buroni, and in thorough bass, coun-
terpoint and singing from Carpani and Santarelli.
From the year 1761, he played the organ in public,
and in his fourteenth year he excited so much en-
thusiasm in Rome by his playing and composing that
a rich Englishman, named Beckford or Bedford per-
suaded his father to let him take the boy to England,
where his patron had him instructed in music, es-
pecially in piano playing. As a performer he made
considerable sensation in London society. Pupils
thronged to him and he became conductor at the Italian
Opera House in London, but in 1781, he made a long
concert-tour on the continent. At Vienna in com-
petition with Mozart he played for a wager before
the Emperor Joseph II., in which contest Clementi came
off victor. He seems to have gone to Paris some years
later, in 1785. Then he remained many years in
London entering into partnership with the firm of
Longman & Broderip, music publishers and piano-
forte manufacturers, and this firm failing some time
later, he formed a similar partnership with Collard,
under whose name the business still flourishes.
In the meantime he composed for the piano and
gave lessons, and particularly to Johann Baptist
Cramer, and some years later to John Field. With
the latter he went on a tour, visiting Paris, Vienna,
and St. Petersburg in 1802, and wherever they went
they met with an enthusiastic reception owing to
their masterly performances. As Field remained in
St. Petersburg, Clementi continued his tour with Karl
Traugott Zeuner. In Berlin, L. Berger, Moscheles
and Kalkbrenner were his pupils, the two latter only
MUZIO CLEMENTI. 67
for a time. Klengel also had the benefit of his
instruction in Dresden. He was married in Berlin
but lost his wife a short time afterwards, and tra-
velled with Berger and Klengel to St. Petersburg,
where he seems to have remained some time, for it is
said he did not return by Vienna and Italy to London
until the year 1810. He was married for the second
time in 1811, and from this period only left England
once (in the winter of 1820 1821) when he visited
Leipzig. He died on the io th March 1832, at his
country seat at Evesham, near London, leaving a
very large fortune.
Besides his important work of instruction "Gradus
ad Parnassum" he wrote 60 Sonatas for the piano,
-and 66 Sonatas for the piano, partly with violin ac-
companiment and partly with cello and flute accom-
paniment; a Duet and some Caprices, and cha-
racteristic pieces &c. for the piano; he published an
anthology of the pianoforte works of classical com-
posers, besides leaving some posthumus Symphonies
and Overtures.
FRANgOIS COUPERIN.
IN the 17 th and i8 th centuries the Couperins were a
brilliant race of musicians living in France, who
were especially distinguished as organists and com-
posers. Fran9ois excelled them all, and has therefore
acquired the designation "le grand" ; he also seems
to have been the only one who has made a name
as a pianist.
He was born in Paris on the io th November 1668.
His father was Charles Couperin, organist at the
church of St. Gervais, but he died in 1669, whereupon
his friend and successor Thomelin became the boy's
FRANQOIS COUPERIN. 69
tutor and teacher. Some years later the Couperins
again came to the front as organists at St. Gervais ;
first Charles' brother and then Fra^ois in the year
1698. Three years later the latter became dulcimer
player and organist of the Royal Chapel to Louis xiv.
who was the reigning sovereign. In this position he
astonished and delighted the court by the beauty of
his playing, and especially with the performance of
his own compositions.
After Fran 9ois' death in 1733, one of his daughters
Marguerite Antoinette was appointed harpsichord
player to the King, a second daughter Marianne who
was a nun, was organist at the Abbey of Montbuisson.
As a composer and author Couperin opened out
a new era for pianoforte playing, which is proved by
the fact that Sebastian Bach in many respects took
him as a model, for instance in the treatment of
French styles of Dance Music, and that Johannes
Brahms has published Couperin's pianoforte works in
a revised form in Chrysander's "Denkmalern der
Tonkunst". In 1713, 1716, 1722 and 1730, Couperin
published four Books, "Pieces de clavecin", in the
third of which there are four concertos; in 1717, "L'art
de toucher le clavecin", in 1724, "Les gouts reunis"
with some more concertos and a Trio "Apotheose de
Corelli". In addition to these, "Apotheose de rincom-
parable Lully"; "Le9ons des tenebres" and "Trios
pour deux dessus de violon, basse d'archet et basse
chiffree".
JOHANN BAPTIST CRAMER.
pRAMER like his teacher Clementi won a brilliant
\j reputation both as a pianist and composer for the
pianoforte.
It is true that in the present day many of his
compositions are considered out of date, but the second
part of his "Grosse Pianoforte Schule" the "Schule
der Fingerfertigkeit" consisting" of 100 daily studies,
and the fifth part, 84 Etudes (59 of which have been
published in a revised form by Hans v. Billow) are
still in use as a means of instruction.
J. B. Cramer was born at Mannheim on the
24 th February 1771. His father Wilhelm Cramer was
a violinist, and the latter being called to London as
Royal Bandmaster in 1772, Johann Baptist Cramer
JOHANN BAPTIST CRAMER. 7!
spent his youth in the English metropolis, and received
musical instruction from Johann Schroter andClementi;
yet he studied theory almost entirely without the help
of a teacher. His models were Handel, Bach, Scarlatti,
Haydn and Mozart.
As early as 1788, he began his concert- tours as
a pianist, meeting with great success everywhere.
London was his place of residence.
Thayer in his excellent biography of Beethoven,
asserts that Cramer went on a tour to the continent
in 1 799, in order to hear the finest pianoforte players.
"He renewed his acquaintance with Haydn in Vienna,
whose especial favourite he had been in London and
at once entered into close friendship with Beethoven.
Cramer excelled Beethoven in the perfect neatness
and correctness of his performance ; Beethoven assured
him that he preferred his touch to that of any other
player. His technical ability was wonderful; yet he
was still more admired on account of his fine taste,
feeling and expression ; but Beethoven excelled him in
power and energy, especially in improvisation. They
were both perfect in their own peculiar styles, were of
infinite help to each other, and in later years met with
full appreciation of their mutual capabilities. Ries
gives Beethoven's opinion as follows: Among pianists,
he only distinguished one as an excellent performer,
and that was John Cramer. All others were of small
account to him." On the other hand Cramer a long
time afterwards expressed his opinion, that no one
could assert that he had ever heard improvising who
had not heard Beethoven.
Beethoven too was equally just with regard to
Mozart's genius. At an Augarten Concert in Vienna
Beethoven was with Cramer, and they were listening
to a performance of Mozart's pianoforte concerto in
C-minor. Beethoven suddenly stood still and attracting
his companion's attention to the exceedingly simple
- 2 JOHANN BAPTIST CRAMER.
yet beautiful melody which came in towards the
end of the piece exclaimed : "Cramer, Cramer, we
shall never attain to that!" And when the movement
was repeated and increased in motion Beethoven kept
time to it, moving his body to and fro, and displayed
his enthusiasm and enjoyment of the music in every
possible way.
Cramer brought Beethoven's Trios, Opus i back
to London with him, and once after having played
them he exclaimed "That is the man, who will console
us for the loss of Mozart!" And once in conversation
with Potter he exclaimed in enthusiastic exaggeration.
"If Beethoven were to upset his inkstand on to a piece
of music paper, you would still admire it!"
He spent some time in Paris, in 1832, and in
1845. I n the year 1828, he and Addison opened a
music business in London ; mostly for the sale of
classical works, under the name of Cramer & Co., which
he conducted until 1842, and which is still flourishing.
He died on the i6 th April 1858 in London.
Besides the Studies already mentioned he wrote
7 pianoforte concertos, 105 Sonatas, i Quartet, i Quin-
tet, several variations and Rondos &c. Adolf Henselt
has arranged a selection of his best works, with the
addition of a second piano.
An older musical biographer when speaking of
the value of his compositions says : "Cramer did not
attain to Clementi; 40 50 of his Sonatas are good
and about a dozen of them are beautiful."
KARL CZERNY.
FR more than thirty years this excellent exponent
of pianoforte playing was the most important and
successful teacher in Vienna, and still has great in-
fluence on less advanced students by the use of his
masterly and unequalled Etudes.
As he himself had the benefit of the best
instruction, so as teacher he taught a number of im-
portant musicians, Liszt, Dohler, Thalberg, Jaell, Frau
v. Belleville-Oury and others, who owed their success
in later years to the good foundation laid by him.
He was born in Vienna on the2i st February 1791;
his father, the pianist Wenzel Czerny, was his teacher,
and instructed him most carefully and impartially with
regard to his future, not merely as a pianist. Then
74 KARL CZERNY.
for some time no less a genius than Beethoven was
his teacher. With such genuine and good instruction
he made rapid progress, so that before attaining his
fifteenth year he felt himself fully qualified for the
office of teacher, and pupils belonging to the best
society in Vienna thronged to him. Beethoven's friend
and supporter, Prince Lichnowski was also Czerny's
protector and patron. His reputation spread by his
visits to Leipzig, Paris and London, and pupils from
all parts came to him for instruction.
In 1805 he published his first composition (20 Va-
riations) but nothing more until the year 1818; in the
latter year when he got to know of the firm ' Cappi
& Diabelli", he published a Rondo brillant as a duet,
and from this time publishers vied with each other
for his works.
Czerny then published a series of studies entirely
for educational purposes; Schule der Gelaufigkeit
op. 299, Schule des Legato and Staccato op. 335,
Daily Studies 0^337, Schule der Verzierungen op. 355,
Schule des Virtuosen op. 365, Schule der linken Hand
op. 399, Schule des Fugenspiels op. 400, Schule der
Fingerfertigkeit op. 740. The Toccata in C op. 92
also serves the same purpose.
Altogether this productive musician wrote about
1000 works, among which are to be found Masses*
Offertories, and other church music, as well as or-
chestral compositions, chamber Music and numerous
arrangements. He never married and left a princely
fortune.
EDWARD DANNREUTHER.
POSSESSING unusual talent and ability for music,
and being well instructed, Dannreuther obtained
considerable reputation and in a certain direction
has been of much service to the composers of the
present day. He has done very much in England
for the furtherance and spread of Wagner's music,
which had met with little appreciation up to that time.
In many English newspapers he wrote in favour not
only of Wagner's works but also of those of other
modern composers. He is the author of "Richard
Wagner, his tendencies and theories" (London,
Augener & Co.) and translated Wagner's treatise
7 6 EDWARD DANNREUTHER.
"Zukunftsmusik" (The music of the Future) and his
"Beethoven" into English.
Edward Dannreuther was born at Strassburg in
Alsatia on the 4 th November 1845. He accompanied
his parents to America in his childhood and received
his first pianoforte instruction in Cincinnati, from
H. L. Ritter. Being highly talented and making
rapid progress, his parents sent him to the Conser-
vatoire at Leipzig, where Moscheles and Plaidy be-
came his pianoforte teachers and Richter instructed
him in the art of composition. In 1863, he went to
London, to commence work there. He now became
a zealous promoter of Wagner's music, advancing
it in every possible way; in 1872, he was the origina-
tor of a London Wagner Society, and conducted the
concerts in connection with the society.
In the following year he formed a Choral Society,
which he trained so efficiently that it was soon able
to take part in performances of difficult modern music.
He played at the Crystal Palace performing in the
first place works by Liszt, Tschaikowski, Grieg,
Scharwenka &c., for the purpose of getting them ac-
knowledged and appreciated by the English public.
He also arranged concerts for the performance of
chamber-Music with the same intention. These mu-
sical evenings took place every fortnight during the
winter in his own house and were kept up for years.
FANNY DAVIES.
MISS Fanny Davies, now one of the most eminent
pianists, is distinguished both for her thoroughly
musical and literary education. Long before it was
decided for her to study as a pianiste, she had pur-
sued the study of music with genuine earnestness at
home, participating constantly in quartet parties and
other musical gatherings.
Born in the island of Guernsey, her parents being
of English origin, she went to Birmingham in her
childhood and speaks of this place as her native town.
Her aunt Miss Woodhill, a lady well known in the
educational world, educated her and gave her music
lessons, and when scarcely three years old the child
was able to play little duets by ear with her. When
five years old, Miss Welchman became her teacher
for the pianoforte, and in her seventh year she played
7 g FANNY DAVIES.
in public for the first time at a charity bazaar at the
Birmingham Town Hall. She performed Beethoven's
Sonata with the Funeral March, without octaves, her
hands being too small to stretch them. Her parents'
friends called her a prodigy.
In 1882, she went to Leipzig to study at the
Conservatoire where Reinecke, Oscar Paul, and Jadas-
sohn gave her lessons; but she only remained there
a year, going to Frankfurt-on-Main to study with Frau
Clara Schumann. For two years she had the benefit
of her instruction, Bernard Scholz teaching her com-
position at the same time.
In 1885, she returned to England after com-
pleting her studies and played, first at the Crystal
Palace, and afterwards with great success at the
Monday and Saturday Popular Concerts at St. James'
Hall ; where since then she has often performed with
Professor Joachim, Lady Halle &c.
In 1888, Miss Davies appeared for the first time
in the Gewandhaus at Leipzig, and then made a tour
through Germany. In the same year she played at
the Musical Festival at Birmingham, and in Rome, at
the "Orchestrale", and several times before Queen
Margherita. In Oct. 1882, she had the honour of
playing before Queen Victoria at Balmoral.
LOUIS DIEMER.
L3UIS Diemer, born on the 14 th Feb. 1845, in Paris,
was a pupil of the conservatoire there and is now
professor and teacher at that institute. With his
colleague, Francis Plante, he enjoys the reputation
of being one of the best Parisian artistes. He is
master of considerable technical difficulties, his playing
is thoroughly correct and smooth, every melody and
embellisment, as Professor Hanslick expresses it
"seems to stand out clearly" which means to say that
he is not a musician who will take the world by storm,
but modern and tastefully cultivated.
g LOUIS DIEMER.
His style of playing, also the works he chose,
are thus described by Ed. Hanslick, who wrote about
Diemer's appearance lately in Vienna. "The musician
in question played at a Philharmonic concert, and
then at one of his own in the Bosendorfer Saal, which
was well attended and the building echoed with ap-
plause. In a long series of solo pieces, beginning
with Beethoven's C-minor variations, and ending with
a Liszt Rhapsody, Diemer displayed his most attrac-
tive talents. For such works as Chopin's Ballad in
F of course a more impassioned rendering seems
desirable, but a few pieces by the older French com-
.posers soon transferred him into his own element.
The exquisite old Gallic grace of Couperin, Daquin,
and Rameau cannot be rendered in a more delicate
or graceful manner than by Mons. Diemer. His
transcription of the Overture to the Magic Flute per-
formed so gracefully and smoothly created a great
sensation. The Variations for two pianos by Robert
Fischhof also met with a good reception, and perfor-
med by two such excellent pianists as Diemer and
Fischhof the work was heard to its best advantage,
and had a brilliant effect. Thus there were com-
posers of the most opposite schools : Beethoven, Liszt,
Chopin, Couperin, Rameau, Mozart, Fischhof, whose
works were interpreted in the most elegant, correct,
and finished style."
Diemer has made a name by his transcriptions,
as well as by his own compositions for piano, and in
conjunction with Alard and Frankhomme he published
Haydn's, Mozart's and Beethoven's piano works with
fingering and marks of expression.
ANTON DOOR.
THE dangers of a professional life often prevent
parents from cherishing the idea of such a career
for their children, even if they show marked ability
for it. Such was the case with Anton Door's father,
a celebrated doctor, who entertained no great hopes
of success for his son in adopting a musical career.
Anton Door was born in Vienna, June 2O th 1833,
and at an early age, when receiving instruction at
home, gave promise of unusual musical ability. The
youthful prodigy performed in public for the first
time in his ninth year, and with such success that
he was finally permitted to follow the bent of his
Celebr. Pianists. 6
3 2 ANTON DOOR.
own inclinations after being well-grounded in science;
and even if there is any truth in the assertion that
he gave concerts of his own when fourteen years of
age, it is certain that after doing so, he received for
several years musical instruction from Czerny and
Sechter, as a preparation for his professional life.
In his nineteenth year Door began to travel and
met Peter Pixis at Baden-Baden, who took a great
interest in him. He travelled through Italy with
Ludwig Strauss; then turning his face northward
he remained for some time at Konigsberg. When
there the danish musician Kellermann, invited him
to visit Copenhagen, which he did and then travelled
through Denmark, Norway, and Sweden, remaining
a year in Stockholm, where he was appointed a
Member of the Royal Academy of Music. He then
passed on to Helsingfors, Finland, finally arriving
at St. Petersburg. Here he met A. Rubinstein,
Henselt, Dreyschock, and others from whom he re-
ceived encouragement and help. Count Wielhorsky,
a passionate lover of music became his patron;
through his influence he was appointed Professor
at the Royal Institute of Music at Moscow after
the resignation of Joseph Rubinstein. He remained
there until the Conservatoire was built when he left
the Institute for the new School of Music. He
spent his holidays in making many successful pro-
fessional tours through Scandinavia, Germany and
Austria which led in 1869 to his appointment as pro-
fessor of the pianoforte class at the Vienna Conser-
vatoire.
ALEXANDER DREYSCHOCK.
BORN on the i5 th October 1818, at Zack or Zachotin
in Bohemia, Alexander gave promise of musical
talent when a child; he learned diligently and in his
8 th year had acquired considerable proficiency. He
lost his father when very young and his mother must
have been of a simple nature, for after her son
went to Prague in his thirteenth year (whether in
her company or not, is unknown) it is said she be-
lieved he was devoting his time to the study of
medicine whereas he was receiving musical instruc-
tion from Tomaczek.
6*
34 ALEXANDER DREYSCHOCK.
When twenty years of age Alexander was so
proficient as a pianist, that he was qualified to
undertake his first professional tour in Dec. 1838. He
travelled through a number of towns in northern and
central Germany. In the years 1840 1842 he ex-
tended his concert- tours, visiting Russia, Belgium,
Holland, France (Paris), and London, meeting every-
where with a good reception.
It was in Paris that Cramer heard him in his
latter days and exclaimed "The man has no left hand,
they are both right hands". Dreyschock was, as an
experienced critic says, "the hero of octaves, sixths,
and thirds, his playing being the non plus ultra of
mechanical skill, especially in the performance of
classical compositions; although it is said that his
execution lacked warmth.
In 1846 he visited several Austrian towns his
musical genius being fully acknowledged both by
audience and critics. In Vienna he was appointed
imperial pianist.
It is said that he went to Weimar and Cassel
to visit Liszt and Spohr in 1858. Spohr at that time
was already ill and infirm, and as he says in his
letters "usually very downhearted on account of my
failing powers" he had given up his last pupils. This
visit of Dreyschock's is not mentioned in Spohr's own
writings.
A few years later, in 1862, (after having ceased
his professional tours) at Anton Rubinstein's sugges-
tion Dreyschock was appointed professor of the piano-
forte at the newly erected Conservatoire of Music
at St. Petersburg, and at the same time Director of the
school of music for the operatic stage. He held this
double post for six years only and was always ailing,
the Russian climate apparently not agreeing with his
delicate health. He was often obliged to ask for
leave of absence to recruit his strength in the south.
ALEXANDER DREYSCHOCK. 85
He died of consumption at Venice on the I st April
1869.
Many of his numerous pianoforte compositions
are fascinating and brilliant, but possess no depth;
his variations upon the British National Hymn "God
save the Queen" are well known. His Opera
"Florette oder die erste Liebe Heinrich's IV." was a
dead failure.
JOHANN LADISLAUS DUSSEK.
TOHANN L. Dussek's life as a musician was most
U interesting and stirring. He was of great distinc-
tion in his day, and a number of his compositions are
still highly appreciated.
He was born on the g th February 1761, at Tschas-
lau in Bohemia. In early youth he became a choris-
ter; he was destined for a literary career and was
brought up in the Jesuit Colleges at Iglau and
Kuttenberg. At this time he was so far advanced in
music that he was able to play the organ. He then
JOHANN LADISLAUS DUSS5K. 87
removed to the University of Prague to study theo-
logy. When there, he determined to become a monk,
but his influential patron and his love for art seem
to have prevented him from carrying out his inten-
tion. He left the University with the title of "Bachelor
of music". Under Count Manner's patronage he devo-
ted his time to the study of music and through the
Count's influence he was appointed organist at Mecheln,
and after leaving this post he accepted a similar one
at Bergen op Zoom.
In 1 7 8 2 , he went to Amsterdam, where he established
his reputation as a pianist and composer; for twelve
months he was tutor to the sons of the Stattholder
William V. of Orange at the Hague.
He left there in consequence of the war in the
Netherlands, and travelled to Hamburg where Philipp
Emanuel Bach received him warmly and encouraged
him to continue his pianoforte studies. Afterwards
he made his appearance as pianist in several cities,
especially in Berlin and St. Petersburg. He accom-
panied Prince Radziwill to Litthauen where he re-
mained for two years. He went to Paris in 1876,
where he played before the ill-fated Queen, Marie
Antoinette ; from there he went to Italy returning
again to Paris, but left in consequence of the revo-
lution, going to London, where he established himself
in a music business with his father-in-law by name
Corri. But the times were bad, and the firm became
bankrupt. In 1800, Dussek went to Hamburg, where
he formed a romantic attachment to a lady there, re-
maining with her for two years.
After visiting his home in 1802, he travelled to
Magdeburg and visited the musical Prince Louis
Ferdinand, who retained him as his pianist until the
tie was severed by the death of the unhappy Prince.
His "Elegie harmonique" witten on the death of the
Prince forms one of the most beautiful and pathetic
88 JOHANN LADISLAUS DUSSEK.
works for the pianoforte. A Prince of Isenburg then
took an interest in Dussek, whereupon he became
conductor in the chapel of Prince Tallyrand at Paris
in 1808. The prince esteemed him highly and left
him much leisure time for composing. He died on
the 20 th March 1812, at St. Germain-en-Laye near Paris.
Dussek understood the art of eliciting rich, full
melody from the piano, and wherever he went his
style of playing met with great appreciation. For
the piano he has composed 12 Concertos, i Double
Concerto, 53 Sonatas for 2 hands, 9 Duets, 10 Trios,
i Quartet, i Quintet as well as numerous minor
pieces; a valuable book of instruction for the piano
which appeared in three editions (English, French,
and German) and 80 Sonatas for the violin.
HEINRICH EHRLICH.
ALTHOUGH Ehrlich some years ago exchanged the
J\ career of a musician for that of literature and has
made a name as a very clever writer, yet before
this period he was a virtuoso and teacher of no mean
repute.
Born at Vienna in 1822, he became the pupil of
men of note, Thalberg, Bocklet, andHenselt; Sechter
instructing him in the art of composition.
He made long tours and then became Pianist
to King George V. at Hanover where he remained
several years. In the year 1858, he removed to
Berlin, and played at various concerts with much
success. He was considered an excellent player of
go HEINRICH EHRLICH.
Beethoven's compositions. From the years 1864 to 1872,
he was teacher of the pianoforte at the Stern Con-
servatoire; in 1886, he was appointed teacher for the
second time at this institute of music. Mannstadt,
Marsop, Nagel, Spiro, F. Dreyschock and others are
mentioned as his pupils.
His compositions for the piano include 12 Etudes,
Variations and i Concerto in the Hungarian style.
He also published Tausig's Etudes, and was the
author of a treatise "How to practise the piano".
ALBERT EIBENSCHOTZ.
ACCORDING to all critics this pianist is distinguished
for his brilliant execution, soft precise touch, (as
charming when playing "Forte" as "Piano") rhyth-
mical precision and grace in his performance; but
his speciality was grace and beauty of expression,
combined with richness of tone. All his visits to
Leipzig, Dresden, Hanover, Brunswick, Magdeburg,
Darmstadt and Cologne have proved very successful.
Albert Eibenschiitz was born in Berlin in 1857.
His father, a native of Hungary was an opera singer,
and his mother an Italian, nee Marochetti, was a con-
cert singer. Thus in his childhood he had the
9 2 ALBERT EIBENSCHUTZ.
advantage of good elementary musical instruction. In
consequence of his parents' life being an unsettled one,
he was chiefly brought up at Frankfort by his grand-
mother, a singer formerly in Russia. He had an ex-
cellent teacher in Professor Sachs.
In 1874, he went to the Conservatoire at Leipzig
where Professors Reinecke and Paul were his
teachers. After two years spent in study he left
the conservatoire with this certificate, "one of the
best and most distinguished pupils".
From the years 1876 1880, he lived at Charkow,
as a pianoforte performer and teacher, then he was
appointed to teach at the Leipzig Conservatoire. He
exchanged this position in 1883, f r a similar one
at the Cologne Conservatoire. When applying for
the position he played Brahms' Concerto in Bflat.
His concert tours commenced from the year 1887.
In 1891, he became Director of the choral society
for mixed voices at Mulheim on the Rhine, and has
recently undertaken the conductorship of the Cologne
"Liederkranz" (a choir for male voices consisting of
200 members) he has however not given up his po-
sition as teacher at the Conservatoire.
ILONA EIBENSCHOTZ.
BOUT twelve years ago this youthful prodigy, who
was born at Budapest on the 8 th May 1872, ap-
peared for the first time as a pianoforte performer
and having received the best instruction is now justly
admired as a pianiste. She was first taught music by
her brother Albert when four and a half years old,
somewhat later by Carl Marek, and from her sixth
year by Hans Schmitt at the Vienna Conservatoire.
In 1878 she played for the first time in public in
Vienna and created a sensation. Being further educa-
ted until she attained the age of twelve, she spent three
or four months of every year in Austrian, German, French,
Danish, Swedish, Norwegian and Russian towns play-
ing at concerts. As a matter of course, numbers of
Q4 ILONA EIBENSCHUTZ.
people took great interest in this wonderful child,
who although so young in years could perform diffi-
cult music with unusual proficiency. She played be-
fore the Queen in Copenhagen, and before the Czar
and Czarina at Gatschina, in Vienna before the Em-
peror and in Pesth before Liszt. When in Vienna,
she received an Imperial stipend for four years.
With increasing years she keenly realised her
lack of musical education. Fortunately for her she
secured the interest of the best teacher, Clara
Schumann at Frankfort -on -the -Main, and for nearly
five years she had the advantage of her instruction,
an aristocratic Frankfort family defraying the expenses
of her studies. In November 1889 Clara Schumann
described her in the certificate handed to her as "a
highly gifted, clever artiste".
She then re -commenced her concert- tours, and
whereever she appeared all those who had heard
her as a child noticed with glad surprise the great
improvement in her performance, the result of several
years additional hard work. She now played the
compositions of Bach, Mozart, Beethoven, Scarlatti,
Schumann, Chopin, Liszt, Brahms &c. with technical
perfection and intelligence.
For the last four years she has taken part ten
or twelve times every season at the Monday Popular
Concerts in London, with Joseph Joachim, and for the
last two years she has performed with equal success
at Leipzig, Cologne, Vienna. Now in 1893 she pur-
poses going to America.
ANNETTE ESSIPOFF.
MONG living pianoforte players Annette Essipoff oc-
cupies one of the most prominent positions. Classi-
cal musicians such as Bach, Mozart, and Beethoven,
and the modern composers Hummel, Chopin, Schumann,
Mendelssohn and Liszt find in her an excellent ex-
ponent of their works.
She was born on the I st February 1851, at St.
Petersburg and was the daughter of a functionary (a
court counsellor). She inherited her father's love of
music, and he gave her her first musical instruction;
then Wielopolski the pianoforte teacher of the French
boarding-school where she was educated became her
9 6 ANNETTE ESSIPOFF.
master. In her fourteenth year she went to the
Conservatoire at St. Petersburg for further cultiva-
tion, and was taught by Professor Leschetitzky.
Having a rich and full voice she was advised by
Anton Rubinstein to devote herself to singing, whereas
Leschetitzky persuaded her to adhere to the career
which she had already chosen and for which she was
preparing, and she followed his advice. Leschetitzky
devoted all posssible care to her and corrected her
style of playing which was rather too unrestrained.
In her childhood she had the habit of playing im-
promptu all kinds of music which she had once heard
or tried. Not being allowed to do so openly at the
Conservatoire she did it secretly in her teacher's ab-
sence, proud of the applause of her companions. Pro-
fessor Leschetitzky once passing the class room and
hearing music listened, and heard with astonishment
Liszt's Rhapsodies and other technically difficult pieces
being played wildly in the room.
He opened the door, and surrounded by a circle
of attentive listeners he espied Annette sitting at the
piano playing. Very angrily he put an end to this
practice once for all, and forced Annette to adhere
to very strict rules, which proved a great hardship to
her. But at last his firmness and her energy and
self -conquest gained the victory. She passed her
examination brilliantly and from this time, 1872, tra-
velled far and wide playing at many places with
great success.
Professor Leschetitzky kept her continually in
sight and took the greatest interest in her, and in
1880, she became his wife. They took up their resi-
dence in Vienna,
JOHN FIELD.
JOHN Field was as original in art as in his ordinary
every day life, displaying a mixture of geniality,
hearty good-humour, and excentricity which is seldom
to be met with. The following remarks of Franz Liszt
uttered with regard to his performance and artistic
qualities may not be out of place here. "He forms
one of those particular types of the old school which
are only to be met with in certain periods of art;
"when, having become acquainted with their resources,
Celebr. Pianists. 7
g8 JOHN FIELD.
they have not so far exhausted them as to be
tempted to extend their province further, and to
reveal themselves more freely; whereby they have
singed their wings more than once by attempting to
get rid of their fetters."
Being Clementi's favourite pupil, the great master
imparted to him the secret of the most beautiful exe-
cution which that epoch could boast of, and bestow-
ed a species of poetry upon it which has caused him
to be regarded as an inimitable master of natural
grace, melancholy naivete, freedom and simplicity.
Liszst in his edition of Field's Nocturnes says in the
preface: "Field's Nocturnes always seem new among
so much that has become old-fashioned; thirty-six
years have gone by since they were first published
and yet a balmy and delightful freshness still pervades
them. No such rare originality can be met with else-
where. Since Field's time no one has been capable
of expressing himself in such a touching and heart-felt
manner, it affects the listener in many ways, now like
a tender glance and then like the gentle rocking of
a boat or the swaying of a hammock; we almost
hear gentle kisses dying away in a soft whisper. No
one but Field ever conceived such marvellous har-
monies akin to the Aeolian harp such halfbreathed
sighs floating and fading away in the air. What in-
exhaustible richness and variety exist throughout
these Nocturnes; the composer's imagination was full
of beauty".
Field's Nocturnes were also Chopin's models, and
more than anything else helped to establish Field's
fame; but the same remark may be equally applied
to his Caprices, Variations, and Rondos.
He was born at Dublin, July i6 th 1782. His father
played the violin, his grandfather was an organist;
in later years he relates that his own childhood was
quite a sad one, both his father and grandfather
JOHN FIELD. gg
having* in the roughest manner spurred him on in
pianoforte playing; so that in fact, on one occasion he
ran away from home in despair, not returning until
compelled to do so by dire distress. His father then
took him to Clementi who certainly taught him until
his 22 nd year, but through all these years in London
as well as at St. Petersburg, made use of him in his
music-shop as a salesman, making him show off the
beauties of the various instruments to the intending
purchasers by his playing. This fact is also mentioned
by Spohr in his diary. Writing among other
things of Clementi's stay in St. Petersburg, he says;
"Clementi often invited me to have a game of billiards
after dinner. In the evening I sometimes accompanied
him to his large pianoforte- warehouse, where Field
had to play for hours in order to exhibit the instru-
ments to their best advantage. I still have a vivid
remembrance of the pale, overgrown youth, whom I
never saw again. When Field who had grown out
of his clothes sat down before the piano, his long
arms stretched over the keyboard, so that his sleeves
appeared far too short, and his whole figure looked
awkward and English; but as soon as his beautiful
playing began, all was forgotten in listening. Un-
fortunately I could only express my sympathy and
gratitude to him by a mute clasp of his hand, as,
with the exception of his native tongue he could
speak no other. Many anecdotes were related even
at that time of the rich Clementi's meanness and
avarice, which in later years when I met him in
London, had greatly increased. Thus, on all sides
it was reported that Field was kept very close by
his teacher, and was forced to purchase the advan-
tage of his instruction by much denial and self-
sacrifice. I witnessed a proof of Clementi's real
Italian nearness, when one day I found teacher and
pupil with turned -up sleeves before a wash-tub
7*
100 JOHN FIELD.
busily engaged in washing stockings and other
articles of attire."
From this we can easily believe that Field's
younger days were very devoid of sunshine, and it
would appear as if Clementi's behaviour towards
him increased in some measure Field's habitual shy-
ness and misanthropy. He remained a long time in
St. Petersburg with his master, not returning to Eng-
land till 1832, and exciting the same enthusiasm in
London as he had done in the Russian capital. He
then made concert-tours through Belgium, France, and
Italy. In Naples he suffered severely from a nervous
disease, and when convalescent travelled with a
Russian family to Moscow, where he died on the
n th January, 1837.
In his unexampled perseverance in practising he
resembled Paganini, never resting until he had con-
quered the greatest technical difficulties by repeating
the passage hundreds of times. It was no rare oc-
currence for him to play a specially difficult piece
two hundred times in succession, sitting stiff and
motionless the whole time, merely moving his long
pointed fingers. He laid a coin on the back of his
right hand which, by steadying it, while playing, pre-
vented its falling. Another peculiarity of his was to
place a box full of counters before him, and with
every repetition he would extract a counter, not cea-
sing his exercise until the box was empty. His playing
was always gentle and soothing, without brilliancy;
but with increasing years it became powerless and
apathetic on account of his nervousness which in-
creased to an infirmity. He grew old early in life,
and was always very shy and embarrassed. All
applause displeased and disturbed him, and he was
even known to leave off playing suddenly if it became
too loud, but his performance gained in life and beauty
when silence reigned.
JOHN FIELD. 10 1
His seuse of humour never forsook him. In Moscow,
when on account of the use of strong" tobacco and the
habit of drinking punch, his health was quite broken
up, he was asked by his hospitable hostess who had
taken compassion upon him on his return from Italy,
whether he were a Fatalist or Calvinist he replied
"Neither, a pianist!"
He paid but little attention to his appearance,
his usual covering being an enormous bear-skin even
when playing in public, but when he drew the
sweetest tones from his instrument, all this was
entirely forgotten in listening to him.
His compositions consist of 30 Nocturnes, 7 Con-
certos, 4 Sonatas, i Quintet, many Variations, Ron-
dos, both solos and duets, Capriccios, Divertisse-
ments &c.
w
ROBERT FISCHHOF.
EKE his uncle Joseph Fischhof, who was teacher at
the Vienna Conservatoire from the year 1833, and
was an excellent pianist, Robert Fischhof received
his musical education in Vienna, and his successful
studies have enabled him to surround his name with
fresh interest. He was born in Vienna in the year
1857, not 1858, as we are told in more modern bio-
graphies, and was taught the pianoforte at the Con-
servatoire in Vienna by Professor A. Door, and com-
position by R. Fuchs, Krenn and Bruckner.
After completing his course at the Conservatoire,
ROBERT FISCHHOF. IC >3
he continued his study of the pianoforte with Franz
Liszt. In his seventeenth year he appeared for the
first time in public, and from that time travelled al-
most uninterruptedly for several years, playing in
numerous Concerts in Europe under the direction of
celebrated musicians, such as Abt, Dessoff, Reinecke,
Hiller, Gade, Svendsen; he performed in the Leipzig
Gewandhaus in 1883. He had also the honour of
playing several times at European courts in Prussia,
Austria, Denmark, and Sweden.
In 1884, he was appointed Professor of the finishing
class at the -Vienna Conservatoire, and still holds
this position. In latter years as a pianist he has only
performed his own compositions publicly, among other
pieces his pianoforte concerto two years ago in Paris,
and last year in the Philharmonic Hall in Berlin.
Compositions of his have been published in Vienna,
Berlin and Paris.
M ^M^r""
ROBERT FREUND.
ALTHOUGH Robert Freund completed his musical
jf\. education about fifteen years ago, he did not
appear in large German towns like Berlin, Leipzig
&c. as a pianist until the year 1890, but he did not
adhere to this restless career. Taught by the most
important pianists, Moscheles, Liszt, Tausig, he has
become, as critics also acknowledge "a master of his
instrument" and unites to his artistic knowledge the
most careful execution, a lovely touch, and great
expression and intelligence in his performance; he has
ROBERT FREUND. 105
never troubled himself about external effects, but
conscious of his aim, devotes himself to the spreading
of classical and modern music, confining himself to
narrower spheres, having been able to display his
capabilities as a solo player of the first order several
times in the Berlin Singakademie, and in the Leipzig
Liszt Society.
Robert Freund was born at Budapest in 1852.
His first pianoforte teacher was J. Huber. When 13
years old he went to the Conservatoire at Leipzig,
where Moscheles and Coccius gave him instruction
on the pianoforte, and Richter and Papperitz in theory.
After completing five years of study there, he worked
for another twelve months with Karl Tausig, in
Berlin; to whom according to his own assertion he
is "mostly indebted". From the years 1870 1872
during the winter months he was fortunate enough
to have the advantage of Liszt's teaching in Budapest
Through an influential friend of his, Weber, in
Switzerland, he received the post of pianoforte teacher
in a rich manufacturer's family in Wesserling (Alsatia)
from 1872 1874; then he was appointed teacher of
the piano at the School of Music at Zurich, founded
in 1876, which position he still retains. He has edu-
cated a number of clever pupils, and takes part in
the orchestral concerts as well as in the concerts of
chamber-music at Zurich with considerable success,
playing with great intelligence the works of classical
as well as of more modern composers, Schumann,
Liszt, Brahms, Saint-Saens, Huber, Chopin, Grieg.
He has composed and published Preludes, i Notturne,
2 Impromptus and Songs.
ARTHUR JRIEDHEIM.
STRUGGLING against all kinds of obstacles and fight-
ing against innumerable difficulties, Friedheim
has attained an important position in the profession.
In the beginning of his career in 1884, he achie-
ved a triumph in Liszt's presence at the Bliithner
Saal at Leipzig. Later on when he met the great
pianist again in Pesth Liszt condemned his playing,
but at last was forced to acknowledge it, and tried
to assist the young and persevering musician, who
merited the praise accorded him by his critics, his
performance being described as distinguished by an
ARTHUR FRIEDHEIM. 107
extraordinarily well-developed execution, a wonderful
touch, great exactitude, rare power and truth of
expression.
Born in St. Petersburg on the a6 th October 1859,
Friedheim lost his father when very young and with
his mother was assisted by wealthy relations who
provided for his education. He began his musical
studies in his eighth year, and in the following year
he appeared in public, playing Field's Concerto in
A-flat, in his tenth year he played Karl Maria von
Weber's Concertstiick, and was termed a musical
genius. But in the meantime he had to pass his
examination at the Academy. From this period (1877)
he devoted his time exclusively to music, but his re-
latives suddenly losing their fortune he was harassed
by pecuniary difficulties. He commenced his concert-
tours, and went to Pesth where he was unkindly re-
ceived by Liszt. He then accepted appointments as
conductor to small provincial travelling companies.
In 1880, when in Weimar he was again introduced
to Liszt by the Councillor Gille from Jena, who criti-
cized him rather more favourably, but it was only
after much further aimless wandering, that he was
allowed to play before the Court at Weimar in Liszt's
presence. From this time the latter kept Friedheim
with him, accompanied him on his journeys, and at
last with Liszt's recommendation went to Paris, but
being a German he was entirely ignored. In 1882,
he was induced by an agent to go to London, but
he never even succeeded in giving a trial of his
musical powers there.
With much trouble and in great distress he re-
turned to Paris, where Saint-Saens recommended him
to a rich man who assisted him in so far that he
was enabled to give a concert. But the French
agr.in soon got rid of this hated German, and full of
disappointment he was obliged to leave Paris in 1883.
I0 5 ARTHUR FRIEDHEIM,
Some years later he went to Vienna, where Liszt
was then staying. He recommended him warmly to
Bosendorfer and at last Friedheim was successful,
and his concerts met with applause. He then travelled
to North Germany and established his reputation as
one of the best pianoforte players of the present age
in Berlin, and in Leipzig where he conducted a series
of concerts in the Crystal Palace with the Weimar
orchestra. He has now been in New York for some
time and seems to have taken up his residence there.
ARABELLA GODDARD.
THIS artiste is not only considered one of the most
important English pianists, but she is also looked
upon altogether as one of the best performers; and
having played in nearly every country she has made
a world-wide reputation. She was born at St. Servans,
near St. Malo in France, on the 12 th January, 1838,
received instruction in Paris from Kalkbrenner and
in London from Thalberg, and Mrs. Anderson, and in
1850, performed for the first time in public in the
latter city in Her Majesty's Theatre, playing at a con-
cert got up by the composer Balfe. Then on Thalberg's
IIO ARABELLA GODDARD.
recommendation she received lessons from J. W.
Davison, who gave her a special insight into the
works of the great classical masters and contributed
to the depth and evenness of her playing. She
married him in 1860; and was left a widow in 1885.
In the London musical world Arabella Goddard
made a name by introducing classical works; for in-
stance she was the first to play Beethoven's Sonata
in B-flat op. 106 in London with brilliant success.
In England she has always been a very great favourite,
and as a pianist for a long time performed at the
famous Monday Popular Concerts, which in England
means a- first rate position among pianists.
From the years 1873 1876 she made a voyage
round the world, giving numerous concerts in America,
the East Indies and Australia.
LOUIS MORITZ GOTTSCHALK.*)
BORN on the 8 th May 1829, at New Orleans, (America)
Gottschalk, when a boy, came to Paris to be
educated as a pianoforte player. Camille Marie
Stamaty who taught Saint-Saens among* others is
said to have been his teacher there, yet Chopin and
Halle are also mentioned as his teachers. In the
year 1845, (according* to other reports not until 1847)
he appeared as a concert -performer for the first time
in Paris, and showed decided talent, which enabled
him to undertake long and successful journeys through
France, Switzerland and Spain. In 1853, he returned
to America, and for several years in succession gave
concerts in the Eastern States. In 1865, he travelled
to San Francisco, and from there to South America
where he remained several years, and met with great
success by the execution of his own somewhat senti-
mental compositions on the Spanish National melody.
As success in the other hemisphere depends very
much upon making a brilliant effect Gottschalk met
with great approval, as his technical abilities were
great and his execution marvellous. He was also a
good drawing-room performer and understood the art
of pleasing even connoiseurs of music.
During a long residence in Rio de Janeiro he
fell ill, and died in the year i86g.
*) Gottschalk's portrait is unfortunately unobtainable in spite of
the exertions which were made to procure it.
EDWARD HAGERUP GRIEG.
T^DUCATED in Germany and by German teachers in
H an entirely German musical style, Grieg belongs
to that race of hardy Scandinavians, who, (like Bjornson
in literature), try in a somewhat original and excep-
tional manner to bring their northern character to
bear upon art. They are of opinion that Norway is
important enough to claim a national speciality and
in the same way in which they make their mark in
politics by their obstinacy and cool Northern tenacity,
labouring in absolute independence, they also claim
EDWARD HAGERUP GRIEG. 113
to have originated a new school of their own in
literature and art. The question is, whether such a
universal art as music can be forced into narrow limits,
without its becoming" one-sided and losing its value;
and with special regard to this so-called northern
school it is very doubtful if it will prove a lasting
one. All peculiarities are commonly short-lived. The
continual monotony of the north, which, is very
apparent in the "Peer Gynt" Suite, often savours of
bad taste and soon becomes intolerable to the listener.
Grieg was born at Bergen in Norway, on the
i5 th June 1843. His mother was a pianist, and from
her he received his first musical instruction. Later
on in the year 1858, at Ole Bull's instigation he was
sent to the Leipzig Conservatoire where Moscheles,
Reinecke, Hauptmann, Richter and Wenzel, taught
him each in his own particular branch of study. It
was rather a concession to his country than an urgent
necessity which caused him, after the completion of
his thorough education to go to Niels W. Grade, in
Copenhagen, for further study. During this time he
made the acquaintance of a young Norwegian com-
poser, Rikard Nordraak, whose influence he acknow-
ledges in the following words : "It was as if the
scales fell from my eyes ; from him I first learnt the
music of the northern people and got to know my
own nature. We abjured the effeminate Scandinavianism
ofGade and Mendelssohn, and enthusiastically founded
a new Northern school which still exists." Nordraak
did not adhere long to this new school, as he died
shortly after making Grieg's acquaintance.
In the year 1867, tne latter established a Musical
Union in Christiania, for the special propagation of
the "northen school", such as Bjornson also attempted
with regard to the' drama but apparently without
success. In addition to this he composed diligently
and performed his own works. Twice in 1865, and
Celebr. Pianists. 8
! ! 4 EDWARD HAGERUP GRIEG.
1870, he was in Germany and Italy. He met Liszt
in Rome, but the southern and northern natures were
not in sympathy with each other. He was repeatedly
in Leipzig", and in the year 1879 performed his piano-
forte concerto, op. 16 in the Gewandhaus.
From the year 1880, he took up his abode at
Bergen, frequently paying visits to England and
Germany, and on such occasions was often heard as
a pianist, generally playing his own works.
He has composed a great deal for the piano,
which has been published under the Opus numbers,,
i, 3, 6, 9, n, 12, 14, 15, 16, 17, 19, 24, 28, 29, 35,
37, 38; the most important are the two suites arranged
for the piano from the music to Ibsen's Drama "Peer
Gynt", a pianoforte concerto in A-minor, symphonic
pieces, Norwegian dances, Valses-Caprices, and Elegiac-
Melodies. He also composed Sonatas for the piano
and violin ; Sonatas for the violoncello ; i String-
Quartet (one of his best works, although very little
played), orchestral works, cantatas, songs &c.
ALFRED GRUNFELD.
A Pianist in the highest sense of the word, Griinfeld
belongs to those masters of the instrument, who,
versed in all styles and with equally great technical
proficiency and mental penetration are able to perform
Beethoven, Mozart,. Schubert, Chopin, Liszt, Schumann,
Mendelssohn and Brahms.
Therefore the programmes of his numerous con-
certs form a kind of Genesis of pianoforte music.
For instance, at one. of his most recent concerts given
in Vienna, which took place in the spacious hall of
the Musical Society, the following pieces were an-
nounced in his programme ; Mendelssohn's Prelude
and Fugue in C-minor, Beethoven's Rondo in G,
Leschetitzky's "Siciliana all' Antica", Schubert's Im-
promptu in G. Dvoraks "Plauderei" from op. 85, Grieg's
Ballad in the form of Variations on a Norwegian
8*
TI 6 ALFRED GRUNFELD.
Melody, Schumann's Etudes Symphoniques, Chopin's
"Nocturne" in E, and v Waltz in E-minor, Schubert-
Liszt's "Lebewohl", Lamberg's "valse expressive",
Gotthard's "Sarabande" and his own compositions, a
Hungarian Rhapsody and"Tanzarabeske"; these pieces
were all played in succession.
Edward Hanslick made the following remarks
in reference to Griinfeld. "He is a musician beyond
criticism ; in public and in private one of the best
known members of Vienna Society, and the greatest
favourite with all musical people. By his brilliant
playing as well as his sweet expression and gay
humour, he understands to perfection the art of
charming his listeners in Vienna."
Alfred Griinfeld is a German Bohemian, and was
born at Prague on the 4 th July, 1852. He received
his first musical education at the Prague Conservatory,
where Hoyer gave him instruction on the piano.
Then he became Th. Kullak's pupil in Berlin. At
an early age he began to travel and soon attracted
the sympathy and attention of all pianoforte lovers
and also that of the critics. Some years ago he gave
a great number of concerts in America with the
greatest success. After performing at a court-concert
in Berlin he received the title of Pianist to the
Emperor. He had his fixed residence in Vienna, and
was appointed Imperial Pianist in that city, and
in that capacity he frequently takes part in concerts
at the court. The Emperor Franz Joseph esteems
him highly, continually praising his "wonderful piano".
Griinfeld has also made himself of repute as a
composer for the piano, having written several effective
pieces.
SIR CHARLES HALLE.
A German called "Karl Halle" was born at Hagen
in Westphalia, on the n th April 1819, but as he
afterwards settled at Paris and gained a reputation
there both as pianoforte performer and teacher, he
changed his name by adding a French termination
to it. His father was a conductor, and gave him good
instruction in music, which was carried on in the year
T 835, by the old organist Johann Christian Heinrich
Rinck at Darmstadt. A year later the young musician
went to Paris, where he was in touch with prominent
men like Cherubini, Kalkbrenner, Berton, Chopin and
Liszt, which was of infinite advantage to him as a
pianist. He was soon busily occupied particularly
ng SIR CHARLES HALLE.
as a favourite pianoforte teacher. Together with
Alard and Franchomme he originated Chamber-Music
Soirees in the small room of the Paris Conservatoire,
which were much patronized by the musical public.
In the year 1848, Halle removed to London
where in May of the same year he excited much
interest at a Covent Garden Concert by the perfor-
mance of Beethoven's concerto in E-flat, which ob-
tained him a great number of pupils.
In 1850 he went to Manchester to undertake the
conductorship of the "Gentlemen's Concerts". In this
city under the title of "Charles Halle's Orchestra" he
organized a Society of his own, which from its ex-
cellent character heightened the reputation of its
founder. With this orchestra he arranged many
subscription concerts which were very well attended.
Yet he did not on this account relinquish his
musical duties in London, but gave Piano Recitals
in St. James' Hall every season, at which both classical
and modern compositions were performed. He also
took part in the Monday Popular Concerts for many
years, and is considered an excellent Beethoven per-
former, or rather a conscientious exponent of his
works. Halle's perseverance was of great advantage
to him in making him popular in England, a country
where the above quality is highly esteemed, and this
may be the cause of his receiving such high praise
as a player of Beethoven's productions. For 30 years
the public in England listened to Halle's rendering
of Beethoven, and were satisfied to acquire their
knowledge of this great composer through his playing.
In 1890 1 80 1, he went on a tour to Australia
with his wife, the excellent violinist Madame Neruda
(Lady^ Halle), which proved both artistically and
financially, a great success.
STEPHEN HELLER.
ROBERT Schumann, whose keen perception and high
sense of art has opened up a path to many men
of excellent talents, considered Heller at the beginning
of his career to be "a great and imaginative
musician", and in the "Neue Zeitschrift fur Musik"
declared, when discussing his Etude, opus n, that
they contained enough clever ideas to supply a
number of Parisian composers for a long time. In-
deed the time soon came when his celebrity as a
pianoforte player was less esteemed than his talents
as a composer. As the latter he has gained a high
position and is accounted a real musical genius.
His numerous pianoforte compositions are cele-
brated for their originality, grace and elegance. With
his harmony he occupies a higher position than
I20 STEPHEN HELLER.
Chopin, and his brilliancy and strength of thought
are superior to Mendelssohn, but much inferior to
Schumann.
Heller was born on the 15* May 1814. Dis-
playing at an early age both inclination and talent
for music, his father, who lived at Pesth sent him to
Vienna, where Anton Halm became his teacher. In
the year 1827, he appeared in public in Vienna and
in 1829, his father accompanied him on his first tour
to Hamburg; but he appears to have reckoned too
much on his son's physical powers ; the boy was
taken ill on his return journey at Augsburg, where
he was nursed and remained until his twenty -fourth
year, when he left for Paris. Like Halle he met
many musical celebrities there and established a good
reputation as concert-performer and pianoforte-teacher.
He composed very many works, but for some con-
siderable time was not able to meet with success
with his compositions, as they in many respects
deviated from the uniform rules of composition.
R. Schumann, by his critical reference with regard to
Heller's works has done much to make them known.
The number of his compositons amounts to 150;
but many are often included under one title ; for
instance, opus 150, contains 20 preludes. His works
include Sonatas, Sonatinas, Nocturnes, Ballads, Caprices,
Scherzos, Etudes, Tarantelles, Valses, Country Dances,
Mazurkas, "Blumen-, Frucht- und Dornenstiicke",
"Wanderstiicke", "Kinderscenen" &c.
ADOLF VON HENSELT.
nnHE great support which Henselt in his youth re-
1 ceived from King Ludwig of Bavaria, was in
every respect well-earned and deserved; Henselt
was born on the 12 th of May, 1814. After the in-
struction which he received from Frau von Fladt at
Munich, and which succeeded that of Hummel at
Weimar, he developed into one of the most important
pianists, who followed the bent of his own ideas. In
fact he tried like Franz Liszt to play in a peculiar
manner by extending his hands as widely as possible,
and by dint of continual finger-exercises has attained
to great technical proficiency. One of the most reliable
I22 ADOLF VON HENSELT.
critics of his time when speaking of him, says : "Henselt
certainly received lessons from Hummel, but can
scarcely be recognized as his pupil, for his style of
playing was entirely different, being a combination
of Hummel and Liszt. With steady hands and a
powerful movement of his fingers he executed that
which Liszt produced with his wrists and the use of
the pedals. As Mendelssohn also informs us, his
power consisted in his capacity to stretch long chords,
for which purpose he continually practised arpeggios,
playing them prestissimo." For an hour each day he
practised these extensions invented by himself, which
are scarcely worth mentioning, depending as they do
upon an abnormal form of the hand. Nevertheless
compositions of Liszt and Chopin were rendered by
him in a splendid style. Schumann, Lenz and other
competent judges reckon him among the most cele-
brated performers.
After he had left Weimar for Vienna, and had
benefitted by Sechter's instruction in theory for several
years., he began his concert-tours which gained him
great reputation everywhere; in 1836, he was in
Berlin, 1837, in Breslau, and in 1838, in St. Petersburg.
In the last-mentioned city he found full scope for his
great talent and attractive personality. After the
first concert all the succeeding ones were besieged
by the best society. He was appointed pianist to
the Empress, and pianoforte teacher to the Imperial
princes. Possessing an accomplished wife, a native
of Silesia, he was still better liked at the strict and
formal court of the Emperor Nicholas, and the superin-
tendance of the musical instruction at the high school
for girls in the Russian empire was entrusted to him,
and as a special distinction he received the Wladimir
Order of nobility, and the title "councillor of state".
An older biographer writing about Henselt and
his style of playing, says: "his wonderful Legato
ADOLF VON HENSELT. ! 23
which he strove to cultivate by means of con-
tinued study, his mastery of broad, full-toned chords
which gives an orchestral impression to his per-
formance, as well as his poetical, delicate and yet
fresh and powerful manner of playing have raised him
to great eminence as a pianist. In his compositions
he holds himself aloof from everything that is ordinary,
displaying a grace, naturalness and delicacy of ex-
pression emanating from the depths of his purely
German nature. He never could quite overcome his
shyness when appearing in public; only a small
number of friends, acquaintances and relations heard
him perform when in Germany."
This is also confirmed by Gerhard von Amyntor,
a comrade of his son in Breslau, in an excellent essay
on Henselt in the "Neue Blatt", in which he relates
that Henselt when on a visit to his son was recog-
nized in a public garden, and the military band per-
forming there gave him an ovation which he managed
to evade by escaping through a back-door with his
two companions.
He died on the io th October 1885, at his little
country-seat at Warmbrunn.
Of his compositions, the pianoforte Concerto in
F-minor, the Concert-Etudes op. 2 and 5, some drawing-
room pieces, and paraphrases as well as a Trio are
well-known. He has also published Weber's piano-
forte works, and revised a selection of Cramer's
Etudes.
HENRI HERZ.
HENRI Herz no longer belongs to the more cele-
brated pianists and composers for the pianoforte
of modern times, but in the prime of his life was of
importance and more popular than most of his pro-
fession, especially in Paris. His rather easy and
superficial compositions are principally written and
intended for amateurs, and these pieces helped to form
a new style by the more careful treatment of tech-
nical work; the numerous Variations, Rondos, Fan-
tasies, Divertissements &c. which he has written are
very effective and have become widely known.
Henri Herz was born at Vienna on the 4 th January
HENRI HERZ.
125
1 806 ; in his childhood his father removed to Coblenz,
where he taught him the piano ; the organist Hiinten
was also his teacher. He appeared in public when
eight years old, and in the same year began com-
posing, but without having acquired the necessary
groundwork. His father was then wise enough to
send him to Paris, where he succeeded in getting
this lad of ten years old admitted into the Con-
servatoire where his elder brother Jacob Simon had
also been taught. The boy was put into the piano-
forte class under Pradher, and soon made such
progress that he received the first prize at the
Conservatoire. Dourlen taught him harmony and
composition ; in 1 8 1 8, he published two easy pretty
pieces "Air tyrolien varie" and "Rondo alia Cosacca"
which met with a large demand. From that time
he soon became popular as a composer and by his
numerous concerts. It is said that he was greatly
influenced by Moscheles. In the year 1831, he ac-
companied Lafond on a concert-tour in Germany,
and in 1834, he went to England, where he excited
much enthusiasm, thus being induced often to visit
this country.
In 1846 1847 and 1849 1 &5> ne travelled in
all parts of America. In 1851, he wrote an account
of these tours which were financially very profitable.
As Professor of the pianoforte at the Paris Conser-
vatoire, he obtained a great reputation by his sound
instruction; as a pianist and composer he was com-
pletely put into the shade by better musicians, Chopin,
Liszt, Steffen Heller &c. He has become known
throughout the world as the originator of a very
important pianoforte factory, in the large hall of
which he gave many brilliant performances, but at
first he lost money by this speculation. His journey
round the world supplied him with fresh means he
then began pianoforte construction on his own account
I2 6 HENRI HERZ.
and met with success. At the Exhibition in 1855,
his instruments which were equal to those of Pleyel
and Erard, received the first prize.
KARL HEYMANN.
KARL Heymann is well known as a thorough
virtuoso, especially as he travelled with the
violinist Wilhelmj on his tours.
He was born on the 6 th October 1 853, at Amsterdam,
where his parents (German) were then residing. He
received his musical training at the Cologne Con-
servatoire, which was still under the directorship of
Ferdinand Hiller. He then went to Berlin, where one
of the most thorough teachers of theory in modern
times, Friedrich Kiel, instructed him in thorough-bass
and composition. Unfortunately the teaching of this
I2 g KARL HEYMANN.
excellent school was put an end to by a lingering-
illness ; the few compositions of his known are, a
pianoforte Concerto, "Elfenspiel" and a Masquerade
show a certain amount of promise.
In 1878, he was appointed pianoforte teacher at
the Hoch Conservatoire at Frankfort-on-the-Main, but
on account of the illness already mentioned he had
to resign his post, and to give up his tours as a
virtuoso.
FERDINAND KILLER.
THE reputation of this musician has in the first
place become widely spread' by his conductorship
of the Giirzenich concerts, and the Rhenish Musical
Festivals. Yet he has also been of influence as a
pianist, (particularly as an exponent of Beethoven,)
and composer, and by his association with the great
men of the time has left his mark upon the history
of music and modern musical life. There is scarcely
one important musician of the last sixty years whom
Hiller has not met at some time or other; Cherubini,
Rossini, Meyerbeer, Mendelssohn, Schumann, Liszt,
Chopin, Berlioz, Spohr, Hauptmann, Brahms, Bruch
and others knew him intimately. Spohr in his
Celebr. Pianists.
I30 FERDINAND KILLER.
biography says that in the year 1857, when arriving at
Cologne on his journey to the Netherlands, Hiller gave
a brilliant dinner-party in his (Spohr's) honour, and
with great bravour performed one of his new com-
positions, a very difficult sonata for the pianoforte.
He also made Max Bruch acquainted with Spohr and
other notabilities ; he has done a great deal for many
other young struggling musicians and composers, and
obtained recognition for many of them.
He was born on the 2 4 th October 1811, at
Frankfort -on -the -Main, where one of the cleverest
teachers, Aloys Schmitt undertook his musical tuition;
Karl Vollweiler also instructing him. In 1825, he
was sent to Hummel at Weimar for further improve-
ment. Two years later he went to Vienna, probably
with Siegfried Dehn, (born 1799) his senior by many
years ; and here he is also said to have been introduced
to Beethoven, but as the great musician died on the
26 th March 1827, this must be a mistake or else the
visit took place during Beethoven's last severe illness;
this can be of no moment with regard to music, as
Beethoven was scarcely accessible at this time.
The years 1828 1835, Hiller spent in Paris
giving concerts, and playing with the violinist
Fran9ois Baillot at well-attended soirees ; at this time
the latter was already fifty-seven years of age. For
several years Hiller was piano-teacher at Alexandre
Choron's "Conservatoire de musique, classique et
religieuse", finding an excellent opportunity there of
acquiring a more intimate knowledge of classical
masters. The July Revolution put an end to the
celebrated Choron institute. This was of little pe-
cuniary consequence to Hiller as he belonged to a
very wealthy family, and had large means at his
disposal, being in no need of paid appointments.
The death of his father caused his return home
to Frankfort; here he undertook the conductorship
FERDINAND KILLER. I3I
of the Cecilia Society succeeding" Johann Nepomuk
Schelble who had originated it. He then travelled
to Italy and in 1839 at Milan, attempted the represen-
tation of his opera "Romilda" at the Scala; but the
work met with cold reception, (which was also the
fate of all his six operas). In 1840, he went to
Leipzig, where he became very intimate with
Mendelssohn, through whose influence his oratorio
"The Destruction of Jerusalem" was performed at
the Gewandhaus. He spent the following year in
Rome, where he studied old church music.
In the winter 1843 1844, Mendelssohn procured
him the conductorship of the Gewandhaus Concerts.
In 1847, he became conductor at Dusseldorf ; in 1850
he received a similar appointment at Cologne, also
the task of organizing the conservatoire at the head
of which he was then placed. At the same time he
became Director of the Concert Society and Choir,
two institutions which worked in conjunction with the
Giirzenich concerts and the Renish Musical Festivals.
Hiller retained these influential positions until
the i st October 1884, and a short time after that died
at Cologne on the n th May 1885.
As a composer Hiller adhered somewhat to the
styles of Schumann and Mendelssohn; he has produced
over 200 works; among them, for the pianoforte
i Concerto in F sharp minor, numerous Sonatas,
Suites, Etudes, a number of books containing shorter
compositions, both elegant and melodious, i Operette
arranged as a Duet without words, i Suite 'in Canone'
for the piano an violin; 3 Symphonies, several
Overtures, Violin and Cello Sonatas, 3 Trios, 10 Quar-
tets, 2 Oratorios, several Cantatas, Ballads for Solo,
Chorus and Orchestra, Psalms, Anthems, Vocal Quar*
tets and Songs &c.
Hiller was also a very productive musical author.
His works are "Die Music und das Publikum",
9*
132
FERDINAND KILLER.
"Beethoven", "Mendelssohn - Bartholdy", " Aus dem
Tonleben unserer Zeit", "Wie horen wir Music?",
"Briefe und Erinnerungen", "Musikalisches und Per-
sonliches" &c. He also gave lectures on the history
of music in various towns, with illustrations on the
piano.
The university of Bonn conferred the title of
Doctor upon him.
JOHANN NEPOMUK HUMMEL.
IN his childhood Hummers father took him on concert-
tours for a long time, but he afterwards underwent
further study and became one of the most celebrated
performers on the pianoforte, of his time; in some
measure he was the means of originating a new era,
his playing and compositions forming a transition
from the classical masters to modern professionalism.
He was born on the 14 th November 1778, at
Pressburg. After having benefitted by musical in-
struction at home, he was taken to Mozart at Vienna,
who took great interest in him, and taught him for
two years. From 1788 1795, he was obliged to go
on tours to make money; he was then wise enough
to go to Vienna for further cultivation, Albrechtsberger,
134 JOHANN NEPOMUK HUMMEL.
Salieri and Haydn becoming his teachers. When
Father Haydn on account of age and growing in-
firmity gave up the post of conductor to Prince
Esterhazy, the vacancy was offered to Hummel in
the year 1 804, and he retained it until 1 8 1 1 . Then
for several years he remained in Vienna without
any fixed appointment, but gave lessons and com-
posed; in 1816, he left the latter city for Stuttgart,
being appointed conductor there, but here the con-
dition of music was at a very low ebb, musicians
being treated more like servants, and on this account
Hummel resigned the post in 1820, and accepted a
similar one at the Grand Ducal Court at Weimar.
During the time spent at this court he often obtained
long leaves of absence which he used for the purpose
of making concert tours, visiting St. Petersburg,
Berlin, Leipzig, London &c., and attracted much
attention everywhere. His playing was brilliant, but is
said to have lacked warmth and passion. Exaggerated
admirers of his performance, especially Beethoven's
enemies, falsely asserted he was equal to the latter.
He played as he wrote. In Weimar he was much
sought after and highly esteemed by talented young
men, who since then have also become celebrated,
and was the recipient of more distinctions than many
of his artistic contemporaries. In some biographical
sketches referring to other matters, mention is also
made of Liszt's having received instruction from
Hummel in Weimar, but that the latter charged a
Louisd'or per lesson which was considered too high
a price. The years 1818 1821, are given as the
date of this scheme, but this is very doubtful,
as Liszt's father who alone was the moving agent in
the matter placed his son with Czerny in Vienna;
and even in 1823 1824, considered the boy, then
scarcely twelve -years old, superior to both Hummel
and Moscheles. Adam Liszt speaks of Hummel's
JOHANN NEPOMUK HUMMEL. ^5
avarice in a letter which he wrote to Czerny from
Paris on the 14* August 1825, in which he says:
"Hummel when in Paris may have expected more
remuneration than he actually realised; at first he
asked too much, having an imperfect knowledge of
the French people, and put too high a price on his
services. For one Soiree he asked 30 Louisd'ors, but
unfortunately no one was inclined to give such terms,
finally he would have been glad enough of 10 or 5,
but no one offered so much."
In the latter years of his life Hummel suffered
much from ill -health which necessitated his frequent
resort to watering places. He died on the i y th October
1837, at Weimar. His wife was an opera - singer,
Elisabeth Rockl.
He composed 124 works, mostly for the piano,
everything very conventional, and carefully worked
out Among them are 7 Concertos, 5 Solo pianoforte
Sonatas and 3 Sonatas as Duets, i Fantasia for piano-
forte with orchestra, 6 pianoforte Trios, Rondos,
Caprices, Fantasies, Variations, Etudes, i pianoforte
Quintett, i Sinfonie concertante for piano and violin,
i Serenade for piano, guitar, clarionet, and Fagot,
3 String -quartets, the celebrated Septet, i Overture,
5 Masses, i Graduale, i Offertory 4 Operas, cantatas
and Ballets &c.
ALFRED JAELL.
TAELL came into repute as a virtuoso in consequence
U of a number of tours which he began as a so-called
prodigy, but he has been eclipsed by pianoforte per-
formers (of deeper artistic temperament) of more
modern times.
Alone, and also accompanied by his wife (nee
Trautmann) a clever pianist, and since the year 1854
with Carlotta Patti, he has repeatedly visited Germany,
but excited less enthusiasm there than in Italy and
France.
ALFRED JAELL.
Born on the 5 th March 1832, at Triest, he was
destined in his childhood to become a violinist, but
in his sixth year he began the piano and made rapid
progress. From 1843 ne wa taken on concert-tours
through Italy and the South of France, and with great
success. In 1845, he went to Brussels, completed
his studies, and visited Holland. Two years later
he appeared for the first time in Paris, and his clever
and elegant playing met with brilliant success. The
Parisians have always been real friends and admirers
of his.
After the outbreak of the revolution in February
1848, he started on a long concert-tour to America,
where he met with a good reception and remained
several years. He then visited Germany, Poland,
and Russia. He also received the distinction of being
appointed Pianist to the Hanoverian Court. Then he
spent some time in Leipzig. In 1860 he was con-
stantly travelling in France and Holland, 1864, to
1865 with Carlotta Pattti, re-appearing in Germany
and visiting Vienna.
His success in Italy was still more brilliant.
The French welcomed him anew and most enthusias-
tically when in 1870 he showed his sympathy for
them, but in a manner which had little in common
with art. His death took place on the 27 th Febry. 1882.
As a composer he has produced Drawing-room
pieces, Fantasies, and Transcriptions full of brilliancy,
but lacking in depth. His wife is also the composer
of several works : a concerto in D, a pianoforte
quartet, i book of dances etc.
RAFAEL JOSEFFY.
BORN in 1852, at Pressburg Joseffy was taught in
the best manner conceivable at the Leipzig Con-
servatoire, where Karl Reinecke, acknowledged as
one of the most excellent teachers of the pianoforte
as well as of composition, superintended his studies,
and he is mentioned as being- one of Reinecke's best
pupils.
He then went to Berlin, and following in the
footsteps of Karl Tausig, and under his guidance he
soon became a virtuoso capable of mastering the
most difficult technical work, able to vie with
the best pianoforte performers of his time. He was
RAFAEL JOSEFFY. i^g
a great favourite on the continent, and understood
the art of converting the favour he met with into
money by turning his footsteps towards America
the gold country of all virtuosos. New York remains
his residence, in which city he takes part in important
concerts with great success and is also active as a
teacher.
He has composed some pieces for the piano
which are distinguished for their smoothness, fullness
of tone, and facility of execution.
FRIEDRICH WILHELM MICHAEL KALKBRENNER.
HPHE date of birth of this virtuoso is not known for
JL certain, but he was born in the year 1784, when
his parents were on their way to Berlin, and in those
days when travelling" could only be accomplished by
easy stages the registration of baptisms was not so
strictly enforced as at present. His father Christian,
was an important musician occupying the post of
conductor at the Prussian Court, which he afterwards
vacated and removed to Paris, being engaged there
at the Grand Opera, and dying in 1806. Young
FRIED RICH WILHELM MICHAEL KALKBRENNER. I4I
Kalkbrenner received his first instruction in Paris
from Adam at the Conservatoire, and from Catel in
theory. In 1803, his father sent him to Vienna to
study the German school, but he did not return to
Paris until the death of his father made the homeward
journey necessary. He appeared in that city with
great success as a pianist, and a number of pupils
thronged to him.
He lived in London from the year 1814 1823
where in 1818 he joined Logier, the inventor of the
practical, but not very valuable "Chiroplast" (a machine
for the hand when playing) and shared the profits
of the patent. In 1823, he made a tour through
Germany with the harpist Dizier, and again settled
in Paris in 1824. The wife of the pianoforte manu-
facturer Pleyel had been his pupil and in consequence
of this, he was made partner in that celebrated firm.
It is said to have been Kalkbrenner who offered
Chopin his services as teacher, and Chopin in a letter
which he wrote about him certainly said, that Henri
Herz as a performer could not compare with him,
yet he seems to have also been of Mendelssohn's
opinion, that personally he could learn nothing from
him. A somewhat severe musical contemporary
describes him as having been very vain, and that
he made use of doubtful means to establish his
reputation. Once in 1834, he visited Professor Marx
in Berlin and complained that the good old art of
improvising had nearly gone out of fashion, for with
the exception of Hummel, he, as he asserted was the
only musician who still practised it. Whereupon
he seated himself at the piano and played for a
quarter of an hour all sorts of pieces pell-mell, in
order to give a good impression of himself in thus
improvising. Another day Marx received some new
works from Paris, and among them was one of
Kalkbrenner's compositions : Effusio Musica and in
I4 2 FRIEDRICH WILHELM MICHAEL KALKBRENNER.
it the supposed impromptu stood note for note as
he had played it.
Until a short time before his death, which resulted
from cholera, and took place on the io th June 1849,
at Enghien, Kalkbrenner was engaged in literary
work. His last book was on the theory of harmony
"Traite d'harmonie du pianist" (1849); a Pianoforte
School "Methode pour aprendre le pianoforte a 1'aide
du guide -mains" (under which title the famous
"Chiroplast" is meant). His aim was to promote the
best possible finger proficiency without the use of
the arm. He wrote special pieces for the left hand
only, the Sonata op. 42. He has published numerous
pianoforte compositions in an easy, light style :
Fantasies, Caprices, Variations &c. and besides these
several other larger and more important works,
Concertos, Rondos, Sonatas, Trios, Quartets, Quintets,
i Sextet, i Septet &c.
HENRI KETTEN.
BORN on the 25 th March 1848, at Baja in Hungary,
Henri Ketten showed inclination, and talent
for music in his home circle and was well taught at
the Paris Conservatoire, afterwards performing in
Paris with great success as a pianoforte player. He
then commenced his tours and won from all connoisseurs
the reputation of being an excellent and highly gifted
virtuoso. He had scarcely attained his thirty -fifth
birthday when he died on the i st April 1893. He
composed several effective drawing-room pieces, a
Sonata for the piano and clarionet, an Orchestral
March, and various songs.
THEODOR KIRCHNER.
ALTHOUGH Kirchner is considered a very clever
J\ pianoforte player he has won a still more impor-
tant name as a composer for the piano. He is un-
rivalled in the peculiar effectiveness and sweet tone
of his smaller productions which are also widely
known.
He was born on the io th December 1824, at
Neukirchen near Chemnitz, and his was the first name
inserted in the list of pupils attending the Leipzig
Conservatoire in 1834. Having completed his studies
he commenced giving lessons; in 1862, he became an
organist atWinterthur in Switzerland, and lived there
for about ten years as teacher of music and director
THEODOR KIRCHNER.
of societies. He went to Meiningen in 1872, where
he spent a year composing industriously, and from
1873 until 1785, was Director of a music- school at
Wiirzburg. He then lived for several years in Leipzig,
and was finally appointed teacher of the piano at the
Dresden Conservatoire.
Among his numerous compositions for the piano,
are two books of Preludes, Album Leaves, 5 Books
of Sketches, 5 Books of Fantasies, "Neue Davids-
biindler- Dances", Legends, 5 Books with pianoforte
pieces taken from his own songs, 2 Books of Aquarelles,
2 Books "Still und bewegt", 2 Books of "Nachtbilder",
2 Books of Caprices, 4 Books of studies and pieces,
2 Books of "Walzes, Playthings, 12 Etudes, "Rural
Stories", 2 Books of Mazurkas, 4 Polonaises, 30 Child-
ren's Dances, Humoresques, 2 Books New Album
Leaves, 3 Books, New Pianoforte Book, 60 New
Preludes, a Trio, a quartet for Strings &c. He has
also composed songs with pianoforte accompaniment,
and has re -arranged many songs of other composers
(Brahms, Jensen &c.) for the piano.
Celebr. Pianists. IO
CLOTILDE KLEEBERG.
rnms virtuoso was born at Paris, (not at Mayence as
1 is often asserted) on the 2 7 th June 1866. Her
father was a German, a native of Mayence, but at the
time of her birth was established in Paris. At an
early age Clotilde showed signs of musical talent
which since then has been cultivated to perfection.
She received instruction at the Paris Conservatoire,
first from Madame Retig and then from Madame
Massart. In her eleventh year she won the first
medal of the Conservatoire awarded her for her in-
dustry, and among competing pupils gained the highest
honours in the examination. Her clever execution,
CLOTILDE KLEEBERG.
I 47
and poetic playing attracted so much attention,
that Pasdeloup and Lamoureux gave her an oppor-
tunity of playing in public.
When she was twelve years old, she played
among other pieces Beethoven's C-minor Concerto as
well as some of Chopin's compositions at the "Con-
certs populaires" all of which were received with the
greatest enthusiasm. She studied with still greater
diligence, and in her seventeenth year ventured to
appear in London, where she soon made a great
name. She did not entertain the idea of performing
in her native country until she felt quite at home in
England, and had become a favourite London pianiste.
She appeared for the first time in German towns
in 1887, as a fully experienced artiste, playing with
great brilliancy and showing thorough knowledge of
classical as well as of modern pianoforte music. She
played Bach, Mozart, Beethoven, Chopin, Mendelssohn
and Schumann with equal intelligence. She won the
hearts of her listeners more by her tender grace and
poetical refinement than by her brilliancy. Bearing
some resemblance to Clara Schumann, her playing
reveals the charm of womanly grace and loveliness,
and these are the special characteristics which ensure
her a high position among modern pianists.
JO
ANTON VON KONTSKI.
rpwo members of the large musical family of the
1 Kontski's are of especial repute, the celebrated
violinist Appolinary, and the pianoforte virtuoso Anton.
The style of playing and numerous compositions of
the latter are more distinguished for brilliant outward
effect than for any special depth of thought. His
"Reveil du Lion" in which there is varied expression,
from the most delicate passages to the greatest
brilliancy, is known throughout the world, although
the term Caprice would be more correct as the true
characteristic of this composition.
Born on the 27* October 1817, at Cracow, he,
ANTON VON KONTSKI.
with his brothers and sisters received musical instruc-
tion at home, after which he started on con cert- tours ;
he was in Paris in the year 1851; 1852 1853 in
Berlin where he was appointed Court pianist; and in
1854, ne was in St. Petersburg". He continued his
travelling until the year 1867, when he settled in
London as a teacher. His work of instruction "L'ln-
dispensable du Pianiste" is of much value. His piano-
forte compositions comprise Fantasies, various other
pieces and Etudes.
MARY KREBS-BRENNING.
WITH regard to this excellent pianiste we may
be permitted to make use of the well-known
humurous definition of a matter in itself of great
importance, namely that she was especially lucky
in the choice of her parents. Her father, Karl
Miedke, who received from his adopted father an
opera singer, the name of Krebs, was indebted to
him for the good preparation for the musical pro-
fession, was a very capable theorist, director, com-
poser and pianist, who married the popular singer
Aloysia Michalesi when occupying the post of con-
ductor at Dresden. Thus both her parents were
MARY KREBS-BRENNING. I 5 !
devoted heart and soul to music, and were able to give
their child (born on the 5 th December 1851) a good
musical education. Mary's mother in particular is
said to have been her instructress in the elements of
pianoforte playing, which she began when very young
thus preparing the child for further study which was
superintended by her father.
When she was nine years 'old, her father let her
perform for the first time at a performance given by
the Dresden Concert Society, which was followed by
her appearance at concerts in the neighbourhood, and
in October 1863, a concert was arranged for her at
Dresden, at which she played with the Royal Orchestra.
In the same year she was heard at a Euterpe con-
cert at Leipzig, and afterwards at Hamburg, Bremen
and at a Court Concert at Dresden, where her per-
formances were crowned with applause and success.
The twelve-year old artiste, (for we can truly give
her this title considering what her repertoire was at
that time) had to fulfil an English concert engagement
in the same year; she was engaged by Mr. Gye the
director of the Italian Opera at Covent Garden to
play for four years consecutively, at a series of con-
certs beginning in the month of May. She performed
in 170 of these concerts, playing Beethoven, Weber,
Mendelssohn &c. overcoming easily all technical
difficulties, and playing with great expression and
intelligence. Her stay in England proved such a
success both artistically and financially, that she has
always returned there at regular intervals.
In her thirteenth year King John of Saxony,
conferred upon her the title of Royal Pianiste. Ac-
companying Adelina Patti she visited Italy, performing
in Trieste, Venice, Bologna, Florence, Genoa; she
then passed on to the south of France making a stay
at Cannes, Aries, Avignon, Nimes, Cette, and Mont-
pelier &c. afterwards taking part in concerts at Paris.
I5 2 MARY KREBS-BRENNING.
She played at Prague and in several Dutch, Belgian
and Russians towns Riga, Mitau, Wenden, Wolmar,
Dorpat, St. Petersburg, Moscow, and Warsaw.
In the years 1870 1871, she made a trip through
the United States, being in Chicago at the time of
the great fire. She returned to Germany twenty- two
months later rich in "gold and honours".
In 1872, she joined an "Ullman concert-tour" and
spent several weeks in visiting German towns.
In 1887, she married Theodor Brenning, a mer-
chant, but did not relinquish her artistic career.
One of the most important of her numerous con-
certs was given on the i8 th February 1892, in the
Gewerbesaal at Dresden, when she, accompanied by
Rubinstein, played Schumann's Variations for two
pianos, op. 46 ; the audience being delighted with the
performance of two such celebrated musicians.
THEODOR KULLAK.
PROFESSOR Th. Kullak was one of the greatest piano-
forte players and teachers of the present day.
He has done much for the furtherance of modern
technical training of many important musicians, such
as Scharwenka, Erika Lie, Alma Hollander, Griinfeld,
Hans Bischoif, Heinrich Jrloffmann, Franz Kullak &c.
He was born on the 12 th September 1818, at
Krotoschin, and became a pupil of A. Aythe in Posen,
where in his eighth year, his playing secured the
interest of the artistic Prince Anton Radziwill. Through
his influence Kullak was permitted to take part in a
Berlin Court Concert in his eleventh year, and appeared
THEODOR KULLAK.
with Henriette Sontag. The King usually very mo-
derate in his opinion, was delighted with the boy's
playing and presented him with 30 Friedrichd'or.
After a stay of six weeks he travelled to Breslau,
where his playing was received with great applause.
Then through the kindness of Prince Radziwill he
was educated at the school at Zullichau. From his
thirteenth to his eighteenth year he was without a
piano, only being able to play occasionally. He also
had the misfortune to lose his patron, but he soon
found another aristocratic friend, through whose in-
fluence he received a stipend in Berlin, which enabled
him to follow a course of theoretical studies under
Dehn's guidance. At the same time Ingenheim
was the means of procuring him several pupils of
rank.
In 1842, Frau von Massow interceded on his
behalf, and Friedrich Wilhelm IV. placed 400 thaler
(=60) at his disposal to enable him to pursue his
studies. He went to Vienna where he received piano-
forte instruction from Czerny and theory from Sechter.
After a trip in Austria he returned to Berlin in 1843.
A Fraulein von Hellwig procured him the post of
pianoforte teacher to Princess Anna, the daughter of
Prince Karl. He then became the teacher of nearly
all the princes and princesses of the Royal house as
well as in many good families who were acquainted
with his excellent teaching qualities.
In 1846, he became Pianist to the Prussian Court
and received a salary. In 1850, he founded the
Kullak institute afterwards known under the name
of the Stern Conservatoire. He was actively connected
with the former institute until the year 1855, retiring
in order to originate the New Academy of Music, in
which in the course of twenty- five years more than
1000 pupils have received instruction.
In 1 844, Kullak . was the originator of the
THEODOR KULLAK.
155
"Tonkiinstler-Verein" in Berlin, and was president of
it for many years.
In 1 86 1, he was made Professor; and was also
elected honorary member of the Royal Academy of
Music in Florence, besides being the recipient of many
other distinctions. He died March i st 1882.
As a teacher of the pianoforte he wrote : "Schule
der Fingeriibungen und des Octaven spiels" and
"Materialien fur denElementarunterricht". He published
transcriptions and re- arrangements of the works of
Mendelssohn, Schubert and Chopin, and composed
very diligently. Among his works are i pianoforte
Concerto, Fantasies, Drawin-groom pieces. "La Gazelle",
"Les Danai'des" and a re -arrangement of Aria from
"Freischiitz" are his best-known productions.
THEODOR LESCHETITZKY.
T ITTLE is known of the childhood and musical
J_j training of this musician. He was the son of
Polish parents and was born at Lemberg in the year
1831, (day unknown). He appeared in various P.olish
towns and in Vienna, as a pianoforte player and
teacher. In 1864, ne was appointed teacher at the
Conservatoire at St. Petersburg, where among other
pupils he taught his future wife, with whom he
travelled for a time, after having resigned his post
at the Conservatoire in 1878. and then finally settled
in Vienna as a private teacher. In the year 1880,
he married Annette Essipoff with whom he then
THEODOR LESCHETITZKY. I57
travelled giving concerts. They appeared together
in London at the concerts of the Musical Union and
met with brilliant success. During the time Leschetitzky
was engaged at the Conservatoire in St. Petersburg
he arranged excellent Chamber-Music Soirees assisted
by Auer and Davidoff.
He composed several pieces for the piano and
an opera called "Die erste Falte".
ERIKA LIE.
ERIKA Lie, of Scandinavian origin, was born on the
1 7 th January, 1845, at Kongsvinger near Christiania.
She received instruction from her father till her
fifteenth year, and then for a year Hafdan Kjerulf
was her teacher. From 1861 to 1866, she received
her musical education at Th. Kullak's Institute
in Berlin, and has become one of the best piano-
forte players of the present day, her performance
being characterized by masterly execution, grace,
good taste and fee.ling. For two years she was piano-
forte teacher at Kullak's Institute. After the com-
ERIKA LIE.
159
pletion of her studies she gave a concert in Berlin,
and spent two years in visiting London, Stockholm,
Copenhagen, Christiania, Leipzig, Cologne, Hamburg,
Frankfort -on -the -Main, Bremen and Zurich, being
fully acknowledged wherever she played as an ex-
cellent pianiste by all her critics.
Then following her own choice she relinquished
her public career, and now devotes her time and
talents exclusively to teaching.
FRANZ LISZT.
FR years there have only been three great mu-
sicians who have stirred the world, not only by
their musical activity, but also in a literary sense;
and it is a strange dispensation of fate that these men
although working independently were connected by
ties of relationship; they are Liszt, and his two sons-
in-law, Billow and Wagner. All three attained the
highest pinnacle of the modern German school, and
each one of them was entirely original in his own
way; it is therefore quite correct to say that Liszt was
without a rival in his day. Introducing new ideas into
pianoforte playing, and also in composition (having
been with Berlioz the principal representative of the
FRANZ LISZT. T 6i
so called programme-music) he had in consequence
many opponents. As a man too he had also his
failings and as a politician he was paradoxical in the
extreme, yet notwithstanding he was much beloved,
and all his life was looked up to by the young gene-
ration, their sympathy for him always being most
enthusiastic. He was full of contratictions ; for instance
in his earlier years he entertained the idea of becoming
a Roman Catholic priest and in ripe manhood he
carried out his intention so far as receiving the eccle-
siastical orders and also was made Abbe, yet he was
a man of the world, who enjoyed the pleasures of
life, and society was his element. He was at the same
time an advocate for freedom both in music and in
politics; from the year 1830, in Paris, he even went
to far in his immatured revolutionary tendencies as to
participate enthusiastically in the excesses of St. Simon
and developed strange freaks in following Enfentin
and his disciples. Chevalier, the most zealous follower
of Enfentin, with whom he even appeared at the
Assises, was Liszt's bosom friend, and the most
thorough socialist, exulting in the ideas of community
of property and womanhood, and especially in the
emancipation of woman ; who, according to these views,
should be no longer bound by any moral obligation, but
should be able to say, wish and act exactly as she pleased.
Practically they confirmed these views in confidential
meetings, and communistic housekeeping; but in con-
sequence of divergencies of opinion on St. Simonism,
violent conflicts took place, and eventually Liszt aban-
doned these fooleries : but for a long time after this he
cherished in his soul notions of a new formation of
Society, combined with a peculiar conversatism. He
even supported and aided revolutionaries like Wagner
and Rockel, yet simultaneously in 1851 he wrote:
"Germany will become Russian and for the great
majority of Germans there is little doubt as to
Celebr. Pianists.
II
j6 2 FRANZ LISZT.
the only resolution which they can adopt." Then
again after the death of the exiled monarch at
Chislehurst he wrote: "Napoleon III is no more! A
great soul, an intelligence conceiving everything, a
gentle and noble character and an unblessed destiny!
He was gagged and bound like bound Caesar, who
was the ideal embodiment of earthly power. It is
still my belief that of all others, his government has
corresponded the best with the necessities and pro-
gress of our times. The day of justice will approach
when France will bring Napoleon the Third's coffin
and place it with all honours beside that of Napoleon I."
His character was full of beautiful and noble traits ;
once he wrote thus to Pruckner: "Do not let us err
on the side of false modesty, but hold fast to all that
is true and real; this is far more difficult to practise
and but rarely met with." And he lived up to this
maxim. He continually spoke of his compositions
(which had met with much opposition) with that refined
graceful modesty which to use Liszt's own expression
comprehends a part of Schiller's "Menschheitswurde",
"Dignity of Man" and was therefore not without
confidence in his talent, more fully developed by his
marvellous industry and the gradual acknowledgement
which he received. His utterance to Saint- Saens
when transmitting him the Mephisto Waltz also cor-
roborates this; he says "No one feels more acutely
than I do the incongruity between my good will and
the result attained by my compositions. Yet in spite
of it I persevere in writing, not without exertion
arising from inward need and long habit. To strive
after higher things is not forbidden, but the attainment
of the end in view will always remain a question."
He encouraged numberless musicians of lesser
and greater talent, both in word and deed : wherever
he happened to be living, at Weimar, Rome,
Bayreuth or Paris the visits he received increased to
FRANZ LISZT ^3
pilgrimages, and he was too kind-hearted to turn away
a single person. A great number of modern pianists
owe the good cultivation of their talents to his
valuable guidance. He was the most patient man
and did not feel himself weighed down by the conr
tinual claims made upon him until far advanced in
years. In 1881 he wrote from Bayreuth to a friend:
"My dislike to letters has become immense. How
can I answer more than 2000 letters in a year without
losing my reason!" And soon after, writing from
Rome he says "I am honoured, flattered and oppressed
by innumerable letters ; during the last six weeks I
have received more than a hundred; I should have
to devote ten hours daily to my correspondence, but
that is an impossibility. My health, although not bad,
would not stand it." At last in 1862 he was obliged
to announce in several musical papers that he must
forbid the forwarding of scores and other writings.
Yet it was still continued and he endured it with
patience until his death.
Had this very popular and much honoured mu-
sician been of a selfish nature, he would without
much trouble have soon amassed great riches and
it is certain that he earned large sums of money but
reserved none for himself. At his death he left little
else but his silver laurel wreaths, jewelled batons,
and gold snuff-boxes which he bequeathed to his
great friend, Princess Wittgenstein. Unselfishness
was one of his noblest qualities, this is noticeable
from one of his letters which he wrote a short time
before his death to Marie Lipsius as follows: "Since
1847 I have not made a 'farthing' by playing and
conducting, on the contrary it has all cost me much
time." Again it is apparent that Liszt even in his
earlier years was by no means influenced by the love
of money (often the case with musicians), this is
evident from the history of Beethoven's statue at
ii*
!6 4 FRANZ LISZT.
Bonn. It vexed him that for years money should
have been subscribed for this statue throughout
Germany; he considered it an insult to the immortal
genius, and in 1839 he wrote to the presiding com-
mittee that he would himself be responsible for the
considerable sum still needed, so that the statue
could then be immediately proceeded with. Franz
Liszt's childhood is very similar to that of Mozart.
His father Adam Liszt was at the time of his birth,
22 md Oct. 1811, accountant to Prince Esterhazy on
his estate Raiding; he was himself very musical,
played several instruments and often played the vio-
lincello in the performances of Esterhazy's private
orchestra at Eisenstadt under Jos. Haydn's conductor-
ship. He taught his son the piano and let him per-
form when nine years old for the first time in public
at a concert at Oedenburg. After Prince Esterhazy
had heard the child play, Adam Liszt arranged a
concert for him at Pressburg which revealed the
capabilities of the young musician to such an extent
that several noblemen expressed themselves willing
to place a yearly stipend of 600 guldens at his dis-
posal for six years, to enable him to further his
musical education. Adam Liszt then resigned his
post at once, the whole family removed to Vienna,
where Czerny undertook the boy's further tuition and
the venerable Salieri is said to have instructed him in
theory. The boy's extraordinary talents soon enabled
him to attain to great perfection in pianoforte playing
and in two year's time the "youthful prodigy" began
his concert tours. At a farewell concert which he
gave in Vienna in 1823 it is reported that Beethoven
was present and was so delighted with the boy's
playing that he hurried on to the platform and kissed
him.*) This concert as also a former one were such a
*) This sounds very improbable as in 1823 Beethoven was already so
deaf that he could not, according to Spohr's account, hear his own playing.
FRANZ LISZT. T 6 5
pecuniary success that all the travelling expenses
were easily defrayed and from this period young
Liszt became the bread-winner for the whole family,
who travelled with him. As was the case with Mozart
his father was his guide, introducer, and cashier, and
his letters full of detail written to Czerny prove how
successful all the concerts were when on a tour, both
artistically and financially.
Their first visit was to Munich. Moscheles was
at this time giving a concert, Liszt's succeeded his.
In his first concert which was badly attended, the
king and the princesses were present, and in writing
about it Adam Liszt says: "The applause was tremen-
dous and I was at once requested to give a second
concert: In short, it was the greatest pity that the
people, who could obtain no admittance on the second
occasion, had not been present on the first Twice
we had the privilege of a royal audience and were
received most graciously and with much honour. At
the first interview the king remarked "And now,
little one, how did you venture to appear after
Moscheles?" And when we were about to take leave
His Majesty said: "Come here, little one, I must
give you a kiss!" which he did.
From Munich they went on to Augsburg. Adam
Liszt wrote from there: "We gave a small concert
on the 30 th Oct. which had been previously arranged
when we were at Munich. On Nov, i st he played at
the Harmonie. The applause is general wherever we go.
To-day Zizy (Franz) is to play at a concert arranged for
the benefit of sufferers by a fire and to-morrow we
leave for Stuttgart. Notwithstanding the fact that
travelling-expenses, and board, especially wine amount
to a large sum up to to-day after defraying all expenses
we have a clear profit of 921 florins. We should
have almost double the sum if I had not our reputa-
tion to keep up, and to try to benefit others."
FRANZ LISZT.
The following- remark contained in the same
letter addressed to Czerny is characteristic of the
partial father: "Moscheles has out-lived his fame at
Munich, and is not spoken of with proper respect;
I for my part must admit that he played magnificently
at his concert; but the Fantasia was devoid of all
beauty in fact I cannot call it a Fantasia at all. He
has especially lost all favour by charging double
entrance. "
The Augsburger Allgemeine Zeitung after the
appearance of Liszt at Munich reported as follows:
"A new Mozart has appeared among us. We have
heard Hummel and Moscheles and are not afraid to
say that this child's performance is equal to their's."
The Schwabian Mercury mentioning the Stuttgart
concerts had the following notice : " This boy now
ranks as high as the best pianoforte player in Europe,
perhaps even excels them all." They now went to
to Paris, where the papers extolled "Le petit Litz."
After his appearance at a concert at the Italian Opera
they asserted : " Orpheus charmed the beasts of the
forest and moved the stones, but little Litz charmes
the orchestra to such a degree that it is silent." The
musicians had forgotten to take up the ritornello at
the right moment.
In March 1824 Adam Liszt wrote thus to Czerny:
"Since our arrival here we have already accepted
engagements for 36 soirees to be given by some of
the best people, where never less than 100 francs,
and often 150 francs are paid for the evening. He
has played once at the house of Madame la duchesse
de Berry, the whole of the royal family being present
and improvised on four given themes. He has also
played three times at the Due d'Orleans'." The father
then reckons that at the conclusion of the concert at
the Italian Opera House and after settling all expenses
amounting to 343 francs they had a surplus profit of
FRANZ LISZT. T 6 7
4711 francs. Thus the little virtuoso earned a tidy
fortune for his family in the space of only a few
months. "He who has talent" writes A. Liszt "ought
to go to Paris ; here the taste for art is of one accord
and artist are valued, honoured, and rewarded."
Adam speaks almost contemptuously of the re-
nowned pianist Peter Pixis, who at this time was also
giving concerts in Paris, and repeatedly expresses
rather spiteful opinions of other musicians, Hummel.
Moscheles, Emilie Belleville (Oury) &c. He can scarcely
have been actuated by any other motive than envy,
in spite of the splendid talents of which his son gave
evidence. Something resembling jealousy seems also
to have reigned paramount in other quarters, for
instance Hummel frequently treated Franz Liszt with
intentional contempt, so at least A. Liszt asserts when
writing to Vienna, and old Cherubini invented some
paltry excuse for refusing to accept Liszt as a pupil
at the Conservatoire.
The father and son made frequent trips from
Paris to London with like success. Franz once had
occasion to display his capabilities in transposing
at a Philharmonie Concert in London. On account
of the piano being tuned very low he had to play a
concerto for piano and flute, in C sharp major instead
of in C. From London they started on an excursion
for pleasure to Boulogne-sur-mer, but here too the
clever father understood the art of combining business
with pleasure ; he let his son give a Soiree in the
salon of the Badeh6tel, where a piano was to be had
"in compliance with the urgent requests of the com-
pany", this not only cleared the heavy expenses of
their visit but left them a profit of 600 francs. It
was also in Paris that "Franzi" wrote his first opera
"Don Sancho" or at least had it performed. An
opera committee consisting of Cherubini, Berton,
Boieldieu, Lesueur and Catel had it tried before the
FRANZ LISZT.
representation which took place on the 17 th Oct. 1825,
at the grand Opera and conducted by Kreutzer;
Nourrit sang* the principal r61e. At the conclusion
the composer and Nourrit were called for and the
latter appeared on the stage carrying Liszt, which
of course greatly delighted the impulsive French
audience. Yet it really seems as if almost too much
had been said about this youthful work of Liszt's;
it is true that the opera was twice performed under
official patronage, but it then disappeared from the
stage, and finally the score with all the parts is said
to have perished in a fire which took place in the
library of the Opera House.
According to Ad. Liszt's letters to Czerny the
former had made plans for a long artistic tour through
the Netherlands and Germany, terminating with their
return to Vienna but providence had decreed other-
wise; on a concert from Paris through the northern
French provinces A. Liszt died in 1827 at the much-
loved and remunerative Boulogne-sur-mer. Liszt then
took up his temporary abode in Paris where he taught,
composed and gave concerts. Above all he sought
to perfect himself as a pianoforte player, being con-
tinually spurred on by the musical genius of others.
Thalberg and Chopin are said to have greatly in-
fluenced him. Then when Paganani played in Paris,
Liszt is said to have made up his mind to become a
Paginani on the piano. He showed much outward
enthusiasm for Italian composers, but he had a genuine
and more enthusiastic admiration for Chopin. Berlioz was
his friend and fellow aspirant; the original ideas of Fetis
were also eagerly embraced by Liszt. The Revolution
of 1831 caused him to take an interest both in politics
and philosophy; he freed himself more and more from
the narrow bounds of art and morality existing during
the monarchy of which his attachment and connection
with the Comtesse D'Agoult bears sufficient testimony.
FRANZ LISZT.
Until 1847 h e continued his concert tours almost
without intermission and they brought him in both
fame and riches ; his successes were unparalleled, and
he became a world wide favourite as pianist.
In 1847 he ceased his career as a virtuoso, and
accepted the appointment of conductor at Weimar; it
is said, but in some measure hyperbolically, that he
became the musical Goethe of Weimar. At any rate
all who recognised in him their musical ideal thronged
thither. He then made himself still more remarkable
by the energetic and self-sacrificing way in which he
took up the cause of Wagner's music dramas, and
Wagner proved himself fully grateful for his services.
On their first meeting in Paris he did not cherish the
best opinion of Liszt, as he thought the latter was of
a very different nature to his own. Later on when
his "Rienzi" began to attract attention, he changed
the opinion he had first formed on meeting him a
second time. When writing on the subject Wagner
says : " I am still deeply affected by the repeated
eager endeavours he has made to give me a better
opinion of himself. In doing this he was actuated
by no artistic sympathy, but only by a purely human
desire to set aside a supposed misunderstanding
existing between himself and another; perhaps too
he had a vague suspicion that unconsciously he might
have given me cause for offence. Those who have
experienced the egotism and want of feeling prevailing
in our social life ought to be filled with admiration
and delight at the treatment I received at the hands
of this extraordinary man I saw him last at
Weimar where I remained several days uncertain
whither I should be driven by the portending per-
secution. The same day on which I became aware
of my danger, I saw Liszt conduct a performance of
Tannhauser and was astonished to recognize my second
self on this occasion. What I felt in the creation of this
I70 FRANZ LISZT.
music, Liszt felt in conducting it ; what I had wished
to express in writing it down, he expressed in trans-
forming it and in giving it true expression. In the
love of this rare friend, at the moment when I lost
my home, I found a home for my art, which I had
long sought, and sought in vain, always searching in
the wrong direction When I was in Paris, ill,
wretched and in despair, grumbling at my fate my
eyes suddenly fell upon the pages of " Lohengrin "
which I had wholly forgotten. I felt grieved at the
thought that this music would never be brought forth
in sound from its paper-shroud. I wrote only two
words to Liszt, and the answer I received was, that
preparations were already begun for the performance
of Lohengrin in the most splendid style compatible
with the United means at his disposal in Weimar.
Everything within the power of man was done to get
this work recognized The anticipated success was
only hindered by errors and false ideas on the part
of the public. Liszt at once saw what was still
wanting to lead to a correct conception and to ensure
the final success of the work. He represented to the
public with convincing eloquence the impression
which the opera had made on himself . . . success was
his reward and owing to this success he came to me
and said: "You see we have attained so much, now
give us something else that we may attain still
higher."
Wagner writing with reference to Liszt's music
said : " Whoever has had the pleasure of hearing him
play Beethoven in society must confess that his play-
ing was not only re-production, but that it was a
creation itself."... Another reliable critic characterizes
Liszt's playing briefly in a similar manner: "Liszt's
phenomenal execution enables him to direct his whole
attention to the intention of the composer." During
the time he spent at Weimar he wrote numerous im-
FRANZ LISZT. I7 !
portant compositions, which however met with much
opposition, he also displayed great activity as an
author. His principal productions were "Symphonic
Poems an a programmatic groundwork", which have
at last supplied a want in orchestral art, being con-
sidered brilliant compositions. His pianoforte concertos
and in particular his Hungarian Rhapsodies give
evidence of great progress made in the direction of
genuinely artistic works for piano. A former bio-
grapher and critic says : " A pianoforte movement of
such extraordinary, and dazzling effect although it
may only have been extenorly was until then without
its equal and unexcelled in the history of pianoforte
music." Everything of his was original even to the
songs with pianoforte accompaniment to which he
added lyrical expression as well as a dramatic feeling.
A great deal in his personality was strange and
contradictory. Thus for instance we learn from his
letters which were not published until long after his
death that Schumann's compositions deeply interested
him, yet he never played a note of his music. He
and Adolf Henselt were the most intimate friends,
yet in his letters he mentions the latter's Etudes as
a "mediocrite dinstinguee. "
All composers of sacred music who incline to the
immortal productions of classical times, hold in con-
tempt that which is religious music with Liszt. His
life was rich with blessings to others in many respects.
Great musicians, Tausig, Billow, Raff, Sophie Menter
are indebted to him for the success and fame to which
they aspired. Young musicians seeing or hearing
him play were either seized with despair at the
thought of their own inability, or they awoke to a
new life. His technical studies form a foundation for
modern pianoforte-playing. For many years he worked
with heart and soul on behalf of the "Universal
German Musical Union." It is rarely indeed that any
I7 2 FRANZ LISZT.
musician has ever been so honoured as he was; but
one of the highest distinctions he received and valued
the most was the diploma of honorary doctor of the
Philosophical Faculty at Konigsberg.
He was also honorary president of the Bayreuth
Festivals, and it was at Bayreuth that he died on the
3i st July 1886.
His principal compositions are the following:
I. Pianoforte works: 2 Concertos (E-flat and A),
"Danse macabre" (for piano and orchestra), i Concert-
solo (Concert pathetique), 15 Hungarian Rhapsodies
i Spanish Rhapsody, i Senate (B-Minor), i Fantasia
and Fugue on Bach, 6 Preludes and Fugues, Variations
on a Theme from Bach's Mass in B-Minor, 2 Ballads,
i Berceuse, 2 Legends, 2 Elegies, one for the Piano-
forte, Violin and Cello, i Capriccio alia turca (on a
motive from Beethoven's "Ruins of Athens"), i Idee
fixe (after Berlioz), i Impromtu (F- sharp Major),
"Consolations", ''Apparitions", "Harmonies poetiques et
religieuses", "Annies de pelrinage", 3 Nocturnes
("Liebestraume"), chromatical Galop, 3 Caprice valses,
Paraphrases on Motives from Meyerbeer's, Wagner's
and Verdi's Operas &c., i Brilliant Fantasia on
Paginani's "Clochette", i Tscherkessen March from
Glinka's "Russlau and Ludmilla", i Wedding March,
and Dance of the Elves from Mendelssohn's Mid-
summernight's Dream", Transcription of songs for the
piano (very numerous, including 60 of Schubert's),
Arrangements of Beethoven's Symphonies as solos,
Berlioz' "Symphonic fantastique", and his "Pilgrim
March" from "Harold in Italy", i Danse des Sylphes"
from Faust's "Damnation", Pianoforte Overtures to
"Fehmrichter", "King Lear", Wagner's "Tannhauser"
Overture, Saint -Saens' "Danse Macabre", "Etudes
d'execution tran seen dan te", 3 Grandes Etudes de
Concert, Etude de perfection "Ab irato"; for two
pianos: Variations on a March from "I Puritani",
FRANZ LISZT.
173
Arrangements, Andante religiose; melodramatic piano-
forte works on Burger's "Leonore", Strachwitz' "Helgo",
Lenau's "Trauriger Monch"; 3 Duets for piano and
violin &c. II. Orchestral Works: Symphonic
Poems: "Dante", "Faust-Symphony" "Ce qu'on entend
sur la montagne" (Victor Hugo), "Tasso", "Les pre-
ludes", "Orpheus", "Prometheus", "Mazeppa", "Fest-
klange", "Heroide funebre", "Hungaria", "Hamlet",
"Hunnenschlacht", "Die Ideale", "Von der Wiege bis
zumGrabe", Episodes from Lenau's "Faust", "Kiinstler-
festzug", "Gaudeamus", (with chorus and solo), "Fest-
marsch", "Festvorspiel" , "Huldigungsmarsch" , "Vom
Fels zum Meer", Arrangements of Schubert's Marches,
and of "Divertissement hongroise", and of the Rakoczy
march. III. Vocal works: "Grosse Festmesse",
"Hungarian Coronation Mass", 2 Organ Masses, the
i3 th , 1 8 th , 23 d and 137 th Psalms, Requiem, shorter
hymns (Paternoster, Ave Maria, Ave Mario stella,
Ave verum, Tantum ergo, O salutaris &c.), the ora-
torios "Christus" and "Stanislaus", the "Legend of
St. Elizabeth", the Cantatas "Glocken des Strassburger
Ministers", "St. Cecilia", "An die Kiinstler", Choruses
to Herder's "Prometheus Unbound", Festival Cantatas
for secular occasions (Beethoven, Goethe, Herder),
several books of quartets for male voices, numerous
songs for solo voices and piano "Jeanne d'Arc an
bucher", "The power of music" &c.
Liszt's compositions for the piano undoubtedly
represent a step forward in the History of Music,
but whether the same can be said of his orchestral
compositions remains to be seen.
The most important of Liszt's writings are:
"Lohengrin and Tannhauser" (in French and German),
"Frederic Chopin", "The Hungarian Gipsies and their
music" (in Hungarian, German and French), "On
Field's Notturnes" (in French and German), "Robert
Franz" &c.
FRANZ LISZT.
One is accustomed to see portraits of Liszt taken
in his later years, it will therefore be an agreeable
surprise to our readers to see a carte de visite of
the master which dates from about 1853 to 1854.
HENRY LITOLFF.
rpiHAT a very slight circumstance may occasionally be
1 the means of rescuing a musician from straitened
means, and lead to success is exemplified in the life
of Henry Litolff.
He was born in London as the son of a violinist,
on the 6 th February 1818, and taught by Moscheles.
He was able to appear at the Covent Garden Theatre
as a pianoforte-player at twelve years of age; but
this premature independance was by no means of
benefit to him. When scarcely seventeen years old
he made a penniless marriage and started on a tour
with his wife. He went to Paris, but was dis-
appointed in his expectation of easily meeting with
success there. He was very unfortunate, and it was
176 HENRY LITOLFF.
with great difficulty that he was able to support him-
self in French and Belgian provincial towns, and was
totally unable to maintain his wife. Quite by accident
in 1840 the singer Duprez, then on a tour, happened
to hear him play at a small charity concert; he was
astonished at such a talent which was in danger of
being lost among his miserable surroundings. He
took him to Paris, arranged for him to appear in
public, and thus brought about a change in his life.
Above all he was the means of restoring to Litolff
his self-reliance. He began to compose and among
other things he wrote a piano concerto and a
symphony in B-Minor. In 1841 he was appointed
conductor in Warsaw, where he remained until 1845.
Then he again started on tours and visited Leipzig,
Dresden, Prague and met with "tolerable but not
brilliant success." Fortune was more in his favour
in Berlin, the reports of that time state that he had
"maintained his position beside that of Jenny Lind."
In 1846 he re-appeared in London, left there for
Holland, and appealed, not without success, to the
patriotism of the Dutch by the performance of a
composition especially composed for them which he
called "Concerto symphonique national hollandais pour
Piano et Orchestre." In 1847 ne spent some time
at Brunswick and there he made the acquaintance of
the poet Griepenkerl, and wrote concert overtures to
his dramas "Robespierre" and "Die Girondisten." In
doing this work he seems at the same time to have
become infected by politics, for in 1848 he suddenly
became mixed up in revolutionary affairs, and formed
one of the so-called academical legion. Luckily for
him he escaped just at the critical moment and re-
turned to Brunswick for a time. He was divorced
from his first wife and married the widow of the
music-publisher Meyer, whose business he managed,
carrying it on under his own name. Litolff became
HENRY LITOLFF. !y 7
known throughout the world as a music -publisher
and met with special success with his well-known
collection of classical masters entitled "Collection
Litolff." But here too there seem to have been do-
mestic differences, for in 1860, he left the business in
his step-son's hands and resumed his tours as a piano-
forte player. In Paris he made the acquaintance of
a Baroness Larochefoucald in 1861, obtained a divorce
from his second wife, and married for the third time.
Nothing further is known of his life; report says he
settled down in Paris as a pianist and composer. He
died in Paris on the 5 th Aug. 1892.
In Sir George Grove's Dictionary the following
opinion is given of Litolff's playing, which in Eng-
land met with high recognition : "As a pianist LitoliFs
rank is high ; fire, passion, and brilliancy of execution
were combined with thought and taste in his playing.
Had it also been correct, it would have reached the
highest excellence." Litolff has written a good deal
but nothing that is destined to last, 5 symphonic piano
Concertos, Pianoforte Trios, Solos (the well known
"Spinnlied" op. 81), also the Concerts Overtures
already mentioned, String Quartett, "Illustrations to
Goethe's Faust for solo, chorus and orchestra", an
oratorio "Ruth and Boaz", and a number of operas,
all of which were of no lasting importance.
Celebr. Pianists. \z
BERTHE MARX.
s a first-rate modern pianist and as the accompaniest
of the violinist Sarasate, Frau Berthe Marx's re-
putation has become firmly established in both hemi-
spheres. With Sarasate she has appeared at about
600 concerts, and has proved herself his equal as an
accompaniest; and as a soloist her sweet, yet full and
powerful expression, perfect touch, and complete de-
votion to the intentions of the older as well as the
more modern composers, have received high praise.
In England, especially with Clotilde Kleeberg, Sophie
Menter, Teresa Carenno, Paderewski. Stavenhagen
and others, she has become a favourite and popular
pianiste.
BERTHE MARX.
She was born in Paris, on the 28 th July 1859.
Her father was a musician, who for 40 years was a
violincello player at the Conservatoire and the Grand
Opera in both orchestras. When scarcely fours years
of age her father began with her instruction in music,
and after one year's tuition she performed in public.
During the next four years, she made such great
progress, that in her ninth year she was introduced
to the Director of the Paris Conservatoire, who ex-
pressed himself well satisfied with her playing, and
without further examination he arranged for her to
study at the Conservatoire. She was Henri Herz's
pupil, and in his class when fifteen years of age, she
gained the first prize.
Thus fully equipped for her artistic career, she
began her concert tours in France and Belgium and
met with a hearty reception everywhere. She played
for the first time with Sarasate in Brussels, and re-
cognizing her great talent he engaged her there and
then for all his concerts ; she shared his laurels in
Europe and America, their tours in the latter country
having extended to Mexico and California. She has
composed some "Rhapsodies Espagnoles", and has
arranged Sarasate's Spanish Dances for the piano.
12*
WILLIAM MASON.
A native of North America, born in the year 1829,
(day unknown), and son of the founder of the
Boston Academy of Music, William Mason received
his musical education between the years 1849 J 854,
at the Leipzig conservatoire under the tuition of
Moscheles, Dreyschock, Hauptmann, and Richter. He
then left Leipzig for Weimar, to complete his studies
under Liszt's guidance.
He met with considerable success as a pianoforte-
performer at Leipzig, Weimar, Prague and London;
he then started on a long concert -tour through the
United States, and settled in New York, where he
organised musical soirees, with the aid of two of the
most important German - American concert agents
Thomas & Bergmann.
After several concert-tours, when he visited other
American cities, he relinguished the unsettled career
of a pianist, and now only gives lessons in New York.
He has published a number of effective piano-
forte compositions.
Unfortunately we have been unable to procure
his portrait.
CHARLES MAYER.
/CHARLES Mayer has become distinguished both as a
\j virtuoso and especially as composer by his numerous
pianoforte compositions, (in number about 200) perfect
in their style, effective, smooth, easily played and
carefully written.
He was born on the 2i st March 1799, at Konigs-
berg; his father was an excellent clarionet -player,
and his mother was also very musical. When Charles
was barely four years old his parents went to Russia.
The child first learned to play by ear, but when his
father received a post in Moscow, and his mother
!3 2 CHARLES MAYER.
established herself as a teacher of the piano, she then
taught her son, and upon Field's coming* to Moscow
the child's instruction was continued by him, and he
became his favourite pupil, (which by the way has
been said of many of Field's pupils). In his ninth
year Charles performing" at concerts.
In the disturbed year, 1812, when Napoleon
stormed Moscow, the Mayer family were forced to
flee to St. Petersburg, where Charles again met Field,
whose style of playing he now adopted.
In 1814, he made a long concert -tour with his
father, visiting Warsaw, Germany, Holland and France.
In Amsterdam he wrote his well-known variations on
"God save the King".
In 1819 he made his reputation in St. Petersburg
as a pianist composer and teacher, and since that
time, in about twenty -five years, 800 pupils were
taught by him.
On a second concert- tour he visited Stockholm,
Hamburg, Copenhagen, Leipzig and Vienna, where
he was received with great honour and distinction ;
being also made honorary member of the Musical
Academy at Stockholm.
In the meantime a formidable rival had appeared
in Russia, in the person of Adolf Henselt, who was
a hindrance to his rending in Russia, he therefore
removed to Dresden in 1846, where he remained
until his death in 1862.
ANNA MEHLIG.
THIS excellent pianiste, who for a time also attracted
attention in Germany, was born at Stuttgart on
the n th June 1846, where she had the advantage of
Lebert's and Pruckner's instruction. She left Stuttgart
for Weimar in 1864, and for a year became Liszt's
pupil. In 1866, she went to England for the first time
and made her debut on the 30* April, playing one
of Hummel's concertos at a Philharmonic-concert.
She then played with great success in England,
every season until the year 1869, at the Philharmonic
concerts and at the Crystal Palace. During the
ANNA MEHLIG.
other months of the year, when not engaged in England,
she played in various German towns.
From 1869 to ^70, she went on a long tour
through America, establishing a considerable reputation
there. She re -appeared in London in 1875, and
played Chopin's Concerts in E minor on the g th Oct.
at the Crystal Palace. Since then she has visited
London every year. Her repertoire is very extensive
and her poetic style and power of execution are much
admired.
Some years ago in London she married a mer-
chant and now lives in Antwerp.
FELIX MENDELSSOHN-BARTHOLDY.
MENDELSSOHN is indisputably one of the most cele-
brated musicians of modern times, having" had
the greatest influence on the development of music,
especially in that of a sentimental and melodious
nature. Few indeed can boast of such a wealth of
beautiful and effective compositions of the most varied
kind; many of them, even in the present day,
make a deep impression upon the feelings of both
players and listeners, and it is much to be lamented
that, in consequence of the introduction of more
FELIX MENDELSSOHN. BARTHOLDY.
modern music, his less important works are neglected.
He received an excellent musical education and
possessed a correct knowledge of the classical com-
posers. The merit of having restored the works
of Johann Sebastian Bach, to life again must be
conceded to him. He was a masterly conductor,
and was the means of making the Gewandhaus
concerts in Leipzig, a lasting success, he also made
the Leipzig Conservatoire a world-renowned institution.
His style is little thought of by modern men of talent,
but in all probability his music will be able to boast
of a longer life than their's.
Felix Mendelssohn, was born at Hamburg, on the
3 rd February 1809, but in 1812, his family removed to
Berlin. He education was carefully carried out, be-
fitting the son of wealthy parents, and he received
good musical instruction. His mother was his first
pianoforte teacher, Ludwig Berger succeeding her;
Hennings was his instructor on the violin, and Zelter
taught him theory. Paul Heyse's father gave lessons
in languages to the Mendelssohn family. In 1818,
Mendelssohn appeared for the first time in public,
executing the pianoforte part of a Trio by Wolff, at
a concert given by Gugel, and was much applauded.
In 1819, he became a member of the Berlin Singing
Academy, his voice being Alto. His second appearance
in public in 1822, at one of Aloys Schmitt's concerts,
on which occasion he performed a duet by Dussek
for two pianos accompanied by the concert -giver.
On the 5 th December in the same year, he played one
of his own pianoforte Concertos at a concert given
by the vocalist Anna Milder.
The musical entertainments which were got up
every Sunday in his own home, produced a very
favourable effect upon his development as a musician.
When he was twelve years of age, he began to
compose systematically, at least in this year he
FELIX MENDELSSOHN -BARTHOLDY. ig-j
wrote two pianoforte accompaniments, and he com-
menced the series of forty-four books, to which he
added autographical biographical copies of a great
many of his works, and which are now in the Royal
Library in Berlin.
In 1821, he was introduced to Karl Maria v. Weber
who had come to Berlin to witness a performance of
his "Freischiitz", and his enthusiastic veneration for
this musician of the romantic school terminated only
with his life. The boy also met Goethe in the same
year, his teacher Zelter took him to Weimar, and
both of them lived for sixteen days in Goethe's
house.
Besides the Sunday Musical Soirees already
mentioned, there was music every evening in
Mendelssohn's home, often accompanied by theatrical
representations, impromtu or studied, when a number
of lively young people were invited to witness or to
take part in the proceedings. On such an occassion
one of his early operas "Die beiden Neffen" was
performed on his birthday in 1824, and at the con-
clusion his teacher Zelter adopting freemason phraseo-
logy promoted Felix from the rank of an "apprentice"
to that of an "assistant" in the name of Bach,
Haydn and Mozart.
In the same year he made the acquaintance of
Moscheles, who was already well known as a virtuoso,
and who called Mendelssohn's mother "the princess
of piano-players". For a month Moscheles gave
Mendelssohn daily lessons.
In 1825, Spohr visited Berlin on the occassion of
his "Jessonda" being performed, and was almost a
daily gaest in Mendelssohn's house, although this fact
is omitted in Spohr's autobiography. Two reliable
authorities expressed their opinion with regard to
Mendelssohn's playing in this year; Ferdinand Hiller,
who heard him with Andre at Frankfort, and thought
,88 FELIX MENDELSSOHN -BARTHOLDY.
a great deal of his impromtus on Handel's and Bach's
Choruses and Motets, also Dorn who said that he
heard M endelssohn accompanying the duet from
"Fidelio" and was astonished at the way in which he
brought out the cello and bass parts on the piano by
playing them two octaves apart. "How often", says
Dorn, "I have heard that duet sung, but have never
again heard it accompanied in such a manner."
Even at this time Mendelssohn played the most
comprehensive and difficult works without notes,
showing marvellous powers of memory. He once
played Beethoven's g th Symphony, without a mistake
and without notes in Spontini's presence, which is
said to have awakened much envy in the breast of
the old conductor.
Mendelssohn's opinion of Cherubini, whom he met
on a visit to Paris in 1825, is very interesting; on this
occasion he made the acquaintance of other important
musicians; he called Cherubini "a dying volcano,
giving forth occasional life, but entirely covered with
ashes and stones."
On his homeward journey from Paris, he paid
Goethe a short visit, and played one of his compositions
to him, which he dedicated to the veteran prince of
poets. In recognition of this honour Goethe gave him
a rapidly written poem not conspicuous for inspiration.
When scarcely sixteen years of age Mendelssohn
had became eminent as a composer, but he established
the fame of his youth in the following year by the
Overture of "A Midsummer Night's Dream", the rest of
the music to Shakespeare's drama not being composed
until fifteen years later.
From the year 1825, the Mendelssohn family in-
habited a magnificent house newly bought, which had
formerly belonged to a family 'von der Reck' by name,
it contained spacious rooms, outhouses, a summer
house, and extensive grounds. It was situated in the
FELIX MENDELSSOHN -BARTHOLDY.
Leipziger Strasse, where the Herrenhaus now stands.
Here the Berlin celebrities assembled; Humboldt,
Varnhagen, Lindblad, Steffens, Holtei, Gans, Marx,
Kugler, Droysen and Hegel. The garden parties
were particularly popular. A special paper was written
by the company, which in summer was entitled the
"Garten - Zeitung" and in winter the "Schnee- und
Thee-Zeitung" and of which Mendelssohn and Marx
were the editors. Any one who chose could contribute
to it, and even men like Zelter and Humboldt were
not above doing so. Young Mendelssohn was much
sought after, and ladies double his age were madly
in love with him. Yet even those happy days of his
life, otherwise so free of care, were not without
shadows. His youth, his Jewish origin, the position
which his family occupied, and his success gained
him many opponents in the musical world; there was
no want of malice, and it was carried to such an
extent that the royal orchestra at certain performances
in the Singing Academy refused to play under his
conductorship, and at concerts when his compositions
were on the programme, they were carelessly and
reluctantly played. And in later years he was often
not on the best of terms with Marx.
He composed his opera "the wedding of Gamacho"
in 1827, it was but once performed in Berlin, and
then laid aside at Spontini's instigation. In 1829, after
the most careful preparation, he arranged for the first
representation of Bach's Passion, according to St.
Matthew in the Berlin Sing Academie.
In the same year, at Moscheles' invitation he
went over to England, and had his symphony in
C minor performed in London, as also the Overture to
the Midsummer Night's Dream. This was the first time
these two works had been heard. From this period
his fame as a composer spread in musical circles. The
style of his compositions suited the English taste,
I g FELIX MENDELSSOHN- BARTHOLDY.
which resulted in his always finding a warm welcome
in England. Thus in 1832, he had the "Hebrides
Overture", his "concerto in G minor" and his "Capriccio
in B minor" also performed in London. In 1830,
he travelled in Italy and on his return to Berlin,
several of his compositions, and among them the
"Hebrides Overture", "Meeresstille und Gliickliche
Fahrt" and the "Reformation Symphony" were heard
in public. In 1833, he conducted the Musical Festival
at Diisseldorf, this resulted in his being appointed
Musical Director; in that town he remained only two
years in this position, being in the meantime elected
conductor of the Gewandhaus concerts in Leipzig,
entering into office in 1835, after having conducted
the Cologne Musical Festival. He called Leipzig, his
Paradise, the Leipzig people made an idol of him,
and even professional musicians honoured and esteemed
him. In 1836, he was the cause of Ferdinand David's
coming to Leipzig, and the same year the University
conferred upon him the title of Doctor of Philosophy
honoris causa.
His oratorio "St. Paul" was first performed at
Diisseldorf on the 22 nd May 1836, and in 1837,
Mendelssohn married Cecilia Jeanrenaud at Frankfort-
on - the - Main. From Spohr, one of Mendelssohn's
friends, we learn what a happy marriage this proved
to be. After a short visit paid to Leipzig, in 1840,
he writes as follows : "We spent a lively evening
with Mendelssohn, where everything was done to give
me pleasure. In this family I seem to see something
quite ideal, a union of interior and exterior qualities,
and such beautiful domestic happiness, such as is rarely
met with in ordinary life. With so much luxury and
wealth, such a charming simplicily pervades their
manner and mode of living, that it makes one feel
entirely at home." On the same occasion, Spohr speaks
very warmly of Mendelssohn's method of playing,
FELIX MENDELSSOHN -BARTHOLDY. I9I
he having performed Spohr's compositions with great
effect on several occasions.
In the year 1843, Mendelssohn in conjunction with
some eminent citizens and with such acknowledged
masters as Moritz Hauptmann, Robert Schumann,
Ferdinand David and Chr. A. Pohlenz, founded the
Leipzig Conservatoire, and became its director. He and
Schumann raised the Institutian to great eminence, but
an interesting incident in Mendelssohn's life which
occurred before the opening, and the explanation of
which is due to his many admirers must not be omitted.
At Zelter's death Mendelssohn had applied for his post,
and it had been refused him, but later on when he be-
came famous, and a monarch with taste for art had
succeeded to the throne, great exertions were made to
induce him to remove to Berlin. He received the title of
Principal Musical Director, and after a long inward
struggle and many consultations with his family in Berlin,
and also with the ministers, he resolved reluctantly to
exchange his pleasant post at Leipzig, for the one in
Berlin. Yet he always longed for Leipzig, and even
in the depth of winter he travelled thither to conduct
a concert at the Gewandhaus. In general the recep-
tion hie met with in Berlin was somewhat cool; at the
concerts organized by the King, he received very
scanty applause, and the old antagonism still prevailed
on the part of the men in the orchestra. King
Friedrich Wilhelm IV. was determined if possible to
keep him in Berlin, and gave him, under the most
favourable conditions, the task of forming a cathedral
choir; but when Mendelssohn went to Dresden, he was
persuaded at last to accept the post of Director of
the newly established Conservatoire in Leipzig.
Thus the return to his beloved "Pleisse-Athen"
was secured. Unfortunately he only enjoyed a few
more happy years of life. He was far too premature
for art, and his numerous friends had to lament his
I9 2 FELIX MENDELSSOHN -BARTHOLDY.
death on the 4 th November, 1847. Spohr writing to
Moritz Hauptmann on hearing of his death said:
"What glorious works Mendelssohn could still have
written in the height of his fame had Providence
granted him a longer life! For his delicate constitu-
tion the mental effort was too great, and thus was
injurious. The loss which art has sustained is very
much to be lamented, for he was the most highly
gifted of all living musicians, and his efforts on
behalf of art were in truth noble."
Of Mendelssohn's compositions Opus i 72 were
published during his life, and Opus 73 121 after his
death. Many have also appeared without the number
of the work. For the piano: 2 Concertos in Gminor
and D minor. The Capriccio in B minor, "Rondo
brillant", "Serenade", Sextet, 3 Quartets, 2 Trios,
Variations concertantes for the piano and cello, 8 books
of "Lieder; ohne Worte", 2 Capriccios, Characteristic
pieces, i Rondo capriccioso, 2 Fantasias, Preludes,
Studies, Album leaf, i "Duo concertant", "Perpetuum
mobile", 4 Sonatas, 3 books of Variations, "Allegro
brillant", 7 Preludes and Fugues. For orchestra,
chorus and for various combinations of instruments:
the oratorios "St. Paul" and "Elijah" and the fragment
of an oratio "Cristus", the concert-overtures "Midsummer
Night's Dream", "Hebrides", "Meeresstille und Gliickliche
Fahrt", "Schone Melusine", "Ruy Bias", "Trumpet
overture", the music to "Antigone", "Walpurgisnacht",
"Athalia", "Midsummer Night's Dream", "Oedipus auf
Ivolonos" ; 5 symphonies, i Violin concerto, i String
Octet, 2 String Quintets, 7 String Quartets; for the
Organ: 3 Preludes and Fugues, 6 Sonatas, 83 Songs
for one voice with pianoforte accompaniment, 13 Duets,
28 Quartets for mixed voices, 21 Quartets for male
voices, "Nachtgesang", "Stiftungsfeier", Concert Aria,
2 Festival Cantatas, 6 Anthems for 8 voices, 5 Psalms
for solos, chorus, and orchestra, 3 Psalms a capella,
FELIX MENDELSSOHN -BARTHOLDY. jg^
5 Motets, i Funeral Song", i Kyrie, i Lauda Sion",
i Hymn, "Tu es Petrus", 2 sacred songs, 2 sacred
choral numbers for male voices ; an operatic fragment
"Lorelei" the "Heimkehr aus der Fremde"; 2 concerted
pieces for the clarionet, Basset-horn, and piano, i song
without words for Violincello and piano; also the
arrangements of Bach's Chaconne in D minor, Handels
"Dettinger Tedeum" and "Acis and Galathea". Early
works: n Symphonies, 5 small and operas &c.
Scholarships in Berlin and London, were founded
to Mendelssohn's memory, and at Leipzig, a statue
was erected in 1892, immediately opposite the new
Gewandhaus, 45 years after his death.
Celebr. Pianists.
SOPHIE MENTER.
LTHOUGH Franz Liszt often declared that Sophie
Menter occupied "the highest position among con-
temporary pianistes", this opinion also being seconded
by a large majority of people, yet it is impossible and
scarcely fair to single out one among so many that
are equally first rate. For instance, in the present
work a great number of excellent musicians are
mentioned: Emma Brandes, Teresa Carenno, Annette
Essipoff, Arabella Goddard, Clotilde Kleeberg, Mary
Krebs, Anna Mehlig, Berthe Marx, Clara Schumann,
Frau Clauss-Szarvady &c. It is sufficient for us to
SOPHIE MENTER.
add, that no lover of music will hesitate to admire
Sophie Menter's masterly playing.
An interesting- anecdote is related of Mary Krebs.
When she went to Prague, Sophie Menter was also
there, and the attraction that the two pianistes excited,
naturally led to much party feeling, one faction re-
cognizing Mary Krebs as an ideal pianiste, the other
being all for Sophie Menter. Tales were carried
backwards and forwards. First, it was reported that
so and so had been said in Sophie Menter's disparage-
ment at the "Blauen Stern" where Mary Krebs was
lodging, and then in the "Schwarzen Ross" where
Sophie Menter was staying, complaints were made
that the scandal originated in that Hotel. Mary's
mother, who was with her daughter, wished to put an
end to all the gossip and ill-feeling, and called on
Sophie Menter, (who at first was much surprised at
receiving a visit from her), and said "Children, you
must bear with each other." The end of the matter
was, that they dined together, and in the afternoon
their various admirers were not a little surprised to
see the two supposed enemies walking arm in arm
on the "Graben"; Count Waldstein then inaugurated
the Festival hall of his palace with a large Soiree,
both the artistes appeared, and each of them was
greeted with hearty applause. They separated good
friends. If one or the other pianist should make more
impression by his or her performance, it will always
depend on the taste of the audience; any special
charm which an individual may possess, is never
without its influence, and Sophie Menter certainly
exercises a good deal of personal fascination.
She belongs to a very musical family; her father
was the celebrated violoncello player, Joseph Menter,
and her mother was also very musical; thus all their
children were able to be instructed in the elements
of music at home, needing no other teacher than their
13*
SOPHIE MENTER.
parents. Sophie was born at Munich on the 2g th July,
1 846, her mother was also her first instructess. Sigmund
Levi, (or Lebert as he was called) a clever piano
teacher and with Faisst, Speidel, Laiblin, Stark and
Brachmann the joint founder of the Stuttgart Conser-
vatoire became her instructors. When her father left
Stuttgart on account of his health, this instruction was
interrupted. She then continued her studies at home.
Later on she was taught by various unimportant
musicians but she was finally much influenced by
Biilow, Tausig and Liszt and learned to overcome
the greatest technical difficulties ; her style of playing
gained in grandeur, elegance, and evenness, she acquired
feeling and expression.
She made Tausig's acquaintance in Leipzig, on
one of her first concert-tours, when she appeared
several times at the Gewandhaus concerts. He offered
to arrange a concert for her in Berlin; she went
there with her mother, and became a pupil of Tausig's,
displaying great zeal and perseverance, practising ten
hours daily.
In 1868, she was appointed Court Pianist to the
Prince of Hohenzollern, a lover of art, at Lowenberg
(Silesia). In 1869, sne met Liszt in Vienna, and played
his concerto in E-flat at a concert. At a private
party she played his "Concert Pathetique" for two
pianos with him, and from that time he became .pas-
sionately devoted to her; he invited her to Pesth for
several weeks, and she often appeared in public with
him, he then accompanied her to Pressburg and again
to Vienna, and distinguished her in every possible way.
Their friendship was only severed by his death.
She has visited every country in Europe. In
Stockholm the King told her she did not play, she
made the piano sing. In Copenhagen, the students
unharnessed her horses and drew her carriage.
She was made honorary member of the London
SOPHIE MENTER.
Philharmonic Society. At Madrid, she became a favo-
rite of the queen's. In Paris, the journalists called
her "I'mcarnation de Liszt", and in Prague, she became
honorary professor of the Conservatoire. At Utrecht,
the university even conferred upon her the title of
"honorary student". In 1874, she was made pianiste
to the Austrian court, in 1883, after repeated visits to
St. Petersburg, she became Professor at the Conser-
vatoire there; but when Anton Rubinstein was again
appointed director of the institution she wrote to him :
"Honoured Herr Colleague! As our esteemed presi-
dent and also the directors, (nearly all of whom I
may call my friends) have relinquished their positions,
the Conservatoire seems very desolate to me", and
she also resigned.
The banker Stieglitz, was one of her special
friends and admirers in Vienna, and made her some
of the most magnificent presents.
When not playing on tours she resides at her
castle of Itter in Tyrol, which forms a charming re-
sidence.
LEOPOLD VON MEYER.
TEOPOLD von Meyer was an excellent pianist who
J_j carried on the good traditions of Czerny and
Fischhof, and who also made a reputation by his long
and numerous concert-tours.
He was born at Baden, near Vienna, on the
20 th December 1816, and received instruction from
the two musicians already mentioned. From the year
1835, thus from his nineteenth year, he travelled
as pianist through the western countries of Europe,
Russia, (remaining some time in Moscow) and Turkey.
LEOPOLD VON MEYER. 199
Then in 1845, he started for the gold-country of all
European pianists: America.
In 1847, ne returned to Europe, and took up his
residence in Vienna; but he died at Dresden on the
6 th March 1883.
He was not a composer.
L
KARL MIKULI.
KARL Mikuli, was born at Czernowitz, on the 20 th Oct.
1821. Although he was a clever pianist belonging
to Chopin's school, yet he was little heard of except
in Austria; he has made a good reputation for him-
self by his publication of Chopin's works, which are
full of many corrections and different readings,
arranged according to the notes made by the im-
mortal master himself.
He had originally commenced to study medicine
in Vienna, yet his love for music caused him to aban-
don his intention of becoming a physician, and in
1844, he went to Paris to begin a thorough course of
KARL MIKULI. 2OI
training under the guidance of Chopin and Weber.
Chopin's notes were originally in the copy of his
works used by Mikuli when teaching.
After the outbreak of the Paris Revolution in
February 1848, Mikuli returned home, and gave con-
certs in various towns in Austria. In 1858, he became
Director of the Galizian Musical Union at Lemberg,
with which a conservatoire is connected.
SEBASTIAN BACH MILLS.
THE fact that Mills' father was a musician is very
evident from the baptismal name he received,
and it bears witness to his father's special preference
for the great German composer. He was born on
the 13* March 1838, at Cirencester, received his first
musical tuition from his father, and then, in 1856,
went to the conservatoire at Leipzig, where for three
years Moscheles and Plaidy, were his teachers for
piano.
Immediately after completing his studies, he went
to the United States and Bergmann engaged him for
his first concert in New York ; he played Schumann's
piano concerto, and Liszt's Fantasie "A Midsummer
SEBASTIAN BACH MILLS.
203
Night's Dream" and with such brilliant success, that he
determined to remain in the city as pianist and teacher,
and in both capacities particularly in the latter, he
has gained great esteem. He has composed some
very pretty, although not important pianoforte pieces.
MORTIER DE FONTAINE.
HENRY Louis Stanislaus Mortier de Fontaine, born
on the i3 th May 1818, at Wisnowisce (Wolhynien)
was a fellow student of Chopin's; they were both
taught by Eisner at Warsaw. Yet it soon became
evident in their youth that Chopin was the greater
of the two, and possessed great talent for composition
which was not noticeable in Mortier's case. After the
completion of his studies, Fontaine played in public
in various western cities, meeting with great success,
he lived in St. Petersburg from 1853 to 1860, (accor-
ding to some authorities only five years) giving con-
certs and also teaching. He visited Paris and Munich,
and went several times to London where he soon
MORTIER DE FONTAINE. 205
gained the position of a favourite pianoforte player
and teacher.
His extraordinary execution was specially praised;
yet he was also capable of entering into the spirit
of the musical works he played, and did justice to
the composer's intentions; he and Clara Schumann
are said to have been the first to play in public
Beethoven's celebrated sonata op. 1 06 ; Fontaine also
performed the sonatas composed in the latter period
of the great master's life, with intelligence and tech-
nical proficiency. He died in London, May io th 1883.
TGNAZ MOSCHELES.
MOSCHELES artistic life can be divided into two
parts; his career as a pianist and as a teacher.
In both spheres and also as a composer, he has met
with great success, but his activity as a teacher seems
to have been of the longest duration, and he may be
reckoned among the most renowned, , sympathetic and
practical pianoforte teachers of modern music. The
universal opinion of musical historians is, that he was
the most important pianist after Hummel's death, and
before Chopin's appearance.
Ignaz Moscheles, was born at Prague, on the
30 th May 1794, in that city Dionysius Weber became
his piano-teacher. In his fourteenth year he appeared
in public as pianist playing one of his own compositions.
IGNAZ MOSCHELES.
207
He then went to Vienna to continue his studies under
the guidance of Salieri and Albrechtsberger, main-
taining- himself by giving lessons on the piano.
Moscheles has related the way in which, when he
was young he became acquainted with Beethoven's
works. "I was entrusted to Dyonisius Weber's gui-
dance and tuition; fearing that in my eagerness to
play new music, I might damage my systematical
pianoforte education, he forbade me the use of the
music lending library and in the plan which he
had lay before my parents for their inspection, he
made one particular condition, that I was to study
no other composer's works than those of Mozart,
Clementi, and Sebastian Bach. Yet I must confess
that in spite of this order I made use of the library,
my pocket-money enabling me to do so. At that
time I heard from some of my companions that a
young musician had appeared in Vienna, who wrote
the strangest things in the world, that no one could
either play or understand; this composer's name was
Beethoven. The next visit I paid to the library I
satified my curiosity with regard to this excentric
genius, and I found Beethoven's "Sonate pathetique".
That was in 1804. Not having sufficient money to
purchase it, I copied it in secret. The novelty of
his style was so fascinating, and I admired it so
enthusiastically, that I forgot what I was doing, and
spoke of my new treasure to my teacher. He reminded
me of his injunction and warned me not to play or
study such excentric works before I had completed
my musical education, and to take examples of a
more solid kind. However, paying no heed to his
wishes, I practised Beethoven's works in the order in
which they where published, and found in them such
consolation and pleasure which I have experienced
with no other music."
Some years later, Beethoven took him under his
20 g IGNAZ MOSCHELES
special patronage, and in 1814, gave him permission
to arrange the pianoforte edition of "Fidelio". A year
later, Moscheles wrote the Variations on the Alexander
March which gained great success. He became
popular in the best society in Vienna. At this time
also he wrote his "Polonaise" in E-flat and a sonata
as a pianoforte duet in the same key. In 1816, he
started on a concert-tour, visiting among other towns
Munich, Leipzig, Dresden &c., and attracting much
attention wherever he went by his great technical
proficiency, the brilliant and finished style of his
execution and his clever performance of the great
classical works. His improvisation was also much
admired.
He first visited Paris, in 1820, and there too he
created a great sensation, if journalists of that time
did not exaggerate. A year later he settled in London,
became a very popular teacher, and made a good
business with his pianoforte compositions, occasionally
visiting the continent, where he formed a friendship
with Spohr. In 1824, he stayed six weeks in Berlin,
visited Mendelssohn's family daily, and gave him
pianoforte lessons. This acquaintance resulted in
Mendelssohn's coming to London, through Moscheles'
invitation in 1829, and with his help the former met
with a brilliant reception from the musical world; in
later years Mendelssohn in his turn remembered
Moscheles, and invited him to Leipzig. They were
very intimate friends, and Mendelssohn was god-
father to one of Moscheles' children in 1833. Their
correspondence and some extracts from Moscheles'
life published by his wife prove that theirs was a
lasting friendship. In 1825, Moscheles was married
at Hamburg, and the fact that he re-visited Paris in
the same year, before again settling in England, is to
be gathered from Adam Liszt's letters. The latter
writing from Paris to Czerny on the 14 th August 1825,
IGNAZ MOSCHELES. 209
in anything but a cordial manner, says : "Moscheles
appeared during this time and many of the critics
took a great deal of trouble to place him first and
foremost, to the exclusion of all other talented men
but they failed in the attempt. Herr Moscheles as
well as Herr Hummel were obliged to seek an opening
by calling on the best musicians for help and gave
their concerts in insignificant concert-rooms, having
to content themselves with small profits. These
gentlemen believed they possess immense capabilities
and imagined they would carry off large sums of
money, but their expectations were not realized and
no one thinks any more about them."
Finally in 1846 Moscheles removed to Leipzig,
and became teacher at the Conservatoire and in this
position he worked with great activity until his death
on the io th March 1870. He had a great many very
good pupils.
Moscheles composed altogether 142 works, 7 piano-
forte Concertos, Sextets, Duets, Sonatas, Variations,
Rondos &c. Special works of his are the Concertos
in C- and in G- minor, the duet "Hommage a
Haendel", the variations on the Theme "Au clair de
la lune", the "Sonate melancholique" a Sonata for
piano and violincello, and his excellent Studies op. 70,
95 and 99.
Celebr. Pianists. 14
MOZART.
S a Biography of Mozart cannot for want of space
in this collection be very extensive, I propose
extracting" the principal points from Otto Jahn's great
work on this eminent musician. This book is written
in a truly thoughtful and reverential spirit, far ex-
celling all other works on the same subject, namely;
those of Schlichtegroll, Beyle, Niemetschek, Rochlitz,
Cramer, Suard, Guattani, Arnold, Hormayr, Lichtenthal,
Schlosser, Nissen, Fetis, Holmes, Goschler, Ulibischeff,
Nohl, Kochel, Wurzbach,Meinardus, Wilder, Nottebohm
&c. For although these authors were conscientious
in what they wrote, yet no other writer was so
MOZART. 2 1 1
competent to produce such an important work on
the subject as Otto Jahn, his study of the life and
works of the great composer being more profound
and comprehensive. Although it is true that the
speciality of this book is to speak of those eminent
musicians who distinguished themselves as pianists
and composers for the pianoforte, yet on account of
the great influence Mozart exercised for all time
on music, it will be impossible merely to take into
consideration his work as a pianist and composer for
the pianoforte. It will therefore be necessary to give
a sketch of his whole life from the first development
of his genius. To attempt to measure the growth of
such a genius would be just as superfluous as it would
be in the case of Schiller and Goethe. That Mozart
was a youthful prodigy in pianoforte playing, is as
well known as the fact that he reached the highest
pinnacle of fame by his operas: "The magic Flute",
"The marriage of Figaro" and "Don Juan." He always
maintained a high position as a pianist. When he
was twenty-one years of age, his mother wrote from
Mannheim to her husband as follows : "Wolfgang is
very much thought of everywhere; he plays quite
differently to what he did at Salzburg ; he has the
choice of so many pianos here and his performance
is quite matchless, nothing has been heard to equal
it; in fact every one that hears him, says, he is
without a rival. Although Beeke has been here and
Schubart also, yet Wolfgang is said to excel them
in beauty of expression and refinement; he causes
great astonishment by his improvising as also by
reading whatever is put before him." In a year's
time he wrote to his father himself from Mannheim
on the subject of pianoforte-playing : "I will willingly
give lessons as a favour; particulary if the pupil is
talented, and is anxious to learn. But to have to go
out and give a lesson at a certain hour, or to be
2 j 2 MOZART.
obliged to wait at home for a pupil, this I cannot do,
even if it should bring me in a considerable sum. I
cannot possibly do it, and therefore leave it to those
who do nothing but play the piano. I am a composer
and am born to be a conductor; God has so richly
endowed me with a gift for composition (I may say
this without boasting, as I feel it now more than
ever) that I ought not to put it on one side, and yet
this is sure to happen in constant teaching, which is
very wearisome work. I would rather if I may say
so, neglect piano playing than composition ; the piano
being only a secondary consideration with me, although
a very important one."
Still from all accounts of his life, it is admitted
that he still cultivated piano-playing, both from choice
and necessity. Wolfgang Amadeus Mozart was born
at Salzburg on the 2y th of January 1756. His father
Leopold Mozart was originally a lawyer, and musician
for his own pleasure, then he entered the service of
a canon, Count Thurn and Taxis, and became vio-
linist and vice-conductor in the private chapel of the
Prince Archbishop of Salzburg, he was an able com-
poser and wrote Masses, Concertos, Sonatas, Trios,
Marches, Dances, violin solos &c., and was also a
clever pianist and organist, but always laboured under
the disadvantage of having badly paid appointments.
His son and a daughter were the only two that
survived of a family of seven children, and he was there-
fore doubly anxious that the boy should advance much
further than he himself had ever done; so he turned
the child's attention in his earliest youth to music;
nor was this at all difficult, as Wolfgang's inclination
in that direction showed itself before even instruction
was thought of. When he was four years old he
could play the piano and also on a small violin. His
father often played Trios at home with MM. Schachtner
and Wenzl, one day he was unable to take part in
MOZART. 213
the performance for want of time, and little Wolfgang
begged to be allowed to take his place. His father
chided him for his boldness thinking it a piece of
childish nonsense ; Wolfgang's pride was hurt and
he forthwith began to cry, but as Schachtner inter-
ceded for him he was finally allowed to play. He
took the second violin, and played so remarkably
that the three men were thoroughly astonished.
Wolfgang thought the second violin was too easy,
and that he could take the first. He was able to do
this also with such success that he moved his father
to tears. The boy had a very sensitive ear for music,
which made him so nervous, that he almost fainted
at the sound of a trumpet. Father Scharl, professor
at the school at Salzburg used to speak of the boy's
piano playing at that time with great admiration:
"The octaves that he could not stretch with his little
hands, he would skip over with extraordinary rapidity
and accuracy." Even at that time the boy loved to
extemporise at the piano, and composed short pieces,
one of them being a concerto for piano which he
composed when he was five years old.
After Leopold Mozart had also given sufficient
instruction in piano playing to his little daughter
"Nannerl", he started on contert tours with the two
children; the first journey brought them to Munich,
where they played before the Elector, then went on
to Vienna, where Wolfgang created a great sensation
in the aristocratic world by his playing. On the
i3 th September 1762, Leopold Mozart was commanded
to bring his two children to Schonbrunn, where they
had to play before the Emperor and his children.
The Emperor was highly delighted with "the little
wizard" and made him play with one finger and also
with the key-board covered, rewarding him richly .
Even at that time, little Mozart showed remarkable
evidence of sensibility, which increased with years.
2I4 MOZART.
He was annoyed when he did not play before con-
noisseurs, and once when the Emperor and a number
of gentlemen of the Court stood round him, he looked
about him before beginning" to play and then asked
aloud: "Is Herr Wagenseil not here?" Wagenseil
ranked as the best pianoforte-player in Vienna. The
Emperor sent for him and when he drew near the
piano, Mozart made this remark to him: "I am going
to play a concerts of yours, you must turn over for
me." In 1763, a long series of tours was begun, to
Munich (Nymphenburg), Augsburg, Ludwigsburg,
Schwetzingen, Heidelberg,Mayence, Frankfort, Coblentz,
Cologne, Bonn, Aachen, Brussels, Paris, London, the
Hague, Lille, Ghent, Antwerp, then again to Paris,
Dijon, Lyons, Geneva, Lausanne, Berne, Zurich,
Winterthur, Schaffhausen, Biberach, Ulm, Giinzburg,
Dillingen, &c . The expedition was a complete
triumph, Wolfgang's playing made the deepest im-
pression on the very best connoisseurs, and the
throngs of people seeking admission to hear him were
so great, that three and four concerts were sometimes
given in one town. Goethe who was then seventeen
years old heard him in Frankfort . In Paris, the
well-known Baron von Grimm did a great deal to
bring the children into notice. Amongst others,
Wolfgang was introduced to Madame Pompadour;
she had him placed on a table before her, but when
he bent down to kiss her she turned away from him;
whereupon he said angrily: "Wo does this person
think she is, that she should refuse to kiss me, when
even the Empress has seen fit to embrace me !"
On the other hand the King's daughters were
very sympathetic towards him.
When he was in London, George III caused him
to perform pieces by Bach, Handel, Abel, Wagenseil
and other composers, reading everything at sight.
And it was here that Wolfgang gave wonderful
MOZART. 2 1 5
examples of his organ-playing, which was even
thought to excel his pianoforte performance. He had
only learnt to play the organ at Wasserburg when
on his travels with his parents, and when an accident
happened to their carriage they were detained for
one day. It was wonderful too to hear him accom-
panying French and Italian arias at sight and even
transposing some of them, and to the bass part of
one of Handel's Arias which he had never before
seen he at once improvised a most lovely melody.
Leopold Mozart writes thus from London: "It is more
than the imagination can conceive. What Wolfgang
knew when we left Salzburg is absolutely nothing
compared to what he knows now . . . My little girl is
one of the cleverest players in Europe, although she
is only twelve, and the great Wolfgang in his eighth
year has the knowledge of a man of forty. It can
only be believed, by those who both see and hear".
When he was in London, Wolfgang almost al-
ways played his own compositions, the first Symphony
in E-flat, then three other Symphonies in B-flat, E-flat
and D. His father had some of the boy's compo-
sitions printed in London, they were six sonatas for
piano, violin and flute. In 1765, he composed the
Aria for tenor, "Va dal furor portata". On his return
journey at the Hague, he wrote the Aria for Soprano,
"Conservati fedele", a Symphony in B-flat, six sonatas
for piano and violin for the Princess of Weilburg,
an orchestral piece with the following title, "Galimathias
musicum"; in Mechlin, he composed a Kyrie in four
parts for chorus with an accompaniement of stringed
instruments ; and at Munich while at the dinner-table
he wrote a piece of music of several bars length on
a theme which was sung to him by the Elector.
This entire journey, which was also undertaken
by Leopold Mozart's wife, lasted for three years, then
the family returned to Salzburg. As Leopold Mozart
2I 6 MOZART.
was still in the service of the Archbishop, the latter
must have been particularly indulgent as regards the
long leave of absence ; this is worth mentioning, as later
on the Prince changed his mode of conduct and was
particularly rough towards Wolfgang. He seems to
have had a certain satisfaction in the thought that the
little son of one of his musicians had caused such a
stir by his genius. He could not quite believe in the
great wonders the boy wrought in music, and we are
told that he had Wolfgang shut up far several days,
so that he might compose an oratorio without any
help. This the boy achieved to the Archbishop's satis-
faction. Jahn says, respecting the 208 pages of the
score of this oratorio, that, outwardly it bore unmista-
keable traces of work done by a boy, but that the
music itself contained nothing childish. "The whole
work is in the style of Italian Oratorio, the form being
handled with perfect certainty . . . There is hardly a
sign of inexperience throughout, everything is efficient;
it is apparent that the composer has made good use
of his experience."
The work was written in verse, which needed
deep religious feeling ; and this gives additional weight
to the fact that the boy of ten thoroughly entered into
the spirit of the words.
After Wolfgang returned home from the long
musical tour, he went on a visit to a monastery at
Seeon, "being on friendly terms with the monks there."
During dinner, the prelate was deploring the lack of
an offertory for the feast of St. Benedict. Wolfgang
got up from the table and went into the adjoining
room, where he at once wrote down on the window
ledge the offertory "Scande coeli limina", which opens
with a pleasing soprano solo, the flowing melody of
which is carried along with an accompaniment of
violins and is then followed by a vigorous chorus
with trumpets and drums.
MOZART. 2 1 7
In 1767 he also wrote a dramatic scena: "Apollo
et Hyacinthus", for a special occasion at the Salzburg-
University.
As a preparation for a musical tour to Vienna,
he composed in the same year four Concertos for
piano, in F, B flat, D and G ; this journey, undertaken
by the whole Mozart family, commenced on the n th
of September, but terminated very unfortunately.
Small-pox broke out in Vienna, the Princess Josepha
died of it, and consequently all court festivities
(including the musical performance already arranged)
had to be put off. Leopold Mozart fled with his
family to Olmiitz, but here Wolfgang became so ill
with the dreadful disease, that he was blind for nine
days. After his recovery they all returned to Salzburg,
and the journey to Vienna was again undertaken in
the following year, but this tour was also not a
favorable one. Since the death of her husband, Francis I.,
the Empress lost all interest in music ; the Emperor
Joseph was very parsimonious; Prince Kaunitz was
afraid to receive "Wolfgangerl" because he still bore
the marks of his recent illness. The Vienna public
had no taste for music in its noblest form, but only
cared for balls and buffoonery. All musicians of
consequence at that time were much against the
youthful prodigy, they spread about the report that
there was nothing in this great talent but tricks in
playing, and that Mozart's father was at the bottom
of it all. Leopold Mozart took the greatest trouble
to give fresh proofs of Wolfgang's genius, but was
not able to cope with the envious disparagement of
these professional musicians, especially as the Emperor
did not support him in the matter. At last, to avoid
the possibility of sacrificing any of his own money,
the Emperor proposed that Wolfgang should compose
an opera, to be performed under the direction of
Affligio, manager of a theatre. This man had formerly
2 1 8 MOZART.
led a life of swindling- and imposture, and had managed
to attain to the rank of lieutenant-colonel; in Vienna,
among* other exploits, he gave the following 1 proof of
his feeling for art. During one of the dog-fights (then
still in vogue in Vienna) he said to a friend pointing
to two famous "Ochsenfanger" : "I like those two
animals better than any of my best actors."
Finally this adventurer found his way to the
galleys as a convict.
It was with such a caracter as this that Mozart
and his son had to come in contact. Although
Wolfgang's first youthful opera "La finta semplice"
"was better than any of the thirty operas performed
in Vienna", yet Affligio put off the performance from
month to month, making all sorts of excuses in the
matter. The other composers were enraged to be
put on one side by a boy. Even Gluck himself,
perhaps unjustly, was said to have taken part in
these jealous intrigues. The Emperor continued to
interest himself in Mozart's work, but avoided interfering
with Affligio, on account of the free admission to the
theatre which was extended to the court, although
nothing was done in return towards the support of
the stage. At last driven to extremity by Leopold
Mozart, the impressario declared he intended giving
the opera, but he also intended it should prove an
entire failure. Wolfgang's father was obliged in
despair, to withdraw the opera after remaining nearly
a year in the city with his family and having had to
make many sacrifices.
The Italians at that time governed neariy the
whole musical world, and although Wolfgang himself
had not freed himself of the Italian fashion of
composing, yet in the main he was a German, his
power was making itself felt and for that reason not
allowed to come to the front.
These events in connection with Mozart's first
MOZART.
2I 9
opera were only the prelude to numerous obstacles
that were put in his way in Vienna during" nearly the
whole of his life. Still his life in that city was not
altogether without artistic results : Wolfgang's little
opera, "Bastien and Bastienne" was performed at a
theatre belonging to a Dr. Messmer, supposed to be
the well-known magnetizer; then on the y th of
December 1768, the court was present at a perfor-
mance of Mozart's Offertory "Veni sancte spiritus"
in C ; this took place under the patronage of the Jesuit,
Father Parhammer at the Waisenhaus Church in
the Rennweg.
After Mozart's return home, the Archbishop had
his opera "La finta" performed at a theatre in Salzburg.
He spent the year 1767, in Salzburg, engaged in his
own studies and in composing ; then he made a
tour in Italy, where he distinguished himself as
pianist, organist and as composer; first at Innsbruck,
then at Roveredo, Verona, Mantua; and here the
Philharmonic Society gave a concert, at which
musicians described Mozart as a "masterpiece of nature"
which certainly implied that "the most experienced
musicians were put to shame."
In Milan, the Governor General Count v. Firmian
took him unders his protection, let him compose music
to Metastasio's words and commissioned him to write
an opera (Mitridate, Re di Ponto,). He then played
at concerts in Bologna, Florence (where Nardini
accompanied him on the violin) ; at Rome he played
before several aristocratic families ; at Naples a very
crowded public concert took place, and it was here
that as the audience fancied Mozart's great execution
of the left hand was due to a 'magic' ring he wore
on that hand, he drew off the ring and played on
with the same brilliancy: this occasioned a storm
of applause.
During a second visit to Bologna, the Accademia
220 MOZART.
filarmonica admitted Mozart to the class of "compositor!",
although he had not attained the required age, of
twenty years.
Then followed a great triumph, the performance
of "Mitridate" at Milan. Here too intrigues were set
on foot to prevent the performance of the opera, and
as this was not possible, reports were circulated
beforehand, proclaiming the work to be "a miserable
and youthful production" (as Leopold Mozart relates
in a letter) ; but the success was a grand one, the
most important musicians were very enthusiastic about
it and the opera was repeated over twenty times.
The public bestowed the honourable title of "Cavaliere
filarmonico" on the composer; this was confirmed
further by the Accademia filarmonica at Verona,
Mozart being made one of the members.
Mozart returned again to Salzburg on 28 th March
1771, after having received a commission to write a
second opera for the theatre at Milan, and also making
a pleasant stay at Turin, as well as at Venice and
Padua. Here he was commissioned by the Empress
Maria Theresia to write a dramatic Serenade for the
occasion of the marriage of the Archduke Ferdinand
to the Princess of Modena, Maria Ricciarda Beatrice;
this serenade was to be performed at Milan. Hasse
had also to compose something for the same occasion,
the two composers therefore met at Milan. Mozart's
"Ascanio in Alba" quite put Hasse's "Ruggiero" in
the shade, so much so, that Hasse declared: "no one
will ever be remembered but this youth", and Leopold
Mozart wrote home as follows: "I am sorry that
Wolfgang's serenade has so ruined Hasse's opera, to
such an extent that it is impossible to describe."
When he was in Milan, Wolfgang agreed to
write an opera for the theatre S. Benedetto in Venice,
to be ready for the carnival in 1773, but he did not
carry out his agreement. While travelling home
MOZART. 221
with his father, the Archbishop's death took place
and "to the general surprise and sorrow of the people",
the very unpopular Hieronymus Count Colloredo was
appointed his successor.
Mozart was barely seventeen at that time and
although his great works, entirely shorn of the
customary Italian style, belong to a later period of
his life, yet his two journeys to Italy and all that
took place during the time, must be considered as of
the greatest importance. He then became filled with
the self -consciousness and the knowledge of his task
in life, to devote himself to the compostition of great
works, namely to writing operas. If the musical value
of these youthful operas bear no comparison with
that of his later works, yet these compositions are a
significant transition as regards his development, and
show the position accorded then to operatic works.
The operas of Mozart's youth are: "Mitridate", "II
Sogno di Scipione" (a work composed for the installation
of the Archbishop Hieronymus), "Lucio Silla" (for
Milan), "La finta giardiniera", "Ascanio in Alba"
(festival opera for Milan), "II Re pastore". Never-
theless Otto Jahn in his biography of Mozart makes
the following remarks with regard to certain elements
in "Ascanio" : " In this work so much freedom and
precision are apparent, everything is kept so well
subdued, in order to get the proper effect, that it was
probably here that Hasse recognised the lion by
his claws."
The choice of Count Colloredo to be Archbishop
was of the greatest importanca in Mozart's life; this
this proud and arrogant nobleman, who thought nothing
of the dignity of art and cultivation of the mind,
behaved in such a manner to the two Mozarts and
particularly to Wolfgang, that the latter severed his
connection with him forthwith and took up an
independent position. Mozart had nevertheless striven
222 MOZART.
to obtain a position in the service of the new Arch-
bishop and had received that of "conductor", at 150
Gulden a year; but his state of dependence became
unbearable, and notwithstanding all the efforts of a
self-denying- father like Leopold Mozart, and the fact
that Wolfgang was far above the men of his day,
yet is was impossible for the latter ever to obtain a
post he had ardently longed for, namely that of
conductor of an orchestra. The principal obstacles
to this were, that the Emperor Joseph although he
was humane and just, yet lacked the ideal feeling
for art and was not open-handed; then Archbishop
Hieronymus was tyrannical and barbarous like the
feudal nobles of the middle ages; the two Electors
Maximilian and Karl Theodor could not understand
Mozart's genius and considered that music was better
represented at their courts by the musicians they
already had ; Mozart although not of striking personal
appearance, was filled with a noble pride for his art
and an insatiable desire for liberty, he never cringed
to any one. The people were then sadly in need of
cultivation. Mozart's genius was wrecked, like that
of young Schiller, by trifling social circumstances,
although he was always of great note among people
of culture and high standing.
From 1772, his activity as a composer increased
more and more, he wrote symphonies, quartets, concertos
for wind instruments, but his principal compositions
at that time were sacred works. As regards the latter,
Otto Jahn says: "The inducement Mozart had to write
sacred music and instrumental music almost exclusively,
was due to circumstances at Salzburg, but he certainly
felt the great need to turn his mind to all forms of
composition." The same biographer also mentions that
in 1773, when the Archbishop was staying in Vienna,
Leopold Mozart made use of the opportunity to go
with his son to that city, to try and obtain an
MOZART. 223
appointment either at Vienna or at some other Court
The father and son had an audience of the Empress,
who was very gracious to them, but that was all. At
the end of their stay at Vienna, the Emperor came
back from Poland unexpectedly; it seems they had
never even spoken to him.
Then the performances of the new opera "La finta
giardiniera", and of some sacred works in Munich in
1775, brought Mozart nothing but the commendation of
the Court, the composer not altogether appreciating this.
During Mozart's stay in Munich he played several times
in public. Schubart, who was subsequently imprisoned
in the "Hohenasperg" writes as follows: "Last winter
in Munich I heard two of the greatest pianists, Mozart
and v. Beecke ; my host, Herr Albert, who is a great
enthusiast for everything beautiful, possesses an excel-
lent pianoforte, so I heard there two great performers.
Mozart plays with great power, and reads whatever
is put before him; but that is all that can be said;
Beecke is far superior. His execution is wonderfully
liquid, his playing full of grace and his taste is
thoroughly original, no one can compete with him."
On the other hand this opinion is refuted by the
universal praise bestowed on Mozart's playing.
However Mozart was not able to get a commission
from the Elector to write an opera. On his return
to Salzburg in the same year, he wrote five violin
concertos, hoping to get employment more easily as
a violin-player. In the following year he also composed
a great deal for the piano, for instance, the concerto
in C; most of the compositions were "for pupils and
amateurs", and among other works, he wrote the
Concerto for three pianos and a number of Sonatas,
for some of which he received no remuneration. After
1773, he began to compose quartets and again in 1784,
when he was in Vienna.
He took part in the court concerts in Salzburg
224 MOZART.
as violinist, and although violin playing was a burden
to him, yet at the instigation of his father, he studied
the instrument with a view to becoming a solo player.
In 1777, his father wrote thus to him: "You do
not know how well you play the violin ; if yon would
only think a great deal of yourself and play boldly
with intelligence and fire, you might be the greatest
violinist in Europe." Justice was done him at Salzburg
by Brunetti, the greatest violin -player of that time
and a favourite of the Archbishop's.
In 1777, Mozart writes thus rather ironically from
Munich: "the audience was lost in wonder, I played
as if I had been the greatest violinist in Europe"; and
then again from Augsburg: "I composed a Symphony
and played Wanhall's violin concerto in B flat receiving
universal applause. In the evening after supper I
played the Strassburg concerto. It was a great
success, and everybody praised my beautiful pure
tone." Later on to the great grief of his father, he
gave up violin-playing and when he took part in
quartets in Vienna, he chose the viola in preference.
He only kept up his piano playing at home or among
a small circle of friends, as the piano was not
considered worthy of notice at Court; and at that
time he had very little inducement to busy himself with
piano compositions. He therefore made preparations
to leave Salzburg and commence another tour, taking
many new works for piano with him and often playing
during his journey, also in Paris. His father was very
loth to part with him, being afraid he would never
manage to get on alone, quite forgetting that he was
very much to blame for always exercising control
over his son, expecting entire obedience from him.
Therefore as a precaution, his mother accompanied
Wolfgang on this journey. It entirely broke up the
household, and was a great sacrifice on Leopold
Mozart's part, who only acted thus for his son's good.
MOZART. 225
At that time Wolfgang was never able to make a
sufficient living for himself and his mother, and money
had to be sent from time to time by his father, who
fell into debt in consequence. In September 1777,
at the beginning of this lengthened tour, the first
halt was made at Munich. Mozart here applied to
the Prince Bishop of Chiemsee, Count Zeil, to intercede
for him at Court. After a few days, the Bishop said
to him :
I do not think anything can be done at Court. At
the dinner table at Nymphenburg, I had some private
conversation with the Elector. He said: the time has
not come yet. And his wife also had promised to do
a great deal, but she would not give the subject any
attention/' Mozart then lay in wait for the Elector
as he was returning from a hunting expedition; the
account that Wolfgang gave of this meeting in a letter
to his father, is so characteristic, that it is well worth
recording: 'As the Elector came near me, I said:
,,Will your Highness allow me to devote myself to
your service'. 'What, entirely, away from Salzburg?'
'Yes, your Highness, quite away from there/ 'What
is the reason of this?'
'Oh, your Highness, I begged to be allowed to
travel, this was at first refused to me, but I was forced
to take this step; although I had long wished to leave,
it is very certain that Salzburg is no place for me!
'Good gracious, and such a young man! But your
father is still in Salzburg?" "Yes he is, your Highness,
and is your humble servant. I have already been three
times to Italy, I have written three operas, I am a
member of the Academy at Bologna, and had to pass
such an examination; so many others laboured hard
for four and five hours, and I accomplished the work
in one hour; that is a proof that I can be of use at
any Court. But my sole wish your Highness, is to be
with you, who are such a great . . . .", my dear child,
Celebr. Pianists. jr
22 5 MOZART.
there is no vacancy now. I am sorry for it, if only
there was something for you."
"lean assure your Highness, that I would do honour
to Munich . . . ." 'That is of no use, there is no
vacancy". This he said as he moved away, and I
took my leave."
Mozarts's efforts to make a better income were
unavailing. Friends in Munich were full of empty
promises. Nothing came of a fresh journey to Italy.
The mother and son went from Munich to Augsburg,
Wolfgang created a great sensation by his organ and
piano playing, but the worthy inhabitants of the town
would sacrifice nothing for an "Akademie" there; when
Mozart not only took part in the orchestra in one of
his symphonies, but also played some of his piano
pieces, he only received two ducats.
Leopold Mozart on hearing of this, was in a fury
at such a beggarly proceeding. But at a public
concert 73^2 Gulden was made, all clear gain.
Then Mozart went to Mannheim, where the Elector,
Karl Theodor, was surrounded with musicians of the
first order, the orchestra consisting of first-rate players,
who soon made friends with Mozart.
There was an opera there, in which Italian music
was performed by German singers. Mozart surpassed all
expectation by his piano playing, although he could
not secure a position under the Elector. When the
latter moved the Court from Mannheim to Munich,
after the death of the Elector Max, and the end of
the Bavarian war, even then Mozart was not able to
get any appointment. He entered into negociations
with Wendling (flute -player) Ramm, (oboist) andRitter,
(bassoon-player) to undertake a concert tour to Paris,
Leopold Mozart was strongly against this project,
although in the end he gave way. Suddenly Wolfgang
himself showed signs of hesitation ; he had become very
much attached to a singer in Mannheim, Aloysia Weber,
MOZART. 227
and he had not strength of mind enough to separate
himself from her. He concealed all this from his father,
and even his mother, who was with him at the time, was
not aware for a long time of the real reason of his
change of plans. In a letter to his father at that time,
he shows how difficult it was for him to decide anything
definite; he begged Wendling, if he should follow him
to Paris, "to try and arrange something of importance
for him, especially if it concerned an opera. I think
a great deal about writing operas, French in preference
to German, but Italian rather than French or German".
In the same letter to his father he goes on to say
that he would be glad to give lessons "for nothing".
This proposition appeared once before in the earlier
part of the present biographical sketch. Then came
Leopold Mozart's answer: "So you want to give lessons
for nothing ! Do you wish your old father to die of
want? Is it too much trouble for a young man like
you to work for your living? I suppose you think it
more suitable for an old man of 5 8 like your father, to
try and scrape together a miserable pittance to support
himself and his daughter, and instead of paying his
debts, to send even a small sum towards your main-
tenance, you, in the meantime amuse yourself by giving
a girl lessons for nothing. My son, think this well
over and be reasonable, you will see you are more
cruel to me than the Prince."
Wolfgang wrote a reassuring letter in reply,
saying the road to Paris was not closed to him &c.,
but he continued all the same to receive pecuniary
help from his father, he also went on giving singing
lessons to Aloysia Weber, who later on proved faithless
to him. He instructed her in all his Arias; he planned
a tour in Italy with the Weber family, and asked his
father to facilitate matters for them. The latter wrote
indignantly to him, showing him the folly of such an
undertaking, how impossible it would be to introduce
15*
228 MOZART.
a girl as a prima- donna when she had never appeared
on any stage, also how unfeasible a concert tour was
at a time when the country was threatened with war;
then a roving life with a stranger and his daughters
(Aloysia and Constance) would ruin his career and
disgrace his family. "It is quite in your own hands,
whether you wish to be an ordinary musician, soon
forgotten by the world, or to become celebrated for
all time : whether you prefer a life of poverty with a
woman of no character, and a pack of starving children,
or to end your days after a happy and well -spent life,
respected and honoured by all, your name made
immortal all over the world Away with you
to Paris and quickly too ! Place yourself among those
that are really great aut Caesar aut nihil!"
After a severe struggle Mozart complied with his
father's wishes : "My motto as a child was, first God
and then my father ; and I will keep to this even now."
But before he left with his mother, he did a great
deal to introduce Aloysia Weber in public, so much
so that she managed to get on without him, married
some one else, and became known as an opera singer.
When they arrived in Paris, Mozart and his mother
took very small poor rooms, which would not even
contain a piano ; the poor woman suffered a good deal,
her son going into society, she was left very much
alone and often denied herself the necessities of life.
Mozart made a number of agreeable friends, composed
several things, played now and then at small parties,
and gave a few lessons for which he was badly
paid, but was not entirely successful. His mother then
fell ill, and after lingering several weeks, was released
by death from a sad life of privation, far from her
husband and daughter. After this heavy blow, Wolf-
gang could not content himself in Paris he missed
his mother's tender care and resolved to go elsewhere;
he was very anxious to get employment with the
MOZART. 22Q
Elector Karl Theodor, but did not succeed in doing so.
His father now worked untiringly for him in Salzburg,
particularly as the organist Adlgasser and the conductor
Lolli, both died about that time. Although Wolfgang
wrote to his great friend Bullinger: "You know how
I hate Salzburg, not only on account of the injustice
done to my dear father and to me, which would be
quite sufficient to make me forget the town and root
it out of my_inind", yet he expressed himself willing
to accept an appointment from the Archbishop.
He left Paris in 1778, on the 26 th of September.
Otto Jahn, speaking of this episode, says : "Although
Mozart's success in Paris was not great, and although
he may not have accomplished all he wished, yet it was
a distinct gain to his musical career; he freed himself
from the Italian school, after a thorough experience of
it, recognising and becoming instilled with the reality
of the element of dramatic form."
On his protracted journey home, he gave three
concerts at Strasburg without orchestra, (as he feared
the expense), these concerts were so badly attended
that altogether he only made 7 Louisd'or. He wrote
as follows ; "at any rate I took trouble about the concerts
and they added to my reputation." When he reached
Mannheim, he was again full of hope, and wavered
in his determination to go to Salzburg; his father
remonstrated seriously with him, and wrote to say how
necessary it was for him to come at once, "surely
you could not be so cruel and wicked as to make a
laughing-stock of me, who am so constantly anxious
about your welfare."
At last Wolfgang set out on his journey after
months of hesitation ; he passed through Munich, where
he came across the beloved Aloysia Weber, etablished
as an opera singer and completely changed. She
appeared not to know the man about whom she had
formerly wept so much. Therefore Mozart quickly
MOZART.
sat down to the piano, and sang loudly: "I am glad
to be rid of the girl that does not care for me"; this
story is told by Nissen, Mozart's first biographer.
Mozart returned to Salzburg against his will, and the
Archbishop grudgingly gave him an appointment as
"conductor and organist, at the Court and the cathedral".
The father and son together were to receive a thousand
Gulden a year, but afterwards Wolfgang's salary was
four hundred Gulden instead of five hundred.
In 1780, he received a commission from Munich
to write a great opera for the carnival, and Mozart,
always hoping to be released from the slavery in
Salzburg, composed "Idomeneo", partly in Salzburg,
and partly when away on leave in Munich. After
one of the rehearsals, the Elector spoke of the music
as magnificent. The performance was a brilliant one,
but the pay was very scanty, and there was no talk
of an appointment. Before Mozart could return to Salz-
burg, he received notice from Archbishop Hieronymus
to go to Vienna. The latter wished to make a sensation
with his orchestra; it was the custom for the rich to
have musicians to perform not only in their private
houses but also to play at soirees; on these occasions
the musicians were obliged to stand behind the door
like servants, until their turn came to play. In
fact they were treated the same as servants, having
to take their meals with them. Mozart mentions who
his companious were at table, namely, the cooks, the
confectioners, valets, the quarter -master, also the two
musicians Brunetti and Ceccarelli, the valets taking
precedence of these three.
To the annoyance of his father, Mozart was
indignant at such treatment, and when he was present
at any performances in strange houses, he would not
let the lacqueys show him to his place, but went
straight into the music -room. If he ever wished to
play in public, the Archbishop refused his permission.
MOZART. 231
The latter was universally disliked by the nobility
and the Emperor did not care for his society.
Suddenly he gave orders through Count Arco,
chief manager of the kitchen, that his musicians were
to return to Salzburg. Mozart would not submit to
this, as he wished to be properly recognised in
Vienna as composer and pianist. The Archbishop
hated him on account of his self-will, and often called
him a good-for-nothing fellow; that he might go about
his business, and that there were hundreds who would
fill his place much better. As Mozart did not leave
with the other musicians, he was called before the
Archbishop who fell to abusing him: "When do you
intend to go, fellow?" Mozart tried to excuse himself.
But the Archbishop refused to let him speak and
continued to abuse him ; he considered him the most
careless fellow he had ever known, no one could be
such a bad servant, he advised him to leave at once
or he would write and withdraw his salary. Mozart
writing about this interview says : "He called me a
scamp, a mean fellow .... Finally I could bear it
no longer and said to him : "Is your Grace not satisfied
with me?"
"How dare you try to threaten me ! You villain !
There is the door and remember, I will have nothing
more to do with such a miserable fellow." In another
letter to his father, he said; "I did not know I was a
valet, and so I came to grief. I ought to have frittered
away several hours every morning in the ante-room;
I was often told I ought to put in an appearance,
but I never could remember my duties, and only
obeyed the summons from the Archbishop whenever
he required my presence."
He did all in his power to impress upon his
father, who tried to dissuade him, that he must have
his liberty; he was full of hope and could not be
moved from his determination, not even when Leopold
232 MOZART.
Mozart explained that for the sake of his honour he
must remain with the Archbishop. He heard that
the Archbishop was thinking of going away, so he went
to try and see him to ask for his formal dismissal.
Count Arco refused to let him see the Archbishop,
called him "a churl", "a fellow", &c. and had him
kicked out at the door. This put an end to the
connection, and notwithstanding all his father's protests,
Mozart took up an independent position in Vienna.
The beginning was poor. He soon got one pupil,
Countess Rumbeck, (who later on became a very
talented pianiste) ; he w r ould not teach for less than
6 ducats for twelve lessons. For six new piano Sonatas
of Mozart's, a few well-known ladies of rank with
Countess Thun at their head, were only able to get
together seventeen subscribers. He might have had
better prospects as a composer of operas, as the
Emperor Joseph had instituted a German opera as
well as a German theatre, but preference was
given to Salieri ; so instead of entrusting Mozart with
the composition of a German opera, he gave the
commission to the Italian, who produced a work of
great mediocrity, the "Rauchfangkehrer". Mozart wrote
thus about the matter, "There is no one but Salieri for
the Emperor." He then composed "Belmonte and
Constanze" and was in hopes that this opera would
be performed on the occasion of a visit of Prince Paul
and his wife, but Gluck's "Iphigenia" in German had
to be given instead, also "Alceste" by German singers
in Italian. When a music master was being thought
of for the Princess Elisabeth, bride of the Archduke
Franz, the Emperor's brother, Archduke Max, proposed
Mozart's name, but the Emperor decided in favour of
Salieri. He was also pleased to arrange a piano-playing
competition between Clementi and Mozart. Clementi
was enchanted with Mozart's playing, but the latter in
one of his letters described him as a "charlatan" and as
MOZART.
233
a purely mechanical player "like all Italians." Clementi
said about himself, that it was only later on that he
acquired a broader and smoother style of playing.
It was necessary at that time, to make use of very
paltry means to get into favour with those in power,
and Mozart took infinite pains to win the good-will of
Strack, the imperial valet, even going so far as to
compose a "Nachtmusik" for his fete-day. When his
father wrote to tell him of the report in Salzburg, that
the Emperor intended giving him an appointment, he
wrote back in answer : "Up to the present I have heard
nothing about it." He then went on to say that the
valet "Herr von Strack" had spoken favorably of him
to the Emperor, from motives of his own. "If things
have gone so far without my assistance, all may end
well. If I should move in the matter, my salary would
at once be lowered. Besides the Emperor is mean.
If he needs my services, he shall pay for them, for
the honour alone is not sufficient for me."
Strack was the animating spirit as regards the
Emperor's chamber music, he took charge of the scores,
played the violincello himself, and gave precedence to
bad compositions, Haydn, Mozart, Pleyel, Kozeluch and
others of note were excluded. Joseph II, considered
that onlyHasse andPiccini moved in the right direction.
Even Salieri himself dared not oppose the valet, "the
Emperor's shadow", but rather sought his favour, so as
to prevent the success of a dreaded rival like Mozart.
The latter supported himself by his compositions and
by teaching; by degress he got three ladies of rank
as pupils, and at last after having successfully crushed
all the intrigues that were on foot against him, his
opera ,,Belmonte and Constanze" was performed for
the first time, by command of the Emperor at the
'Burgtheater' on July i6 th 1782; the theatre was
crowded and the applause extraordinary, the opera
was performed sixteen times in the course of a few
234 MOZART.
months, but the Emperor's judgment was not very
favorable : "It is too beautiful for our ears and there
are too many notes in it, dear Mozart."
The great vexation caused him by the want
of appreciation, is shewn by what he wrote to his
father, on the iy th August 1782, four weeks after
his brilliant success. "The Vienna people (among
whom the Emperor was especially meant) must not
imagine that I was sent into the world alone on their
account. There is no monarch in the world I esteem
as highly as the Emperor, but I will beg for no
situation. I believe I could do honour to any Court.
But if Germany, my beloved Fatherland, of which as
you know I am very proud, will not have me, then,
in God's name, France or England must become the
richer for an able German, and that to the shame ot
the German nation! You know, that in all Arts it is
just the Germans who excell. But where do they
find good fortune? Where attain celebrity? Not in
Germany certainly! Even Gluck Is it Germany that
has made a great man of him? Unfortunately, No.
Countess Thun, Count Zichy, Baron v. Swieten, even
Prince Kaunitz are discontented at the Emperor's
neglect of people of talent, allowing them to leave
the country. The Prince lately told the Archduke
Maximilian, when speaking of me, that such people
appear only once in a hundred years in the world,
and they should not be driven out of Germany,
especially when we are so fortunate as to have them
in the capital. You cannot think how kind and
courteously Prince Kaunitz behaved towards me
when I visited him. He even said: 'I am much
obliged to you, my dear Mozart, for the trouble you
have taken to pay me this visit', &c. You can
scarcely imagine, what very great pains the Countess
Thun, Baron von Swieten, and other high persons
have been at, to keep me here; but I cannot and
MOZART. 235
really will not wait so long for Charity; I find also
that I am not dependent on favour (even though it
be the Emperor's)."
And yet it all came about quite differently to
what Mozart in his highmindedness anticipated.
During the following year, there were perfor-
mances of the opera at Leipzig, Berlin, Salzburg,
Prague, Mannheim, Cassel, Coblenz, Baden &c., but
it seems that Mozart never received the smallest
remuneration afterwards. A pianoforte score of the
work was published at Augsburg without his consent,
and he received no compensation for it.
Mozart was no business man, and he always took
the most favorable view of people and of everything
in general. It is not certain, in how far he was
concerned as regards the removal of Frau Weber
and her daughters from Mannheim to Vienna, but
Mozart took up his abode with them, and finally,
without much emotion, asked another of the daughters
to be his wife. This time he chose Constance, not-
withstanding his bad experience with Aloysia. The
guardian of the daughters demanded a written promise
from Mozart, the purport being as follows : that he was
to marry Constance within three years' time, and if
this did not take place, he was to pay her a yearly
sum of 300 Gulden. But it is said that Constance
tore up this document, because she felt she could
trust Mozart without a written promise, yet he felt
bound in honour to keep to his word, as he had got
into such intimacy with the Weber family, specially
with Constance. He never denied that Frau Weber
was a very common person. When his father
represented to him that she drank, he answered that
it might be possible, but he had never seen her the
worse for drink. He clung persistently to Constance,
although during his engagement to her, his eyes ought
to have been opened. In letters that passed between
236 MOZART.
them, she repeatedly told him "she would have nothing
more to do with him/' As she frequently had quarrelsome
scenes with her worthless mother, Mozart arranged
for her to live for a lengthened period with the pianiste,
Baroness Waldstatter ; from her he learnt that Con-
stance led a frivolous life. He reproached her in one
of his letters, saying he considered she was too much
absorbed in pleasure, and behaved altogether in a
manner unworthy of her sex. All the same he married
her ennobling her thereby before his father could
give his consent.
This marriage does not seem to have been a
happy one. It is well known, that violent quarrels
frequently took place between them, Constance
was a constant invalid, and lived for several months
every year at Baden, away from her husband. Once
she remained for a long time with some one called
Flecksieder, "who did not know Mozart personally, but
was charmed with his music." She was ordered a
particular kind of bath for a lameness in the foot,
and this honest creature offered to procure them for
her in his house as long as they would be required.
At the end of this cure, "he refused any payment for
lodging and expenses."
Then Mozart was severely criticized for his mode
of life in Vienna, especially at the time when his
wife was absent in Baden, when on account of the
"Zauberflote", he came into contact with the notorious
Schikaneder, who led him into a life of dissipation.
The pianist Hummel, who lived with Mozart as
a boy, and was his pupil for two years, declared in
1831, that it was untrue that Mozart had given way
to bad habits, excepting on the few occasions that
he followed Schikaneder's example. Nevertheless in
Mozart's day, manners and customs were not strict
in Vienna.
The young composer had a number of friends and
MOZART. 237
admirers, such as Prince Kaunitz, Baron van Swieten,
Prince Lichnowsky, Counts Zichy, Esterhazy, Hatz-
feld &c., they were all useful to him after his foolish
marriage, but he was not happy and contented in
Vienna, and often made plans to leave the city; once
he thought of going to Paris, and then again he spoke
of making a tour through Germany, and also of going
to London; on this journey Constance was to accompany
him and he proposed to his long-suffering father (who
was heavily in debt on his son's account) that he
should take charge of the children and servants in
the meantime. But Leopold Mozart forcibly declined
to do this. The son certainly possessed no firmness
of character.
In 1788, Joseph II at last appointed Mozart as
one of his musicians with a salary of 800 Gulden.
This was never raised, not even under the following
circumstances. When Mozart was invited to come to
Berlin by the King Friedrich Wilhelm II and to take
the post of conductor with a salary of 3000 Thalers,
the Emperor said to him: "How is this, Mozart, are
you going to leave me?"
The composer was touched, and replied : "Your
Majesty, I will remain." Whereupon a friend asked
him if he had not begged the Emperor to give him
a better appointment; he said angrily: "How the devil
could I approach the subject at such a moment!"
The Emperor Joseph died in 1790, without having
advanced Mozart; he made an effort with his successor,
Leopold II, to get a position as second conductor with
Salieri, but it was unavailing. He then applied to
the Town Council in Vienna, who made him assistant
to the conductor Hofmann at St. Stephens Cathedral, but
this brought him in nothing, as Hofmann survived him.
In May 1790, he only had two pupils who paid for
their lessons, for notwithstanding his being such a
virtuoso on the piano, the reason why he was not
2jg MOZART.
much sought after as a teacher, was greatly owing
to the entire absence of the music -teaching element
in his nature. He only took pleasure in teaching if
he liked his pupil, as in the case of Barbara Ployer,
for whom he composed the E flat and G major con-
certos, the celebrated Dr. Joseph Frank, Freystadter,
Hummel and others. After his marriage he often
played succesfully at concerts in Vienna; on the other
hand, a scheme he undertook with Phil. Jac. Martin,
to give orchestral concerts in the "Augarten", did not
prosper at all, as only one concert was given.
He had regular musical performances at his own
house every Sunday, many amateurs as well as his
friends being present on these occasions. Some-
times he received rich rewards, for instance, the
King of Prussia sent him a gold box containing
100 Friedrichsd'or, for three of his Quartets, and the
publisher Artaria forwarded him 100 Ducats for the
Quartets, dedicated to Jos. Haydn. The publisher
Hoifmeister paid him well for the piano Quartets in
G minor and Eflat, but then he cancelled the contract
because the public showed but little interest in them.
He said: "If you do not write in a more popular vein,
I cannot afford to publish anything more for you."
Mozart answered: "Very well, then I shall not earn
any more money and must starve, the devil take it all!"
Another publisher, well known at the time, Hummel
by name, sent several of Mozart's works back to him
as useless for publication. For each of the operas
named, "Belmonte und Constanze", "Cosi fan tutte",
"Hochzeit des Figaro", he received 100 ducats, for
"Don Giovanni" 225 Gulden; for "Clemenzo di Tito"
he got 100 ducats from the Bohemian States. Rochlitz
says, that Schikaneder deceived Mozart about the
"Zauberflote", but Seyfried maintains he paid Mozart
1 60 ducats, the clear profit of the sale of the score
to be left to Mozart's widow. In many cases Mozart
MOZART. 239
received little for his compositions, either on account
of his generosity, or owing to the prevailing abuses
of his time. From the time he began housekeeping he
was constantly in money difficulties, his wife's extra-
vagance being frequently the cause, and he was exposed
to the most painful humiliations from inconsiderate
creditors. In such difficulties, a noble-minded woman
would have been a great support and would willingly
have helped to bear the burden, but from all accounts,
Constance was indifferent to all this trouble, and after
Mozart's death, her second husband, State Councillor
Nissen, who knew her before Mozart died, told her
coolly she had never loved him, although later on
they both took advantage of his great renown.
Mozart became a Freemason his "Zauberflote" is
an act of homage to freemasonery for he was often
obliged to turn to the Freemasons for help, especially
to one, a merchant called Puchberg. Necessaries were
often wanting, for instance, in winter they were some-
times in need of fuel for the fire ; notwithstanding this,
arrangements had to be made for Constance to pay
her usual visits to the country. It has been proved
that Mozart was very sociable and made many sacrifices
for his wife's sake, he loved dancing, and used to go to
masked balls &c., but how was he able to forego all the
round of pleasures then so much in vogue in Vienna ?
It was not from inclination, but absolute need
that deprived him of all this, it was his penance.
When at work, he liked to take strong drinks, and
as he generally worked till very late at night, rising
again early in the morning to be at the piano composing,
it was no wonder that a life of such a description
undermined his health. His doctor, Barisani, died in
1781, and Mozart wrote the following words in an
album that had belonged to him: "To-day the 3 th of
September, of the same year I was so unfortunate as
to lose quite unexpectedly my dearest and best friend,
2 4 MOZART.
who has done so much for my health. It is well with
him but for me, for us all who knew him so well,
there can be no happiness until we meet again in
another world, never to part."
Although Mozart possessed true friends, yet he
never failed to meet with hypocrites who pretended
to feel friendship for him, such as the clarionet player
Stadler, who deceived him most shamefully and abused
his good-nature. Without a doubt, Schikaneder also
belonged to those who injured his name and health,
causing a decrease in his income.
Important personages at the Vienna Court openly
slighted him and his financial difficulties had become
almost unbearable although he had given the very
highest proofs of his genius. He had completed "Die
Hochzeit des Figaro" in 1785, "Don Juan" in 1787, "Cosi
fan tutte" in 1790, and "La Clemenza di Tito" and "Die
Zauberflote in 1791. Numerous works for orchestra,
for piano and for the voice, had been published most
of which surpassed any other compositions of the day;
he had proved himself in a thousand ways to be the
most gifted pianist of his time. On this point there
is very reliable testimony to be found. Ambros
Rieder in his reminiscences, says : "As a youth I
used to admire first-rate violin playing, as well as the
performance of many good pianists ; but I cannot
describe my astonishment when I happened to be
so fortunate as to hear the immortal W. A. Mozart
playing before a large company of people; not only
did he vary with much skill what he was playing, but
he extemporised as well. I had never been accustomed
to hear anything so great or so wonderful. Such bold
nights of fancy that seemed to attain the highest
regions, were alike a marvel and a delight to the
most experienced of musicians. Even to this day,
although a very old man, I can still hear those
heavenly harmonies, and die in the firm conviction
MOZART. 241
that there has only been one Mozart." Niemetschek
writes in the same spirit to Aloys Fuchs: "If it
would please God to grant me more happiness on
earth, it would be to hear Mozart once more extem-
porising at the piano. No one, unless they had
heard him, could have the least idea of his power in
that art."
Dittersdorf, Rochlitz, Stiepanek, Schlichtegroll
and many other men of note spoke just as enthusiasti-
cally about Mozart's playing. Schlichtegroll says in
his necrology: "This absent-minded man quite changed
when he sat down to the piano, he became a higher
being. Then he seemed all absorbed, and his attention
became riveted on the object for which he was created,
the harmony of sounds."
It needed one who possessed power to place a
genius like this above the ordinary run of things,
and to free him from the cares of life, just as it
happened to Goethe, by means of Karl August; but
neither Joseph II, nor his successor Leopold II, even
in a lesser degree understood what was needful;
whoever had been fortunate enough to be in favour
with Joseph II, was intentionally put on one side by
his successor. Several musicians were dismissed or
sent away in disgrace. Salieri gave up the opera,
and instead of choosing Mozart as the most fitting
successor, Joseph Weigl was appointed. In very many
ways Mozart was thus neglected. In Vienna in 1790,
when the Neapolitan King and Queen were there on
a visit, Haydn was presented Mozart was not even
asked to play, and instead of his master-pieces, Weigl's
"Caifetiera bizarra" and Salieri's "Axur" were put
forward for the festival performances. Stupidity and
capriciousness were doing their best to ruin the
young man's career. He lived to see the first per-
formance of the "Zauberflote" on the 30* of September
1791, at the theatre "Auf der Wieden", and worked
Celebr. Pianists. 1 6
242 MOZART. *
with feverish haste at the Requiem which he had
been commissioned anonymously to write by Count
Walsegg, when he was attacked by fatal illness.
Only at this juncture did his wife return from Baden.
Mozart said to her with tears in his eyes that he
was writing his own Requiem, as he felt he could
not live much longer. He also declared his suspicion
of having been poisoned. Several of his comrades
firmly believed this was true, but no one was
suspected, not even the much distrusted Salieri. If there
had been any truth in it the symtoms of the illness
were swelling of the hands and feet, and vomiting
the criminals would probably have been found else-
where, and not in the artistic world. Dr. Closset,
the doctor in attendance, decided that death ensued
from inflammation of the brain. The great composer
died on the 5 th of December 1791 ; his last thoughts
were for the "Zauberflote" and the unfinished Requiem.
The circumstances of his burial are of an unworthy
and contemptible character. It is said that his wife
was so ill, that she was not able to be troubled
about anything; nevertheless on the day of her hus-
band's death, she was able to hasten forward to meet
her sister calling out to her: "Thank God that you
have come! Last night he was much worse, and I
thought he could not live through the day; if the
attack comes on again he will die to-night."
The Keeper of the house, Joseph Deiner, who
was always looked to in all domestic details of the
house, was with Mozart when he died. New r s of the
death was sent to Albrechtsberger. Count Deym came
and took the death mask. The day after Mozart died,
"crowds of people came to the house, lamenting and
weeping over him." The Viennese newspapers an-
nounced his death. Van Swieten came to condole
with the widow; but she left the house to go to
some friends, "so as to get away from the sad
MOZART. 243
surroundings" she abandoned the house of death.
Van Swieten (who was rich) undertook the expenses
of the poor funeral which were 1 1 Gulden 36 Kreutzer
inclusive of the hearse. Some few "friends", Salieri,
Siissmayr, Roser, the violincellist Oxler, Swieten
(the extortioner Stadler does not seem to have been
present) accompained the hearse, but as the weather
was bad, they turned back not a friend was present
when Mozart's body was lowered into the pauper's
grave, so that no one knew where the grave was.
When Deiner, who had only gone to the funeral
service, asked the widow if she would not have a
small cross placed on her husband's grave, so that
at least it might be known, she replied that in time
one would be placed there. Later on when the resting-
place could not be found, she made the miserable
excuse, she had thought the priest who performed the
funeral rite would have a cross erected!
Where was Schikaneder who owed so much to
Mozart? Where were the members of the Freemason's
Lodge, for whom Mozart had composed such wonder-
ful music? Not one of them went to his funeral!
After several weeks, a pompous funeral speech was
delivered about him at the Lodge : "The everlasting
ruler of the world has been pleased to take away one
of our best beloved and most useful members. Could
there be any one who did not know him and value
him! No one could help loving him, our worthy
brother, Mozart &c." But not one of these Free-
masons could say where this "worthy brother" had
been buried.
It has therefore come to pass, that the remains
of this immortal genius rest in an unknown spot,
and his grave is not distinguished by the least
monument.
The history of Mozart's life like that of Beethoven
is extremely instructive as regards the development
16*
2 44 MOZART.
of musical education. What bitter warfare these
great masters had to wage against representatives
of the old Italian school; and how often were the
greatest efforts of their splendid genius wrecked,
owing to the dullness of musical comprehension on
the part of those tone -giving circles which had not
emanated from the middle classes of society. The
enmity of a clique became of vital importance so
long as it could be concealed by the humour or the
ignorance of some influential personage.
This was clearly shewn especially by the treat-
ment of Mozart's greatest work, "Don Juan", for
whereas this opera, produced in Prague, by the aid
of Dussek and Bucharz and with the enthusiasm of
the performers, was crowned with brilliant success,
this same opera, performed a year later in Vienna,
was subjected to the worst ill-usage, and doomed
through that, to utter failure.
The conductor took precedence with his hostility
and the musicians and singers followed suit. The
work was badly studied, played without understanding
by the performers, and heard without comprehension
by the public. The Emperor himself said to Mozart:
"that is not a fit morsel for my Viennese" ; to which
the poor composer shrugging his shoulders, could only
reply; "one must leave them time to digest the
morsel" ; a poor comfort for the great master,
when he saw Salieri's "Azur" again preferred to his
work. Don Juan was subject to the same ill-fortune
in Berlin in 1790. The ' Chronik von Berlin" reported
at that time in these terms : "That Mozart is a great
composer is admitted by every one; but, whether
nothing better than this Opera was written before
him, or will be written after him, we must doubt.
Not the art of overloading the instruments but the
soul, the feelings and the passions, are what the
composer must make speak. That is writing in grand
MOZART. 245
style, and would make his name honoured by
posterity. G re try, Monsigni, Philidor are and will
be proofs of this. Mozart intended in his "Don Juan"
to write something extraordinary; and so much is
certain, that it is extraordinary, but it is not the Ini-
mitable, nor the Grand. Caprice, Whim and Pride
were the creators of Don Juan, but not the heart;
and we should prefer admiring the highest attainments
of his composition in an Oratorium, or in solemn
church music, rather than his 'Don Juan', the con-
clusion of which is nearly analogous to a descrip-
tion of the Last Judgment, the graves opening, the
mountains splitting and the destroying Angel blowing
the trumpet of horror and dissolution. Still at the
same time this Opera brought large returns to the
director, and the Galleries, Boxes & Pit, will not be
empty in future."
The well-known author Fr. Jacobi, wrote thus to
Herder, in Weimar, about the same performance: "So
now I have seen 'Don Juan' which wearied me ex-
cessively. It is a most unbearable thing, and I am
glad do have done with it."
On the other hand, how different was Gothe's
judgment of it; a pity that this was only known seven
years after, and in a certain sense Gothe was right:
"Through Mozart's death, we may hope in vain for
anything of a similar kind being again produced."
Later times have reversed the judgment of the
croakers of the eighteenth century. The Berlin and
Vienna public in their true, strong and matured spirit,
have done justice to the Genius of the Master who
died in poverty. In such cases numbers decide ; since
1 790, 'Don Juan' has been given 600 times in Berlin :
in Vienna since 1788, 550 times; in Prague 650, &c. ;
even at the present day, notwithstanding that many
great works have been produced since his time, even
246 MOZART.
Mozart's earlier works, rank with them in the
frequency of their performances.
Mozart's Works.
Of youthful compositions not quite authentic,
the following is list: Sonatas for Piano and violin
op. I. another set of the same, op. II., and a 3 d set
op. III., 6 Sonatas op. IV. Variations for piano
(Hague and Amsterdam), 2 books full of piano pieces
written on the first journey, i Fugue for piano; 13
Symphonies for violin, horns, viola and bass ; i Quod-
libet; i Oratoria; i Music to a Latin comedy; 6 Diverti-
menti for different instruments; 6 Trios for violins
and violincello ; i Cantata ; i Stabat mater ; Solos for
violin, violincello, gamba and flute ; Pieces for two
clarionets, 2 horns, 2 bassethorns ; several minuets for
different instruments ; processional music for trumpets
and drums ; several marches ; i Fugue with four
voices ; i Veni sancte spiritus for four voices and
instruments, i Offertorium. List of compositions from
Breitkopf & Hartel's catalogue: i. Piano music:
27 concertos with an accompaniment of different
instruments, also a Rondo with the same, i Quintet
in Eflat, 2 Quartets in G minor, and Eflat, 8 Trios
in Bflat, D minor, G major, Eflat, Bflat, E major,
C major, G major. 43 Sonatas for piano and violin,
also 1 8 Variations for the same instruments.
5 Sonatas, pianoforte duets, i Sonata for two pianos,
i Andante with 5 Variations, i Fugue for two
pianos. 17 Sonatas for piano, 4 Fantasias for piano.
138 Variations. i Minuet and Trio. 5 Minuets,
3 Rondos, i Suite for piano, i Fugue, 3 Allegros,
i Andantino, i Adagio, i Gigue, 36 Cadenzas for con-
certos. Vocal music: 15 Masses, 4 Litanies, i Dixit
and Magnificat, 2 Vespers, 5 Kyries, i "God is our
refuge", i Veni Sancte Spiritus, i Miserere, i Antiphon,
3 Regina Cceli, i Te Deum, 2 Tantum ergo, 2 German
MOZART. 247
Kirchenlieder, 8 Offertories, i Psalm "De Profundis",
i Recitative and air "Ergo inter est", 2 Motets,
1 Graduale, 2 Hymns, 5 Cantatas and oratorios. Operas:
i. "Die Schuldigkeit des ersten Gebotes (sacred Sing-
spiel). 2. Apollo et Hyacinthus. 3.BastienandBastienne,
and La finta semplice. 4. Mitridate, Re di Ponto.
5. Ascanio in Alba. 6. II Sogno di Scipione. 7. Lucio
Silla. 8. La finta Giardiniera. Q. II Re pas tore. 10. Zaide
(German operetta), n. Choral music and interludes to
"Thamos, King in Egypt". 12. Idomeneo. 13. Ballet
music for this opera. 14. Die Entfiihrung aus dem
Serail (Belmonte und Konstanze). 15. Der Schauspiel-
direktor. 16. Die Hochzeit des Figaro. 17. Don Juan.
1 8. Cosi fan tutte (Weibertreue). 19. Die Zauberflote.
20. La Clemenza di Tito. 21. Airs for soprano and
bass with instrumental accompaniment, 13 Songs
with recitative, i Scena for soprano, i Scena and Aria,
2 Recitatives and Rondo, i Rondo for tenor, 4 Trios,
i Quartet, i German War Song, i Ariette for Bass,
i Canzonet, i Duet, 36 Songs for one voice and for
several voices with piano accompaniment, i choral
work for three voices with organ accompaniment,
i short German Cantata, 22 Canons. Orchestral
works: 41 Symphonies, 31 Cassationen, Serenades and
Divertimenti for different instruments, 17 Marches,
movements of Symphonies and short pieces for diffe-
rent instruments, i Adagio for Harmonica, i Adagio
and Rondo for Harmonica, Flute, Oboe, Viola and
Violincello, i Fantasia for an organ, i Andante
for a small organ; 43 Minuets, 49 German Dances,
30 Contredances ; 20 Concertos, Adagios, Rondos
for one stringed or wind instrument with orchestra ;
9 String Quintets, 30 String Quartets, of which 2
are with flute, i with oboe, 3 String Duets and
i String Trio; 15 Sonatas for several instruments
with organ.
Then follow the unfinished and doubtful works:
248 MOZART.
The Requiem, 7 Symphonies, 3 Finales for Symphonies,
3 Finales for Symphonies, i Ballet for a Pantomime
"Les petits riens", i Fugue for stringed and wind
instruments, i Galimathias for piano and orchestra,
1 9 Minuets, 5 Contredanses, of which one is for piano,
6 Country Dances, Music for a Pantomime, 5 Concertos
for different instruments, 5 Quintets for stringed and
wind instruments, i string Quartet (fragment), i Trio
for stringed instruments, i Fantasia, 2 Fugues, the
first movement of a sonata for piano, i Adagio and
Allegro for small organ arranged for piano, 2 Masses,
i Lacrymosa, i Antiphon, 3 Kyries, i Credo, i Cantata;
the unfinished operas "L'Oca del Cairo", and "Lo
Sposo deluso", 9 Arias, partly with pianoforte accom-
paniment, and partly with accompaniment of stringed
and wind instruments, i Duet, 2 Terzettos, i comic
Quartet, i Solfeggi (Fragment), 3 Canons.
I
WLADIMIR DE PACHMANN.
IN spite of all the trouble taken, it has unfortunately
been impossible to learn very much concerning
Pachmann. His artistic career belongs completely
to modern times, and like his countryman,
Paderewski, is therefore proportionally a short one,
and the critics up to the present have had to content
themselves with writing about the success of his
playing, no biography of him having been published.
It is well known that his first appearance in public
was not that of a finished pianist; unlike Pallas
Athene rising in perfection from the head of Zeus ;
but his performances at important concerts, for in-
stance in Berlin and London, must be mentioned as
250 WLADIMIR DE PACHMANN.
being of great consequence and his talent as a pianist
very much appreciated.
As he was born in Russia, he studied there
during his youth, and has a great name in that
country, especially in Moscow. There is no doubt
that he is an excellent pianist, and concert agents
experience no difficulty in procuring him good engage-
ments in the very best society.
IGNAZ JOHANN PADEREWSKI.
UNTIL a little more than three years ago, Paderewski
was not universally recognized as a great pianist;
he came into notice through publishing some good
pianoforte pieces, solos and duets. He was born
on the 6 th of November 1859, m Podolien ; little
is known of his youth; when he was twelve years
old he went to the Conservatoire at Warsaw, where
he was taught harmony by Roguski, and the piano
by Janotha. Later on he went to Berlin, and received
instruction from Wuerst and Urban at the New
Academy of Music. In 1879, he was made pianoforte
teacher at the Warsaw Conservatoire, remaining in
that position till 1883. Then he commenced to travel,
for a time in Slavonia, then in Roumania, Hungary
252 IGNAZ JOHANN PADEREWSKI.
and Austria. After this he was made professor at
the Strasburg Conservatoire ; but as he began to be
aware that his playing was not finished enough, he
relinquished the post and became a pupil again,
studying with Professor Leschetitzky at Vienna.
After seven months of truly gigantic industry he
made his first public appearance in Vienna 1887. He
left for Paris two years later, where he made a great
sensation by his playing of Chopin's compositions.
About three years ago he appeared for the first time
in London, and to show how difficult it is for the
greatest pianist to have any success there without
introductions or high reputation, Paderewski's first
concert in that city realized about 300 marks. But
soon things took a more favorable turn for him; he
was recognized as a pianist of the highest rank and
was acknowledged so by the critics; his masterly
execution, his playing full of fire and richness of tone,
as well as the originality of his Slavonic nature per-
vading his performance, conquered all those that
heard him. He is now one of the greatest pianists
not only in Europe, but also in America. The reason
of this is not far to seek; apart from his executive
powers, he is a highly gifted musician, and is especially
great in his performance of compositions of the ro-
mantic school. For instance, as an exponent of
Chopin he is without a rival. In England he is a
favorite in the best society; one of his recent concerts
in St. James's Hall realized the sum of jfiooo,
His first tour in the United States was a triumph
from beginning to end ; he went over there again not
long ago; for a concert- tour of eight days duration,
in America he received ^3,000, for 64 concerts x within
three months, ^35,000 were guaranteed to him, of
which sum he put aside ^3,000 for charities.
Meanwhile Paderewski works hard at the piano,
practising day and night for many hours at a time.
IGNAZ JOHANN PADEREWSKI. 253
He has been known to repeat certain passages in a
piece 200 times running, thus showing that perfection
is only to be attained by perseverance and industry.
Even when travelling, at least in England, he con-
tinues his practising in the train, Erard having con-
structed a miniature piano for the travelling carriage
which is placed at his disposal by the railway company.
As already mentioned, Paderewski has composed
several successful pianoforte pieces ; Variations and
Fugues, Toccatas, Polish Dances, a Tatra- Album, a
Concert-Humoreske, &c.
ERNST PAUER.
THIS artist was born Dec. i st 1826, at Vienna. His
father was a Lutheran Superintendant - General.
He received his musical education from Dirzka,
W. A. Mozart (the son) und Simon Sechter, then
from 1845 to 1846, he was taught by Franz Lachner
in Munich. In the following* year he was appointed
musical director in Mayence, where he remained till
1851. Whilst there, he composed two operas: "Don
Riego" and "The red mask", and a third opera in 1861,
"The Bride", but they were only performed in
Mannheim. At that time he played several times in
public, but he only gained distinction as a pianist
when he went to London in 1851. He was warmly
received in London, and established himself there
ERNST PAUER.
255
successfully as a teacher of the pianoforte. Having
acquired a good position, he married Miss Andrea,
a singer from Frankfort, and brought her to England.
In 1 86 1, he began his historical piano recitals
with analytical programmes, which were the means
of bringing into notice many classical compositions.
He then travelled on the Continent with the same
object, repeating his visit several times; in 1866, he
was made pianist to the Austrian Court.
In 1870, he gave some successful lectures in
London, on the history of pianoforte playing with
musical illustrations. He was then made professor
of the pianoforte, succeeding Potter, at the London
Academy of Music, and in 1876, was also appointed
pianoforte teacher at the National Training School
for Music. The Cambridge University elected him
in 1878, a member of the Board for Musical Studies.
Later in . life Ernst Pauer gained fresh distinctions
for his zeal in the cultivation of good music, also for
his publications of numerous works on classical music,
as follows : "Alte Klaviermusik", "Alte Meister", "Old
English composers for the virginal and harpsichord",
" V T olksausgabe der Klassiker von Bach bis Schumann",
then "New gradus ad Parnassum", "Primer of the
Pianoforte", Elements of the beautiful in Music",
"Primer of musical forms". He has also composed
several works for orchestra.
MAX PAUER.
ERNST Pauer's son Max, was born in London on
the 3i st October 1866, and was taught the piano-
forte exclusively by his father, who guided him
successfully in his studies. He then sent his son to
Carlsruhe, to the conductor Vincenz Lachner for instruc-
tion in composition. Max Pauer remained there from
1 88 1 to 1885, during which time the young musician
gave his first concerts, travelling through Germany,
Holland and England, and then he settled in London.
MAX PAUER.
257
But in 1887, he was appointed professor of the piano-
forte at the Cologne Conservatoire. Since that time
he has frequently travelled as pianist in Germany,
Belgium, Holland, Austria, Hungary, England, Russia
&c. According to the very best opinions, his playing
is of a highly cultivated nature, and good musicianship
prevails throughout his performance, which is always
thoroughly classical in style, never exaggerated, but
careful and very exact, even in the most difficult
works, as for instance in Schumann's C-major Toccata,
Brahms' Sonata in C, and Chopin's compositions.
Although he has often had many brilliant offers
from the Conservatoires at Moscow and Prague, yet
he has preferred to keep his pleasant position in
Cologne.
Max Pauer who has surely a useful future before
him, has published several pianoforte pieces, both
solos and duets.
Celebr. Pianists. lj
ERNST PERABO.
JOHN Ernst Perabo was born in Wiesbaden on the
14 th of November 1845; he had nine brothers and
sisters, who have all followed a musical career. His
father taught him the elements of piano-playing when
he was five years old. He practised a great deal,
and at the age of nine was able to play Bach's
"Wohltemperirtes Klavier" by heart.
In 1852, he went to New York with his parents,
remaining in that city for two years. The family
here made the acquaintance of Wilhelm Scharfenberg
from Cassel, and this friendship was of the greatest
ERNST PERABO. 259
importance as regards the development of his talents.
During the second year of his residence in New
York, he played for the first time in public at a
concert of Professor Heinrich's.
Then the family went to Dover, New Hampshire,-
where they lived for two years, after which they spent
one year in Boston, where the boy had violin lessons,
and where he also appeared at a concert at the
Music Hall under the direction of Karl Zerrahn ; the
family then lived some time in Chicago. The father,
who had not been so successful in the United
States as he could have wished, sent his son
from Chicago to Washington, his mother accom-
panying him, to ask for assistance from the State
towards the boy's musical education, but President
Buchanan explained to her that neither the govern-
ment nor congress took an interest in the develop-
ment of the fine arts.
Ernst's mother then applied to Scharfenberg in
New York, who became interested in the boy, and
prevailed upon a number of wealthy men, (among
others Henry C. Timm, Robert Goldbeck and
Pyschowski) to take the entire charge of Ernst's
musical development; in 1858, he was sent to Hamburg,
from there he went to school for four years to a
Professor Andresen at Eimsbiittel, for general educa-
tion ; then to the Conservatoire at Leipzig in October
1862, where he became the pupil of Moscheles and
Wenzel; for harmony, Papperitz, Hauptmann and
Richter, and finally Karl Reinecke for composition.
Having now become an excellent pianist, he
returned to New York in 1865, where Scharfenberg
shewed him how to advance in his career indepen-
dently of the aid he had formerly received. He gave
some concerts in Sandusky, Ohio, where his parents
lived, he also played in Lafayette, Chicago and
Cleveland.
17*
260 ERNST PERABO.
In March 1866, he arrived in Boston on the
invitation of Sebastion Schlesinger, and remaining
there, soon played at the concerts of the Harvard
Musical Association, also at the Chickering Hall, the
Music Hall &c., achieving considerable success; he
also gave lessons. The compositions he played were
by Chopin, Mendelssohn, Mozart, Thalberg, Hummel,
Schubert, Burgmuller, Gernsheim, Bennett, Rubinstein,
Bargiel, Kirchner, Richter, Volkmann and Raff.
He published transcriptions of Loewe's Ballads,
arrangements of Rubinstein's works, two transcriptions
of Beethoven's Fidelio, as well as a number of his
own compositions, partly in America and partly in
Leipzig.
JOHANN PETER PIXIS.
IN the letters that Adam Liszt wrote to Czerny from
Paris, while on the first concert-tour with his son
"Franzi", there are many harsh criticisms regarding
Pixis. In one of the letters, the following occurs:
"I have to tell you something more about Herr Pixis.
This gentleman seems to be an enemy of ours. We
have only spoken once to him, when we met him
accidentally at the Palais royal; since then we have
often seen him in a music-seller's shop, but he has not
condescended to notice us. Although a rival like this
is not powerful enough to do us any harm, he will
be censured by others for such conduct." Adam
JOHANN PETER PIXIS.
Liszt had hardly a favorable word to say for any
pianist of that time, and declared there was no
one like his "Putz" as he called his son Franz, so no
importance is to be placed on his criticism of this
"rival". Pixis had established his name in Paris as
an excellent pianist and teacher of the pianoforte, and
later on entered into friendly relations with Thalberg,
Herz, Czerny and Chopin, as also with Franz Liszt;
together they published a collection of their own
compositions, called "Hexameron", Pixis contributing
three variations to the work.
Johann Peter Pixis, was born in Mannheim in
1788; he went on his first concert - tours with his
brother who was his senior by two years, the
violinist Friedrich "Wilhelm Pixis, a professor at the
Prague Conservatoire. He first went to Paris in 1824,
and then travelled in Belgium, Holland and Germany.
In 1825, he visited Paris for the second time, remain-
ing there for several years. It is not known how
he came to adopt the Munich opera-singer, Francilla
Gohringer (sometimes called Griininger) as his daughter;
they travelled together on extensive concert-tours.
Later on he bought a villa at Baden-Baden,
giving lessons there: Baden-Baden was his permanent
residence until his death which took place on the
2i st December 1874.
Pixis trod in Haydn's, Beethoven's and Mozart's
footsteps with regard to composition, although he also
sought to be original; he published 150 Pianoforte
compositions, Concertos, Sonatas, Quintets, Quartets,
lighter pieces as well, but they are now forgotten.
He also wrote several operas, but none of them
were successful.
FRANCOIS PLANTE.
TJLANTE is considered the most important pianist of
I the present day in France, and was born on the
2 d of March in 1839, at Orthez (Basses Pyrenees). His
parents took him to Paris, where he was taught the
piano by Madame Saint- Aubert. At ten years of age,
and before he became a pupil at the Paris Conser-
ratoire, he was allowed to appear in public. After
seven months teaching in Marmontel's class he was
awarded the first prize. Even at this tender age, he
was said to possess excellent execution as well as a
thorough understanding of classical music. He played
at the Chamber concerts given by Alard and
264 FRANQOIS PLANTE.
Franchomme. But in 1853, he entered the Paris
Conservatoire again, in order to pursue his studies in
theory, and in 1854 1855, entered Bazin's class,
also gaining* the second prize for harmony and ac-
companying.
After he had appeared at several concerts, he
left Paris, it was thought on account of a supposed
insult, and returned to his native town, where he spent
ten years in practising and studying. He then tra-
velled, and during that time, perfected himself by
listening to the performances of the most celebrated
pianists, Rubinstein and Liszt; in 1872, he went again
to Paris, and played at concerts for charitable pur-
poses, being very well received.
He resumed his connection with Alard and
Franchomme in the soirees for Chamber music, which
became a great centre of attraction in Paris. He
was created a Chevalier of the Legion of Honour.
During his concert-tours, and particularly in Belgium,
he created a great sensation by his faultless execution
and beautiful interpretation.
DIONYS PRUCKNER.
BORN May i7 th 1834 at Munich, Pruckner received
instruction, up to his seventeenth year, from
Fr. Niest. Then he became Liszt's pupil at Weimar
until 1855, after which he took up his abode in
Vienna, where Liszt's E-flat Concerto was played by
him for the first time, and from there he went on
several concert - tours. In 1859, he was appointed
professor of the pianoforte at the Stuttgart Conser-
vatoire and in 1864, was created pianist to the
Wurtemberg Court and in 1868, professor. He
instituted concerts for Chamber music together
266 DIONYS PRUCKNER.
with Edmund Singer, which were very largely
patronised.
In 1871 to 1872, he made a successful concert-
tour in America, and at present resides at Stuttgart
where he takes a first-class position as an artist of
the highest rank and as a teacher of the pianoforte.
EMILE PRUDENT.
TpMiLE Prudent was born in Angouleme on the 3 d of
H February 1817; he lost his parents in early child-
hood, but was cared for by his adopted father, a
pianoforte tuner, who gave him his first instruction;
then he was placed at the Paris Conservatoire, where
he not only benefited by the good teaching of
Lecouppey, Laurent and Zimmermann, but where he
had the advantage of studying such models as
Thalberg and Mendelssohn ; the latter he particularly
followed with great zeal, but he imitated Thalberg's
style and in consequence of this competition had con-
siderable difficulty in getting recognized. Although
268 EMILE PRUDENT.
it cannot be said that he was particularly original,
yet his playing was most painstaking, and he was
thoroughly at home in all the technical part of his
work, He was a musician of taste and devoted to
progress in music. As a proof of this it may be
mentioned that he was much sought after as a piano-
forte teacher in Paris. His compositions, of which
there are about 70, for piano, partly with violin and
violincello, are correct and melodious and require
good execution. He especially made a name as a
clever composer of Fantasies on well-known operatic
airs.
JEAN PHILIPPE RAMEAU.
RAMEAU was an admirable pianist and organist, but
he had a greater and more important influence
on music in general, and especially on the pianist's art
by his works on theory, as he is known to be the
original founder of the newer teaching in harmony.
He was born at Dijon, on the 2 5 th of September
1683, and went in early life to the Jesuit Fathers'
school, but having little taste for lessons ran away
after four years. The following years of his life
were filled with adventure, for although he culti-
vated music he did not make a profound study of
it, and at the beginning of the eighteenth century
2 y JEAN PHILIPPE RAMEAU.
when he got entangled in an unfortunate love affair
at Dijon, and had to keep away from his native town.
He commenced a roving life as a musician; amongst
other things he became violinist of an orchestra which
played at theatres, and travelled about in the south
of France, returning to his home after several years.
In 1717, the post of organist in the Holy Chapel
at Dijon was offered to him, but he refused it, being
still attached to a wandering life. He went to Paris
with no special aim in view. Louis Marchand offered
to teach him, but later on through jealousy became
his enemy.
The truth was that Rameau was ashamed at
that time of his poor musical knowledge, and studied
with great zeal the works of Descartes, Mersenna,
Zarlino, Kircher &c. in doing which he conceived he
the idea of putting the theory of music on a sound
basis.
In order to make a living, he tried for an ap-
pointment, and was made organist at Lille, then at
Clermont; in his leisure hours he occupied himself in
writing his "Traite de Tharmonie", which he published
in 1721, in Paris. He now attracted general attention
both by his book and also by several Sonatas for
piano and Cantatas. He was appointed organist at
the church of Saint Croix de la Bretonnerie.
In 1737, the Academy made a trial of his works
on the theory of music. He was also fortunate in
finding a patron, in a landed proprietor, to whose wife
he had given some pianoforte lessons. He now had
time to compose operas. After some difficulties, he
was able to have his work "Hippolyte et Arricie"
performed at the Grand Opera, and this created such
a lively diversion of opinion, that even the King's
attention was attracted, and he bestowed a title on him.
Rameau now composed a number of operas, but
only a few of these works were done in public. As
JEAN PHILIPPE RAMEAU. 271
years passed on he composed the following" pianoforte
pieces : Premier livre de pieces de clavecin, Pieces
de clavecin avec une methode pour la mecanique des
doigts, Pieces de clavecin avec une table pour les
agrements, Nouvelles suites de pieces de clavecin
avec des remarques sur les diiferents genres de
musique, Pieces de clavecin en concerts.
In order to give weight to his ideas of reform
which need not be discussed here, he brought out a
number of theoretical works: Traite d'harmonie reduite
a ses principes x naturels, Nouveau systeme de musique
theorique, Plan abrege d'une methode nouvelle d'ac-
compagnement, Generation harmonique, Demonstration
du principe de Tharmonie, Observations sur notre in-
stinct pour la musique, Code de musique pratique &c.
These works occasioned much opposition among musi-
cians, the Encyklopaedia writers strongly differing
from his views; but, although much that was erroneous
had to be ignored, yet the truth of his ideas took a
lasting hold and established the great significance of
this remarkable man.
He died in Paris at an advanced age on the
12 th September, 1764.
I
WILLY REHBERG.
WILLY Rehberg who was born on the 2 d September
1863, at Morges, on the sunny shores of the
Lake of Geneva, was taught in early childhood by
his father, who was a music master at Morges ; the
boy played in public when he was five or six years
of age. He was then sent to school for a few years,
and after that he went to the Music School at Zurich,
where Robert Freund was his pianoforte teacher.
In 1882, he entered the Conservatoire at Leipzig,
and here Karl Reinecke and Zwintscher were his
masters. After three years study, he was made pro-
fessor of the piano at the same institution, having
WILLY REHBERG. 273
given evidence of a decided talent for teaching during
these years of study.
At this time he acquired the name of being one
of the best cultivated pianists of the young generation,
in solo playing as well as in concerted music, and in
accompanying. He played with success at the Leipzig
Gewandhaus concerts, also at some of the musical
Festivals in other countries, making a great point
of performing new compositions, that were interesting
and full of merit.
In the autumn of the year 1890, he received the
appointment as first professor of the piano, at the
Conservatoire at Geneva, and here he found oppor-
tunities both for solo and concerted playing.
At Leipzig, he shewed considerable talent for
conducting. During two seasons he conducted the
Abonnement-concerts and the Singakademie at
Altenburg, and since 1892, besides teaching, he is
the conductor of the principal concerts at the theatre
in Geneva.
Besides a number of melodious pianoforte pieces,
Willy Rehberg has published a Sonata for piano and
violin.
Celebr. Pianists.
KARL REINECKE.
FR a great number of years Reinecke's name has
been intimately connected with the Gewandhaus
concerts of world- wide reputation at Leipzig, also with
the Conservatoire there. His musical life has been
full of energy, in the direction of executive art, in
teaching and in literature on music. Space will not
allow of even an attempt to describe all the work he
has been engaged in, and owing to the character of
the present book, a biography must necessarily be
condensed. It need only be noted that Reinecke
has achieved great success as a pianist, his playing
always satisfying all technical demands and his intre-
pretation being quiet and full of intelligence. In his
rendering of classical compositions, particularly those
KARL REINECKE. 275
of Mozart, these good qualities stand out prominently,
the performance being always thoughtful and earnest.
All striving after effect, which is so noticeable in the
modern pianist par excellence, is totally absent in
Reinecke's playing. As an accompaniist he is incom-
parable ; his arrangements are the best of the present
day, and among other works many of his pianoforte
compositions have become exceedingly popular.
Unfortunately it has become the fashion for the
young musical generation to look upon the school
that Reinecke belongs to as antiquated, notwithstand-
ing all the devotion and earnestness he brings to
bear on his work. The reason of this is, that he
refuses to follow blindly the modern school, either as
conductor, composer or pianist; and it is fortunate
that he maintains his influential position undisturbed
by conflicting opinions.
His antipathy to the excentric efforts of modern
-art, joined to his extensive musical knowledge, render
him a fitting representative of the traditions of such
.an important institution as the Leipzig Gewandhaus.
Possibly the artistic position he has adopted may be
thought too conservative, and a more liberal-minded
comprehension, specially as regards the choice of com-
positions for performance, might be exercised; for there
is no doubt that the music-loving public has a right
to demand a hearing of all new compositions of impor-
tance, and in this respect the Gewandhaus at Leipzig
is rather behind the time, having been surpassed
by the large concert institutions in Berlin, Vienna,
London, Paris, and even in America, where com-
positions by Liszt, Dvorak, Cowen, Mackenzie &c.
are performed with success. At the same time it
is a great advantage that an institution like the
'Gewandhaus should retain the artistic traditions of
the old school.
Some of the modern examples of compositions
18*
KARL REINECKE.
that vanish after a short existence are practically of
no value as regards the furtherance of art, and those
works that are only put forward for the purpose of
creating a sensation at any price and are offensive
to good taste are best ignored.
In this respect, Karl Reinecke is one of the
strongest upholders of all that is beautiful in music,
and of all those great works that time has no in-
fluence on.
All the world knows what Reinecke has accom-
plished by his teaching at the Conservatoire he has
completed the musical education of a large number
of pupils, some of whom have become celebrated.
Reinecke w T as born at Altona on the 23 d of June
1824. He received all his musical instruction from
his father, Johann Peter Rudolf Reinecke, who was
a teacher of music and a writer on musical subjects.
The son first devoted himself to violin -play ing, but
later on he turned his attention to the piano, and in
1843, went on his first concert -tour as pianist to
Denmark, and Sweden, after which he lived for a long
time in Leipzig, where he entered into friendly rela-
tions with Mendelssohn and Schumann. Then he
travelled again, in 1846, was made Danish Court
pianist, retaining this position till 1848. After living
a long time in Paris, he received an appointment at
the Cologne Conservatoire in 1850, was made con-
ductor at Barmen from 1854 to 1859, and then musical
director and conductor of the Singakademie in Breslau
from 1859 to 1860.
In 1860, he was called to Leipzig to take up the
joint positions of conductor of the Gewandhaus con-
certs and master at the Conservatoire; he was made
professor, and received the honorary title of Doctor
at the Leipzig University, besides becoming a member
of several learned societies, and was the recipient of
numerous distinctions.
KARL REINECKE. 277
Notwithstanding his active life at Leipzig, he was
able to undertake several concert-tours, to Scandinavia,
England, the Netherlands, and Switzerland, thus
increasing his reputation.
His compositions number over two hundred,
amongst them are several larger works for the piano :
Concertos, Sonatas, Sonatinas, Fantasias, Caprices ;
also : i Fantasia for piano and violin, Quintets, Quar-
tets, Trios, Violin and Violincello Sonatas, i Sonata
for Flute, Concertos for Violin, Violincello and Harp;
Symphonies, Overtures, 4 Operas, i Singspiel, i Ora-
torio, Music to Schiller's Wilhelm Tell, i Cantata for
men's voices, Solos and orchestra, 3 Concert arias,
i Chorus for male voices with orchestra, i choral
work "Sommerbilder", 4 Marchendichtungen, 30 Canons,
and among many other works some delightful songs
for children.
ALFRED REISENAUER.
IT is easy to see that in the life of Franz Liszt,
certain facts and expressions that are alluded to
as regards his connection with musicians, must needs
be repeated. Such a master as Liszt, sought after
by so many talented musicians, either for his opinion
or his teaching, must naturally have had his pre-
ferences, and it cannot be wondered at that Alfred
Reisenauer was not the only one of whom he said,
that he approached him very closely in his manner
of playing, but without imitating him. It is true that
ALFRED REISENAUER. 279
Liszt had a great influence on Reisenauer, and in a
biographical notice of the latter the following incident
is related, that when the boy at the age of eleven,
played Hummel's B-minor concerto to Liszt, the great
musician remarked; "Now, I always advise every one
who asks me, against becoming a pianist; but with
this boy it is useless to advise one way or another
his life will plainly be that of a musician."
Reisenauer was born on the i st of November
1863, at K^onigsberg, East Prussia . Before he
studied with Liszt, he had been taught by his mother,
also by the well-known piano teacher Louis Kohler.
From the eleventh year of his age, he spent his
summer holidays at Weimar with Liszt. When he
was a little over fifteen, he neglected his University
examination and went again to be with Liszt, following
him to Rome. Whilst Liszt was absent for some time
at Pesth, Herr von Keudell, the Prussian Ambassador
in Rome took charge of Reisenauer's piano instruc-
tion, Professor Blum giving him lessons in com-
position.
In November, 1879, Liszt let him play at a con-
cert got up for a charity in Rome; and in 1881, he
played again at a public concert. As a finished pupil
of Liszt's he now left for London, and from there
went to Berlin and to Leipzig, playing with success
at the Gewandhaus. The idea suddenly struck him,
to give up the musical career and study law. But
he soon abandoned this project, and through Liszt's
interposition, he undertook the position of teacher at
the Conservatoire in Sondershausen, where Felix
Weingartner exercised considerable influence on his
artistic career.
He then gave a series of concerts with the tenor
singer, Heinrich Vogel, with the violincello - player
David Popper, and with Teresina Tua; with the latter
he went on concert tours through Sweden and Norway.
2 So ALFRED REISENAUER.
In 1887, he signed a contract with the Impresario
Langewitz, for a tour of several years in length,
through European and Asiatic Russia. He went as
far as Siberia, and gave close upon 500 concerts with
very great success. For his own pleasure, he travelled
as an explorer along the coasts of the North Sea, to
Bochara, China, Persia, Asia minor, &c.
From 1892 to 1893, he again came west, and
played in Berlin, Dresden, Breslau, Vienna, Budapest,
Prague, Copenhagen, Stockholm, Christiania, London,
c., and everywhere gained the reputation of being
a very brillant pianist, his playing being of an intellec-
tual order and very impassioned.
He has published "Wanderlieder", the words by
Uhland.
MARTHA REMMERT.
MARTHA Remmert was born on the 13* of Sep-
tember 1854, at the village of Grossschwein near
Glogau, and received her first musical education at
home. Later on she was sent to Berlin, and was
there taught by Theodor Kullak. During this time
she enjoyed the patronage of the Princess Helen e of
Russia, who did a great deal for art. Martha Remmert
received further instruction from Tausig and Liszt.
This admirable instruction has rendered her capable
of the very highest order of playing, and she receives
much applause for her performances in almost all the
countries where she travels.
ALFONSO RENDANO.
ALL the attributes of the German and the Italian
J\. school are united in Rendano; apart from his
great technical execution, his playing is refined
and graceful, and in expression has a touch of me-
lancholy. In the German school he has become a
specially good exponent of Bach.
He was born on the 5 th of April 1853, at Carolei
near Cosenza and went to the Conservatoire at Naples
at the time when Thalberg was there, who became
his master. But this did not suffice for him, he
also entered the Leipzig Conservatoire.
In 1862, he played for the first time at the Leipzig
Gewandhaus and was received with favour. In the
same year he went to London, and played at one of
ALFONSO RENDANO. 283
the concerts of the Musical Union; in 1873, at the
Crystal Palace and at a Philharmonic concert. He
then often took part in various concerts during" the
London season; but after having spent a considerable
time in England, and going to Paris for a concert, he
returned to his native country Italy, for a permanence.
Some very good compositions of his have been
published.
FERDINAND RIES.
THIS musician was born on the 2g th of November
1784, in Bonn, and was a son of the musical
director at Cologne, Franz Ries. He was taught by
his father when young, and afterwards had the
distinction of being a pupil of Beethoven's for the
piano, the great composer who was also born in Bonn
being a friend of Franz Ries. In consequence of
these intimate relations with Beethoven, Ries was well
able at a later period to publish the "biographical Notes"
on the great musician. Beethoven recommended him
FERDINAND RIES. 285
to Albrechtsberger for lessons in composition, but as
the latter charged one ducat a lesson, after taking* 28
lessons, the young student's means were exhausted and
he had to discontinue the instruction. He applied himself
all the more diligently to his work under Beethoven.
In 1805, this study also came to an end, because
meanwhile Napoleon's rule had extended to the Electo-
rate of Cologne, and all the young men of that part
of the country had been called in to serve in the
ranks. The consequence of non-appearance must have
been serious, as young Ries set off at once on
receiving the order, travelling by way of Prague,
Dresden and Leipzig towards the Rhine. Fortunately
when he presented himself to the military authorities
at Coblenz, he was not admitted to the army on
account of the sight of one of his eyes having been
rendered useless by small-pox.
He now commenced travelling as a pianist, going
to Paris, where he remained for two years; then
to Cassel, Hamburg, Copenhagen, Stockholm and
St. Petersburg. Here he again met Romberg- the
violincello- player, who had once taught him that
instrument in Bonn ; they started on concert tours
together, going to Riga, Reval, Kiew, Moscow &c.
Ries was obliged to flee from Moscow on account of
the advance of the French ; he went over to London,
arriving there in March 1813, and was very warmly
welcomed, not only as a pianist, but as a composer
and teacher, so much so that he was enabled to take
up his permanent abode in that town ; he married an
Englishwoman and acquired a fortune which he placed
in a bank, but subsequently he lost a great part of it.
When Spohr and his wife came to London for
the first time at the beginning of the year 1820, in
order to give concerts, Ries was of great advantage
to them. Ries, who had become almost thoroughly
English, introduced Spohr to the directors of the
2 86 FERDINAND RIES.
Philharmonic Society, went about as his intrepeter
with him, and smoothed over many difficulties, Spohr's
rather rough manner and his ignorance of English
customs being against him. Spohr made many ac-
quaintances at Ries's house, the latter provided him
with "old Johanning" as a servant, who proved a
great acquisition to Spohr during his residence in
London.
In 1823, Ries left London and retired to a country
residence of his own at Godesberg on the Rhine, where
he composed industriously and established a solid repu-
tation. About 1830, he removed to Frankfort-on-the-
Main, and from there went to England again in 1831,
partly to write the music to an opera for a theatrical
manager in London, partly to conduct at a musical
festival in Dublin, then to Italy in 1832, where he
gave concerts in several large towns. In 1834, he
conducted the Rhenish Musical Festival at Aachen,
and in consequence of this was made director of the
town orchestra, and also of the Singakademie in that
town, but as this work was not agreeable to him,
he relinquished the appointment in 1836. After he
had conducted the Festival at Aachen in 1837, he
was made director of the Caecilia Society in Frankfort
in the same year, but died in 1838, at the age of 54.
Ferdinand Ries has composed more than 200
works: 9 Concertos for piano, i Octet, i Sextet,
2 Septets, i Quintet, 3 Quartets, 5 Trios with piano,
1 Trio for two pianos and harp, numerous Sonatas,
Fantasias, Rondos &c. for piano only; 3 Operas,
2 Oratorios, 6 Symphonies, 3 Overtures, i violin con-
certo, 6 Quintets for different instruments, 14 String
Quartets, 20 Violin Sonatas, i Sonata for violincello
and many other works.
MORITZ ROSENTHAL.
ONLY the barest biographical notices exist about
Moritz Rosenthal; he was born in 1860, at Vienna,
and studied there. His execution is extraordinary,
particularly his playing of passages in thirds which
is most startling. Among the critics he has decided
friends, and great enemies. He was criticised in such
a way in the "Neuen Musik Zeitung" by Otto Lessmann,
that some of the other Berlin critics disputed the truth
of the statement. It ran as follows: "Unfinished musi-
cal students may think that they have witnessed the
greatest triumph of piano-playing in Herr Rosenthal's
2 88 MORITZ ROSENTHAL.
heroic feats of execution, but every reasonable
person will be thoroughly convinced that beyond
this astounding performance, it is quite a different
question when a serious position is to be taken
up among real artists. The manner in which he
played the shorter pieces of Haydn, Mendelssohn
and Chopin, totally lacking poetry, the proper effect
being quite lost, only serves to show how unimportant
his performances are in an aesthetic sense." After
he had appeared at Frankfort-on the-Main, some of
the critics found fault in a similar manner, with his
playing, saying that he altered rhythm and time, that
he had no Cantilene, and his playing often degene-
rated into such a chaos of sounds, particularly on
account of his unnecessary use of the pedals. On the
other hand, the accounts from Brussels were "that he
had roused the greatest enthusiasm". He was also
successful at the Gewandhaus in Leipzig, and at the
Alberthalle the deficiencies complained of were less
noticeable. A well-known critic, called him "a
Cagliostro among the young pianists." He gave
proofs of his incredible execution before large
audiences, having already created a sensation in
former years in Leipzig, at the Liszt Society con-
certs. At the same time this marvellous execution
was said to be his object, not his means to an
end. In Beethoven's "Appassionata" he played
certain passages with great emphasis and clear-
ness, in such a way that would not be easy to
imitate, then again in the Allegro and Adagio and
Variations, all poetic feeling and expression was
missing. He was overpowering in the Finale, up
to the very last note.
Ed. Hanslick in Vienna calls Rosenthal "a piano-
forte conjuror". His playing is very highly cultivated
as regards execution; Paderewski possesses the same
gift, and Rosenthal is at the present moment his rival in
MORITZ ROSENTHAL. 289
America. His concert tours so successfully undertaken
in France, Spain, Holland, England, &c. show that as
well as his brilliancy of playing, Rosenthal directs
his efforts towards an intelligent rendering- of all he
undertakes to perform.
gig
jCe'ebr Pianists.
ANTON RUBINSTEIN.
ANTON Rubinstein is one of the most remarkable
J\. men ever known among musicians. Genius in
the full sense of the word, pervades his playing as
well as his compositions, and the remark was once
made, that not only is it like thunder and lightningv
but, it is also like the fire, ashes and smoke of a
volcano. No one. is to be compared with him in
piano playing ; he has immense power and is very
great in producing a deep impression; but his playing-
is full of contradictions. He has complete mastery
of his instrument, but technical work does not seem
ANTON RUBINSTEIN. 2 gi
to be of the highest importance with him, he does
not adhere to absolute correctness and mechanical
accuracy, he turns all his attention irresistibly and
by instinct, to investing all compositions he plays
with the necessary life and power. Sometimes a
storm of passion and then the most delicate grace
and tenderness succeed each other; he at one moment
depicts thunder and tempests, at another, a sigh
like the breath of spring. With such immense crea-
tive power, he is never troubled if here and there a
note should be wrong.
It is now forty years since Rubinstein's playing
created such an enormous sensation wherever he
went, but even greater astonishment was caused by
a peculiarity of his which has been imitated in a
lesser degree by other great pianists, namely his
gigantic powers of memory; he played everything
by heart, Bach, Handel, Haydn, Mozart, Rameau,
Scarlatti, Beethoven, Mendelssohn, Schumann, Schul-
hoif, also his own compositions, in fact, the most
difficult piece he ever undertook to play; his colossal
memory has never forsaken him.
He was born on the 30 th of November 1829, at
Wechwotinez near Jassy. In early childhood he went
to Moscow with his parents. He received his first
musical instruction from his mother, which was also
the case with his younger brother Nicholas. When he
was seven years old, he had lessons from a French
pianist, Villoing by name. He made such rapid
progress, that he was able to play in public at eight
years of age, and at ten, Villoing took him to Paris,
where he excited great interest among the best
musicians. Franz Liszt took great notice of him,
but was of opinion, that he ought to go through
a thorough course of teaching at a German school
of music. However Villoing arranged and carried
out an extensive concert tour in Holland, England,
19*
ANTON RUBINSTEIN.
Scandinavia and Germany; acknowledgments of all
sorts and money were showered on them wherever
they went.
In 1844, his mother- took him and Nicholas to
Berlin, where they both were by Meyerbeer's advice
to study under the guidance of S. W. Dehn. Anton
stayed some time in Berlin after the death of his
father in 1846, but for want of means was obliged
to give up his studies ; he went to Vienna and there
lived by giving lessons and subsequently, to Hungary,
with the flute -player Heindl, to give concerts.
When the revolution broke out in Vienna, Rubin-
stein went back to Berlin, but here circumstances w T ere
not favorable and he removed to St. Petersburg. Here
he was able to establish himself; the Princess Helene,
a great patroness and lover of music, aided him, and
appointed him as one of her musicians. In 1854, she
provided him with the means to undertake a fresh
concert tour in Europe; he visited Germany, Paris and
London. While travelling, he composed among other
things the oratorio "Paradise lost."
In 1858, he returned to St. Petersburg, was made
Imperial pianist, and after that, musical director, and
conductor of the Imperial Russian Opera. In 1861,
he was placed at the head of the new Russian Phil-
harmonic Society; in 1862, he was asked to found
the Conservatoire at St. Petersburg and to become
its Director.
In 1867, ne again commenced to travel, this time
going through the principal European towns on
his way to America. His genius was triumphant
everywhere. He was able to undertake all the
concert programmes without any other help, and the
concerts were never monotonous. In 1877, he again
undertook the direction of the St. Petersburg Conser-
vatoire, but his chief energy was devoted to concerts;
for instance, he conducted a series of Russian historical
ANTON RUBINSTEIN. 293
concerts in the larger towns in Russia, which brought
in a large fortune of which he devoted the greater
part to charitable purposes. He received the title of
"Imperial Russian Musical Director."
At the present time Anton Rubinstein lives in
and near Dresden, apparently only playing in public
in aid of charities. Unfortunately his eye -sight is
very much affected. For piano his compositions are
as follows: 5 Concertos, 5 Trios, i Quartet, i Quintet,
i Quintet with wind instruments, i Sextet, 4 Sonatas,
Variations, 6 Preludes, 2 Barcaroles, 3 Books of
"Soirees", Miscellanies, "Le bal", i Album of Popular
Dances, i Tarantella, Nocturnes, Etudes, Fantasia for
two piano, &c. Also; i Violin concerto, 2 Concertos
for violincello; then his operas are; "Kinder der
Haide", "Feramors", "Der Damon", "Die Maccabaer",
"Nero", "Kalaschinkow", "Der Papagei", "Sulamith",
"Unter Raubern", the ballet "Die Rebe", oratorios;
"Der Thurm zu Babel", "Das verlorene Paradies";
5 Symphonies, i Fantasia, 3 Characteristic Pieces
(Faust, Ivan IV., Don Quixote) ; 2 Overtures for con-
cert performance, 3 Sonatas for violin, i Romance
and Caprice, i Sonata for viola, 2 Sonatas for violin-
cello, i String Quintet, 8 String Quartets, i String
Sextet; 2 Duets, 3 Choruses for male voices, 6 songs
for mixed voices, 2 Scenes with orchestra (Hecuba
Hagar), several Serenades, Songs &c. He has also
published some youthful, works for piano: the Etude
"Undine", "Hommage a Jenny Lind", "Voix interieurs",
"Trois Melodies caracteristiques a 4 mains", "Deux
Nocturnes", as well as some vocal music.
NICHOLAS RUBINSTEIN.
BEING the younger brother of such a remarkable
character as Anton Rubinstein would necessarily
rather put Nicholas in the shade, but Russians have
been known to affirm that he was as a great a pianist
as his brother, at any rate his artistic capabilities
were as conspicuous, for the concerts that Nicholas
played at in Russia were always as much favored
as those of his brother.
But apart from their playing, which is of no
moment, as their styles are so entirely different,
Nicholas Rubinstein has gained as much distinction
as Anton for his cultivation of music, in Russia.
NICHOLAS RUBINSTEIN. 295
The education of both the brothers was similar.
Nicholas was born in Moscow in 1855, his mother
teaching* him the elements of pianoforte playing*;
and as in Anton's case, he also went to Berlin with
his mother, to study with Kullak and Dehn. After
two years, Nicholas went back to Russia with his
mother, Anton continuing* his studies in Berlin.
Nicholas' chief activity commenced in 1860, in
connection with the Russian Musical Society in Moscow;
he undertook the management of it, and conducted
the Symphony concerts organised by this society. In
1864 (from other accounts, 1866) the above mentioned
society added the founding of the Conservatoire at
Moscow, Nicholas was also made director of this in-
stitution, and retained the appointment till his death,
fulfilling his duties with zeal and intelligence.
During the war in the East, he organised 30
concerts in different towns in Russia for the benefit of
the wounded soldiers. In 1865, he gave four Russian
concerts in the Trocadero at Paris, during the ex-
hibition there.
He died in Paris on the 23 d of March 1881.
FRANZ RUMMEL
ANT entire musical family of the name of Rummel
belong to Brichenstadt in Bavaria. The head of
this family was: Christian Franz Ludwig Friedrich
Alexander, born in 1780, who led a very adventurous
life before settling down to quieter days. His master
was the Abbe Vogler; in 1806, he was made, band-
master of an infantry regiment in Nassau, and had
to march with his regiment to Spain. Later on the
Duke of Nassau made him conductor of an orchestra,
he died at Wiesbaden in 1849. His daughter Josephine,
born in Spain, became pianiste to the Court at Wies-
baden, and died in 1877. The son Joseph, born in
1818, was conductor of an orchestra to a Princess
FRANZ RUMMEL.
of Oldenburg, and lived sometimes in London, some-
times in Paris. He died in the latter city in 1880.
A second daughter, Franziska, received an education
in Paris as a singer, was engaged at the Court of
Wiesbaden and then married Schott the publisher
at Mayence.
Joseph Rummers son Franz, was born on the
n th of January 1853, * n London; his father was his
first teacher, and when he was fourteen, was sent to
Brussels to study the piano with Brassin, first taking
private lessons, and then at the Conservatoire. In
1872, he got the first prize at the examination in
pianoforte-playing, also an appointment at the Con-
servatoire in Brussels. On the 22 d of December in
the same year, he played in public for the first time
at Antwerp, a concerto by Henselt. In the following
year he played in London, first at a concert in the
Albert Hall ; his chief number being Schumann's con-
certo. On his return, he was honoured by an invitation
to play before the King and Queen of the Belgians,
and was then made professor at the Brussels Conser-
vatoire. He continued his teaching there until 1876,
but then, on Anton Rubinstein's advice, he began
to travel and gave concerts in many countries, in
Holland, Germany, France and England, playing at
the Crystal Palace in London in 1877.
In 1878, he went to America, where his success
was great ; but his concerts were interrupted by a
disaster. In 1881, he came back to London and
played again at the Crystal Palace. His repertoire
includes all the most important classical works and
many more modern compositions, like those of Rubin-
stein, Raff, Liszt, Tschaikowsky, &c.
After various concert tours he was made piano-
forte teacher at the Stern Conservatoire in Berlin.
He is a prolific writer of pianoforte music.
CAMILLE SAINT SAENS.
A CCORDING to the opinion of his countrymen, Camillle
jf\ Saint-Saens is considered a brilliant pianist, a com-
poser full of genius, and a conductor possessing
thorough and perfect control over his orchestra. He
has made a great name as pianist and composer in
foreign countries. In his compositions he shows a
preference for the classical school, combining it very
cleverly with the modern effects in music ; very severe
critics maintain that many of his works are very bizarre.
But it is certain that the composer is much in earnest
in his work, and full of the desire of the spirit of
real art, he also tries to keep free of everything
CAMILLE SAINT SAENS. 2 99
superficial, although all his compositions may not be
equally successful.
He was born in Paris, on the 9 th of October 1835,
and received a thorough musical education; Stamaty
was his master for the piano, and Benoist for the
organ, in theory and composition he was taught by
Reber, Halevy and Gounod.
In 1855, he was made organist at the church of
St. Merry in Paris, three years later he had an
appointment given him in the same capacity at the
Madeleine in Paris. At the same time he gave organ
and piano lessons at the Nadermann Institution. But
after his compositions had begun to get a hearing,
and brought him in a sufficient income, he gave up
his teaching as also his post as organist:; but he still
retains the peculiarity of writing his serious compo-
sitions in the quiet of a church. Of his works for
piano, the following must be mentioned; 4 Concertos
i suite alg6rienne, Variations and Tarantella, Marches
for four hands ; i Sextet for piano, stringed instru-
ments and trumpet (said to be a quaint arid pleasing
combination) &c. He also wrote, i Violin concerto,
1 concerto for violincello, 4 Symphonies, 4 Symphonic
Poems, 6 operas, one of which on a sacred subject,
2 Masses, i Oratorio, i Requiem, i Psalm for solo,
chorus and orchestra, motets, choral works, Canta-
tas, i Ode, Songs, Marches for orchestra &c.
EMIL SAUER.
QAUER was born at Hamburg, on the 8 th of October
C) 1862, and there received his first musical instruc-
tion in the piano from his mother, later on he went
to St. Petersburg and from 1876 to 1881, was Nicholas
Rubinstein's pupil. In 1884 he finished his studies as
pianist with Liszt.
He has played with great success in almost all
European countries, and is recognized as a most ex-
cellent executant, as well as a very good teacher,
in consequence of this he has bound himself to spend
some months every year in giving lessons at the
Conservatoire at Dresden.
DOMENICO SCARLATTI.
A LESSANDRO Scarlatti, was remarkable as a composer
7\ of oratorio and opera; and his son Domenico was
almost as remarkable with respect to the piano; he
did a great deal to promote technical study. In a
certain sense he w r as the originator of modern playing,
and his influence can be traced in Liszt, Mendelssohn
and other more modern musicians. He made much
use of the crossing of hands in playing.
His relations with Handel are interesting, they
met in 1708, at Venice, and seem to have travelled
together to Rome by way of Florence. At Rome,
DOMENICO SCARLATTI.
Cardinal Ottoboni arranged a competition between
Handel and Scarlatti, first on the harpsichord when
the result was undecided, and then on the organ,
when Handel was proclaimed victorious.
Domenico Scarlatti, was born in Naples in 1683
or 1685, and was taught partly by his father and
partly by Gasparini at Rome. The harpsichord
(Arpicordo or Harpichord) in wing shape was his
favourite instrument, but at that time in Italy pre-
ference was given to the Clavicembalo, dulcimer, with
keys added, and for examples of the old traditional style,
the organ reigned supreme. Domenico, notwithstand-
ing his masterly playing was not properly recognized
in Italy. On the other hand he attracted attention
when travelling in England and Spain. In 1720, he
had a friendly meeting with Handel in London.
He remained some time at the Court at Lisbon,
but the love of his country attracted him so strongly
that he returned to Italy in 1725.
In 1729, he was again invited to the Court in
Spain, and was then appointed music master to the
Princess of Asturias. He only went back to Naples
in 1754, and died there in the following year. He
was passionately fond of the game of hazard, but
this was the means of impoverishing his family to a
great extent.
Domenico Scarlatti, was a very prolific composer.
His pieces were all short ones. Abbe Santini possessed
349 of them, but Scarlatti only published 30 of these
pieces in Venice, as "Esercizii per Clavicembalo".
Czerny's edition in 1839, contained 300 pieces. In
Farrenc's Tresor des Pianistes (Paris, 1864) there are
130 numbers. 60 Sonatas were published by Breitkopf
& Hartel, 18 Suites, edited by von Biilow and
published by Peters.
XAVER SCHARWENKA.
SCHARWENKA's career as a pianist is devided
into two periods, when he was not engaged
in teaching; but these intervals of teaching were of
decided use in advancing his playing to a state of
greater perfection, and perhaps the example of his
elder brother Philip, who had entirely devoted himself
to theory and composition, helped to influence him in
adopting the musical profession.
Xaver was born on the 6 th January 1850, at
Samter, a little town in Polish Prussia. In early child-
hood he went to Posen with his father who settled
. 04 XAVER SCHARWENKA.
there ; the boy then went to school, and was also
taught the piano, but not as a serious study. In
1865, when his father moved to Berlin, the idea
was entertained that Xaver should study music in
earnest. Like his brother Philip, he now entered
Kullak's Conservatoire, and made rapid progress in
piano playing, so that in three years' time he was
able to accept an appointment as teacher at this same
school of music. He now had a good opportunity to
control his somewhat hasty Polish nature by confor-
ming to the stringent rules at the Conservatoire, and
he was also able to improve his playing to . a great
extent.
In 1869, he played for the first time in public,
at a concert in the Berlin Singakademie, and received
great commendation from all musicians. His playing
combined clearness and brilliancy, with great
smoothness and power. The critics ascribed a pecu-
liar quality to his playing, and he retained this at a
later date. But his work as a teacher prevented him
almost entirely from playing in public. In order to
be more at liberty, he resigned his position in 1874,
and commenced his concert-tours, and became much
appreciated. In nearly all the larger towns in
Germany he received the highest praise, his concerts
were very crowded and were of great profit to him.
In 1 88 1, he again gave up his life of travelling
and in October of that year he founded a Con-
servatoire of his own in Berlin, his brother, Albert
Becker and W. Jahns being on the teaching staff.
The rapid way this school has grown, testifies to
Xaver Scharwenka's excellent capabilities as a teacher.
He was made pianist to the Prussian Court, and
from this time turned his attention more to compo-
sition. Franz Liszt considered Scharwenka's piano
concerto in B- flat -minor a remarkable addition to
pianoforte music.
XAVER SCHARWENKA. 305
In 1891, he entrusted his Conservatoire in Berlin,
to his brother Philip and Dr. Hugo Goldschmidt, who
then combined it with Klindworth's former School of
Music. Xaver Scharwenka went to New York, and
there established the "Scharwenka Conservatoire of
Music", the management of this school now takes up
the chief part of his time. Still he travels occasionally,
giving concerts in Western America.
The compositions of his that are known, are as
follows : 2 Piano Trios, 2 Sonatas for piano, i Piano
Quartet as well as numerous shorter pianoforte pieces
in a lighter style. He has also written for violin and
violincello. Following Liszt's example, as well as
that of other composers in respect to Hungarian music,
Scharwenka made use of his national music, in his
"Polish Dances", that have become very popular.
His newest work is an opera "Mataswintha" with
words from Felix Dahn's romance "Ein Kampf um
Rom". The pianoforte score of this opera was
published by Breitkopf & Hartel.
Celebr. Pianists. 2O
ALOYS SCHMITT.
ALTHOUGH Aloys Schmitt travelled for some little
time giving concerts, and was also proved to be
a pianist of great excellence, yet his work as a
teacher and composer for the piano was of much
more consequence. -His instructive pianoforte works
are of the greatest value for teaching purposes even
to the present day.
He was born on the 26 th of August 1788, at
Erlenbach am Main, (Bavaria), where his father was
Cantor. He taught his son the elements of pianoforte
playing. Then J. A. Andre, at Offenbach, became his
ALOYS SCHMITT. 307
master for the piano and theory. After having been
heard several times in public at some of the towns
in Central Germany, he settled as a teacher in
Frankfort-on-the-Main in 1816. In 1820, he went to
Berlin, remaining there till 1824, and making a name
more especially as a composer.
In 1825, he was made pianist at the Court of
the Duke of Cambridge at Hanover ; he retained this
post until 1829, and then resumed his teaching at
Frankfort with success, continuing this work until
his death, the 25 th of July 1866.
He composed 4 pianoforte concertos, about 80
Studies, a Method of piano-playing, Sonatas, Sonatinas,
Rondos, Variations, concerted pieces ; besides these,
String Quartets, Overtures, Oratorios, Masses, Operas &c.
Not only his nephew George Aloys, (born the
2 nd February 1827 in Hanover) but also his younger
brother Jakob, both excellent pianists, were indebted
to him for their musical education. Jakob Schmitt
published Etudes, Sonatas, Variations and lighter
pieces for piano, and his son played often in public
at concerts in Germany, Belgium, France, England,
Algeria &c., in 1857, he was made conductor at
Schwerin, and had a number of pupils, one of
whom was Emma Brandes.
20*
lit
JULIUS SCHULHOFF.
SCHULHOFF spent a considerable part of his life in
playing in public, and attained great success by
his refined interpretation of modern and classical
pianoforte works. Chopin encouraged him in be-
coming a professional pianist.
J. Schulhoff was born at Prague, the 2 d August
1825. He was there taught the piano by Kisch and
Tedesco, Tomaschek being his master in theory.
In his eighteenth year he played in public, both
at Dresden and at the Gewandhaus in Leipzig. He
then went to Paris, where Chopin did a great deal for
him, and induced him to give some concerts; these
were so successful, that he was enabled to go to
JULIUS SCHULHOFF. 309
London, appearing there in public with success. He
also travelled more extensively in Spain, Russia &c.
After this he returned to Paris, resigning the
career of a pianist, and employing his time in com-
position and teaching then.
In 1870, he settled in Dresden where his mother
was living. He married there in 1878. About four
years ago he settled in Berlin and has been living
there since.
The following are a few of his compositions,
which all belong to the best style of light music:
i Sonata, 12 Etudes, a series of Caprices, Impromp-
tus, Waltzes, Mazurkas &c.
CLARA SCHUMANN.
THE immortal composer's widow, Clara Schumann,
occupies a very high position among the greatest
pianists and the best pianoforte teachers. She was
born in Leipzig, September the 13 th 1819, and
was the daughter of the well-known music -teacher
Friedrich Wieck. Both she and her sister Marie went
through a course of severe and arduous study, the
plan of which was laid down by their father. From
the fifth year of her age, she was obliged to practise
a great deal on the piano, and at six years old, owing
to her father's systematic teaching, such success
was achieved with his method, that it made his name
as a teacher, widely known. When Paganini first
heard little Clara play in Leipzig, his remark was a
CLARA SCHUMANN. ^H
prophetic one: "This child has a great future before
her and she will put many great musicians in the
shade."
When she was nine years of age she used to
play pieces by Mozart, Hummel, Beethoven &c. with
great cleverness and intelligence. In 1828, she played
at a Gewandhaus concert in Leipzig the F- minor
concerto by Chopin and Variations on a theme from
"Don Juan".
After that Wieck travelled with his daughter ;
in Weimar the veteran Goethe heard her play at a
concert, and after it was over he presented her with
a picture of himself with the following inscription :
"To the little genius and musician, Clara Wieck."
In Weimar she was only able to play at the houses
of some people of rank, because Hummel, together
with the concert director Eberwein did all they could
to prevent the child's playing with orchestra at the
Court theatre, although she played Hummers own
compositions.
At Cassel, she completely gained Spohr's good-
will ; his best pupil for singing, Wilhelmine Baldewin
took part at a concert of Clara's, and long afterwards
she used often to speak of the great charm in the
young girl's playing.
In Paris, the greatest interest was taken in her by
great musicians like Meyerbeer, Chopin, Mendelssohn,
Kalkbrenner, Wilhelmine Schroder -Devrient and
others. The latter sang at a concert which Wieck
arranged for his daughter, who was received with
immense applause. She was stimulated by this success
to make a serious study of J. S. Bach, Beethoven, Chopin,
Mendelssohn &c. and she thus learnt to play classical
as well as more modern music with equal intelligence.
On her return home, she continued her theoretical
studies with Weinlig, Kupsch and Dorn, took lessons
in singing from Mieksch and also learnt the violin
312
CLARA SCHUMANN.
with Prinz, thus becoming" generally educated in
music. All the greatest musicians in Germany who
heard her, were highly interested in her career. In
1835, in Leipzig, Mendelssohn and Moscheles played
Bach's Triple Concerto with her. After she had
appeared in Vienna in 1837, sne received the title of
Imperial pianiste, and Franz Liszt who heard her play
at that time, and who had not himself reached the
zenith of his artistic career, spoke thus of her : "I was
enchanted with her talent, she has great capabilities,
deep, genuine feeling, and she shows great elevation
of mind." Her playing combined all the qualities
necessary for a fine performance; great intelligence
and feeling, power, fire and tenderness ; yet never
sought after effect alone.
Robert Schumann had known her well long be-
fore he married her; he wrote about her and talked
of her with great enthusiasm, which awakened in her,
gratitude and love, such a love that proved capable of
overcoming the greatest difficulties. There were many
obstacles in the way, for Friedrich Wieck from purely
selfish motives was very strongly opposed to the
marriage. Clara had to appeal to a Court of justice
against her father, and she was fully justified in the
course she followed, as Wieck had deserted her
mother in order to marry again. In September 1840,
Clara was married to Robert Schumann, and the
marriage proved to be a decidedly happy one. They
were perfectly in harmony with each other; Clara
interpreted her gifted husband's compositions and he
was stimulated to new creations by his life of love
and happiness; it was thus his most beautiful songs
were produced. Clara was at the same time a
thoroughly good manager, and kept her husband
free of all household cares.
It is universally known, that after Schumann had
been made musical director at Diisseldorf in 1850, his
CLARA SCHUMANN.
nervous system gave way through over-work, and in
1854, this developed into complete insanity. The
happiness of their married life thus came to an end;
but Clara remained with her suffering husband until
1856, when his eyes were closed for ever in death.
She then went to Berlin, where her mother, formerly
separated from Friedrich Wieck, was now married to
Bargiel; from here Clara commenced her concert-tours
again, and during that time she introduced her hus-
band's works to public notice. She played with equal
finish the works of Chopin and Mendelssohn, as also
those of great classical composers. As time went on
she acquired an intellectual style of playing which
was peculiarly her own.
In 1878, she was made first teacher of the piano-
forte at the Hoch Conservatoire at Frankfort- on -the-
Main, and she has retained this position up to the
present day, her inimitable teaching qualities being
thoroughly acknowledged.
Clara Schumann has also been assiduous as a
composer, for piano, she has written a concerto (op. 7),
a Trio, Preludes and Fugues, Variations on a theme
by Robert Schumann, also Romances for piano and
violin, songs, &c. Besides this, she revised her hus-
band's works, also the Finger Exercises from Czerny's
Pianoforte School.
ISIDOR SEISS.
THE excellent course of instruction by means of
which Seiss was taught, has placed him in the
foremost rank of modern teachers, and among the
most notable pianists. Combined with his natural
gifts he has a fine feeling for true art, and has attrac-
ted notice as a composer of much taste.
He was born in Dresden on the 2 7 th of December,
1840, being the son of a musician there; his father
gave him his first instruction, and then Friedrich
Wieck and L. Niedermeyer were his pianoforte
teachers, Julius Otto and later on C. Riccius, laying
the foundation of his knowledge in theory; these
ISIDOR SEISS.
theoretical studies being continued from 1859 to 1860,
under the guidance of one of the greatest teachers
of counterpoint, Moritz Hauptmann.
At that time Seiss brought out some of his first
compositions, and in 1 86 1 , he travelled on concert-tours
to several of the larger towns in Germany. The
critics always praised the refinement and smoothness
of his execution, also his endeavours to make the
composer's meaning perfectly clear, and to give a
faithful rendering, down to the smallest detail of every
work he performed. His preference was given to
classical composers, and then to Schumann, Mendelssohn,
Chopin, Brahms, and Rubinstein.
On passing through Cologne on one of his tours,
when Ferdinand Hiller heard him play, he at once
engaged him to teach at the Conservatoire. Seiss
occupies this position up to the present time and in
1878, he was formally appointed professor. A number
of excellent pupils are indebted to him for their
musical cultivation.
As regards teaching purposes, Seiss's compositions
for piano are of great value. He has gained much
merit by his excellent arrangement of Haydn's Quar-
tets for the piano, and of Beethoven's German Dances,
a new edition of C. M. von Weber's Concerto in
E-flat, as well as some of his own compositions : Sona-
tinas, Bravoura Studies, Preludes, a Toccata, &c.
GIOVANNI SGAMBATI.
QGAMBATI, a composer of the modern Italian school,
O has been strongly influenced in composition by
two great men : Liszt and Richard Wagner, and he is
undoubtedly one of the first Italian musicians of the
present day.
He was born in Rome on May the i8 th 1843,
and was the son of a lawyer, his mother being a
native of England. As he showed great inclination
for music in his early childhood and also an aptitude
for the piano, it was decided that he should take up
music as a profession, and Barberi, Natalucci and
Aldega gave him instruction.
Fortunately for him, he was pursuing his studies
GIOVANNI SGAMBATI.
during Liszt's long residence in Rome, and it thus
came about that the latter undertook to give him
lessons. He was able to appear as a pianist in 1860,
and his first composition, a pianoforte quartet, was
successfully performed in 1866. In the same year in
Rome, he also conducted Liszt's Dante Symphony
and Beethoven's Eroica Symphony.
Since then he has become known during his
concert- tours in Italy, as also in Germany, France,
England &c. In 1877, he was appointed first piano-
forte teacher at the Music School of the Cecilia Aca-
demy in Rome. Richard Wagner had long been
interested in him and advanced his cause as a com-
poser, by inducing him to publish some of his best
pianoforte compositions, as well as Symphonies, String
Quartets &c.
ALEXANDER SILOTI.
SILOTI, who is the possessor of very remarkable
talents, is considered by his Russian compatriots
to be one of the very best of their modern pianists.
He has as much execution as any performer of
the present day, and is also known to be a very
good musician. His playing of Liszt's music is splendid,
and he is looked on as one of Liszt's most remarkable
pupils..
He has brought himself advantageously into notice
in Germany, and since 1883, again in Leipzig, by the
elegance, refinement and brilliancy of his performance
of the most difficult compositions. At his last appear-
ance in Leipzig, he created a sensation by his masterly
and spirited performance of Edward Grieg's brilliant
ALEXANDER SILOTI.
Concerto in A-minor. He was born on the io th of
October 1863, near Charkow (South Russia) on his
father's estate: from 1875 to 1881, he was at the
Conservatoire in Moscow, and was taught there by
Swereff, Nicholas Rubinstein and Tschaikowsky, and
from 1883 until 1886, he was a pupil of Liszt's.
He has played much in public since 1880, as
also lately at a concert of the Russian Imperial
Musical Society in St. Petersburg", since which time
he has travelled extensively.
Quite lately, in 1893, he was offered an appoint-
ment as professor of the pianoforte at the Conser-
vatoire at St. Petersburg, but has refused the post,
in order to be more at liberty as pianist and teacher ;
he resides mostly in Paris.
BERNHARD STAVENHAGEN.
QTAVENHAGEN takes high rank among those pianists
1^ of modern times, who, in consequence of earnest
study are able to combine all the qualities necessary
for an executant with the true cultivation of good
music. He has been received on the continent, also
in England, with decided approbation, and has been
singled out for many distinctions which could only be
awarded to musicians of the best reputation.
He is one of the youngest among musicians, and
was born at Greiz 1872, he received his musical
education in Berlin with Friedrich Kiel and Ernst
BERNHARD STAVENHAGEN. 321
Rudorff. After this he had lessons from Liszt, and
as one of his last pupils, Liszt helped him on and
showed him special favour. For the last two years
of Liszt's life, Stavenhagen accompanied him every-
where; to Rome, Pesth, Paris, London and lastly to
Bayreuth, where he was with him at the time of his
death.
In 1880, Stavenhagen had already received the
Mendelssohn prize for executive music. In 1890, he
was made pianist at the Weimar Ducal Court, and
the Society of Music in Edinburgh elected him one
of their members.
Celebr. Pianists. 21
DANIEL STEIBELT.
DANIEL Steibelt, who was much thought of as a
pianist about one hundred years ago, was a re-
markable genius, but his mode of life in many
respects was not well-regulated such an example
being the reverse of encouraging. The date of his
birth is quite uncertain : some say, he was born in
1 755> others again 1756, while Fetis fixes, the date
as 1765. His father was a pianoforte maker in Berlin,
and taught him the elements of piano playing. His
musical talent was noticeable early in life, and the
Crown Prince, a great lover of music, (afterwards
DANIEL STEIBELT. 333
King Frederick William II) took an interest in him,
so much so, that by his means, Kirnberger, who at
that time directed the music at the Court in Berlin,
instructed Steibelt in piano and theory. It is not
known how long and to what extent this instruction
was continued, but there was certainly no trace of
Kirnberger's pedantic method to be found in Steibelt' s
style of playing and composition. The musical life in
Berlin during Frederick the Great's despotic reign,
seems rather to have had an undesirable influence
on Steibelt's peculiarities, producing a bad effect
throughout his life.
It has also been proved that young Steibelt
studied the technical part of the pianoforte very
thoroughly at his father's manufactory, and was able
to exhibit the perfections of the instruments to the
best advantage.
In the later years of his life, he has teen found
fault with on account of his unpolished manners as
well as his unsteadiness ; this roughness of behaviour
may partly be explained by the fact, that Steibelt
was obliged to enter the Prussian army, which was
strongly imbued with much that was barbarous and
servile. About 1784, when he was able to leave the
army, it appeared to him like a release from bondage,
as he then led a restless, roving life. He gave con-
certs in several large towns in Germany: Dresden,
Hanover, Munich, Waldheim &c., and achieved great
success. It is not certain when he first appeared
in Paris, but it must have been before the outbreak
of the Revolution, as he figured at Louis XVI's gay
Court and was very much favoured by Marie Antoinette.
The latter arranged a competition between him and
Hermann, a pianist of note at that time, and who had
taken Seb. Bach as his model; Steibelt was declared
the greater of the two pianists. His manners which
were then anything but those of a courtier, were
21*
324
DANIEL STEIBELT.
overlooked at this pleasure -loving Court. He had
many aristocratic pupils. He imposed upon the
publisher Boyer, having sold him as new, some of
his successful compositions that had already been
published in Munich.
Induced by Count Segur who had written a
libretto after Shakespeare's Romeo and Juliet, he
commenced to write the music for it. The Academy
refused this opera, but a performance of it took place
in 1793, at the Theatre Feydeau, and was a success,
notwithstanding much unfavourable criticism. This
opera was performed there 19 times; at the Opera
Comique 2 2 times ; and in Stockholm there were
fifteen performances of it. If Steibelt had led a
quieter life he would have become very great, but
he could not control his tendency to disorderly con-
duct, and finally had to leave Paris, owing to many
wild adventures, as also on account of debts incurred
there. In 1796, he went to London, his rivals there
being Dussek, Clementi, Cramer, &c. ; but he was
received with favour, more as a composer than as a
pianist; his pianoforte concerto in C, No. 3 with the
Storm Rondo and which was first played at Salomon's
concert in 1798, became the favorite piece of the season.
In 1799, he travelled on the continent, and was
enthusiastically received at Dresden and Hamburg;
in Berlin and Prague, he made but little impression
at the concerts ; in Vienna he was compared to
Beethoven, but there is no doubt that he was inferior.
He now arranged a French translation of
Haydn's Creation; this work brought him in at least
10,000 Marks, and at the performance in Paris in
1800, at Christmas time, there was not a seat to be
had, the success being very great.
Steibelt now lived alternately in London and Paris,
he was mostly in a good position and much sought
after; he played at concerts and wrote the music
DANIEL STEIBELT. 325
for two Ballets for the Haymarket Theatre. In 1806,
his festival cantata, written to celebrate the battle of
Austerlitz, made a great impression in London. But
the life he led in London again forced him to leave
that city, as he had been obliged to quit Paris; he
went to Frankfort, and then to Leipzig, where his
impositions in re-selling his own compositions already
published became known; then he went to Breslau,
and Warsaw, and about the year 1 809, to St. Petersburg.
Here he was fortunate enough to receive an appoint-
ment for life as Director of the French Opera, thus
taking Boieldieu's place who went to Paris. Steibelt's
wanderings now came to an end, and this good position
steadied him for the future. Until 1814, he played
in public; his performance was weak in slow move-
ments, but in quick movements his playing was great,
and always correct. He exaggerated in the use of
the pedal, but his playing was attractive for the
moment. At his death in 1823, there was accorded
him a pompous funeral, and his friends headed by
the Governor of St. Petersburg organised a benefit
concert for his family.
Steibelt has written many larger and smaller
pianoforte works, partly with accompaniment of other
instruments, but these compositions are mostly for-
gotten. He also wrote 60 violin Sonatas, 40 Sonatas
for harp and piano, several overtures, and four or five
operas, that were all performed, but with the excep-
tion of "Romeo and Juliet" none of them were heard
of afterwards.
WILHELMINE SZARVADY.
rpms distinguished pianiste is more universally known
1 by her maiden name Clauss. *On the numerous
concert-tours she has made, she was always favorably
received by the public, on account of her brilliant
execution, her refined feeling and tasteful interpre-
tation.
She was the daughter of a merchant and was
born at Prague on the 13 th of December 1834, and
as she showed aptitude and taste for music in early
childhood, she was placed under the excellent tuition
of Professor Proksch, who gave her lessons that
fitted her for the career of a pianiste.
In 1849, accompanied by her mother, she made
WILHELMINE SZARVADY. 327
her first concert-tour, which proved such a success
that Wilhelmine Clauss was often able to re-visit the
principal towns on the continent, and always played
to crowded audiences. The critics in Vienna, Berlin,
Leipzig &c. praised her playing very highly.
In 1852, she played for the first time in Paris,
at a concert got up by Berlioz, where she introduced
Beethoven's first pianoforte concerto and had a
brilliant success. She made a point of including works
by Schumann and Liszt, as well as classical com-
positions in her concert programmes.
Her mother having died in Paris, Wilhelmine
discontinued her performances for a year; she then
went for the second time to South Germany, Hungary,
and later on to London. She married the author,
Fr. Syarvady and settled permanently in Paris, but
since that time has given proofs of still greater per-
fection and knowledge of classical music in her per-
formances in public. She has further shewn this by
editing and performing a concerto by Philip Emanuel
Bach, which had not previously been published, and
which she arranged exclusively for the piano
WILHELM TAUBERT.
WILHELM Taubert was a devoted follower of
Mendelssohn's, being a friend and colleague of
his, and he faithfully upheld the cause of classical
music. From this point of view and in his own capa-
city as pianist and composer, he has not been sur-
passed. Everything was bad in his eyes if it did
not advance the pursuit of real art in any way. He
was eminently successful during his extensive concert-
tours in Germany, Holland, England, Scotland, &c.,
WILHELM TAUBERT. 329
by his conscientious and delightful rendering of
classical works, as also by his very careful execution.
Favored by fortune, he has received more marks of
distinction that many other musician of equal talent.
He was the son of a military official, and was
born at Berlin on the 23 d of March 1811; although
the times were rather troubled, Taubert's parents
were in easy circumstances, so that his early life was
a peaceful one. Neithardt, Bernhard Klein and
L. Berger taught him music; he and Mendelssohn at
the same time finished studying the pianoforte with
Berger, who was an excellent master. Taubert also
attended the University in Berlin in order to extend
his knowledge by attending those lectures that dealt
chiefly with the science of music.
When he was twenty years of age, he was made
director of the Court concerts. In 1836, he commenced
a series of con cert- tours, and in 1839, he was made
a regular member of the Academy of Arts in Berlin.
In 1841, he was obliged to give up concert- tours,
having been appointed conductor at the Royal Opera
House in Berlin. When Mendelssohn was persuaded
to leave Leipzig again and go to Berlin, Taubert and
he organised together a series of Symphony concerts
in the winter of 1842. These concerts were a great
source of pleasure to him, as they gave him a good
opportunity of proving his enthusiasm for classical
music.
In 1845, the title of Hofkapellmeister (Conductor
to the Court) was bestowed upon him. In 1869, he
became principal director, and in 1882, was appointed
President of the musical branch of the Academy of
Arts. During the last twenty years of his life, he
was only heard as pianist on special occasions, either
to play some classical concerto, or to accompany.
Universally esteemed and beloved, he lived to
a good age and died on the 7 th of January 1891.
330 WILHELM TAUBERT.
He has written a number of melodious pieces for
the piano; among them are 6 Sonatas; also Sym-
phonies, overtures, choral works, chamber music &c.
In his very numerous vocal compositions, the Child-
ren's Songs (numbering about 150 in 12 collections)
have especially become widely popular, and are in-
cluded in nearly all books for singing in German
schools. Other works to be enumerated are as follows:
Choruses to "Medea'', Music to Shakespeare's
"Tempest" and "Macbeth", to Schiller's "Phadra", to
Tieck's "Blaubart" and "Joggeli", and also three
operas : "Die Kirmess", "Der Zigeuner" and "Marquis
und Dieb", but they have not had any lasting success.
CARL TAUSIG.
rpAUSIG was one of the most highly-gifted of modern
J[ pianists, and it is much to be regretted that he
was removed so early when at the zenith of his artistic
career. During the process of development which in
Tausig's case was uncommonly interesting and in-
structive, he finally was able to attain to a high degree
of clearness and self-possession ; and this undoubtedly
made him the most perfect interpreter of pianoforte
compositions. As regards execution, he reached the
same height that his master Franz Liszt had attained
before him; no one of the modern school has
surpassed him, and although Anton Rubinstein is
332 CARL TAUSIG.
an incomparable pianist, yet his playing is not
always faultless which never occurred to Tausig
notwithstanding the magical brilliancy of his execution.
He was born either in or near Warsaw on the
4 th of November 1841; his father taught him the
piano until he was fourteen, then he had the instruc-
tion which is considered the best for pianoforte playing
of the present day; namely that of Franz Liszt, and
this talented pupil developed marvellously under
such guidance. Between Tausig and Liszt there
existed singular relations ; the former had an un-
bounded admiration for Liszt's playing, for after
having benefited by his teaching, he said : "Compared
to Liszt we are all worth nothing!" In talking of
his pupil, Liszt was heard to say: "Tausig is one
of my best pupils, he has surpassed me in his playing
which is full of deep feeling; he has great inborn
musical talent/'
When Tausig appeared for the first time in
public towards the end of the fifties, his execution
was quite extraordinary, his playing was so fiery and
impassioned, that he aroused great enthusiasm as well
as violent censure among the critics, particularly in
Vienna and Berlin. Tausig did not trouble himself about
the criticisms, and continued his triumphal progress to
all those towns where he was subsequently heard at
concerts. The public were in his favour. A young
genius will not allow itself to be crushed by cold
criticism, it passes through certain phases, of which
the earlier ones are perhaps the most valuable, and
at any rate they make the most impression.
However the change in Tausig came about by
itself, he was no mere mechanical imitator, but rather
a thinker, who knew how to govern himself. After
many successful concert-tours, staying some time in
Dresden, Vienna and Berlin, he took advantage of
the name he had made for himself, and established
CARL TAUSIG. 33 3
an "Academy for the higher development of pianoforte
playing" in 1865, in Berlin; there seems to be a
superfluity of words in this title, because an Academy
is understood to comprise the development of playing.
Tausig appears to have shown a remarkable
aptitude for teaching in this institution, and his
marvellous execution was an excellent example for
the more advanced pupils. Moreover the young
master kept on improving himself by further study
while imparting instruction to others, and he was
able thus, after several repeated appearances in
public, to make friends of his former opponents. It
was said, that his concerts and musical soirees were
like festivals to the music-loving public.
In 1870, his Academy was given up; but it was
not to be wondered at there was no need for it;
the unfinished piano player requires systematic
teaching, such as can be found at the Conservatoires,
but the finished player does not stand in need of an
"Academy", as he can school himself.
Tausig began to travel again, and again created a
sensation. But for some years the gifted pianist had
become an unhappy and melancholy man. Many
people said this change in him was due to philoso-
phical researches, and others again said, it was on
account of his marriage with the pianiste Seraphine
Vrabely, from whom he very shortly separated.
A friend of Tausig's in Berlin, Count Karl von
Krockow relates, that Tausig was much troubled by
many lady admirers, that he always avoided them
with a certain shyness, and always refused to speak
of his marriage. His freshness of intellect seemed to
forsake him from that time. When meeting with a
friend at Berlin some years before his death, he said:
,,I am becoming an old man", at the same time showing
that the hair on his temples had become perfectly
white. It has been further asserted that already at
CARL TAUSIG.
that time Tausig prophesied his early death with
great certainty, his whole outward appearance being
that of an old man, though young in years.
In the summer of 1871, he felt very ill, and
decided to go to Ragaz for his health. He travelled
by way of Leipzig, in order to meet Liszt. He arrived
there on the 2 A of July, and went immediately to a
sacred concert given by the Riedel Verein, two of
Liszt's works being performed. After the concert
was over he went to pass an hour or two sociably
with Liszt and some other friends, but the following
night he fell seriously ill with typhus fever and was
taken to the hospital. He endured tortures with the
fever for fourteen days. Countess Krockow was at his
bed-side; in certain memoirs, a Russian lady, Countess
Moukhanoff-Nesselrode, a former admirer is mentioned
as Tausig's "devoted nurse"; this is however contra-
dicted by Count Krockow, who describes the following
scene : "My wife just entered the sick-room as the
hospital nurse was trying to soothe the patient in his
excitement. He lay on his couch with a troubled
countenance and closed eyes, and when he heard a
well-known voice addressing him, he asked (being
very short-sighted) : "Are we alone ?" When he was
assured no one was present, he said: "Thank God!
Never leave me alone again with Madame von
Moukhanoff, she may mean very well towards me,
but she has tormented me very much with over-
zealous attempts to convert me." After the sick man
had quieted down a little, he stretched his hand out
to my wife saying: "You are a true friend to me,
you know and understand my thoughts and opinions,
I beg of you not to leave me!"
He died on the i7 th of July 1871, and his remains
were brought to Berlin.
Tausig arranged Wagner's operas for the piano,
also Clementi's well-known "Gradus ad Parnassum",
CARL TAUSIG.
335
Studies, that were published after his death by Heinrich
Ehrlich. He composed several short pianoforte pieces,
published the "Soirees de Vienne" and also edited
several classical pianoforte works.
SIGISMUND THALBERG.
AS an exponent of outward effects and of the most
jf\ refined execution, Thalberg was one of the most
successful pianists of modern times. His appearance
in the musical world was like that of a meteor,
vanishing again without leaving any light behind.
But he is universally credited with having done away
with all that was antiquated in pianoforte playing by
his method and style.
Musical historians of note agreed that until 1830,
all living pianists, (Moscheles being of the number)
used to place the principal elements of pianoforte
music side by side: namely, harmony and melody on
SIGISMUND THALBERG.
337
the one hand and groups of passages on the other.
Those who performed Mozart's and Beethoven's works
as well as other important compositions, had to sub-
ordinate their talents to the composer's intentions,
but a brilliant performance had thus to be sacrificed.
New ideas appeared with the cultivation of technical
work. Clementi introduced effects into his playing,
but Thalberg was in reality the representative of
this newer system ; he carried out the plan of com-
bining the melody with the groups of passages
in such a manner, that the technical part of his
playing took the form of an accompaniment in such
variety, that the greatest astonishment was created
not only in this respect, but also by the powerful
tone which he obtained from the instrument by the
clever use of the pedal. At first musical con-
noisseurs thought that these innovations would
present insurmountable difficulties, but on careful
examination it was found, that performers with
moderate executive ability were able to carry out
Thalberg's method without any great difficulty, his
compositions requiring a knowledge of this method.
It was also said: that Thalberg understood the art
of composing so as to make his works appear more
difficult than they really were. His Etudes were
easier than those by Chopin and Moscheles, but they
sounded so brilliant that it seemed as if they had
required very hard work in order to perform them.
The only thing Thalberg had in view was to produce
a brilliant effect, and he knew how to attain this
object in a marvellous manner.
Catalani made the following remark to Henriette
Sontag: "Thalberg's genre is not great, but he is
great in his own genre."
His fingers were very wonderful, the foremost
joints lay like small soft cushions on the keys, his
legato playing being thus very beautiful. Liszt in
Celebr. Pianists. 22
33 8 SIGISMUND THALBERG.
speaking of this said : "Thalberg is the only pianist
who can play the violin on the piano."
It is interesting to hear some more opinions of
musicians on this subject. Anton Rubinstein said :
"Liszt was a god at the piano, Thalberg a shop-
keeper". Mendelssohn gave utterance to the following
opinions about the "heathenish scandal" that was
occasioned in Leipzig when Liszt played there : he
declared that Thalberg's quiet self-control was to be
more valued than his actual playing. Chopin agreed
in this also. When Liszt played, his hair flew about
and his body moved very much, and therefore Chopin
said of him, that when he was not able to charm the
public, he could at least astonish the people to a
very great degree.
Thalberg was wonderfully quiet at the piano;
excepting the movement of his fingers and elbows,
he was perfectly still, even in the most difficult
passages.
Thalberg knew how to delight his audience, and
the ladies in particular were very enthusiastic about
him, so that Schumann (of whom Thalberg was a
great admirer) made the following remarks on the
subject: "If any one were to criticize Thalberg, all
the girls in Germany, France and other European
countries would rise up in arms. An army of young
women declare, that he is a god when he begins to
play."
Proofs of this feminine enthusiasm were often
heard of. If Thalberg left a glove lying on the
piano, the ladies would pounce on it like furies, tear
the glove to pieces, keeping the bits as relics. But
Thalberg was a very handsome man into the bargain,
fine -looking and gallant.
He was the natural son of a wealthy Austrian
Prince, Dietrichstein, and of a lady of rank. He was
born at Geneva in 1812, on the y th of January, 1812
SIGISMUND THALBERG.
and passed the early years of his life in that town
with his mother. He was then sent to Vienna, where
his father who was proud of him, placed him under
Hummel and Sechter's tuition. Later on Thalberg
refused to allow he had learnt anything- from either
of these' masters, he insisted that the first valuable
teaching he ever received was from the first bassoon-
player in the Vienna orchestra.
When he was fifteen, he was heard in public for
the first time, and even then attracted the attention
and interest of all connoisseurs and lovers of music,
and charming the feminine world. Soon after that,
he published his first composition, but later on he
considered it worthless. In 1830, he began his first
more important concert-tour in Germany, playing his
first pianoforte concerto op. 5 ; of this concerto it
was said that "the composer still adhered to the
classical form introduced by Mozart and Beethoven
and carried on by Dussek, Kalkbrenner, Hummel and
others".
Thalberg's triumphs and successes in later years
were very great and quite unique in a way, in 1835
in Paris, in Belgium. Holland, England and Russia; in
the last-named country in 1839, he acquired fortunes
by his playing. Then he made an unfortunate attempt
to compose an opera "Florinde", libretto by Scribe.
It was performed at the Italian Opera in London
with the assistance of the very best vocalists:
Cruvelli, Calzolari, Lablache (whose daughter Thalberg
afterwards married) Sims Reeves, Coletti, &c., but
the work did not succeed. Nitwithstanding this,
Thalberg wrote another opera: "Cristina di Suezia",
which was also a failure.
Thalberg made extensive concert - tours that
brought him in thousands, he went to Brazil and
North America, returning later on to Brazil. Paris
and London were great sources of revenue to him.
22*
SIGISMUND THALBERG.
In 1858, he bought a charming villa with garden and
vineyard at Posilippo near Naples, and lived there,
absenting himself for a shorter or longer period at a
time, but from 1863, without any interruption until
his death on the 26 th April 1871.
Thalberg has composed 83 shorter and longer
pianoforte pieces : Valses-Caprices, Fantasias, Diver-
tissements, Variations on operatic airs, Nocturnes,
Andantes, Impromptus, Etudes, Sonatas, Marches &c.;
at the present day a few of these are still popular,
without possessing great musical value.
WILLI THERN.
IN the history of music it very seldom happens that
the genius of the father descends to the children,
the sons are never famous Jf the father has become
celebrated; although it often happens that the sons
surpass the father.
This is the case with Karl Them and his sons
Willi and Louis. The father was a master of pianoforte
and composition at the Conservatoire in Pesth, he
was a very good musician, and a very popular com-
poser for the piano in Hungary. Greatly to his delight,
his two sons who were very talented took up the
pianist's career; they were both so equal in their
342 WILLI THERN.
playing, that they are now called the Siamese Twins
of the pianoforte ; this is not a mere nick-name*, but
it must be understood in the full sense of the word.
There is not much difference in age between them
(Willi was born on the 22 d of June 1847 at Ofen),
their tastes and inclinations were very similar, which
made their education an easy matter for their father.
As soon as one of them could play a piece thoroughly
well, the other would never rest until he did the same.
They would accompany each other sometimes, or
both play the same piece at once on two pianos.
Under their father's careful supervision, the two
brothers developed a marvellous unisono in playing,
which is thoroughly astonishing to all who hear them.
When Karl Them thought his sons had studied
long enough, he resigned his own position in 1864,
and travelled with them. But being a capable
musician himself, he soon realized that with the
present modern requirements, it was not possible
to become justly famous without very thorough
teaching; he therefore placed his sons for another
year and a half at the Leipzig Conservatoire, where
they completed their studies under Moscheles.
After having gained the decided favour of the
public and the press at the Leipzig Gewandhaus,
they commenced their more important concert- tours
in 1866, and thus legitimately acquired a universal
reputation.
LOUIS THERN.
E)UIS Them who was born on the i8 th December
1848 at Pesth, showed the same taste and love
for music in childhood as his brother, they were
thoroughly united in everything, and attained equal
perfection in their art.
In Leipzig, after they had both thoroughly im-
bibed and entered into the spirit of their work, they
understood each other so completely in their playing,
their execution being well up to the modern standard,
that it always sounded as if one pianist was per-
forming instead of two. It was phenomenal, but there
344 LOUIS THERN.
was more in the playing than mere practice. They
created great enthusiasm everywhere by their mar-
vellous unity of playing. From Germany they went
to Brussels, then to Paris, where they made a great
furore at concerts of their own, and by playing in
the salons of musicians and artists: Rossini, Berlioz,
Vieuxtemps, Szarvady, also men of note and influence,
Prince Metternich, Baron Erlanger &c.
The two brothers then went to England, played
with immense success at the Crystal Palace in London,
the Musical Union, the Philharmonic concerts, Leslie's
concerts, and at Liverpool at the Philharmonic con-
certs returning there each year.
In Germany they played at concerts of their
own, also at the best soirees in Berlin, Weimar,
Altenburg, Dresden &c.
Their performance of the works of Bach, Mozart,
Beethoven, Liszt and other modern composers, display
perfect execution with a clear and well-defined inter-
pretation.
JOHANN WENZEL TOMASCHEK.
ALTHOUGH Tomaschek did not, strictly speaking, follow
J\. the career of a pianist, still he was an excellent
organist and pianoforte player, and became known by
his influence on the development of musical life, also by
several of his pupils, who afterwards became celebrated.
He was born at Skutch (Bohemia) on the iy th of
April 1774, and in his youth received two years in-
struction in singing and the violin from the choir-
master Wolf at Chrudim. In 1787, he was placed in
the convent school at Iglau for studies in science.
He had no other master for music, and taught himself
for nine years, with the help of books by Marpurg,
Kirnberger, Mattheson, Turk, &c. He thus became
a finished pianist and a skilful composer.
While studying law at the University of Prague,
346 JOHANN WENZEL TOMASCHEK.
he shewed a greater taste for music than anything else.
He gave piano lessons, and a young Count Buquoy
who was one of his pupils, became his patron and
made it possible for him to devote himself to the
musical profession only. He became composer to the
Count, received a considerable salary and took up
his abode with him. Even later, when Tomaschek
married the sister of the well-known Austrian poet
Egon Ebert, he retained the benefit of the Count's
protection as also his independent position.
His house in Prague was the centre of musical
life at that time. He was called "the Schiller of
Music", which shows how highly he was thought of,
The following were among his most important pupils :
Dreyschock, Schulhoif, Kuhe, Tedesco, Worziszek.
Wiirfel &c.
He died on the 3 d of April 1850.
His compositions are 1 10 in number. Among
them for piano there are, 5 Sonatas, i Concerto,
Dithyrambe op. 65 and Eclogues op. 35, 39, 43, 51,
57, 66, 83, all these pieces are worth the attention of
pianists; besides these compositions, Tomaschek wrote
1 opera, i Symphony, i String Quartet, i Trio,
2 Requiems, i Mass, Hymns, Cantatas, Songs &c.
KARL MARIA VON WEBER.
VERY few of those who derive great pleasure and
delight from Weber's music, have an idea of the
troubled life he led and what vicissitudes he went
through, from the depths of misery to final recognition.
Franz Anton Weber was a good violinist, also viola
and bass player, and of all his children, Karl Maria
was the one of least promise. The sons and daughters
of Franz A. Weber's first marriage distinguished them-
selves in one or other branch of art; the two elder
sons became very good musicians; the father always
hoped that one of his family would be a prodigy like
34 8 KARL MARIA VON WEBER.
Mozart, and when he had a son born to him by his
second wife, the name Karl Maria being* given to the
child, it was just this delicate and sensitive boy that
showed so little taste for music. He was scoffed at
by all the family, and his eldest brother Fritz used
often to say to him: "Karl, you may be great some
day, but you will never be a musician!"
The boy, with the other children of the family,
received their musical education from their father.
Karl was also taught partly by his elder brothers,
but he made so little progress that his father thought
it would be better to make a painter or a sculptor
of him. But all these attempts were unsuccessful
and the boy was reproached with: "Karl, you are
utterly without talent!"
His young life was anything but peaceful and
regular. A year after his birth (at Eutin on the
i8 th of December 1786) his father commenced a
wandering life as director of a theatrical company,
having already tried many professions, that of clerk,
officer, band-master, musical director, &c. The com-
pany in question consisted really of members of his
family; his wife Genoveva, who was then barely
nineteen, was a good singer, and he and all the
children by his first wife, played and sang at many
performances. The company was not at all a poor
one, as they gave performances in several large
towns, as Meiningen, Kassel, Niirnberg, Erlangen,
Augsburg, Vienna &c. In 1794, after much travelling
about, the Webers seemed to be on the point of
settling for some time in Weimar, in consequence of
Frau Weber's being engaged at the theatre there;
but from some unknown cause this engagement soon
came to an end, and the travelling was renewed.
In 1796, the family remained for some time at
Hildburghausen ; this was so far favorable to Karl
Maria who was then ten years old, that he was able
KARL MARIA VON WEBER.
349
to have piano lessons from an oboe-player, Heuschkel
by name.
The family then stayed at Salzburg; during their
wanderings in 1797, Michael Haydn, who was
there at the time (as he held an appointment in the
Bishop's orchestra), gave young Weber instruction
in composition. In 1798, six short Fugues, op. i by
Weber were brought out, dedicated to Michael Haydn.
At Salzburg, the organist Kalcher taught him
theory, and Valesi gave him singing lessons. In the
meantime the family arrived in Munich in 1800; and
here young Weber began to study the practical use
of lithography, invented by Sennefelder; he soon made
such progress that he was able to lithograph his
Variations for piano, Op. 2.
The mode of travelling at that time was very
difficult and particularly so for the Webers, who had
to make many long journeys. In that same year,
1800, they appeared in Freiburg (Saxony), and Weber
wanted to institude a school of lithography here, but
it was not successful, and the family moved on to
Salzburg again in 1801; Michael Haydn was again
Weber's master here for some time. He then went to
Hamburg in 1802, to Augsburg in 1803, and from
there to Vienna. Joseph Haydn declined to teach him,
not considering him a genius, but it was at this time
that Karl Maria wrote his first youthful opera : "Das
Waldmadchen", which is said to have been performed
at Vienna, Prague, Chemnitz, St. Petersburg &c.
The instruction which he then received from
Abbe Vogler cannot have lasted long, as in the
winter of 1804 1805, he became conductor at the
theatre in Breslau. There is an inscription on a
house in Breslau in the Taschenstrasse No. 3 1 : "Karl
Maria von Weber lived in this house in 1805." The
old house does not exist any longer, but the tablet
KARL MARIA YON WEBER.
with inscription has been replaced on the building
erected on the same site.
In 1806, Weber gave up his appointment in
Breslau for the position of manager of music to
Prince Eugene of Wiirttemberg in Karlsruhe (Silesia).
But Weber did not retain this post very long either,
on account of Napoleon's impending war with Prussia,
when Prince Eugene was summoned to the army.
But he sent the Weber family to Stuttgart, where
young Weber became secretary to Prince Ludwig,
and also gave music lessons to the Prince's daughters.
Spohr gives an account of this, when speaking
of the extraordinary things that happened at a
concert which he gave at Court, and he also
describes the despotic government which oppressed
Wiirttemberg at that time: "I got to know the
famous Karl Maria von Weber for the first time
at Stuttgart, and I remained friends with him until
his death. Weber was then secretary to a Prince of
Wiirttemberg, and only cultivated music for pleasure.
But this did not prevent him from applying himself
industriously to composition, and I remember very
well hearing specimens of his work at that time,
some parts of his opera "The Ruler of the Spirits".
In dramatic work I was always accustomed to rank
Mozart as the highest in order, therefore these extracts
of Weber's opera seemed to me unimportant and
amateurish, and I never thought for a moment that
it would be possible for him to make an impression
with any opera."
In Stuttgart he changed the name of his "Wald-
madchen" to "Silvana" and finished the one act opera
"Abu Hassan"; this was performed at Munich in 1811.
Weber lost his appointment at Stuttgart in 1 8 1 o ;
some biographers say; on account of the imprudence
of his father, but the real reason was owing' to
his patriotic sentiments: he felt revolted by the
KARL MARIA VON WEBER.
treacherous and servile conduct of the Wiirttemberg
Government with regard to Napoleon, and by the
contemptible abuse of liberty on the part of the
German soldiers, also the immeasurable slavery of
the Wiirttemberg people. Those in power were so
furious, that both the father and son were banished
from the Wiirttemberg territory.
After Weber left Stuttgart, the accounts given
of his life by several biographers are calculated to
give a wrong impression; namely that he continued
studying with Abbe Vogler in Darmstadt, and then
got to know Meyerbeer, Gansbacher, Gottfried Weber
&c., and that he stayed at Munich, Leipzig, and
Berlin, going to the courts of Gotha, Weimar, &c.,
his life being made very pleasant and easy for
him; but all this is very misleading. The fact was,
that for years Weber earned a poor and uncertain
livelihood. It was only in 1813, that this kind of life
came to an end by a sudden stroke of luck, through
the intervention of a man of intelligence. The ex-
cellent conductor at the opera in Prague, Wenzel
Miiller had died, and the manager of the theatre,
clearly appreciating Weber's talents as a musician
and composer, and feeling sure he had found a
worthy successor to Miiller, he offered the position
to Weber with a yearly salary of 2000 Gulden, and
thus the composer's future was assured.
He filled this appointment in Prague very success-
fully until 1816, and at that period received a Royal
order from Dresden, to organize a German opera there,
of which he was to be the principal conductor; this work
he undertook, meeting with general approbation. After
having married the singer Caroline Brandt, he lived
in Dresden in easy circumstances, and enjoyed great
popularity on account of his spirited composition to
Theodor Korner's "Leyer und Schwert". It was at
Dresden also that he composed his famous opera,
KARL MARIA VON WEBER.
"Der Freischiitz", the fantastic libretto by Friedrich
Kind, and he completed the music to "Preciosa" which
was as national in its way as the first-named opera.
Preziosa was first performed at Copenhagen in
1820, amid great applause; "Der Freischiitz" was
producedat Berlin in 1821, and the success was
enormous. Weber now became celebrated in the
fullest sense of the word.
The opera which succeeded these, namely
"Euryanthe", and which in many respects was musi-
cally greater than the Freischiitz, had a strange fate;
Weber wrote it as a commission for the Karntnerthor
Theatre in Vienna, and it was first performed there
in 1823, and although the work was highly approved
of by critics, it did not please those accustomed to
Rossini's light music, and was soon taken off the
repertoire. On the other hand Weber achieved lasting
fame by the performance of this opera in Berlin, in 1825.
In 1821, when Spohr went with his family to
Dresden, he criticized Weber's Freischiitz in a manner
that certainly did not agree with the general idea
of the composer's artistic intentions. Hauptmann
and Weber gave the great violin composer a
warm welcome to Dresden, and introduced him
to many musicians, taking him about wherever
good music was to be heard. Spohr after relating
all this then goes on to say: "After the brilliant
success achieved by the Freischiitz in Berlin and
Vienna, Karl Maria von Weber has also been able
to arrange for a performance of the opera in Dresden,
and the private rehearsals have already begun. As
I had never thought very highly of Weber's talent
for composition, I was naturally very auxious to hear
this opera, so as to understand why it had created
such enthusiasm in the two principal cities in Germany.
I was doubly interested, on account of my having
had the same subject (from Apel's Ghost Stories)
KARL MARIA VON WEBER. 353
worked into a libretto for an opera several years ago
in Frankfort, and I now relinquished my composition
on hearing that Weber was busy with the same work.
I therefore begged to allowed to be present at the
rehearsals, a request which was at once complied
with. Although an intimate knowledge of the opera,
I could still not understand the reason of its enormous
success, and thought it more probable that it was
owing to Weber's facility in being able to write for
the masses."
In the same year, Weber was offered the post
of conductor at Kassel, but he very urgently recom-
mended Spohr for the appointment instead of himself.
In addition to his two great operas, Weber was
commissioned to write one for the Covent Garden
Opera in London. Whilst working at this third opera,
"Oberon", he was often interrupted by serious illness.
In the spring of 1826, when he went to England to
conduct "Oberon", he was very ill with .consumption,
and he died six weeks afterwards in London. He
was buried in the Moorfields Chapel, and in 1844,
his remains were brought to Dresden, at the instiga-
tion of Richard Wager, who delivered a funeral
oration and introduced an Elegy of his own on this
occasion.
From the description of Weber's life, it is evident,
he was not allowed to enjoy the fruits of his celebrity
in ease and peace. This was owing partly to the
political and artistic conditions of the times, but also
to his not over agreeable manners. At the period of
his first appearance, the old German Empire was in the
throes of dissolution. Not a single feature of national
uprising was apparent. The olympian quiet of small
communities was deeply stirred. They cringed at
the feet of the allpowerful Corsican, and were only
anxious servilely to please him in order to escape
destruction. The sentiment of an artistic ideal scarcely
Celebr. Pianists. 2\
KARL MARIA VON WEBER.
awakened by a few genial spirits was drowned by
the bowlings of War.
In the theatre, the antiquated musical potentates
reigned supreme, and with great obstinacy, excluding
younger talent in every possible way. It was only
by the greatest exertion that Weber could get his
'Abu Hassan' performed at all.
Spontini at Berlin was for years the bitterest
enemy of all his creations and was frightened at the
prospect of any rays of light piercing his gloom. In
Dresden there was no lack of conflicts against the
adherents of Morlachi and his Italians. Weber found
opponents especially amongst the performers. Envy,
ill-humour, and sluggishness opposed him at every
step. The instrumentalists often made his life irksome,
so that he told them they would drive him mad with
worry. But in rehearsals and directing, his violence
went beyond all bounds even to using bad language ;
he found fault with them on the slightest occasion or
for not understanding his intentions and worried them
into opposition or even to wilful misreading.
Whereas in common life he was very quiet and
spoke little, at the director's desk he became an
exacting and extremely disagreeable person. The
complaints of the singers and musicians were endless
and gave rise to violent conflicts.
Once in Dresden, he was obliged to apologize
and ask pardon of the members of the choir for in-
sulting words he had used towards them.
Weber was small and of spare build of body,
the lower part being also somewhat ill-formed, knock-
kneed, with knees projecting forwards; but he had
long arms and fingers, which appeared as though ex-
pressly made to stretch over the key board, and of
course this peculiar formation enabled him to arrive
at a high degree of excellence as a pianist.
In order to comply with the object of this book,
KARL MARIA VON WEBER.
mention must be made of Weber having been a
remarkable pianist, with a style peculiar to himself.
His friends related how he made special studies in
order to acquire a better expansion of his hands.
For piano he has composed: 4 Sonatas, (in C-,
A-flat, D-minor and E-minor), i Sonata as a pianoforte
duet, 2 Concertos (C- and E-flat), i Concertstiick,
1 Polonaise, i Rondo brillant, 4 Variations, i Invita-
tion a la Valse, several Dances and other shorter
pieces ; i Pianoforte Quartet, i Pianoforte Trio ; also,
Variations for piano and violin, i Duo concertant for
piano and clarionet, Variations for clarionet and piano;
6 Violin Sonatas, 2 Clarionet concertos, i Concertino
for clarionet, i Quintet for clarionet and stringed in-
stringed instruments, i Concerto for bassoon, i An-
dante and Rondo for bassoon and orchestra, i Con-
certino for horn. For orchestra: 2 Symphonies,
Overture and March to "Turandot", Jubel-Overture.
Vocal-music: Der erste Ton, Kampf und Sieg (to
commemorate the battle of Waterloo), part-songs for
men's voices, "Leyer und Schwert", Natur und Liebe
for 2 sopranos, 2 tenors and 2 basses, Quartets for
mixed voices, Duets, Hymns, Children's Songs,
2 Masses with orchestra, 8 Arias and Scenas, also
numerous songs. His operas have been already
mentioned. "Die drei Pintos", Weber's comic opera,
which was lately put on the stage again, was finished
by Gustav Mahler and a descendant of Weber's.
In 1860, a monument by Rietschel was erected
to the immortal composer in Dresden.
The portrait at the beginning of this sketch is
from an oil painting which was formerly in
Mendelssohn's possession.
'3*
MARIE WIECK.
MARIE Wieck, like her celebrated sister Clara
Schumann, had great natural gifts and was
thoroughly well taught under her father's care, and
all her life has been devoted to the cultivation of
music in the true sense of the word.
Friedrich Wieck, whose pianoforte teaching was
so highly valued, lived at Leipzig at the time of
Marie's birth, January the 17*' 1832, and their house
was a place of meeting for artists and lovers of
music. With her two sisters Clara and Cecilia,
she was most carefully trained by her father for the
musical profession, her playing was refined and in-
telligent, delighting her hearers at the numerous
MARIE WIECK. 357
concerts in which she appeared. She played for the
first time in public in 1842, together with Clara at
Dresden, then in company with her father at the
Gewandhaus at Leipzig. As Friedrich Wieck had
settled in Dresden in 1840, the two sisters gave
concerts in that town, after which they went to play
in other towns in Germany.
For five seasons, Marie Wieck played at concerts
in London, where she did a great deal of good in
bringing forward German music ; she also gave piano
and singing lessons there, using her father's method.
She had a good soprano voice and sometimes sang'
at her sister Clara's concerts. On some of these
occasions Madame Joachim also appeared, and they
made a great impression in Schumann's duets.
As a pianiste, she took part at concerts in Dresden,
Berlin, Gotha, Karlsruhe, Schwerin, Detmold,
Sigmaringen, &c. The Prince of Hohenzollern appointed
her as pianiste to the chamber concerts.
Later on she travelled in the Eastern provinces,
South Germany, Sweden, Denmark, Switzerland, Italy,
Austria, Croatia &c. Critics praised her playing and
admired her beautiful soft touch as also her earnest
rendering of classical compositions.
She developed great talent for teaching, and
taught principally in Dresden, but also in other towns
during her numerous tours, both singing and piano.
She has published a number of short pianoforte
compositions of her own, and has also edited her
father's works, studies for the pianoforte and the voice.
JOSEPH WIENIAWSKI.
JOSEPH Wieniawski was almost as remarkable as
pianist and teacher, as his brother Henri the
violinist.
Both the brothers often played together at con-
certs and won the applause they so richly deserved,
their studies having been long and thorough.
Joseph Wieniawski was born at Lublin on the
on the 23 d of May 1837. -For seven years he was
taught music in his native town by Miiller and Synck,
in 1847 ne was admitted into the Paris Conservatoire,
first in Zimmermann's pianoforte class, and then in
Alkan's solfeggio class, after which he entered a class
JOSEPH WIENIAWSKI.
newly formed by Marmontel, receiving there the first
prize in 1849, an d also the solfeggio prize. In the
following year he studied harmony and accompani-
ment under Bazin. After leaving the Conservatoire,
he had instruction from Ed. Wolf, Halle and Alkan.
Edward Wolff, an excellent concert player, com-
poser and teacher was his uncle who no doubt had
the greatest influence on his artistic education and
especially in its peculiar direction. Wolff had com-
posed, in the style of Chopin who was his intimate
friend, more than 300 works for the piano, and these
were looked on at that time as models for study.
His sister who had taken her two sons to Paris for
their further musical development was very anxious
that Joseph should have the benefit of her brother's
superintendance the effect of which was afterwards
evident.
In 1853, he went to Weimar, where Liszt became
greatly interested in him and gave him lessons.
Afterwards he travelled with his brother through
Germany and Russia. They were able to give twelve
concerts in Berlin alone, having met with a good
reception everywhere. When in Berlin in 1856,
Joseph Wieniawski took lessons in theory from Marx
for three years, so as to finish his musical education.
He went to Paris by way of Brussels, and took
up his abode in the first-named town; he was warmly
welcomed there and became a great favorite at the
concerts at Napoleon's Court. Through Auber's,
influence he was made examining professor of the
pianoforte at the Conservatoire; but in 1866, he again
left Paris and went to Moscow, where he became a
professor at the Conservatoire. He however soon
gave up this position, establishing a pianoforte school
of his own, which prospered wonderfully, and within
a short time it numbered 720 pupils.
In 1877, ne and Wislicki founded the Warsaw
360 JOSEPH WIENIAWSKI.
Musical Society, and Wieniawski undertook the direc-
tion of it. Since his brother's death (1880) he has
played oftener in concerts.
Joseph Wieniawski, who is at present master
at the Brussels Conservatoire, has written the follow-
ing compositions: i Concerto for piano, Idylles,
Sonatas, Tarantelles, Waltzes, Polonaises, Etudes,
Caprices, Rondos, Songs without words, Impromptus,
Fantasias, Fugues, Cadences for Beethoven's C-minor
concerts &c.
ALEXANDER ZARZYCKI.
LTHOUGH one of the last to be mentioned in this
book, yet Zarzycki is not the least in the estima-
tion of musicians critics, and is entitled to a more
exhaustive notice but unfortunately it "has been im-
possible to collect more material for his biography.
Although born in Moscow in 1840 he is doubtless
of Polish nationality and in this respect is an instance
of the fact that in the present century, the Polish
nation has produced an unusually large number of
artists. With his natural gifts he worked hard and
industriously, and was considered a good pianist
twenty years ago; and in 1879 he was made Appolinary
362 ALEXANDER ZARZYCKI.
von Kontski's successor as manager of the Conser-
vatoire in Warsaw. Since then he has almost entirely
given up his career as a solo player.
Strangely enough name has become best known
lately by a brillant Mazurka for violin which is played
by nearly all violin soloists.
GEZA GRAF ZICHY.
IT is certainly a very rare occurrence in the musical
world, that a man with only one arm should
have devoted himself to pianoforte playing* and
achieved an extraordinary success. But such was the
case with Count Geza Zichy (Gesa Sitschy). In 1878,
he had great success when he played in Austria, and
in 1882, Ed. Hanslick wrote as follows about him:
"A pianist with one hand, Count Geza Zichy, has per-
formed the greatest marvels of modern times on the
piano. Many people can play, and some can delight
their audience, but Zichy's playing works like magic.
He only plays in public for charitable purposes ; on this
occasion he divided the considerable profits between
the Billroth Rudolfmer Society and a Hungarian
Institute for students. Since we first heard this left-
handed pianist in Vienna and then admired his playing,
364 GEZA GRAF ZICHY.
he has made still greater progress in his art, although
this might seem impossible. When Count Zichy
lately played an Etude de concert, then a Hungarian
Rhapsody of his own composition, and Bach's Chaconne
arranged for the left hand, the listeners could hardly
believe their ears or eyes, so great was the marvellous
fulness of tone, with such wonderful execution, all
parts of the composition being clearly defined and
interpreted."
Fetis also in his Biographic universelle, pronounces
him "one of the most remarkable pianists", and all
those that have heard him will agree with this
opinion.
It must have required great perseverance and
exertion to attain to such a degree of perfection,
especially taking into consideration the fact that Count
Geza only began to study the piano at a relatively
advanced age. He was the son of a wealthy Hungarian
magnate and was born at Sztara on the 22 d of July 1849:
at fifteen years of age he had the misfortune to lose
his right arm on a shooting expedition. He had talent
and taste for music, and decided to cultivate himself
in this art, but not to make a living* by it. He studied
law at Pressburg, at the same time taking piano and
composition lessons of Mayrberger and Robert
Yolkmann. His great endeavour was to accomplish
that with the left hand which great pianists have
achieved with two. This difficult aim he even-
tually attained after several years tuition under
Franz Liszt. Connoisseurs, who heard him play after
the completion of these studies, declared, that
Dreyschock with his phenomenal culture of the left
hand, was eclipsed, for of course the latter could
always supply any want with his right hand. But
Count Geza, by his clever arpeggio work, by the
sliding and springing of chords and careful shading
from piano to forte, made his playing appear as if
GEZA GRAF ZICHY. 365
he had ten fingers at work, instead of only five.
It was quite impossible to understad at first how such
technical difficulties could be overcome with one hand
only. Count Geza is not only a brilliant pianist, but
his playing is very expressive; whatever he performs
is always full of taste and intellect.
He has been heard in public in a great many
towns, and always in aid of charities : in Vienna,
Pesth, Graz, Stuttgart, Mannheim, Frankfort, Cologne,
Wiesbaden, Giessen, Karlsruhe, Munich, Berlin, Leipzig,
Breslau, Paris &c., and has earned for those charitable
institutions several hundred thousand marks; in 1886,
the Paris newspapers said, the sum amounted to even
1,200,000 Frcs. He continues to play in his native
country for charitible objects, although, in consequence
of his having undertaken the post of manager of the
Royal opera, and of the National theatre at Budapest,
he has less time for this than formerly.
AGNES ZIMMERMAM.
MISS Agnes Zimmermann, who was born on the
5 th of July, 1847, at Cologne, was brought to
England in early childhood. She occupies a high
position in this country as a concert player, and also
takes part in the best of classical concerts. From
the commencement of her musical career, she was
devoted to the classical school of music, and never
deviated in her allegiance to it. In December 1872,
she played a transcription of Beethoven's violin con-
certo for the first time at a Crystal Palace concert
in London ; her own compositions are written for the
most part in classical style.
At nine years of age she was a pupil at the Royal
Academy of Music, Cipriani Potter and Steggall being
AGNES ZIMMERMANN. 367
her masters. Later on she was taught by Pauer and
Sir George MacFarren. Although she was sometimes
heard at other places, she never discontinued her
lessons, and her compositions were often heard at the
pupils' concerts at the Academy.
In 1860 1862, she gained a scholarship, and in
December 1863, sne played for the first time in public
at a Crystal Palace concert.
In 1864, s h e played in several towns in Germany,
and at the Gewandhaus in Leipzig, where as on many
other concert- tours (1879 1880 and 1882 1883) she
won the decided approbation of the public and the
press. England has become her home, where she is
very well known and her name is a great attraction
on concert programmes.
Her compositions are as follows : i Sonata
(op. 22), i Mazurka (op. 1 1), i Presto alia Tarantella
(op. 15), 3 Sonatas for piano and violin (op. 16, 21,
23), i Trio for piano, violin and violincello (op. 19),
several songs, arrangements of instrumental works
&c. She has published editions in London, of Mozart's
and Beethoven's Sonatas, also of Schumann's works.
Printed by A. H. PAYNK, Leipzig.
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