A Dictionary of Music and Musicians/Pianoforte Music

by Ernst Pauer

PIANOFORTE MUSIC. Of all musical instruments the pianoforte possesses the largest library. Almost every composer has written more or less for it, and its literature is therefore unrivalled for richness and variety.

The aim of this article is to give an approximate idea of the number of pieces which have been composed for the pianoforte alone; all duets with other instruments, all trios, quartets, quintets, sextets, or septets, being excluded, as belonging to chamber music. Though compiled with care from numerous catalogues and biographies, our list cannot lay claim to thorough correctness. The greatest difficulty has been experienced with regard to English composers; most of the works of the English composers of the last century are out of print, and are often only to be obtained with great difficulty. The names of the composers are given in strictly chronological order. We begin our list with the year 1760, 14 years after the illustrious Sebastian Bach had tried the 'Silbermann Flügel' in the presence of Frederic the Great in the royal castle of Potsdam. At that time Carl Philipp Emanuel Bach (1714–1788), Sebastian's second son, was the conductor of the king's private music; and as he was the first to discern the necessity of adopting an altered style and expression for the newly invented application of the hammer instead of the tangent [see Pianoforte], it is but right to begin the long string of composers with him.

Emanuel Bach left about 210 pieces, of which no less than 93 are sonatas. Of these 93 the best (18) have been republished in Leipzig by Leuckart; and Dr. E. F. Baumgart, of Breslau, has written an exceedingly interesting preface to them, in which the style of performance, and the true manner of executing the graces and agrémens, are described in the most complete manner. The same firm has also published Emanuel Bach's rondos (1–13) and fantasias (1–6). The late Aristide Farrenc, in his 'Trésor des Pianistes,' has published the entire collection of Bach's 'Sonaten für Kenner und Liebhaber,' composed in 1779, 1780, 1783, 1785, and 1787. Besides the 210 solo pieces, Bach wrote not less than 52 concertos. Pier Domenico Paradies (1712–1795 [App. p.748 "1710–1792"]) a Neapolitan composer, wrote 12 good sonatas (two movements each), of which No. 6, in A major, is a real gem. Johann Ernst Eberlin (1716–1776 [App. p.748 "1702–1762"]) wrote preludes, toccatas, and fugues; distinguished by a certain melancholy expression and an agreeable tenderness. Seven of the preludes (or voluntaries) and fugues are to be found in Clementi's 'Practical Harmony.' [See Practical Harmony.] Friedrich Wilhelm Marpurg (1718–1795), the eminent theorist, wrote 6 sonatas, 6 fugues, and several caprices. The sonatas, though somewhat dry, are not uninteresting. Johann Philipp Kirnberger (1721–1783) distinguished himself by 9 fugues and some smaller pieces, of which a gavotte in D minor, and a charming allegro for a musicalbox, have become justly popular. Georg Benda (1721–1795) left 6 sonatas (Paris, Farrenc), 5 concertos, and 3 suites of various small pieces. The sonatas are exceedingly good, an full of interesting matter. Schobert (his Christian name is unknown) (1730–1768 [App. p.748 "1767"]) left 4 sonatas, 5 concertos, and 1 concerto pastorale. These were published in London by Bland, but are out of print; the sonatas are somewhat empty, but elegant and pleasing. Giuseppe Sarti (1730–1802 [App. p.748 "1729"]) composed 6 sonatas (London, 1762), which are clear, bright, and easy. Joseph Haydn's (1732–1809) contributions to the pianoforte literature consist of 34 sonatas, 9 smaller pieces, and 20 concertos. Although Haydn's sonatas are not written with the same care and affection as his quartets and symphonies, they contain manifold beauties, and are full of interest; among the smaller pieces, the beautiful Andante with Variations in F minor has now become a stock piece in so-called 'Pianoforte Recitals.' Antonio Maria Gaspare Sacchini (1735–1786 [App. p.748 "1734"]) composed 12 sonatas (op. 3 and 4). Like almost all the sonatas of Italian composers, they are written in a light, fluent, and bright style, and lay no claim to refined workmanship. Johann Christian Bach (1735–1782), the so-called 'Milan or London Bach,' composed 18 concertos, 12 solo sonatas, 1 duet sonata for 4 hands, and 1 for 2 pianos, which, though possessing a certain elegance and fluency, are in every instance in ferior to those of his brother Emanuel. Johann Georg Albrechtsberger (1736–1809) composed 18 preludes and 59 fugues. A goodly number of them are included in Clementi's 'Practical Harmony,' and are still to be obtained in Vienna (Haslinger and Witzendorf). As Albrechtsberger was a distinguished organist, it is natural that his fugues should lack that life and animation which is suggested by the nature of the pianoforte as an instrument. Johann Wanhal, Van Hall, or Wanhall (1739–1813), once a very popular composer, has left us 23 grand sonatas, 106 sonatinas, and 49 books of variations, fantasias, etc. His sonatas are not devoid of melody, and were (in their time) considered brilliant; but Wanhal being a contemporary of Haydn and Mozart, his works were soon overshadowed by the sonatas of those two illustrious composers. André Ernest Grétry (1741–1813) composed 6 sonatas (Paris, 1768) which contain matter of great interest. John Abraham Fisher (1744–1800) has left 9 concertos (London, Clementi & Broderip). As he was a violinist, his pianoforte concertos cannot boast of any special originality of treatment. James Hook (1746–1827) wrote 6 grand concertos for Vauxhall (op. 55), 6 sonatas (op. 54), 3 sonatas (op. 71), 3 sonatas on Irish airs (op. 92), several pieces for two performers, and a great number of smaller pieces. Johann Wilhelm Haessler (1747–1822) composed 25 sonatas, 6 sonatinas, 1 fantasia and sonata, and a gigue. His sonatas (Breitkopf & Härtel) are still excellent for teaching purposes, and his spirited and exceedingly brilliant Gigue in D minor deserves to be generally known. Carl Benda (1748–1836) composed 6 sonatas and 6 adagios; the latter to be recommended as teaching-pieces. The 3 sonatas and other smaller pieces of the Abbé Johann Franz Xaver Sterkel (1750–1817), are pleasing and not devoid of a certain elegance. Nicolas Joseph Hullmandel (1751–1823), a pupil of Emanuel Bach, composed 6 sonatas (op. 6), and a grand sonata (op. 11); the latter contains sufficient matter of interest. Muzio Clementi (1752–1832) composed 64 sonatas, 6 sonatas for four hands, and 1 for 2 pianofortes, 12 monferines (op. 49), 100 studies ('Gradus ad ^[1]Parnassum'), 50 lessons, preludes, etc. The great value and importance of Clementi's pianoforte compositions are universally recognised; indeed his 'Gradus' and some of his sonatas are indispensable for the student who desires to learn pianoforte-playing thoroughly. Leopold Kozeluch (1753–1814 [App. p.748 "1754"]) wrote 11 concertos, 12 solo sonatas, 1 concerto for 4 hands, and i collections of smaller pieces; some of the latter have been republished in London, and possess a certain quaint charm. Wolfgang Amadeus Mozart (1756–1791) wrote 22 solo sonatas, 4 sonatas, 2 fantasias, a fugue, and a set of variations, all for 4 hands, a sonata and fugue for 2 pianofortes, 21 books of variations, 3 rondos, 3 fantasias, an overture (suite) in Handel's style, an adagio, march, gigue, minuet and waltz for piano solo, 25 concertos for one piano, one for 2, and one for 3 pianos, also 2 rondos for piano and orchestra, very recently published by Breitkopf & Härtel in their complete edition of Mozart. The graceful, sweet, affectionate expression of these compositions, their irresistible charm, perfect workmanship, and wonderful union of deep science and spontaneous invention, render them quite unique. The Abbé Joseph Gelinek (1757–1825 [App. p.748 "1758") was one of the most prolific composers for the pianoforte. He wrote ^[2]110 books of variations, 8 potpourris, and 10 rondos. Among the variations, Nos. 21, 29, 33, 36, and 67 (see André's catalogue), were in their time the most popular, and are even now not undeserving of recognition. Ignaz Pleyel (1757–1831), a pupil of Haydn's, composed 2 concertos, 6 sonatas (op. 15) and 12 sonatinas, 5 sets of variations, 5 rondos, 48 short easy pieces, and 57 lessons (studies). Of these the sonatinas are still highly esteemed, and their light, cheerful, and agreeable character is very pleasing to young students. Emanuel Aloys Förster (1757–1823 [App. p. "1748"]) composed 18 sonatas, 6 sonatinas, and 5 books of variations. It is mentioned in Köchel's thematic catalogue of Mozart's works (p. 530), that the well-known ten variations on an allegretto from Sarti's opera, 'I finti eredi,' are by Förster, and not by Mozart. Louis Adam (1758–1848) is best known by his 'Méthode de Pianoforte du Conservatoire,' but has also written a sonata (op. 31), polonaises, and rondos, an introduction and variations, and several smaller pieces, all to be found in his 'Méthode.' Giacomo Goffredo Ferrari (1759–1842) has left 3 sonatinas (op. 30), and 15 longer sonatas (op. 14 and op. 31), 3 solos, a concerto in C (op. 6), and 12 smaller pieces. Luigi Cherubini (1760–1842) wrote 6 sonatas and 1 fantasia. The great importance and fame which Cherubini obtained by his operas and sacred compositions would not have been procured by these sonatas. Johann Ludwig Dussek (1761–1812) wrote, according to Breitkopf & Härtel's and Whistling's catalogue, 32 sonatas, 12 concertos, and a great number of airs with variations, fugues, lessons, etc. Of the sonatas, Nos. 21, 27, 29, and 31 of Breitkopf's new edition have obtained the greatest popularity; and among the smaller pieces, Queen Hortense's favourite romance, 'Partant pour la Syrie,' 'La Consolation,' 'Les Adieux,' all with variations, are still very popular. [See for detailed catalogue, under Dussek, vol. i. p. 477.] Johann Christian Ludwig Abeille (1761–1832) became in his time well known by his Sonata and 9 Variations in the style of Mozart; less known were his 4 sonatas composed in 1789. We have of his also a concerto in B♭ and a concerto for 4 hands. Adalbert Gyrowetz (1763–1850), once well known and liked in London, composed 3 concertos, and sonatas op. 62 and 63; which, like all his compositions, are pleasing and melodious. Daniel Steibelt (1764–1823) wrote no less than 81 sonatas and sonatinas, 117 rondos, 7 concertos, of which No. 3 contains the well-known 'Storm' rondo, while No. 6 is called 'Voyage au mont Saint Bernard,' and No. 7 is the so-called 'Concert militaire' with the accompaniment of two orchestras. Steibelt was fond of descriptive pieces, and we find among his fantasias one describing 'the battle of Neerwinde' (1793), the 'destruction of Moscow' (1812), a journey from Paris to Petersburg, and last, not least, 'Les Adieux de Bayard à sa Dame.' The only pianoforte pieces by Steibelt at present played are the really pretty rondeau 'Le Berger et son troupeau,' the 'Storm,' and his 50 studies. Franz Seraphinus Lauska (1764–1828), to whom Weber dedicated his second sonata, in A♭, left 18 sonatas—of which op. 4 and op. 20 are the best—4 books of variations, different rondos and polonaises. Friedrich Heinrich Himmel (1765-1814)—more celebrated by his 'Fanchon' (1809), his now national songs 'An Alexis' and 'Es kann ja nicht immer so bleiben,' than by his pianoforte compositions,—wrote only 5 pieces, among which the 12 variations on the air 'Ich klage Dir' were once exceedingly popular. Anton Eberl (1766–1807), a fluent and easy writer, composed 2 concertos, one for 2 pianos, 6 sonatas, and 3 sets of variations. It must be mentioned that the well-known variations attributed to W. A. Mozart, 'Zu Steffan sprach im Traume,' and those on Dittersdorf's Andante, 'Freundin sanfter Herzenstriebe,' are in reality by Eberl, and are not among the three books just mentioned. Ignaz Anton Franz Xaver Ladurner (1766–1839) is a name unknown to English ears. Ladurner wrote 2 books of variations, several fantasias, amongst which is one in the form of a sonata on an air of Mozart's 'Don Giovanni,' interesting and remarkable for its thematic development. Samuel Wesley (1766-1837), well remembered as an early prodigy and a great organist, composed several solo and 4-hand sonatas, which are published by Hofmeister of Leipzig. August Eberhard Müller (1767–1817) composed 17 sonatas and sonatinas, cadenzas for Mozart's concertos, studies (still successfully employed); but his just fame rests on his excellent caprices (six op. 29, three op. 31, three op. 33, and three op. 41). They are, each and all, exceedingly useful for practice; full of sound, substantial and agreeable music, and actually amusing for the student. The most difficult and interesting are Nos. 3, 4 and 6 of op. 29, No. 4 of op. 31, No. 3 of op. 34 and No. 1 of op. 41. It is said that the first movement of the Sonata in B♭ (Pauer's edition, No. 20), commonly attributed to W. A. Mozart, is really by A. E. Müller. Hyacinthe Jadin (1769–1802) enjoyed in his time a great reputation in France; 5 solo sonatas, 1 duet ditto, and 4 concertos, are all that have been published; and at present they are no longer in use. Ludwig van Beethoven (1770–1827) enriched the literature of the pianoforte with the most valuable works; indeed we may proudly point to his sonatas as to a monument which stands out like the Pyramids—ever fresh, replete with every charm, interest, and intellectuality which music can possess, and at the same time expressing all the most different emotions which agitate the human soul. Beethoven's sonatas are really the grandest and most perfect productions that the Pianoforte can boast of, and may safely be asserted to surpass all other compositions for whatever solo instrument. He wrote 32 sonatas, 6 smaller sonatinas, 21 sets of variations, 3 sets of bagatelles, 3 rondos, a polonaise, a fantasia, and several smaller pieces, such as preludes, minuets, etc.; 5 grand concertos, and several short four-hand pieces. Johann Nepomuk Wittasek (1770–1839), a name totally unknown to English ears, composed several books of peculiarly graceful dance-music, such as Minuets and Ländler. Friedrich Joseph Kirmair (1770–1814), equally unknown here, was in his own time one of the most popular pianoforte composers; he published 6 sonatas and upwards of 40 books of variations, among which the variations on the minuet from Mozart's 'Don Giovanni' were printed by no less than twelve different firms. John Baptist Cramer (1771–1858) was a prolific composer; he wrote 105 sonatas, 7 concertos, 3 duets for four hands, 18 divertissements, 100 studies, 24 sets of variations, and many rondos and fantasias. Although there is much good, substantial, and even interesting matter in Cramer's sonatas, they cannot be compared with his studies, which are models of a concise construction and plastic roundness, are replete with interesting and charming melody, and above all are perfect with regard to euphony and easy, natural, modulation. Joseph Woelfl (1772–1812) composed 26 sonatas—of which only two, 'Non Plus Ultra,' op. 41, and 'Le Diable a quatre,' op. 50, are still played—5 concertos and a concerto militaire (not without interest)—2 fantasias with fugues, 14 books of variations, 8 rondos anda good number of preludes and studies. Christoph Ernst Friedrich Weyse (1774–1842), a Danish composer, published 3 sonatas, 4 Allegri de bravura, and 12 most excellent studies, which deserve to be republished; Robert Schumann^[3] speaks in very high terms of the two sets of studies op. 8 and op. 60. Wenzel Tomaschek (1774–1850), the teacher of Alexander Dreyschock and Julius Schulhoff, a composer of whom the Bohemians are very proud, has written 5 sonatas, 1 rondo, 37 églogues (really idyls) 12 rhapsodies, 3 ditirambi, and 3 allegri capriciosi di bravura; the ditirambi and some of the églogues still afford valuable material for tuition. Philipp Jacob Riotte (1776–1856) made his reputation by a descriptive fantasia called 'The Battle of Leipsic.' His 12 sonatas, 7 rondos, and 14 books of variations enjoyed less popularity. Ludwig Berger (1777–1839), the respected teacher of Mendelssohn and Taubert, was an industrious and successful composer; he wrote 1 concerto, 4 sonatas, 4 books of variations (those on the old French air, 'Ah! vous dirai-je Maman' are the most popular), 5 rondos, 29 studies (27 of which have been republished by Breitkopf & Härtel), 32 smaller pieces, preludes and fugues, a toccata, and last, not least, an 'Alla Turca' which is still much played in Germany. Francesco Giuseppe Pollini (1778–1847), one of the most intelligent of Italian pianoforte composers, wrote 3 sonatas, a divertimento pastorale (op. 34), a capital toccata in G major, fantasias, capriccios, and 32 studies, of which one written on three staves was very popular in Vienna. Pollini's music is always healthy, and deserves warm recommendation as excellent material for technical study. Johann Nepomuk Hummel (1778–1837) wrote 5 sonatas (No. 1, op. 12, and No. 2, op. 20, under the influence of Mozart), of which the sonata (op. 81) in F♯ minor and the grand sonata (op. 106) in D present the most intricate technical difficulties; 3 sonatas for four hands, of which that in A♭ (op. 92) is remarkably beautiful; several other duets, including the charming nocturne op. 99; 7 concertos (those in A minor, op. 85, B minor, op. 89, and A♭, op. 113, are standard works); 16 books of smaller pieces, rondos, divertissements, of which the charming introduction and polacca 'La Bella Capricciosa,' op. 55, and the spirited and exceedingly difficult rondo in B minor (op. 109), are the most prominent; 4 books of caprices and studies. Hummel's compositions are remarkable for their solid construction, elegance and brilliancy, their charming modulation and graceful ornamentation. Johann Horzalka (1778–1860), a very talented Bohemian composer, wrote an interesting sonata (op. 9), 11 books of variations, and several rondos, among which the Rondo pastoral (op. 11), and Rondo hongrois (op. 28) were great favourites in Vienna; his nocturnes (op. 27), Fantasia pastorale (op. 54), and excellent studies (op. 39), are also to be recommended. Johann Heinrich Clasing (1779–1829) published a sonata (op. 5), 6 rondos, 2 fantasias, and several smaller pieces—all the productions of a sound musician. Nicolaus von Krufft (1779–1818) was a composer once highly esteemed in Vienna; he left one sonata, 12 books of variations, 3 grand caprices, 12 studies, and 24 preludes and fugues; all full of elegance and taste. Wilhelm Friedrich Riem (1779–1837) composed 8 sonatas, 6 sonatinas, 2 books of variations, polonaises, ecossaises, waltzes, and anglaises greatly esteemed in the northern part of Germany. M. J. C. Leidesdorf, the friend of Beethoven and Schubert (1780–1839 [App. p.748 "1840"]), wrote 4 sonatas, 22 rondos, 36 books of variations, and a quantity of fantasias or operatic airs; and may be called a forerunner of Henry Herz and Carl Czerny. Anton Diabelli (1781–1858): this prolific composer's 29 solo sonatinas and 23 charming duet sonatinas are still very popular; his 36 books of variations and 426 books of potpourris, were, also once in great request; indeed the merits of Diabelli as an educational composer are unquestionable. Jonathan Blewitt (1782–1835 [App. p.748 "1853"]) left a concerto, a sonata, and a divertissement on Scotch airs. John Field (1782–1837), the favourite pupil of Muzio Clementi, composed 7 concertos, 18 nocturnes, 6 sets of variations, 3 sonatas, 2 fantasias on national airs, and a capital grand study, through all the keys, the execution of which is a veritable tour de force. Among the concertos, No. 4 in E♭ and No. 3 in A♭ are the best known. Georges Onslow (1784–1853), better known by his quartets and quintets, composed 2 excellent duet sonatas in F and E minor, 4 books of variations ('Charmante Gabrielle' is particularly to be recommended), a capital toccata in C major, and a grand sonata. August Alexander Klengel (1784–1852), a pupil of Clementi's, wrote 4 sonatas, 8 rondos, 8 books of variations, 4 fantasias, and 30 studies. His chief works however are first 'Les Avant Coureurs,' consisting of 24 canons, a kind of preparation for Sebastian Bach's 'Wohltemperirtes Clavier,' and secondly 24 canons and 24 fugues. Among the fugues, that on the theme 'La ci darem' is a veritable gem. Ferdinand Ries (1784-1838), Beethoven's pupil, composed 9 concertos (those in C♯ minor and E♭ are very much to be recommended), according to his own enumeration 52 sonatas, 15 fantasias, 35 rondos, 49 books of variations, and 25 duets, comprising sonatas, marches, polonaises, variations. Of Charles Neate (1784–1877), who enjoyed the tuition of Field and Woelfl, and the friendship of Beethoven, we have only 2 sonatas (published in Germany) and a valuable work on the art of fingering. Conrad Berg (1785–1852), a highly respected Alsatian professor, composed 1 sonata, 3 books of variations, and 7 rondos. Wenzel Plachy (1785–1858) wrote 35 sets of variations, and a very great number of educational pieces, among which the collective works, 'Amusements' and 'Les Délices de l'Opéra,' once enjoyed a vast popularity in Austria and South Germany. The Danish composer Friedrich Kuhlau (1786–1832) wrote 15 sonatas, many sonatinas (highly esteemed), 27 books of variations, a goodly number of rondos and other educational pieces, and 19 duets, among which the variations on Beethoven's songs are very good. Carl Maria von Weber (1786–1826) has left us four sonatas, 3 concertos, 2 polonaises, 2 rondos, 8 books of variations, valses, ecossaises, and very charming duets. Henri Lemoine (1786–1854) occupied himself chiefly with educational works; among them are a good number of divertissements, 34 books called 'Bagatelles,' a collective work 'Récréations musicales,' and the well-known 'Etudes enfantines,' op. 37. George Frederic Pinto (Sauters, 1786–1806), an artist of rare promise, left only a few sonatas.^[4] John F. Burrowes (1787–1852) was an educational writer, whose Pianoforte Primer is even still in some demand. Ludwig Böhner (1787–1860), who claimed the authorship of the second subject in Weber's Freyschütz Overture, wrote 1 sonata, 14 books of variations, 6 fantasias, 12 bagatelles, and a very pretty Ave Maria. Hieronimus Payer (1787–1845), a composer little, if at all, known to English musicians, wrote about 160 light and moderately difficult educational works, consisting of variations, rondos, melanges, etc. etc., which enjoyed great popularity in Vienna, and are still used there for teaching purposes. Friedrich Kalkbrenner (1788–1849) was a prolific writer. We have by him 4 concertos, 8 solo sonatas (one for the left hand only), 18 fantasias, 20 rondeaus, 24 books of variations, 6 different works of studies (those op. 143 are most excellent), 2 duet sonatas, and a considerable number of smaller pianoforte duets. Charles Chaulieu (1788–1849) composed variations, divertissements, bagatelles, caprices, and a great number of very useful studies. Johann Peter Pixis (1788–1874) left 2 sonatas, 23 books of variations, 20 rondos, and different collections of smaller pieces. Simon Sechter (1788–1867), who taught harmony and counterpoint to Thalberg, Döhler, Kullak, Köhler, Vieuxtemps—and with whom Schubert had begun to study when death snatched him away,—composed 23 fugues, 16 preludes, canons, etc.; amongst his duet compositions the 24 fugues on popular national and comic airs are to be recommended as highly amusing. The educational composer Aloys Schmitt (1789–1866), master of Ferdinand Hiller, whose numerous books of studies are well known, wrote also 22 solo sonatas and sonatinas, 16 duet sonatas, 15 books of variations, 6 concertos, 1 concertstück, fantasias, 10 rondos, and a quantity of small pieces. Anton Halm (1789–1872), a respected Vienna professor, composed 3 sonatas, 4 rondos, 4 books of variations, and 4 of studies: 'Etudes de Concert,' 'Etudes mélodieuses, pathétiques, et héroiques.' Maria Szymanowska (née Wolowska) (1790?–1831) wrote 5 fantasias, a nocturne, a set of variations, and 12 studies; of the studies Robert Schumann speaks with considerable warmth. Giovanni Battista Sammartini (1700) composed no less than 2800 works, but his industry is more than rivalled, and his efficiency far surpassed, by Carl Czerny (1791–1857), the veritable Lope de la Vega of the pianoforte, who wrote such a quantity that it is actually impossible to give a correct account of all his original compositions, or of his arrangements, transcriptions, etc. Suffice it to say, that his works extend beyond 1000; of these one single number, the 'Decamerone,' contains 300 pieces, and the average content of each opus is 100; indeed there is not a single branch or form of pianoforte music in which Czerny was not active. In addition to this, his energy in arranging oratorios, operas, symphonies, overtures, quartets, quintets, etc., is really wonderful; his name, however, will be perpetuated by his eminently useful and practical studies. Johann Hugo Worzischek (1791–1825), a richly-gifted Viennese composer, wrote a sonata, 12 rhapsodies, 2 books of variations, several polonaises, and 3 rondos, among which the 'Rondeau espagnol' was a particular favourite of the Vienna pianists. Friedrich Wilhelm Grund (1791–187? [App. p.748 "1874"]), a highly esteemed Hamburg professor, is still well known by his well-written studies (op. 21). He composed also sonatas and rondos. Christian Traugott Brunner (1792–1874) composed about 300 pleasing and—for educational purposes—well-written pieces and collections. Cipriani Potter (1792–1871) composed (according to German catalogues, English editions being out of print and not easily attainable) 2 books of variations, 3 toccatas, 1 sonata, 2 books of studies (at one time used in the Royal Academy of Music), two rondos. Of this genial and highly respected professor's pieces, 'Il compiacente,' op. 16, and the divertimento 'La Placidita,' in A major, are still played; a grand duo for two pianos (op. 6) and an introduction and rondo (op. 8) for four hands contain much interesting matter. Mobitz Hauptmann (1792–1868), well known to many English musicians as an excellent teacher, composed 12 detached pieces and several sonatinas. François Hünten (1793–1878), an educational composer of some merit, wrote about 200 collections and works, easy and moderately difficult of execution. Some of Hünten's pieces, such as 'Les Emeraudes,' 'Trois Airs italiens,' op. 65; the rondinos 'Le petit Tambour' and 'An Alexis,' have become very widely known. His studies (op. 158) are exceedingly useful and agreeable. Ignaz Moscheles (1794–1870) composed 7 concertos, among which that in G minor still enjoys a well-merited, high reputation; 5 solo sonatas, 2 duet sonatas (op. 47, op. 112), of which the first, in E♭, deserves recollection, 10 books of variations, 20 rondos, many fantasias ('Recollection of Ireland'), and a great number of smaller pieces. His famous duets, his pieces for 2 pianofortes, 'Hommage à Handel' and 'Les Contrastes,' (8 hands), and his most excellent studies, op. 70 and op. 95, are considered classical, and fully merit that designation. Carl Arnold (1794) wrote 4 sonatas, 3 books of variations, 3 rondos, and a collection of studies, which were well known in Central Germany 30 years ago. Jacques Herz (1794–1880), the elder brother of the celebrated Henri Herz, wrote but a few original pieces (nocturnes). His variations (7 books), 10 rondos, 20 airs de ballet, fantasias, and more particularly his 11 books of brilliant valses on operatic airs, were at one time great favourites. Heinrich Marschner (1795–1861) composed 8 sonatas, 12 rondos, variations, fantasias, and 7 very good duets (Duo, op. 62). Carl Loewe (1796–1869) composed 4 sonatas (the 'Gipsy' sonata was once well known), and several characteristic fantasias, among which, 'Mazeppa,' 'The Brother of Mercy,' and 'Biblical Pictures,' created great attention in their time. Jacob Schmitt (1796–1853) wrote about 400 works, mostly educational; they consist of variations, rondos, nocturnes, excellent sonatinas, good studies, potpourris, and a number of very useful and entertaining duets. Franz Schubert (1797–1828) wrote 10 sonatas, 2 duet sonatas (op. 30, 140), 8 impromptus (op. 90, 142), 6 momens musicals, 2 fantasias, adagio and rondo (very charming), 158 valses, 29 Ländler (German rustic dances), and 21 ecossaises. Among his duets the beautiful fantasia in F minor (op. 103), the scarcely known 'Divertissement en forme d'une Marche brillante et raisonnée' (op. 63), the splendid and highly characteristic 'Divertissement a la Hongroise' (op. 54), the charming rondo in A (op. 107), and the incomparable collection of marches (op. 27, 40, 51, 55, 66, 121), are standard works and full of matchless beauties. Franz Schoberlechner (1797–1843) a Viennese, pupil of Hummel, and well known in Italy and Russia, was in his time very popular. He composed 2 sonatas, 15 books of variations, 5 rondos, fantasias, a 'duet-rondo brillant' in E minor, and several smaller pieces. Heinrich Wohlfahrt (1797) obtained a great reputation through his well-known instruction-books for children; but his sonatinas and other small pieces are also very valuable. Carl Gottlieb Reissiger (1798–1859) wrote 2 sonatas, 5 books of variations, 25 rondos, and several fantasias. Henri Bertini jun. (1798–1876) claims grateful recognition for his 20 books of excellent studies, for about 250 different easy, moderately difficult, and difficult collections of solo pieces, and for a great number of excellent and most useful duets. His arrangement of Bach's 'Wohltemperirtes Clavier' for four hand is not sufficiently well known. Carl Mayer (1799–1862) was a prolific composer; he wrote 2 grand concertos, several brilliant allegros with orchestral accompaniment, many rondos, scherzos, variations, fantasias, toccatas (in E), and collections of elegant and pleasing drawing-room pieces, such as his 'Jugendblüthen,' ' Immortellen,' 'Shadow pictures,' 'Myrthen,' etc. His numerous duets are excellent for teaching purposes; and his studies, op. 31, 55, 61, 92, 93, 100, and 119 are highly to be recommended. Heinrich friedeich Enckhausen (1799–) obtained a good name for his valuable and useful sonatinas, sonatas, rondos and other educational pieces. Carl Kulenkamp (1799–) wrote about 60 works of a light and agreeable character; amongst them his polonaises and valses obtained considerable reputation. Joseph Christoph Kessler (1800–1872) composed variations, bagatelles, nocturnes, scherzos, preludes, cadenzas, and a sonata, in E♭ (op. 47); and his Grandes Etudes (op. 20) are still greatly and deservedly esteemed. Johann Wenzel Kalliwoda (1800–1866) composed a great number of rondeaus, valses, impromptus, contredanses, and amusing duets. Franz Xaver Chotek (1800–1852), a name well known in Austria, arranged about 130 works on operatic airs, chiefly for amusement and instruction. Carl Schunke (1801–1839) wrote about 60 educational works; among them the collection 'Le Pensionnat' (op. 52), both for solo and duet, became well known. Carl Georg Lickl (1801–1877) wrote about 80 works. Among them the charming collections entitled 'Ischler Bilder' (op. 57), 'Elegieen' (op. 63), and 'Novelletten' (op. 66), deserve a nearer acquaintance. Ferdinand Beyer (1803–1863): this prolific composer published over 800 amusing and instructive pieces, consisting mostly of arrangements, variations, valses, and divertissements. Jean Amédée le Froid de Méreaux (1803–1874) is well known by his excellent collective work 'Les Clavecinistes.' His grand studies and several smaller pieces are well composed, but as they are only published in France, they are but little known in Germany and England. Adolph Heinrich Sponholtz (1803–1851) composed sonatas, characteristic pieces, studies, and several collections of very pleasing dance-music. Salomon Burkhardt (1803–1849) wrote about 70 works, chiefly educational, among them many duets, still very popular in Germany. Jules Benedict (1804, now Sir Julius [App. p.748 "date of death, 1885"]) has written concertos, sonatas, fantasias, variations, reveries, rondos, divertissements, and many transcriptions of classical works. Luise Farrenc (Dumont) (1804–1875) composed about 40 works of considerable merit; among them her studies op. 26, 41, and 42 are well known and much played in Germany. Her cooperation in the publication of her husband's great collective work, 'Le Trésor des Pianistes,' deserves grateful recognition. Carl August Krebs (Miedke, 1804–1880) composed a great number of elegant and pleasing pieces. Friedrich Burgmüller (1804–1874 [App. p.748 "1806"]) composed a great number of educational works, particularly valuable for their accuracy in the matter of expression and musical orthography. Henri Herz (1806–) is one of the most prolific composers for the pianoforte; he has written more than 200 works, among them 60 books of variations, many fantasias, and drawing-room pieces of every description. His studies, op. 20, 100, 119, 151, 152, 153, are very popular on the continent, and his 4 books of technical studies have obtained a world-wide reputation. His duets, op. 16, 50, and 70, are highly to be recommended for teaching. Joseph Nowakowski (1805), a Polish professor, composed 12 etudes (op. 25, dedicated to Chopin), and was very successful with his Polish airs, mazurkas, and polonaises. Julie von Baroni-Cavalcabo—afterwards Julie von Webenau—(1805) wrote a sonata, rondos, 3 caprices, fantasias, and several smaller pieces, of which one 'Au bord du lac' is very charming. The Danish composer Johann Peter Emil Hartmann (1805) wrote a prize sonata, variations, sketches, rondeaus, caprices, of which Schumann speaks sympathetically. George Alexander Osborne (1806) composed a great number of variations, fantasias on operatic and national airs, rondinos, and many drawing-room pieces, of which the favourite valse 'La Pluie des Perles' [App. p.748 omit the word valse"] made the round of the world. Johann Friedrich Kittl (1806–1868) wrote 12 idyls, scherzi, divertimenti, etc., which enjoyed a certain popularity in Bohemia. Anna Caroline de Belleville-Ouby (1806–1880) wrote several elegant and popular drawing-room pieces, of which the fantasia on Scotch airs obtained great success in England. Felix Dobrzinsky (1807–1867), a Pole, devoted himself chiefly to the music of his native country. His variations and fantasias are composed on Polish airs, and his other compositions consist of polonaises and mazurkas, one of which, 'Mazurka a la Kujawianka," became well known. The merits of Julius Knore (1807–1861) reside not in his original pieces, but in his carefully compiled and systematically ordered educational works—'Methodischer Leitfaden für Klavierlehrer,' and 'Materialien für das mechanische Klavierspiel.' Franz Xaver Chwatal (1808–1880 [App. p.748 "1879"]) left a great number of sonatas and sonatinas (for 2 and 4 hands), rondos, variations, fantasias, excellent paraphrases of celebrated songs, collective works, among which the 'Musikalisches Blumengartchen' became well known. His pieces are fluently and agreeably written. Hubert Ferdinand Kufferath (1808– [App. p.748 "date of death 1882"]), a highly respected Brussels professor, composed good studies (op. 2 and 8), divertissements, romanzas, etc.; his arrangements for pianoforte solo of the andantes from Mendelssohn's concertos, op. 25 and 40, are eminently successful. Felix Mendelssohn-Bartholdy (1809–1847) composed 2 concertos, 1 capriccio (op. 22), a rondo (op. 29), a serenade and allegro giojoso (op. 43), all with orchestral accompaniments; 1 sonata (op. 6) 4 fantasias (op. 16 and 28), several scherzi, 3 sets of variations, especially the 17 Variations sérieuses (op. 54); 3 caprices (op. 33), 36 Songs without Words (Nos. 37–48 were published after his death), preludes and fugues (op. 35), 2 sketches, a capriccio (op. 5), 6 Christmas pieces, an andante cantabile and presto agitato, a study in F minor, scherzo à capriccio in F♯ minor, a barcarole in A, and two duets, andante and variations op. 83a, and allegro brillant, op. 92. Two sonatas, preludes, études, etc. were published after his death. The great beauty, plastic roundness and never-failing euphony of Mendelssohn's pianoforte works obtained for them universal recognition; indeed some of them, especially the Songs without Words (Books 1–6) are true household pieces. In his scherzos, Mendelssohn is unrivalled; indeed all his works are marked with a strong individuality which many of his followers tried in vain to imitate. Frédéric François Chopin^[5] (1809–1849) composed 2 concertos, variations on 'Là ci darem' a grand fantasia (airs polonois), a grand rondo (Krakowiak), and a 'Grande Polonoise précédée d'un Andante spianato,' with orchestral accompaniment; 2 sonatas, 1 fantasia (op. 49), 1 duet for two pianos, 24 preludes, 27 studies, 18 nocturnes, 4 ballades, 4 impromptus, 17 valses, 12 polonaises, 56 mazurkas, 4 scherzos, etc. etc. Not many pianoforte works have obtained such general and lasting popularity as those of Chopin. Indeed it may be said that their popularity is like that of Schumann's pianoforte works, steadily increasing. Adolphe Claire le Carpentier (1809–1869) wrote about 160 (mostly educational) works; they consist of bagatelles, rondos, variations, collections called Mosaïques, which in France enjoy a great reputation. The Danish composer, Johann Ole Emil Horneman, (1809–1870) obtained a reputation through his 12 caprices, 12 sketches, and 'Northern Songs without Words.' Robert Schumann (1810–1856) left a rich legacy: he composed 1 concerto, 1 concertstück, 1 concert-allegro, 6 sonatas (op. 11, 14, 22, 118), 11 fancy-pieces (phantasie-stücke), 8 novelletten, 12 etudes symphoniques, 12 transcriptions of Paganini's caprices, 6 studies in canon-form, and 4 sketches for the pedal piano; characteristic collections, 'Les Papillons,' 'Die Davidsbündler,' 'Carneval,' 'Scenes from Childhood,' 'Kreisleriana,' 'Arabesque,' 'Blumenstück, ' 'Humoresque,' 'Night Visions,' 'Vienna Carnival,' 'Album for the young,' 'Forest Scenes,' 'Leaves of variegated colours,' 'Album Leaves,' 'Morning Songs'; variations on the name 'Abegg,' 6 intermezzi, impromptu on an air of Clara Wieck, a toccata, an allegro, a fantasia, 3 romanzas, scherzo, gigue, romanza, and fughetta; 6 fugues on the name 'Bach'; 4 fugues, 4 marches, 7 pieces in fughetta-form; besides as duets, 'Oriental Pictures,' 12 pianoforte duets for players of all ages, and 'Ball Scenes.' In Schumann's pianoforte works we possess one of the greatest treasures; they are unrivalled for their poetical and intellectual content, and afford an unceasing source of the most genuine pleasure. Felicien David (1810–1876) wrote several collections of very charming melodies, more or less connected with his famous 'Le Desert'; their names, 'Les Minarets,' 'Les Brises d'Orient,' suggest this relation; 3 'valses expressives' of his composition may also be recommended. Wilhelm Taubert (1811–), a pupil of Ludwig Berger, has composed a great number of pleasing, effective, brilliant, and interesting pieces. We have from his pen, 1 concerto, 5 sonatas, impromptus, scherzos, 12 excellent studies, op. 40 (a sterling work), the world-renowned 'Campanella' and 'Najade'; collective works of great merit, viz. 'Miniatures,' 'Camera Obscura,' 'Tutti frutti,' 'Minnelieder,' 'Souvenir d'Ecosse,' etc. Among his original duets are four marches and a duo (op. 10) in A minor. Leopoldine Blahetka (1811–) has composed a concertstück, 12 books of variations, polonaises, a 'Dutch' and an 'English' fantasia. Camille Marie Stamaty (1811–1870), a respected Paris professor, composed a concerto, 2 sonatas, 25 studies (op. 11), 'Etudes progressives' (op. 37, 38, 39); also the studies, 'Les Concertantes' (op. 46, 47); fantasias, and numerous transcriptions. Henri Rosellen (1811– [App. p.748 "date of death 1876"]), a popular French professor, has composed about 150 works, chiefly consisting of fantasias, rondos, divertissements on favourite airs, 12 studies (op. 60), several duets, excellent for tuition. Ferdinand Hiller (1811– [App. p.748 "date of death 1885"]) has composed a great number of excellent and highly interesting pieces, full of talent and intelligence. Several concertos (op. 5 in A♭, op. 69 in F♯ minor), and sonatas, the celebrated studies (op. 15, 52), capriccios, a great number of small pieces ('zur Guitarre,' 'Albumblatt,' 'La Danse des Fées,' 'La Danse des Fantômes'), 'Réveries au Piano' (op. 17, 33), 'Huit mésures variées,' 24 Claverstücke, op. 66, 79, 81; six sonatas, op. 95, 'Gavotte,' 'Sarabande,' and 'Courante' (op. 115), etc. Franz Liszt^[6] (1811– [App. p.748 "date of death 1886"]) has been active in every branch of pianoforte composition: among his original compositions we find (op. 1) 12 études, later transformed into the 'Etudes d'exécution transcendante'; an 'Allegro di Bravura' (op. 4), a 'Valse di Bravura' (op. 6), 'Album d'un Voyageur,' in 12 pieces, 'Canzone napolitana,' 'Harmonies poétiques et religieuses,' grand concert solo, concerto pathétique (for 2 pianos), Consolations, a sonata in B major. Among his works composed on national airs or those of other composers are his celebrated 'Rhapsodies hongroises,' 'Trois airs suisses,' transcriptions of airs by Donizetti, Mercadante, Rossini, Bellini; of songs by Schubert, Schumann, Mendelssohn, Franz, Dessauer, Alabieff, Berlioz, Beethoven, Weber, Duke of Saxe Coburg; many fantasias and variations on operatic airs, arrangements of symphonies by Beethoven and Berlioz, of organ fugues by Sebastian Bach, paraphrases of violin pieces by Paganini and Ferdinand David; indeed Liszt's activity and versatility are truly astonishing. Vincenz Lachner (1811–) has composed several rondinos, a prelude and toccata in D minor, impromptu and tarentella, 'Bunte Blätter,' charming rustic dances, etc. Sigismund Thalberg^[7] (1812–1871). Among Thalberg's original pieces are—'Souvenirs de Vienne'; 12 caprices; valses, op. 4; grand concerto, op. 5; caprice in E minor, op. 15; 2 nocturnes, op. 16; caprice in E♭, op. 19; 3 nocturnes, op. 21; grand fantasia, op. 22; 12 études, op. 26; nocturne, op. 28; scherzo, op. 31; andante, op. 32; grand nocturne, op. 35; La Cadence, impromptu, op. 36, i.; Nouvelle Etude, op. 36, ii.; Romance sans paroles, op. 36, iii.; Romance et Etude, op. 38; 3 romanzas, op. 41; Thême original et Etude in A minor, op. 45; grandes valses brillantes, op. 47; Graziosa, Melody; Le Départ, Romance (Etude), op. 55; Grande Sonate, op. 56; Marche funebre variée, op. 57; Barcarole, op. 60; Valse mélodique, op. 62; Les Capricieuses, valses, op. 64; Tarentelle, op. 65. Thalberg's other works consist of fantasias on operatic airs by Mozart, Rossini, Meyerbeer, Bellini, Donizetti, Verdi, Auber, etc., and transcriptions (L'Art du Chant), of a variety of songs and arias. Gustav Flügel (1812–) an unknown name in England, has written about 40 works; among them 4 sonatas, fantasias, variations, characteristic pieces (Nachtfalter, etc.). Joseph Schad (1812–1879) composed about 30 works, sonatinas, and drawing-room pieces of a somewhat sentimental character. Charles Valentin Alkan (1813– [App. p.748 "date of death May 1888"]), a highly original French composer, became known by his excellent études (op. 38 and 39), by his Bourrée d'Auvergne, Le Preux, Le Chemin de fer; his concerto and duets also contain much of interest. Ernst Haberbier (1813–1869) composed about 60 works, of which the beautiful Etudes-Poésies (24 characteristic pieces), op. 53, and the 8 Nouvelles Etudes-Poésies, op. 59, deserve great and universal recognition. These 32 pieces belong to the best and most interesting which have been written during the last 20 years; op. 55 and 56 are also very interesting. Carl Vollweiler (1813–1848) wrote a prize sonata, many fantasias, tarentelle, marches, variations, etc. Jacob Rosenhain (1813–) has made a reputation by his 12 Etudes caractéristiques (op. 17), and 24 Etudes mélodiques (op. 20). His sonata (op. 47) 'Morceaux de Concert,' fantasias, romanzas, etc. are less known. Theodor Oesten (1813–1870), a prolific educational composer, wrote a very large number of collective works—Blumenlese, Reminiscences d'Opéras, Les Fleurs de l'Opéra, Repertoire de l'Opéra, etc.; his rondinos, valses, etc., are to be recommended for their clear, correct, and effective writing. Louis Winkler (1813–) has composed but a few original pieces, but his collection of fantasias, his 'Les Délices de l'Opéra,' and particularly his effective arrangements of Beethoven's chamber music (a large and valuable collection), have met with great approval. Eduard Eggeling (1813–), is well known in Germany for his excellent preparatory studies for performing Sebastian Bach's works. Adolph Henselt (1814–) is one of the most celebrated living composers for the pianoforte. Among his original works are—Variations de Concert (Elisire d'amore),op. 1; 12 Etudes caracteristiques, op. 2; Poëme d'Amour, op. 3; Rhapsody, op. 4; 12 Etudes de Salon, op. 5; 2 nocturnes, op. 6; impromptu, op. 7; Pensée fugitive, op. 8; Variations de Concert (Robert le Diable), op. 11; Tableau musical, a grand concerto in F minor, op. 16; several valses. Besides these pieces, Henselt translated a good many Russian songs. Some of his pieces have become universally known. Delphine von Schauroth, afterwards Hill-Handley (1814–), wrote a sonata and a capriccio, of which Schumann reports very favourably. Félicien Le Couppey (1814– [App. p.748 "date of death 1887"]), an experienced and meritorious Paris professor, has distinguished himself by his easy, useful, practical, and well-sounding 'Etudes primaires, expressives, progressives.' His collection of Etudes (op. 22) called Le Rhythme, and his 'A, B, C.' are still much used. Charles Kensington Salaman (1814–) is well known in London, amongst other pieces for his Saltarello, Pavan, Rondo nel tempo della Giga, a Toccata, '6 characteristic melodies,' 'Twilight Thoughts,' etc. Theodor Döhler (1814–1855 [App. p.748 "1856"]) composed a concerto, 12 grand studies, 50 études de salon, a charming tarentelle (op. 39), 12 nocturnes, ballades, numerous variations and fantasias. Anton Gerke (1814–1870), a respected teacher in St. Petersburg, wrote 12 Scherzi à la Mazurek, divertissements, 10 Pièces différentes et faciles, and a considerable number of smaller pieces. Stephen Heller^[8] (1815–). Although many of Heller's compositions have become popular, none have obtained the success of his excellent studies, op. 16, 45, 46, 47, and 90; among his greater works are three sonatas and fantasias, also preludes, églogues, valses, characteristic pieces, 'Dans les Bois,' 'Dream pictures,' 'In Wald und Flur,' 'Promenades d'un Solitaire,' 'Nuits blanches,' 7 excellent tarentellas, canzonettas, allegro pastorale, charming fantasias and rondos. Robert Volkmann (1815– [App. p.748 "date of death 1883"]) has composed a sonata, nocturnes, 'Musical Picture Book ' (op. 11), 'Wander Sketches' (op. 23), 'Visegrád' (an interesting collection of 12 pieces), 'Grandmother's Songs,' 'Hungarian Sketches,' marches, a toccata, and several smaller pieces. Charles Voss (1815– [App. p.748 "date of death 1882"]), a prolific writer of drawing-room pieces, has published about 350 works; they are written with much ease and fluency, but somewhat carelessly. Ferdinand Praeger (1815–) has long been well known in London; his best works are to be found in the Praeger Album (2 vols. Leipzig). Eduard Wolff (1816–1880) has composed about 300 pieces, among which his 'Etudes,' 24 op. 20, 24 op. 50, 24 op. 100; and his 48 studies, op. 189, 190, 191, 192, 'L'art de chanter sur le Piano,' are much used in France. His polonaises, mazurkas, and other national works, are very good, and his numerous fantasias, variations, scherzos, nocturnes, valses, tarentellas, contain much of interest. His collective work, 'La jeune Pianiste' (36 pieces), is useful for teaching purposes. Carl Haslinger (1816–1868), son and successor of the well-known Vienna publisher Tobias Haslinger, was an experienced and clever musician, whose sonatinas, variations, nocturnes, fantasias on operatic airs, are very good for instruction. The number of his works is about 60. Leopold von Meter (1816–) has written specifically good Vienna valses (see for curiosity's sake the Valses of the Future), excellent polkas, capital original marches, and highly effective transcriptions of Turkish airs—'Machmudier,' 'Bajazeth,' 'Air de Nedjib Pasha,' etc.; his arrangements of Russo-Bohemian airs are good; less so his fantasias, which are weak copies of Thalberg's style. Sir William Sterndale Bennett (1816–1875).^[9] Of this author, too soon departed, we have 4 concertos, 3 musical sketches, op. 10; 6 studies in the form of capriccios, op. 11; 3 impromptus, op. 12; sonata, op. 13; 3 romanzas, op. 14; a fantasia, op. 16; an Allegro grazioso, op. 18; a capriccio (with orchestral accompaniments), op. 22; a Suite de pièces, op. 24 (6 pieces); Rondo piacevole, op. 25; a Capriccio scherzando, op. 27; introduction and pastorale, rondino, caprice, op. 28; 'L'Amabile e l'Appassionata,' 2 Etudes caracteristiques, op. 29; theme and variations, op. 30; preludes and studies, op. 33; 'Pas triste, pas gai,' rondo, op. 34; Minuetto espressivo, op. 35; 'Joan of Arc,' sonata; prelude in B♭; diversions for two performers. Antoine François Marmontel (1816–), one of the most popular and experienced Paris professors, has written a sonata, 4 books of studies, 2 grandes valses (well known) 40 melodies et romances, polonaises and mazurkas. Joseph Adalbert Pacher (1816–1871), once a very popular professor in Vienna, wrote good studies, op. 3, 7, 10; caprices, impromptus, and very effective transcriptions of songs and operatic pieces. Fritz Spindler (1817–) of Dresden, has provided students with an unusually large number of effective, not difficult, useful, and practically written drawing-room pieces; his works number over 300; among them 'Wellenspiel,' 'Frisches Grim,' and 'Husarenritt' obtained general popularity; his transcriptions of operatic pieces, Schubert's songs, and national melodies (op. 73), are particularly well done. The celebrated Danish composer, Niels W. Gade (1817–) has written several exceedingly beautiful works; his Aquarellen, Arabesque, Christmas pieces, Fantasiestücke, Sonata (op. 28), 'Volkstanze,' are highly to be recommended. Ignaz Tedesco (1817–) has composed about 70 works, among which 18 are original pieces, and the remainder consist of fantasias and transcriptions of national and operatic airs. Antoine Chevalier de Kontski (1817–) has composed studies, 5 valses, fantasias, caprices, meditations, scherzos; among these only one, 'Le Reveil du Lion,' has obtained a wide circulation. Alexandre Philippe Billet (1817–) has published 17 studies, nocturnes, rondos, fantasias on operatic airs, mosaïques, etc. etc. Louis Jaime Alfred Lefebure-Wély (1817–1869) left a great number of agreeable light pieces; among them 'Les Cloches du Monastere,' 'Le Calme du Soir,' and 'La Retraite militaire' are very well known. Emile Prudent (1817–1863) wrote about 30 original pieces in the style of Thalberg, elegant and well sounding; in the Concert-symphonic (op. 34) he takes a higher flight; his études, 'Le Hirondelles,' 'Le Reveil des Fées' (op. 41). and 6 études de salon (op. 60) are highly to be recommended. Alexander Dreyschock (1818–1869) composed a sonata, 6 nocturnes, rondos, rhapsodies, and a great number of characteristic pieces; his variations for the left hand only are an excellent study. W. Vincent Wallace (1818–1865 [App. p.748 "1814"]), the richly gifted Irishman, composed a great number of very effective pieces; his characteristic composition 'Music murmuring in the trees,' and his brilliant polkas were once very popular. Theodor Kullak (1818– [App. p.748 "date of death 1882"]) composed a symphonie de piano (op. 27), a concerto (op. 55), a sonata (op. 7), many characteristic pieces ('La Gazelle,' 'Danse des Sylphides'), many collective works—'Lieder aus alter Zeit,' 'Les Fleurs du Sud,' 'Les Fleurs animées,' 'Youthful days,' 'Dans les bois et les champs,' transcriptions of national melodies, excellent études ('Les Arpèges'), scherzos, fantasias, and several very meritorious educational works. Henri Cramer (1818–1877), no relation of John Baptist Cramer, wrote a very large number (above 800) of potpourris, chants nationaux, mélanges, etc. Louis (Brouillon) Lacombe (1818– [App. p.748 "date of death 1884"]) has published about 40 pieces, among which 'Les Harmonies de la Nature' obtained a certain reputation. Felix Godefroid (1818–), actually a harpist, has composed about 180 elegant and light piano pieces; consisting mostly of Morceaux de genre, transcriptions, fantasias, Tyroliennes, etc., among which 'La Danse des Sylphes' has become universally known. Adolph Gutmann (1818– [App. p.748 "date of death 1882"]), the favourite pupil and friend of Chopin, has published about 60 pieces, mostly with fancy titles; some of them (op. 28, 33, 46) have become known; his 10 Etudes caracteristiques, op. 12 are to be recommended. Henri Ravina (1818–1862 [App. p.748 "omit date of death as Ravina is still alive"]), well known by his elegant and pretty études (op. 2, and op. 24), wrote also a great number of drawing-room pieces, among which the Sicilienne, Barcarole, Rondo villageois, Nocturne gracieux, became very popular. His fantasia on operatic airs are well compiled. Johann Kafka (1819–), very popular in some parts of Germany, has published about 200 numbers of light and moderately difficult drawing-room pieces; his 'Erinnerung an Steinbach' became well known. Clara Schumann (Wieck, 1819–) has published a concerto, a scherzo (op. 14), 4 pièces fugitives, 33 preludes and fugues (op. 16); 4 polonaises, Caprice en formes de Valse, a romance variée, valses romantiques, 4 pièces caracteristiques, soirées musicales, Hexentanz, variations de concert, etc. Albert Loeschhorn (1819-) has published a great number of nice, melodious, and effectively written drawing-room pieces, and transcriptions of operatic and national airs. His studies, op. 65, 66, 67, in graduated difficulty are very valuable. Carl Evers (1819– [App. p.748 "date of death 1875"]) composed four sonatas; a collective work, 'Jours sereins, jours d'orage'; tarentelles, valses, études, fantasias, etc.; 'Chansons d'amour,' a collection of love-songs, in which the different national characters are imitated. Brinley Richards (1819- [App. p.748 "date of death 1885"]) the popular Welsh musician, has published a book of octave studies, caprices, a tarentelle, 'Recollections of Wales,' and a very large number of fantasias and other amusing and pleasing pieces, which have a wide circulation. Several of his later original works contain much interesting matter. Henry Litolff (1820– [App. p.748 "1818"]) has written 3 concerto symphoniques, caprices, nocturnes, 6 studies (op. 18), fantasias on operatic airs, and a considerable number of characteristic pieces, among which the 'Spinner-lied' became very celebrated. Louis Köhler (1820– [App. p.748 "date of death 1886"]), is one of the most distinguished of living educational composers: the number of his easy, moderately difficult, and very difficult studies, technical exercises, sonatinas, rondos, arrangements of dances and melodies of all nations, is unusually great, and some of his studies (particularly those op. 112 and 128) are of lasting value. Wilhelm Kruger (1820-) has composed a great number of elegant and pleasing pieces; 'La Harpe éolienne' and 'Chanson du Gondolier' are very popular. Cornelius Gurlitt (1820–), an excellent musician, has written most valuable pieces for instruction; his sonatas, sonatinas, studies, and collections of amusing pieces for young students are exceptionally good. Alexander Ernst Fesca (1820–1849) composed a morceau de concert, 3 rondos, 4 fantasias, 2 books of variations, 4 nocturnes, and several characteristic pieces, among which 'Scene de Bal,' and 'La Danse des Sylphides' are very effective and well written. Charles Edward Horsley (1821–1876 [App. p.748 "1822"]), once well known in London, has left a sonata, and many graceful and effective melodies. Dietrich Krug (1821–1880), a very industrious composer of educational pieces (like those of Czerny, Hünten, Oesten, etc.), wrote about 400 books of amusing and instructive pieces. His collections, 'Echoes of the Opera' and 'Fashionable library' (Mode Bibliothek), are well known and very much used. Charles Bovy de Lysberg (1821–1873), a highly respected professor of Geneva, has composed about 70 drawing-room pieces with fancy titles, which have become more or less popular. Rudolph Willmers (1821–1878) composed about 130 pieces, among which are 2 concert solos with orchestral accompaniments ('Un jour d'été en Norvège,' op. 37, is very good), sonatas, 6 études, many fantasias on operatic pieces, a great number of highly effective concert studies ('Sehnsucht am Meere,' 'La Pompa di Festa,' 'La Sylphide,' 'Trillerketten,' etc.). Willmers's pieces are very valuable for instruction. Charles Edward Stephens (1821–) has published a sonata, a duo brillant (4 hands), an allegro-rhapsodie, impromptus, fantasias, and characteristic pieces, full of fancy and feeling. Joachim Raff (1822– [App. p.748 "date of death 1882"]) has produced an unusually large number of pieces of every description, concertos, sonatas, suites, fantasias, nocturnes, impromptus, a collective work 'Die Oper im Salon,' dances in the old and modern style; his pieces are of different grades of difficulty. Theodor Gouvy (1822–) has composed a sonata and 4 serenades. Wilhelm Kuhe (1823–) has written a great number of light and pleasing opera fantasias and transcriptions; among his original pieces 3 Songs without words (op. 12), 'Das Glockenspiel' (op. 13), and 'Andante and étude' (op. 14), have found much favour. Alexandre Edouard Goria (1823–1860) composed about 130 drawing-room pieces; they are elegant and effective, and some of them, such as the Olga-mazurka, Caprice-Nocturne, Barcarole, Berceuse, have become universally known. Among his 31 grand studies, those in op. 63 are very good; his fantasias and transcriptions are very cleverly written and highly effective. Dr. Julius Schaeffer (1823–), a musician of sterling merit, but unknown in England, has composed, among other pieces, 'Fantasie-Variationen,' a highly remarkable work, full of originality and boldness; his Fantasie Stücke, Songs without words, and Polonaise are also very interesting. Jean Vogt (1823–) composed preludes and fugues, about 20 books of drawing-room pieces, an andante and allegro de concert with orchestral accompaniments (op. 33), and 12 excellent studies (op. 26). Theodor Kirchner (1824–), a richly gifted composer, has written a good number of highly fascinating pieces; among them the collective works, 'Album leaves,' 'Preludes,' 'Legends,' 'Grüsse an meine Freunde,' 'Kleine Lust-und-Trauerspiele,' are full of original matter; his transcriptions of Mendelssohn's songs are the work of a refined musician. Carl Reinecke (1824–) has composed many and good works; among others 2 concertos, sonatas, many sonatinas, fantasias, 'Alte und neue Tänze,' ballades, variations on a theme of Handel, many educational pieces ('Haus Musik'), 17 cadenzas for concertos by Bach, Mozart, Beethoven, Weber, excellent duets for 2 pianos, many good pieces for 4 hands, and very useful and well-written studies. Friedrich Smetana of Prague (1824– [App. p.748 "date of death 1884"]) has published 6 Morceaux caractèristiques, Album leaves, Bohemian dances, etc. Albert Jungmann (1824–) has written more than 400 easy and agreeable pieces for beginners and not very advanced players. Edouard Franck (1824–), a highly talented composer, has published a good many pieces; among them, a sonata (op. 6), scherzo (op. 7). and 25 variations (op. 14), have become known to a wide circle. Emanuel Aguilar (1824–) published nocturnes, melodies, several morceaux de salon, also 5 canons and a two-part fugue, intended as a preparation for the study of the works of Sebastian Bach. Anton Herzberg (1825–) composed a great number of drawing-room pieces (about 120 are published); among them the mazurkas are very good. Julius Carl Eschmann (1825– [App. p.748 "date of death 1882"]) has made himself a name by his excellent selections of classical works for beginners. His guide-book ('Wegweiser') to the literature of the pianoforte is very valuable. Charles Wehli (1825–) has written many nocturnes, ballades, romanzas, and other shorter pieces; his dancemusic is particularly elegant and pleasing. Julius Schulhoff (1825–) has composed a sonata, 9 idyls, 3 impromptus, 1 morceau de concert, 33 nocturnes, valses, galops, mazurkas, etc., about 60 pieces, most of which have obtained a very wide circulation. Louis Ehlert (1825– [App. p.748 "date of death 1884"]) has published a 'Sonate romantique,' and several very graceful and refined shorter pieces. Moritz Strakosch (1825– [App. p.748 "date of death 1887"]) has written many books of elegant dancemusic and transcriptions of Italian operatic airs. Walter Cecil Macfarren (1826–) has published gavottes, impromptus, characteristic pieces, melodies, nocturnes, galops, valses, mazurkas, etc., which are very carefully and tastefully composed. Lindsay Sloper (1826–) has composed good studies (op. 3, 13) and a number of pleasing smaller pieces, some of them full of interest. Wilhelm Speidel (1826–) has published several sonatas, Highland pictures, and, among other smaller pieces, a very good Saltarello (op. 20). Hermann Berens (1826–1880) left many most excellent educational pieces. His studies, op. 61, 66, 70, 73, 77, and 79 are indeed very valuable; so are his sonatinas, op. 81 and 89, and a small work entitled 'The Training of the Left Hand.' Edward Silas (1827–) has composed a great number of characteristic pieces, romanzas, a capital gavotte in E minor, and excellent duets. Gustav Merkel (1827– [App. p.748 "date of death 1885"]) has composed many practically written and effective pieces; among them op. 18, 20, 25, 61, 65, 81, and 84 have become very popular. Hermann A. Wollenhaupt (1827–1863) wrote short but melodious and pleasing pieces, among which his marches, waltzes, and scherzos are well worthy of the wide recognition they have found. Adolfo Fumagalli (1828–1856) published about 90 drawing-room pieces, consisting of serenades, tarentelles, fantasias, very effective transcriptions, etc. Woldemar Bargiel (1828–) has composed excellent suites, op. 7, 8, 31. very valuable 'Pianoforte-stücke,' op. 32 and 41, very interesting 'Bagatelles,' op. 4, a vigorous 'Fantasiestück,' op. 27, and a good many other valuable pieces. Hans Seeling (1828–1862) wrote 11 single pieces, among which his charming 'Loreley' obtained great success, and 3 collective works—'Concert Studies,' 'Schilflieder,' and 'Memoirs of an Artist.' Seeling's pieces are very fascinating. Ernst Heinrich Lübeck (1829–1876) wrote a small number of drawing-room pieces. L. M. Gottschalk (1829–1869) composed about 60 drawing-room pieces; among them are 'Le Bananier,' 'Le Mancenillier,' and 'Bamboulo,' which obtained a wide circulation. Otto Goldschmidt (1829–) has published a concerto (op. 10), 12 concert studies (op. 13), an andante and scherzo, reveries, nocturnes, 'Rondo-Caprice,' etc. Anton Rubinstein^[10] (1829–) has composed concertos, sonatas, fantasias, preludes and fugues, studies, all kinds of dance-music ('Le Bal,' etc.), many collective works, such as 'Kamennoi-Ostrow' (24 pieces), suite (10 pieces), 6 morceaux, op. 51, 'Album de Peterhof' (12 pieces), 'Miniatures' (12 pieces) 'Miscellanées' (8 books), a great many duet cadenzas to Beethoven's ist, 2nd, 3rd, and 5t Concertos, and to Mozart's D minor Concerto, etc. Only a few of Rubinstein's pianoforte pieces have obtained general popularity; being very difficult and requiring very large hands for their execution, not many persons can play them with proper effect. Heinrich F. D. Stiehl (1829–) has written a considerable number of short drawingroom pieces. Renaud de Vilbac (1829– [App. p.748 "date of death 1884"]) has composed many (40) drawing-room pieces, among which the 3 morceaux de salon, op. 23, and 3 caprices, op. 25, have become well known; his duets, op. 19, op. 24, op. 26, and particularly his collective work 'Les Beautés des Opéras' (Norma, Barbier de Seville, Euryanthe, Freischutz, etc.), are very popular. Jacques Blumenthal (1829–) published a considerable number of drawing-room pieces, some of which obtained a certain popularity. Hans von Bülow (1830–) has published several works, among which the collection of 10 pieces, 'Il Carnovale di Milano,' op. 21, has obtained popularity. His editions of Beethoven's sonatas and other classical works are marked by devotion and enthusiasm, and by a remarkable degree of intelligence. Julius Handrock (1830–) has written a great number of valuable instructive pieces, which are much used in Germany. Wilhelm Ganz (1830–) has published a considerable number of brilliant and pleasing drawing-room pieces. Adolph Schloesser (1830–) has composed many brilliant and effective drawing-room pieces; among his more ambitious efforts is a suite, op. 119, which contains excellent music. Gustav Lange (1830–) a respected Berlin professor, has composed a great number of drawing-room pieces which enjoy also a certain popularity in England. Karl Klindworth (1830–) is chiefly known by his critical edition of Chopin, and by excellent arrangements of Schubert, Wagner, Tschaikowsky, etc. W. S. Rockstro (1830–), besides having arranged and edited various classical operas, is known as a voluminous composer of salon pieces, such as 'Mes Songes,' 'Christabel,' etc. Salomon Jadassohn (1831–) has published well-written pieces, among which 3 morceaux, bal masqué (7 airs de ballet), serenade, variations sérieuses, are popular; his cadenzas to Beethoven's Concerto, No. 4, are to be recommended. Julius von Kolb (1831–) published reveries and intermezzos. Alfred Jaell (1832– [App. p.748 "date of death 1882"]) is the author of a great number of effective drawing-room and cone pieces, and transcriptions; among these the transcriptions of some of Richard Wagner's operatic pieces are very well done. Joseph Ascher (1831–1869) has composed a great number of light and effective drawing-room pieces, elegant dancemusic, good marches (Fanfare militaire). Some of his works enjoy great popularity. Eduard Hecht (1832– [App. p.748 "date of death 1887"]) has composed several well-written pieces, which deserve a better acquaintance. Francis Edward Bache (1833–1858), a highly gifted musician, of great promise, published about 20 pieces, full of melody and natural expression. Among the most prominent are 'La belle Madeleine,' and the galop, 'L'irresistible.' Johannes Brahms^[11] (1833–) has composed a concerto, 3 sonatas, a scherzo, variations on airs by Handel, Schumann, and Paganini, ballads, Hungarian dances (two sets), waltzes, etc., 8 clavierstücke (caprices and intermezzi), and 2 rhapsodies. The interest of these works is not so much in spontaneous charm or graceful expression, as in their solid substance, intellectual character and logical development, which rivet the attention and sustain it to the last. William George Cusins (1833–) is known by his Concerto in A minor, as well as by marches and other pieces. Franz Bendel (1833–1874) wrote a great number of effective and brilliant pieces, among which several have become very popular; his transcriptions of songs by Rubinstein, Chopin, Brahms, and Franz, are most excellent. Alexander Winterberger (1834–), a pupil of Franz Liszt, has composed a fantasia (op. 19), 2 idyls, salon étude, valse-caprice and several other short pieces. Anton Krause (1834–) has produced sterling edutional music—namely, 25 sonatas and sonatinas for 2 and 4 hands, about 30 studies, also 2 books of arpeggio studies. Camille Saint-Saëns (1835–) is the composer of 4 concertos, and many smaller pieces, such as gavottes and mazurkas; also excellent variations for 2 pianos on a theme of Beethoven's, etc. Robert Goldbeck (1835–) has published a great number of pleasing and light pieces. Bernhahd Scholz (1835–) has composed a remarkably well-written collection of pleasing and practical pieces for amusement and instruction. Emil Breslaur (1836–): among this composer's works, his 'Technische Grundlage des Klavierspiels,' op. 27, has created considerable attention. Friedrich August Wilhelm Baumfelder (1836–) has written a great number of light pieces, favourable for instruction. Adolph Jensen (1837–1879) before his too-early death composed highly interesting pieces, among which the Wanderbilder, Lieder, and Tänze (20 pieces) Jagd-Scene, Praeludium and Romanze, Valses, Caprices, Idyllen, Hochzeit-musik' (duet), Ländler aus Berchtesgaden, Wald-Idylle (op. 47), and 'Erinnerungen,' have become well known. Joseph Wieniawski (1837–) has published brilliant valses, fantasias, variations, songs without words, excellent mazurkas (op. 23). Constantin Bürgel (1837–) has composed several sonatas, a suite, Arietta e Gavotta (op. 25), 2 dance-caprices, etc., all of which enjoy a good reputation in Germany. Alexandre César Leopold ('Georges') Bizet (1838–75), left 'Jeux d'enfants' (12 pieces), 'Les Chants du Rhin' (6 do.), many transcriptions and arrangements, and especially 'Le Pianiste-chanteur,' 150 pieces of all schools, transcribed, marked, and figured. Theodore Ritter (1838– [App. p.748 "date of death 1886"]) is the author of a good number of effective and brilliant drawing-room pieces ('Chant du braconnier,' 'Sylphes,' etc.) John Francis Barnett (1838- [App. p.748 "1837"]) has published a considerable number of characteristic, pleasing, and instructive pieces, also a concerto in D minor (op. 25). Joseph Rheinberger (1839–) has composed a great number of pieces for 2 and 4 hands (concerto, fantasias, toccatas, characteristic pieces, etc. ); his op 5, 53 and 'Jagd-Scene' are very popular. Michael von Asantschewsky (1839–) has made himself a name by his op. 4, 3 pieces; op. 6, Passatempo; op. 8, 6 duets; op. 12, 'Festival Polonaise.' Sydney Smith (1839–) has composed a great number of light and pleasing pieces, which in certain circles are very popular. Friedrich Gernsheim (1839–) has composed several highly distinguished works. Hermann Goetz (1840–1876): of this too soon departed composer, we have Genrebilder (op. 13), six sonatinas, one duet sonata, and a grand concerto (op. 18). Peter Tschaikowski (1840–) is known by a grand concerto, an impromptu and scherzo russe, and 8 other original pieces. Ernst Rudorff (1840–) has published Etude (op. 29, no. 1); Concert-étude (do. no. 2); 8 Fantasiestücke and a Fantasie; 6 pieces for 4 hands, and Variations for two PFs. Carl Tausig (1841–1871), who, like Jensen, died too young, wrote 2 études de concert, and transcribed gipsy melodies, valses of Strauss ('Nouvelles Soirées de Vienne'), several movements from Beethoven's quartets, Wagner's 'Walküren Ritt,' etc. Heinrich Hofmann (1842–) has composed a good many pretty and highly effective pieces. His duets 'Italienische Liebes-Novelle' (op. 19), transcriptions of Norwegian, Hungarian, and Russian melodies, have become very popular. Edvard Grieg (1843–) has composed a concerto, a sonata, and several smaller pieces, all elegant, and strongly impressed with the Norwegian character. Alexander Mackenzie, of Edinburgh (1847–), has published a quartet for pianoforte and strings (op. 11), Trois Morceaux (op. 15), and other pieces. Philipp Scharwenka (1847–) has composed excellent solos and duets, and his brother, Xaver Scharwenka (1850–) has written a great number of highly effective, brilliant, and melodious works. Hubert Parry (1848–) has composed 2 sonatas, a duet for 2 pianos, a concerto, etc. Moritz Moszkowski (1854–) born at Breslau, is one of the most talented amongst present composers; his charming duets, five waltzes, Album espagnol, Spanische Tänze (op. 12), and the suite 'From Foreign Countries,' as also his excellent concert studies, minuets, valses, polonaises, have gained great popularity in proportionately short time.

The foregoing list gives but a very incomplete and inadequate idea of the enormous quantity of music written for the piano. Each year produces thousands of pieces; and as every opera, oratorio, cantata, symphony, or quartet, is arranged for two or four hands, some idea may be formed of the magnitude and almost bewildering extent of the pianoforte library. Dance-music too, in its most popular and practical form, is the property of the piano; in fact the number of works written for it far surpasses those written for the church, the theatre, or all other branches of music. Indeed it is not too much to say that the progress of the art has been in great measure due to this noble instrument. The arrangements alone, a branch of art which, in the hands of such clever musicians as Watts, Czerny, Mockwitz, Winkler, Horn, Ulrich, Hugo, Horr, Wittmann, Klindworth, Prout, and many others, may be said to have reached perfection, may literally be counted by tens of thousands.

Our list has been compiled with an earnest endeavour to do justice to the names of all artists of importance; but so great is the activity of composers and publishers that it is possible some may have been omitted. Among those to whom we are unable to give more extended notice, but who deserve mention for their more-or-less-known productions, are:—Franz Behr, Ernst Berens, Francesco Berger, Jules Brissac, Ignaz Brüll, J. B. Calkin, Willem Coenen, Charles Delioux, Emile Doré, Jules Egghard (Count Hardegen. dead), A. Ehmant, G. J. van Eycken (dead), René Favarger (dead), George Forbes, Alban Förster, Adolph Gollmick, Hans Hampel, J. W. Harmston, Carl Hause, Heinrich Henkel, Siegfried Jacoby, E. Ketterer (dead), A. Klauwell, Richard Kleinmichel, J. Leybach, R. Löffler, Joseph Low, Carl Mächtig, Tito Mattei, Theodor Mauss, Jean Louis Nicodé, Arthur O'Leary, A. Pieczonka, Joseph L. Roeckel, Julius Röntgen, Joseph Rummel (dead), Gustav Satter, J. Schiffmacher, Bernhard Scholz, W. Schulthes (dead), Boyton Smith, Berthold Tours, Ch. Wachtmann, Agnes Zimmermann.

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1. Five of these, Nos. 13, 14, 23, 40, 45, have been taken from other works.
2. André of Offenbach has published a thematic catalogue of Gelinek's variations, Nos. 1–100.
3. Gesammelte Schriften (1854) ii. 25, iii. 14.
4. Only published in England, and therefore not easily accessible, as the original editions are no longer on sale.
5. Compare Special Thematic Catalogue (Leipzig, Breltkopf & Härtel).
6. See Catalogue (Leipzig, Breitkopf & Härtel), and List at pp. 149–151 of this volume.
7. Compare Special Catalogue of Thalberg's works (Leipzig, Senff).
8. See Special Catalogue of Heller's works (London, Ashdown & Parry).
9. It is difficult to give an accurate account of Bennett's compositions, as there is no special catalogue, and some works have changed their original publishers. Whilst in France and Germany the publisher considers that an excellent work confers distinction and glory upon his firm, and does not allow it to leave his catalogue, some of the English publishers appear to regard a celebrated work merely as an investment, and part with it readily for a profit. For an attempt at a complete list of Bennett's works see vol. i. of this Dictionary, p. 229.
10. See Special Catalogue of Rubinstein's compositions (Leipzig Senff).
11. See Special Catalogue of Brahms's compositions (Leipzig, Senff), and his biography.