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).[1] 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"])
- ↑ 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.
