Chapter X: Chamber Music of Recent Times (1)

Trio by E. Schütt—Trio by Kirchner—Raff’s C minor
Trio—Balfe’s Trio in A major—Trio: C. Hubert Parry—Trio:
Bargiel—Sterndale Bennett’s Trio, op. 26—Trio, D minor:
F.E. Bache—Trio, E flat: Nawratil—Trio: Goetz—Trio:
Schmidt—Other Trios—String Trios—Quartett: Mackenzie—E
flat Quartett: Rheinberger—Quartett: W. Rabl—Quartett:
Prout—Quartett: Verdi—Quartett: Onslow—Quartett: W.H.
Veit—Unusual combinations.

Here we must notice a few chamber compositions, chosen chiefly from the works of musicians of our own or of recent times. No special method of selection is followed, nor must the list be regarded as at all an exhaustive one. Only what is thought may prove acceptable and useful to earnest amateurs is mentioned.

[Sidenote: =Trio by E. Schütt=]

A Trio, _Walzer Märchen_, op. 54, for piano, violin, and ’cello, by Edward Schütt, consists of three delightful musical stories, told in waltz rhythm, without a trace of monotony, which might easily arise under such conditions. Schütt, their composer, lives in Vienna, where he has conducted the Akademischer Wagnerverein. He has written a number of works, and among them is a Piano Trio in C minor, which has met with much approval.

[Sidenote: =Trio by Kirchner=]

In the _Novelletten_ Trios, op. 59, for piano, violin, and ’cello, by Theodor Kirchner, we have a set of refined and well-written pieces which display a considerable amount of character. Kirchner, who was an intimate friend of both Mendelssohn and Schumann, has written a large number of works, chiefly in the smaller forms, for the pianoforte. His model has evidently been Schumann, and he even gives to some of his works titles which were used by that master. For instance, his op. 17 he calls “Neue Davidsbündlertänze,” and op. 53 “Florestan and Eusebius.”

[Sidenote: =Raff’s C Minor Trio=]

The composer, Joachim Raff (1822-82), of the Trio in C minor, op. 102, for piano, violin, and ’cello, was a distinguished example of what has been called “fatal facility.” His powers of musical invention seemed inexhaustible, and this, along with the demands of publishers, and probably, pecuniary needs, led him to overwrite himself, for of his two hundred and fifty and more works many are of but little value. With his larger works, generally speaking, it is different, and at any rate his symphonies and overtures entitle him to a leading place among contemporary composers.

This Trio also ranks as one of his best works. It is full of genuine melody and true poetic feeling, the andante (Mässig langsam) being especially charming. Those who are in sympathy with the advanced school of composition will find food for their fancy also in the String Quartett in D minor, op. 77, by this composer. It is well known that Raff was an ardent follower of the Liszt-Wagner school, and in this work he fully reveals this tendency. The third movement is an extremely fine example of the emotional style, full of rich and glowing passages which bring to mind the intensity and glamour of _Tristan_ and _The Ring_. The Quartett, though difficult, is well worth knowing, if only for the sake of this movement. As has already been said, Raff no doubt wrote too much, and, in colloquial phrase, too often “gave himself away,” but for all that he had the root of the matter in him, and at his best he rises to great heights.

[Sidenote: =Balfe’s Trio in A Major=]

To those who only know Michael W. Balfe (1808-70) as the composer of _The Bohemian Girl_ and other operas, his Trio in A major for piano, violin, and ’cello will come as somewhat of a surprise, for as a general rule we do not find in opera composers the power to bring to a successful issue works of this class. Here, however, may be found not only tunefulness, but such technical skill and musicianship as this style of composition demands. Each movement possesses merit of no common order, and especially the scherzo may be mentioned as being distinguished by freshness and vigour, and also by certain humorous touches which serve to remind us that Balfe was musically, as well as nationally, an Irishman.

[Sidenote: =Trio: Sir Hubert H. Parry=]

Chiefly because of its being ahead of its time, and partly because of its difficulty, Sir Hubert H. Parry’s Trio in E minor for piano, violin, and ’cello has not had the recognition which it deserves, for it is a noteworthy work by one of our distinguished English composers. It also probably represents its composer’s _Sturm und Drang_ period. But it is the works of such periods which very often most fully reveal the aspirations and powers of an artist, even when also displaying the immaturities of inexperience.

The second movement, and especially the adagio which follows, contains some of Sir Hubert Parry’s best music. The allegro giocoso with which the trio ends will, like the whole work, repay study, although it doubtless makes large demands on both performers and listeners.

[Sidenote: =Trio: Bargiel=]

Waldemar Bargiel (1828-97) was one of the followers of Schumann, under whose influence, and also that of Mendelssohn, he came at an early age. Later in life he worked with Dr. Joachim at the Royal Music School in Berlin. His works, without being absolutely great, are distinguished by sound musicianship and all those qualities which arise from true refinement and culture. The Trio in E flat, op. 20, for piano, violin, and ’cello is written in an elevated and interesting style. The andante especially is a nobly expressed and poetical movement.

Another Piano Trio by this composer is that in F major, op. 6. This work, which is dedicated to Schumann, commences with a theme whose first four notes are quoted from the scherzo of that master’s Piano Quintett in E♭. It does not, however, either as regards its themes or its poetic feeling, compare favourably with the op. 20.

[Sidenote: =Sterndale Bennett’s Trio, op. 26=]

The Chamber Trio, op. 26, for piano, violin, and ’cello, by Sir William Sterndale Bennett (1816-75), is the fairly-well-known work of a composer of whom it has been said that although “the number of his compositions is not large, for polish, refinement, and careful elaboration they vie with the best in musical art.” “He is in a special degree a musicians’ composer. His excellencies, in addition to the real and genuine feeling for beauty and expression which pervades his music, belong to that interesting and delicate type of art which illustrates in a special degree the fitness of means to an end, the relation between the feeling expressed and the manner and medium of expressing it; a class of artistic production which always has a peculiar interest for artists, and for those who study critically the details of the art illustrated.”[41]

[Footnote 41: _Dictionary of Music and Musicians_ (Grove), vol. i. p. 226.]

The Trio op. 26 consists of three movements—a charming andante tranquillo, followed by a serenata, and concluding with a vigorous allegro fermato. In the serenata the violin plays pizzicato throughout, while the cantabile melody is chiefly given to the piano, occasionally reinforced by the ’cello, which also joins the violin in the pizzicato effects.

[Sidenote: =Trio, D Minor: F.E. Bache=]

We are not aware whether the Trio in D minor, op. 25, by Francis Edward Bache (1833-58), is generally known. If not, it certainly deserves to be. In style it is no doubt Mendelssohnian; indeed, in choice of keys and treatment it closely follows that master’s op. 49; but at the same time there is individuality in Bache’s work. Much modern chamber music, especially of continental origin, is burdened with elaborations and flights of fancy which, to say nothing harsher, render it almost unintelligible unless performed by artists of the highest executive skill, whilst in the hands of the average amateur the result is usually chaotic. All this is avoided in this Trio. Without being in the least tame or insipid, it is never unreasonably difficult. The opening allegro is fresh and vigorous in style, and in the andante the treatment of the three instruments is more than usually interesting. A rondo (allegro molto ed appassionata), twice interrupted by a melodious episode (un poco più lento), brings the Trio to an end. The composer of this Trio was the brother of the well-known pianist, Walter Bache, who laboured so unselfishly in the cause of advanced music, and especially in introducing the works of Liszt to the British public. Francis Edward Bache showed great musical ability as a child. He studied the violin under Alfred Mellon, who was at that time conductor at the Birmingham Theatre, and in 1846, when Mendelssohn conducted his _Elijah_ there, the boy, who was then thirteen years old, was allowed to play in the orchestra.

There can be no doubt, from the works he has left behind him and the high opinions held of him by Sterndale Bennett, Hauptmann, and Plaidy (Leipzig), under whom he studied, that had he lived he would have become a distinguished addition to the list of English composers.

[Sidenote: =Trio, E Flat: Nawratil=]

Karl Nawratil (1836), the composer of the Trio in E♭, op. 9, for piano, violin, and ’cello, has for a long time enjoyed an excellent reputation as piano-teacher in Vienna. Among his pupils have been Madame Essipoff, Edward Schütt, and others who have distinguished themselves. He has written in various styles, and in chamber music form as well as this Trio, a String Quartett, two Piano Quartetts, and another Piano Trio.

The Trio in E♭ is an interesting composition, and quite grateful music to play. The last movement, with its fugal episode, may be specially mentioned. The work is dedicated to Brahms.

[Sidenote: =Trio: Goetz=]

Hermann Goetz (1840-76) is known at any rate by two works which proclaim him to have been a highly gifted artist, and it is reasonable to think that but for his early death he would have come to occupy a very distinguished place among contemporary composers. The works referred to are an opera, _The Taming of the Shrew_, and the F major Orchestral Symphony. There is also a fine setting, for soprano solo, chorus, and orchestra, of the psalm “By the Waters of Babylon,” and another of Schiller’s _Nänie_. He was also engaged at the time of his death on a second opera, _Francesca da Rimini_, the sketch for which was completed by his friend Frank, and performed at Mannheim in 1877.

The Trio in G minor, op. 1, for piano, violin, and ’cello, is a composition of dignified character, and full of true poetic feeling. This composer unquestionably had something to say, and he knew how to say it. His other chamber music works are a Piano Quintett in C minor, a Piano Quartett in E, and a Piano Sonata for four hands.

[Sidenote: =Trio: Schmidt=]

Oscar Schmidt, an unknown variant of the familiar name, has written a Trio in G minor, op. 24, for piano, violin, and ’cello, which may be recommended as a pleasant and sincere, although not great work. It is composed in classical form, with the usual four movements. The adagio opens with a charming and effective theme for the ’cello, and the whole trio is well laid out and playable for all the instruments.

[Sidenote: =Other Trios=]

Other piano, violin, and ’cello trios which may be mentioned are:—

Trio in F, op. 18, by Saint-Saëns (1835), which is a well-written work, showing its composer’s remarkable versatility.

Trio in E♭, op. 35, by Sir C. Villiers Stanford (1852), the second movement of which is a most dainty allegretto.

Trio in B♭, op. 27, by B. Molique (1802-69), an artist who, both as composer and violinist, worthily upheld a high classical standard.

Novelletten, op. 29, and Trio in F, op. 42, both by Niels W. Gade (1817-90).

Trio in B♭, op. 52, by Anton Rubinstein (1830-94), with a very fine adagio movement.

Serenade Trio, op. 64, by Ferdinand Hiller (1811-85). The slow movement is called “a Ghazel.” This has been described as a short form of Persian poetry, in which the rhyme of the first two lines is repeated in every alternate line throughout the piece. Hiller’s musical equivalent for this is a simple phrase repeated by the strings, the piano filling up the intervals with other matter. Another of the movements is written chiefly in 5/4 time, but save for these peculiarities, the trio is not of any great value.

Two Trios, op. 21 and op. 32, by Emil Kreuz, for piano, violin, and viola, may also be mentioned.

[Sidenote: =String Trios=]

As modern works for two violins and ’cello are not often to be met with, reference may be made to Two Trios, op. 135, for this combination, by Aloys Schmitt (1788-1866).

No. 1, in E♭, consists of one movement only; but No. 2, in D minor, has three, viz.:—Allegro moderato, minuet, and allegro. Both are well written, playable, and pleasant. The composer was born at Erlenbach in Bavaria, and lived chiefly in Frankfort, where he was well known as a pianist and teacher of high aim.

Of Trios for violin, viola, and ’cello may be named op. 69 in G minor, by W. Berger (1861). This is the work of a living musician who resides in Berlin. Berger, who has published a considerable number of important works, writes in an earnest and musicianly manner, and although this trio may be somewhat lacking in melodic interest, it should at any rate prove useful to those who seek for music written for this combination of instruments, a form which is of course much rarer than the Quartett.

There are also three Trios, op. 85, for the same instruments, in D, C minor, and F, by Hermann Berens (1825-80), a Hamburg musician.

[Sidenote: =Quartett: Mackenzie=]

Prominent among modern quartetts stands that in E♭, for piano, violin, viola, and ’cello, by Sir A.C. Mackenzie (1847). This is an early work of this composer, and one which has hardly been accorded the recognition that it deserves. The third movement consists of a canzonetta with an interesting and fanciful set of variations. The quartett ends with a well-wrought and vigorous allegro. Sir Alexander Mackenzie has not published much chamber music, having, it would seem, preferred to occupy himself with works of larger dimensions.

[Sidenote: =E Flat Quartett: Rheinberger=]

The Quartett in E♭, op. 38, for piano, violin, viola, and ’cello, by Joseph Rheinberger (1839-1901), has been a good deal played in England during recent years, and is an admirable example of this refined and musicianly composer.

Another of his chamber compositions, which is not perhaps so well known, is the String Quartett in C minor, op. 89. It is written in the usual form with four movements; the tunes are sincere, and the treatment is interesting, without anything which savours of pedantry. It is also a grateful work, from the performers’ point of view.

[Sidenote: =Quartett: W. Rabl=]

The Quartett in E♭, op. 1, for clarinet, violin, ’cello, and piano, by Walter Rabl, calls for mention. Rabl is a native of Prague, where he received his training, and his works have been brought to light chiefly through the instrumentality of the Friends of Music Society in Vienna, of whose committee Brahms was an active member. This quartett, which is dedicated to Brahms, is written in classical form and has many interesting features; it was played at the London Monday Popular Concerts in 1899, during a visit to England of Herr Mühlfeld, the celebrated German clarinettist. Rabl has also written a set of Fantasiestücke, op. 2, for piano, violin, and ’cello, and a fine Sonata in D major, op. 6, for piano and violin.

[Sidenote: =Quartett: Prout=]

Dr. Ebenezer Prout (1835), the eminent theorist and musical professor in the University of Dublin, has written, in addition to many works in various styles, and the Quartett, op. 18, in F, for piano, violin, viola, and ’cello, the following chamber music:—two String Quartetts, op. 1 and op. 15; a Piano Quintett, op. 3; a Piano Quartett, op. 2; a Romance for viola, with piano accompaniment, op. 32; a Sonata for piano and clarinet, op. 26; and a Duo Concertante for piano and harmonium, op. 6: all of which may be strongly recommended to amateurs who love a straightforward, intelligible style. The composer’s intimate acquaintance with the music of the great classic period, united to a sensitive and eclectic taste, has enabled him to give to the world in these works music which worthily upholds a true and pure standard. The String Quartett, op. 15, with its charming andante movement, as well as the op. 18, may be specially mentioned.

[Sidenote: =Quartett: Verdi=]

A String Quartett in E minor, by Verdi (1813-1901), is the only work which the great Italian opera composer wrote in the chamber music style. It was first privately performed in the drawing-room of the composer’s residence, in 1873, and another performance took place at the London Monday Popular Concerts in 1878. Since that time it does not seem to have been often heard.

The work, which is by no means easy, contains some scholarly and remarkable writing, but for all that it can hardly be regarded as a satisfactory or successful composition. Especially does it lack that melodic interest which one expects from a composer usually so admirable in this respect as Verdi. Compared with his operas and other works, it lacks spontaneity and charm. At the same time it should be remembered that Verdi himself attached no importance to the quartett, and only very reluctantly allowed it to be performed out of his own house. He seems to have been as little successful with this work as probably Brahms would have been with an opera, had he ventured to write one.

[Sidenote: =Quartett: Onslow=]

G. Onslow (1784-1852), who wrote a large quantity of music, was a grandson of the first Lord Onslow. He was born in France, where, on his own estates, he chiefly resided. Chamber music was his passion, and of this he composed a great deal, and spent considerable time in its performance, the ’cello being his instrument. His String Quintetts are regarded as his best works, and they contain much charming music. “One of these, called@ “Le Quintette de la balle,” describes his emotions—the pain, the irregular beating of his pulse, and his gratitude on his recovery—consequent on an accident that happened to him at a wolf hunt, where a spent ball hit him in the face, rendering him somewhat deaf in one ear for the rest of his life.“[42] Among his numerous String Quartetts is one in G minor, op. 9, which has an interesting set of four variations on our national anthem, ”God save the King.”@@@

[Footnote 42: _Dictionary of Music and Musicians_ (Grove), vol. ii. p. 497.]

A String Quartett in D minor by Hugo Wolf deserves attention. He has been described as “the intensified and intellectually developed Schubert”! The Quartett referred to is in form and melodic material interesting, especially as an example of the unfettered tendencies in modern music.

A recently-published composition by John B. McEwen must not go unmentioned. This String Quartett in A minor has been performed in London and was approved. Like Dvořák, with whom indeed he has something in common, Mr. McEwen’s music reveals his nationality. The _Andante_, with a prominent viola part, distinctly appeals to those from “beyond the border.”

[Sidenote: =Quartett: W.H. Veit=]

Finally there is the String Quartett No. 1 in D minor by W.H. Veit (1806-64). Although of no great interest otherwise, this quartett contains a musicianly set of variations on the Russian national anthem. Wenzel Heinrich Veit was the district president of the law courts at Leitmeritz in Bohemia, where he lived all his life. Chiefly self-taught, he was an excellent musician, and has left behind him some well-written works.

[Sidenote: =Unusual Combinations=]

In the vast _répertoire_ of chamber music the following works for unusual combinations of instruments may be mentioned, although some of them are obviously more musical curiosities than works of art:—

Octett, op. 32, by Liadoff (1855), a Russian composer, for piccolo, two flutes, three clarinets, harp, and campanelli (bells).

Septett, op. 24, in D, by Vincent d’Indy (1851), a somewhat distinguished French musician, for trumpet, two flutes, and string quartett.

Septett, op. 67, by Saint-Saëns, for trumpet, strings, and piano.

Trio (humorous) by Latann, for piccolo, guitar, and trombone.

Theme and Variations by Kroepsch, for tin whistle and piano.

Mozart, Haydn, Hummel, Reicha, Quantz, and others have written for unusual combinations of instruments, as the list of their works will show, but only a few of these have much artistic value.

Appendices.

A. CHRONOLOGICAL AND BIOGRAPHICAL.

B. GLOSSARY OF TERMS.

Appendix A.

Chronological and Biographical.

1510. =Caspar Duiffoprugcar= (Bologna); about 1510.
The reputed inventor of the violin, although there can
be no doubt that this instrument was a slow growth from
earlier forms.

1533. =V. Galilei= (Florence), 1533-1600. Violin and
lute player. Member of the celebrated circle of artists who
met at the residence of Count Bardi in Florence.

1535. =Andreas Amati= (Cremona), 1535-1611. Head of
the family of celebrated violin makers.

1543. =Ganassi=, a Venetian writer, mentions three
varieties of violins as Viola di Soprano, di Tenore, e
di Basso; and Castiglione alludes to a composition for
“Quattro Viole da Arco,” which may of course be taken for
the String Quartett.

1557. =Thomas Morley= (London), 1557-1604. Famous
English composer, who wrote certain instrumental pieces,
after the manner of chamber music, for lute, citterne,
flute, treble and bass viol. He also wrote some excellent
vocal music.

1567. =Claudio Monteverdi= (Cremona), 1567-1643. A
composer of decided originality, who introduced a number
of new effects. The tremolo for strings is first met with
in his works. He was, however, chiefly a composer of the
earliest form of opera.

1586. =J. Hermann Schein= (Grünhain), 1586-1630. One
of the predecessors of J.S. Bach as cantor of the St.
Thomas School at Leipzig. His compositions include a number
of works for strings, notably twenty Partitas with five
movements each. An edition of his works is now being issued
by Breitkopf & Härtel.

1592. =John Jenkins= (Maidstone), 1592-1678. Chamber
musician to King Charles I. and King Charles II. Composer
of chamber music, among which is twelve sonatas for two
violins and bass.

1598. =Salomon Rossi= (Mantua), 1598-1623. Italian
musician who published various early forms of chamber music
for strings.

1600. =G. Bassani= (Venice), about 1600. Violinist and
teacher of Corelli. He composed chamber music suites which
were highly esteemed.

1621. =Biagio and Carlo Marini= (Brescia), about 1621.
Two chamber music composers, well known in their time.

1625. =G. Legrenzi= (Venice), 1625-90. Eminent
composer, who wrote various chamber music works for
strings. Lotti was his pupil.

1625. =Carlo Farino= (Mantua), about 1625. Composer of
chamber music, and one who considerably developed the form.
(See Wasielewski’s _The Violin and its Masters_.)

1628. =Tarquinio Merula= (Cremona), about 1628. One of
the early composers of sonatas for the violin, and of other
forms of chamber music.

1636. =John Banister= (London), 1630-79. Violinist and
director of chamber music concerts.

1630. =G.B. Fontana= (Brescia), —— d. 1630. Composer
who did much for the development of the chamber music of
his time.

1632. =Matthew Locke= (Exeter), 1632-77. Celebrated
English musician; chiefly remembered by his “Macbeth”
music, but he also wrote chamber music for viols and
violins.

1641. =Johann Vierdank= (Stralsund), about 1641.
Organist at Stralsund. He wrote a number of works for two
violins and bass.

1644. =G.B. Vitali= (Cremona), about 1644. Important
violist, and composer of chamber music during the period
leading up to the time of Corelli.

1644. =Antonio Stradivari= (Cremona), 1644-1737. The
great Cremona violin maker.

1649. =Johann P. Krieger= (Nuremberg), 1649-1725.
German chamber music composer. Twenty-four of his sonatas
for two violins and bass have survived.

1650. =Guarneri= (Cremona), 1650-1745. Name of the
famous family of violin makers.

1650. =N. Hasse= (Rostock), about 1650. He wrote
dances (courantes, etc.) for strings and theorbo, a bass
instrument of the lute order.

1650. =Nicolaus Kempis= (Florence), about 1650. He
resided in Brussels in the middle of the seventeenth
century. His chamber music was regarded as among the best
written during his time.

1653. =Corelli= (Fusignano), 1653-1713. Eminent
violinist and composer of important chamber music.

1655. =J.H. Schmelzer= (Vienna), about 1655. Chamber
musician at the court of Vienna, who published various
sonatas for strings and wind.

1655. =Steffani= (Castelfranco), 1655-1730. Venetian
composer of high rank, who lived chiefly in Germany. His
vocal chamber duets are his more important works, but he
also wrote chamber music for strings.

1655. =J. Christoph Denner= (Nuremberg), 1655-1707. A
musical instrument maker, to whom is attributed (about the
year 1700) the invention of the clarinet.

1658. =Henry Purcell= (London), 1658-95. A composer
of great and original genius, among whose works, in many
styles, are various interesting chamber music compositions.

1659. =Alessandro Scarlatti= (Trapani), 1659-1725.
Although not pre-eminently distinguished as an instrumental
composer, it is claimed for him that he was the first to
publish a genuine string quartett for two violins, viola,
and ’cello. Copies of such compositions by him are, it is
stated by Mr. E.J. Dent, to be found in the Santini Library
at Münster in Westphalia.

1660. =Ariosti= (Bologna), 1660-1740 (about).
Italian composer, who for a short time taught Handel. He,
Buononcini, and Handel wrote an opera, each taking an act.
Ariosti left some chamber music for the viola d’amore, on
which he himself was a performer.

1662. =E.F. del Abaco= (Verona), 1662-1726. Italian
composer, who wrote some noteworthy sonatas for two violins
and continuo (figured bass).

1662. =Henri Desmarets= (Paris), 1662-1741. Chamber
musician to Louis XIV.

1668. =François Couperin=, 1668-1733. French organist
and composer of works for the clavecin which are of
historic importance. He also wrote some trios for two
violins and bass.

1669. =Johann Pezel= (Leipzig), 1669-86. A German
composer who published various works for strings in chamber
music style.

1674. =C.H. Abel= (Hanover), about 1674. Composer of
various instrumental pieces for strings; other members of
the Abel family were composers of chamber music.

1674. =T. Albinoni= (Venice), 1674-1745. Composer of
chamber music. J.S. Bach esteemed his music, and wrote two
fugues on themes by him.

1675. =Antonio Vivaldi= (Venice), 1675-1743. Italian
violinist and composer of great distinction who wrote
important chamber music.

1680. =F. Geminiani= (Lucca), 1680-1762. Violinist and
composer. His sonatas, trios, etc., are of importance for
their time.

1685. =Gottfried Finger= (Olmütz), about 1685. He came
to England in 1685, and was appointed chapel-master to King
James II. In conjunction with John Banister he published
chamber music for various instruments.

1685. =F.M. Veracini= (Florence), 1685-1750.
Celebrated violinist composer and chamber-music virtuoso.

1685. =John Sebastian Bach= (Eisenach), 1685-1750.

1685. =G.F. Handel= (Hallé), 1685-1759.

1685. =Domenico Scarlatti= (Naples), 1685-1757.
Composer and performer of clavier music of great
distinction. He leads us up to P.E. Bach, Haydn, and others
of that period.

1685. =Johann Schenck= (Wiener-Neustadt), about 1685.
He published during 1685-95 sonatas for two violins, gamba
(a kind of ’cello), and continuo (figured bass), and
many other works in chamber music form. One set of these
he called (anticipating the Beethoven Scherzo) Scherzi
musicali.

1685. =Torelli= (Verona),—about 1685. Famous
violinist, who wrote some important chamber music for
strings.

1686. =N.A. Porpora= (Naples), 1686-1766. Opera
composer of great fame. He also wrote a number of chamber
music works, including six so-called chamber symphonies for
two violins, ’cello, and continuo.

1687. =J.M. Leclair= (Paris), 1687-1764. Eminent
violinist and composer of chamber music. Two of his sonatas
are included in Ferdinand David’s _High School of Violin
Playing_.

1689. =P. Castrucci= (Rome), 1689-1769. Composer
of violin and other sonatas, and inventor of a stringed
instrument called the Violetta Marina, which Handel used in
his operas _Orlando_ and _Sosarme_.

1690. =Testore= (Milan), 1690-1745. The name of a
renowned Italian family of violin makers.

1690. =C. Tessarini= (Urbino),—born 1690. Celebrated
violinist, and composer of trios for two violins and bass,
and other chamber music. Pupil of Corelli.

1692. =Antonio Veracini= (Florence), about 1692.
Distinguished composer of chamber music. His brother,
F.M.V., was also a violinist and composer of distinction.

1692. =G. Tartini= (Padua), 1692-1770. Violinist,
composer, and theorist. He wrote much chamber music, and
developed a high school of violin playing. Amongst his
pupils were Nardini and Pasqualino. To him is ascribed the
discovery of combination, or resultant, tones, although
this is also claimed for his contemporary, G.A. Sorge.

1693. =Pietro Locatelli= (Bergamo), 1693-1764. A
distinguished violinist; pupil of Corelli. One of the first
to use double stopping, and different modes of tuning the
violin. He published chamber music for strings.

1696. =Robert King= (London), about 1696. Chamber
musician and composer to King William III. of England.

1696. =G.M. Ruggieri= (Venice), 1696-1732. Venetian
opera composer, who wrote some chamber music sonatas, etc.,
for strings.

1697. =J.J. Quantz= (Oberscheden), 1697-1773. Chamber
musician to Frederick the Great of Prussia. Famous flute
player. He wrote many chamber duets, trios, quartetts,
etc., for that instrument.

1698. =Johann G. Graun= (Wahrenbrück), 1698-1771.
Brother of the more celebrated Karl H. Graun. He wrote many
string quartetts, trios, etc.

1703. =G.A. Sorge= (Mellenbach), 1703-78. German
organist and theorist. It is claimed that he discovered
“combination tones” before Tartini, to whom their discovery
is usually attributed.

1707. =Gottfried Keller= (German), about 1707.
Composer and teacher, who lived chiefly in London, where he
published six sonatas for two flutes and bass, and six for
two violins, trumpet, viola, and bass.

1709. =William Flackton= (London), 1709-98. The
English publisher Walsh issued six trios for strings by
this composer in 1758.

1710. =Charles Avison= (Newcastle-on-Tyne), 1710-70.
Organist and chamber music composer. Browning refers to him
in his “Parleyings.”

1710. =G.B. Pergolesi= (Naples), 1710-36. A composer
of great distinction, who wrote many operas, a well-known
“Stabat-mater,” and chamber music, including thirty trios
for two violins and bass.

1711. =Ignaz Holzbauer= (Vienna), 1711-83. He wrote
many string quartetts and other chamber music. Mozart is
said to have esteemed his compositions.

1712. =Frederick the Great=, King of Prussia, 1712-86.
Amateur composer and flautist of distinction.

1714. =Philipp Emanuel Bach= (Weimar), 1714-88.

1714. =Gluck= (Wiedenwang), 1714-87. Opera composer.
He wrote _no_ chamber music.

1715. =G.C. Wagenseil= (Vienna), 1715-77. Composer and
chamber musician to the court. His works, which include
much chamber music, were held in high favour during his
life-time.

1716. =F. de Giardini= (Turin), 1716-96. Violinist
(who resided for some time in London), and composer of
chamber music.

1717. =J.K. Stamitz= (Deutsch-Brod), 1717-61.
Violinist and composer, who wrote a number of trios,
etc., for strings. His sons, Karl and Anton, were also
distinguished violinists and composers.

1722. =P. Nardini= (Florence), 1722-93. Pupil of
Tartini. Composer of string quartetts, sonatas, and other
chamber music.

1724. =C.G. Töschi= (Munich), 1724-88. Violinist and
composer of chamber music, including twenty-four quartetts
for strings and flute, and three sextetts for flute, oboe,
bassoon, and string trio.

1724. =Pierre van Malder= (Brussels), 1724-68.
Violinist, composer, and chamber musician to Prince Charles
of Lorraine.

1730. =G.B. Sammartini= (Milan), 1730-70. Composer
of distinction, who worked, prior to Haydn, at chamber
music and orchestral composition. He wrote a great deal,
including string quartetts, trios, etc. Gluck was his pupil.

1730. =J.T. Goldberg= (Königsberg), about 1730. J.S.
Bach wrote for him the celebrated “Goldberg” variations for
clavier. He himself composed chamber music.

1731. =G. Pugnani= (Turin), 1731-98. Renowned
violinist, who composed a number of chamber works for
strings. He resided for some time in London. Viotti was one
of his pupils.

1732. =Joseph Haydn= (Rohrau), 1732-1809.

1732. =J.C. Friedrich Bach= (Leipzic), 1732-95. The
third of J.S. Bach’s sons. He composed, among other works,
some chamber music, but it is not so important as that of
his brother, P. Emanuel.

1734. =F.J. Gossec= (Paris), 1734-1829. Prolific
composer in all styles. His chamber music, and especially
his quartetts, were held in high esteem.

1734. =Antonio Sacchini= (Pozzuoli), 1734-86. Italian
opera composer, who also wrote some excellent chamber
music.

1736. =J.L. Dussek= (Bohemian), 1736-99. A
distinguished pianist, who, as well as excellent piano
sonatas, composed some chamber music.

1736. =Albrechtsberger= (Vienna), 1736-1809.
Celebrated theorist who composed many chamber music works.
Beethoven was a pupil of his.

1737. =J. Michael Haydn= (Rohrau), 1737-1806. Brother
of Joseph Haydn. His compositions in various styles are
numerous, and by no means unimportant. They include string
quintetts and quartetts. One of the latter was recently
played by the Rosé Vienna Quartett.

1739. =Carl von Dittersdorf= (Vienna), 1739-99. A
distinguished chamber music composer. He was during his
life-time popularly regarded as a rival of Haydn.

1739. =William Forster= (Brampton, Cumberland),
1739-1808. An English violin maker of repute. He also
published Haydn’s string quartetts.

1739. =F.W. Rust= (Wörlitz), 1739-96. A violinist
whose compositions, and especially his violin and piano
sonatas, are of much importance.

1739. =J.B. Wanhal= (Neu-Nechanitz), 1739-1813.
Bohemian composer, who wrote a great deal of chamber music,
which was popular in his life-time.

1741. =Grétry= (Liège), 1741-1813. Celebrated French
opera composer. He also wrote a number of string quartetts
and piano sonatas.

1741. =G. Paesiello= (Taranto), 1741-1816. Italian
opera composer of note, who also published some chamber
music.

1741. =W. Pichel= (Vienna), 1741-1805. Chamber
musician to Duke Ferdinand. A very prolific composer of
chamber music. He has left several hundreds of such works.

1741. =L. Tomasini= (Pesaro), 1741-1808. Violinist and
composer. He acted as leader and chamber musician to Prince
Esterhazy, under Haydn, who was his friend. He published
various string quartetts, etc.

1743. =Boccherini= (Lucca), 1743-1805. Esteemed
Italian composer, who wrote a great deal of chamber music,
including ninety-one string quartetts.

1744. =Giuseppe Giordani= (Naples), 1744-98. A
composer of merit, who wrote much chamber music.

1744. =M.A. Guénin= (Mauberge), 1744-1814. His chamber
works, which were very numerous, were at the time popularly
regarded as equal to Haydn’s, a view, it is hardly
necessary to add, which time has not confirmed.

1745. =J.P. Salomon= (Bonn), 1745-1815. Violinist and
director of concerts in London, at which Haydn’s symphonies
were produced. Salomon was an excellent chamber music
leader. Haydn’s last quartetts were written for him.

1746. =G. Cambini= (Leghorn), 1746-1825. Among the
chamber music of this now unknown composer are found no
less than one hundred and forty-four string quartetts.

1747. =J.W. Hässler= (Erfurt), 1747-1822. A German
composer, chiefly for the piano, of the period between Bach
and Beethoven. His works certainly have a historic interest.

1747. =F. Tourte= (Paris), 1747-1835. The famous
violin-bow maker.

1748. =J.W. Stich= (Prague), 1748-1803. A celebrated
horn player, who also wrote many chamber music
compositions, in which that instrument took part. Beethoven
thought highly of him, and wrote for and played with him
the sonata op. 17, for pianoforte and horn.

1749. =The Abbé Vögler= (Würzburg), 1749-1814. A
distinguished organist and composer, the list of whose
works include a piano quartett called “The Matrimonial
Quarrel,” and other chamber music.

1751. =B. Campagnoli= (Bologna), 1751-1827. Violinist
and chamber music composer.

1752. =Muzio Clementi= (Rome), 1752-1832. Pianist and
composer.

1752. =Leopold Kotzeluch= (Bohemian), 1752-1818. A
prolific if not profound composer, of fame during his
life-time. Amongst other of his chamber music works are
fifty-seven piano trios.

1753. =F. Fiorillo= (Naples), about 1753. Violinist
and composer. Some of his works were edited by Spohr.

1753. =G.B. Viotti= (Fontanetto), 1753-1824. Italian
composer and violinist, who has been called the father of
modern violin playing. He wrote many important chamber
music works.

1754. =Peter von Winter= (Mannheim), 1754-1825. Famous
opera composer, who also wrote some interesting chamber
music.

1754. =William Shield= (Swalwell, Durham), 1754-1829.
English opera and chamber music composer. He was also of
repute as a musical theorist.

1756. =Paul Wranitzky= (Vienna), 1756-1808. A composer
of a large quantity of chamber music. He was violinist
in Haydn’s Esterhazy Band. His brother Anton was also a
distinguished violinist and composer.

1756. =Mozart= (Salzburg), 1756-91.

1757. =Ignaz J. Pleyel= (Rupertsthal), 1757-1831.
Pupil of Haydn. He wrote a great quantity of chamber music
(forty-five string quartetts, and other works), which is,
however, hardly now remembered.

1760. =Franz Krommer= (Vienna), 1760-1831. Among other
chamber music he wrote sixty-nine string quartetts, but
these were overshadowed by the works of his contemporaries,
Haydn, Mozart, and Beethoven.

1760. =Cherubini= (Florence), 1760-1842. Eminent
composer in various styles. His string quartetts are
noteworthy.

1763. =A. Gyrowetz= (Vienna), 1763-1850. A
distinguished personality, and prolific composer of chamber
music (sixty string quartetts, etc.), which was not,
however, of an enduring character.

1764. =Regina Strinasacchi= (Ostiglia), 1764-1839.
Noted lady violinist, for whom Mozart wrote the well-known
violin and clavier sonata in B♭ (No. 454, Köchel). When
first performed by her and the composer (in public), no
clavier part had as yet been written, Mozart playing it
from memory.

1765. =D. Steibelt= (Berlin), 1765-1823. Solo pianist,
and composer of a great deal of chamber music which is
now almost forgotten. As a performer he is said to have
competed in public with Beethoven, and was popularly
considered not inferior to that master.

1766. =Anton Eberl= (Vienna), 1766-1807. Pianist,
composer of chamber music, and the friend of Mozart and
Gluck.

1766. =Rudolph Kreutzer= (Versailles), 1766-1831.
Beethoven dedicated to him the piano and violin Sonata op.
47. He was chamber musician to Napoleon and to Louis XVIII.
The large quantity of chamber music which he wrote is now
practically forgotten, but his forty violin studies are
still highly esteemed.

1767. =Andreas Romberg= (Vechta), 1767-1821. Composer
of distinction, if not of genius. He wrote many chamber
music works. His son Bernard (’cellist) was also somewhat
distinguished as a performer and composer.

1769. =J.F. Rochlitz= (Leipzig), 1769-1842. Literary
musician, who edited the _Allgemeine Musikalische
Zeitung_ during the period when Beethoven’s works began
to appear. His discriminating and sympathetic notices were
among the first to call world-wide attention to these
works, and are indeed of much historic importance.

1769. =Martin Marin= (Bayonne), born 1769. Celebrated
harpist, for which instrument he composed (and such works
are rare) quintetts with strings and other chamber music,
which M. Fétis says are “truly classical.”

1770. =Anton Reicha= (Prague), 1770-1836. Theorist and
composer. Friend and associate of Albrechtsberger, Haydn,
and Beethoven. He wrote many chamber music works.

1770. =Beethoven= (Bonn), 1770-1827.

1771. =P.M. Baillot= (Paris), 1771-1842. Celebrated
violinist and teacher, who also wrote some chamber music.

1771. =J.B. Cramer= (Mannheim), 1771-1858. Pianist,
composer, and teacher.

1772. =Joseph Wolff= (Salzburg), 1772-1812. Pianist
and composer, who studied under Michael Haydn. In
extemporisation on the piano he was popularly considered
superior to Beethoven. He published many chamber music
works, but his career was not successful. He died in London
forgotten, and, it is said, almost destitute.

1772. =Prince Louis Ferdinand of Prussia=
(Friedrichsfelde), 1772-1806. Distinguished amateur
musician and composer of interesting chamber music.

1776. =Ignaz Schuppanzigh= (Vienna), 1776-1830. He,
as leader, with Mayseder, Weiss, and Lincke, constituted
the celebrated string quartett which first performed
Beethoven’s works, under the composer’s own direction.

1778. =J.N. Hummel= (Pressburg), 1778-1837.
Distinguished musician. Pupil of Mozart. Composer of
chamber music, of which it may be said that while good, it
was but superficial in feeling.

1780. =Luigi Borghi=, violinist and composer, who
resided in London about 1780. He wrote some excellent
sonatas for violin, and for viola d’amore and double bass.

1781. =Antonio Diabelli= (Mattsee), 1781-1858. A
prolific but by no means great composer. He was a pupil of
Michael Haydn, but afterwards became a music publisher in
Vienna. He published Schubert’s works, and, it is said, did
not pay that master well.

1782. =J.F. Mazas= (Béziers), 1782-1849. Violinist and
composer of chamber music.

1782. =John Field= (Dublin), 1782-1837. Chiefly known
as a pianist, and for his nocturnes for piano. He also
wrote some chamber music.

1782. =N. Paganini= (Genoa), 1782-1840. Probably the
greatest of violin virtuosi. As a player in classical
quartetts he was said to have been a failure. He did not
subordinate himself sufficiently to the general meaning and
effect of the music.

1783. =Joseph Lincke= (Vienna), 1783-1837.
Violoncellist in the Rasumowsky and Schuppanzigh Quartetts,
with whom Beethoven’s name was so much associated.

1783. =Graf von Gallenberg= (Vienna), 1783-1839.
Beethoven is said to have been in love with the Countess
Guicciardi (who eventually became the Countess Gallenberg),
and he dedicated his so-called moonlight sonata to
her. Beethoven wrote a set of variations on a theme of
Gallenberg’s.

1784. =Ferdinand Ries= (Bonn), 1784-1838. Pianist,
composer, and teacher. Was an intimate friend of Beethoven,
and wrote a biography of that master.

1784. =François J. Fétis= (Mons, Belgium), 1784-1871.
Distinguished literary musician, who wrote also some
chamber music of interest, if not of genius.

1784. =George Onslow= (Clermont-Ferrand), 1784-1852.
The grandson of Lord Onslow. Voluminous writer of chamber
music, to which he almost devoted his life. He played
’cello in the soirées which were constantly held at his
French residence, Clermont-Ferrand (Puy de Dôme). His
chamber music has considerable artistic value.

1784. =Ludwig Spohr= (Brunswick), 1784-1859.
Distinguished violinist and composer. His chamber music, as
well as many works in all styles, are of great importance.

1786. =F. Kuhlau= (Hanover), 1786-1832. He is chiefly
known by his chamber music quartetts, trios, and duets for
flutes.

1786. =Weber= (Eutin), 1786-1826. The famous German
opera-composer (_Der Freischutz_, etc.). He also wrote
some important chamber music. His piano sonatas especially
are noteworthy.

1787. =Antonio Leite= (Oporto), 1787-1826. Portuguese
composer, whose works include sonatas for the curious
combination—guitar, violin, and two trumpets.

1788. =Aloys Schmitt= (Erlenbach), 1788-1866. Pianist
and teacher. His trios and quartetts for strings are
interesting.

1789. =Joseph Mayseder= (Vienna), 1789-1863. Violinist
of importance and composer of chamber music. He was a
member of the Schuppanzigh Quartett. It is said that
Paganini thought highly of him.

1790. =C. Urhan= (Paris), 1790-1845. Violinist and
composer of chamber music, and belonged to Baillot’s
Quartett. He, like his contemporary Michael Woldemar
(1750-1816), who wrote a concerto for the instrument,
constructed a larger violin with a fifth string (low C),
and called it the violin alto.

1791. =Karl Czerny= (Vienna), 1791-1857. Eminent
pianist and teacher. He was for a while a pupil of
Beethoven.

1792. =Anton B. Fürstenau= (Münster), 1792-1852.
Flautist of distinction, who was much connected with
chamber music performances. His works in this form for
flute and strings, etc., are important.

1794. =L. Jansa= (Vienna), 1794-1875. Celebrated as
a quartett leader, especially of the works of Haydn and
of Beethoven, whose Kreutzer Sonata he played first to
Beethoven, with Czerny at the piano.

1794. =Ignace Moscheles= (Leipzig), 1794-1870. A
pupil of Albrechtsberger, and associated with Beethoven,
Mendelssohn, and other great artists. He wrote chamber
music, which is now, however, practically forgotten. Some
of his piano works are of value.

1795. =Kaspar Kummer= (Erlau), 1795-1870. Eminent
flautist, who wrote chamber music for that instrument, with
strings.

1795. =H.A. Marschner= (Zittau), 1795-1861. Opera
composer of distinction, whose works may be regarded as the
link between Weber and Wagner. He also wrote some chamber
music which had little vitality, and is now forgotten.

1796. =Anton Schindler= (Medl.), 1796-1864. May be
called Beethoven’s “Boswell.” He lived on intimate terms,
under the same roof, with the great master, helped him
during his life-time, and afterwards faithfully chronicled
his doings. Schindler was an educated musician, played the
violin, and was for some time Cathedral Capellmeister at
Münster.

1797. =Schubert= (Lichtenthal), 1797-1828.

1798. =J.B. Villaume= (Mirecourt), 1798-1875.
Celebrated French violin maker. He also invented a large
kind of viola which was called “contralto,” and a monster
double bass called “octo-bass.”

1798. =Karl G. Reissiger= (Belzig), 1798-1859. German
composer of operas, etc. He also wrote a considerable
amount of chamber music, which had its vogue. But although
facile in expression, his music is lacking in character and
depth. Such music is useful as showing us what _not_
to do.

1800. =Edward A. Grell= (Berlin), 1800-86. A somewhat
distinguished musician, who held the view that vocal music
was the only real music. Instrumental was decadent!

1802. =W. Bernhard Molique= (Nuremberg), 1802-69.
Esteemed composer, solo violinist, and quartett leader. His
chamber music is of high merit.

1802. =John Ella= (Thirsk, Yorkshire), 1802-88.
Violinist and promoter of high-class chamber concerts
in London. His audiences were supplied with analytical
programmes, a custom, however, which had already been in
use at like concerts given in Edinburgh.

1803. =Glinka= (Nowospask), 1803-57. Distinguished
Russian composer, who also wrote some chamber music.

1803. =Franz Lachner= (Munich), 1803-90. A somewhat
important German composer. Intimate friend of Schubert.
His chamber music includes string and piano quartetts and
larger works.

1803. =Karl F.E. Schafhautl= (Ingolstadt), 1803-90.
Acoustical musician, who assisted Boehm in his improvements
of the flute and other instruments. His investigations into
the causes of the various tone-tints of musical instruments
is said to have shaken the Helmholz theory.

1805. =The Brothers Sebastian and Louis Lee=
(Hamburg), 1805 and 1819. Both ’cellists of repute. Louis,
along with Hafner, established in Hamburg chamber music
concerts. He also composed some chamber music.

1806. =H.W. Veit= (Repnic), 1806-64. Bohemian composer
of repute, who wrote some interesting chamber music.

1807. =H.N. Reber= (Paris), 1807-80. French composer
of distinction. His chamber music is worthy of attention.

1807. =J.L. Ellerton= (London), 1807-73. An amateur
who wrote a large quantity of chamber music, including
forty-four string quartetts.

1808. =M.W. Balfe= (Dublin), 1808-70. The well-known
opera composer (_Bohemian Girl_, etc.). His piano trio
in A major is an exceptional but quite interesting work.
It was played at the Monday Popular Concerts, with Joachim
as leader.

1808. =Prince Rasumowsky= (Russian), about 1808. He carried
on from 1808 to 1816 the string quartett known by his
name, and in which he played second violin. Afterwards it
was called, after its leader, the Schuppanzigh Quartett.
Beethoven dedicated his quartett op. 59 to Rasumowsky.

1809. =E. Sauzay= (Paris), born 1809. Violinist and
pupil of Baillot, in whose quartett he played second
violin, and afterwards viola. He took an active part in
matters connected with chamber music.

1809. =Felix Mendelssohn= (Hamburg), 1809-47.

1810. =Chopin= (Zelazowa-Wola), 1810-49. Celebrated
Polish pianist and composer. He wrote some chamber music,
but is best known by his works for piano solo.

1810. =Ferdinand David= (Hamburg), 1810-73. Violinist
of fame as performer and teacher. Joachim and Wilhelmj were
among his pupils. He was much associated with the best
chamber music doings of his time. During its composition
Mendelssohn conferred with him as to his (Mendelssohn’s)
Violin Concerto.

1810. =Felicien David= (Cadenet), 1810-76. French
composer, known now chiefly by his ode “The Desert.” His
string quartetts were also held in high esteem during his
life-time.

1810. =Schumann= (Zwickau), 1810-56.

1811. =Ferdinand Hiller= (Frankfurt-a-M.), 1811-85.
German composer of repute. His chamber music possesses a
certain degree of interest.

1811. =Henry G. Blagrove= (Nottingham), 1811-72.
Eminent English violinist. Pupil of Spohr.

1811. =Franz Liszt= (Raiding), 1811-86. One of the
world’s great pianists, but more devoted to solo than to
_ensemble_ playing. Wagner (whose devoted friend Liszt
was) has left it on record that he never knew the full
power and majesty of Beethoven’s piano sonatas, especially
the later ones, until he heard them played by Liszt, in
private, at Wahnfried, Wagner’s residence in Bayreuth.

1811. =C.L. Ambroise Thomas= (Metz), 1811-96.
Distinguished French opera composer, who also wrote a
string quartett, a quintett, a piano trio, and other
chamber music.

1812. =Karl Grädener= (Rostock), 1812-83. Chamber
music composer of some distinction, ’cellist, and quartett
player.

1812. =Flotow= (Mecklenburg), 1812-83. Opera composer,
who is best known by his work _Marta_. He also wrote
some chamber music, not, however, of distinction.

1813. =Sir G.A. Macfarren= (London), 1813-87.
Composer, and Principal of the R.A. Music, London. He
published a number of works in chamber music form, also on
musical theory.

1813. =G. Verdi= (Roncole), 1813-1901. The well-known
Italian opera composer, who in 1873 published a quartett
for strings, his only instrumental chamber music work.

1815. =Stephen Heller= (Paris), 1815-88. A composer
(chiefly for the piano) whose works, although written in
the smaller forms, rise above most of his contemporaries in
character, and especially in poetic expression. He, with
the violinist Ernst, published some interesting piano and
violin pieces.

1815. =F. Robert Volkmann= (Lommatzsch), 1815-83.
Eminent modern composer, who wrote many chamber music works
of interest.

1815. =E.C. Sivori= (Genoa),—1815-94. Famous violinist
and quartett leader.

1816. =Sir W. Sterndale Bennett= (Sheffield), 1816-75.
Distinguished English composer, especially for piano. His
trio op. 26 is a charming chamber music work.

1817. =Niels W. Gade= (Copenhagen), 1817-90. Danish
composer. Amongst his chamber music, a piano trio in F and
the violin and piano sonatas are noteworthy.

1817. =M. Gustav Nottebohm= (Lüdenschied), 1817-82. A
well-known German writer on music, especially on Beethoven,
whose interesting sketch books he published.

1817. =Alex. W. Thayer= (South Natick, U.S.A.),
1817-97. An American writer who devoted much of his life to
a biography of Beethoven, which has, however, only as yet
in part been issued in German.

1818. =Antonio Bazzini= (Brescia), 1818-97. Italian
violinist and composer of chamber music. His string
quartetts and a quintett are much esteemed.

1819. =W. Sharfenberg= (Kassel), 1819-95. German
violinist and pianist, who resided chiefly in New York,
U.S.A. He at one time played second violin in Spohr’s
string quartett.

1819. =Sir Charles Hallé= (Hagen), 1819-95.
Distinguished pianist and conductor, who resided chiefly in
Manchester, and did much for chamber music in the country
of his adoption.

1820. =C. Gurlitt= (Altona), 1820-1901. A composer of
sincere and pleasing, if not profound, chamber music. He
also wrote much piano music for young people and children.

1820. =Jules Armingaud= (Paris), born 1820. Leader of
a famous string quartett. He is said to have introduced
Beethoven’s quartetts to Paris.

1821. =Friedrich Kiel= (Berlin), 1821-85. Important
modern composer, who wrote a considerable amount of chamber
music.

1822. =Alfred Piatti= (Bergamo), 1822-1901. Celebrated
violoncellist, which instrument he played for many years
at the leading chamber music concerts in London, where he
resided.

1822. =J. Joachim Raff= (Lachen), 1822-82. A versatile
and highly-gifted composer, many of whose chamber music
works are of great interest. A Piano Trio in C minor, op.
102, may be specially mentioned.

1822. =L.T. Gouvy= (Gaffontaine), 1822-98. A composer
who wrote a large quantity of chamber music in style
somewhat Mendelssohnian. He resided chiefly in Paris.

1822. =César August Franck= (Liège), 1822-90. A
composer whose works, and more especially some of his
chamber music, are highly esteemed by many connoisseurs.
A quintett for piano and strings in F minor is highly
regarded.

1823. =Edward Lalo= (Paris), 1823-92. Violinist and
composer. He was early in his career connected with chamber
music, and has left some interesting works in that style.

1823. =Theodore Kirchner= (Neukirchen), 1823-1903.
A German composer who has written chamber music of a
delightful character, especially in the smaller forms:
novelletten, etc., for piano, violin, and ’cello.

1824. =Anton Bruckner= (Vienna), 1824-96.

1824. =Carl H.C. Reinecke= (Altona), 1824. Composer
of much charming chamber music, also in other forms. He
was conductor for many years of the Gewandhaus Concerts in
Leipzig, and is one of the leading German musicians.

1824. =F. Smetana= (Leitomischl), 1824-84. Bohemian
composer of importance. Dvořák was one of his pupils. His
string quartetts and piano trio are of interest.

1827. =Eduard Silas= (Amsterdam), 1827. Of Dutch
nationality, but settled in London. Has composed chamber
music as well as in various other styles.

1829. =Joseph Hellmesberger= (Vienna), 1829-93. Leader
of the celebrated quartett called by his name.

1829. =Albert H. Dietrich= (near Meissen), 1829. A
pupil of Schumann. His piano trios and other chamber music
are of considerable merit.

1830. =Carl Goldmark= (Vienna), 1830. Interesting
composer, of Hungarian origin. His chamber music is worthy
of attention.

1830. =Anton Rubinstein= (Wechwotynez), 1830-94. One
of the great pianists, and a composer of distinction. Some
of his chamber music is of a high order.

1830. =Hans Von Bülow= (Dresden), 1830-94. A pianist
of great distinction, who exercised a marked influence on
the performance of chamber music. He was also a remarkable
conductor, and musical critic.

1831. =Joseph Joachim= (Kittsee), 1831. Distinguished
violinist and composer, to whom, as the exponent of the
best chamber music, the world of music is deeply indebted.
The string quartett called after him consists of Herren
Karl Halir, E. Wirth, R. Hausmann, and Dr. Joachim himself.

1831. =Ludwig Nohl= (Iserlohn), 1831-85. German
musical _littérateur_, who has written a good deal
concerning Beethoven and Mozart. He has also published
a booklet on _The Historical Development of Chamber
Music_.

1831. =Joseph Bennett= (Berkeley), 1831. Prominent
English musical writer, whose insight and distinguished
literary style have contributed much to the spread of good
taste in our national music. He was among the first to
recognise the high worth of Dvořák’s chamber music.

1833. =Hermann Dieters= (Bonn), 1833. A critic and
writer on musical matters, especially he has written on
Brahms and Beethoven.

1833. =F.E. Bache= (Birmingham), 1833-58. Pianist and
composer of great promise, who unfortunately died young.

1833. =Johannes Brahms= (Hamburg), 1833-97.

1833. =Jean Becker= (Mannheim), 1833-84. Eminent
violinist who established the well-known “Florentine”
quartett.

1834. =Nicolai von Wilm= (Riga), 1834. Pianist and
composer of interesting chamber music. A sextett, op. 27,
for strings is well spoken of.

1835. =Ebenezer Prout= (Oundle), 1835. In the front
rank of living musical theorists. Among his compositions
are a number of chamber music works.

1835. =Felix A.B. Draeseke= (Coburg), 1835. Composer
whose later works in chamber music style are highly spoken
of in Germany.

1835. =C. Camille Saint-Saëns= (Paris), 1835.
Versatile French composer of high standing. Has written in
all styles. His chamber music is very interesting.

1837. =J. Francis Barnett= (London), 1837. Pianist and
composer, who, among other and larger works, has written
some chamber music.

1838. =Max Bruch= (Cologne), 1838. His best known
works are the violin concertos. He has also written some
chamber music.

1839. =Lady Hallé= (Madame Neruda) (Brünn), 1839. Solo
violinist of high standing, and one of the quartett leaders
at the London Monday Popular and other high-class English
concerts.

1839. =Joseph G. Rheinberger= (Vaduz), 1839-1901. A
distinguished German composer, whose chamber music is of
high merit, notably the E♭ Piano Quartett and the C minor
String Quartett.

1839. =J. Knowles Paine= (Portland, U.S.A.), 1839.
American composer of high aim, who has written in various
forms, including chamber music.

1840. =P.I. Tschaïkovsky= (Wotkinsk), 1840-93. Famous
Russian composer. His chamber music is of much importance.