Page:A Dictionary of Music and Musicians vol 2.djvu/736

724 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 ], it is but right to begin the long string of composers with him.

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. (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. (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 .] (1718–1795), the eminent theorist, wrote 6 sonatas, 6 fugues, and several caprices. The sonatas, though somewhat dry, are not uninteresting. (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. (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. (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. (1730–1802 [App. p.748 "1729"]) composed 6 sonatas (London, 1762), which are clear, bright, and easy. (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.' (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. (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. (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. , or (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. (1741–1813) composed 6 sonatas (Paris, 1768) which contain matter of great interest. (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. (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. (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.