Page:A Dictionary of Music and Musicians vol 2.djvu/741

PIANOFORTE MUSIC. ,' '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. (1799–) obtained a good name for his valuable and useful sonatinas, sonatas, rondos and other educational pieces. (1799–) wrote about 60 works of a light and agreeable character; amongst them his polonaises and valses obtained considerable reputation. (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. (1800–1866) composed a great number of rondeaus, valses, impromptus, contredanses, and amusing duets. (1800–1852), a name well known in Austria, arranged about 130 works on operatic airs, chiefly for amusement and instruction. (1801–1839) wrote about 60 educational works; among them the collection 'Le Pensionnat' (op. 52), both for solo and duet, became well known. (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. (1803–1863): this prolific composer published over 800 amusing and instructive pieces, consisting mostly of arrangements, variations, valses, and divertissements. (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. (1803–1851) composed sonatas, characteristic pieces, studies, and several collections of very pleasing dance-music. (1803–1849) wrote about 70 works, chiefly educational, among them many duets, still very popular in Germany. (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. (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. (, 1804–1880) composed a great number of elegant and pleasing pieces. (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. (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. (1805), a Polish professor, composed 12 etudes (op. 25, dedicated to Chopin), and was very successful with his Polish airs, mazurkas, and polonaises. —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 (1805) wrote a prize sonata, variations, sketches, rondeaus, caprices, of which Schumann speaks sympathetically. (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. (1806–1868) wrote 12 idyls, scherzi, divertimenti, etc., which enjoyed a certain popularity in Bohemia.  (1806–1880) wrote several elegant and popular drawing-room pieces, of which the fantasia on Scotch airs obtained great success in England.  (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 (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.'  (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. (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. (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,