Page:Pratt - The history of music (1907).djvu/272

 In the next group of composers are several whose fame is greatest in other fields than that of church music, though some of them were industrious in the latter. The increase in the number of Catholic musicians of note is striking. In general, monophonic methods predominate over polyphonic, with more or less of the theatric sensuousness that is essentially diverse both from the classic restraint of the old Palestrina style and from the intellectual depth of the later German counterpoint.

Johann Adolph Hasse (d. 1783), the popular opera-writer (see sec. 125), was the most brilliant of the Catholic writers of the time in Germany, represented by numerous masses, Te Deums, Magnificats, motets, cantatas and about 12 oratorios, mostly written after he became court-musician at Dresden in 1731. His style was attractive melodically, but lacked energy and sublimity.

Other Catholic composers in various parts of northern Europe were Valentin Rathgeber (d. 1750), a monk of Banz in Franconia, more fertile than distinguished; Henri Jacques de Croes (d. 1786), trained at Antwerp and first active there, from 1729 choirmaster at Ratisbon, but from 1749 again in Belgium (at Brussels), of whose many works few remain; and G. A. Ristori of Dresden (d. 1753), who, besides his operas, wrote many masses, motets, psalms, etc., with 3 oratorios (see sec. 126).

Christoph Gottlieb Schröter (d. 1782), on the other hand, continued the Lutheran traditions as organist and church composer at Minden from 1726 and at Nordhausen from 1732. Best known by his theoretical and critical writings (see sec. 165) and for his relation to the development of the pianoforte (see sec. 135), he was also able and fertile in sacred music, his works including 7 cantata-cycles, 5 Passions, many festival and other cantatas, together with fugues and chorale-preludes for the organ. His learning as a harmonist gave his style a decided richness.

Johann Schneider (d. 1787), a pupil of Bach and organist from 1721 at Saalfeld, from 1726 at Weimar and from 1730 at Leipsic, was one of the best players and improvisers of the day, with some organ-compositions.

Karl Heinrich Graun (d. 1759), beginning as a choirboy at Dresden, won his first success in opera, but also early undertook church composition. After ten years at Brunswick, he became in 1735 the protégé of Frederick of Prussia, and from 1740 was royal choirmaster at Berlin—a post more conspicuous than stimulating, since the king demanded mainly French and Italian styles. He wrote many cantatas, including 2 annual cycles, many Latin motets, 5-6 Passions, several masses and a fine Te Deum (1756), with some organ-pieces (see sec. 128). His Passion cantata Der Tod Jesu (1755) remains in annual use at Berlin, and enjoys therefore a peculiar renown. His style was fluent, but without decided originality or force.

Johann Peter Kellner (d. 1788?) was from 1728 organist and cantor at Grafenroda in Thuringia. A devoted admirer of both Bach and Handel, as both player and composer he served to perpetuate the noble organ style, his works including many fugues, preludes and suites, besides some cantatas and a Passion.