Page:Pratt - The history of music (1907).djvu/410

 Antonio Eximeno (d. 1808), born in Spain, after training as a Jesuit, worked at Rome. He strongly advocated (1774) the relaxation of the strictness of the old school, and was criticized by conservatives like Martini.

Nicola Sala (d. c. 1800), the veteran teacher and composer of Naples, when over 90 years old, put forth a treatise (1794) which, however, has been severely attacked (Fétis).

Johann Georg Albrechtsberger (d. 1809) from 1772 became the chief theoretical master in the Viennese circle, his greatest pupil being Beethoven. He put forth a monumental treatise (1790), often translated, besides other works (complete edition by Seyfried, 1826).

Johann Philipp Kirnberger (d. 1783), a pupil of J. S. Bach and the admirer of his sons Friedemann and Emanuel, from 1758 worked at Berlin, disputing with Marpurg and others the leadership of German thought. He was an able theorist, though not always judicious or temperate (chief work, 1771-9, others, 1773-82).

Christoph Gottlieb Schröter of Nordhausen (d. 1782) was the author of a work on harmony (1772). Georg Joseph Vogler (d. 1814) was as independent in theory as elsewhere (see sec. 163). In general, he followed his teacher Vallotti, though with views of his own, often in advance of his day (works, 1776-1802, and posthumously on the fugue). Heinrich Christoph Koch (d. 1816), a little-known musician at Rudolstadt, wrote ably from the new melodic and harmonic standpoint (1782-93, besides a brochure on enharmonic modulation, 1812).

Pierre Joseph Roussier (d. 1790), a follower of Rameau, wrote many works (from 1755), including studies upon ancient mathematical speculations. Jean Baptiste Mercadier (d. 1815) attempted (1776) to replace both Rameau and Tartini by theories of his own.

Among the many handbooks of less significance were those of Johann Lorenz Albrecht (d. 1773), organist at Mühlhausen (1761); of Johann Samuel Petri (d. 1808), a Silesian cantor (1767, '82); of Ernst Wilhelm Wolf (d. 1792), court-choirmaster at Weimar (1788); of J. H. Knecht (d. 1817), a useful teacher at Biberach (works, 1785-1803); of the bombastic Johann Gottlieb Portmann (d. 1798), from 1766 at Darmstadt (1785-98); of Daniel Gottlob Türk (d. 1813), the well-known teacher at Halle (1791-1800); of Honoré François Marie Langlé (d. 1807), trained at Naples, but from 1764 at Paris and after 1791 in the Conservatoire (1793-1805); of August Friedrich Karl Kollmann (d. 1829), a teacher and organist in London (1796-1806); of Carlo Gervasoni (d. 1819), choirmaster at Borgo Taro (1800-12); and of Callcott (d. 1821), the English glee-writer (1806).

To these may be added special studies on questions of metrics by Giovenale Sacchi (d. 1789), a Barnabite monk at Milan (1770-8); and the remarkable didactic poem, La musica (1779), by the Spaniard Tomas de Yriarte (d. c. 1791), which treats of a variety of theoretical and critical points.

Connected with the theorists were the critics, though many of them approached music purely from the literary or the speculative side.

In the Gluck controversy at Paris the protagonists against him were Jean François Marmontel (d. 1799), Jean François de Laharpe (d. 1803), Claude