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Other famous players were Ludwig Berger (d. 1839), pupil of Gürrlich and Clementi and an admirer of Field, who from 1812 gave concerts at Stockholm and London and from 1815 lived at Berlin, where he trained many able pupils, was active in founding a second Liedertafel and wrote admirable piano and vocal works, of which his études and others are still valued; the Russian Maria (Wolowska) Szymanowska (d. 1832), a pupil of Field, who from 1815 lived at Warsaw, touring throughout Europe, elicited fulsome admiration from Goethe, and left some studies, mazurkas, etc.; Franz Schoberlechner (d. 1843), trained by Hummel and Förster, who made his début at 10 (1807), toured in Italy in 1814, becoming choirmaster at Lucca and taking up opera and church music, from 1823 lived mostly at St. Petersburg, where he married a celebrated soprano, and finally retired to Florence—compositions brilliant, but shallow; Henri Bertini (d. 1876), who was taught in the Clementi tradition, began touring at 12 (1810), lived for a time in England, from 1821 worked at Paris as teacher and composer, exerting a wholesome influence against the showy style, and left some 200 works for piano and chamber ensembles, including classical études; and Charles Mayer (d. 1862), trained by Field, whose style he copied, and living from 1814 at Paris, from 1819 at St. Petersburg and from 1846 at Dresden—a refined and effective player, an industrious teacher and a valuable contributor to piano literature.

Among those whose significance was greatest as teachers the following may be emphasized:—

Louis Barthélemy Pradher [Pradère] (d. 1834), a pupil of Gobert and Berton, at 21 (1802) became professor in the Conservatoire, continuing till 1827, when he removed to Toulouse and became head of a school there. He was helpful in lifting the French school into prominence, and many of his pupils were later famous, especially Herz. He wrote a concerto, several sonatas and other piano works, 7 light operas (1804-23) and many songs.

Pierre Joseph Guillaume Zimmerman (d. 1853), a pupil of Boieldieu, Rey, Catel and Cherubini at the same time as Pradher and Kalkbrenner, at 26 (1811) began to teach at the Conservatoire and from 1816 was the head of the piano department. Although an accomplished player and composer, he devoted himself to the faithful teaching of an enormous list of pupils. He wrote 2 concertos, 24 études, many dances and smaller pieces, 2 operas, many songs and an elaborate Encyclopédie du pianiste (3 parts).

Friedrich Wieck (d. 1873), though showing musical talent as a boy, was first educated for the Lutheran ministry at Wittenberg, became a private tutor near Querfurt, was musically intimate with A.A. Bargiel, a Berlin teacher, set up at Leipsic a piano-factory and a circulating library, and finally, when nearly 35 years old, adopted piano-teaching as a life-work, at first upon Logier's system, but soon according to his own ideas, from about 1820 at Leipsic and after 1840 at Dresden, where he also taught singing. He developed a remarkable pedagogical system and trained many great pupils, among whom were his noted daughters Clara (Mme. Schumann) and Marie. Mendelssohn vainly sought him for the Leipsic conservatory in 1846. His house at Dresden was a great resort for musicians. He composed little, principally piano-studies.

Aloys Schmitt (d. 1866) was a virtuoso at 14 (1802) and then a pupil of André. From 1816 he worked at Frankfort, except for sojourns at Berlin