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exerting valuable influence. He was a friend of Mendelssohn and, rather curiously, an early appreciator of Wagner. He repeatedly visited England, where he was greatly admired, and often conducted German festivals. His last appearance was as conductor at Prague in 1858.

His high rank as a violinist is generally acknowledged. He cast his weight on the side of solid technique and sterling artistic value, usefully offsetting the sensational drift of the day. He was a fine quartet-player as well as soloist, and a superior conductor. His ability as a teacher was attested by numerous pupils. His work as composer was many-sided, evincing broad culture, but with some limitations. His style was formed on strictly classical lines, Mozart being his early enthusiasm. But he was intellectually romantic, and is akin to Schubert and Mendelssohn in the fusion of formal refinement with imagination. He was somewhat strong as a contrapuntist and an original student of orchestration. Yet all through his work ran certain mannerisms, the most conspicuous being an excessive use of chromatic melody and harmony.

His compositions number about 200, including (a) 9 symphonies, 8 overtures, 15 standard violin-concertos, a quartet-concerto and other complex works, a great number of chamber works, such as over 30 quartets, quintets, etc., and 3 sonatas for harp and violin; (b) 10 operas (see sec. 172); (c) 4 oratorios, of which Die letzten Dinge (1826) and Des Heilands letzte Stunden (1835) [known in English as The Last Judgment and Calvary] are the best, a patriotic cantata, a mass and other sacred music; (d) a famous Violinschule (1831, 3 parts). His autobiography (1860-1) is a notable treasury of reminiscences, as well as a revelation of his upright and earnest character.

Joseph Mayseder (d. 1863), a Viennese, pupil of Wranitzky, at 11 (1800) gave his first concert, joined Schuppanzigh's quartet, from 1816 was in the court-band, from 1820 soloist at the court-theatre and from 1835 imperial violinist, receiving many unusual honors. Between 1815 and '37 he was heard in concert at Vienna, but made no public tours. He was intimate with Beethoven and admired by Paganini. The beauty of his tone was noted and as a teacher he had much repute. He wrote over 60 able works, including 3 concertos, 2 concertinos, 3 quintets, 7 quartets, etc.

Joseph Böhm (d. 1876), born at Pesth, trained by his father and later by Rode, at 8 (1803) toured in Poland and Russia, in 1815 came to Vienna and, after a sojourn in Italy, from 1819 for 30 years taught at the Vienna conservatory with distinguished success. He played in the court-orchestra in 1821-68. He excelled his contemporary Mayseder in tone and general style, but his works were few and slight.

Karl Joseph Lipinski (d. 1861), born in Poland, was mostly self-trained. From 1810 he was conductor at Lemberg, from 1814 studied at Vienna, and in 1817-8 was intimate with Paganini at Milan. For 20 years he traveled hither and thither, encountering Paganini (as a rival) at Warsaw in 1829 and knowing Schumann at Leipsic in 1835. From 1839 he was concertmaster at Dresden, where he raised the band to great excellence. He had a specially noble tone and much skill in double-stopping, and his conception was notably poetic. He wrote 4 concertos and many lesser pieces, besides editing Galician folk-songs (2 vols., 1833, with Zalewski).