Page:Pratt - The history of music (1907).djvu/480

 1854; Franz Thaddäus Blatt (d. after 1830), from 1818 teacher in the Prague conservatory; and Friedrich Beer (d. 1838), prominent in French army music, from 1831 professor at the Conservatoire, writing a fine method (1836)—also an able bassoonist.

There were numerous horn-players of renown, like Karl Jakob Wagner (d. 1822), from 1790 active at Darmstadt, where, besides much orchestral music, he produced 5 operas (1810-21); Louis François Dauprat (d. 1868), in youth a band-player in the army, from 1808 at the Paris Opéra, in court service and teacher at the Conservatoire; Martin Joseph Mengal (d. 1851), from 1825, after a somewhat similar career, conductor at Ghent, Antwerp and The Hague, and from 1835 head of the Ghent conservatory; Joseph Émile Meifred (d. 1867), pupil of Dauprat and from 1833 on the Conservatoire staff, with several methods (from 1829); Jacques François Gallay (d. 1864), also a pupil of Dauprat, a court-player and in 1842 Dauprat's successor at the Conservatoire; Wouter Hutschenruijter (d. 1878), a Dutchman, working at Rotterdam, Schiedam and Delft, producing a variety of both instrumental and vocal works, including an opera, sacred music and songs; together with Thomas Harper (d. 1853), a popular trumpeter at London; and Friedrich August Belcke (d. 1874), the pioneer virtuoso on the trombone.

The harp continued to attract artistic notice, among the good players and composers being Marcel de Marin of Toulouse (d. c. 1861); Martin Pierre Dalvimare (d. 1839), in 1800-12 prominent at Paris; François Joseph Nadermann (d. 1835), pupil of Krumpholz, also well-known at Paris, being active, with his brother, in his father's harp-factory and from 1815 in opposing Érard's improvements in mechanism; François Dizi (d. 1847), a protégé of Érard at London and from 1830 at Paris, with a method (1827); Robert Nicolas Charles Bochsa (d. 1856), son of Karl Bochsa the oboist, a precocious player and composer in many forms, pupil of Méhul, Catel, Marin and Nadermann, from about 1806 in court service, from 1817 in London, where he conducted concerts and opera, from 1839 (when he ran away with Bishop's wife) on extended tours, including America and Australia, with 8 operas (from 1813), etc., besides much for the harp and a method; and Antoine Prumier (d. 1868), Nadermann's successor in 1835.

Among the guitar-players were Ferdinando Carulli (d. 1841), a Neapolitan who in 1808 came to Paris and became the founder of the artistic style for his instrument, writing elaborately for it, with a method and a theory (1825); Fernando Sors (d. 1839), a Spanish refugee at Paris, with many orchestral works and 2 operas, besides his guitar-pieces and a method; Dionisio Aguado y Garcia (d. 1849), another Spaniard, working at Madrid, with a method (1825); and Marco Aurelio Zani de Ferranti (d. 1878), born at Bologna, but known throughout Europe, settling in 1827-46 at Brussels and in 1855 returning to Italy.

183. Problems in Instrument-Making.—The whole first half of the 19th century was marked by energetic efforts to improve the construction of instruments. Undoubtedly most of these efforts were inspired mainly by economic motives, being de