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The more striking names in the long Vienna list are as follows:—

Joseph von Eybler (d. 1846), born in 1765, grew up in contact with Haydn and Mozart and was a pupil of Albrechtsberger, who placed his genius "next to Mozart." For 30 years from 1794 he was choirmaster at the great Benedictine monastery and from 1804 also Salieri's assistant in the Imperial Chapel, succeeding him there in 1824. Though from 1794 he wrote much chamber music, piano-sonatas and dances, 2 symphonies and a few operas, he is almost wholly known as a church composer of decided strength and nobility. Among his over 30 masses, 7 Te Deums, many motets and 2 oratorios (including Die vier letzten Dinge, 1810), his Requiem in C minor is counted the best. Eybler attended Mozart in his last sickness and was the one who first endeavored to complete the latter's Requiem.

Less important names of the same period were Weigl (d. 1846), who after about 1825 (see sec. 172) wrote 10 masses, several motets and cantatas and 2 oratorios (including a Passion, 1804); Joseph Ignaz Schnabel (d. 1831), plainly of the Vienna group, though identified with Breslau, where from 1805 he was cathedral-choirmaster and from 1812 also efficient in stimulating music at the university, the Catholic schools and among the general public, writing a large amount of meritorious church music; and Seyfried (d. 1841), equally abundant and popular in opera (see sec. 172) and in sacred works, including several sacred operas, like Abraham, Saul (1823), etc.

Beethoven (d. 1827) was in no way fitted for practical success in church music. His two masses, that in C (1807, for the Esterhazy Chapel) and the Missa solennis (1818-23), stand quite by themselves. The latter is a unique concert-work, ranking in individuality and sublimity with Bach's B minor mass, though in a wholly different style. The oratorio Christus am Oelberge [The Mount of Olives] (1803) is burdened by a hasty and melodramatic libretto. All these works have importance as self-expressions on Beethoven's part and as passionate efforts to find adequate embodiments for religious feeling, but have no close relation with general progress.

Johann Gänsbacher (d. 1844), a Tyrolese, educated first at Innsbruck and from 1801 under Vogler and Albrechtsberger at Vienna, had an uneasy career, partly in the army, until 1823, when he followed Preindl as choirmaster at St. Stephen's, Vienna. Over 200 works of his are listed, but very few have been published. His style was too good to be popular, but not original enough to endure.

Sigismund von Neukomm (d. 1858), born in 1778, belongs to the Vienna group because brought up under Michael Haydn at Salzburg and from 1798 a special protégé of the aged Joseph Haydn at Vienna. After the latter's death in 1809 he made the grand tour of northern Europe and settled at Paris, where he succeeded Dussek as the favorite of Talleyrand. In 1816 he became royal choirmaster in Brazil, returning in 1821 to his Paris connections. From 1826 he traveled often and widely, being specially popular in London until displaced by Mendelssohn. Throughout his long career he was extolled as virtuoso (upon several instruments) and composer, receiving countless honors. His works number over 1000, including many piano- and organ-pieces and about 200 songs, besides some chamber music, a symphony, orchestral fantasias and an opera. For the Catholic service he wrote 15