Page:Pratt - The history of music (1907).djvu/536

 '''197. Certain Other Leipsic Masters.'''—The disability of Schumann and the early death of Mendelssohn removed them from the Leipsic circle before 1850. But the vigor of the Leipsic influence was maintained by other leaders, individually less original, but of collective significance. Since Mendelssohn himself had been deeply interested in the structural side of composition and had busied himself almost wholly upon instrumental and choral forms, and since he naturally gathered about him those whose interests were similar, the distinctive drift of his circle was emphatically conservative. The elaboration of harmony and counterpoint in symmetrical and logical forms was exalted, with only such expansions of the older classical procedure as could be readily deduced. Hence, on the whole, Leipsic influence was against the free expression of peculiar individuality, of intense or whimsical moods, and of picturesquely novel ideas. In all this it was not in harmony with many of Schumann's impulses nor with the cravings of many younger radicals. The departments of composition which it specially favored were orchestral and chamber writing, piano works of careful workmanship, and dignified choral music. To the opera in all its varieties it paid comparatively little attention. Its ambition was to foster solid and serious creation for its own sake without caring whether or not the results were popularly sensational or spectacular. Here it stood in opposition to several other tendencies of the time. Naturally enough, those who were deeply moved by these tendencies found the Leipsic circle staid and even reactionary.

The two older members of the group were Hauptmann and Moscheles, both leaders in the conservatory staff.

Moritz Hauptmann (d. 1868) lived during exactly the same years as Rossini, being born at Dresden in 1792. He was an architect's son and was first trained for that profession. Incidental musical study brought out his latent gifts and led to his seeking Spohr's instruction at Gotha in 1811. From 1812 he was a violinist in the Dresden court-orchestra, besides teaching in the household of Prince Repnin, who in 1813-4 was the Russian governor of the city. From 1815 he was with the Prince in Italy and then at St. Petersburg, Moscow and Pultowa, employed in many noble families. He also kept up mathematical studies, with special attention to acoustics. In 1820 he returned to Dresden, and from 1822 was violinist in the court-orchestra at Cassel under Spohr, now evincing power as a theorist, training many fine pupils and putting forth violin and chamber music, choral works, songs and the opera Mathilde (1826), written with careful finish. From 1842, at the urgency of Mendelssohn and Spohr, he was made cantor of the