Page:Pratt - The history of music (1907).djvu/545

 With Vienna may be associated many minor Bohemians and Hungarians, as well as a few others. To this general group belong Karl Maria von Bocklet (d. 1881), from about 1830 a successful teacher; Joseph Fischhof (d. 1857), from 1833 in the conservatory; Leopold von Meyer (d. 1883), a rather eccentric player who toured extensively; Ignaz Amadeus Tedesco (d. 1882), a Bohemian, best known in Russia, chiefly at Odessa; the Bavarian Rudolf Schachner (d. 1896); Imre Székely (d. 1887), noted for his Hungarian fantasias, from 1852 living at Pesth; Albert Jungmann (d. 1892), who, after teaching at Rome, was from 1853 a publisher at Vienna; Julius Schulhoff (d. 1898), a Bohemian whom Chopin befriended at Paris, and who, after tours, was popular there as a teacher, removing in 1870 to Dresden, where also he was honored; Vincent Adler (d. 1871), a Hungarian, long at Paris and from 1865 in the Geneva conservatory; the refined player and composer Alfred Jaell (d. 1882), from 1843 almost constantly on tours throughout Europe; Joseph Löw (d. 1886), a prolific composer at Prague. Here may be added the Russian Alexander Villoing (d. 1878), the teacher at Moscow of the Rubinstein brothers.

In passing, a few Italian pianists may be mentioned, such as Theodor Döhler (d. 1856), who began at Naples, was long in court-service at Lucca and lived finally at Florence, besides touring throughout Europe; Stefano Golinelli (d. 1891), for many years (till 1870) active at Bologna, part of his many works being in large forms; and the four brothers Fumagalli, all more or less associated with Milan.

In Germany, even more than in France, the impulse to supply salon music blended with pedagogical efforts, it being clearly seen that through the use of entertaining pieces of graded difficulty the young student might be introduced to the art of piano-playing and thus to some acquaintance with musical art in general. Although it is true that the emphasis upon piano music has thus been sometimes made so exclusive as to engender the notion that it is central or supreme, yet such cases merely illustrate how efforts that are not essentially harmful may be misused.

Without attempting to distinguish between the mere writer of salon pieces, the virtuoso of second or third rank and the pedagogue who uses popular styles, the following names are given as illustrating the immense expansion of piano study and practice in Germany:—Jakob Schmitt (d. 1853), an excellent teacher at Hamburg, with many didactic pieces; the Bohemian Franz Xaver Chwatal of Magdeburg (d. 1879); Louis Kufferath (d. 1882), in 1836-50 director of the Leeuwarden conservatory; Charles Voss (d. 1882), from 1848 well known in Paris, writing also some striking concertos; Fritz Spindler (d. 1905), the celebrated Dresden teacher, whose works likewise extend to large forms, including 3 symphonies; Theodor Kullak (d. 1882), the still more celebrated teacher at Berlin, where in 1850 he founded a famous Akademie; Albert