Portrait from a bust by Callamard, engraved by Quenedey.
]
Mozart brought the piano concerto into prominence, and set the example
followed by Beethoven and others in this form. The concertos of Mozart
are his chief compositions for the pianoforte. The best of them have a
place beside his last symphonies and string quartets. The grace and
elegance of his piano style, and the perfect balance between the solo
instrument and the orchestra, render his concertos models of form and
beauty. Among the contemporaries and followers of Mozart and Clementi in
this branch were Steibelt (176 –1823), Sterkel (1750–1817), Kozeluch
(1753–1814), Hässler (1747–1822), Gelinde (1757–1825), Dussek, Woelfl,
Hummel, Cramer and Field. Johann Ludwig Dussek (1760–1872) was a
brilliant representative of the piano style, who showed originality in
his modulations and use of dissonances. There is a certain romantic
feeling that characterizes his best piano compositions, as for instance,
his “La Consolation” and “La Chasse.”
Joseph Woelfl (1772–1812) had a brilliant career as a piano virtuoso. He
visited Paris and London and other cities, where his playing created
great astonishment. At Vienna he met Beethoven (in his younger days) as
a friendly rival in extemporaneous playing. Notwithstanding the partisan
feeling among their audiences, personally they appeared to have a mutual
respect for each other. Though Woelfl had greater execution and equal
facility in improvising, Beethoven excelled him and all others in
imagination and inspiration, in the power of moving the feelings of his
listeners. Woelfl was noted for his breadth of style, as well as his
breadth of hand-grasp; with his enormous hands he could cover two thirds
of the key-board.
Johann Nepomuk Hummel (1778–1837) was the favorite pupil of Mozart. To
Mozart’s example Hummel owed his delicate touch, his elegant and
finished execution, his skill in improvisation, the clearness and solid
construction of his pieces,—characteristics which rendered him in his
prime the best representative of the expressive style. For a time he was
even considered as the equal of Beethoven as a piano composer. Nowadays
Hummel is underrated and called a “dull classic.” His septet in D minor
is a masterpiece, and a few of his best piano concertos and sonatas are
worthy of study. His two masses are sterling works. Johann Baptist
Cramer (1771–1858) forms the link between Clementi and Hummel. Cramer
was noted for his expressive touch on the piano. His numerous sonatas,
etc., are shelved, but his noble piano studies live as classical models.
They hold almost a unique place, for they combine beautiful musical
ideas with systematic technical training. In these respects they excel
the “Gradus” of his teacher, Clementi. They are indispensable to every
thorough student of the instrument.
Two other talented pupils of Clementi should be mentioned: Ludwig Berger
(1777–1838), the distinguished pianist, composer, and teacher of
Mendelssohn, Taubert, Henselt and others; and August Klengel
(1784–1852), who is less known as a pianist than as the composer of
canons and fugues, which show a remarkable command of counterpoint.
Beethoven’s great influence on piano music is dwelt upon in the special
article (see page 337). His pupil, Ferdinand Ries (1784–1838), was one
of the leading pianists of his day, and was also a productive composer
in all branches of music. As he was under the spell of Beethoven’s
genius, he failed to show any marked individuality of style.
His contemporary, Wenzel Tomaschek (1774–1850), displayed more
originality, though he, too, was overshadowed by Beethoven’s greatness.
Tomaschek, during his long career, was highly esteemed as a composer,
pianist and teacher. His admirers called him the “Schiller of music,” on
account of his pure and elevated musical thought. His numerous piano
compositions merit more appreciation than they have generally received.
Schumann admired his music. His “Eclogues” and “Rhapsodies” are
charming, naïve, imaginative and original.
Having given an account of the principal contemporaries of Haydn, Mozart
and Beethoven in dramatic, church and instrumental music, a few words
should be added on the subject of German song composers prior to
Schubert.
The national sentiment which encouraged native opera led also to a
revival of interest in the German Lied. It was not until the second half
of the century, when operettas had become the rage in Germany, that
talented musicians turned their attention to this neglected branch.
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