Two chamber music composers, well known in their time.
1625. =G. Legrenzi= (Venice), 1625-90. Eminent
composer, who wrote various chamber music works for
strings. Lotti was his pupil.
1625. =Carlo Farino= (Mantua), about 1625. Composer of
chamber music, and one who considerably developed the form.
(See Wasielewski’s _The Violin and its Masters_.)
1628. =Tarquinio Merula= (Cremona), about 1628. One of
the early composers of sonatas for the violin, and of other
forms of chamber music.
1636. =John Banister= (London), 1630-79. Violinist and
director of chamber music concerts.
1630. =G.B. Fontana= (Brescia), —— d. 1630. Composer
who did much for the development of the chamber music of
his time.
1632. =Matthew Locke= (Exeter), 1632-77. Celebrated
English musician; chiefly remembered by his “Macbeth”
music, but he also wrote chamber music for viols and
violins.
1641. =Johann Vierdank= (Stralsund), about 1641.
Organist at Stralsund. He wrote a number of works for two
violins and bass.
1644. =G.B. Vitali= (Cremona), about 1644. Important
violist, and composer of chamber music during the period
leading up to the time of Corelli.
1644. =Antonio Stradivari= (Cremona), 1644-1737. The
great Cremona violin maker.
1649. =Johann P. Krieger= (Nuremberg), 1649-1725.
German chamber music composer. Twenty-four of his sonatas
for two violins and bass have survived.
1650. =Guarneri= (Cremona), 1650-1745. Name of the
famous family of violin makers.
1650. =N. Hasse= (Rostock), about 1650. He wrote
dances (courantes, etc.) for strings and theorbo, a bass
instrument of the lute order.
1650. =Nicolaus Kempis= (Florence), about 1650. He
resided in Brussels in the middle of the seventeenth
century. His chamber music was regarded as among the best
written during his time.
1653. =Corelli= (Fusignano), 1653-1713. Eminent
violinist and composer of important chamber music.
1655. =J.H. Schmelzer= (Vienna), about 1655. Chamber
musician at the court of Vienna, who published various
sonatas for strings and wind.
1655. =Steffani= (Castelfranco), 1655-1730. Venetian
composer of high rank, who lived chiefly in Germany. His
vocal chamber duets are his more important works, but he
also wrote chamber music for strings.
1655. =J. Christoph Denner= (Nuremberg), 1655-1707. A
musical instrument maker, to whom is attributed (about the
year 1700) the invention of the clarinet.
1658. =Henry Purcell= (London), 1658-95. A composer
of great and original genius, among whose works, in many
styles, are various interesting chamber music compositions.
1659. =Alessandro Scarlatti= (Trapani), 1659-1725.
Although not pre-eminently distinguished as an instrumental
composer, it is claimed for him that he was the first to
publish a genuine string quartett for two violins, viola,
and ’cello. Copies of such compositions by him are, it is
stated by Mr. E.J. Dent, to be found in the Santini Library
at Münster in Westphalia.
1660. =Ariosti= (Bologna), 1660-1740 (about).
Italian composer, who for a short time taught Handel. He,
Buononcini, and Handel wrote an opera, each taking an act.
Ariosti left some chamber music for the viola d’amore, on
which he himself was a performer.
1662. =E.F. del Abaco= (Verona), 1662-1726. Italian
composer, who wrote some noteworthy sonatas for two violins
and continuo (figured bass).
1662. =Henri Desmarets= (Paris), 1662-1741. Chamber
musician to Louis XIV.
1668. =François Couperin=, 1668-1733. French organist
and composer of works for the clavecin which are of
historic importance. He also wrote some trios for two
violins and bass.
1669. =Johann Pezel= (Leipzig), 1669-86. A German
composer who published various works for strings in chamber
music style.
1674. =C.H. Abel= (Hanover), about 1674. Composer of
various instrumental pieces for strings; other members of
the Abel family were composers of chamber music.
1674. =T. Albinoni= (Venice), 1674-1745. Composer of
chamber music. J.S. Bach esteemed his music, and wrote two
fugues on themes by him.
1675. =Antonio Vivaldi= (Venice), 1675-1743. Italian
violinist and composer of great distinction who wrote
important chamber music.
1680. =F. Geminiani= (Lucca), 1680-1762. Violinist and
composer. His sonatas, trios, etc., are of importance for
their time.
1685. =Gottfried Finger= (Olmütz), about 1685. He came
to England in 1685, and was appointed chapel-master to King
James II. In conjunction with John Banister he published
chamber music for various instruments.
1685. =F.M. Veracini= (Florence), 1685-1750.
Celebrated violinist composer and chamber-music virtuoso.
1685. =John Sebastian Bach= (Eisenach), 1685-1750.
1685. =G.F. Handel= (Hallé), 1685-1759.
1685. =Domenico Scarlatti= (Naples), 1685-1757.
Composer and performer of clavier music of great
distinction. He leads us up to P.E. Bach, Haydn, and others
of that period.
1685. =Johann Schenck= (Wiener-Neustadt), about 1685.
He published during 1685-95 sonatas for two violins, gamba
(a kind of ’cello), and continuo (figured bass), and
many other works in chamber music form. One set of these
he called (anticipating the Beethoven Scherzo) Scherzi
musicali.
1685. =Torelli= (Verona),—about 1685. Famous
violinist, who wrote some important chamber music for
strings.
1686. =N.A. Porpora= (Naples), 1686-1766. Opera
composer of great fame. He also wrote a number of chamber
music works, including six so-called chamber symphonies for
two violins, ’cello, and continuo.
1687. =J.M. Leclair= (Paris), 1687-1764. Eminent
violinist and composer of chamber music. Two of his sonatas
are included in Ferdinand David’s _High School of Violin
Playing_.
1689. =P. Castrucci= (Rome), 1689-1769. Composer
of violin and other sonatas, and inventor of a stringed
instrument called the Violetta Marina, which Handel used in
his operas _Orlando_ and _Sosarme_.
1690. =Testore= (Milan), 1690-1745. The name of a
renowned Italian family of violin makers.
1690. =C. Tessarini= (Urbino),—born 1690. Celebrated
violinist, and composer of trios for two violins and bass,
and other chamber music. Pupil of Corelli.
1692. =Antonio Veracini= (Florence), about 1692.
Distinguished composer of chamber music. His brother,
F.M.V., was also a violinist and composer of distinction.
1692. =G. Tartini= (Padua), 1692-1770. Violinist,
composer, and theorist. He wrote much chamber music, and
developed a high school of violin playing. Amongst his
pupils were Nardini and Pasqualino. To him is ascribed the
discovery of combination, or resultant, tones, although
this is also claimed for his contemporary, G.A. Sorge.
1693. =Pietro Locatelli= (Bergamo), 1693-1764. A
distinguished violinist; pupil of Corelli. One of the first
to use double stopping, and different modes of tuning the
violin. He published chamber music for strings.
1696. =Robert King= (London), about 1696. Chamber
musician and composer to King William III. of England.
1696. =G.M. Ruggieri= (Venice), 1696-1732. Venetian
opera composer, who wrote some chamber music sonatas, etc.,
for strings.
1697. =J.J. Quantz= (Oberscheden), 1697-1773. Chamber
musician to Frederick the Great of Prussia. Famous flute
player. He wrote many chamber duets, trios, quartetts,
etc., for that instrument.
1698. =Johann G. Graun= (Wahrenbrück), 1698-1771.
Brother of the more celebrated Karl H. Graun. He wrote many
string quartetts, trios, etc.
1703. =G.A. Sorge= (Mellenbach), 1703-78. German
organist and theorist. It is claimed that he discovered
“combination tones” before Tartini, to whom their discovery
is usually attributed.
1707. =Gottfried Keller= (German), about 1707.
Composer and teacher, who lived chiefly in London, where he
published six sonatas for two flutes and bass, and six for
two violins, trumpet, viola, and bass.
1709. =William Flackton= (London), 1709-98. The
English publisher Walsh issued six trios for strings by
this composer in 1758.
1710. =Charles Avison= (Newcastle-on-Tyne), 1710-70.
Organist and chamber music composer. Browning refers to him
in his “Parleyings.”
1710. =G.B. Pergolesi= (Naples), 1710-36. A composer
of great distinction, who wrote many operas, a well-known
“Stabat-mater,” and chamber music, including thirty trios
for two violins and bass.
1711. =Ignaz Holzbauer= (Vienna), 1711-83. He wrote
many string quartetts and other chamber music. Mozart is
said to have esteemed his compositions.
1712. =Frederick the Great=, King of Prussia, 1712-86.
Amateur composer and flautist of distinction.
1714. =Philipp Emanuel Bach= (Weimar), 1714-88.
1714. =Gluck= (Wiedenwang), 1714-87. Opera composer.
He wrote _no_ chamber music.
1715. =G.C. Wagenseil= (Vienna), 1715-77. Composer and
chamber musician to the court. His works, which include
much chamber music, were held in high favour during his
life-time.
1716. =F. de Giardini= (Turin), 1716-96. Violinist
(who resided for some time in London), and composer of
chamber music.
1717. =J.K. Stamitz= (Deutsch-Brod), 1717-61.
Violinist and composer, who wrote a number of trios,
etc., for strings. His sons, Karl and Anton, were also
distinguished violinists and composers.
1722. =P. Nardini= (Florence), 1722-93. Pupil of
Tartini. Composer of string quartetts, sonatas, and other
chamber music.
1724. =C.G. Töschi= (Munich), 1724-88. Violinist and
composer of chamber music, including twenty-four quartetts
for strings and flute, and three sextetts for flute, oboe,
bassoon, and string trio.
1724. =Pierre van Malder= (Brussels), 1724-68.
Violinist, composer, and chamber musician to Prince Charles
of Lorraine.
1730. =G.B. Sammartini= (Milan), 1730-70. Composer
of distinction, who worked, prior to Haydn, at chamber
music and orchestral composition. He wrote a great deal,
including string quartetts, trios, etc. Gluck was his pupil.
1730. =J.T. Goldberg= (Königsberg), about 1730. J.S.
Bach wrote for him the celebrated “Goldberg” variations for
clavier. He himself composed chamber music.
1731. =G. Pugnani= (Turin), 1731-98. Renowned
violinist, who composed a number of chamber works for
strings. He resided for some time in London. Viotti was one
of his pupils.
1732. =Joseph Haydn= (Rohrau), 1732-1809.
1732. =J.C. Friedrich Bach= (Leipzic), 1732-95. The
third of J.S. Bach’s sons. He composed, among other works,
some chamber music, but it is not so important as that of
his brother, P. Emanuel.
1734. =F.J. Gossec= (Paris), 1734-1829. Prolific
composer in all styles. His chamber music, and especially
his quartetts, were held in high esteem.
1734. =Antonio Sacchini= (Pozzuoli), 1734-86. Italian
opera composer, who also wrote some excellent chamber
music.
1736. =J.L. Dussek= (Bohemian), 1736-99. A
distinguished pianist, who, as well as excellent piano
sonatas, composed some chamber music.
1736. =Albrechtsberger= (Vienna), 1736-1809.
Celebrated theorist who composed many chamber music works.
Beethoven was a pupil of his.
1737. =J. Michael Haydn= (Rohrau), 1737-1806. Brother
of Joseph Haydn. His compositions in various styles are
numerous, and by no means unimportant. They include string
quintetts and quartetts. One of the latter was recently
played by the Rosé Vienna Quartett.
1739. =Carl von Dittersdorf= (Vienna), 1739-99. A
distinguished chamber music composer. He was during his
life-time popularly regarded as a rival of Haydn.
1739. =William Forster= (Brampton, Cumberland),
1739-1808. An English violin maker of repute. He also
published Haydn’s string quartetts.
1739. =F.W. Rust= (Wörlitz), 1739-96. A violinist
whose compositions, and especially his violin and piano
sonatas, are of much importance.
1739. =J.B. Wanhal= (Neu-Nechanitz), 1739-1813.
Bohemian composer, who wrote a great deal of chamber music,
which was popular in his life-time.
1741. =Grétry= (Liège), 1741-1813. Celebrated French
opera composer. He also wrote a number of string quartetts
and piano sonatas.
1741. =G. Paesiello= (Taranto), 1741-1816. Italian
opera composer of note, who also published some chamber
music.
1741. =W. Pichel= (Vienna), 1741-1805. Chamber
musician to Duke Ferdinand. A very prolific composer of
chamber music. He has left several hundreds of such works.
1741. =L. Tomasini= (Pesaro), 1741-1808. Violinist and
composer. He acted as leader and chamber musician to Prince
Esterhazy, under Haydn, who was his friend. He published
various string quartetts, etc.
1743. =Boccherini= (Lucca), 1743-1805. Esteemed
Italian composer, who wrote a great deal of chamber music,
including ninety-one string quartetts.
1744. =Giuseppe Giordani= (Naples), 1744-98. A
composer of merit, who wrote much chamber music.
1744. =M.A. Guénin= (Mauberge), 1744-1814. His chamber
works, which were very numerous, were at the time popularly
regarded as equal to Haydn’s, a view, it is hardly
necessary to add, which time has not confirmed.
1745. =J.P. Salomon= (Bonn), 1745-1815. Violinist and
director of concerts in London, at which Haydn’s symphonies
were produced. Salomon was an excellent chamber music
leader. Haydn’s last quartetts were written for him.
1746. =G. Cambini= (Leghorn), 1746-1825. Among the
chamber music of this now unknown composer are found no
less than one hundred and forty-four string quartetts.
1747. =J.W. Hässler= (Erfurt), 1747-1822. A German
composer, chiefly for the piano, of the period between Bach
and Beethoven. His works certainly have a historic interest.
1747. =F. Tourte= (Paris), 1747-1835. The famous
violin-bow maker.
1748. =J.W. Stich= (Prague), 1748-1803. A celebrated
horn player, who also wrote many chamber music
compositions, in which that instrument took part. Beethoven
thought highly of him, and wrote for and played with him
the sonata op. 17, for pianoforte and horn.
1749. =The Abbé Vögler= (Würzburg), 1749-1814. A
distinguished organist and composer, the list of whose
works include a piano quartett called “The Matrimonial
Quarrel,” and other chamber music.
1751. =B. Campagnoli= (Bologna), 1751-1827. Violinist
and chamber music composer.
1752. =Muzio Clementi= (Rome), 1752-1832. Pianist and
composer.
1752. =Leopold Kotzeluch= (Bohemian), 1752-1818. A
prolific if not profound composer, of fame during his
life-time. Amongst other of his chamber music works are
fifty-seven piano trios.
1753. =F. Fiorillo= (Naples), about 1753. Violinist
and composer. Some of his works were edited by Spohr.
1753. =G.B. Viotti= (Fontanetto), 1753-1824. Italian
composer and violinist, who has been called the father of
modern violin playing. He wrote many important chamber
music works.
1754. =Peter von Winter= (Mannheim), 1754-1825. Famous
opera composer, who also wrote some interesting chamber
music.
1754. =William Shield= (Swalwell, Durham), 1754-1829.
English opera and chamber music composer. He was also of
repute as a musical theorist.
1756. =Paul Wranitzky= (Vienna), 1756-1808. A composer
of a large quantity of chamber music. He was violinist
in Haydn’s Esterhazy Band. His brother Anton was also a
distinguished violinist and composer.
1756. =Mozart= (Salzburg), 1756-91.
1757. =Ignaz J. Pleyel= (Rupertsthal), 1757-1831.
Pupil of Haydn. He wrote a great quantity of chamber music
(forty-five string quartetts, and other works), which is,
however, hardly now remembered.
1760. =Franz Krommer= (Vienna), 1760-1831. Among other
chamber music he wrote sixty-nine string quartetts, but
these were overshadowed by the works of his contemporaries,
Haydn, Mozart, and Beethoven.
1760. =Cherubini= (Florence), 1760-1842. Eminent
composer in various styles. His string quartetts are
noteworthy.
1763. =A. Gyrowetz= (Vienna), 1763-1850. A
distinguished personality, and prolific composer of chamber
music (sixty string quartetts, etc.), which was not,
however, of an enduring character.
1764. =Regina Strinasacchi= (Ostiglia), 1764-1839.
Noted lady violinist, for whom Mozart wrote the well-known
violin and clavier sonata in B♭ (No. 454, Köchel). When
first performed by her and the composer (in public), no
clavier part had as yet been written, Mozart playing it
from memory.
1765. =D. Steibelt= (Berlin), 1765-1823. Solo pianist,
and composer of a great deal of chamber music which is
now almost forgotten. As a performer he is said to have
competed in public with Beethoven, and was popularly
considered not inferior to that master.
1766. =Anton Eberl= (Vienna), 1766-1807. Pianist,
composer of chamber music, and the friend of Mozart and
Gluck.
1766. =Rudolph Kreutzer= (Versailles), 1766-1831.
Beethoven dedicated to him the piano and violin Sonata op.
47. He was chamber musician to Napoleon and to Louis XVIII.
The large quantity of chamber music which he wrote is now
practically forgotten, but his forty violin studies are
still highly esteemed.
1767. =Andreas Romberg= (Vechta), 1767-1821. Composer
of distinction, if not of genius. He wrote many chamber
music works. His son Bernard (’cellist) was also somewhat
distinguished as a performer and composer.
1769. =J.F. Rochlitz= (Leipzig), 1769-1842. Literary
musician, who edited the _Allgemeine Musikalische
Zeitung_ during the period when Beethoven’s works began
to appear. His discriminating and sympathetic notices were
among the first to call world-wide attention to these
works, and are indeed of much historic importance.
1769. =Martin Marin= (Bayonne), born 1769. Celebrated
harpist, for which instrument he composed (and such works
are rare) quintetts with strings and other chamber music,
which M. Fétis says are “truly classical.”
1770. =Anton Reicha= (Prague), 1770-1836. Theorist and
composer. Friend and associate of Albrechtsberger, Haydn,
and Beethoven. He wrote many chamber music works.
1770. =Beethoven= (Bonn), 1770-1827.
1771. =P.M. Baillot= (Paris), 1771-1842. Celebrated
violinist and teacher, who also wrote some chamber music.
1771. =J.B. Cramer= (Mannheim), 1771-1858. Pianist,
composer, and teacher.
1772. =Joseph Wolff= (Salzburg), 1772-1812. Pianist
and composer, who studied under Michael Haydn. In
extemporisation on the piano he was popularly considered
superior to Beethoven. He published many chamber music
works, but his career was not successful. He died in London
forgotten, and, it is said, almost destitute.
1772. =Prince Louis Ferdinand of Prussia=
(Friedrichsfelde), 1772-1806. Distinguished amateur
musician and composer of interesting chamber music.
1776. =Ignaz Schuppanzigh= (Vienna), 1776-1830. He,
as leader, with Mayseder, Weiss, and Lincke, constituted
the celebrated string quartett which first performed
Beethoven’s works, under the composer’s own direction.
1778. =J.N. Hummel= (Pressburg), 1778-1837.
Distinguished musician. Pupil of Mozart. Composer of
chamber music, of which it may be said that while good, it
was but superficial in feeling.
1780. =Luigi Borghi=, violinist and composer, who
resided in London about 1780. He wrote some excellent
sonatas for violin, and for viola d’amore and double bass.
1781. =Antonio Diabelli= (Mattsee), 1781-1858. A
prolific but by no means great composer. He was a pupil of
Michael Haydn, but afterwards became a music publisher in
Vienna. He published Schubert’s works, and, it is said, did
not pay that master well.
1782. =J.F. Mazas= (Béziers), 1782-1849. Violinist and
composer of chamber music.
1782. =John Field= (Dublin), 1782-1837. Chiefly known
as a pianist, and for his nocturnes for piano. He also
wrote some chamber music.
1782. =N. Paganini= (Genoa), 1782-1840. Probably the
greatest of violin virtuosi. As a player in classical
quartetts he was said to have been a failure. He did not
subordinate himself sufficiently to the general meaning and
effect of the music.
1783. =Joseph Lincke= (Vienna), 1783-1837.
Violoncellist in the Rasumowsky and Schuppanzigh Quartetts,
with whom Beethoven’s name was so much associated.
1783. =Graf von Gallenberg= (Vienna), 1783-1839.
Beethoven is said to have been in love with the Countess
Guicciardi (who eventually became the Countess Gallenberg),
and he dedicated his so-called moonlight sonata to
her. Beethoven wrote a set of variations on a theme of
Gallenberg’s.
1784. =Ferdinand Ries= (Bonn), 1784-1838. Pianist,
composer, and teacher. Was an intimate friend of Beethoven,
and wrote a biography of that master.
1784. =François J. Fétis= (Mons, Belgium), 1784-1871.
Distinguished literary musician, who wrote also some
chamber music of interest, if not of genius.
1784. =George Onslow= (Clermont-Ferrand), 1784-1852.
The grandson of Lord Onslow. Voluminous writer of chamber
music, to which he almost devoted his life. He played
’cello in the soirées which were constantly held at his
French residence, Clermont-Ferrand (Puy de Dôme). His
chamber music has considerable artistic value.
1784. =Ludwig Spohr= (Brunswick), 1784-1859.
Distinguished violinist and composer. His chamber music, as
well as many works in all styles, are of great importance.
1786. =F. Kuhlau= (Hanover), 1786-1832. He is chiefly
known by his chamber music quartetts, trios, and duets for
flutes.
1786. =Weber= (Eutin), 1786-1826. The famous German
opera-composer (_Der Freischutz_, etc.). He also wrote
some important chamber music. His piano sonatas especially
are noteworthy.
1787. =Antonio Leite= (Oporto), 1787-1826. Portuguese
composer, whose works include sonatas for the curious
combination—guitar, violin, and two trumpets.
1788. =Aloys Schmitt= (Erlenbach), 1788-1866. Pianist
and teacher. His trios and quartetts for strings are
interesting.
1789. =Joseph Mayseder= (Vienna), 1789-1863. Violinist
of importance and composer of chamber music. He was a
member of the Schuppanzigh Quartett. It is said that
Paganini thought highly of him.
1790. =C. Urhan= (Paris), 1790-1845. Violinist and
composer of chamber music, and belonged to Baillot’s
Quartett. He, like his contemporary Michael Woldemar
(1750-1816), who wrote a concerto for the instrument,
constructed a larger violin with a fifth string (low C),
and called it the violin alto.
1791. =Karl Czerny= (Vienna), 1791-1857. Eminent
pianist and teacher. He was for a while a pupil of
Beethoven.
1792. =Anton B. Fürstenau= (Münster), 1792-1852.
Flautist of distinction, who was much connected with
chamber music performances. His works in this form for
flute and strings, etc., are important.
1794. =L. Jansa= (Vienna), 1794-1875. Celebrated as
a quartett leader, especially of the works of Haydn and
of Beethoven, whose Kreutzer Sonata he played first to
Beethoven, with Czerny at the piano.
1794. =Ignace Moscheles= (Leipzig), 1794-1870. A
pupil of Albrechtsberger, and associated with Beethoven,
Mendelssohn, and other great artists. He wrote chamber
music, which is now, however, practically forgotten. Some
of his piano works are of value.
1795. =Kaspar Kummer= (Erlau), 1795-1870. Eminent
flautist, who wrote chamber music for that instrument, with
strings.
1795. =H.A. Marschner= (Zittau), 1795-1861. Opera
composer of distinction, whose works may be regarded as the
link between Weber and Wagner. He also wrote some chamber
music which had little vitality, and is now forgotten.
1796. =Anton Schindler= (Medl.), 1796-1864. May be
called Beethoven’s “Boswell.” He lived on intimate terms,
under the same roof, with the great master, helped him
during his life-time, and afterwards faithfully chronicled
his doings. Schindler was an educated musician, played the
violin, and was for some time Cathedral Capellmeister at
Münster.
1797. =Schubert= (Lichtenthal), 1797-1828.
1798. =J.B. Villaume= (Mirecourt), 1798-1875.
Celebrated French violin maker. He also invented a large
kind of viola which was called “contralto,” and a monster
double bass called “octo-bass.”
1798. =Karl G. Reissiger= (Belzig), 1798-1859. German
composer of operas, etc. He also wrote a considerable
amount of chamber music, which had its vogue. But although
facile in expression, his music is lacking in character and
depth. Such music is useful as showing us what _not_
to do.
1800. =Edward A. Grell= (Berlin), 1800-86. A somewhat
distinguished musician, who held the view that vocal music
was the only real music. Instrumental was decadent!
1802. =W. Bernhard Molique= (Nuremberg), 1802-69.
Esteemed composer, solo violinist, and quartett leader. His
chamber music is of high merit.
1802. =John Ella= (Thirsk, Yorkshire), 1802-88.
Violinist and promoter of high-class chamber concerts
in London. His audiences were supplied with analytical
programmes, a custom, however, which had already been in
use at like concerts given in Edinburgh.
1803. =Glinka= (Nowospask), 1803-57. Distinguished
Russian composer, who also wrote some chamber music.
1803. =Franz Lachner= (Munich), 1803-90. A somewhat
important German composer. Intimate friend of Schubert.
His chamber music includes string and piano quartetts and
larger works.
1803. =Karl F.E. Schafhautl= (Ingolstadt), 1803-90.
Acoustical musician, who assisted Boehm in his improvements
of the flute and other instruments. His investigations into
the causes of the various tone-tints of musical instruments
is said to have shaken the Helmholz theory.
1805. =The Brothers Sebastian and Louis Lee=
(Hamburg), 1805 and 1819. Both ’cellists of repute. Louis,
along with Hafner, established in Hamburg chamber music
concerts. He also composed some chamber music.
1806. =H.W. Veit= (Repnic), 1806-64. Bohemian composer
of repute, who wrote some interesting chamber music.
1807. =H.N. Reber= (Paris), 1807-80. French composer
of distinction. His chamber music is worthy of attention.
1807. =J.L. Ellerton= (London), 1807-73. An amateur
who wrote a large quantity of chamber music, including
forty-four string quartetts.
1808. =M.W. Balfe= (Dublin), 1808-70. The well-known
opera composer (_Bohemian Girl_, etc.). His piano trio
in A major is an exceptional but quite interesting work.
It was played at the Monday Popular Concerts, with Joachim
as leader.
1808. =Prince Rasumowsky= (Russian), about 1808. He carried
on from 1808 to 1816 the string quartett known by his
name, and in which he played second violin. Afterwards it
was called, after its leader, the Schuppanzigh Quartett.
Beethoven dedicated his quartett op. 59 to Rasumowsky.
1809. =E. Sauzay= (Paris), born 1809. Violinist and
pupil of Baillot, in whose quartett he played second
violin, and afterwards viola. He took an active part in
matters connected with chamber music.
1809. =Felix Mendelssohn= (Hamburg), 1809-47.
1810. =Chopin= (Zelazowa-Wola), 1810-49. Celebrated
Polish pianist and composer. He wrote some chamber music,
but is best known by his works for piano solo.
1810. =Ferdinand David= (Hamburg), 1810-73. Violinist
of fame as performer and teacher. Joachim and Wilhelmj were
among his pupils. He was much associated with the best
chamber music doings of his time. During its composition
Mendelssohn conferred with him as to his (Mendelssohn’s)
Violin Concerto.
1810. =Felicien David= (Cadenet), 1810-76. French
composer, known now chiefly by his ode “The Desert.” His
string quartetts were also held in high esteem during his
life-time.
1810. =Schumann= (Zwickau), 1810-56.
1811. =Ferdinand Hiller= (Frankfurt-a-M.), 1811-85.
German composer of repute. His chamber music possesses a
certain degree of interest.
1811. =Henry G. Blagrove= (Nottingham), 1811-72.
Eminent English violinist. Pupil of Spohr.
1811. =Franz Liszt= (Raiding), 1811-86. One of the
world’s great pianists, but more devoted to solo than to
_ensemble_ playing. Wagner (whose devoted friend Liszt
was) has left it on record that he never knew the full
power and majesty of Beethoven’s piano sonatas, especially
the later ones, until he heard them played by Liszt, in
private, at Wahnfried, Wagner’s residence in Bayreuth.
1811. =C.L. Ambroise Thomas= (Metz), 1811-96.
Distinguished French opera composer, who also wrote a
string quartett, a quintett, a piano trio, and other
chamber music.
1812. =Karl Grädener= (Rostock), 1812-83. Chamber
music composer of some distinction, ’cellist, and quartett
player.
1812. =Flotow= (Mecklenburg), 1812-83. Opera composer,
who is best known by his work _Marta_. He also wrote
some chamber music, not, however, of distinction.
1813. =Sir G.A. Macfarren= (London), 1813-87.
Composer, and Principal of the R.A. Music, London. He
published a number of works in chamber music form, also on
musical theory.
1813. =G. Verdi= (Roncole), 1813-1901. The well-known
Italian opera composer, who in 1873 published a quartett
for strings, his only instrumental chamber music work.
1815. =Stephen Heller= (Paris), 1815-88. A composer
(chiefly for the piano) whose works, although written in
the smaller forms, rise above most of his contemporaries in
character, and especially in poetic expression. He, with
the violinist Ernst, published some interesting piano and
violin pieces.
1815. =F. Robert Volkmann= (Lommatzsch), 1815-83.
Eminent modern composer, who wrote many chamber music works
of interest.
1815. =E.C. Sivori= (Genoa),—1815-94. Famous violinist
and quartett leader.
1816. =Sir W. Sterndale Bennett= (Sheffield), 1816-75.
Distinguished English composer, especially for piano. His
trio op. 26 is a charming chamber music work.
1817. =Niels W. Gade= (Copenhagen), 1817-90. Danish
composer. Amongst his chamber music, a piano trio in F and
the violin and piano sonatas are noteworthy.
1817. =M. Gustav Nottebohm= (Lüdenschied), 1817-82. A
well-known German writer on music, especially on Beethoven,
whose interesting sketch books he published.
1817. =Alex. W. Thayer= (South Natick, U.S.A.),
1817-97. An American writer who devoted much of his life to
a biography of Beethoven, which has, however, only as yet
in part been issued in German.
1818. =Antonio Bazzini= (Brescia), 1818-97. Italian
violinist and composer of chamber music. His string
quartetts and a quintett are much esteemed.
1819. =W. Sharfenberg= (Kassel), 1819-95. German
violinist and pianist, who resided chiefly in New York,
U.S.A. He at one time played second violin in Spohr’s
string quartett.
1819. =Sir Charles Hallé= (Hagen), 1819-95.
Distinguished pianist and conductor, who resided chiefly in
Manchester, and did much for chamber music in the country
of his adoption.
1820. =C. Gurlitt= (Altona), 1820-1901. A composer of
sincere and pleasing, if not profound, chamber music. He
also wrote much piano music for young people and children.
1820. =Jules Armingaud= (Paris), born 1820. Leader of
a famous string quartett. He is said to have introduced
Beethoven’s quartetts to Paris.
1821. =Friedrich Kiel= (Berlin), 1821-85. Important
modern composer, who wrote a considerable amount of chamber
music.
1822. =Alfred Piatti= (Bergamo), 1822-1901. Celebrated
violoncellist, which instrument he played for many years
at the leading chamber music concerts in London, where he
resided.
1822. =J. Joachim Raff= (Lachen), 1822-82. A versatile
and highly-gifted composer, many of whose chamber music
works are of great interest. A Piano Trio in C minor, op.
102, may be specially mentioned.
1822. =L.T. Gouvy= (Gaffontaine), 1822-98. A composer
who wrote a large quantity of chamber music in style
somewhat Mendelssohnian. He resided chiefly in Paris.
1822. =César August Franck= (Liège), 1822-90. A
composer whose works, and more especially some of his
chamber music, are highly esteemed by many connoisseurs.
A quintett for piano and strings in F minor is highly
regarded.
1823. =Edward Lalo= (Paris), 1823-92. Violinist and
composer. He was early in his career connected with chamber
music, and has left some interesting works in that style.
1823. =Theodore Kirchner= (Neukirchen), 1823-1903.
A German composer who has written chamber music of a
delightful character, especially in the smaller forms:
novelletten, etc., for piano, violin, and ’cello.
1824. =Anton Bruckner= (Vienna), 1824-96.
1824. =Carl H.C. Reinecke= (Altona), 1824. Composer
of much charming chamber music, also in other forms. He
was conductor for many years of the Gewandhaus Concerts in
Leipzig, and is one of the leading German musicians.
1824. =F. Smetana= (Leitomischl), 1824-84. Bohemian
composer of importance. Dvořák was one of his pupils. His
string quartetts and piano trio are of interest.
1827. =Eduard Silas= (Amsterdam), 1827. Of Dutch
nationality, but settled in London. Has composed chamber
music as well as in various other styles.
1829. =Joseph Hellmesberger= (Vienna), 1829-93. Leader
of the celebrated quartett called by his name.
1829. =Albert H. Dietrich= (near Meissen), 1829. A
pupil of Schumann. His piano trios and other chamber music
are of considerable merit.
1830. =Carl Goldmark= (Vienna), 1830. Interesting
composer, of Hungarian origin. His chamber music is worthy
of attention.
1830. =Anton Rubinstein= (Wechwotynez), 1830-94. One
of the great pianists, and a composer of distinction. Some
of his chamber music is of a high order.
1830. =Hans Von Bülow= (Dresden), 1830-94. A pianist
of great distinction, who exercised a marked influence on
the performance of chamber music. He was also a remarkable
conductor, and musical critic.
1831. =Joseph Joachim= (Kittsee), 1831. Distinguished
violinist and composer, to whom, as the exponent of the
best chamber music, the world of music is deeply indebted.
The string quartett called after him consists of Herren
Karl Halir, E. Wirth, R. Hausmann, and Dr. Joachim himself.
1831. =Ludwig Nohl= (Iserlohn), 1831-85. German
musical _littérateur_, who has written a good deal
concerning Beethoven and Mozart. He has also published
a booklet on _The Historical Development of Chamber
Music_.
1831. =Joseph Bennett= (Berkeley), 1831. Prominent
English musical writer, whose insight and distinguished
literary style have contributed much to the spread of good
taste in our national music. He was among the first to
recognise the high worth of Dvořák’s chamber music.
1833. =Hermann Dieters= (Bonn), 1833. A critic and
writer on musical matters, especially he has written on
Brahms and Beethoven.
1833. =F.E. Bache= (Birmingham), 1833-58. Pianist and
composer of great promise, who unfortunately died young.
1833. =Johannes Brahms= (Hamburg), 1833-97.
1833. =Jean Becker= (Mannheim), 1833-84. Eminent
violinist who established the well-known “Florentine”
quartett.
1834. =Nicolai von Wilm= (Riga), 1834. Pianist and
composer of interesting chamber music. A sextett, op. 27,
for strings is well spoken of.
1835. =Ebenezer Prout= (Oundle), 1835. In the front
rank of living musical theorists. Among his compositions
are a number of chamber music works.
1835. =Felix A.B. Draeseke= (Coburg), 1835. Composer
whose later works in chamber music style are highly spoken
of in Germany.
1835. =C. Camille Saint-Saëns= (Paris), 1835.
Versatile French composer of high standing. Has written in
all styles. His chamber music is very interesting.
1837. =J. Francis Barnett= (London), 1837. Pianist and
composer, who, among other and larger works, has written
some chamber music.
1838. =Max Bruch= (Cologne), 1838. His best known
works are the violin concertos. He has also written some
chamber music.
1839. =Lady Hallé= (Madame Neruda) (Brünn), 1839. Solo
violinist of high standing, and one of the quartett leaders
at the London Monday Popular and other high-class English
concerts.
1839. =Joseph G. Rheinberger= (Vaduz), 1839-1901. A
distinguished German composer, whose chamber music is of
high merit, notably the E♭ Piano Quartett and the C minor
String Quartett.
1839. =J. Knowles Paine= (Portland, U.S.A.), 1839.
American composer of high aim, who has written in various
forms, including chamber music.
1840. =P.I. Tschaïkovsky= (Wotkinsk), 1840-93. Famous
Russian composer. His chamber music is of much importance.
1840. =Hermann Goetz= (Königsberg), 1840-76. German
composer of genius, who unfortunately died young. His Piano
Trio in G minor and other chamber music works are highly
esteemed.
1840. =Johann S. Svendsen= (Christiania), 1840.
Norwegian violinist and composer of a fresh and delightful
talent. He has written a good deal of chamber music.
1841. =Anton Dvořák= (Nelahozeves), 1841. The
well-known composer, who has written works of the utmost
importance in all styles, including chamber music.
1842. =Victor Duvernoy= (Paris), 1842. French composer
and pianist, who, along with M. Leonard the violinist,
established important chamber music soirées in Paris.
1843. =Edvard H. Grieg= (Bergen), 1843. Charming Norse
composer. His piano and violin sonatas are well known, or
should be.
1843. =G. Sgambati= (Rome), 1843. Italian composer,
who has written some chamber music. Some laudatory
expressions of Richard Wagner’s first drew attention to him.
1843. =J.S. Shedlock= (Reading), 1843. Musical critic
and _littérateur_, who has also published some musical
works. His articles on Beethoven’s Sketch Books, Cramer’s
Piano Studies, with Beethoven’s notes, which he discovered;
his work on the Sonata, and on Kuhnau’s Biblical Sonatas,
are of great interest, bearing, as they do in part, on the
subject of chamber music.
1844. =Edward Dannreuther= (Strasburg), 1844. Pianist
and teacher, who resides in London. His influence has been
of the highest value to the cause of chamber music in
England.
1844. =Rimsky-Korsakoff= (Tichwin), 1844. Russian
composer of distinction. His works include some interesting
chamber music.
1844. =Hugo Heeymann= (Frankfurt), 1844. Violinist and
leader of the quartett known by his name, one of the best
in Germany.
1845. =Friedrich Niecks= (Düsseldorf), 1845. Professor
of Music in the University of Edinburgh, where he has done
much to promote the culture of chamber music.
1845. =Gabriel Fauré= (Pamiers), 1845. French
composer, whose works include some chamber music.
1847. =August Klughardt= (Cöthen), 1847. Scholarly
German composer, who, as well as chamber music, has written
a good deal in the larger forms.
1847. =Sir Alex. C. Mackenzie= (Edinburgh), 1847.
Principal of the Royal Academy of Music. A distinguished
composer in all styles.
1847. =Benno Walter= (Munich), 1847. Violinist, and
distinguished German quartett leader.
1847. =Agnes Zimmermann= (Cologne). Pianist of
distinction, who has written chamber music, and also edited
the piano works of Mozart, Beethoven, and Schumann. Miss
Zimmermann has chiefly resided in London.
1847. =Robert Fuchs= (Vienna), 1847. German composer,
who has written a good deal of music, chiefly in classical
form. His chamber music possesses a certain interest.
1848. =Sir C. Hubert H. Parry= (London), 1848.
Principal of the Royal College of Music, London. Has
written with distinction in every form save opera. His
chamber music is of great interest, although he has chiefly
occupied himself with larger works.
1848. =G.J.R. Heckmann= (Mannheim), 1848-91. Violinist
and founder of the quartett which was known by his name.
1848. =Count Franchi-Verney= (Turin), 1848. Italian
writer on music. He established at Turin in 1875 a society
for the culture of chamber music. The celebrated violinist
Teresina Tua is the Countess Verney.
1848. =F.G. Gleason= (Chicago), 1848. An American
chamber music composer.
1849. =Benjamin Godard= (Paris), 1849-95. French
composer of some note. He was awarded the chamber music
prize by the Institute of France.
1850. =F.X. Scharwenka= (Samter), 1850. Pianist, and
composer of chamber music of an interesting character.
1850. =Hans Sitt= (Prague), 1850. Violinist,
composer, and conductor. Is on the staff of the Leipzig
Conservatoire. He played viola in the Brodsky Quartett.
1850. =Ludwig Stiehle= (Frankfurt), 1850. Violinist,
pupil of Joachim; member of Hubay’s Quartett at Basel. He
also played in the Hochberg Quartett, in Alard’s Paris
Quartett, and in that of Baron von Derwies at Nice.
1850. =Zdenko Fibich= (Bohemian), 1850; A somewhat
distinguished composer, known in England by his Piano
Quartett in E minor, op. 11.
1851. =Adolph Brodsky= (Taganrog), 1851. Now resident
in Manchester as Principal of the School of Music, and
where he has formed a quartett called by his name. He was
formerly a member of the Hellmesberger Quartett in Vienna.
1851. =Vincent d’Indy= (Paris), 1851. French composer
of modern tendencies. Amongst his chamber music is a suite
for trumpet, two flutes, and string quartett.
1852. =Hans Huber= (Schönewerd), 1852. His
compositions include a considerable amount of chamber music.
1852. =Dr. Frederic Cowen= (Kingston, Jamaica), 1852.
Distinguished English composer and conductor. He has
written chamber music, some of which is not yet published.
1852. =Benedetto Junck= (Turin), 1852. Italian
composer of talent. Has published a string quartett, and
piano and violin sonatas.
1852. =Sir C. Villiers Stanford= (Dublin), 1852.
British composer of distinction in all styles.
1853. =Gustave Dannreuther= (Cincinnati, U.S.A.),
1853. Violinist. Has been specially associated with
quartett playing and chamber music in New York. He is
brother to Edward Dannreuther (London).
1853. =Arthur W. Foote= (Boston, U.S.A.), 1853.
American composer, who has written string quartetts and
other chamber music.
1854. =G.W. Chadwick= (Lowell, U.S.A.), 1854. One of
the leading American composers. His chamber music works
include a Piano Quintett in E♭, five string quartetts, and
a string trio.
1855. =Julius Röntgen= (Leipzig), 1855. Pianist and
chamber music composer of merit.
1856. =G. Martucci= (Bologna), 1856. Italian composer,
whose chamber music is of considerable interest.
1856. =Christian Sinding= (Kongsberg), 1856. Norwegian
composer, who studied at Leipzig. His chamber music is of
importance.
1856. =Herbert Thompson= (Leeds), 1856. Musical
and art critic to the _Yorkshire Post_, a leading
provincial daily journal. His numerous articles and
_critiques_ have very beneficially influenced the
condition of music, including that of chamber music, in the
North of England.
1856. =Edward Schütt= (St. Petersburg), 1856. Pianist
and composer, who has written some interesting chamber
music, _i.e._ Walzer-Märchen Trio, and Trio in C minor
for piano, violin, and ’cello.
1856. =J.A. Fuller-Maitland=, M.A. Cantab. (London),
1856. Pianist and musical critic of _The Times_. Has,
among other important musical work, edited Purcell’s twelve
sonatas for strings.
1858. =T. Adamoffski= (Warsaw), 1858. He organised the
string quartett called after his name in Boston, U.S.A.
This quartett gave about thirty concerts annually in the
chief American cities.
1858. =Nicolas Sokoloff= (St. Petersburg), 1858 (?
1847). Russian composer of high rank. His string quartett
and quintett are noteworthy.
1858. =Eugene Ysaye= (Liège), 1858. Distinguished
violinist and leader of the Ysaye Quartett in Brussels. Has
more recently resided in London.
1859. =Willy Hess=, 1859. Well-known violinist, and
leader of the Cologne Quartett, consisting of himself
and Herren Körner (second violin), Schwarz (viola), and
Grützmacher (’cello), which from 1895 to 1903 played
frequently in all the chief German cities. In 1904, when
he entered on the duty of violin professor at the Royal
Academy of Music, London, he established the “Willy Hess”
Quartett, the other artists being H. Fellowes (second
violin), L. Tertis (viola), and H. Withers, ’cello.
1859. =W.H. Hadow= (Ebrington), 1859. Musical writer
of distinction. His work, _Studies in Modern Music_,
occupies a high place among current musical literature.
He has also composed among other chamber music a string
quartett, a piano trio, two sonatas for piano and violin,
and a sonata for piano and viola.
1859. =Algernon Ashton= (Durham), 1859. Composer of
chamber music, who has also written a good deal of music
in the larger forms. He has published two quintetts, two
quartetts, and three trios for piano and strings, and some
ten sonatas for various instruments.
1859. =Arthur S. Chappell= (London), 1859. Director of
the celebrated Monday Popular Chamber Concerts in London,
and head of the firm of Chappell & Co.
1860. =Felix Woyrsch= (Troppau), 1860. Austrian
composer whose works are said to be characterised by
freshness and energy. He has, among others, written a
string and a piano quartett and a violin and piano sonata.
1862. =A.S. Arensky= (Novgorod), 1862. Russian pianist
and composer. Some of his chamber music (Piano Trio in D
minor) has been performed recently in London.
1863. =Miss Fanny Davies= (Guernsey). Eminent pianist,
who has taken part in most of the important chamber music
concerts in England. Miss Davies was a pupil of Madame
Schumann.
1863. =Arnold J. Rosé= (Vienna), 1863. Solo violinist
and leader of the well-known Rosé Quartett.
1864. =Eugen D’Albert= (Glasgow), 1864. Composer and
pianist of high rank. He has especially distinguished
himself as a chamber music performer. His compositions in
this style, too, are noteworthy.
1864. =Richard Strauss= (Munich), 1864. Important
modern composer. His later works are chiefly orchestral,
but he wrote chamber music, in classical form, in his
earlier years.
1865. =A. Glazounoff= (St. Petersburg), 1865. Russian
composer of distinction, who has written some chamber music.
1865. =Robert Kahn= (Mannheim), 1865. Composer of
somewhat interesting chamber music.
1866. =F.B. Busoni= (Florence), 1866. Eminent solo
pianist and chamber music composer.
1866. =Prince Nicholas Galatzin= (Russian), died 1866.
Amateur musician and ’cellist, to whom Beethoven dedicated
some of his last string quartetts.
1868. =Leonard Borwick= (Walthamstow), 1868. Solo
and chamber music pianist of distinction. Mr. Borwick was
a pupil of Madame Schumann, and has played in the chief
concerts, both English and continental.
1873. =S.V. Rachmaninoff= (Novgorod), 1873. A Russian
pianist and composer. Among his chamber music is a Trio
Élégiaque, op. 9.
1874. =Josef Suk= (Křečovic), 1874. Bohemian violinist
and composer of some excellent chamber music. He is a
member of the Bohemian Quartett.
1875. =S. Coleridge-Taylor= (London), 1875. One of
the most promising of the young composers of to-day. He
is, on his father’s side, of West African descent. Among
much interesting music he has written some in chamber music
style.
1875. =Donald F. Tovey= (Eton College), 1875. Pianist
and composer of high aim. His works include a quintett
and a quartett for piano and strings; trios for piano,
clarinet, and horn; piano, violin, and cor Anglais; and
piano, violin, and ’cello. Sonatas for piano and violin,
piano and clarinet, and duets for oboe and piano.
Other contemporary composers and performers of chamber music are:—
R.H. Walthew.
Joseph Holbrooke.
Cyrill Scott.
Norman O’Neill.
J. Kruse.
F.A. Lamond.
E. von Dohnányi.
J.B. McEwen.
A. Fransella.
G. Henschel.
F. Weingartner.
C. Halir.
R. Gomperz.
J. Ludwig.
A.E. Ferir.
P. Cathie.
John Sanders.
Charles Draper.
A. Randegger, jun.
Baron d’Erlanger.
W.H. Reed.
H. Walford Davies.
H. Wessely.
Franklin Taylor.
H. Hofmann.
L. Risegari.
E. Sjögren.
Haydn Inwards.
M. Esposito.
A. Hobday.
P. Wolfrum.
F.W. Davenport.
Rawdon Briggs.
A. Beer-Walbrunn.
A. Burnett.
V. Wilm.
Carl Fuchs.
G.F. Cobb.
G. Henschel.
J.C. Culwick.
J. Klengel.
S. Speelman.
L. Thuille.
W.M. Malsch.
S. Jadassohn.
Chas. Reynolds.
E. Reznicek.
W.B. Wooton.
G.A. Clinton.
G. Horton.
W.E. Whitehouse.
M. Gomez.
Appendix B.
Glossary of Terms.
=Absolute Music=, music _per se_ without relation
to the arts, or to any presentation whatever outside of
it.[43]
[Footnote 43: Riemann’s _Dictionary of Music_.]
=Chamber Music Pitch.= Formerly absolute pitch did not
exist. During the sixteenth and seventeenth centuries the
pitch was high. This we find according to the old organs,
which are some of them a tone higher than our present
French diapason. Chamber pitch in olden times differed from
church pitch. The adoption of a uniform pitch is very much
to be desired at the present time.
=Divertimento=, a kind of chamber music suite, or
combination of pieces of a pleasing and diverting kind.
=Gudok=, a violin-like Russian instrument with drones.
=Volte Subito, or Vide Sequens=, written usually V.S.
It means turn over quickly, or see what follows.
=Violone=, the Italian name for the double bass.
=Musica da Camera=, chamber music (Italian). The
term came into use about the beginning of the seventeenth
century.
=Chrotta= (Latin), =Crwth= (British), probably
the oldest of European stringed instruments. Historically
it is found mentioned so far back as the year 609. The
word chrotta means literally “a bulging box.” The rebec was
the same as the crwth, or nearly so. The geige is a like
instrument.
=Kit= (French Pochette), a small violin which was
carried in the pocket; used by teachers of dancing.
=Early Instrumental Music.= Brass instruments in
the very early times were not used for musical purposes,
but only as an accompaniment to military and other such
affairs. At festivals and weddings of the middle ages
stringed instruments came into use, and here we have the
beginnings of instrumental music. The earliest traces of
the use of violin-like instruments is found about the ninth
century.
=Baryton=, an instrument of the violoncello type.
Haydn wrote much for the instrument, which was played by
his patron, Prince Esterhazy.
=Chanterelle=, the highest string on instruments of
the violin family. Usually associated with the E string of
the violin.
=Concerto da Camera=, chamber concerto. The title was
introduced by Torelli, about 1686.
=The String Quartett.= The instruments which form this
combination, viz.: the two violins, viola, and violoncello,
are, as to their construction, the result of a slow
development of probably 1000 years, the fully-developed
violin dating from about the end of the fifteenth century.
Music for the string quartett came into vogue about the
middle of the eighteenth century. Earlier than this such
music usually took the form of the sonata a tre, viz.: two
violins and bass.
=Arpeggione=, an instrument after the kind of the
gamba (a small ’cello). First made in Vienna, about the
year 1823. Schubert wrote a sonata for this instrument.
=Bassett=, the old German name for the violoncello.
=Modern Violins.= In the year 1891 a certain Dr.
Stelzner, a German, made public his method of constructing
new violins, for which it was claimed that they would
outstrip the old Italian instruments. Stelzner inserted
vibrating tongues in the _f_ holes, and made other
so-called improvements. The claims made for these
instruments have not, however, been sustained. Another
attempt of this kind, called the “Stroh” violin, does not
seem to have been successful.
=Violin Tone.= The players on the viol in England in
the seventeenth century did not welcome the violin. Its
stronger and, to their ears, harsh tone was said to destroy
the delicate balance of the viols.
=Alto Violoncello=, a smaller instrument than the
ordinary one. Boccherini directs, in some of his chamber
music, that the ’cello part is to be played on this
instrument. The unusual difficulty of some of his ’cello
parts may be explained, in part, by this direction.
=Viol.= This instrument preceded the violin. Its
shape, which is still in use as the ordinary double bass of
the orchestra, has been thus described by Mr. Payne:—“It
differs from the violin in having deeper ribs, and a flat
back, which is sloped off at the top. The shoulders curve
upwards, joining the neck at a tangent instead of at right
angles, as in the violin. The neck is broad and thin, the
number of strings being five, six, or seven. The viol was
made in four sizes.”
=Fiddle.= This word has its origin in “fides,” the
Latin name for any kind of string. Its diminutive is
“fiducula.”
=The Strings.= By this is usually meant the violins,
violas, ’cellos and double basses collectively. The Germans
use the term “bowed instruments,” which is better than
“the strings,” seeing that the guitar, harp, piano, etc.,
are stringed instruments. Another German authority claims
that an accurate description is “bow-stringed instruments.”
=The Violin= is constructed of fifty-seven different
pieces of wood, which are glued together, the most numerous
of these parts being the linings and purfling. Its movable
fittings (bridge, pegs, etc.) number thirteen, making in
all seventy different parts.
=François Francœur= (1715). This French composer and
violinist is said to have used the thumb in playing the
violin, so as to produce certain chords, as is done in
’cello playing.
=Lute.= An old instrument whose descendants are the
guitar and mandoline. The chiterna (citerne) was of the
same order.
=Theorbo= belongs to the lute family. It was a bass
instrument, and had a double neck with two sets of strings.
=Taille.= An alto oboe (J.S. Bach). Sometimes used to
describe the viola.
=Urh-heen.= The Chinese violin. It differs very much
from the European instrument, has a different bow, and no
fingerboard.
=Viola-pomposa.= A kind of small violoncello, invented
by J.S. Bach.
=Rebec.= Probably the oldest stringed instrument
played with a bow. Whether Spain got it from Arabia, or
_vice versâ_, is a yet unsettled historical point.
Index.
Academy of Ancient Music, 21
Amati, 6, 209
American School of Music, 126
Arensky, 169, 240
Bach, John Sebastian, 5, 22, 38, 39, 107, 145, 162, 213
—— Philipp E., 22, 39, 216
—— Friedrich, 217
Bache, F.E., 196, 233
—— Walter, 197
Balfe, M.W., 193, 227
Baltzar, (violinist), 12
Banister, John, 13, 16, 211
Bargiel, W., 194
Baryton, 57
Bassett, 246
Beethoven, 39, 49, 52, 62, 65, 71, 74, 77, 85, 92, 98, 101, 104, 106,
114, 121, 144, 145, 146, 182, 183, 190, 222
Belaieff, 162, 163
Bennett, Joseph, 131, 233
—— Sterndale, 195, 197, 230
Berens, H., 201
Berger, W., 201
Boccherini, 39, 63, 219
Bohemia, 123
Borwick, Leonard, 241
Brahms, 32, 52, 101, 105, 109, 110, 124, 146, 182, 183, 190, 198, 202,
204, 233
Britton, Thomas, 14, 16, 17
Broadwood, J., & Sons, 34
Brodsky, Adolph, 237
Bruckner, Anton, 182, 232
Bülow, Hans von, 31, 104, 232
Burney, Dr., 189
Burns, 125
Busoni, 241
Chamber music: beginnings, 2;
early compositions, 3;
various early English composers, 3;
C.M. performed in 1679, 20;
C.M. Institutions, 33;
string quartett performers, 34 and 35;
Haydn’s quartetts, 53;
Russian composers, 133;
unusual works, 205;
C.M. pitch, 244;
performers and composers, 242;
Japanese music, 36;
C.M. for wind instruments, _see_ Wind;
Horn C.M., _see_ Horns;
Clarinet C.M., _see_ Clarinet
Chappell, Arthur, 30, 240
Cherubini, 85, 183, 221
Chopin, 92, 228
Chrotta, 244
Clarinet works, 68, 79, 80, 84, 97, 103, 109, 111, 121, 122, 134, 202,
203
Coleridge-Taylor, S., 181, 242
Compass of violin, 7
Composers and performers, 242
Corder, Frederic, 38
Corelli, 7, 211
Couperin, 213
Cowen, F., Dr., 238
D’Albert, Eugen, 241
Dando, Joseph, 27
Dannreuther, Edward, 29, 235
Davey, Henry, 104
David, F., 228
Davidoff, C., 174
Davies, Miss Fanny, 240
Davison, J.W., 30, 131
Dittersdorf, 45, 63, 218
_Don Juan_ (Strauss), 180
Dumka, 126
Dussek, J.L., 218
Dvořák, 123, 126, 235
Elgar, Edward, Dr., 181
Ella, John, 27, 227
Emerson, R.W., 84
Emperor Frederick, 5, 22, 24, 216
English music (its great period), 3
Erklärung (explanation, Brahms and Joachim), 103
Essipoff, Madame, 198
Evans, E. (notes), 170
_Evelyn’s Diary_, 20
Fiddle, 246
Finck, H.T., 103
Frankish kings, 1
Franck, C.A., 231
Franz, Robert, 103
Frederick, Emperor, 5, 22, 24, 216
Furiant (Dvořák), 126
Gade, N.W., 200, 230
Galuppi, 189
_Gerontius, The Dream of_, 181
Glass harmonica, 68
Glazounoff, 162, 167, 241
Glinka, 134, 227
Gluck, 216
Goetz, Hermann, 198, 234
Goldberg, 217
Goldmark, C., 232
Graun, 22, 215
Gretchaninoff, 144, 147
Grieg, 135, 235
Guarneri, 6, 211
Gudok, 244
Hadow, W.H., 53, 94, 96, 108, 132, 240
Hallé, Sir Charles, 29, 230
—— Lady, 234
Handel, 16, 39, 52, 53, 57, 86, 145, 213
Hanover Square Rooms, 27
Hanslick, Dr., 188
Hauptmann, 197
Hawkins’s _History_, 20, 21
Haydn, Joseph, 2, 6, 7, 35, 39, 40, 45, 49, 53, 56, 62, 65, 79, 86,
114, 118, 135, 217
—— Michael, 218
Heller, Stephen, 229
Hellmesberger, 183
Henderson, W.J., 106
Hess, Willy, 239
Hiller, F., 87, 88, 200, 228
Horns (Chamber Music), 79, 80, 84, 97, 111
Hughes, John, 16
Hummel, 206
D’Indy, Vincent, 206
Ippolitoff-Ivanoff, 135, 147
Italian Academy, 21
Japanese Chamber Music, 36
Jean-renaud, Cécile (Mendelssohn), 88
Joachim, Dr., 28, 32, 103, 174, 195, 233
Kaiser Quartett (Haydn), 54
Kirchner, Theodore, 192
Kopyloff, 175
Krehbiel, H., 1, 188, 189
Kreutzer, 221
Kreuz, Emil, 200
Kroepsch, 206
Kruse, Johann, 35
Latann, 206
Liadoff, 205
Liszt, 38, 193, 197, 229
Ludwig, Paul, 174
Lute, 247
Macfarren, Sir G., 229
Mackenzie, Sir A., 201, 236
Maitland, J.A. Fuller, 115, 239
McEwen, J.B., 205
Mellon, Alfred, 197
Mendelssohn, 52, 85, 89, 130, 195, 196, 197, 228
Molique, B., 199, 226
Monday Popular Concerts, 30, 32, 174, 202, 204
Mozart, 6, 49, 59, 63, 65, 68, 70, 79, 85, 92, 114, 145, 206, 220
Mühlfeld, Herr, 122, 202
Musical humour, 76
Musical Union (Ella), 27
Music meetings, 17
Nawratil, 198
Negro Quartett, 127
Newcastle-on-Tyne Chamber Music Society, 35
Niecks, F., 236
Norman-Neruda, Madame, 31
North’s _Memoirs_, 13
Nottebohm, 230
Onslow, G., 204, 224
Oxford Music School, 17
Paganini, 223
Parry, Sir Hubert, 64, 91, 107, 194, 236
Pauer, Ernst, 93
Pepusch, 16
_Pepys’s Diary_, 18
Performers and composers, 242
Piatti, A., 231
Plaidy, 197
Position of platform, 28
Programme music, 38
Prout, Dr. E., 203, 233
Purcell, 4, 21, 85, 212
Quantz, 22, 206, 215
Queen’s Hall orchestra, 134
Rabl, W., 202
Rachmaninoff, 170
Raff, Joachim, 192, 231
Rasumowsky, 228
Rebec, 247
Reicha, 206
Reinecke, Carl, 232
Reinken, 4
Rheinberger, 202, 234
Richter, Dr. Hans, 184
Rimsky-Korsakoff, 235
Ritter, Professor, 90
Rosalia form, 96
Rubinstein, Anton, 103, 200, 232
Russian chamber music, 133
Russian schools of musical thought, 161
Russian C.M. composers, 133, 161, 163, 169
Russian miniature scores, 175
Rust, F.W., 218
Saint-Saëns, 199, 206, 234
Sainton’s Quartett, 29
Salzburg, the Archbishop of, 63
Sapellnikoff, 174
Sarti, 60
Scarlatti, A., 212
—— D., 39, 213
Schindler, 226
Schmidt, Oscar, 199
Schmitt, Aloys, 87, 200
Schumann, Madame, 31
—— Robert, 37, 52, 75, 83, 91, 101, 103, 105, 109, 130, 183, 192, 194,
228
Schubert, 65, 82, 190
Schütt, Edward, 191, 198, 239
Sgambati, G., 235
Shedlock, J.S., 235
Shield, William, 8, 220
Silence in music, 51
Sinding, C., 238
Smetana, 123, 232
Sokoloff, 175
Spitta, 25, 107
Spohr, 97, 101, 115, 224
Stanford, Sir Charles, 35, 52, 199, 238
Steibelt, 221
Strauss, Richard, 38, 178, 180, 241
Stradivari, 6, 211
Taille, 247
Tanyeëff, 175
Tartini, 214
Taylor, S. Coleridge-, 181, 242
Tennyson, 125
Theorbo, 247
Thomas, Theodore, 188
Thompson, Herbert, 239
_Till Eulenspiegel_, 178
Tourte, 219
Tovey, Donald, 242
Tschaïkovsky, 134, 136, 161, 169, 170, 175, 234
Tune in music, 145, 178
Urh-heen, 247
Veit, W.H., 205
Verdi, 203, 229
Vienna Philharmonic, 188
Viol, 246
Viola-pomposa, 247
Violin compass, 7
Violin makers, 6
Viotti, 220
Wagner, 52, 65, 69, 80, 98, 102, 103, 121, 136, 145, 146, 182, 183,
189, 193
Weber, 92, 224
Weingartner, F., 102, 190
Whichello, 16
Wieck, Clara, 94
Wind chamber music, 79, 80, 84, 134, 206
Wolf, Hugo, 206
Wollaston, 16
Wood, Henry J., 134
THE WALTER SCOTT PUBLISHING COMPANY, LTD., NEWCASTLE-ON-TYNE.
[Transcriber’s Notes:
The original text consistently misspelled "Dvořák" with the caron over
the o; this has been corrected. The inconsistent use of ’s or s’s for
the possessives of proper names ending in s has been normalized to s’s
(e.g., “Brahms’s”). Other obvious printer errors have been corrected
without note.
Italics are indicated by _underscores_ and boldface is indicated by
=equal signs=.
Illustrations and sidenotes have been moved so as not to interrupt the
flow of the text.
In Appendix A, Prince Rasumowsky is erroneously listed under 1808. He
was actually born in 1752, per Wikipedia.]