The two greatest contemporaries of Beethoven were, undoubtedly, Carl Maria von Weber and Franz Schubert, and both wrote pianoforte sonatas. Many other composers of that period—some of them possessed of considerable talent—devoted themselves to that branch of musical literature: Steibelt (1764-1823), Woelfl (1772-1812), J.B. Cramer (1771-1858), J.N. Hummel (1778-1837), F.W.M. Kalkbrenner (1788-1849), and others. Of these, the first three may be named sonata-makers. The number which they produced is positively alarming; but it is some consolation to think that a knowledge of their works is not of essential importance. Steibelt's sonata in E flat (dedicated to Mme. Buonaparte) was given once at the Popular Concerts in 1860, and Woelfl's "Ne plus Ultra" sonata, several times between 1859 and 1873; not one, however, of the 105 said to have been written by J.B. Cramer has ever been heard there.[100] Most of these works justly merit the oblivion into which they have fallen; some are quite second, or even third rate; others were written merely as show pieces,[101] and are now, of course, utterly out of date; and many were written for educational purposes, or to suit popular taste (sonatas containing variations on national and favourite airs, light rondos, etc.).[102]

Cramer's studies have achieved world-wide reputation, and, as music, they are often interesting. Also in his sonatas are to be found many serious, well-written movements; musical taste has, however, so changed since the rise of the romantic school, that it is doubtful whether they would be now acceptable even as teaching pieces.

Hummel's few sonatas have suffered at the hand of time; but, though the music be mechanical, and therefore cold, there is much to interest pianists in the two sonatas in F sharp minor (Op. 81) and D major (Op. 106). These were written after the composer's appointment at Weimar in 1820. His two early sonatas (Op. 13, in E flat, and Op. 20, dedicated to Haydn) are not easy, yet not so difficult as the two just mentioned.

Steibelt and Woelfl both measured themselves with Beethoven in the art of improvisation. The former was so ignominiously defeated that he never ventured to meet his rival again. Woelfl, however, fared better. With his long fingers he could accomplish wonders on the instrument; but only so far as technique was concerned did he surpass Beethoven.

Carl Maria v. Weber (1786-1826) in early youth studied the pianoforte under two able court organists, J.P. Heuschkel[103] and J.N. Kalcher,[104] both of whom he always held in grateful remembrance. Under the direction of the latter he wrote some pianoforte sonatas, which, according to the statement of his son and biographer, M.M. v. Weber, were accidentally destroyed. Later on he studied under Vogler and other masters. He became a famous pianist, and at Berlin, in 1812, composed his 1st Sonata in C (Op. 24). No. 2, in A flat (Op. 39), was commenced at Prague in 1814, and completed at Berlin in 1816. No. 3, in D minor (Op. 49), was also written at Berlin, and in the same year. No. 4, in E minor (Op. 70), occupied the composer between the years 1819 and 1822; it was written at Hosterwitz, near Dresden, during the time he was at work on his opera Euryanthe.

Weber and Schubert are both classed as contemporaries of Beethoven, yet the latter was also their predecessor. Of Schubert we shall speak presently. As regards Weber, it should be remembered that before he had written his sonata in C (Op. 24) Beethoven had already published "Les Adieux" (Op. 81A). The individuality of the composer of Die Freischütz was, however, so strong, that we meet with no direct traces of the influence of Beethoven in his pianoforte music.

The Weber sonatas have been described by Dr. P. Spitta as "fantasias in sonata-form," and this admirably expresses the character of these works. Weber followed the custom of his day in writing sonatas, but it seems as though he would have accomplished still greater things had he given full rein to his imagination, and allowed subject-matter to determine form. Like his great contemporary, of whom we have next to speak, Weber, in spite of Vogler's teaching, was not a strong contrapuntist; he relied chiefly upon melody, harmonic effects, and strong contrasts. His romantic themes, his picturesque colouring, enchant the ear, and the poetry and passion of his pianoforte music, both intensified by grand technique, stir one's soul to its very depths; yet the works are of the fantasia, rather than of the sonata order. We have the letter rather than the true spirit of a sonata. Place side by side Weber's Sonata in A flat (the greatest of the four) and Beethoven's D minor or "Appassionata," and the difference will be at once felt. In the latter there is a latent power which is wanting in the former. It seems as if one could never sound the depths of Beethoven's music: fresh study reveals new beauties, new details; the relation of the parts to the whole (not only of the sections of a movement, but of the movements inter se), and, therefore, the unity of the whole becomes more evident. We must not be understood to mean that Weber worked without plan, or even careful thought; but merely, that the organic structure of his sonatas is far less closely knit than in those of the Bonn master; there is contrast rather than concatenation of ideas, outward show rather than inner substance. The slow movements (with exception of those of the 1st and 2nd Sonatas, which have somewhat of a dramatic character) and Finales are satisfactory, per se, as music: the former have charm, refinement; the latter, elegance, piquancy, brilliancy. Now, in these sonatas, the opening movements seem like the commencement of some tragedy: in No. 2 there is nobility mixed with pathos; in No. 3, fierce passion; and in No. 4, still passion, albeit of a tenderer, more melancholy kind. But in the Finales it is as though we had passed from the tragedy of the stage to the melodrama, or frivolity of the drawing-room; they offer, it is true, strong contrast, yet not of the right sort, not that to which Beethoven has accustomed us.

Throughout the four sonatas we detect the hand of a great pianist. In the first, the element of virtuosity predominates; the first and, especially, the last movement (the so-called Perpetuum mobile) are show pieces, though of a high order. In the other sonatas the same element exists, and yet it seldom obtrudes itself; the composer is merely using, to the full, the rich means at his command to express his luxuriant and poetical thoughts. In his writing for the instrument Weber recalls Dussek,—the Dussek of the "Retour à Paris" and "Invocation" sonatas. The earlier master was also a great pianist, and filled with the spirit of romance; still he lacked the force and fire of Weber. Then, again, Dussek, in early manhood, passed through the classical crucible, whereas Weber was born and bred very much à la Bohémienne; he developed from within rather than from without. It is easier to criticise than to create. If we cannot place the sonatas of Weber on the same high level as those of Beethoven, we may at least say that they take very high rank; also, that in the hands of a great pianist they are certain to produce a powerful impression.

II. Schubert

The other great contemporary of Beethoven was Franz Schubert, born in 1797, the year in which the former published his Sonata in E flat (Op. 7). Then, again, Schubert's earliest pianoforte sonata was composed in February 1815, while Beethoven's Sonata in A (Op. 101) was produced at a concert only one year later (16th February 1816). It is well to remember these dates, by which we perceive that Beethoven had written twenty-seven of his thirty-two sonatas before Schubert commenced composing works of this kind. But though here and there the influence of the Bonn master may be felt in Schubert, the individuality of the latter was so strong, that we regard him as an independent contemporary. The influence of Haydn and Mozart, plus his own mighty genius, seem almost sufficient to account for Schubert's music. The new edition of the composer's works published by Messrs. Breitkopf & Härtel contains fifteen sonatas for pianoforte solo. The first four—