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.