William Sterndale Bennett (1816–75), the most gifted English composer since Purcell, should be mentioned here as the friend of Mendelssohn and Schumann. He profited by their advice and enthusiasm, but his style is his own, although undoubtedly influenced by Mendelssohn. His charming overtures, “The Naiads” and “The Wood Nymph,” have a place among classical orchestral music.
FERDINAND HILLER.
From a photograph from life by Eilender, of Cologne.
Ferdinand Hiller (1811–85) followed more or less in the footsteps of Mendelssohn, and his works, though finished in form and pleasing, lack strong individuality, and, with few exceptions, have remained unfamiliar except to cultivated musicians. His pianoforte concerto in F sharp minor, and his oratorio “Destruction of Jerusalem” are among his best works. Hiller occupied a very influential position as a pianist, conductor and writer. His extended and intimate acquaintance with most of the musical celebrities of his time renders his writings of particular value. His “Aus dem Tonleben” and “Persönliches und Musikalisches” are delightful reading and the source of useful information.
Julius Rietz (1812–77) was closely associated with Mendelssohn and influenced by his style. His concert overture in A major, Lustspiel overture, and Symphony in E flat are his most successful works. His best reputation rests on his great abilities as an orchestral conductor and his technical scholarship.
CARL REINECKE.
From a photograph from life by Brokesch, of Leipsic.
While Rietz was conductor of the Gewandhaus orchestra, from 1848 to 1860, he accomplished the most important work of his life, namely, the correction of errors that had crept into the scores of the great masters. In the complete edition of Beethoven’s works, published by Breitkopf and Härtel, Rietz edited the symphonies. He was also editor of the complete edition of Mendelssohn’s works. Carl Reinecke (born 1827), the present conductor of the Gewandhaus concerts, stands at the head of musical life in Leipsic. As a composer he is to be considered to some extent as a follower of Schumann. He has been productive in nearly all forms of composition, and exhibits everywhere thorough practical experience and refined musical taste, yet few of his larger works have won great prominence. On the other hand, his smaller piano compositions are highly prized. His overture, “König Manfred,” and his piano concerto in F sharp minor are favorites.
Woldemar Bargiel (born 1828) is considered as one of the foremost disciples of Schumann. Some of his chamber music and especially his noble overture to “Medea” have taken high rank among later compositions.
Adolph Jensen (1837–79) was an enthusiast for Schumann, and took him as his model. He wrote cantatas and piano compositions that are much admired, and his songs have made his name famous. Jensen was a born song composer, and his melodies have rare sensuous charm and sentiment.