MUSIC AND THE DRAMA. 181 
Paganini, Baccini, the sisters Milanollo, Clementini; and among vocalists 
Farinelli, Caffarelli, Caristeni, Crescentini, and Veluti (castrati); besides © 
Liberati, Sandoni, Faustina Bordoni (afterwards Mad. Hasse), Allegrandi 
Teri, the sisters Sessi, Catalani, Camporesi, Pasta, Garcia-Malibran, Viardot- 
Garcia, Grisi, and also Bricci, Zezi, Rubini, Tamburini, Lablache, &e. 
German music received its earliest cultivation in Austria and Bohemia. 
In the period immediately succeeding Luther’s efforts in behalf of German 
psalmody, little was done for church music in general, although much was 
accomplished for the improvement of the organ and for the theory of music. 
Sebastian Bach and his sons, Handel, Marpurg, Mattheson, and Sorge were 
skilful theoreticians; but Héandel was the only one that made his talents 
felt beyond the borders of Germany. Handel and Hasse composed operatic 
pieces, but only in the Italian style and in the Italian language. Still the 
study of thorough-bass was zealously pursued, and the names of Kirnberger 
and Albrechtsberger are everywhere held in high esteem at the present day. 
At the close of the 18th century Graun, Telemann, and the two Haydns, 
Fasch, Naumann, and Schicht distinguished themselves by their cantatas, 
motets, oratorios, and masses; and from this time forth song-writing was 
cultivated, especially by Zumsteeg, Zelter, and Reichardt. In theatrical 
music Gluck, Himmel, Benda, and Winter composed a great number of 
pieces for the opera; the highest degree of excellence in German music in 
respect to harmony, correct phrasing, and excellent instrumentation, was at 
that time attained by Joseph Haydn in chamber music, and in opera by 
Mozart, from whose school in this same department of the art proceeded the 
grand and comprehensive Beethoven. These have been succeeded by many 
distinguished names in German music; but future times must determine 
which of them will endure and which be forgotten. A fondness for 
music has been exhibited in Germany such as is hardly equalled in any 
other country ; and the musical institutions and unions which have arisen 
during the present century in every district of Germany contribute exceed- 
ingly both to keeping up this fondness and to cultivating the art in all its 
branches. Among the coryphei of this period were Beethoven, Spohr, 
Ries, Fr. Schubert, Lachner, Reissiger, and Lindpaintner; for the opera 
C. M. von Weber, Marschner, Wolfram, Chelard, Glaser, Kreutzer, Wagner, 
Meyerbeer, and Herold, although the two last inclined more to the French 
school, Wenzl Miller, Weigl, Lortzing, &c.; for songs Kiicken, Cursch- 
mann, Schubert, Proch, &c.; and for dance-musie Strauss, Lanner, Labitzky, 
Gungl, &e. Church music also stands now at a high pitch of excellence, 
and among those who have rendered themselves illustrious in this line are 
Mendelssohn-Bartholdy, Schneider, Stadler, Ritter von Seyfried, Aloys 
Schmitt, and others. The number of German musical artists since Quantz, 
who was the first to gain for himself a reputation abroad, is truly astonish- 
ing; and there is no instrument from the organ to the trombone, from the 
contrabasso to the jewsharp and mouth-harmonica, on which some itinerant 
German artist has not exhibited his skill both at home and abroad. The 
same is the case with singing: Mesdames Sonntag, Schréder Devrient, 
Fischer-Achten, Heinefetter, Cornet, Karl, Griimbaum, Schechner, and 
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