A View of Eighteenth-Century Musical Life and Training: Anton Stadler's 'Musick Plan'

Author(s): Pamela L. Poulin

Source: Music & Letters, Vol. 71, No. 2 (May, 1990), pp. 215-224
Published by: Oxford University Press
Stable URL: https://www.jstor.org/stable/736437
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 A VIEW OF EIGHTEENTH-CENTURY MUSICAL LIFE
AND TRAINING:
ANTON STADLER'S 'MUSICK PLAN'

BY PAMELA L. POULIN

IN the autumn of 1799, Anton Stadler (1753-1812), the clarinet virtuoso and close
friend of Mozart, was invited by Count Georg Festetics to respond to sixteen ques-
tions, the answers to which would serve as the basis for a music school in Hungary,
on the count's estate at Keszthely on what is now Lake Balaton. InJuly 1800 he com-
pleted his response, a 50-page document which he entitled 'Musick Plan'.'
As principal clarinettist in the Vienna court orchestra and frequent guest artist in
concerts both in Vienna and throughout Europe, Stadler witnessed and participated
in some of the finest performances of the time. From December 1791 to 1795 he was
engaged on a concert tour of Europe, performing in Prague, Berlin, Hamburg,
Hanover and St. Petersburg. As a performer (and composer too2) he was a part of
the musical mainstream of Vienna during the last three decades of the eighteenth
century, and through his extensive tour he also became acquainted with the musical
life of other cities. As is well known, it was for him and his basset clarinet that
Mozart wrote the Quintet K.581 and Concerto K.622.3
Little is known about Stadler's early life and musical training. The son of a musi-
cian-shoemaker, he probably received early instruction from his father (as was com-
mon among musicians at the time). From a letter he wrote in 1781 seeking employ-
ment at the Wallerstein Court, near Augsburg, we know that he played 'a little
violin and viola' as well as the basset-horn.4 The prose style of the 'Musick Plan'
attests to a good general education (which appears to have included Latin), and the
plan itself reveals clear ideas as to what constitutes a good musical education.
Although recent scholarship has added much to our knowledge of eighteenth-
century instruments, less has been known about the actual preparation of the in-
strumentalist and the details requisite to his craft, such as the care and maintenance
of instruments, tools for reed-making, etc. In his 'Musick Plan' Stadler includes in-
formation on these subjects as well as amusing asides on a variety of topics. In the
seventeenth and eighteenth centuries, training for those who aspired to become pro-
fessional musicians took place for the most part within the family (as with Bach and
Mozart) or within the musicians' guilds. The apprenticeship period in the guilds was
often six or seven years, followed by about two years as journeyman before master

' The 'Musick Plan' is in the Orszigos Szechenyi Konyvtira (the National Szechenyi Library), Budapest, as MS
Fol. Germ. 1434. I wish to thank Dr Lidia Ferenczy, of the library staff, for her kindness.
2 Some of Stadler's compositions for clarinet, basset-horns, csdkdny, violin and flute survive in the
Staatsbibliothek Preussischer Kulturbesitz, Berlin (West); Deutsche Staatsbibliothek, Berlin (East); Gesellschaft
der Musikfreunde, Vienna; and Orszagos Szechenyi Konyvtira, Budapest.
3 Further, see Pamela L. Poulin, 'The Basset Clarinet of Anton Stadler', College Music Symposium, xxii/2 (Fall
1982), 67-82.
4 See idem, 'A Little-Known Letter of Anton Stadler', Music & Letters, lxix (1988), 49-56.

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status was achieved (those who wished to shorten their time as a journeyman might
choose to marry their master's daughter). An interesting description of the guild
system of instruction in the seventeenth century is given by F. E. Niedt in the in-
troduction to his treatise the Musicalische Handleitung. In the following passage he
describes pedagogical methods typically employed and the leave-taking ceremony of
an unnamed apprentice writing in the first person:

Once, however, [my master] became especially inventive and attempted to kick Art
into my body, because any treatment without foundation could not drive the thorough-
bass into my head. He pulled me by the hair off the organ bench where I was sitting in
front of the keyboard, threw me onto the ground and yanked me up by the hair, to let my
head fall back with a crash onto the ground. Then he stepped on my body, stamped
around on it for a good while until the Basso Continuo finally so robbed him of his senses,
that he dragged me out of the parlour near a staircase leading down to the street and
said, 'This shall be the end of your apprenticeship years and with this you shall receive
your certificate, which I shall throw into the bargain'.'
Instruction within the guilds does not appear to have improved much in the eigh-
teenth century. In his autobiography, Quantz recounts that 'there was no instruc-
tion available other than that which one apprentice gave, as well as he could, to the
other'.6 Indeed, of at least equal importance to the apprentice's training appears to
have been travel and the copying of manuscripts of other composers in addition to
those of the master. In sum, a poor system of training musicians prevailed in the
seventeenth and eighteenth centuries in Germany and Austria. The conservatory
system developed elsewhere in Europe, notably in Italy, though the conservatories
declined with the Napoleonic invasions in the 1790s. Burney, impressed by the
Italian conservatories, proposed a comparable development in England.7 But
nothing happened until the Royal Academy of Music was founded in 1822. In Paris,
an Ecole Royale de Chant was founded in 1784 and funded with public money,
eventually becoming the Conservatoire in 1795. State-supported conservatories were
set up in the rest of Europe too, for example in Prague (1811), Graz (1815) and
Vienna (1817). It is notable that Stadler's document presaged later developments in
Austria as well as elsewhere in Europe.
In the later eighteenth century, monastery schools in Austria began to be closed,
and as a result the buildings became available for other uses. Such was the case on
the estate of Count Georg Festetics. Following the humanistic ideals advocated by
the Empress Maria Theresa and the Emperor Joseph II, he not only established the
principle of justice for all, abolishing serfdom and torture and guaranteeing
religious freedom, but also founded several schools: one for music and one for draw-
ing, an elementary school and a secondary school having five levels, a religious
training school, and a normal school for the training of village schoolmasters. He
also established a free hospital and an institute for vaccination. He is especially
remembered for the Georgikon, the first European agricultural college, founded in
1797 and still in existence (it was first housed in the Festetics palace built by his

5 Friedrich Erhardt Niedt, The Musical Guide, Parts 1 (1700/10), 2 (1721), and 3 (1717), trans. Pamela L.
Poulin & Irmgard C. Taylor, Oxford, 1989, p. 15.
6 'Herrn Johann Joachim Quantzens Lebenslauf, von ihm selbst entworfen', in F. W. Marpurg, Histor
kritische Beytrdge zur Aufnahme der Musik, i (Berlin, 1754); trans. in Paul Nettl, Forgotten Musicians, N
1951, p. 281.
7 See Jamie Croy Kassler, 'Burney's Sketch of a Plan for a Public Music School', The Musical Quart
(1972), 210-33.

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father).8 Thus it came about that in autumn 1799 he sent Stadler a letter (now lost)
containing his sixteen questions relevant to the establishment of a music school. The
50 pages of Stadler's reply, dated 10 July 1800, are written in a scribe's hand on 27
leaves. He describes in detail the requirements for a well-ordered curriculum and
school; as we have seen, he was in an ideal position to evaluate the types of instruc-
tion then current, and the products of it; and he was well fitted to develop a course
of instruction in keeping with the humanistic philosophy of the time.
According to Stadler's introduction to the 'Musick Plan', the count's goals in
establishing a music school at Keszthely were
To improve and staff the church music of the region.
To set up a small chamber music for me [Stadler].
To create the opportunity for the landed aristocracy to have their young people in-
structed in music.
To instruct schoolmasters (who are preparing here for their future vocation) in org
playing and music.

Also in the introduction, Stadler rearranges the count's sixteen questions into the
following nine categories:

Into how many classes, rooms, [and] masters is the school to be divided [originally ques-
tions 6, 7 and 8].
For how many years and in which steps [or grades or grade levels] should instruction be
given.
Which textbooks are recommended for lectures.
Of what does musical aesthetics consist.
What is the principal style [originally question 10] and who are the greatest masters
[composers] of church music, and also of theatre music and . . . chamber music.
In what way should one make as good musicians as those pupils of the school in Vienna
and at the same time also use them for . . . other duties at Keszthely, such as [for] the
office, etc.
How should chamber music be set up and what personnel are needed for church music.
With which kind of music should one begin in order to prepare pupils for good music and
make them capable of performing it.
How a small library is to be set up.9

In the discussion of the contents of the plan below, no attempt is made to follow
Stadler's ordering or to reconstruct the count's. Rather, I have consolidated Stadler's
ideas on curriculum, classes, instructors and scheduling, and his categorization of
music into three main styles: church, chamber and theatre (i.e., opera).
Stadler advocates the division of the curriculum into five sections in which all
students would participate: singing; piano; organ or thorough-bass (for those who
have studied piano and singing); violin; and wind instruments. Instruction would be
given for a total of six years in order to facilitate the absorption of the 'learning of
theoretical and . . . practical music, together with musical composition'. Thus,
Stadler recognized three facets of music-theory, performance and composition-
and that time was needed for acquiring these skills. The first two years would focus
on singing (in which one 'must give the beat endlessly so that it becomes habit and
promotes secure intonation and correct tempos') and on the piano ('for melody and
harmony'). He writes, 'I estimate two years for singing and piano playing. After

8 For more information on Count Festetics and his good works, see Karl Klempa, A keszthilyi Festetics-file
zeneiskola ('Dunintiuli Helikon', i/2-4), Gy6r, 1938, especially pages 171-8 for information about the music
school.

9 Translations from the 'Musick Plan' are by Jessie Kneisel and myself. For a transcription of the German text of
the plan, see Ernst Hess, 'Anton Stadler's "Musick Plan" ', Mozart Jahrbuch 1962-3, pp. 37-54.

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these two years the student should be able to read most music at sight; as a result, he
is then well grounded, which is the main thing.'
During the third year the students would begin to study their chosen instrument,
either the violin or a wind instrument, and also thorough-bass at the organ -at that
time thorough-bass was still the basis of composition. (Some gifted or older students
would have been allowed to start their chosen instruments during the second year.)
In addition, each student, regardless of his chosen instrument, would study one year
of violin and one year of a wind instrument because 'in church music as well as
chamber music it is necessary to augment the violins and chorus . .. [Therefore] all
learners would always have practice and none would be idle in the performance of a
larger work'. Wind players frequently played in the string section when they were
not needed in a particular composition. Stadler further states that it is essential that
conductors and composers know the violin 'in order to avoid the eternal questioning
of each work . . . delivered . . . [,] to be able to compose for the instrument works
that [are] performable and to make the execution easier for the performer'. During
the fourth, fifth and sixth years Stadler advocates 'practice of figured bass for vocal
pieces at the piano or organ for those who do not wish to be organists, [and] con-
tinued practice on their chosen instrument'. By this time, the more experienced
students could help teach the beginners.
Five masters would be needed to teach in the five areas, and also, if possible, a
conductor, 'so that this work begun with so much cost and effort could be continued
in strict order and with honour and never come to a standstill'. The first should be 'a
good expert singing-master who can instruct the children in do, re, mi' fa as well as
in letters', who can read and write Latin as well as Italian, and can instruct in or-
namentation, on text-music relationships and on good delivery and clear declama-
tion: 'one cannot judge either the worth of the composition or the correct feeling in
expression and delivery of the singer if one cannot understand the words'.
The second position cited is that of a keyboard master of advanced ability 'who
plays well and a great deal, has studied with the best teachers . . . has a love of the
best compositions and will play these works for his students so that they too will come
to love them'. Stadler emphasizes the performing ability of this teacher, 'since one
must already be quite advanced if one plays the works of Bach, which break head
and fingers, and which even the unforgettable Mozart always played over . '10 He
also advocates that students study the works of Handel, Mozart, Clementi, Haydn,
Beethoven andJoseph W6lfl. Pianists, moreover, should know how 'to tune their in-
struments themselves, be taught how to string them and to understand stringing
according to number'. Stadler says little about the third position, that of organist,
merely that he should teach thorough-bass and 'be able to adjust some pipes, which
frequently by chance or through cold are out of tune'. Thus, all keyboard players
should be able to tune their instruments, because 'often an out-of-tune instrument is
the reason which prevents many from pleasure in entertaining or in studying, since
one often has to perform . .. chamber and church music on out-of-tune instruments
or even postpone the performance'. The importance of thorough-bass and counter-
point study is emphasized throughout the document.
The violin master should understand 'the theory of his instrument . . . be able to
perform on it . . . direct music . .. [and] teach an already pretty-well-schooled stu-
dent of the violin the rudiments of the cello and viola and 'be sure every singer and

'0 See Pamela L. Poulin, 'Noch einer Bach-Mozart Verbindung', Bach-Jahrbuch 1990, pp. 17-18.

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pianist is acquainted with both the bass and alto clefs'. Stadler recommends that the
violin method of Leopold Mozart be used. The last master, of wind instruments,
should 'be a good oboist or clarinettist who should also understand the bassoon,
English horn and basset-horn as well as the trumpet and French horn'. Thus, the
school would not have to hire two instructors-one each for woodwinds and brass.
Stadler undoubtedly hoped for this position for himself, but, as with many early
music schools, the position went to a local musician. The instructor should know
how to make and teach reed-making. He writes:

Of the woodwind instruments one must also add that the masters should know how to
make the very necessary and customary reeds themselves and as soon as possible should
instruct their pupils to make good reeds, because a performer will seldom progress very
far on his instrument if he cannot make reeds himself and repair his instrument with his
own hand, that is leather and also feather, for which the necessary tools, such as good
carving-knives, small knives, files, screwdrivers, [a] grindstone, small tongs, sealing wax,
leather, string, and the like are necessary; also woodwind instruments should be cleaned
frequently and well oiled because they [then] respond more easily (especially in the sum-
mer) and at the same time must be guarded against early deterioration. Because, if a
wind instrument is not always in proper condition, so that all parts (pins, pegs) are well
wrapped, all key-covers secure, and the reed responding correctly, then the player cannot
feel sure [of himself], his tone is uncertain, the bass [notes] whistle, and the high notes
scream, so that even if the artist has a great deal of talent, taste, and good delivery, his
tone will nevertheless be bad, and to the ear of the attentive music lover and of the con-
noisseur [he] will be just as disagreeable as a composition attractively and artistically
styled, learned and completely engraved, which has then been scrawled with poor ink on
coarse paper with a miserable pen, is to the reader accustomed to [elegant] calligraphy.

For instruction on the clarinet, Stadler lists his own clarinet method which was to be
brought out soon, but he appears not to have completed it.
The arrangement of the day is described thus:

Early every morning a theoretical discussion for all beginners together . .. introduced by
questions and answers . . . The first symbols of music are the old and new musical letters
and notes as all the music theorists call them, the now customary lines and . . . keys, the
tempo, the duration and value of the notes, rests, dots and other musical signs, and
technical terms (of which a teacher himself would have to prepare a compendium for a
lecture) - all delivered in stages which are suited to the progress of the students. Then the
note types with their various designations. Sharps and flats in major and minor pieces
and also typical modulations[, such as] into the dominant and so-called Note Sensible
[leading note or chromatic inflection to the new key] in the transition.
A practical hour should be held after the theoretical instruction on the same morning
. . .Each teacher must patiently and diligently remind the student of the above noted
theoretical rules, demonstrate them to [the student] during the performance and so unite
theory and practice . . . In the afternoon, another such practical hour. Then at least once
every week, a general rehearsal of the assigned pieces which could take place on days
when there is little or nothing to do in the school.

General education in non-musical subjects would take place after the general re-
hearsal. When not actively involved in the school, the students could help in the
offices on the estate.
Stadler stresses the importance of a good general education:

Education, therefore, and literature are necessary for the true musician, if he wants to
become great, because if he is entirely without all other knowledge he becomes a half-
thing . . . Whoever wants to understand music must know the whole of worldly wisdom
and mathematics, poetry, elocution, art, and many languages.

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He also notes that there are 'living examples of musicians ... who accompany many
great and eminent state officials. But never has an official become a conductor.'
Stadler also gives us insights into practice and rehearsal techniques.

The student could begin his lesson after he has given the time, divided the first tempo,
determined the key with its signatures, tuned his instrument properly and taken the
proper position himself . . . Presuming that the pupils were already so advanced that they
have actually studied a piece to be performed, it would be my opinion that first of all
each one learn his part correctly by himself and practice it with his teacher, then let one
take - if, for example, it were a four-voice Mass - all four [parts] together, repeat [the
composition] as long as it takes to attain the tempo and correct intonation, teach each to
perceive where he has the dominant part or simply the ripieno, [help him] determine
dynamic markings . . . and finally, if the opportunity permits, introduce him first to
simple, well-sounding ornaments, for whose harmony and prompt arrangement one has
likewise to give him comprehension and insight. The same applies to a symphony,
quartet, or quintet, etc.

Composition, Stadler writes, can only be taught to the student

after he has fully mastered the practical as well as the theoretical: the art of singing,
together with piano playing, figured bass with all [its] rules, as well as knowledge of all
the remaining normal instruments, their compasses and manner of execution . . . Thus,
he must also study the whole order of pitch and time, every rhythm, every modulation
[and] musical prosody, have a complete knowledge of harmony, understand double
counterpoint, etc., and in addition also possess a talent similar to that of a great poet and
painter.

When asked about the main styles in music (see also below, page 222, and Appen-
dix), Stadler responds that church music is the basis of composition, because it is
'the first regularly bounded and circumscribed manner of composition which must
be observed most strictly, absolutely and without exception'. The second style is
chamber music, in which 'the composer is absolute master'. He is free to choose any
instrumentation, form and title. The third style, that of theatre or opera, 'is in every
respect the most difficult undertaking in regard to aesthetics, as well as to artistry
and taste'. In addition, the composer is here at the mercy and whim of the audience:
'often at a first performance of an opera, there are paid claques for and against,
who make use of everything, either clap their leathery hands until they are sore for
the good reception of the performance, or, for the opposite side, yell numberless
boos and whistle themselves hoarse'. He also notes that there is no accounting for the
particular mood of an audience on a given evening.

For example, yesterday the cards were unfavourable for this lady [in the audience], this
young gentleman has been jilted by his sweetheart, this official was passed over in
advancement . .. the banker has won only 99% [interest], the malicious denouncer has
failed to catch his prey, the junior officer who has served only 24 hours is not already at
least a brigadier-general [and] in such a mood in a large part does the public condemn
the author, composer, actor, performing artists.

Other areas in Stadler's 'Musick Plan' worthy of mention include the importance
of following one's true calling, whether it be music or another field; the necessity for
clear musical marking; and the size and constitution of chamber orchestras (see
Table I). It also contains information on the introduction of the contrabassoon into
the orchestral music of Haydn, and personal insights, in addition to those already
mentioned, on the aesthetics of musicianship. Stadler instructs instrumentalists in
proper deportment and exhorts them 'not to drown out the singers, nor hold back or

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 TABLE I

Stadler's 'Musick Plan': Instrumentation for Chamber Ensembles

Chamber ensemble
4 violins
2 Alt Violen
1 cello
1 contrabass
2 oboes
2 flutes
2 horns
2 clarinets
2 bassoons
2 trumpets
1 timpani

21-total number of instruments

Chamber ensemble with singers

(The number of strings in proportion to the number of singers must be double, e.g.
4 singers to 8 strings.)
4 singers
4 violins
2 Bratschen
1 cello
1 contrabass
2 oboes
2 flutes
2 clarinets
2 bassoons
2 trumpets (no horns)
1 timpani
1 clavichord or fortepiano (or organ in church music): keyboard instrument included
only if there are singers.
24- total number of instruments

Wind Harmonie or 'Tafelmusik'

2 oboes
2 clarinets
2 horns
2 bassoons

2 cflounterabassoon* added to the above octet and reflecting current practice

* As Stadler says, the contrabassoon 'is very effective and requires only one instrument and person more. In ad-
dition, it can be played by any bassoonist if he practices a short time. It serves to strengthen and complete
ensemble], as well as to ease and assist the [other] wind players. If one wishes to use the contrabassoon for the
larger compositions of Haydn and other composers of music for full orchestra [ganzen Musik], then [it] is ap
propriate for solos as well as for strengthening the main tutti with good results.'

press forward the tempo, neither publicly censure another musician's chance
mistake, nor make him ridiculous'. Conductors should remember that instrumen-
talists 'are not to be shouted at when they make a mistake, or made [to look]

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ridiculous, or treated with sarcasm, because then [they] lose their composure; their
attentiveness is lost even more because their heart is put to shame or [they] become
embittered, and [they] are no longer capable of a gentle and co-operative spirit if
once the presence of mind is upset'.
In his appendix (see below), Stadler lists and ranks those considered the most
famous composers in the three styles mentioned above. It is interesting that under
'Church music' there is particular mention of Pergolesi at the start. Mozart is listed
sixth (below Telemann), Haydn fourteenth (below Fux) and Handel 23rd (out of
24). Under 'Chamber music' Handel is first, Haydn second, Mozart third and
Beethoven (his name appearing for the first time) seventh (out of 22). Under 'Opera
composers' Gluck appears first, Salieri comes before Mozart, who is tenth, and
Haydn is eleventh (out of 29). Stadler also includes a select list of books for a small
library at Keszthely.
Four months after Stadler signed his document, the music school opened under
the leadership of a local musician, Peter Stark, in November 1800. According to
documentary evidence preserved in the estate archives, it was indeed organized
according to Stadler's 'Musick Plan'.

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 APPENDIX

APPENDIX TO THE 'MUSICK PLAN'

Composition and Thorough-Bass Books

1. Gradus ad Parnassum, sive manductio ad compositionem Musicae regularum
Elaborata
a

Jo[h]anne Fux s.c. ac regiae Cathol. Maj. Caroli VI. Romanarum Imperatoris
Supremo Chori Pra[e]fecto. Vienne 1725. German with Mizler's annotations.*
2. Das k.k. Hoforganisten Compositions Buch.
3. Manfredini Regole.
4. Mat[t]hesons Kern melodischer Wissenschaften, Hamburg.
5. Handbuch bei den Generalbass und Composition, mit 2.3.4.5.6.7.8 und mehr Stim-
men, fur Anfainger und Geiibtere. Von Franz Wilhelm Marpurg. Berlin.
6. Rieppels Anfangsgriinde zur musikalischen Setzkunst Regensburg und Wien.
7. Georg Fr. Lingken's Churfurstl. Bergraths kurze Musiklehre. Leipzig. Breitkopf 1779.
8. Padre Martini Storia della Musica.
Ro[u]sseau Dictionaire de Musique.
Rameau
9. V: Generation harmonique. Ex. XXX
10. The following have written special works about expression in music. Chr: Avison Essay
on musical Expression, London 1779.8.
11. J. Engel iiber die musikalische Malerey, Berlin 1780.8.
12. On musical expression of the various Klangfiisse, and the types of the same dealt with
in the 60th and final critical letter. Briefe iuber die Tonkunst Berlin 1759 u. s. f. 8. and
on expression in vocal music and what this is and means here, in the Schrift iuber das
Recitative. Bibli. der sch6nen Wissenschaften Berlin 12, p. 219, etc.
13. On expression in exclamation in music, look up the essay in the Bibli. der schonen
Kiinste und Wissenschaften: Berlin 2, p. 223.
14. Euleri Tentamen novae Theoriae Mus. c. 1.?13.
15. About the aesthetic art of music, see Sulzer's Theorie der schonen Kunste and
Herder's Untersuchung iiber den Ursprung der Sprachen, which are from the Berliner
Accademie.
16. Kirnberger's Kunst des reinen Satzes in der Musik.
17. Allgarotti Saggio sopra l'Opera.
18. Hugenii Cosmotheoreas L:1. oper. variat: T III.
19. Murschhauser hohe Schule der musikal. Composit.
20. Heinigens [Heinichen's] Anweisung zum Generalbass.
21. Galilaei, Dialogo della Mus: antica e moderna.
22. L'Abbe le Boeuf. Traite historique et practique sur le chant ecclesiastique. Paris.
23. Krause, von der musikalischen Poesie.
24. Reidel's Werke.
25. Sulzer's Theorie der schonen Kunste.
26. Bibliothek der schonen Kiinste und Wissenschaften, Berlin.
27. Uber die wahre Art das Clavier zu spielen [C. P. E. Bach].
28. Exposition de la Theorie, et de la practique, de la Musique. par Mr. de Bethizy Ch:
XVII art. 3.
29. Mat[t]hesons vollkommener Capellmeister.
Bachs Generalbass**
Albrechtsbergers Generalbass
Gagl
Marpurgs Singkunst.
Tosis Anleitung zur Singkunst nach Agricola Ubersetzung.
L'Art de toucher le Clav. par Mr. Couperin, a Paris 1717.

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 Quanz Fl6tten Schule, Berlin.
For the oboe, the written, practical method of Besozzi.
Violin method as above [Leopold Mozart].
Clarinet method soon to come from me.
Of the remaining instruments [the methods of] which are not known to me, I will in a
short time have the honour to give more precise information.
As well as about all the old and newer masters famous in Italy, of which my correspon-
dent has not yet sent me the promised list. In the meantime I will give a few of the best-
known and most famous in each style.

Church music

Pergolesi, whose Stabat Mater is considered a masterpiece.

Hasse. Seitelmann. Tellemann. Reuter. Mozart. Kraus. Thuma. Gassmann. Fux. Hof-
mann. Bonno. Wanhal. Joseph Hayden. Michel Hayden. Forster. Cartelieri. Naumann.
Albrechtsberger. Eibler. Schuster. Graun. Hindel. Pleiel.

Opera composers

Gluck. Hasse. Gulielmi. Paisello. Cimarosa. Sarti. Picini. Grettry. Salieri. Mozart. J.
Hayden. Beer. Weigel. Righini. Himmel. Alesandri. Naumann. Schuster. Seitelmann.
Reichard. Martin. Siissmayr. Muller. Wranitzky. Schenck. v. Dittersdorf. Cartelieri.
Hofmeister. Kraus.

Chamber music

Haindel. Hayden. Mozart. Pleyel. Graun. Gromer [Krommer?]. van Beethoven. Woelfl.
Wranitzky Paul. Wranitzky Anton. Hayden Michael. Cartellieri. Hofmeister. Wanhal.
Freystaidler. Eibler. Forster. Fux. Boessinger. Hofmann. Kraus. Righini.

In order to obtain detailed information about all the best-known classes of pieces of music
and their masters more easily, the printed catalogues of music dealers offer the best service.

* Stadler's annotations have been translated from the German.

** See Poulin, 'Noch einer Bach-Mozart Verbindung' (cf. n. 10 , above)

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