tas 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
Freischuetz_ was, however, so strong, that we meet with no