chestra, began touring in 1770, was for many years in a ducal band at Paris, and later held office at Cassel, Jena and St. Petersburg. Rodolphe Kreutzer (d. 1831), a pupil of Anton Stamitz, made his début at Paris at 13 (1779), soon entered the royal band, from 1790 produced many operas (see sec. 177), from 1796 taught at the Conservatoire, from 1801 was soloist at the Opéra and from 1817 its director, besides court service under Napoleon and Louis XVIII. He wrote about 20 concertos, many chamber pieces and solos, 40 masterly études and (with Rode and Baillot) a standard Method. The Mannheim traditions were also spread by Ignaz Fränzl (d. 1811), who entered the orchestra in 1747, from 1774 was concertmaster and remained at Mannheim when the orchestra went to Munich, by Christian Danner (d. 1807?), in the orchestra from 1770 and leader at Carlsruhe from 1787, and by Ferdinand Fränzl (d. 1833), who, after about 15 years at Frankfort and on Russian tours, in 1806 succeeded Cannabich at Munich—all these being fruitful composers as well as significant players.
Here may well be mentioned Leopold Mozart (d. 1787), brought up at Augsburg, who in 1743 entered the service of the Archbishop of Salzburg and there remained till his death, devoting his whole energy to the development of his son (see sec. 156). He was a broadly trained composer, writing oratorios and church music, symphonies, sonatas, etc., and a famous Violinschule (1756).
Pierre Gaviniés (d. 1800), mostly self-instructed at Bordeaux, appeared at Paris in 1741, became a favorite player and teacher, and was called by Viotti 'the French Tartini.' He wrote concertos, sonatas and studies (from 1760).
Antonio Lolli of Bergamo (d. 1802) first became famous from 1762 as leader at Stuttgart, but from 1774 moved from place to place throughout Europe. He had amazing technique. Among his pupils, both of the showy order, were Giovanni Mane Giornovichi [Jarnowic] (d. 1804), appearing at Paris in 1770 (numerous concertos), and Michel Woldemar (d. 1816), a Frenchman who lived a wandering life.
From the many other names that might be given the following may be selected because of their influence or the number of their contributions to orchestral literature:—Friedrich Wilhelm Rust (d. 1796), the highly cultivated director at Dessau; Niccolò Mestrino (d. 1790), first at Vienna, then at Paris; Federigo Fiorillo (d. c. 1823), who was from 1788 associated with Salomon at London; Franz Christoph Neubauer (d. 1795), never long settled anywhere; Franz Krommer (d. 1831), highly honored by several Hungarian noblemen and finally by the Emperor at Vienna; and Andreas Romberg (d. 1821), famous as a virtuoso at different places, living longest at Hamburg, who was also known as a vocal composer (operas and cantatas).
Among the numerous 'cellists that now began to be prominent as virtuosi and composers were Pierre Duport (d. 1818), appearing first at Paris in 1761 and from 1773 in royal service at Berlin; Louis Duport (d. 1819), his brother and an abler player, working at Paris till the Revolution and again after 1812 (excellent Method, 1806-19); Christoph Schetky (d. 1773) of Darmstadt (many works); Bernhard Romberg (d. 1841), cousin of Andreas above and his constant companion from 1774 as a virtuoso, in the court orchestra at Berlin in 1805-19 (numerous and excellent works); Anton Kraft (d. 1820),
