numbering almost 400 of every description. His brother reckoned his church style superior to his own, and he was repeatedly sought as assistant choirmaster by Prince Esterhazy. His excellence was overshadowed by his brother's reputation, though his comparative obscurity was partly due to his reticence and unobtrusiveness. Among his pupils was Max Keller (d. 1855), organist at Altötting and a strong writer of masses, organ-preludes, etc.
Maximilian Stadler (d. 1833), a Jesuit priest and abbot, was an expert organist and composer. Most of his life was spent at Vienna or near by. He was an admirer of Haydn and Mozart, but not of Beethoven. His compositions were voluminous, including some masses, at least 80 psalms, many motets and cantatas, besides an oratorio, Die Befreyung von Jerusalem, and fugues for organ and piano.
Johann Georg Albrechtsberger (d. 1809), the distinguished theorist and teacher of Vienna, where from 1772 he was court-organist and from 1792 choirmaster at St. Stephen's, was another industrious church composer, his works including over 25 masses, at least 80 motets, 6 oratorios (as Die Pilgrimme auf Golgotha, 1781), and many organ-preludes and fugues, besides a great quantity of chamber and orchestral music (see sec. 165).
Franz Bühler (d. 1824), trained at Donauwörth as a Benedictine, from 1794 organist at Bozen (Tyrol) and from 1801 choirmaster at Augsburg, was another fertile writer of masses, hymns, etc., some of which are still used.
Antonio Salieri (d. 1825), the powerful opera-writer, from 1788 court-choirmaster at Vienna, wrote many oratorios, including a Passion (1778), some masses and other church works (mostly after 1790); and Joseph Preindl (d. 1823), pupil of Albrechtsberger, from 1780 choirmaster at St. Peter's, Vienna, and from 1809 at St. Stephen's, produced many masses, a Te Deum, fine Lamentations, etc.
In Germany should be added a few names:—
Johann Georg Schürer (d. 1786), from 1748 court-composer for sacred music at Dresden, left some 40 masses, 3 Requiems, 140 psalms, many motets and 2 oratorios, besides 4 Italian operas and a singspiel—in all over 600 works. Associated with him at Dresden were J. G. Naumann (d. 1801) and Schuster (d. 1812), already noted (secs. 151, 153); and also Franz Seydelmann (d. 1806), from 1772 court-composer and from 1787 choirmaster, whose remains include about 35 masses, as many psalms, much other sacred music, 3 oratorios (from 1774), several operas (as the singspiel Arsene, 1779, and Il capriccio corretto, 1783), songs and piano-sonatas.
Georg Joseph Vogler (d. 1814) was a unique genius. Born in 1749 at Wurzburg, he was educated both in theology and in music at the Jesuit college there, becoming an accomplished organist. In 1770 he entered the service of the Elector Palatine at Mannheim, and in 1774 was sent to Bologna to study with Martini, but, disliking the latter's emphasis on counterpoint, betook himself to Padua both to continue theology and to study with Vallotti. He also traveled through Italy as a virtuoso, receiving many honors. Late in 1775 he returned to Mannheim, became assistant choirmaster and started a music-school. In 1778 he removed with the court to Munich, continuing in honor with his patron, though unpopular with the musicians. From 1780 he visited Paris and London, where his theoretical ideas and his
