Munich; Peter Singer of Salzburg (d. 1882); Karl Ludwig Drobisch of Augsburg (d. 1854); Moritz Brosig (d. 1887) and Adolf Greulich (d. 1890), both of Breslau; and the Hungarians Franz Seraph Hölzl of Funfkirchen (d. 1884), and Paul Křizkowzky of Brünn (d. 1885).
In Italy the extreme advocate of the Palestrina style was Baini of Rome (d. 1844). Most Italian composers usually preferred more modern manners, sometimes verging upon the merely theatric. Representative names are those of the opera-writer Mercadante (d. 1870), from 1833 at Novara and from 1840 head of the Naples conservatory; Alessandro Nini of Bergamo (d. 1880); the two distinguished Roman contrapuntists Gaetano Capocci (d. 1898) and Salvatore Meluzzi (d. 1897); Stefano Ronchetti-Monteviti of Milan (d. 1882); Antonio Buzzola of Venice (d. 1871); Teodulo Mabellini of Florence (d. 1897); Cesare Aria of Bologna (d. 1894); and Nicolò Coccon of Venice (d. 1903). (Concerning Raimondi and also Baini, see sec. 184.)
In France and Belgium there was a large amount of notable investigation of the problems of Gregorian music (see sec. 227). An influential practical worker was Louis Niedermeyer (d. 1861), who in 1853 resuscitated Choron's Church Music School (lapsed since 1830), obtaining for it a government subsidy, and started the church music periodical La Maîtrise. Among many opera-writers who also worked in sacred music, Gounod (d. 1893) was conspicuous (see sec. 204).
The most famous Spanish church musician was Miguel Hilario Eslava (d. 1878), from 1832 choirmaster at Seville and from 1844 in the chapel of Queen Isabella (see sec. 204).
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Fig. 110.—German Cabinet Organ (17th century).
