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18-643: Oskar Rieding attended first the recently founded Academy of Musical Arts  [ de ] in Berlin, and later the Leipzig Conservatory . At the end of the 1860s he moved to Vienna , but in 1871 the conductor Hans Richter , at that time Musical Director of the National Theatre in Budapest, appointed Rieding to the orchestra's first violin section. He remained there for thirty-two years, from 1884 onwards in

36-741: A 13-book edition of the piano works of Frédéric Chopin that was published by Schlesinger and co-issued by G. Schirmer Inc. and others in the 1880s. He also edited the complete piano works of Felix Mendelssohn , including Songs Without Words , published by C. F. Peters . Among Kullak's many pupils were August Arnold, Alfred Grünfeld , Agathe Backer Grøndahl , Heinrich Hofmann , Alexander Ilyinsky , Leonard Liebling , Moritz Moszkowski , Silas Gamaliel Pratt , Julius Reubke , Nikolai Rubinstein , Xaver Scharwenka , Otto Bendix, Hans Bischoff , Amy Fay , James Kwast and Fred Werner . Noted Bohemian pianist and composer Franz Bendel taught at

54-680: A Berlin court concert. He appeared with soprano singer Henriette Sontag . The usually undemonstrative King Frederick William IV was so delighted that he presented young Kullak with thirty Friedrichs d'or . Six weeks in Berlin was a real adventure which was topped off with a concert in Breslau that was received with gratifying applause. The kindly Prince Radziwill then saw to a rounded education for Kullak, sponsoring his school fees in Sulechów (now in Poland). Kullak eventually lost Radziwill's patronage and from

72-421: A German composer is a stub . You can help Misplaced Pages by expanding it . This article about a German classical musician is a stub . You can help Misplaced Pages by expanding it . This article on a violinist or fiddler is a stub . You can help Misplaced Pages by expanding it . Neue Akademie der Tonkunst Theodor Kullak (12 September 1818 – 1 March 1882) was a German pianist, composer, and teacher. Kullak

90-609: A little in Austria that year but in 1843 returned to Berlin where Fraulein von Hellwig secured him the post of pianoforte instructor to Princess Anna, the daughter of Prince Karl. This was just the beginning. Kullak seemed subsequently to make a speciality of teaching princes and princesses of the Royal house, as well as the offspring of many upper-class families who became aware of his excellent professorial qualifications, connections and, presumably, his unimpeachable manners. In 1844 Kullak founded

108-469: The Königliche Akademie der Künste . As a result of several compositions which he had written while a pupil of the academy, King Frederick William IV of Prussia , who was an ardent lover of art, granted Stern a stipend which enabled him to pursue his studies. He went to Dresden , where he received instruction from Johann Aloys Miksch ; and thence to Paris, where he subsequently was appointed leader of

126-553: The National Opera House . He composed some violin concertos and many pieces for violin and piano. Many of these pieces are appropriate for intermediate-level violin students, and they are still studied and performed by violin students today. After his retirement in 1903, he lived in Celje , continuing his activities as teacher, composer, and performer, until his death in 1916. His better-known works include: This article about

144-488: The Neue Akademie where he succeeded his father as director upon his father's death in 1882. Kullak wrote a large amount of instructional piano music. His Die Schule des Oktavenspiels ( The School of Octave Playing ), published in 1848 and edited in 1877, is especially well known. His other music, including a piano concerto in C minor, and two sonatas , is very rarely played today. Theodor Kullak edited and annotated

162-512: The Stern Conservatory , with Hans von Bülow as a director. In 1855 Kullak established a new school, the Neue Akademie der Tonkunst , which proved a lasting success and was affectionately referred to as "Kullak's Academy". It specialised in the training of pianists and became the largest private music school in the whole of Germany. By the time of its twenty-fifth anniversary it boasted a hundred teachers and eleven hundred students. Kullak

180-617: The Deutscher Gesangverein Society. While in the latter city he conducted, among other works, the incidental music by Mendelssohn to Sophocles ' Antigone . In 1846 Stern returned to Berlin, where, in the following year, he founded the Stern Gesangverein. The first performance of Mendelssohn's oratorio Elijah (October 1847) established Stern's reputation as one of the foremost conductors of his day, and his choir constantly increased in size and efficiency, so that

198-671: The Tonkünstler-Verein in Berlin and presided over it for many years. Two years later, at the age of twenty-eight, he was made Pianist to the Prussian Court, and four years after that founded the Berliner Musikschule (also known as the Kullak Institute) in partnership with Julius Stern and Adolf Bernhard Marx . However, due to dissension in the ensuing five years, Kullak retired from his institute, which then became known as

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216-495: The academy. Piano Solo Julius Stern Julius Stern (8 August 1820 – 27 February 1883) was a Jewish German musical pedagogue and composer. Stern was born at Breslau . He received his elementary education in music from the violinist Peter Lüstner , and at the age of nine played at concerts. In 1832 his parents removed to Berlin, where Stern studied first under Ludwig Wilhelm Maurer , Moritz Ganz , and Saint-Lubin  [ de ] , and later under Rungenhagen at

234-439: The age of thirteen to eighteen had to make do with just occasional access to a piano. At age nineteen, at his father's behest, he opted for a sensible profession and went to study medicine in Berlin. A new aristocratic friend, Count von Ingenheim , provided a small stipend which allowed him music studies with Siegfried Dehn and Wilhelm Taubert . Ingenheim was also instrumental in providing him with several pupils of rank. Medicine

252-551: The repertoire of the society soon embraced not only the standard works of Handel , Haydn , and Bach , but also those of contemporary composers. In 1872 the Gesangverein celebrated its twenty-fifth anniversary amid great enthusiasm; two years later Stern was compelled to resign his directorship on account of ill health. Of even greater importance for the development of music was the Stern Conservatory , founded conjointly in 1850 by Stern, Theodor Kullak and Adolf Bernhard Marx . On

270-531: The resignation of Kullak in 1855, and of Marx in 1857, Stern became sole proprietor of the institution, which he managed until his death. From 1869 to 1871 he conducted the Berlin Symphony Orchestra, and from 1873 to 1874 the concerts in the Reichshalle , where he found an opportunity of carrying out his favorite idea of bringing the works of talented young musicians before the public. In 1849 he received

288-574: Was born in Krotoschin (Krotoszyn) in the Grand Duchy of Posen . He began his piano studies as a pupil of Albrecht Agthe in Posen (Poznań) . He progressed sufficiently to excite the interest of the artistic Prince Anton Radziwill in his eighth year. This early ability to attract noble patronage was an art he continued to deploy to advantage for many years to come. In 1829 the prince used his influence to secure

306-569: Was made professor in 1861 and was also elected to honorary membership of the Royal Academy of Music in Florence. Many other distinctions were also accorded him. His son Franz (1844–1913) received his musical education at his father's Akademie ; he and completed his studies under Karl Wehle and Henry Litolff in Paris, but abandoned a concert career because of a nervous complaint, and instead taught at

324-509: Was not close to Kullak's heart. Music was a more pressing vocation and in 1842 Hermine von Massow interceded on his behalf in the right places, and Frederick William IV placed 400 thaler at Kullak's disposal, specifically for piano studies. The 24-year-old opted for a Viennese education. Carl Czerny happily took over his pianistic schooling, and Otto Nicolai and Simon Sechter , the theoretical side of things. Franz Liszt and Adolf von Henselt were also highly revered influences. Kullak played

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