Grove's dictionary of music and musicians

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SCHNEIDER SCHNEIDEE 269
now Mme. Engelmann, the eminent pianist,
was his pupil. G.
SCHNEIDER, Geokg Abraham, born April
9, 1770, at Darmstadt, became a proficient on
the horn, studied theory with Portmann, whose
daughter he afterwards married. He was successively
oboist in a Hessian regiment, hornplayer
in the court bands of Darmstadt, Sohwerin,
Eheinsberg, and Berlin. In 1812 or 1814 he
undertook the duties of theatrical conductor at
Eeval, but went back to Berlin in 1816, and
in 1820 was made capeHmeister of the court
opera, and director of military bands. He had
a rare knowledge of musical instruments of all
kinds, and wrote a large number of operettas,
masses, cantatas, an oratorio, Die Pilgrime auf
'
Golgotha,' symphonies, concertos, and chamber
music of all kinds. ((juellen-Leocikon; Eiemann's
Lexikon.) M.
SCHNEIDER, Johann Christian Friedrich,
composer, teacher, and conductor, born
Jan. 3, 1786, at Alt-Waltersdorf, near Zittau,
composed a symphony at the age of ten. In 1 7 9 8
entered the Gymnasium of Zittau, and studied
music with Schbnfelder and linger. In 1804
he published three PF. sonatas, and having
entered the University of Leipzig in 1805 carried
on his musical studies to such purpose that in
1807 he became organist of St. Paul's, in 1810
director of the Seoonda opera, in 1812 organist
of the Thomaskirche, and in 1817 director at
the Stadt Theater. There he remained till
1821, when he became capellmeister to the Duke
of Dessau, whose music he much improved, and
founded in the town a Singakademie, a schoolmaster's
choral society, and a Liedcrtafel. In
1829 he founded a musical Institute, which
succeeded well, and educated several excellent
musicians, Robert Franz among the number.
Schneider was also an industrious composer, his
works comprising oratorios— 'Die Hollenfahrt
des Messias'(1810), 'Das Weltgericht' (1819),
'Totenfeier' (1821), 'Die Sundfluth' (1823),
'Verlome Paradies' (1824), 'Jesu Geburt'
(1825), 'Christus das Kind,' 'Pharao,' and
'Gideon' (1829), 'Absalom' (1830), 'Das
befreite Jerusalem ' (1835), Salomonis ' 'I'empelbau'
(1836), 'Bonifazius' (1837), 'Christus
der Erlbser ' (1838), ' Gethsemane und Golgotha'
(1838) ; 14 masses ; Glorias and Te Deums ;
25 cantatas ;
5 hymns ; 13 psalms, 7 operas ;
23 symphonies ; 60 sonatas ; 6 concertos ; 400
Lieder for men's voices, and 200 ditto for a
single voice— all now forgotten except the men's
part-songs. Schneider directed the musical
festivals of Magdeburg (1825), Nuremberg
(1828), Strasburg(1830), Halle(1830 andl835),
Halberstadt (1830), Dessau (1834), Wittenberg
(1835), Coethen (1838 and 1846), Coblenz and
Hamburg (1840), Meissen (1841), Zerbst (1844),
and Liibeck (1847). He also published didactic
works SlemerUarbitch der Harmonie und Tontaihimst
(1820), translated into English (London,
1828); Vorschule der Musilc (1827); and
Handbuch des Organislen (1829-30). The
oratorio of the ' Siindfluth ' was translated into
English as The Deluge ' ' by Professor E. Taylor,
published in London, and performed at the
Norwich Festival of 1833.
Schneider was a doctor of music, and a member
of the Berlin and several other Academies. He
died Nov. 23, 1853. Some traits of his curious
jealous temper will be found in Schubring's
Reminiscences of Mendelssohn, in Daheim for
1866, No. 26. He was vexed with Mendelssohn
for his revival of Bach's Passion—but the feeling
passed away ; and in the Signale for 1866,
Nos. 46, 47, 48, there are eight letters (1829-
1845 (translated in the Musical World, Dee.
29, 1866, and Jan. 5, 1867) from Mendelssohn
to him showing that they were on very good
terms. When Mendelssohn's body passed
through Dessau, on its way to Berlin, Schneider
met it at the station, with his choir, and a
lament was sung, which he had purposely composed,
and which will be found in the A.M.Z.
for 1847, No. 48. f. g.
SCHNEIDEE, Johann Gottlob, the celebrated
Dresden organist, brother of the preceding,
was bom at Alt-Gersdorf, Oct. 28, 1789.
He is said to have begun to learn organ, pianoforte,
and violin, when only five. At twentytwo
he was organist of the Leipzig University
church, and by 1820 was recognised as one of
the first organists living. To his fine playing
at a Magdeburg Festival in 1825 he owed his
Dresden appointment of Court organist, which
he held till his death, April 13, 1864. From
the organ-loft of the Hofkirche he made his
influence felt ; how widely, may be gathered
from the mere names of his pupils, amongst
whom were Mendelssohn, Schumann, Liszt,
Merkel, Topfer, Van Eyoken. The last four
were amongst the thirty old pupils who composed
and presented to him that graceful offering,
the 'Jubel Album fur die Orgel,' in 1861, the
fiftieth year of his artistic career. Schumann's
studies with him permanently influenced the
composer, and directly inspired or helped to
inspire the Pedal Pianoforte Studies, and
Fugues on the name of Bach ; and Mendelssohn
confessed a like obligation and admiration.
Schneider's reading of Bach—derived straight
from him by direct descent in only three removes—^was
the best weapon in his equipment
as a teacher. He always ended a lesson by
playing one of the great fugues, or, especially,
'organ chorales.' Sir Herbert Oakeley
(Schneider's last pupil) used to talk much of
his playing of these compositions. He liked
playing some of the 48 ' ' on his deep-toned
Silbermann organ. Mendelssohn records in
one of his letters his surprise at hearing him
play the D major. He himself used to tell with
pride how he ' tried ' upon Mendelssohn and
another Professor of Music the B flat minor of