Grove's dictionary of music and musicians

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696 STIASTNY STICKER
'
appointed conductor of the Dublin Philharmonic.
He died in Dublin, March 24, 1S94.
Amongst Sir Robert Stewart's many compositions,
his glees deserve particular mention.
In this branch of his art he won numerous prizes
and well-merited renown. His more important
works include an ode for the opening of the
Cork Exhibition of 1852 ; Ode on Shakespeare,'
produced at the Birmingham Festival, 1870 ;
A Winter Night's Wake '
and two Cantatas, '
and 'The Eve of S. John.' He edited the
Irish ' Church Hymnal ' (1876).
Sir Robert Stewart enjoyed a high reputation
as an organist and extemporiser ; his playing
at the Great Exhibition of 1861 and at that of
Manchester in 1857 excited general admiration.
As occupant of the Dublin Chair of Music, his
excellent lectures and writings on music bore
evidence to his wide culture and literary skill,
as well as to his high musical attainments.
[He was the iirst to require candidates for the
musical degrees to pass a literary test, and
the good example was afterwards followed at
Cambridge. A portrait by Sir T. A. Jones is
in the Royal Irish Academy of Music, and his
statueis on Leinster Lawn, Dublin. A biogi-aphy
by Olinthus John Vignoles appeared in 1898,
and Dr. Culwick's The Works of Sir H. P.
Stewart, with a catalogue of his compositions
(Dublin, 1902), may be consulted.] His musical
memory was remarkable. w. H. H.
STIASTN i, BernardWenzel, violoncellist,
was born at Prague in 1770. Little is known of
him except that he was a member of the Prague
orchestra, studied with Seegr and was probably
professor at the Conservatorium, to which
he dedicated his work on the violoncello.
It is remarkable for what may be almost called
a treatise on the accompaniment of recitative
as it was then practised.
Stiastny, JoHANNj brother of the above, was
born at Prague in 1774. We know scarcely
anything of his career except that he was in
the orchestra at Prague in 1800-20. He seems
to have studied harmony and the violoncello at
Prague, under his brother, but he must have
soon left that city, as he is described on the
title of his op. 3 as ' Violonoelle de S. A. R. le
Grand Due de Frankfort. ' According to F^tis
he was musical director at Nuremberg in 1820,
and from thence went to Mannheim. He is
known to have been in London, and he dedicated
two of his finest compositions to Lindley and
Crosdill, as well as his three duets, op. 8, to Sir
W. Curtis. His last and perhaps finest work
was published and probably written in London.
He was also in Paris, where he arranged his op.
11 for violoncello and piano, and he dedicated his
op. 3 to the pupils of the Conservatoire. There
exists a beautiful French edition of his six
grand duets, op. 1, and also of his two sonatas,
op. 2, the latter in score. Though the list of
his works only amounts to thirteen in number.
the originality and purity of them all entitle
him to rank among the very first writers for
the instrument. A list of his works follows :
Op.
1. Six grand duets for two vcellos, dedlcjtted to his brother.
2. Two eoimtaa for vcello Bolo with accompaniment for a second
vcelio.
S. Divertissement for vcello solo with accompaniments for tenor
and second vcello.
' 4. Twelve Fetites pieces pour violoncello et basse & Tusage de cornmen
vants.'
5. Six pifices facjlea for vcello and bass.
6. Three grand duets for t«*ovcellus.
7. Concertino for vcello with accompaniments for flute, two tenors,
vcello and contrabass, dedicated to Lindley.
8. Three duets for two vcellos.
9. Six pidcesfadles for vcello and bass,
10. Andante with variations for vcello solo with accompaniments
for flute, two violins, tenor, and vcello, dedicated to Crosdill.
11. Six solos for vcello and baas.
12. Theme with variations and rondo with quartetaccompaniment.
13. Grand trio for vcello solo with accompaniment for tenor and
second vcello, published in London by Welsh & Hawes, but
unknown on the Continent. q tt
STIOOADO-PASTROLE. An early name
for a kind of wooden dulcimer formed of a,
graduated series of rods which being struck give
forth musical sounds. (See' Xylophone.) A
trade card, in date about 1770, advertises that
'6. Smart, Stiecado-Pastrole maker, from Mr.
Bremner's music-shop . . . continues to make
the above instruments with improvements.'
The above G. Smart was afterwards a musicpublisher,
and was the father of Sir George Smart
the musician. F. K.
STICH, JoHANN Wenzel, known as Punto,
eminent horn-player, born about 1755 in
Bohemia, was taught music and the French-horn
by Matiegka and Hampel of Dresden, at the
expense of Count Thun. On his return to the
Count's household he considered himself illtreated,
and ran away with some of his comrades.
To avoid recognition he Italianised his
name to Punto, and travelled in Germany and
France, settling for a time in Wiirzburg, Treves,
Coblenz, Paris, etc. , and attracting considerable
attention. In Paris he made the acquaintance
of Mozart, who composed for him a Sinfonie
concertante for flute, oboe, horn, and bsissoon,
never played and now unfortunately lost.'
'
Punto plays magnificently ' (blast magnifique),
writes Mozart to his father. In 1788 he was
engaged by Mara (with Graff, Fischer, and
Florio) for her concerts at the Pantheon, London.
In Vienna, Beethoven composed his sonata
for PF. and horn (op. 17) for him, and they
played it together without rehearsal, at Punto's
concert, April 18, 1800. It was received
enthusiastically, and at once eiicored. After
this Punto made another tour with Du'ssek,
returned to Prague and gave a concert at the
theatre there in 1801. He died after a long
illness, Feb. 16, 1803, and his epitaph runs
Omne tulit punctum Punto. cui Musa Bohema
TJt plausit vivo, sic morienti gemit.
His compositions were published in Paris by
Sieber, Nadermann, Cochet, Imbault, Le Duo,
and Pleyel. c. r. p.
STICKER. A light wooden rod used in organ
action for conveying motion by a pushing
movement. (See Tracker.) t. b.