See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

JOSEPH See also:

• JOSEPH WOELFL (1772--1812)

WOELFL (1772--1812)  , See also:

• AUSTRIAN

Austrian pianist and composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in 1772 at See also:

• SALZBURG

Salzburg, where he studied See also:

• MUSIC

music under See also:

• LEOPOLD (M.H. Ger. Liupolt; O.H. Ger. Liupald, from hut, Mod. Ger. Leute, " people," and paid, " bold," i.e. " bold for the people ")

Leopold See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart and See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

Michael See also:

• HAYDN, FRANZ JOSEPH (1732–1809)

Haydn . After a See also:

• SHORT, FRANCIS JOB (1857– )

short See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence at See also:

• WARSAW
• WARSAW (Polish Warszawa, Ger. Warschau, Fr. Varsovie)

Warsaw he produced his first See also:

• OPERA (Italian for " work ")

opera, Der Hollenberg, with some success at See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, where it was soon followed by Das sell Me Milchmadchen and some other dramatic pieces . His fame now rests upon his compositions for the See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte, and the skill with which he is said to have met their formidable demands upon his See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power as an executant . The perfection of his technique was immeasurably enhanced by the enormous stretch of his fingers (his See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand could strike a thirteenth with ease); and to his wide grasp of the See also:

• KEYBOARD, or MANUAL (Fr. clavier; Ger. Klaviatur; Ital. tastatura)

keyboard he owed a facility of See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution which he turned to excellent See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account, especially in his extempore performances . His technique was See also:

• SUPERIOR

superior even to that of the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven, who played in See also:

• COMPANY

company with him at the See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house of See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

Count See also:

• WETZLAR

Wetzlar, and in memory of this See also:

• EXHIBITION

exhibition of See also:

• GOOD, JOHN MASON (1764-1827)

good-humoured rivalry he dedicated to Beethoven his " Three Sonatas," Op . 6 . Quitting Vienna in 1798, he exhibited his skill in most of the See also:

• GREAT

great See also:

• EUROPEAN

European capitals, and, after spending some years in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, made his first See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance in See also:

• LONDON

London on the 27th of May 1805 . Here he enjoyed a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long See also:

• TERM

term of popularity, crowned about 18o8 by the publication of his See also:

• SONATA (From Ital. sonare, to sound)

sonata, Op . 41, containing some See also:

• VARIATIONS
• VARIATIONS, CALCULUS
• VARIATIONS, CALCULUS OF

variations on " See also:

• LIFE

Life let us cherish." This, on account of its technical difficulty, he entitled Non Plus Ultra; and, in reply to the See also:

• CHALLENGE (O. Fr. chalonge, calenge, &c., from Lat. calumnia, originally meaning trickery, from calvi, to deceive, hence a false accusation, a " calumny ")

challenge, See also:

• DUSSEK, JOHANN LUDWIG (1761–1812)

Dussek's London publishers reprinted a sonata by that composer, originally called Le Retour d Paris, with the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title Plus Ultra, and an ironical See also:

• DEDICATION (Lat. dedicatio, from dedicare, to proclaim, to announce)

dedication to Non Plus Ultra . See also:

• WOELFL, JOSEPH (1772--1812)

Woelfl died in Great Marylebone See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

Street, London, on the 21st of May 1812 .