Scan 119
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
14 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1studied the pianoforte, first under Theodor Dirzka, and then under Mozart's son, Wolfgang Amadeus, and harmony and counterpoint under Sechter. He appeared first in public in 1842; one of his compositions was published in that year. In 1845 he went to Munich to study instrumentation and dramatic composition under Franz Lachner. In Apr. 1847 he competed for and obtained the appointment of director of the musical societies at Mainz, and was employed by the publishing firm of Schott to compose operas, 'Don Riego' (1849), 'Die rothe Maske' (1850) and 'Die Braut' (1861), which were performed in Mainz and Mannheim; also some important vocal works, and overtures and entr'actes for the use of the local theatre. This appointment, in which he gained great experience, he resigned in Apr. 1851, and proceeded to London, where his performances at the Philharmonic (June 23, Hummel's A minor concerto) and the Musical Union were received with much favour. After this success he resolved to pursue his career in England, though returning for a time to Germany.
3In 1852 he married Miss Andreae, of Frankfort, a good contralto singer.
5In 1861 Pauer gave a series of six performances with a view of illustrating the foundation and development of pianoforte composition and playing, in chronological series from about 1600 to modern times, elucidated and assisted by programmes containing critical and biographical notices. Similar performances, but with different programmes, were given in 1862 and 1863, and again in 1867, in Willis's and the Hanover Square Rooms. In 1862 he was selected by Austria and the Zollverein for the Musical Jury of the London International Exhibition. He was at the same time the official reporter for the Prussian Government, and his report was reproduced by some of the chief industrial journals, and was translated into various languages. For these services he received the Imperial Austrian Order of Francis Joseph, and the Prussian Order of the Crown. During the next few years Pauer played in Holland, Leipzig, Munich and Vienna, in fulfilment of special engagements, and was appointed pianist to the imperial Austrian court in 1866.
7In 1870 he began a new phase of his active career, that of lecturing upon the composers for the harpsichord and pianoforte; the form and spirit of the varieties of modern music, as the Italian, French and German; the history of the oratorio; the practice of teaching; and many cognate subjects. These lectures were given at the Royal Institution, the South Kensington Museum, and in many other important places in Great Britain and Ireland. When Cipriani Potter retired from the R.A.M., Pauer took his class, and retained it for five years. In 1876, on the foundation of the National Training School for Music at Kensington Gore, he became the principal pianoforte professor of that institution, and in 1878 was made a member of the Board for Musical Studies at Cambridge University, and the following year an examiner. He edited many of the works of the classical and romantic composers, among them 'Alte Klavier-Musik' (Senff, Leipzig), twelve books; 'Alte Meister' (Breitkopf & Härtel, Leipzig), 40 Nos. Also 'Old English Composers for the Virginals and Harpsichord' (Augener, London); and, under the auspices of the last-named publisher, an edition of the classical composers in a cheap form, embracing and including all the great masters from Bach and Handel to Schumann, and extending, up to July 1880, to nearly thirty volumes, of admirable clearness and convenience. Besides this are arrangements for children, and educational works, including the 'New Gradus ad Parnassum,' 100 studies, some of them by himself; Primer of the Pianoforte (Novello & Co., 1876); Elements of the Beautiful in Music (ditto, 1876); Primer of Musical Forms (ditto, 1878); and The Pianist's Dictionary (1895). Also some interesting arrangements of Schumann's symphonies for four hands, and of Mendelssohn's PF. concerto for two pianos. As a pianist his style was distinguished by breadth and nobility of tone, and by a sentiment in which seriousness of thought was blended with profound respect for the intention of the composer. He retired to Germany in 1896.
9A. J. H.
11His son, (2) Max (b. London, Oct. 31, 1866), pianist, was a pupil of his father till 1881, when he went to Carlsruhe and studied theory with Vincenz Lachner till 1885. In that year he made a successful appearance as a pianist in London, where, except for concert tours, he remained till 1887, when he settled in Cologne as piano teacher at the Conservatorium. In 1897 he migrated to a similar post at Stuttgart, and in 1908 succeeded De Lange as director of the Stuttgart Conservatorium. He held this position till 1924, when, on Stephan Krehl's death, he was appointed director of the Leipzig Conservatorium, where his energetic personality has already made itself felt in salutary reforms for widening the basis of musical education, and in the encouragement of ear-training.
13As a pianist he ranks very highly indeed. His powers of interpretation are remarkable, and his sense of style enables him to do justice to music of all kinds and dates, except perhaps that of the modern extremists, with which he is not often in sympathy. His repertory is an exceptionally large one, and his memory is so amazing that it is scarcely an exaggeration to say that he never forgets anything that he has once learned. One can play to him any bar,
The computer misreads some letters and numbers. Where a name matters to you, read the scan.