20:
172:
154:, and others. Pixis stayed, living in Paris for twenty years and quickly earning a strong reputation as a composer, concert pianist, and chamber music collaborator. At the height of his career, around 1830, he was regarded as one of the best pianists of his time. According to Chopin, it was Pixis who introduced him to the publisher Schlesinger, whose request for a composition on Meyerbeer's "Robert" eventually resulted in the
106:
190:. In 1843, Francilla married and not long after that retired from the stage. Pixis then turned his attention to the musical training of his nephew Theodor Pixis (1831–1856), who subsequently became concertmaster in Cologne and instructor in the Rheinische Musikschule but died suddenly. Johann Peter Pixis continued to teach the piano until his death in 1874.
57:
Friedrich
Wilhelm senior moved his family to Vienna in 1806. The brothers gave a series of very successful concerts in Karlsbad and Prague in 1807, during which Johann Peter began to perform his own compositions. From 1808, the brothers were with their family in Vienna. Both studied composition under
117:
Perhaps as a result of his early experiences with his brother, Pixis was an excellent collaborative pianist and toured with several violinists, including concerts in Paris, where he moved in late 1824. During this period Paris saw an influx of foreign musicians, especially pianists from
Germanophone
49:
The two brothers received early musical training from their father, who took the talented boys on concert tours beginning in 1797; they traveled through
Germany and to Denmark, Russia (St. Petersburg), and Poland (Warsaw). During the tour, the older brother also played piano duets with Johann Peter,
204:
The opus numbers of Pixis's published works run to about 150, a total not unusual for the era, and include compositions in a variety of genres but especially chamber music, as well as music for piano solo and piano four-hands. The strongest of his multi-movement concert works are the seven piano
82:
Meyerbeer arrived in Vienna with an already established reputation as a pianist. We soon became acquainted, and after learning to know one another better a mutual inclination arose, which later developed into a proper and lasting friendship. He remained for some time in Vienna, worked hard and
101:
when she first arrived in Vienna as a young student: Pixis says that he split the cost of voice and
Italian lessons with her, to enable her to afford them. Eventually, during his final years in Vienna, Pixis tried to establish himself as an opera composer, but with little success.
344:
of
Meyerbeer, Op. 94 (at latest 1827); Variations brillantes, Op. 112 (c. 1830); Rondo "Les trois clochettes," Op. 120; Fantaisie dramatique pour le piano Ă quatre mains sur des motifs des Huguenots de Meyerbeer, op. 131 (1836?); Fantaisie avec variations sur un duo de
42:
He was the son of
Friedrich Wilhelm Pixis (1755–1805), who in 1790 followed his own father to become Preceptor and Organist at the Evangelical Reformed Church. Johann Peter's older brother, also
34:. He lived in Vienna from 1808 to 1824, then in Paris to 1840, during which time he was among the city's most prominent pianists and composers, although he is almost entirely forgotten nowadays.
62:
and made contact with the city's music professionals. Friedrich
Wilhelm junior moved to Prague in 1810, while Johann Peter settled in Vienna, where he had contact with, among many others,
54:
was so impressed by
Friedrich Wilhelm junior that he gave daily lessons, which Johann Peter also attended, for two months, and he organized a concert for the two boys.
666:
83:
eventually wrote a one-act opera. . . Shortly thereafter he left Vienna, went to Italy, and I saw him next in Paris, when he returned from Italy crowned with fame.
155:
19:
626:
601:
571:
199:
606:
581:
545:
641:
611:
586:
656:
616:
591:
160:
B.70, published in 1832. Pixis himself made the piano reduction for the opera's vocal score (1831) and he wrote two original compositions:
210:
118:
countries, a process that had already started in the 1790s, shortly after the founding of the Paris
Conservatoire. The pianists included
651:
636:
621:
596:
661:
262:
230:
576:
646:
631:
59:
51:
541:
208:
While still in Vienna, Pixis was asked to join the collaborative work (involving 51 composers from 1819–1823)
43:
183:(1816–1888), who became a well-known singer; her recital appearances were accompanied by Pixis himself.
119:
257:
139:
566:
561:
219:
88:
63:
171:
224:
123:
509:
Universal
Handbook of Musical Literature: Practical and Complete Guide to all Musical Publications
243:
143:
536:
30:(10 February 1788 – 22 December 1874) was a German pianist and composer, born in
449:
Leon Plantinga, "Paris after Napoleon: Hub for Europe's Pianists," in Massimiliano Sala, ed.,
238:'s theme is by Pixis). The fact that he was asked by Liszt to participate, along with Chopin,
93:
71:
479:
350:
249:
235:
151:
98:
180:
75:
131:
215:
175:
Pixis, Three German Airs, title page. Sung in London by his adopted daughter Francilla.
147:
67:
50:
who in turn accompanied his brother on the cello and violin. While in Hamburg in 1798,
46:(1785–1842), was a violinist who later became prominent in the musical life of Prague.
328:
Grandes variations militaires for two pianos and orchestra (or string quartet), Op. 66
186:
In 1840, Pixis's compositional and performance career largely behind him, he moved to
555:
205:
trios, published between 1825 (Trio no. 1, Op. 75) and 1845 (Trio no. 7, Op. 147).
363:
239:
187:
135:
315:
7 Grand trios for piano, violin, and cello, Opp. 75, 86, 95, 118, 129, 139, 147
127:
105:
31:
78:. In his memoirs, Pixis writes about his friendship with Meyerbeer:
331:
Concertino for Piano and Orchestra in E-flat major, Op. 68 (1824/25)
511:(Vienna, 1904?; reprint London and Philadelphia), vol. 14, p. 394.
170:
104:
18:
340:
Many fantasias, rondos, and variations, including Rondino on the
87:
Pixis also writes in glowing terms about the Vienna premiere of
228:. In Paris in 1837, Pixis was involved with the composition of
266:
for piano and orchestra, Op. 13, on its publication in 1834.
168:
Op. 117. All of these were also published by Schlesinger.
246:, is evidence of his status in Parisian musical circles.
157:
Grand duo concertant sur des thèmes de Robert le diable,
466:, translated by E. L. Voynich, New York, 1931, p. 159.
334:
Concerto for Piano and Orchestra in C major, Op. 100
234:(six composers contributed; the third variation on
179:While in Paris, Pixis trained his adopted daughter
418:Robert Batka, "Aus Joh. Peter Pixis Memoiren," in
397:online, "Pixis family." Accessed 4 February 2018.
80:
166:Variations sur le Quatuor de Robert le diable,
8:
498:, Frankfurt/M., Berlin, Bern, 1994, p. 331.
337:Sonata in C minor, Op. 10 (1824 or earlier)
214:, an anthology of variations on a waltz by
200:List of compositions by Johann Peter Pixis
162:Caprice dramatique sur 'Robert le diable',
546:International Music Score Library Project
409:, second edition, vol. 3 (1907), p. 773.
109:Cover of the vocal score for Meyerbeer,
521:Grove Dictionary of Music and Musicians
407:Grove Dictionary of Music and Musicians
387:
113:, with piano reduction by Pixis (1831).
667:Pupils of Johann Georg Albrechtsberger
254:3 Caprices ou Etudes Caracteristiques
7:
523:, 2d edition, vol. 3 (1907), p. 773.
420:Kranz: Gesammelte Blätter über Musik
377:, piano reduction/vocal score (1831)
370:, piano reduction/vocal score (1830)
451:Piano Culture in 19th-century Paris
290:(Aachen, 1829; Paris, Prague, 1830)
627:19th-century German male musicians
602:18th-century German male musicians
572:Composers from the Austrian Empire
309:Sonata for Flute or Violin, Op. 17
74:, who was in Vienna to study with
14:
542:Free scores by Johann Peter Pixis
507:151 according to Franz Pazdirek,
607:19th-century classical composers
582:18th-century classical composers
642:German male classical composers
612:19th-century classical pianists
587:18th-century classical pianists
97:, and he relates a story about
657:German male classical pianists
211:Vaterländischer Künstlerverein
1:
617:19th-century German composers
592:18th-century German composers
476:Ă–sterreichisches Musiklexikon
395:Ă–sterreichisches Musiklexikon
288:Bibiana: Die Kapelle im Walde
482:. Retrieved 7 February 2016
318:Piano quintet, Op. 99 (1827)
60:Johann Georg Albrechtsberger
342:Ranz des vaches d'Appenzell
16:German pianist and composer
683:
440:Batka, p. 98 (translated).
431:Batka, p. 97 (translated).
422:(Leipzig 1903), pp. 87-88.
276:Almazinda: Die Höhle Sesam
197:
652:German Romantic composers
637:German classical pianists
622:19th-century keyboardists
597:18th-century keyboardists
537:List of works (selection)
256:, Op. 4 (1829) to Pixis.
301:Chamber music (selected)
662:Musicians from Mannheim
294:Die Sprache des Herzens
260:dedicated to Pixis his
44:Friedrich Wilhelm Pixis
263:Fantasy on Polish Airs
218:, which also included
176:
114:
85:
24:
577:Expatriates in France
358:Arrangements by Pixis
312:Violin Sonata, Op. 24
306:Violin Sonata, Op. 14
174:
120:Friedrich Kalkbrenner
108:
70:. In 1814–15, he met
22:
647:German male pianists
220:Ludwig van Beethoven
89:Carl Maria von Weber
632:Composers for piano
373:Giacomo Meyerbeer,
225:Diabelli Variations
146:(1836), as well as
124:Jan Ladislav Dussek
496:Johann Peter Pixis
494:Lucian Schiwietz,
177:
144:Sigismond Thalberg
115:
28:Johann Peter Pixis
25:
23:Johann Peter Pixis
480:" Pixis, Familie"
462:Frédéric Chopin,
72:Giacomo Meyerbeer
674:
524:
518:
512:
505:
499:
492:
486:
485:
473:
467:
464:Chopin's Letters
460:
454:
447:
441:
438:
432:
429:
423:
416:
410:
404:
398:
392:
375:Robert le diable
353:, Op. 133 (1837)
323:Piano (selected)
282:Die Zauberspruch
250:Ferdinand Hiller
152:Ferdinand Hiller
111:Robert le diable
99:Henriette Sontag
682:
681:
677:
676:
675:
673:
672:
671:
552:
551:
533:
528:
527:
519:
515:
506:
502:
493:
489:
483:
474:
470:
461:
457:
448:
444:
439:
435:
430:
426:
417:
413:
405:
401:
393:
389:
384:
360:
325:
303:
272:
258:Frédéric Chopin
202:
196:
181:Francilla Pixis
140:Frédéric Chopin
76:Antonio Salieri
40:
17:
12:
11:
5:
680:
678:
670:
669:
664:
659:
654:
649:
644:
639:
634:
629:
624:
619:
614:
609:
604:
599:
594:
589:
584:
579:
574:
569:
564:
554:
553:
550:
549:
539:
532:
531:External links
529:
526:
525:
513:
500:
487:
468:
455:
442:
433:
424:
411:
399:
386:
385:
383:
380:
379:
378:
371:
359:
356:
355:
354:
338:
335:
332:
329:
324:
321:
320:
319:
316:
313:
310:
307:
302:
299:
298:
297:
296:(Berlin, 1836)
291:
285:
284:(Vienna, 1822)
279:
278:(Vienna, 1820)
271:
268:
252:dedicated his
216:Anton Diabelli
195:
192:
148:Stephen Heller
94:Der FreischĂĽtz
39:
36:
15:
13:
10:
9:
6:
4:
3:
2:
679:
668:
665:
663:
660:
658:
655:
653:
650:
648:
645:
643:
640:
638:
635:
633:
630:
628:
625:
623:
620:
618:
615:
613:
610:
608:
605:
603:
600:
598:
595:
593:
590:
588:
585:
583:
580:
578:
575:
573:
570:
568:
565:
563:
560:
559:
557:
547:
543:
540:
538:
535:
534:
530:
522:
517:
514:
510:
504:
501:
497:
491:
488:
481:
477:
472:
469:
465:
459:
456:
453:(2015), p. 3.
452:
446:
443:
437:
434:
428:
425:
421:
415:
412:
408:
403:
400:
396:
391:
388:
381:
376:
372:
369:
365:
362:
361:
357:
352:
348:
343:
339:
336:
333:
330:
327:
326:
322:
317:
314:
311:
308:
305:
304:
300:
295:
292:
289:
286:
283:
280:
277:
274:
273:
269:
267:
265:
264:
259:
255:
251:
247:
245:
241:
237:
233:
232:
227:
226:
221:
217:
213:
212:
206:
201:
193:
191:
189:
184:
182:
173:
169:
167:
164:Op. 116, and
163:
159:
158:
153:
149:
145:
141:
137:
133:
129:
125:
121:
112:
107:
103:
100:
96:
95:
90:
84:
79:
77:
73:
69:
65:
61:
55:
53:
47:
45:
37:
35:
33:
29:
21:
520:
516:
508:
503:
495:
490:
475:
471:
463:
458:
450:
445:
436:
427:
419:
414:
406:
402:
394:
390:
374:
367:
346:
341:
293:
287:
281:
275:
261:
253:
248:
242:, Herz, and
229:
223:
209:
207:
203:
185:
178:
165:
161:
156:
132:Franz HĂĽnten
116:
110:
92:
86:
81:
56:
48:
41:
27:
26:
567:1874 deaths
562:1788 births
484:(in German)
364:Louis Spohr
188:Baden Baden
136:Franz Liszt
122:(in 1799),
556:Categories
382:References
198:See also:
128:Henri Herz
231:Hexaméron
64:Beethoven
38:Biography
347:L'eclair
244:Thalberg
142:(1831),
138:(1823),
134:(1819),
130:(1816),
126:(1807),
68:Schubert
32:Mannheim
548:(IMSLP)
544:at the
236:Bellini
351:Halevy
270:Operas
240:Czerny
52:Viotti
368:Faust
194:Works
66:and
349:de
222:'s
91:'s
558::
478:.
366:,
150:,
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
