Most prominent in Mendelssohn's immediate train is Ferdinand Hiller. His junior only by two years (he was born Oct. 24, 1811, in Frankfurt), he followed closely in the footsteps of that master. Like him, he came of Jewish and well-to-do parents; like him, he had the advantage of an early training, a broad culture and wide travel. A pupil of Hummel and a brilliant pianist, he was presented to Beethoven in Vienna; in Paris he hobnobbed with Cherubini, Rossini, Chopin, Liszt, Meyerbeer and Berlioz, taught and concertized; in Milan he produced an opera (_Romilda_) by the aid of Rossini. Mendelssohn, already his friend, brought out his oratorio 'Jerusalem Destroyed' at the Gewandhaus in 1840, and in 1843-44 (after a sojourn in Rome) he himself directed the Gewandhaus concerts made famous by Mendelssohn. Shortly after, he inaugurated a series of subscription concerts in Dresden, also conducting a chorus, and there brought out two operas (_Traum in der Christnacht_, 1845, and _Konradin_, 1847). Finally he did for Cologne what Mendelssohn had done for Leipzig by organizing the conservatory and the Gewandhaus concerts: he established the Cologne conservatory (1850) and became conductor of the _Konzertgesellschaft_ and the _Konzertchor_, both of which participated in the famous Gürzenich concerts and the Rhenish music festivals. The eminence of his position may be deduced from the fact that in 1851-52 he was asked to direct the Italian opera in Paris. As teacher and pianist he was no less renowned. For that reason alone history cannot ignore him. As a composer Hiller illustrates what we have said of the degeneration of the early romantic school into musical _genre_, though as a contemporary of Mendelssohn he must be reckoned as a by-rather than a post-romantic. He commanded only the small forms, in which, however, he displayed great technical finish, polished grace and a 'clever pedantry.' In short piano pieces, _Rêveries_ (of which he wrote four series), impromptus, rondos, marches, waltzes, variations, and études he was especially happy. An F-sharp major piano concerto, sonatas and suites, as well as his chamber works (violin and 'cello sonatas, trios, quartets, etc.), are grateful and pleasing in their impeccable smoothness. But his six operas, two oratorios, three symphonies and other large works have gone the way of oblivion. His numerous overtures, cantatas, choral ballads, vocal quartets, duets and songs stamp him as a real, miniature-loving romantic. In productivity, too, he remains true to the breed; his opus numbers exceed two hundred. Hiller died in Cologne in 1885.