Reinecke was born in 1824 at Altona, near Hamburg, and enjoyed the characteristic longevity of the 'transition' composers, living well into the neighborhood of ninety. In fecundity he surpasses even Hiller, for his works number well-nigh three hundred. Besides Mendelssohnian perfection, well-rounded classic form and fine organization in workmanship, flavored with a touch of Schumannesque subjectivity, Reinecke shows traces of more advanced influences. The idioms of Brahms and even the 'New Germans' crept into his work as time went on. Of course, since Reinecke was a famous pedagogue, his piano compositions (sonatas for two and four hands, sonatinas, fantasy pieces, caprices, and many other small forms) enjoyed a great reputation as teaching material, which somewhat overshadowed their undoubted intrinsic value as music. His four piano concertos are no longer heard, nor are those for violin, for 'cello, and for harp. But his chamber music--the department where thorough musicianship counts for most--is no doubt the most staple item in his catalogue. There are a quintet, a quartet, seven trios, besides three 'cello sonatas, four violin sonatas, and a fantasy for violin and piano, also a sonata for flute. His most popular and perhaps his best work are the _Kinderlieder_, 'of classic importance in every sense, easily understood by children and not without interest for adults.'[3] Again it is the miniature form that prevails. Similarly in the orchestral field, the overtures (_Dame Kobold_, _Aladin_, _Friedensfeier_, _Festouvertüre_, _In memoriam_) and the serenade for string orchestra have outlasted the three symphonies, while the operas ('King Manfred,' 1867, three others, and the _singspiel_ 'An Adventure of Händel'), as well as an oratorio, masses, etc., have already faded from memory, though the smaller choral works, with orchestra and otherwise (including the Fairy Poems for women's voices and the cycle _Von der Wiege bis zum Grabe_), still maintain themselves in the repertoire of German societies. Salomon Jadassohn (1831-1902) was still more of a pedagogue and less of a composer. Yet he wrote copiously, over one hundred works being published. It is to be noted that he was a pupil of Liszt as well as Moritz Hauptmann, but he gravitated to Leipzig and lived there from 1852 on. He has a particular fondness for the canon form and makes his chief mark in orchestral and chamber music. But his teaching manuals on harmony and counterpoint are his real monument. III