The two greatest contemporaries of Beethoven were, undoubtedly, Carl Maria von Weber and Franz Schubert, and both wrote pianoforte sonatas. Many other composers of that period--some of them possessed of considerable talent--devoted themselves to that branch of musical literature: Steibelt (1764-1823), Woelfl (1772-1812), J.B. Cramer (1771-1858), J.N. Hummel (1778-1837), F.W.M. Kalkbrenner (1788-1849), and others. Of these, the first three may be named sonata-makers. The number which they produced is positively alarming; but it is some consolation to think that a knowledge of their works is not of essential importance. Steibelt's sonata in E flat (dedicated to Mme. Buonaparte) was given once at the Popular Concerts in 1860, and Woelfl's "Ne plus Ultra" sonata, several times between 1859 and 1873; not one, however, of the 105 said to have been written by J.B. Cramer has ever been heard there.[100] Most of these works justly merit the oblivion into which they have fallen; some are quite second, or even third rate; others were written merely as show pieces,[101] and are now, of course, utterly out of date; and many were written for educational purposes, or to suit popular taste (sonatas containing variations on national and favourite airs, light rondos, etc.).[102] Cramer's studies have achieved world-wide reputation, and, as music, they are often interesting. Also in his sonatas are to be found many serious, well-written movements; musical taste has, however, so changed since the rise of the romantic school, that it is doubtful whether they would be now acceptable even as teaching pieces. Hummel's few sonatas have suffered at the hand of time; but, though the music be mechanical, and therefore cold, there is much to interest pianists in the two sonatas in F sharp minor (Op. 81) and D major (Op. 106). These were written after the composer's appointment at Weimar in 1820. His two early sonatas (Op. 13, in E flat, and Op. 20, dedicated to Haydn) are not easy, yet not so difficult as the two just mentioned. Steibelt and Woelfl both measured themselves with Beethoven in the art of improvisation. The former was so ignominiously defeated that he never ventured to meet his rival again. Woelfl, however, fared better. With his long fingers he could accomplish wonders on the instrument; but only so far as technique was concerned did he surpass Beethoven.