Uploaded June 2026 | Updated September 2026, 1 week ago
#6 from 'Musical Pastime for the Young', Op.66 (published 1908)
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Phillip Sear plays a lively piece by the Austrian-born pianist, composer, and editor Ernst Pauer (1826–1905)
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“Pauer studied piano with Franz Xaver Mozart (W.A. Mozart's son!) and composition with Simon Sechter in his native Vienna, subsequently working with Franz Lachner in Munich. After brief appointments as director of musical societies at Mainz and as an editor for Schott, he settled in London in 1851, where he established himself as a leading recitalist and teacher. He held successive professorships at the Royal Academy of Music, the National Training School for Music, and, as Principal Piano Professor from 1883 to 1896, the Royal College of Music; he also served on the Cambridge University Board for Musical Studies from 1878. His mother’s descent from the Viennese Streicher piano-making family, closely associated with Beethoven, provided a direct link to the classical tradition that shaped his artistic identity.
Pauer's output for solo piano combines pedagogical utility with Romantic bravura. His most celebrated original piece, the virtuoso study 'Cascade', achieved widespread popularity in the nineteenth-century domestic repertory. He also produced numerous arrangements of symphonies by Beethoven and Schumann for piano solo, four hands, and eight hands, together with transcriptions of Mendelssohn’s orchestral works; these served as indispensable study material prior to the advent of recorded sound. His educational publications for the instrument include the 'New Gradus ad Parnassum' and the 'Primer of the Pianoforte'. Stylistically, his keyboard writing adheres to the Viennese classical models of his training, favouring transparent textures and rhythmic clarity over overt harmonic experimentation.
Beyond the keyboard, Pauer composed two operas for the German stage, 'Don Riego' and 'Die rothe Maske', first performed in 1849 and 1850 respectively, and a Symphony in C minor, Op.50 (1861). Yet his lasting significance rests chiefly upon his editorial and scholarly work. He prepared widely used editions of the classical and romantic masters for Augener, and compiled pioneering anthologies including 'Alte Klavier-Musik' and 'Old English Composers for the Virginals and Harpsichord', testifying to an early interest in historically informed performance. Through his teaching at London’s principal musical institutions and his extensive educational publications, he functioned as a vital conduit between Austro-German classical traditions and English musical life at the turn of the twentieth century." (Perplexity AI, 25 May 2026)
This curious collection seems to have been a posthumous compilation, maybe put together by his son Max, also a composer and editor. It is described as '36 short and easy pieces without octaves', but actually most of the pieces do contain octaves, and some are quite tricky. The set consists of 21 'characteristic pieces' and 15 'national melodies' depicting a person from various countries ('The Englishman', 'The Scotchman' etc.)
Thumbnail image created with Picsart ( tinyl.co/4WqE ).
#austrianmusic #butterfly
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Played by Phillip Sear
psear.co.uk (Email: piano4@psear.33mail.com
WhatsApp: wa.me/441444483794 ) TikTok: tiktok.com/@pianogems
****See all my latest videos here: tinyurl.com/phillip210 ****
#6 from 'Musical Pastime for the Young', Op.66 (published 1908)
------------------------------------------------
Phillip Sear plays a lively piece by the Austrian-born pianist, composer, and editor Ernst Pauer (1826–1905)
-------------------------------------------------
“Pauer studied piano with Franz Xaver Mozart (W.A. Mozart's son!) and composition with Simon Sechter in his native Vienna, subsequently working with Franz Lachner in Munich. After brief appointments as director of musical societies at Mainz and as an editor for Schott, he settled in London in 1851, where he established himself as a leading recitalist and teacher. He held successive professorships at the Royal Academy of Music, the National Training School for Music, and, as Principal Piano Professor from 1883 to 1896, the Royal College of Music; he also served on the Cambridge University Board for Musical Studies from 1878. His mother’s descent from the Viennese Streicher piano-making family, closely associated with Beethoven, provided a direct link to the classical tradition that shaped his artistic identity.
Pauer's output for solo piano combines pedagogical utility with Romantic bravura. His most celebrated original piece, the virtuoso study 'Cascade', achieved widespread popularity in the nineteenth-century domestic repertory. He also produced numerous arrangements of symphonies by Beethoven and Schumann for piano solo, four hands, and eight hands, together with transcriptions of Mendelssohn’s orchestral works; these served as indispensable study material prior to the advent of recorded sound. His educational publications for the instrument include the 'New Gradus ad Parnassum' and the 'Primer of the Pianoforte'. Stylistically, his keyboard writing adheres to the Viennese classical models of his training, favouring transparent textures and rhythmic clarity over overt harmonic experimentation.
Beyond the keyboard, Pauer composed two operas for the German stage, 'Don Riego' and 'Die rothe Maske', first performed in 1849 and 1850 respectively, and a Symphony in C minor, Op.50 (1861). Yet his lasting significance rests chiefly upon his editorial and scholarly work. He prepared widely used editions of the classical and romantic masters for Augener, and compiled pioneering anthologies including 'Alte Klavier-Musik' and 'Old English Composers for the Virginals and Harpsichord', testifying to an early interest in historically informed performance. Through his teaching at London’s principal musical institutions and his extensive educational publications, he functioned as a vital conduit between Austro-German classical traditions and English musical life at the turn of the twentieth century." (Perplexity AI, 25 May 2026)
This curious collection seems to have been a posthumous compilation, maybe put together by his son Max, also a composer and editor. It is described as '36 short and easy pieces without octaves', but actually most of the pieces do contain octaves, and some are quite tricky. The set consists of 21 'characteristic pieces' and 15 'national melodies' depicting a person from various countries ('The Englishman', 'The Scotchman' etc.)
Thumbnail image created with Picsart ( tinyl.co/4WqE ).
#austrianmusic #butterfly
-----------------------------------------------------------------------------------------------
Played by Phillip Sear
psear.co.uk (Email: piano4@psear.33mail.com
WhatsApp: wa.me/441444483794 ) TikTok: tiktok.com/@pianogems
****See all my latest videos here: tinyurl.com/phillip210 ****
