hɪz kˌɑːmpəzˈɪʃənz ɪŋklˈuːdᵻd ˈɑːpɚɹəz, sˈɪmfəniz, kˈɑːnsɚt ˈoʊvɚtjˌʊɹz—wˈʌn ʌv ðˌɛm, kəmˈɪʃənd fɚðɪ əkˈeɪʒən, wʌz jˈuːzd tə klˈoʊz ðə fˈɜːst kˈɑːnsɚt, ɪn wˈʌn θˈaʊzənd ˈeɪthˈʌndɹɪd fˈoːɹɾi tˈuː, ʌvðə nˈuː jˈɔːɹk fˌɪlhɑːɹmˈɑːnɪk —æz wˈɛl æz mjˈuːzɪk fɔːɹ piˈænoʊ, piˈænoʊ kəntʃˈɛɹɾoʊz, kɑːnsɚtˈiːnoʊz fɔːɹ vaɪəlˈɪn ænd fɔːɹ ˈɑːboʊ, mjˈuːzɪk fɚðə tʃˈɜːtʃ, lˈiːdɚ, kˈoːɹəl mjˈuːzɪk ænd vˈɛɹiəs ˈʌðɚ vˈoʊkəl ænd ˌɪnstɹəmˈɛntəl wˈɜːks.
His compositions included operas, symphonies, concert overtures—one of them, commissioned for the occasion, was used to close the first concert, in 1842, of the New York Philharmonic —as well as music for piano, piano concertos, concertinos for violin and for oboe, music for the church, lieder, choral music and various other vocal and instrumental works.