Another pianist of considerable importance, a disciple of Mozart, yet with originality of his own, was J.B. Cramer (1771-1858). This talented and deserving musician was the son of a musician living at Mannheim, who removed to London when the young Cramer was but one year old. There the boy grew up, receiving his education from several reputable masters, Clementi being among them. His taste was formed by the diligent study of the works of Emanuel Bach, Haydn and Mozart. In spirit Cramer was a disciple of the last named, but from living to a good old age, he naturally surpassed his ideal in the treatment of the pianoforte. In the latter part of the eighteenth century there were few musical compositions sold over the music counters in Vienna and the musical world generally, but those of Dussek, Cramer and Pleyel, while those of Beethoven were comparatively neglected. Cramer's compositions were slight in real merit, his fame resting upon his studies for the piano, of which about thirty out of the entire 100 are very good music. The second, and last, book of these were published in 1810. They do not form a necessary part of the training of a virtuoso, but they have decided merits, and are generally included to this day in the list of pianistic indispensables. Cramer's style of playing was quiet and elegant. Moscheles gives an idea of it in his diary, and regrets that he should allow the snuff, which he took incessantly, to get upon the keys. Cramer's studies preceded those of Clementi, and very likely may have inspired them through a desire of illustrating a bolder and more masterly style of pianism.
Among the many talented pupils of Clementi was Ludwig Berger (1777-1838), of Berlin, whose unmistakable gifts for the piano attracted the master's attention when he was in Berlin in 1802, and he took him along with him to St. Petersburg. After living some years in that city, and later in London, he returned to Berlin, where he was held in the highest esteem as teacher until his death. Among the distinguished who studied with him were Mendelssohn, Taubert, Henselt, Fanny Hensel, Herzsberg, and others. He was an indefatigable composer of decided originality. But few of his works were published. A set of his studies is highly esteemed by many.
In further illustration of the Mozart principles of piano playing, and with a reputation as composer, which in his lifetime was curiously beyond his merits, was J.M. Hummel (1778-1837). He was born at Presburg, and had the good luck to attract the favorable notice of Mozart. He was received into the house of the master, and was regarded as the best representative of Mozart's ideas. He made his early appearances as a child pianist under the care of his father, in most parts of Germany and Holland. In 1804 he succeeded Haydn as musical director to the Esterhazy establishment. He afterward held several other appointments of credit, and played much in all parts of Europe. He was a pleasant player, with a light, smooth touch, suited to the Viennese pianofortes of the time.
Fig. 65.
HUMMEL.
The latest of the virtuosi representing the classical traditions of the pianoforte, uninfluenced by the new methods which came in with Thalberg and Liszt, was Ignaz Moscheles (1794-1870). He was born at Prague, his father being a cloth merchant and Israelite.
Fig. 66.
MOSCHELES.