II.

Muzio Clementi was born at Rome in the year 1752, and was the son of a silver worker of great skill, who was princ.i.p.ally engaged on the execution of the embossed figures and vases employed in the Catholic worship. The boy at a very early age evinced a most decided taste for music, a predilection which delighted his father, himself an enthusiastic amateur, and caused him to bestow the utmost pains on the cultivation of the child's talents. The boy's first master was Buroni, choir-master a tone of the churches, and a relation of the family.

Later, young Clementi took lessons in thorough ba.s.s from an eminent organist, Condicelli, and after a couple of years' application he was thought sufficiently advanced to apply for the position of organist, which he obtained, his age then being barely nine. He prosecuted his studies with great zeal under the ablest masters, and his genius for composition as well as for playing displayed a rapid development. By the time Clementi had attained the age of fourteen he had composed several contrapuntal works of considerable merit, one of which, a ma.s.s for four voices and chorus, gained great applause from the musicians and public of Rome.

During his studies of counterpoint and the organ Clementi never neglected his harpsichord, on which he achieved remarkable proficiency, for the piano-forte at this time, though gradually coming into use, was looked on rather as a curiosity than an instrument of practical value.

The turning-point of Clementi's life occurred in 1767, through his acquaintance with an English gentleman of wealth, Mr. Peter Beckford, who evinced a deep interest in the young musician's career. After much opposition Mr. Beckford persuaded the elder Clementi to intrust his son's further musical education to his care. The country seat of Mr.

Beckford was in Dorsetshire, England, and here, by the aid of a fine library, social surroundings of the most favorable kind, and indomitable energy on his own part, he speedily made himself an adept in the English language and literature. The talents of Clementi made him almost an Admirable Crichton, for it is a.s.serted that, in addition to the most severe musical studies, he made himself in a few years a proficient in the princ.i.p.al modern languages, in Greek and Latin, and in the whole circle of the belles-lettres. His studies in his own art were princ.i.p.ally based on the works of Corelli, Alexander Scarlatti, Handel's harpsichord and organ music, and on the sonatas of Paradies, a Neapolitan composer and teacher, who enjoyed high repute in London for many years. Until 1770 Clementi spent his time secluded at his patron's country seat, and then fully equipped with musical knowledge, and with an unequaled command of the instrument, he burst on the town as pianist and composer. He had already written at this time his "Opus No. 2,"

which established a new era for sonata compositions, and is recognized to-day as the basis for all modern works of this cla.s.s.

Clementi's attainments were so phenomenal that he carried everything before him in London, and met with a success so brilliant as to be almost without precedent. Socially and musically he was one of the idols of the hour, and the great Handel himself had not met with as much adulation. Apropos of the great sonata above mentioned, with which the Clementi furore began in London, it is said that John Christian Bach, son of Sebastian, one of the greatest executants of the time, confessed his inability to do it justice, and Schroter, one of those sharing the honor of the invention of the piano-forte, and a leading musician of his age, said, "Only the devil and Clementi could play it." For seven years the subject of our sketch poured forth a succession of brilliant works, continually gave concerts, and in addition acted as conductor of the Italian opera, a life sufficiently busy for the most ambitious man. In 1780 Clementi began his musical travels, and gave the first concerts of his tour at Paris, whither he was accompanied by the great singer Pacchierotti. He was received with the greatest favor by the queen, Marie Antoinette, and the court, and made the acquaintance of Gluck, who warmly admired the brilliant player who had so completely revolutionized the style of execution on instruments with a keyboard. Here he also met Viotti, the great violinist, and played a _duo concertante_ with the latter, expressly composed for the occasion. Clementi was delighted with the almost frantic enthusiasm of the French, so different from the more temperate approbation of the English. He was wont to say jocosely that he hardly knew himself to be the same man. From Paris Clementi pa.s.sed, via Strasburg and Munich, where he was most cordially welcomed, to Vienna, the then musical Mecca of Europe, for it contained two world-famed men--"Papa" Haydn and the young prodigy Mozart. The Emperor Joseph II, a great lover of music, could not let the opportunity slip, for he now had a chance to determine which was the greater player, his own pet Mozart or the Anglo-Italian stranger whose fame as an executant had risen to such dimensions. So the two musicians fought a musical duel, in which they played at sight the most difficult works, and improvised on themes selected by the imperial arbiter. The victory was left undecided, though Mozart, who disliked the Italians, spoke afterward of Clementi, in a tone at variance with his usual gentleness, as "a mere mechanician, without a pennyworth of feeling or taste."

Clementi was more generous, for he couldn't say too much of Mozart's "singing touch and exquisite taste," and dated from this meeting a considerable difference in his own style of play.

With the exception of occasional concert tours to Paris, Clementi devoted all his time up to 1802 in England, busy as conductor, composer, virtuoso, and teacher. In the latter capacity he was unrivaled, and pupils came to him from all parts of Europe. Among these pupils were John B. Cramer and John Field, names celebrated in music. In 1802 Clementi took the brilliant young Irishman, John Field, to St.

Petersburg on a musical tour, where both master and pupil were received with unbounded enthusiasm, and where the latter remained in affluent circ.u.mstances, having married a Russian lady of rank and wealth.

Field was idolized by the Russians, and they claim his compositions as belonging to their music. He is now distinctively remembered as the inventor of that beautiful form of musical writing, the nocturne. Spohr, the violinist, met Clementi and Field at the Russian capital, and gives the following amusing account in his "Autobiography": "Clementi, a man in his best years, of an extremely lively disposition and very engaging manners, liked much to converse with me, and often invited me after dinner to play at billiards. In the evening I sometimes accompanied him to his large piano-forte warehouse, where Field was often obliged to play for hours to display instruments to the best advantage to purchasers. I have still in recollection the figure of the pale overgrown youth, whom I have never since seen. When Field, who had outgrown his clothes, placed himself at the piano, stretching out his arms over the keyboard, so that the sleeves shrank up nearly to the elbow, his whole figure appeared awkward and stiff in the highest degree. But, as soon as his touching instrumentation began, everything else was forgotten, and one became all ear. Unfortunately I could not express my emotion and thankfulness to the young man otherwise than by the pressure of the hand, for he spoke no language but his mother tongue. Even at that time many anecdotes of the remarkable avarice of the rich Clementi were related, which had greatly increased in later years when I again met him in London. It was generally reported that Field was kept on very short allowance by his master, and was obliged to pay for the good fortune of having his instruction by many privations.

I myself experienced a little sample of Clementi's truly Italian parsimony, for one day I found teacher and pupil with upturned sleeves, engaged at the wash-tub, washing their stockings and other linen. They did not suffer themselves to be disturbed, and Clementi advised me to do the same, as washing in St. Petersburg was not only very expensive, but the linen suffered much from the method used in washing it."

From the above it may be suspected that Clementi was not only player and composer, but man of business. He had been very successful in money-making in England from the start, and it was not many years before he acc.u.mulated a sufficient amount to buy an interest in the firm of Longman & Broderip, "manufacturers of musical instruments, and music sellers to their majesties." The failure of the house, by which he sustained heavy losses, induced him to try his hand alone at music publishing and piano-forte manufacturing; and his great success (the firm is still extant in the person of his partner's son, Mr. Col-lard) proves he was an exception to the majority of artists, who rarely possess business talents. Clementi met many reverses in his commercial career. In March, 1807, the warehouses occupied by Clementi's new firm were destroyed by fire, entailing a loss of about forty thousand pounds.

But the man's courage was indomitable, and he retrieved his misfortunes with characteristic pluck and cheerfulness. After 1810 he gave up playing in public, and devoted himself to composing and the conduct of his piano-forte business, which became very large and valuable. Himself an inventor and mechanician, he made many important improvements in the construction of the piano, some of which have never been superseded.

III.

Clementi numbers among his pupils more great names in the art of piano-forte playing than any other great master. This is partly owing to the fact, it may be, that he began his career in the infancy of the piano-forte as an instrument, and was the first to establish a solid basis for the technique of the instrument. In addition to John Field and J. B. Cramer, previously mentioned, were Zeuner, Dussek, Alex. Kleugel, Ludwig Berger, Kalkbrenner, Charles Mayer, and Meyerbeer. These musicians not only added richly to the literature of the piano-forte, but were splendid exponents of its powers as virtuosos. But mere artistic fame is transitory, and it is in Clementi's contributions to the permanent history of piano-forte playing that we must find his chief claim on the admiration of posterity. He composed not a few works for the orchestra, and transcriptions of opera, but these have now receded to the lumber closet. The works which live are his piano concertos, of which about sixty were written for the piano alone, and the remainder as duets or trios; and, _par excellence_, his "Gradus ad Parna.s.sum," a superb series of one hundred studies, upon which even to-day the solid art of piano-forte playing rests. Clementi's works must always remain indispensable to the pianist, and, in spite of the fact that piano technique has made such advances during the last half century, there are several of Clementi's sonatas which tax the utmost skill of such players as Liszt and Von Billow, to whom all ordinary difficulty is merely a plaything. As Viotti was the father of modern violin-playing, Clementi may be considered the father of virtuosoism on the piano-forte, and he has left an indelible mark, both mechanically and spiritually, on all that pertains to piano-playing. Compared with Clementi's style in piano-forte composition, that of Haydn and Mozart appears poor and thin.

Haydn and Mozart regarded execution as merely the vehicle of ideas, and valued technical brilliancy less than musical substance. Clementi, on the other hand, led the way for that cla.s.s of compositions which pay large attention to manual skill. His works can not be said to burn with that sacred fire which inspires men of the highest genius, but they are magnificently modeled for the display of technical execution, brilliancy of effect, and virile force of expression. The great Beethoven, who composed the greatest works for the piano-forte, as also for the orchestra, had a most exalted estimate of Clementi, and never wearied of playing his music and sounding his praises. No musician has probably exerted more far-reaching effects in this department of his art than Clementi, though he can not be called a man of the highest genius, for this lofty attribute supposes great creative imagination and rich resources of thought, as well as knowledge, experience, skill, and transcendent apt.i.tude for a single instrument.

As far as a musician of such unique and colossal genius as Beethoven could be influenced by preceding or contemporary artists, his style as a piano-forte player and composer was more modified by Clementi than by any other. He was wont to say that no one could play till he knew Clementi by heart. He adopted many of the peculiar figures and combinations original with Clementi, though his musical mentality, incomparably richer and greater than that of the other, transfigured them into a new life. That Beethoven found novel means of expression to satisfy the importunate demands of his musical conceptions; that his piano works display a greater polyphony, stronger contrasts, bolder and richer rhythm, broader design and execution, by no means impair the value of his obligations to Clementi, obligations which the most arrogant and self-centered of men freely allowed. Beethoven's fancy was penetrated by all the qualities of tone which distinguish the string, reed, and bra.s.s instruments; his imagination shot through and through with orchestral color; and he succeeded in saturating his sonatas with these rich effects without sacrificing the specialty of the piano-forte.

But in general style and technique he is distinctly a follower of Clementi. The most unique and splendid personality in music has thus been singled out as furnishing a vivid ill.u.s.tration of the influence exerted by Clementi in the department of the piano-forte.

Clementi lived to the age of eighty, and spent the last twelve years of his life in London uninterruptedly, his growing feebleness preventing him from taking his usual musical trips to the Continent. He retained his characteristic energy and freshness of mind to the last, and was held in the highest honor by the great circle of artists who had centered in London, for he was the musical patriarch in England, as Cherubini was in France at a little later date. He was married three times, had children in his old age, and only a few months before his death, Moscheles records in his diary, he was able to arouse the greatest enthusiasm by the vigor and brilliancy of his playing, in spite of his enfeebled physical powers. He died March 9, 1832, at Eversham, and his funeral gathered a great convocation of musical celebrities. His life covered an immense arch in the history of music.

At his birth Handel was alive; at his death Beethoven, Schubert, and Weber had found refuge in the grave from the ingrat.i.tude of a contemporary public. He began his career by practicing Scarlatti's harpsichord sonatas; he lived to be acquainted with the finest piano-forte works of all time. When he first used the piano, he practiced on the imperfect and feeble Silbermann instrument. When he died, the magnificent instruments of Erard, Broadwood, and Collard, to the latter of which his own mechanical and musical knowledge had contributed much, were in common vogue. Such was the career of Muzio Clementi, the father of piano-forte virtuosos. Had he lived later, he might have been far eclipsed by the great players who have since adorned the art of music. As Goethe says, through the mouthpiece of Wil-helm.

Meister: "The narrowest man may be complete while he moves within the bounds of his own capacity and acquirements, but even fine qualities become clouded and destroyed if this indispensable proportion is exceeded. This unwholesome excess, however, will begin to appear frequently, for who can suffice to the swift progress and increasing requirements of the ever-soaring present time?" But, measured by his own day and age, Clementi deserves the pedestal on which musical criticism has placed him.

MOSCHELES.

Clementi and Mozart as Points of Departure in Piano-forte Playing.--Moscheles the most Brilliant Climax reached by the Viennese School.--His Child-Life at Prague.--Extraordinary Precocity.--Goes to Vienna as the Pupil of Salieri and Albrechts-burger.--Acquaintance with Beethoven.--Moscheles is honored with a Commission to make a Piano Transcription of Beethoven's "Fidelio."--His Intercourse with the Great Man.--Concert Tour.--Arrival in Paris.--The Artistic Circle into which he is received.--Pictures of Art-Life in Paris.--London and its Musical Celebrities.--Career as a Wandering Virtuoso.--Felix Mendelssohn becomes his Pupil.--The Mendelssohn Family.--Moscheles's Marriage to a Hamburg Lady.--Settles in London.--His Life as Teacher, Player, and Composer.--Eminent Place taken by Moscheles among the Musicians of his Age.--His Efforts soothe the Sufferings of Beethoven's Deathbed.--Friendship for Mendelssohn.--Moscheles becomes connected with the Leipzig Conservatorium.--Death in 1870.--Moscheles as Pianist and Composer.--Sympathy with the Old as against the New School of the Piano.--His Powerful Influence on the Musical Culture and Tendencies of his Age.

I.

The rivalry of Clementi and Mozart as exponents of piano-forte playing in their day was continued in their schools of performance. The original cause of this difference was largely based on the character of the instruments on which they played. Clementi used the English piano-forte, and Mozart the Viennese, and the style of execution was no less the outcome of the mechanical difference between the two vehicles of expression than the result of personal idiosyncrasies. The English instrument was speedily developed into the production of a richer, fuller, and more sonorous tone, while the Viennese piano-forte continued for a long time to be distinguished by its light, thin, sweet quality of sound, and an action so sensitive that the slightest pressure produced a sound from the key, so that the term "breathing on the keys" became a current expression, Clementi's piano favored a bold, masculine, brilliant style of playing, while the Viennese piano led to a rapid, fluent, delicate treatment. The former player founded the school which has culminated, through a series of great players, in the magnificent virtuosoism of Franz Liszt, while the Vienna school has no nearer representative than Tgnaz Moscheles, one of the greatest players in the history of the pianoforte, who, whether judged by his gifts as a concert performer, a composer for the instrument which he so brilliantly adorned, or from his social and intellectual prominence, must be set apart as peculiarly a representative man. There were other eminent players, such as Hummel, Czerny, and Herz, contemporary with Moscheles and belonging to the same _genre_ as a pianist, but these names do not stand forth with the same clear and permanent l.u.s.ter in their relation to the musical art.

Ignaz Moscheles was born at Prague, May 30, 1794, his parents being well-to-do people of Hebrew stock. His father, a cloth merchant, was pa.s.sionately fond of music, and was accustomed to say, "One of my children must become a thoroughbred musician." Ignaz was soon selected as the one on whom the experiment should be made, and the rapid progress he made justified the accident of choice, for all of the family possessed some musical talent. The boy progressed too fast, for he attempted at the age of seven to play Beethoven's "Sonata Pathetique."

He was traveling on the wrong road, attempting what he could in no way attain, when his father took him to Dionys Weber, one of the best teachers of the time. "I come," said the parent, "to you as our first musician, for sincere truth instead of empty flattery. I want to find out from you if my boy has such genuine talent that you can make a really good musician of him." "Naturally, I was called on to play," says Moscheles, in his "Autobiography," "and I was bungler enough to do it with some conceit. My mother having decked me out in my Sunday best, I played my best piece, Beethoven's 'Sonata Pathetique.' But what was my astonishment on finding that I was neither interrupted by bravos nor overwhelmed by praise! and what were my feelings when Dionys Weber finally delivered himself thus:

"'Candidly speaking, the boy has talent, but is on the wrong road, for he makes bosh of great works which he does not understand, and to which he is utterly unequal. I could make something of him if you could hand him over to me for three years, and follow out my plan to the letter.

The first year he must play nothing but Mozart, the second Clementi, and the third Bach; but only that: not a note as yet of Beethoven; and if he persists in using the circulating libraries, I have done with him for ever.'"

This scheme was followed out strictly, and Moscheles at the age of fourteen had acquired a sufficient mastery of the piano to give a concert at Prague with brilliant success. The young musician continued to pursue his studies a.s.siduously under Weber's direction until his father's death, and his mother then determined to yield to his oft-repeated wish to try his musical fortunes in a larger field, and win his own way in life. So young Ignaz, little more than a child, went to Vienna, where he was warmly received in the hospitable musical circles of that capital. He took lessons in counterpoint from Albrechts-burger, and in composition from Salieri, and in all ways indicated that serene, tireless industry which marked his whole after-career. Moscheles spent eight years at Vienna, continually growing in estimation as artist and beginning to make his mark as a composer. His own reminiscences of the brilliant and gifted men who cl.u.s.tered in Vienna are very pleasant, but it is to Beethoven that his admiration specially went forth. The great master liked his young disciple much, and proposed to him that he should set the numbers of "Fidelio" for the piano, a task which, it is needless to say, was gladly accepted. Moscheles tells us one morning, when he went to see Beethoven, he found him lying in bed. "He happened to be in remarkably good spirits, jumped up immediately, and placed himself, just as he was, at the window looking out on the Schotten-bastei, with the view of examining the 'Fidelio' numbers which I had arranged. Naturally, a crowd of street-boys collected under the window, when he roared out, 'Now, what do these confounded boys want?' I laughed and pointed to his own figure. 'Yes, yes! You are quite right,' he said, and hastily put on a dressing-gown."

Moscheles's a.s.sociations were even at this early period with all the foremost people of the age, and he was cordially welcome in every circle. He composed a good deal, besides giving concerts and playing in private select circles, and was recognized as being the equal of Hummel, who had hitherto been accepted as the great piano virtuoso of Vienna.

The two were very good friends in spite of their rivalry. They, as well as all the Viennese musicians, were bound together by a common tie, very well expressed in the saying of Moscheles: "We musicians, whatever we be, are mere satellites of the great Beethoven, the dazzling luminary."

II.

In the autumn of 1816 Moscheles bade a sorrowful adieu to the imperial city, where he had spent so many happy years, to undertake an extended concert tour, armed with letters of introduction to all the courts of Europe from Prince Lichtenstein, Countess Hardigg, and other influential admirers. He proceeded directly to Leipzig, where he was warmly received by the musical fraternity of that city, especially by the Wiecks, of whose daughter Clara he speaks in highly eulogistic words. He played his own compositions, which already began to show that serene and finished beauty so characteristic of his after-writings. a similar success greeted him at Dresden, where, among other concerts, he gave one before the court. Of this entertainment Moscheles writes: "The court actually dined (this barbarous custom still prevails), and the royal household listened in the galleries, while I and the court band made music to them, and barbarous it really was; but, in regard to truth, I must add that royalty and also the lackeys kept as quiet as possible, and the former congratulated me, and actually condescended to admit me to friendly conversation." He continued his concerts in Munich, Augsburg, Amsterdam, Brussels, and other cities, creating the most genuine admiration wherever he went, and finally reached Paris in December, 1817.

Here our young artist was promptly received in the extraordinary world of musicians, artists, authors, wits, and social celebrities which then, as now, made Paris so delightful for those possessing the countersign of admission. Baillot, the violinist, gave a private concert in his honor, in which he in company with Spohr played before an audience made up of such artists and celebrities as Cherubini, Auber, Herold, Adam, Lesueur, Pacini, Paer, Habeneck, Plantade, Blangini, La-font, Pleyel, Ivan Muller, Viotti, Pellegrini, Boeldieu, Schlesinger, Manuel Garcia, and others. These areopagites of music set the mighty seal of their approval on Moscheles's genius. He was invited everywhere, to dinners, b.a.l.l.s, and _fetes_, and there was no _salon_ in Paris so high and exclusive which did not feel itself honored by his presence. His public concerts were thronged with the best and most critical audiences, and he by no means shone the less that he appeared in conjunction with other distinguished artists. He often entertained parties of jovial artists at his lodgings, and music, punch, and supper enlivened the night till 3 A.M. Whoever could play or sing was present, and good music alternated with amusing tricks played on the respective instruments. "Altogether," he writes, "it is a happy, merry time! Certainly, at the last state dinner of the Rothschilds, in the presence of such notabilities as Canning or Narischkin, I was obliged to keep rather in the background. The invitation to a large, brilliant, but ceremonious ball appears a very questionable way of showing me attention. The drive up, the endless queue of carriages, wearied me, and at last I got out and walked.

There, too, I found little pleasure." On the other hand, he praises the performance of Gluck's opera at the house of the Erards. The "concerts spirituels" delight him. "Who would not," he says, "envy me this enjoyment? These concerts justly enjoy a world-wide celebrity. There I listen with the most solemn earnestness." On the other hand, there are cheerful episodes, and jovial dinners with Carl Blum and Schlesinger, at the Restaurant Lemelle. "Yesterday," he writes, "Schlesinger quizzed me about my slowness in eating, and went so far as to make the stupid bet with me, that he would demolish three dozen oysters while I ate one dozen, and he was quite right. On perceiving, however, that he was on the point of winning, I took to making faces, made him laugh so heartily that he couldn't go on eating; thus I won my bet." We find the following notice on the 20th of March: "I spent the evening at Ciceri's, son-in-law of Isabey, the famous painter, where I was introduced to one of the most interesting circles of artists. In the first room were a.s.sembled the most famous painters, engaged in drawing several things for their own amus.e.m.e.nt. In the midst of these was Cherubini, also drawing. I had the honor, like every one newly introduced, of having my portrait taken in caricature. Bega.s.se took me in hand, and succeeded well. In an adjoining room were musicians and actors, among them Ponchard, Le-va.s.seur, Dugazon, Panseron, Mlle, de Munck, and Mme.

Livere, of the Theatre Francais. The most interesting of their performances, which I attended merely as a listener, was a vocal quartet by Cherubini, performed under his direction. Later in the evening, the whole party armed itself with larger or smaller 'mirlitons' (reed-pipe whistles), and on these small monotonous instruments, sometimes made of sugar, they played, after the fashion of Russian horn music, the overture to 'Demophon,' two frying-pans representing the drums." On the 27th of March this "mirliton" concert was repeated at Ciceri's, and on this occasion Cherubini took an active part. Moscheles relates: "Horace Vernet entertained us with his ventriloquizing powers, M. Salmon with his imitation of a horn, and Dugazon actually with a 'mirliton' solo.

Lafont and I represented the cla.s.sical music, which, after all, held, its own." It was hard to tear himself from these gayeties; but he had not visited London, and he was anxious to make himself known at a musical capital inferior to none in Europe. He little thought that in London he was destined to find his second home. He plunged into the gayeties and enjoyments of the English capital with no less zest than he had already experienced in Paris. He found such great players as J. B.

Cramer, Ferdinand Ries, Kalkbrenner, and Clementi in the field; but our young artist did not altogether lose by comparison. Among other distinguished musicians, Moscheles also met Kiesewetter, the violinist, the great singers Mara and Catalani, and Dragonetti, the greatest of double-ba.s.s players. Dragonetti was a most eccentric man, and of him Moscheles says: "In his _salon_ in Liecester Square he has collected a large number of various kinds of dolls, among them a negress. When visitors are announced, he politely receives them, and says that this or that young lady will make room for them; he also asks his intimate acquaintances whether his favorite dolls look better or worse since their last visit, and similar absurdities. He is a terrible snuff-taker, helping himself out of a gigantic snuff-box, and he has an immense and varied collection of snuff-boxes. The most curious part of him is his language, a regular jargon, in which there is a mixture of his native Bergamese, bad French, and still worse English."

During the several months of this first English visit Moscheles made many acquaintances which were destined to ripen into solid friendships, and gave many concerts in which the most distinguished artists, vocal and instrumental, partic.i.p.ated. Altogether, he appears to have been delighted with the London art and social world little less than he had been with that of Paris. He returned, however, to the latter city in August, and again became a prominent figure in the most fashionable and admired concerts. During this visit to Paris he writes in his diary: "Young Erard took me to-day to his piano-forte factory to try the new invention of his uncle Sebastian. This quicker action of the hammer seems to me so important that I prophesy a new era in the manufacture of piano-fortes. I still complain of some heaviness in the touch, and, therefore, prefer to play on Pape's and Petzold's instruments (Viennese pianos). I admired the Erards, but am not thoroughly satisfied, and urged him to make new improvements."

From 1815, when Moscheles began his career as a virtuoso in the production of his "Variationen fiber den Alexandermarsch," to 1826, he established a great reputation as a virtuoso and composer for the piano-forte. Though he played his own works at concerts with marked approbation, he also became distinguished as an interpreter of Mozart and Beethoven, for whom he had a reverential admiration. Moscheles often records his own sense of insignificance by the side of these t.i.tans of music. A delightful characteristic of the man was his modesty about himself, and his genial appreciation of other musicians. Nowhere do those performers who, for example, came in active rivalry with himself, receive more cordial and unalloyed praise. Moscheles was entirely devoid of that littleness which finds vent in envy and jealousy, and was as frank and sympathetic in his estimate of others as he was ambitious and industrious in the development of his own great talents. In 1824 he gave piano-forte lessons to Felix Mendelssohn, then a youth of fifteen, at Berlin. He wrote of the Mendelssohn family: "This is a family the like of which I have never known. Felix, a boy of fifteen, is a phenomenon.

What are all prodigies as compared with him? Gifted children, but nothing else. This Felix Mendelssohn is already a mature artist, and yet but fifteen years old! We at once settled down together for several hours, for I was obliged to play a great deal, when really I wanted to hear him and see his compositions, for Felix had to show me a concerto in C minor, a double concerto, and several motets; and all so full of genius, and at the same time so correct and thorough! His elder sister f.a.n.n.y, also extraordinarily gifted, played by heart, and with admirable precision, fugues and pa.s.sacailles by Bach. I think one may well call her a thorough 'Mus. Doc' (guter Musiker). Both parents give one the impression of being people of the highest refinement. They are far from overrating their children's talents; in fact, they are anxious about Felix's future, and to know whether his gift will prove sufficient to lead to a n.o.ble and truly great career. Will he not, like so many other brilliant children, suddenly collapse? I a.s.serted my conscientious conviction that Felix would ultimately become a great master, that I had not the slightest doubt of his genius; but again and again I had to insist on my opinion before they believed me. These two are not specimens of the genus prodigy-parents (Wunderkinds Eltern), such as I most frequently endure." Moscheles soon came to the conclusion that to give Felix regular lessons was useless. Only a little hint from time to time was necessary for the marvelous youth, who had already begun to compose works which excited Moscheles's deepest admiration.

III.

In January, 1825, Moscheles, in the course of his musical wanderings, gave several concerts at Hamburg. Among the crowd of listeners who came to hear the great pianist was Charlotte Embden, the daughter of an excellent Hamburg family. She was enchanted by the playing of Moscheles, and, when she accidentally made the acquaintance of the performer at the house of a mutual acquaintance, the couple quickly became enamored of each other. A brief engagement of less than a month was followed by marriage, and so Moscheles entered into a relation singularly felicitous in all the elements which make domestic life most blessed. After a brief tour in the Rhenish cities, and a visit to Paris, Moscheles proceeded to London, where he had determined to make his home, for in no country had such genuine and unaffected cordiality boon shown him, and nowhere were the rewards of musical talent, whether as teacher, virtuoso, or composer, more satisfying to the man of high ambition. He made London his home for twenty years, and during this time became one of the most prominent figures in the art circles of that great city. Moscheles's mental accomplishments and singular geniality of nature contributed, with his very great abilities as a musician, to give him a position attained by but few artists. He gave lessons to none but the most talented pupils, and his services were sought by the most wealthy families of the English capital, though the ability to pay great prices was by no means a pa.s.sport to the good graces of Moscheles. Among the pupils who early came under the charge of this great master was Thalberg, who even then was a brilliant player, but found in the exact knowledge and great experience of Moscheles that which gave the crowning finish to his style. Busy in teaching, composing, and public performance; busy in responding to the almost incessant demands made by social necessity on one who was not only intimate in the best circles of London society, but the center to whom all foreign artists of merit gravitated instantly they arrived in London; busy in confidential correspondence with all the great musicians of Europe, who discussed with the genial and sympathetic Moscheles all their plans and aspirations, and to whom they turned in their moments of trouble, he was indeed a busy man; and had it not been for the loving labors of his wife, who was his secretary, his musical copyist, and his a.s.sistant in a myriad of ways, he would have been unequal to his burden. Moscheles's diary tells the story of a man whose life, though one of tireless industry, was singularly serene and happy, and without those salient accidents and vicissitudes which make up the material of a picturesque life.

He made almost yearly tours to the Continent for concert-giving purposes, and kept his friendship with the great composers of the Continent green by personal contact. Beethoven was the G.o.d of his musical idolatry, and his pilgrimage to Vienna was always delightful to him. When Beethoven, in the early part of 1827, was in dire distress from poverty, just before his death, it was to Moscheles that he applied for a.s.sistance; and it was this generous friend who promptly arranged the concert with the Philharmonic Society by which one hundred pounds sterling was raised to alleviate the dying moments of the great man whom his own countrymen would have let starve, even as they had allowed Schubert and Mozart to suffer the direst want on their deathbeds.

An adequate record of Moscheles's life during the twenty years of his London career would be a pretty full record of all matters of musical interest occurring during this time. In 1832 he was made one of the directors of the Philharmonic Society, and in 1837-'38 he conducted with signal success Beethoven's "Ninth Symphony." When Sir Henry Bishop resigned, in 1845, Moscheles was made the conductor, and thereafter wielded the baton over this orchestra, the n.o.blest in England. Among the yearly pleasures to which our pianist looked forward with the greatest interest were the visits of Mendelssohn, between whom and Moscheles there was the most tender friendship. Whole pages of his diary are given up to an account of Mendelssohn's doings, and to the most enthusiastic expression of his love and admiration for one of the greatest musical geniuses of modern times.

We can not attempt to follow up the placid and gentle current of Moscheles's life, flowing on to ever-increasing honor and usefulness, but hasten to the period when he left England in 1846, to become a.s.sociated with Mendelssohn in the conduct of the Leipzig Conservatorium, then recently organized. Mendelssohn lived but a few months after achieving this great monument of musical education, but Moscheles remained connected with it for nearly twenty years, and to his great zeal, knowledge, and executive skill is due in large measure the solid success of the inst.i.tution. Mendelssohn's early death, while yet in the very prime of creative genius, was a stunning blow to Moscheles; more so, perhaps, than would have occurred from the loss of any one except his beloved wife, the mother of his five children. Our musician died himself, in Leipzig, March 10, 1870, and his pa.s.sage from this world was as serene and quiet as his pa.s.sage through had been. He lived to see his daughters married to men of high worth and position, and his sons substantially placed in life. Perhaps few distinguished musicians have lived a life of such monotonous happiness, unmarked by those events which, while they give romantic interest to a career, make the gift at the expense of so much personal misery.

IV.

As a pianist Moscheles was distinguished by an incisive, brilliant touch, wonderfully clear, precise phrasing, and close attention to the careful accentuation of every phase of the composer's meaning. Of the younger composers for the piano, Mendelssohn and Schumann were the only ones with whose works he had any sympathy, though he often complains of the latter on account of his mysticism. His intelligence had as much if not more part in his art work than his emotions, and to this we may attribute that fine symmetry and balance in his own compositions, which make them equal in this respect to the productions of Mendelssohn.

Chopin he regarded with a sense of admiration mingled with dread, for he could by no means enter into the peculiar conditions which make the works of the Polish composer so unique. He wrote of Chopin's "etudes,"

in 1838: "My thoughts and consequently my fingers ever stumble and sprawl at certain crude modulations, and I find Chopin's productions on the whole too sugared, too little worthy of a man and an educated musician, though there is much charm and originality in the national color of his motive." When he heard Chopin play in after-years, however, he confessed the fascination of the performance, and bewailed his own incapacity to produce such effects in execution, though himself one of the greatest pianists in the world. So, too, Moscheles, though dazzled by Liszt's brilliant virtuosoism and power of transforming a single instrument into an orchestra, shook his head in doubt over such performances, and looked on them as charlatanism, which, however magnificent as an exhibition of talent, would ultimately help to degrade the piano by carrying it out of its true sphere. Moscheles himself was a more bold and versatile player than any other performer of his school, but he aimed a.s.siduously to confine his efforts within the perfectly legitimate and well-established channels of pianism.

As an extemporaneous player, perhaps no pianist has ever lived who could surpa.s.s Moscheles. His improvisation on themes suggested by the audience always made one of the most attractive features of his concerts. His profound musical knowledge, his strong sense of form, the clearness and precision with which he instinctively clothed his ideas, as well as the fertility of the ideas themselves, gave his improvised pieces something of the same air of completeness as if they were the outcome of hours of laborious solitude. His very lack of pa.s.sion and fire were favorable to this clear-cut and symmetrical expression. His last improvisation in public, on themes furnished by the audience, formed part of the programme of a concert at London, in 1865, given by Mme. Jenny Lind Goldschmidt, in aid of the sufferers by the war between Austria and Prussia, where he extemporized for half an hour on "See the Conquering Hero Comes," and on a theme from the andante of Beethoven's C Minor Symphony, in a most brilliant and astonishing style.

Aside from his greatness as a virtuoso and composer for the piano-forte, whose works will always remain cla.s.sics in spite of vicissitudes of public opinion, even as those of Spohr will for the violin, the influence of Moscheles in furtherance of a solid and true musical taste was very great, and worthy of special notice. Perhaps no one did more to educate the English mind up to a full appreciation of the greatest musical works. As teacher, conductor, player, and composer, the life of Ignaz Moscheles was one of signal and permanent worth, and its influences fertilized in no inconsiderable streams the public thought, not only of his own times, but indirectly of the generation which has followed. It is not necessary to attribute to him transcendent genius, but lie possessed, what was perhaps of equal value to the world, an intellect and temperament splendidly balanced to the artistic needs of his epoch. The list of Moscheles's numbered compositions reaches Op.

142, besides a large number of ephemeral productions which he did not care to preserve.