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 forms used were nominally the same, but the treatment was less academic and restrained. Insensibly, as time went on, the old patterns were transformed into those of the post-classical and romantic schools.

It must be conceded that the general style here in view was open to abuse by foolish or dishonest artists. But, on the other hand, its early evolution was mainly directed by intelligent and earnest leaders, and the critical demands that it was obliged to meet were usually severe, so that charlatanry was quickly detected. The custom of extemporization was a wholesome check upon empty pretension.

Upon the minute studies which this school made of every aspect of executive equipment was based the splendid virtuosity of the 19th century. Indeed, in this direction there was no clear demarcation between the two centuries, and most of the leading early masters worked both before and after 1800.

Muzio Clementi (d. 1832), born in 1752 at Rome, was first trained there by church musicians, early becoming an organist and a composer in the contrapuntal style. In 1766 his remarkable talent attracted notice from Peter Beckford, an Englishman, who took him to London for further education. In 1770 he captured the public by his phenomenal playing, in 1773 published important sonatas, and from 1777 was conductor of the Italian opera. In 1781 he toured as a virtuoso to France and Austria, at Vienna competing brilliantly with Mozart (who criticized his mechanicalness). From this time, probably owing to his contact with Mozart, his style acquired more feeling and a higher musicianship. Except for a trip to Paris in 1785, he remained in England for 20 years, engrossed in many activities, among them a connection with instrument-making, etc., which in 1798 led to the founding of the firm of Clementi & Co. (later Collard & Collard). Between 1802 and '10 he made several tours, including two to Russia, and in 1820-1 was in Leipsic. His activity as teacher, composer and business man continued unabated to the end. He wrote almost wholly for the piano—about 100 sonatas, nearly half of them for the piano with other instruments, many minor pieces, several pedagogic works, chief of which was the famous Gradus (1817)—but also some good symphonies. His style was strictly classical, resourceful and full of nervous energy. He made demands upon the executant which are felt to be taxing even yet. His historic position was strategic, since he lived from the death of Bach till after that of Beethoven, and his power is indicated by the number of distinguished pupils whom he trained, and by the fact that his work was used by Beethoven as a corner-stone for his own.

Ludwig van Beethoven (d. 1827), born and brought up at Bonn, was a phenomenal player from early years, studying under Neefe, the court-organist, whose deputy he was at 11. In 1787 he visited Vienna, meeting Mozart and giving signs of future power. In 1791 he made a short tour up the Rhine,