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instinct of a finished executant and the greater dramatic impulse, while Schubert had the higher lyric inspiration and the nicer sense of form. Neither of these became a dominating force in pianistic development. This is still more true of Meyerbeer, the remaining great pianist among the masters already mentioned.

In the rapidly widening circle of specialists the two 'schools' of Mozart and of Clementi can still be traced, though with steadily lessening distinctness. The chief exponent of the former was Hummel, of the latter, Clementi himself. As they drew together, new tendencies declared themselves. One of these, led by the English Field and furthered by the Bohemian Moscheles, pointed toward the elegance of Mendelssohn and, to a less degree, toward the sentimentality of Chopin. Another, fostered by the attention given by teachers and virtuosi to technique, aimed more at astounding brilliance of superficial effect than at solidity of intrinsic contents. To this latter tendency the rising French school of pianists, in which Kalkbrenner was conspicuous, contributed more and more.

In referring to the leading pianistic figures of the time, it is convenient to draw a rough distinction between the virtuosi and the pedagogues, though most of the important artists were both.

To the list of virtuosi already given (secs. 161-162) these may be added:—

Francesco Pollini (d. 1846), born in Illyria, a pupil of Mozart and Zingarelli, became noted before 1790 as a keyboard performer, uniting qualities from both Viennese and English schools, and in brilliance ranking with the best. From 1809 he taught in the new Milan conservatory. He is known by many piano-works, including some (from 1820) in which he used the novel device of three staffs, so as to indicate a cantabile melody with florid accompaniment. He also wrote a method (c. 1810), besides operas (from 1798), a Stabat Mater, cantatas and songs. He was one of the forerunners of the 'brilliant' school.

John Field (d. 1837) was born at Dublin in 1782 of a musical family and was severely drilled in music as a child. At 12, when taken to London, he was employed by Clementi for ten years as an exhibitor of pianos—an uncouth and offish youth, but a marvelous performer, able to impress even Parisian critics (1802) by his treatment of Bach's fugues. In 1804 Clementi took him to Russia, where he remained, first at St. Petersburg and from 1823 at Moscow, enjoying immense success as player and teacher. In 1832-4 he visited London and toured through France and Italy, where his health broke down. Russian admirers came to his help and took him back, by way of Vienna, to Moscow, where he died. His qualities as a player are evinced by his works, which include 7 concertos, several sonatas, 2 fantasias, many airs, rondos, etc., and 18 'nocturnes.' Especially in these last appear his gifts in delicate sentiment and the graceful development of melodic material, foreshadowing the intimate and passionate keyboard lyrics of the Chopinesque order.