d sonata of Beethoven can hardly be
accounted for without recognizing Dussek as the composer upon some one
of whose works its general style and form were modeled.

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 illustratio