sentiments and colors."

[Sidenote: _Beethoven._]

[Sidenote: _Mozart's manner of playing._]

Beethoven began with the sentiment and worked from it outwardly,
modifying the form when it became necessary to do so, in order to
obtain complete and perfect utterance. He made spirit rise superior to
matter. This must be borne in mind when comparing the technique of the
previous period with that of which I have made Beethoven the
representative. In the little that we are privileged to read of
Mozart's style of playing, we see only a reflex of the players who
went before him, saving as it was permeated by the warmth which went
out from his own genial personality. His manipulation of the keys had
the quietness and smoothness that were praised in Bach and Handel.

"Delicacy and taste," says Kullak, "with his lifting of the
entire technique to the spiritual aspiration of the idea,
elevate him as a virtuoso to a height unanimously conceded
by the public, by connoisseurs, and by artists capable of
judging. Clementi declared that he had never heard any one
play so soulfully and charmfully as Mozart; Dittersdorf
finds art and taste combined in his playing; Haydn
asseverated with tears that Mozart's playing he could never
forget, for it touched the heart. His staccato is said to
have possessed a peculiarly brilliant charm."

[Sidenote: _Clementi._]

[Sidenote: _Beethoven as a pianist._]

The period of C.P.E. Bach, Haydn, and Mozart is that in which the
pianoforte gradually replaced its predecessors, and the first real
pianist was Mozart's contemporary and rival, Muzio Clementi. His chief
significance lies in his influence as a technician, for he opened the
way to the modern style of play with its greater sonority and capacity
for expression. Under him passage playing became an entirely new
thing; deftness, lightness, and fluency were replaced by stupendous
virtuosoship, which rested, nevertheless, on a full and solid tone. He
is said to have been able to trill in octaves with one hand. He was
necessary for the adequate interpretation of Beethoven, whose music is
likely to be best understood by those who know that he, too, was a
superb pianoforte player, fully up to the requirements which his last
sonatas make upon technical skill as well as intellectual and
emotional gifts.

[Sidenote: _Beethoven's technique._]

[Sidenote: _Expression supreme._]

Czerny, who was a pupil