is most enthusiastically received.—­Extended Concert Tour in Italy and France.—­His Debut and Success in England.—­One Hundred and Eighty Concerts in Six Months.—­Ole Bull’s Gaspar di Salo Violin, and the Circumstances under which he acquired it.—­His Answer to the King of Sweden.—­First Visit and Great Success in America in 1848.—­Attempt to establish a National Theatre.—­The Norwegian Colony in Pennsylvania.—­Latter Years of Ole Bull.—­His Personal Appearance.—­Art Characteristics.

MUZIO CLEMENTI.

The Genealogy of the Piano-forte.—­The Harpsichord its Immediate Predecessor.—­Supposed Invention of the Piano-forte.—­Silbermann the First Maker.—­Anecdote of Frederick the Great.—­The Piano-forte only slowly makes its Way as against the Clavichord and Harpsichord.—­Emanuel Bach, the First Composer of Sonatas for the Piano-forte.—­His Views of playing on the New Instrument.—­Haydn and Mozart as Players.—­Muzio Clementi, the Earliest Virtuoso, strictly speaking, as a Pianist.—­Born in Rome in 1752.—­Scion of an Artistic Family.—­First Musical Training.—­Rapid Development of his Talents.—­Composes Contrapuntal Works at the Age of Fourteen.—­Early Studies of the Organ and Harpsichord.—­Goes to England to complete his Studies.—­Creates an Unequaled Furore in London.—­John Christian Bach’s Opinion of Clementi.—­Clementi’s Musical Tour.—­His Duel with Mozart before the Emperor.—­Tenor of Clementi’s Life in England.—­Clementi’s Pupils.—­Trip to St. Petersburg.—­Sphor’s Anecdote of Him.—­Mercantile and Manufacturing Interest in the Piano as Partner of Collard.—­The Players and Composers trained under Clementi.—­His Composition.—­Status as a Player.—­Character and Influence as an Artist.—­Development of the Technique of the Piano, culminating in Clementi.

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 Albrechtsburger.—­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.—­Moseheles’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 Death-bed.—­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.