tended toward formality and mannerism, and to-day it seems somewhat insipid. But, it is to be remembered, the practice of extemporization was fairly universal and was carried to a pitch of learning and dexterity that is now rare. In performances of this sort every device of development was often utilized, from the set variation to the elaborate polyphonic fantasia or fugue. We may doubt, therefore, whether extant works fully represent the accomplishments of the time.
The traditions of this school of composing and playing, then, were typically those of the classical period generally. As handed on to the 19th century, they blended beneficially with the new tendencies then arising, since they kept in view the need of substantial thematic ideas and of symmetry, order and finish in their elaboration.
No attempt will here be made to enumerate the line of able clavier-players
through the middle of the 18th century. Somewhat famous examples, in
addition to some already named, were Johann Gottlieb Goldberg (d. c. 1760?),
about 1740 a pupil of Friedemann Bach and his father, later chamber musician
to Count Brühl at Dresden, who was an amazing improvisator and the
composer of difficult concertos, sonatas, preludes, fugues, etc.; and Johann Friedrich Gottlieb Beckmann (d. 1792), for many years organist at Celle, who
also excelled in extemporization and contrapuntal work, but chose a popular
style in his sonatas (from 1769) and single or double concertos (from 1779.)
Mozart (d. 1791) secured his youthful triumphs (from 1762) upon the harpsichord (see secs. 156-157). From 1777 he turned to the piano, which he learned to appreciate at Augsburg. The characteristics of the instruments at hand combined with his predilections to keep his style smooth and objective, though not lacking in geniality and vivacity. In his 25 concertos (mostly from his mature period) he attained one of his highest successes, happily emphasizing the capacity of the piano for melody, and welding it and the orchestra into a beautiful unity. His sonatas were generally less significant.
Franz Duschek (d. 1799), a pupil of Wagenseil, from 1763 was a teacher at Prague, where he and his talented wife became leaders. Besides being a fine player, he wrote (from 1773) several concertos and sonatas (mostly in MS.). The Duscheks were ardent admirers of Mozart (from 1777) and helped to his successes at Prague in 1786-7.
Anton Eberl (d. 1807), a public player from youth and an opera-writer at Vienna at 16 (1782), attracted the notice of Gluck and Mozart, the latter of whom he imitated so well that his works were passed off by publishers as Mozart's. In 1796 he toured with Mozart's widow and then spent some years at St. Petersburg. His works (from 1792) were numerous and elaborate, including many concertos and chamber pieces.
Johann Nepomuk Hummel (d. 1837) as a boy, 7-9 years old (1785-7), was a pupil of Mozart, and, after tours in northwestern Europe, of Albrechtsberger
