especially winning notice as a wonderful improvisator. Late in 1792 he was sent by the Elector to Vienna and the first striking period of his life began (see sec. 168). The points to be here observed are that his youthful reputation and his first impression at Vienna were made as a pianist, that his style was formed largely upon the lines of Clementi's, but that the force of his genius early led to a highly original line of expression, which ultimately began a new epoch.
Johann Ladislaus Dussek (d. 1812), born in Bohemia in 1761, was another youthful prodigy, taking up the piano at 5 and the organ at 9 under Jesuit teachers at Iglau, Kuttenberg and Prague. With an Austrian officer as patron, he was taken to the Low Countries and was organist at several places, with a short, but brilliant career as player, composer and teacher at Amsterdam and The Hague. In 1783 he studied with Emanuel Bach at Hamburg and appeared at Berlin. For a time he was a leading virtuoso upon Hessel's harmonica as well as the piano. After wide tours, he lived at Paris and ten years (1790-1800) at London, where he was intimate with Clementi. Resuming a roving life, he was connected with Prince Louis Ferdinand (1803-6) and then dependent on a series of patrons, the last being Talleyrand. He wrote about 15 concertos, over 50 solo sonatas and 80 with violin, several trios, etc., a large quantity of minor pieces, including rondos and variations, with considerable church music, and prepared a piano-method (about 1800). His Élégie, op. 61, after Prince Louis' death (1806), the Farewell, op. 44, dedicated to Clementi, and several other works, are still well-known. He was one of the promoters of the true 'singing tone,' had an overflowing gift of melodic invention, and was original in harmony and in form. He is often noted as the first famous Bohemian musician.
August Eberhard Müller (d. 1817), a pupil of the Bückeburg Bach, began touring when 14 (1781), playing either piano, organ or flute. From 1789 he was organist at Magdeburg, from 1794 first flute in the Leipsic concert-orchestra, as well as organist at the Nikolaikirche and Hiller's assistant at the Thomasschule, in 1804 succeeding him as cantor, and from 1810 court-choirmaster at Weimar. He wrote concertos, sonatas and smaller works, much music for the flute and for church use, some songs and a singspiel, besides editing a favorite piano-method (1804, revised from Löhlein) and preparing a guide to Mozart's concertos and original cadenzas therefor.
Johann Baptist Cramer (d. 1858), born at Mannheim in 1771, the son of the violinist Wilhelm Cramer, was brought up in London, having two years of lessons with Clementi. He made his début in 1781 and from 1788 toured on the Continent, meeting Haydn and Beethoven. The latter was greatly impressed with his ability always. In 1828 he founded the publishing firm of Cramer & Co. at London. From 1835 to '45 he lived abroad, at Munich and Paris. He wrote 7 fine concertos, over 100 sonatas, many shorter pieces, several sets of studies and a famous method (5 parts, 1846). Though his life reached beyond 1850, bringing him into contact with Liszt, he belonged to the early age of pianism, his style being formed upon the theory and practice of the 18th century. He laid stress upon the equal development of the two hands, excelled in the delivery of slow movements, and was a facile and learned improvisator, but in originality did not match Clementi and Dussek.
