What were his contributions to piano playing? Give a sketch of Cramer. What work is most representative of Cramer as a composer? Mention his contributions to piano playing. Give an account of Hummel’s life. What classic pianist was a pupil of Mozart? What was his influence on piano playing? Give a sketch of Czerny’s career. Who were Czerny’s most famous pupils? What influence did he exert on piano playing? Give a sketch of Moscheles’ life. What composer was the intimate friend of Moscheles? What is the value of his educational works? Give a sketch of Field’s career and his influence on piano playing. What form did Field originate? [Illustration: FRANZ PETER SCHUBERT.] LESSON XLII. FRANZ PETER SCHUBERT. The rise of the Romantic school involves a greater freedom in form, a fuller play of poetry and imagination, a general artistic evolution and independence in comparison with the formality of the Classic period. The struggle to establish these principles was long and obstinate, but the outcome was as inevitable as the victory won by Beethoven’s sonata and symphonic forms over the more primitive types of Haydn and Mozart. The first departures from the classic attitude were made by Schubert, whose influence has been permanent in the development of romanticism. =Schubert’s Early Life= (1797-1816).—Franz Peter Schubert was born in a suburb of Vienna, January 31, 1797. At an early age he had lessons on the violin from his father, who was a school teacher, and on the piano, from his elder brother. He so quickly outstripped both teachers that he was sent to Michael Holzer, choir-master of the parish, who taught him piano, organ, violin, singing and theory. In later years, Holzer disclaimed the value of his instruction, saying: “If I ever wished to teach him anything new, I found he had already mastered it.” After singing in the parish choir, he passed an examination for admission to the Imperial _Convict_ or school for the Royal choristers. The training included general education as well as music; there was also an orchestra among the boys in which Schubert played the violin and sometimes conducted. There were privations connected with life at the _Convict_, the practice rooms were insufferably cold, and the food insufficient. In 1810, Schubert began to compose, dating his pieces carefully, and the only check to his inspiration was the lack of music-paper, which he was too poor to buy. A generous friend made up the deficiency. In 1813, he left the _Convict_, although his general education was by no means complete, since he had neglected his studies on account of his increasing passion for composition. After leaving the _Convict_, Schubert taught elementary classes at his father’s school, but the drudgery became insupportable. An ardent friend and admirer, Franz von Schober, realizing that Schubert’s creative powers