beyond the demands of these later sonatas of the great Vienna master. In the later part of the eighteenth century there were a number of pianoforte virtuosi whose merits claim our attention at this point. At the head, in point of time, was the great Italian master, Muzio Clementi (1752-1832). Born at about the same time as Mozart, he outlived Beethoven. His early studies were pursued at Rome with so much enthusiasm that at the age of fourteen he had produced several important compositions of a contrapuntal character. These being successfully performed, attracted the attention of an English amateur living in Rome, who offered to take charge of the boy, carry him to England and see that his career was opened under favorable auspices. Until 1770, therefore (the year of Beethoven's birth), Clementi pursued his studies near London. Then, in the full force of his remarkable virtuosity, he burst upon the town. He carried everything before him, and had a most unprecedented success. His command of the instrument surpassed everything previously seen. After three years as cembalist and conductor at the Italian opera in London, he set out upon a tour as virtuoso. In 1781 he appeared in Paris, and so on toward Munich, Strassburg, and at length Vienna, where he met Haydn, and where, at the instigation of the Emperor Joseph II, he had a sort of musical contest with the young Mozart. Clementi, after a short prelude, introduced his sonata in B flat, the opening motive of which was afterward employed by Mozart in the introduction to the overture to the "Magic Flute"; and followed it up with a toccata abounding in runs in diatonic thirds and other doublestops for the right hand, at that time esteemed very difficult. The victory was regarded as doubtful, Mozart compensating for his less brilliant execution by his beautiful singing touch, of which Clementi ever afterward spoke with admiration. Moreover, from this meeting he himself endeavored to put more music and less show into his own compositions. Clementi was soon back in England, where he remained until 1802, when he took his promising pupil, John Field, inventor of the nocturne, upon a tour of Europe, as far as St. Petersburg, where they were received with unbounded enthusiasm. In 1810 he returned to London and gave up concert playing in public. He wrote symphonies for the London Philharmonic Society, published very many sonatas for piano (about 100 in all), and in 1817 published his master work, a set of 100 studies for the piano, in all styles, the "_Gradus ad Parnassum_," upon which to a considerable extent the entire modern art of piano playing depends. Clementi's idea in the work was to provide for the entire training of the pupil by means of it; not alone upon the technical, but upon the artistic side as well, and the majority of the pieces have artistic purpose no less than technical. The wide range taken by piano literature since Clementi's day, however, reduces the teacher to