sideways upon the platform, although the later ones may not have had an interesting profile to exhibit." The published works of this fine musician and creditable composer number nearly 100, and the sonata cuts a leading figure among them. He treated the piano with much more freedom and breadth than Mozart, though this is not so much to his credit as if he had not lived many years after Mozart died, his earliest compositions falling very near the last years of that great genius. He was distinctly a virtuoso, loving his instrument and its tonal powers. He was the first of all the players whose public performances called attention to the _quality_ of tone, and its _singing_ power. This also points not alone to the fact of his career falling in with the increased powers of the pianoforte, as a result of the inventions of Erard, Collard and Broadwood, but is to his personal credit, since it was genius in him enabling him to recognize these possibilities, at a time when most players were still in ignorance of them. As a composer he wrote many things of more than average excellence, and some of his lighter compositions still have vitality. It is altogether likely that Beethoven was influenced by Dussek's playing, in the direction of tone-color. Indeed, the third sonata of Beethoven can hardly be accounted for without recognizing Dussek as the composer upon some one of whose works its general style and form were modeled. Another pianist of considerable importance, a disciple of Mozart, yet with originality of his own, was J.B. Cramer (1771-1858). This talented and deserving musician was the son of a musician living at Mannheim, who removed to London when the young Cramer was but one year old. There the boy grew up, receiving his education from several reputable masters, Clementi being among them. His taste was formed by the diligent study of the works of Emanuel Bach, Haydn and Mozart. In spirit Cramer was a disciple of the last named, but from living to a good old age, he naturally surpassed his ideal in the treatment of the pianoforte. In the latter part of the eighteenth century there were few musical compositions sold over the music counters in Vienna and the musical world generally, but those of Dussek, Cramer and Pleyel, while those of Beethoven were comparatively neglected. Cramer's compositions were slight in real merit, his fame resting upon his studies for the piano, of which about thirty out of the entire 100 are very good music. The second, and last, book of these were published in 1810. They do not form a necessary part of the training of a virtuoso, but they have decided merits, and are generally included to this day in the list of pianistic indispensables. Cramer's style of playing was quiet and elegant. Moscheles gives an idea of it in his diary, and regrets that he should allow the snuff, which he took incessantly, to get upon the keys. Cramer's studies preceded those of