Clementi, and very likely may have inspired them through a desire of illustrating a bolder and more masterly style of pianism. Among the many talented pupils of Clementi was Ludwig Berger (1777-1838), of Berlin, whose unmistakable gifts for the piano attracted the master's attention when he was in Berlin in 1802, and he took him along with him to St. Petersburg. After living some years in that city, and later in London, he returned to Berlin, where he was held in the highest esteem as teacher until his death. Among the distinguished who studied with him were Mendelssohn, Taubert, Henselt, Fanny Hensel, Herzsberg, and others. He was an indefatigable composer of decided originality. But few of his works were published. A set of his studies is highly esteemed by many. In further illustration of the Mozart principles of piano playing, and with a reputation as composer, which in his lifetime was curiously beyond his merits, was J.M. Hummel (1778-1837). He was born at Presburg, and had the good luck to attract the favorable notice of Mozart. He was received into the house of the master, and was regarded as the best representative of Mozart's ideas. He made his early appearances as a child pianist under the care of his father, in most parts of Germany and Holland. In 1804 he succeeded Haydn as musical director to the Esterhazy establishment. He afterward held several other appointments of credit, and played much in all parts of Europe. He was a pleasant player, with a light, smooth touch, suited to the Viennese pianofortes of the time. [Illustration: Fig. 65. HUMMEL.] The latest of the virtuosi representing the classical traditions of the pianoforte, uninfluenced by the new methods which came in with Thalberg and Liszt, was Ignaz Moscheles (1794-1870). He was born at Prague, his father being a cloth merchant and Israelite. [Illustration: Fig. 66. MOSCHELES.] He had the usual childhood of promising musicians, playing everything he could lay his hands upon, including Beethoven's "_Sonata Pathetique_," and at the age of seven he was taken to Dionys Weber, whose verdict is worth remembering. He said: "Candidly speaking, the boy is on the wrong road, for he makes hash of great works which he does not understand, and to which he is entirely unequal. But he has talent, and I could make something of him if you were to hand him over to me for three years, and follow out my plan to the letter. The first year he must play nothing but Mozart, the second Clementi, the third Bach; but only that--not a note as yet of Beethoven, and if he persists in using the circulating musical libraries, I have done with him forever." Having completed his studies after this severe _regime_, Moscheles began his concert appearances, which were everywhere successful. He continued his studies in Vienna with Salieri, and Beethoven thought so well of him that he engaged him to make the pianoforte arrangement of "_Fidelio_." This was in 1814.