may be considered the father of virtuosoism on the piano-forte, and he has left an indelible mark, both mechanically and spiritually, on all that pertains to piano-playing. Compared with Clementi's style in piano-forte composition, that of Haydn and Mozart appears poor and thin. Haydn and Mozart regarded execution as merely the vehicle of ideas, and valued technical brilliancy less than musical substance. Clementi, on the other hand, led the way for that class of compositions which pay large attention to manual skill. His works can not be said to burn with that sacred fire which inspires men of the highest genius, but they are magnificently modeled for the display of technical execution, brilliancy of effect, and virile force of expression. The great Beethoven, who composed the greatest works for the piano-forte, as also for the orchestra, had a most exalted estimate of Clementi, and never wearied of playing his music and sounding his praises. No musician has probably exerted more far-reaching effects in this department of his art than Clementi, though he can not be called a man of the highest genius, for this lofty attribute supposes great creative imagination and rich resources of thought, as well as knowledge, experience, skill, and transcendent aptitude for a single instrument. As far as a musician of such unique and colossal genius as Beethoven could be influenced by preceding or contemporary artists, his style as a piano-forte player and composer was more modified by Clementi than by any other. He was wont to say that no one could play till he knew Clementi by heart. He adopted many of the peculiar figures and combinations original with Clementi, though his musical mentality, incomparably richer and greater than that of the other, transfigured them into a new life. That Beethoven found novel means of expression to satisfy the importunate demands of his musical conceptions; that his piano works display a greater polyphony, stronger contrasts, bolder and richer rhythm, broader design and execution, by no means impair the value of his obligations to Clementi, obligations which the most arrogant and self-centered of men freely allowed. Beethoven's fancy was penetrated by all the qualities of tone which distinguish the string, reed, and brass instruments; his imagination shot through and through with orchestral color; and he succeeded in saturating his sonatas with these rich effects without sacrificing the specialty of the piano-forte. But in general style and technique he is distinctly a follower of Clementi. The most unique and splendid personality in music has thus been singled out as furnishing a vivid illustration of the influence exerted by Clementi in the department of the piano-forte.