To-day Risler remains perhaps alone in this school with his pure sensuous charm of touch. If, in the whole great group of technical artists, which is bounded on the one side by Wölffl, Wanhal, Kozeluch, Eberl, in Mozart’s generation, and on the other by Thalberg and Liszt in ours, we should look for truly pre-eminent spirits, then we should have remaining Clementi, the father of all technique; Hummel, the inventor of the modern piano-exercise; and Czerny, the genius of teaching. But if we ask for the lines of the motion which runs through this epoch, we observe the victory of a virtuoso impulse, which goes back to Hummel, over a plainer and more intellectual tendency which has its rise in Clementi. The school of Clementi prefers the English pianoforte with its heavier but richer touch; that of Hummel the Viennese, with its lighter tone, which lends itself more easily to effects. [Illustration: Ludwig Berger. Pupil of Clementi; founder of a widely influential piano-school at Berlin. Lithograph by Wildt.] But it is not possible to draw a sharp line between the two groups. A Moscheles serves not less the spirit of Clementi than that of Hummel. The simplicity of Cramer, the counterpoint of Klengel, the plainness of Ludwig Berger, the intensity of Field, belong to the circle of Clementi’s influence. Berger’s pupils, Greulich, Heinrich Dorn, Wilhelm Taubert, Albert Löschhorn, whose studies still live, carry this style down to our own time. The teaching of Hummel lived on in Ferdinand Hiller, Benedict, Wilmers, Baake, Ernst Pauer, the Viennese Pixis. While Beethoven left behind him as actual pupils only the Archduke Rudolf and Ferdinand Ries, a respectable imitator, his temporary pupil Czerny passed over into the wake of Hummel, and brought the Viennese style to a final victory. Kalkbrenner, Moscheles, Weber, Liszt, Thalberg, Döhler, Madame Oury, Madame Pleyel, Theodore Kullak, Pollini, of whom many belong externally to Clementi’s school, passed as apostles of Viennese technique to all lands from St Petersburg to London, from Paris to Milan. Certain traditions of musical coteries and centres of instruction exhibit with this international character some more or less important local groups. In Prague men adored Tomaschek, the composer of Eclogues and Rhapsodies; Dionysius Weber, the first director of a Conservatorium there; and his successor Kittl. From Tomaschek’s school proceeded Alexander Dreyschock, the specialist of the left hand; Ignaz Tedesco, the “Hannibal of octaves”; and Schulhoff, the fashionable composer. In the middle of the century the Prague tradition was upheld by Proksch. In Frankfort lived Vollweiler, who enjoyed a widespread renown as a teacher, and later went to St Petersburg; and Aloys Schmitt, whose delicate Études have been taken up by Bülow into his great collection of educational pieces.