One of the earliest of these new Romanticists was John Field, who was born in Ireland, visited London, had quite a career in Russia and foreshadowed Chopin in his playing. Then there was Ferdinand Ries, son of Beethoven’s early friend and teacher, Franz Ries; but the most famous of this period were Ignaz Moscheles and Frederick Kalkbrenner, a fluent composer and writer of studies. He was the first pianist to teach Clementi’s _Gradus ad Parnassum_. Ignaz Moscheles (1794–1870) was a Bohemian and from about 1815, the most brilliant pianist in Germany, France, Holland and England. He was Mendelssohn’s teacher. Chopin wrote three études (studies) on an order from Moscheles. He is a _very_ important figure in the growing up of piano music. Carl Czerny (1791–1857) was another _very_ important pianist and one of the few pupils of Beethoven. He was a follower of Hummel and Clementi and won great fame as a teacher in Vienna, where he lived. He wrote a great many pieces, about a thousand in all, making many arrangements of orchestral works and many piano studies, which we still use today. Beethoven encouraged him to make a piano version of his _Fidelio_. Czerny was the teacher of many able musicians. Frederick Chopin, you will find out later (Chapter 24) changed piano music from the bravura to a poetic and deeper style. His touch and tone were so enchanting that he created a completely new fashion in piano playing which has not been lost. (See page 322.) Clara Schumann (1819–1896), the wife of Robert Schumann, was the leading woman pianist of the day, in fact, of many days. In the times of Mozart and of Liszt, improvising (before audiences and at parlor entertainments), was very popular and a part of a musical education; around 1795, after the Paris Conservatory was founded, it seemed to die out. However, organists today often improvise while waiting for the church service to begin. Dupré, one of the famous French organists, who has played in the United States, improvises whole sonatas on given themes. After Chopin, Schumann and Schubert there was a great love of the short piano piece and as the piano was being developed more and more, it was natural that pianists should become numerous. So piano playing was heard in the concert hall and in the parlor where it was, to be sure, often light and frivolous and yet quite often,—serious and delightful. The light and decorated pieces were usually called _salon music_ and today many are written which are classed as _salon pieces_. Cécile Chaminade, as delightful and clever as her pieces are, is a typical _salon_ composer, Rubinstein, also, with such pieces as _Melody in F_, is a writer of salon pieces, and there are countless others. Among the people who were prominent as pianists and composers in that day, especially in Poland, where Chopin was born, were Alois Tausig, a pupil of Thalberg and Josef Wieniawski, who was the teacher of the “Lion of Pianists,” Ignace Jan Paderewski.