Cramer, born at Mannheim, 1771, but from early infancy reared and educated in England, was successively the pupil of the noted Bensor, Schroeter and Clementi; but, like Beethoven, was in no small degree self-taught. He was so rarely and at such long intervals on the Continent that his extraordinary merits have never been fully understood and appreciated there. Yet for a period of many years in the first part of the nineteenth century he was undoubtedly, upon the whole, the first pianist of Europe, The object of his tour in 1799 was not to display his own talents and acquirements, but to add to his general musical culture and to profit by his observations upon the styles and peculiar characteristics of the great pianists of the Continent. In Vienna he renewed his intercourse with Haydn, whose prime favorite he had been in England, and at once became extremely intimate with Beethoven. Cramer surpassed Beethoven in the perfect neatness, correctness and finish of his execution; Beethoven assured him that he preferred his touch to that of any other player; his brilliancy was astonishing; but yet taste, feeling, expression, were the qualities which more eminently distinguished him. Beethoven stood far above Cramer in power and energy, especially when extemporizing. Each was supreme in his own sphere; each found much to learn in the perfections of the other; each, in later years, did full justice to the other’s powers. Thus Ries says: “Amongst the pianoforte players he [Beethoven] had praise for but one as being distinguished--John Cramer. All others were but little to him.” On the other hand, Mr. Appleby, who knew Cramer well, was long afterwards told by him, “No man in these days has heard extempore playing, unless he has heard Beethoven.” CRAMER’S RECOLLECTIONS OF BEETHOVEN Making a visit one morning to him, Cramer, as he entered the anteroom, heard Beethoven extemporizing by himself, and remained there more than half an hour “completely entranced,” never in his life having heard such exquisite effects, such beautiful combinations. Knowing Beethoven’s extreme dislike to being listened to on such occasions, Cramer retired and never let him know that he had so heard him. Cramer’s widow communicates a pleasant anecdote. At an Augarten Concert the two pianists were walking together and hearing a performance of Mozart’s pianoforte Concerto in C minor (Köchel, No. 491); Beethoven suddenly stood still and, directing his companion’s attention to the exceedingly simple, but equally beautiful motive which is first introduced towards the end of the piece, exclaimed: “Cramer, Cramer! we shall never be able to do anything like that!” As the theme was repeated and wrought up to the climax, Beethoven, swaying his body to and fro, marked the time and in every possible manner manifested a delight rising to enthusiasm.