knowledge and skill. In his compositions he was an active agent in the
crystallization of the sonata form. From him Haydn gained much that he
later transferred to the orchestra.

Impulse to the second period of clavier virtuosity was given by Wolfgang
Amadeus Mozart (1756-1791) and Muzio Clementi (1752-1832). Mozart, who
led the Viennese school, developed the singing style of playing and the
smooth flowing legato. Leaving behind him the triumphs of his
wonder-boyhood with spinet and harpsichord, he boldly entered the public
concert-hall with the pianoforte, now greatly advanced by the
improvements of Silbermann. Mozart brought into use its special
features, showed its capacity for tone-shading and for the reflection
of sentiment, and may well be said to have launched it on its career.
Tradition declares that his hand was fashioned for clavier keys, and
that its graceful movements afforded the eye no less pleasure than the
ear. His noble technique, based on his profound study of the Bachs, was
spiritualized by his own glowing fancy. In his playing, as in his
compositions, every note was a pearl of great price. With his piano
concertos he showed how clavier and orchestra may converse earnestly
together without either having its individuality marred. The same
equilibrium is maintained in his piano and violin sonatas and his other
concerted chamber music, amid all their persuasive and eloquent
discourse. His charming four-hand and double piano pieces, written for
himself and his gifted sister Marianne, and his solo clavier sonatas
would prove his wealth of musical invention had he not written another
note.

Clementi, born in Rome, passed most of his life in London, where he
attracted many pupils. Without great creative genius, he occupied
himself chiefly with the technical problems of the pianoforte. He opened