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Updated: September 28, 2025
Czerny soon showed him his deficiencies; proving to him that an artist must have clear touch, smoothness of execution and variety of tone. The boy rebelled at first, but finally settled down to hard study, and the result soon astonished his teacher. For Franz began to acquire a richness of feeling and beauty of tone wonderful for such a child. Salieri became his teacher of theory.
He played in public for the first time at the age of nine, in Odenburg. In 1829 he came to Vienna, remaining there eighteen months studying piano under Czerny, and composition with Salieri. He then was taken to Paris, where he studied under Reicha till 1825. In 1831 he heard Paganini play. It is supposed that he was so impressed that he decided to become the Paganini of the piano.
He took lessons in counterpoint from Albrechts-burger, and in composition from Salieri, and in all ways indicated that serene, tireless industry which marked his whole after-career. Moscheles spent eight years at Vienna, continually growing in estimation as artist and beginning to make his mark as a composer.
He at this time freely frequented the salons of the Viennese nobility, many of whom were accomplished virtuosi themselves, and were able to appreciate the great genius of the new-comer, rough and bearish as oftentimes he must have appeared to them a great contrast to the courtly Haydn and Salieri, who might be seen sitting side by side on the sofa in some grandee's music-room, with their swords, wigs, ruffles, silk stockings, and snuff-boxes, while the insignificant-looking and meanly dressed Beethoven used to stand unnoticed in a corner.
Moscheles the most Brilliant Climax reached by the Viennese School. His Child-Life at Prague. Extraordinary Precocity. Goes to Vienna as the Pupil of Salieri and Albrechts-burger. Acquaintance with Beethoven. Moscheles is honored with a Commission to make a Piano Transcription of Beethoven's "Fidelio." His Intercourse with the Great Man. Concert Tour. Arrival in Paris.
Popular as it was, it was soon laid aside in Vienna through the influence of the Italian faction headed by Salieri, one of Mozart's rivals. The story of the opera is laid in Spain.
It is a production of the celebrated BEAUMARCHAIS, who has contrived to introduce into it a sort of impious metaphysics, much in fashion here before the revolution. The music is by SALIERI; it is very agreeable. The decorations are brilliant and diversified. Les Pretendus is a piece in one act, the plot of which is weak, though of a gay cast. The music is charming.
Spohr took a prominent part, together with Salieri, Romberg and Hümmel. The fact that Beethoven conducted it indicates that his deafness could not have been so bad at this time. The concert took place on December 8, and, as may be supposed, was a brilliant success. It was repeated four days later.
"The devil!" rejoined the manager; "but we haven't any music here." "Well, what do you want?" said Berlioz. "I sing every note of all the operas of Gluck, Piccini, Salieri, Rameau, Spontini, Grétry, Mozart, and Cimarosa, from memory."
Devrient's dislike of his music and her artistic identification with the heroines of Weber, for whose memory Spontini entertained much the same envious hate as Salieri felt for Mozart in Vienna at an earlier date. Our singer's ambition sighed to conquer new worlds, and in 1830 she went to Paris with a troupe of German singers, headed by Mme.
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