Felix and Fanny. This eventually led to Mendelssohn's invitation to conduct at the Society on his 1829 visit. In 1827, Moscheles acted as intermediary between the Philharmonic Society and the dying Beethoven. He helped persuade the Society to send Beethoven desperately needed funds during the composer's illness. In return, Beethoven offered to write for the Society his (uncompleted) Tenth Symphony. Mendelssohn's great success in England from 1829 until the end of his life also reflected well on his friend. Although Moscheles's music was now being looked on as a little old-fashioned, he was heavily in demand as a music teacher and included amongst his pupils many children of the rich and aristocratic classes. He was also appointed "Pianist to Prince Albert", a sinecure, which nevertheless confirmed his status. Child prodigy pianist Elizabeth Jonas, a student of Moscheles, played several command performances at Windsor Castle. Moscheles never ceased to promote the music of Beethoven and gave many recitals of his music: in 1832 he conducted the London premiere of Beethoven's Missa Solemnis, and he translated A.F. Schindler's biography of Beethoven into English. He was an early exponent of the piano recital – the concert of music for piano alone, the innovation of which is disputed between Liszt and Moscheles. Moscheles notably reintroduced the harpsichord as a solo recital instrument. He also often performed in concert with Mendelssohn in London (and elsewhere) – one great favourite of both musicians were Bach's concerti for multiple keyboard instruments. On these occasions Mendelssohn and Moscheles were renowned for vying with each other in impromptu cadenzas. Performances of the three-harpsichord concerto were given, on one occasion with Thalberg at the third keyboard, on another with Clara Schumann. Moscheles often appeared as a conductor, especially of Beethoven. The Leipzig years Although throughout this period Moscheles continued to write music and travel on concert tours, he depended heavily on teaching for income, and this placed him under considerable stress. When therefore Mendelssohn established a Conservatory at Leipzig in 1843 he was keen to attract his friend Moscheles there as a colleague, promising him ample time in his schedules for concertising and music-making. After several years, Moscheles gladly accepted the position in 1846. He became a longstanding and prominent member of the Conservatory faculty, teaching piano there for several decades. The Conservatory became in effect a shrine to Mendelssohn's musical legacy. The critic and pianist Edward Dannreuther, who studied