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Our author, we suppose, could not complain of the manner in which his work was received, and probably a young composer does not often obtain greater approbation. There were undoubtedly fine points in the Symphony, indicating talent, taste and judgment. Its themes were concise and clear, and there seemed to be a considerable degree of the effusion of genuine feeling, without dry detail, commonplace thoughts, or tedious repetitions.

The instrumentation was quite well balanced, though the Oboe was, perhaps, somewhat too prominent in the melodic passages; a greater variety of coloring in this respect might be an improvement. The thoughts were easy, natural and chaste, but yet never so striking as to call forth a raptur ous or involuntary exclamation of delight or applause. The interest too was well sustained through the four movements, and although we suppose that the critics will not allow to this Symphony a higher place than mediocrity, yet the young author may be well contented with the award bestowed, return to his study, and try again.

Signor Stigelli, a Tenor, from the Royal Italian Opera, London, sang with approbation; Carl Deichmann, a Violinist, from Hanover, played with entire success, a Concerto, by Vieux Temps; an aria by Julius Rietz, (Conductor,) was charmingly sung by Miss Mayer, coming seemingly fresh from the heart, on the tones of a sweet voice.

The omission to send the above by the last week's mail, enables me to add a word in relation to the concert of last

evening, the sixteenth of the season. Owing to the fact (I suppose) that there were several distinguished solo singers here, the first part of the concert consisted more of vocal music than usual. A chorus of men's voices was also introduced, and large extracts were given from Cherubini's opera of "Ali

Baba," and from Rossini's "Wilhelm Tell," also an aria from Don Juan by Mozart. Two overtures were admirably played, viz. Leonore No. 2, Beethoven, and William Tell, Rossini. The fine chorus of men's voices added much to the interest of the concert, but the principal piece was the charming A minor Symphony No. 3, by Mendelssohn. I have often heard this magnificent production of Mendelssohn performed at home, but it is no discredit to our orchestras to say that it is quite a different thing when given with the precision of the Gewandhaus orchestra. I will attempt no description; suffice it to say that it was the perfection of orchestral music-so soft and so loud, so melancholy and so joyful, so exciting and so soothing, so expressive and so effective-imagine it, ye who have no opportunity of hearing it.

LETTER VII.

Sketch of Moscheles, the celebrated Pianist.

LEIPZIG, February 16, 1852.

This veteran of the piano forte, who has established for himself so high a reputation, and who was for many years the prince of the piano in London, has resided for the last six years in Leipzig as professor in the "Conservatorium der Musik;" in this institution he occupies the place for which he is so eminently qualified, and is the principal teacher of his favorite instrument. Mendelssohn was his particular friend, and it was at the great composer's urgent solicitation that Moscheles gave up his lucrative situation in London, and came to Leipzig, to devote the remainder of his life, in connection with his young friend, to the

cause of musical education, and the building up of a high school for music here. Mendelssohn was young, but Moscheles was already past the meridian of life. Little did he expect to survive his talented friend; but while the elder of the two still lives, the highly-gifted Mendelssohn was taken away while yet in early life. While the musical world most deeply mourns his loss, every mouth is filled with his praise, and his name seems destined to live with those of Bach, Handel, Mozart and Beethoven.

We well remember when, some thirty years since, Moscheles, Kalkbrenner, and Ries, formed the great trio of piano forte composers, performers, and teachers. Cramer still lived, though he had mostly retired from public life. No man had ever stood higher as a pianist than Cramer; no one has since stood higher, and probably no one ever will. His works are among the musical classics, and must be studied by every one who would excel. But this trio of writers who immediately succeeded Cramer, seemed to enlarge the compass of the instrument, and to cause it to speak, if not with a more chaste, beautiful, or better language, yet with a more extensive vocabulary. Ries and Kalkbrenner too, after having obtained a high reputation, passed away-they are not-and Moscheles seems now almost the only remaining link of connection between the old and new schools. He is the enlightened and warm advocate of improvement, and he has done much not only for the piano, but for music generally; but he goes not with those who, by new systems of notation, or by any mechanical training of the hand, rather impede than accelerate the progress of science or art. The Hand-Guide of Kalkbrenner he never approved. He well knows that all dexterity of finger must be achieved according to the natural laws of exercise; industry and perseverance in the proper use and training of the muscles can only insure success.

He knows of no short, patent, or royal road to musical excellence; but insists upon the same drilling or training now that he did when he commenced his professional career in London.

Moscheles stands very high not only as a teacher and com poser, but also as a performer. I well remember being at a select music party at his house in London in '37. Several distinguished pianists were there, one of whom now fills the world with his praise, and has been called the king of the piano forte -himself once Moscheles's pupil. The Chevalier Neukomm was there, and in the course of the evening, being in conversation with that distinguished man, I asked him the question, "Who is the greatest living pianist ?" "I think HE is,” replied the Chevalier, pointing to Moscheles.

M. Moscheles retains his powers, and is still fresh and young. He is always busy, as he is full of teaching, and has much to do in connection with the conservatory; yet he finds time to entertain a stranger, and to amuse and instruct one by many musical anecdotes and reminiscences. He knows with familiarity, the history of music and of musical composers, vocalists and instrumentalists, for well nigh half a century. His position in London as teacher, composer, and conductor, brought him into connection with many of the first musical men, and he profited well by his experience. He was the friend, and is, as is well known, the biographer of Beethoven; and he has many relics of the great symphonist, which he shows with pleasure to those persons who are interested in such things. Among the manuscripts which I saw, was the first sketch of the great Mass in D, (Beethoven's Second Mass,) the leading thoughts merely being written down in a character not easy to decypher, and which would be as unintelligible to many a one who thinks he understands music, as the hieroglyphics on an ancient Egyptian monument. This sketch is contained in a sketch-book, in which first thoughts

of several of Beethoven's compositions appear. Such a sketchbook he is said always to have carried with him, in which he made a hasty record of passing thoughts. From these he selected, in study hours, the most worthy, and elaborated them in such form and connection as his excellent taste and good judgment dictated. The sketch-book, as Mr. Moscheles told me, clearly proves that Beethoven did not always rely upon first thoughts, but that he frequently modified them according to the dictates of a careful judgment. This is probably true of all the great writers. It was so with Mendelssohn, whose after thoughts were often preferred and adopted, even although the composition containing them was already published. Hence the disagreement that sometimes appears between the English and German copies of the works of Mendelssohn; for after a work was published in one country he would sometimes alter and improve upon it, before it was allowed to appear in the other.

The sketch book of Beethoven contains first thoughts of other compositions, and especially of variations upon a waltz of Diabelli, in respect to which Moscheles related to me the following circumstances. Diabelli, who was a publisher of music in Vienna, a friend and companion of Beethoven, and also a good musician, composed a waltz with which he, the composer, was much pleased, and which, though of a popular and taking character, was truly chaste and elegant. The idea occurred to him of getting from distinguished composers to the number of fifty, variations, and then to publish his waltz in connection with them. Accordingly he wrote letters to eminent musicians, sending his waltz, mentioning his plan, and asking from each a variation. Moscheles was himself one of the number to whom application was made. Diabelli called on Beethoven, and made known his wishes to him. Beethoven, amused with the novelty of the project, promised to do his part. After some months,

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