and when returns had been received from many to whom appli cation had been made, Diabelli called on Beethoven for his contribution. It was not ready; indeed it had been forgotten, but Beethoven promised it in a week. A week passed away and a second call was made, and a second disappointment experienced, the variation had not been written; he was promised however that without fail it should be ready on a certain day. On the day appointed Diabelli called for the third time, when Beethoven coming into the room with his paper said, “ Ah, my dear Diabelli, you asked me for one variation, but here are thirty-three," and he actually presented him with thirty-three variations instead of one. They were immediately published, extensively circulated, and much admired. (See Beethoven's 120th work.) The other fifty variations were also published, but those by Beethoven obtained the decided preference.

Moscheles has original manuscripts of many of the great musical composers; but nothing that he can produce will be looked upon with more interest than his letters from Mendelssohn. These he has very carefully bound together so as to preserve them in safety; they are between seventy and eighty in number, and are on various musical, literary, and artistic subjects. They are beautifully written, sometimes embellished with illustrative drawings with the pen, and are full of humor, wit, and good feeling. One of them, for example, after the words "Dear Moscheles," begins with an intrada, or trumpet salutation. It is carefully written, on a staff made with the pen at the moment, without a rule, in small notes, and a more joyful or heartfelt greeting cannot be conceived. Another, a congratulation on the birth of Moscheles's son Felix, (now pursuing his studies in Paris as an artist,) commences with various orchestral instruments hastily sketched with a pen, with a host of violins descending as angels of music from heaven; a most

beautiful design indeed, which Mendelssohn proceeds to explain, when leaving his musical symbols, he has recourse to letters and words. Moscheles Piano Forte Pastoral Concerto (op 96 in D) was composed for Mendelssohn and dedicated to him. In Mendelssohn's letter written in acknowledgment of the receipt of the Concerto, and which is highly complimentary to the author, he has drawn a landscape representing pastoral life, with mountains and valleys, flocks, herds, houses, &c., including a village church with its joyfully ringing bell, as illustrative of the ideas suggested to his mind as he played over the music of his friend. The letters are here, too, in which Mendelssohn first opens his mind on the subject of the conservatory, and in which he urges Moscheles to come to Leipzig and join him in carrying out his favorite project.

During a visit to Moscheles, when I gathered the materials for this communication, as well as many other pieces of inter esting information which I cannot now mention, he was so kind as to play to me for half an hour or more, various piano forte studies and other music, illustrative of the powers and progress of the instrument.

Moscheles's own works for the piano are much used; his printed studies are as follows-24 Studies for piano forte, op. 70; 12 Characteristic Studies, op. 95; 2 Studies originally published in Beethoven's album, op. 105; 2 Grand Studies, being part of a complete method by Moscheles and Fetzs; 4 Grand Concert Studies, op. 111; Daily Companion, or practical and progressive exercises for two performers, op. 107.

He has recently published (by Kistner, Leipzig,) a grand Sonata (op. 121 in E) for Piano Forte and Violincello. The Concertmeister David, (the well known Violinist,) has adapted the Violincello part for the Violin, as he has also done with Mendelssohn's Sonatas. Moscheles, although a very popular

performer, has retired from all public playing; yet he is not slow to encourage young aspirants for fame. His influence is on the side of truly scientific music, like that of Beethoven and Mendelssohn, nor will he do anything to patronize a more superficial style or flippant taste, either in composition or in playing. As a teacher, it is as well his object to form the taste as the hand. Would that his example in this respect were followed by all teachers, and that our young pianists would practice with diligence and perseverance his studies, and other similar works, rather than spend their energies upon the many mountebank trickeries of some modern writers.

LETTER VIII.

Seventeenth Gewandhaus Concert-Ferdinand David--Gluck's "Iphegenie in Tauride" -Madame Sontag-Central Hall Concert.

LEIPZIG, February 21, 1852.

THIS Concert was particularly attractive to the musical people of Leipzig, from the fact that the singer was Mad. Sontag, by marriage the Countess Rossi. The weather was unfavorable, being rainy, and the streets were muddy. I took my place at the door of the Gewandhaus at half-past four, where the people were then gathering. By five, when the outer door was opened, a multitude had assembled, and immediately rushed into the house, filling the long stairway and entry. Here was another interval of waiting, until half-past five, when the door of the hall was opened, and the room was immediately filled. We had now to wait another hour, or until half-past six; when the performance commenced with a symphonie, by Joseph Hadyn in C, very light, playful,

and pleasing, but lacking the depth of a Beethoven or a Mendelssohn. It is so easy a composition, that it seemed to be quite children's play for the orchestra, who yet rendered it in the most perfect manner possible. This was followed by an Arie from "Rinaldo" by Handel; a most charming song indeed, and as charmingly sung by Mad. Sontag. Of Mad. Sontag's singing, I dare not speak now. I will only say that no one can have a more perfect execution; but to say in what her excellence consists, as a singer, or what are the peculiarities of her style, must not now be attempted.

The third piece was 66 Romanze for the Violin," by Beethoven; performed by Herr Concertmeister, Ferdinand David. This is the David whose compositions for the violin are so well known, and whose reputation as a player is so extensive. Mad. Sontag then sang "Bel raggio lusinghier," from Rossini's Semiramide, a song requiring the greatest powers of vocalization; this was perfectly given by the inimitable artist.

The second part consisted of the Overture and a long scene from Gluck's famous "Iphigenie in Tauride;" the principal vocal part being that of Iphigenie by Mad. Sontag. Gluck has not been heard with us, but he ranks in the very first class of composers here. The overture is a magnificent concert piece, and it was performed by this fine orchestra with wonderful precision and effect. Beethoven's Overture to Egmont closed the musical entertainments of the evening, and well repaid one for his Two Thalers, (cost of a ticket,) and for all the previous waiting, wetting, and crowding necessary to secure a place to stand up.

Mad. Sontag is gone, and the Gewandhaus Orchestra is thrown upon its own strength and resources; but it fails not, neither is it faint or weary. The Eighteenth Concert was

(save the charming singer) one of the very best of the season. The Orchestra (said one who has often heard) never played better; well might they feel the inspiration of their author, for they played Beethoven's 4th Symphonie, than which he has not written a better. It is not so well known in America, but it cannot rank second to anything which Beethoven has composed.

The adagio (sextuple movement) is as perfect in design and as beautiful in coloring as in any work of musical art. Fräulein Anna Klassig sang a Recitative and Arie from Sphor's Jessonda. Herr G. Krüger, from Stuttgart, played two pieces well on the Harp; and a well-trained choir, Pauliner SängerVereins, of fifty men's voices sung three pieces, two of which were by Mendelssohn, and one of which may be found in the "Fireside Harmony" (Waserfahrt.) Mendelssohn's Overture "Melusine," as fine an Overture as exists, was played; and the performance was worthy of the composition.

The

These Concerts are very popular and fashionable. Musical Professors are all there, expectation is fully awake, and I believe almost always fully gratified.

Mad. Sontag has left Leipzig for Dresden, where she will undoubtedly create as great a sensation as she has here. I hope to notice her more particularly hereafter.

The next evening (20th February), I attended one of the cheap, eating, drinking, smoking, talking, sitting-round-the-table, wearing-hat, &c., &c., &c., Concerts. The Orchestra numbered about thirty performers. It was really a fine Orchestra, though it appeared feeble in strings, (having only four violins on a part,) after listening to the Gewandhaus band. Beethoven's Sym. No. 7, was played, and also Weber's Overture to Oberon -with other music, including a very excellent new overture (manuscript) by W. Herfuth. The contrast was really a very