The famous G minor concerto for the piano was first produced in Munich in 1831. In the same year he went to Paris, where many of his works were performed and others were composed. The next year he was in London again, when the Hebrides overture was produced and the first book of "Songs without Words" was published. He also played the organ at several of the churches, and excited general admiration by his vigorous style. He is said to have been the first to play a Bach pedal fugue in England, certainly the first to play any of the important ones. In 1833 he was settled at Duesseldorf, as musical director of the church and two associations. There he immediately instituted a reform in the music of the church, and in the character of the selections for concert. In the church there were masses by Beethoven and Cherubini, motettes by Palestrina, and cantatas by Bach. The next year his oratorio of "St. Paul" was begun. In 1837 he was married to a very charming lady--Miss Cecilia Jeanrenaud, daughter of a clergyman of the Reformed Church at Frankfort. Very soon after the wedding he was in London and Birmingham, where he conducted "St. Paul" and commenced to prepare the libretto for his oratorio of "Elijah." Among the Bach fugues which he played in London on the organ at this time were the D major, the G minor, the E major, the C minor and the short E minor. His pedal playing was very highly esteemed. [Illustration: Fig. 85. MORITZ HAUPTMANN.] In 1835 he commenced to conduct the _Gewandhaus_ concerts at Leipsic, and the celebrated conservatory there was founded in 1843. The first professors were Hauptmann, David, Schumann, Pohlenz and C.F. Becker. Ferdinand David (1810-1873) was the greatest master of the violin during the third quarter of the century. Moritz Hauptmann (1792-1868), originally a violinist, was one of the most original theorists of this century. His greatest work, "Harmony and Meter," was published in 1853. Soon afterward Moscheles became associated with them. The city of Leipsic remained his home during the remainder of his life. The founding of the conservatory may have been hastened by certain plans which Mendelssohn had endeavored three years before to get adopted in Berlin, where there was a project for founding a royal music school upon a different basis from any at that time existing. From some change in the ministry, or temporary political disturbance, the plan fell through, but in Leipsic it was carried out. This famous school from that time forward, for nearly fifty years, exercised an influence greater than that of any other music school in the world. Among its graduates are a very large number of the most successful teachers and celebrated professional musicians. They had been drawn to Leipsic by the reputation given the conservatory by the possession of such masters as Mendelssohn, Schumann, Hauptmann, Moscheles, Plaidy, Dr. Paul, Becker, Brendel, Reinecke and others. After Mendelssohn's