Besides his other concerts, we find him also at this time giving orchestral ones, at which some of the great symphonies were heard for the first time in Rome. In 1869 he and Liszt made a visit to Germany together, Sgambati making his first acquaintance with Wagner's music at Munich: it was some years later, in 1877, that through Wagner's recommendation his pianoforte quintets were published by Schott of Mayence. It is interesting to read, in this connection, a part of a letter which Wagner wrote in November, 1876, to Dr. Strecker, the head of the firm of Schott. It has been published, with Sgambati's permission, in Miss Walker's book, and is here taken from it. "But, to say the truth, my letter of to-day has another end in view, namely, to commend to you most earnestly for publication two quintets (pianoforte and stringed instruments) composed by Signor Sgambati, of Rome. Liszt had already, and in a most especial and emphatic manner, called my attention to this distinguished composer and pianist. I recently had the genuine and extreme pleasure of, for once, coming into contact with the possessor of a truly great and original talent--a talent which, as he is in Rome [?!], and therefore possibly a little out of place, I would gladly be the means of introducing to the wider musical circle of the world at large." In 1886 he was made one of the five corresponding members of the French Institute to fill the place vacated by the death of Liszt. As a pianoforte teacher, he has been from the first one of the leading men, being a professor at the Academy of St. Cecilia at Rome, and has had a multitude of pupils, among them not a few Americans. To show the high standard that is maintained at the Academy, the requirements for a diploma are here quoted. The pupil must be prepared with the twenty-four preludes and fugues of the first book of the "Well-tempered Clavichord," with twenty-four studies from Clementi's "Gradus ad Parnassum," and must play some large modern piece by heart, read a manuscript composition at sight, and answer _vivâ voce_ questions in harmony and composition. * * * * * In his pianoforte compositions two features are salient: a remarkable feeling for melodic and harmonic refinement, with a clear and beautiful formal structure, and as a complement to these, an abhorrence of everything trite and common; this last trait, however, does not degenerate into affectation and ugliness.