The new branch of musical literature, founded by Holmes and Jahn, already shows some considerable monuments. Passing by the voluminous and accurate thematic catalogues of Mozart by the Ritter von Köchel (1862), of Weber by Jahns (1871), and of Beethoven and Schubert by Nottebohm (1868 and 1874), works which properly belong to a separate department of the subject--we already possess the Life of Handel by Chrysander (vol. i., 1858; II., 1860; III., 1867), that of Beethoven by A. W. Thayer (vol. i., 1866; II., 1872; III., 1879), that of Haydn by C. F. Pohl (vol. i., 1875; II., 1882)--all three still in progress--and that of Bach by Spitta (vol. i., 1873; II., 1880). But these laborious and conscientious works, while they rival and even surpass Jahn in their wide range and the manner in which they embalm every minute particular relating to the subject, are far behind him in lucidity, and in the ease with which he handles his vast materials. In these respects, as might be expected from his literary position, Otto Jahn stands hitherto quite alone. GEORGE GROVE. February 23, 1882. {INTRODUCTION.} To Professor Gustav Hartenstein. MY DEAR FRIEND,--I have little doubt that the afternoon of November 7, 1847, is as fresh in your memory as in my own. We had assembled in the Johan-niskirche to accompany the remains of Mendelssohn on their last sad journey, and by chance (for I had not been long in Leipzig, and my acquaintance with you was slight) we walked side by side in the long line of mourners. From grief at the early loss of a master, whose cultivation, self-discipline, and endeavours after the good and the beautiful had exercised a truly beneficial influence over the art of our age, our grave talk turned to the more particular consideration of music in itself, and to the great masters of the past! This led us to the interchange of many ideas, and to a conviction of our unanimity of principle and sentiment on most subjects. Thus, for instance, we coincided in our experience that at a certain period of our mental development Mozart's music had seemed cold and unintelligible to our restless spirits, ever soaring into the unknown, and incapable of appreciating a master whose passions in their workings are not laid bare to view, but who offers us perfect beauty victorious over turbulence and impurity. Turning to him again in later years, we are amazed alike at the wondrous wealth of his art, and at our former insensibility to it. For my own part, I confided to you how, after severe illness, which had debarred me from music for many years, it was Mozart who first gave me courage and interest to turn to it again. We agreed, also, that minds which are able to receive and appreciate art for its own sake, must yield themselves captive to Mozart, but without sacrificing their freedom to recognise all that is grand and beautiful elsewhere. {LIFE OF MOZART.} (ii)