A few weeks later the same concerto was played in a Gewandhaus concert by Fraeulein Wilhelmine Clauss, a pupil of Mme. Schumann, who had studied it under her supervision. The result was another good rendering, although at the previous rehearsal there had been trouble with the so-called syncopated passage where the 3/2 and 3/4 rhythms alternate, and it was not until after many repeated attempts that success was attained. On account of the long, uninterrupted continuance of this 3/2 rhythm its character as a syncopation is entirely lost and it becomes simply an augmentation of the preceding and following 3/4 rhythm, and all of the best orchestral conductors I have seen always give out the beat accordingly--that is, in a manner equivalent to simply doubling the rate of speed in the 3/4 from that of the 3/2 movement. I do not see how the performers, both in orchestra and piano, can be kept together in any other way. [Illustration: Autograph of Joseph Joachim] CARL MAYER From Leipsic I went to Dresden in March, 1850, and stayed there a few months with some American friends who were studying the pianoforte under Carl Mayer, whose very beautiful and finished playing was more adapted for the salon than for the concert-hall. Although I took no lessons of him, I constantly enjoyed his society, frequently heard him play, and in this way profited much from the association. I wished, however, to get to work in the more advanced and modern methods, and so decided to go to Alexander Dreyschock in Prague. My departure from Dresden was somewhat delayed because, upon going to the Austrian consul's to get his vise, he refused to give it to me. This was owing to the political disturbances which had taken place in Europe a year or two before. Thereupon I wrote to Dreyschock for his assistance, and being on friendly terms with the Austrian minister at Dresden, he easily accomplished the desired result. DREYSCHOCK Alexander Dreyschock was one of the most distinguished pianoforte-virtuosos of his time, and his specialty was his wonderful octave-playing. Indeed, he acquired such fame in this particular that the mention of "octave-playing" at once suggested the name of Dreyschock to his contemporaries. He was also celebrated on account of his highly trained left hand, so much so that Saphir, the famous Vienna critic, paid tribute to the fact by writing a stanza which obtained wide circulation, and which runs as follows: Welchen Titel der nicht hinke Man dem Meister geben moechte, Der zur Rechten macht die Linke?-- Nennt ihn, "Doctor beider Rechte."