the freedom of the two lower rooms in Liszt's home, and were at liberty to come and go as we liked. Regularly on every Sunday at eleven o'clock, with rare exceptions, the famous Weimar String Quartet played for an hour and a half or so in these rooms, and Liszt frequently joined them in concerted music, old and new. Occasionally one of the boys would take the pianoforte part. The quartet-players were Laub, first violin; Stoerr, second violin; Walbruehl, viola; and Cossmann, violoncello. Before Laub's time Joachim had been concertmeister, but he left Weimar in 1853 and went to Hanover, where he occupied a similar position. He occasionally visited Weimar, however, and would then at times play with the quartet. Henri Wieniawski, who spent some months in Weimar, would occasionally take the first violin. My favorite as a quartet-player was Ferdinand Laub, with whom I was intimately acquainted, and I find that the greatest violinists of the present time hold him in high estimation, many of them regarding him as the greatest of all quartet-players. We were always quite at our ease in those lower rooms, but on ceremonial occasions we were invited up-stairs to the drawing-room, where Liszt had his favorite Erard. We were thus enjoying the best music, played by the best artists. In addition to this there were the symphony concerts and the opera, with occasional attendance at rehearsal. Liszt took it for granted that his pupils would appreciate these remarkable advantages and opportunities and their usefulness, and I think we did. THE ALTENBURG Liszt's private studio, where he wrote and composed, was at the back of the main building in a lower wing, and may easily be distinguished in the picture by the awnings over the windows. I was not in this room more than half a dozen times during my stay in Weimar, and one of these I remember as the occasion of Liszt's playing the Beethoven "Kreutzer Sonata" with Remenyi, the Hungarian violinist, and giving him a lesson in conception and style of performance. Remenyi was a violinist of fine musical talent, but not a classicist, his style being after the fashion of the class represented by Ole Bull. He was, as is well known, a genuine Hungarian, thoroughly at home in the musical characteristics of his native country. He was unconsciously disposed to color and mark the music of all composers with Hungarian peculiarities, and this habit gave rise to a story that sometimes he added to the concluding strain of the theme in the slow movement of the "Kreutzer Sonata" the peculiar Hungarian termination as a final ornament. This story probably originated in a spirit of fun. It was, nevertheless, so characteristic of Remenyi that it obtained wide circulation. [Illustration: Musical notation]