The musical student, in perusing the master-works in his art, has continually occasion to admire the careful consideration which the composers have given to every bar so as to produce great effects by simple means, interesting variety in unity, thus achieving as nearly as possible a perfect work of art. Also, their remarks upon their compositions show how thoughtfully they laboured, considering and reconsidering every step they took. It is unnecessary to illustrate this fact by quotations, as instances will probably occur to the reader. Suffice it to notice a remark by Mozart, which shows how cleverly he contrived to make concessions to the popular taste, in as far as he could accomplish this without deterioration to his compositions as works of art. In a letter to his father, which he wrote from Paris, he thus describes the performance of a new symphony, which he had been requested to compose for the _Concert Spirituel_:-- "In the middle of the first Allegro is a passage of which I knew well that it would please. All the auditors were transported by it, and there was great applause. As I knew, when I wrote the passage, what its effect would be, I introduced it once more towards the end of the movement. Then they demanded a repetition of the entire Allegro. The Andante pleased also; but especially the last Allegro. As I had been told that it was the usual custom with the composers here in Paris to commence the last Allegro of a symphony, like the first, with the full orchestra, generally in unison, I commenced mine with only the first and second violins, _piano_ through eight bars. Then came suddenly _forte_. Consequently, the auditors made first, as I had expected,--hush! and then the _forte_ surprised them so greatly, that they applauded as a matter of course." Is this not thoroughly practical in an artistic point of view? [Illustration] [26] 'Biographie von Ludwig van Beethoven, verfasst von A. Schindler;' Muenster, 1845; p. 246. [27] 'Biographische Notizen ueber L. van Beethoven, von Wegeler und Ries;' Coblenz, 1838; p. 34. [28] 'Historisch-Kritische Beitraege zur Aufnahme der Musik, von F. W. Marpurg.' Vol. II., Berlin, 1756; p. 575. [29] 'Franz Schubert, von H. Kreiszle von Hellborn;' Wien, 1865, p. 272. [30] L8. [31] 'Franz Schubert, von H. Kreiszle von Hellborn;' Wien, 1865; p. 388. [32] Op. 114. [33] L6. [34] 'Franz Schubert, von H. Kreiszle von Hellborn;' Wien, 1865; p. 442. [35] 'Biographie W. A. Mozart's, von G. N. von Nissen;' Leipzig, 1828, p. 584. [36] See above, page 23. [37] Barbaja, the Impressario of the San Carlo Theatre at Naples. [38] 'Aus dem Tonleben unserer Zeit, von Ferdinand Hiller; Leipzig, 1868.' Vol. II., p. 22. [39] 'Jahrbuecher fuer Musikalische Wissenschaft, herausgegeben von F. Chrysander.' Leipzig, 1863, p. 434. [40] See above, p. 45. [41] 'Music and Friends, by William Gardiner.' Vol. III., London, 1853, p. 378.