During my stay at Leipzig, first in the house of Professor Carus, and afterwards as a student at the University, my chief enjoyment was certainly music. I had plenty of it, perhaps too much, but I pity the man who has not known the charm of it. At that time Leipzig was really the centre of music in Germany. Felix Mendelssohn was there, and most of the distinguished artists and composers of the day came there to spend some time with him and to assist at the famous Gewandhaus Concerts. I find among my letters a few descriptions of concerts and other musical entertainments, which even at present may be of some interest. I was asked to be present at some concerts where quartettes and other pieces were performed by Mendelssohn, Hiller, Kaliwoda, David, and Eckart. Liszt also made his triumphant entry into Germany at Leipzig, and everybody was full of expectation and excitement. His concert had been advertised long before his arrival. It was to consist of an Overture of Weber’s; a Cavatina from _Robert le Diable_, sung by Madame Schlegel; a Concerto of Weber’s, to be played by Liszt, the same which I had shortly before heard played by Madame Pleyel; Beethoven’s Overture to _Prometheus_; Fantasia on _La Juive_; Schubert’s _Ave Maria_ and _Serenade_, as arranged by Liszt. I was the more delighted because I had myself played some of these pieces. But suddenly there appeared a placard stating that Liszt, on hearing that tickets were sold at one thaler (three shillings), had declared he would play a few pieces only and without an orchestra. In spite of that disappointment, the whole house was full, the staircase crowded from top to bottom, and when we had pushed our way through, we found that about 300 places had been retained for one and a half thalers (four shillings and sixpence), while tickets at the box-office were sold for two thalers (six shillings). Nevertheless, I managed to get a very good place, by simply not seeing a number of ladies who were pushing behind me. When Liszt appeared there was a terrible hissing—he looked as if petrified, glanced like a demon at the public, but nevertheless began to play the Scherzo and Finale of the Pastoral Symphony. Then there burst out a perfect thunder of applause, and all seemed pacified, while Madame Schmidt sang a song accompanied by a certain Mr. Kermann. As soon as that was over, a new storm of hisses arose, which was meant for this Mr. Kermann, who was a pupil, but at the same time the man of business of Liszt. He and three other men had made all arrangements, and Liszt knew nothing about them, as he cared very little for the money, which went chiefly to his managers. A Fantasia by Liszt followed, and lastly a _Galop Chromatique_—but the public would not go away, and at length Liszt was induced to play _Une grande Valse_. It was no doubt a new experience; but I could not go into ecstasies like others, for after all it was merely mechanical, though no doubt in the highest perfection.