of Mozart, was always equable; never superficial but always clear and thus more accessible to the multitude. He used art only as a means to an end, never to exhibit his acquirements. He always enlisted the interest of his hearers and inevitably compelled them to follow the progression of his well-ordered ideas. Whoever has heard Hummel will know what is meant by this.... But for this (the attitude of their patrons) the _protégés_ cared very little. They respected each other because they knew best how to appreciate each other, and as straightforward honest Germans followed the principle that the roadway of art is broad enough for many, and that it is not necessary to lose one’s self in envy in pushing forward for the goal of fame! Wölffl proved his respect for his rival by dedicating to “M. L. van Beethoven” the pianoforte sonatas, Op. 7, which were highly commended in the “Allg. Mus. Zeit.” of Leipsic of January, 1799. Another interesting and valuable discussion of Beethoven’s powers and characteristics as a pianoforte virtuoso at this period is contained in the autobiography of Tomaschek, who heard him both in public and in private during a visit which Beethoven made again this year to Prague. Tomaschek was then both in age (he was born on April 17, 1774) and in musical culture competent to form an independent judgment on such a subject. TOMASCHEK ON BEETHOVEN’S PLAYING In the year 1798, says Tomaschek (unfortunately without giving any clue to the time of the year), in which I continued my juridical studies, Beethoven, the giant among pianoforte players, came to Prague. He gave a largely attended concert in the Konviktssaal, at which he played his Concerto in C major, Op. 15, and the Adagio and graceful Rondo in A major from Op. 2, and concluded with an improvisation on a theme given him by Countess Sch... (Schick?), “Ah tu fosti il primo oggetto,” from Mozart’s “Titus” (duet No. 7). Beethoven’s magnificent playing and particularly the daring flights in his improvisation stirred me strangely to the depths of my soul; indeed I found myself so profoundly bowed down that I did not touch my pianoforte for several days.... I heard Beethoven at his second concert, which neither in performance nor in composition renewed again the first powerful impression. This time he played the Concerto in B-flat which he had just composed in Prague.[83] Then I heard him a third time at the home of Count C., where he played, besides the graceful Rondo from the A major Sonata, an improvisation on the theme: “Ah! vous dirai-je, Maman.” This time I listened to Beethoven’s artistic work with more composure. I admired his powerful and brilliant playing, but his frequent daring deviations from one motive to another, whereby the organic connection, the gradual development of idea