members of the Seyler troupe, paid a very strong, though involuntary, tribute to his talents and personal character by adopting such unfair measures as to compel the musician to remain in Bonn until Bondini was forced to fill his vacancy by another candidate. Having once got him, Grossmann was determined to keep him--and succeeded. As long as the Grossmann company remained undivided Neefe accompanied it in its annual visits to Münster and other places;--thus the sketch of his life printed sixteen years later in the first volume of the “Allgemeine Musikzeitung” of Leipsic bears date “Frankfort-on-the-Main, September 30, 1782”; but from that period save, perhaps, for a short time in 1783, he seems not to have left Bonn at all. There were others besides Grossmann and Helmuth who thought Neefe too valuable an acquisition to the musical circles of Bonn not to be secured. Less than a year and a half after his arrival there the minister Belderbusch and the countess Hatzfeld, niece of the Elector, secured to him, though a Protestant, an appointment to the place of court organist. The salary of 400 florins, together with the 700 florins from Grossmann, made his income equal to that of the court chapelmaster. It is difficult now to conceive of the forgotten name of C. G. Neefe as having once stood high in the list of the first North German composers; yet such was the case. Of Neefe’s published compositions, besides the short vocal and clavier pieces in Hiller’s periodical, there had already appeared operettas in vocal score, “Die Apotheke” (1772), “Amor’s Guckkasten” (1772), “Die Einsprüche” (1773) and “Heinrich und Lyda” (1777); also airs composed for Hiller’s “Dorf-Barbier” and one from his own republished opera “Zemire und Azor”; twelve odes of Klopstock--sharply criticized by Forkel in his “Musikalisch-Kritische Bibliothek,” much to the benefit of the second edition of them; and a pretty long series of songs. Of instrumental music he had printed twenty-four sonatas for pianoforte solo or with violin; and from Breitkopf and Härtel’s catalogues, 1772 and 1774, may be added the following works included neither in his own list nor that of Gerber: a partita for string quartet, 2 horns, 2 oboes, 2 flutes and 2 bassoons; another for the same instruments minus the flutes and bassoons; a third for the string quartet and 2 oboes only, and two symphonies for string quartet, 2 horns, 2 oboes and 2 flutes. The “Sophonisbe” music was also finished and twenty years later, after Mozart had given a new standard of criticism, it was warmly eulogized in the “Allgemeine Musikzeitung” of Leipsic. At the date of his letter to Cramer (March 2, 1783) he had added to his published works “Sechs Sonaten am Clavier zu singen,” “Vademecum für Liebhaber des Gesangs und Clavier,” the clavier score of “Sophonisbe,” and a concerto for clavier and orchestra. His manuscripts, he adds (Cramer’s “Magazine,” I; p. 382), consist of (a) the scores of the operettas which had