appeared in pianoforte arrangements; (b) the score of his opera “Zemire und Azor”; (c) the score of his opera “Adelheit von Veltheim”; (d) the score of a bardic song for the tragedy “The Romans in Germany”; (e) the scores of theatrical between-acts music; (f) the score of a Latin “Pater noster”; (g) various other smaller works. He had in hand the composition of the operetta “Der neue Gutsherr,” the pianoforte score of which, as also that of “Adelheit von Veltheim,” was about to be published by Dyck in Leipsic. A year before at a concert for amateurs at the house of Mr. von Mastiaux he had produced an ode by Klopstock, “Dem Unendlichen,” for four chorus voices and a large orchestra, which was afterwards performed in Holy Week in the _Fräuleinstiftskirche_. In short, Neefe brought to Bonn a high-sounding reputation, talent, skill and culture both musical and literary, which made him invaluable to the managers when new French and Italian operas were to be prepared for the German stage; great facility in throwing off a new air, song, _entr’acte_ or what not to meet the exigencies of the moment; very great industry, a _cacoethes scribendi_ of the very highest value to the student of Bonn’s musical history in his time and a new element into the musical life there. This element may have seemed somewhat formal and pedantic, but it was solid, for it was drawn from the school of Handel and Bach. MUSIC IN PRIVATE HOUSES OF BONN Let us return to Neefe’s letter to Cramer again for some notices of music outside the electoral palace: Belderbusch, the minister, retained a quintet of wind-instruments, 2 clarinets, 2 horns and a bassoon. The Countess von Belderbusch, wife of a nephew of the minister, whose name will come up again, “plays skilfully upon the clavier.” The Countess von Hatzfeld, niece of the Elector, was “trained in singing and clavier playing by the best masters of Vienna to whom, indeed, she does very much honor. She declaims recitatives admirably and it is a pleasure to listen to her sing arias _di parlante_. She plays the fortepiano brilliantly and in playing yields herself up completely to her emotions, wherefore one never hears any restlessness or uneveness of time in her _tempo rubato_. She is enthusiastically devoted to music and musicians.”[4] Chancellor and Captain von Schall “plays clavier and violin. Though not adept on either instrument he has very correct musical feeling. He knows how to appreciate the true beauties of a composition, and how to judge them, and has large historical and literary knowledge of music.” Frau Court Councillor von Belzer “plays the clavier and sings. She has a strong, masculine contralto of wide range, particularly downwards.”