Johann Gottfried von Mastiaux, of the Finance Department and incumbent of divers high offices, is a self-taught musician. He plays several instruments himself and has given his four sons and a daughter the best musical instruction possible in Bonn. All are pianists and so many of them performers on other instruments that the production of quintets is a common family enjoyment. He is a devoted admirer of Haydn, with whom he corresponds, and in his large collection of music there are already 80 symphonies, 30 quartets and 40 trios by that master. His rare and valuable instruments are so numerous “that he could almost equip a complete orchestra. Every musician is his friend and welcome to him.” Count Altstädter: “in his house one may at times hear a very good quartet.” Captain Dantoine, “a passionate admirer and knower of music; plays the violin and the clavier a little. He learned composition from the books of Marpurg, Kirnberger and Riepel. Formed his taste in Italy. In both respects the reading of scores by classical masters has been of great service to him.” Among his compositions are several operettas, symphonies and quartets “in Haydn’s style.” The three Messrs. Facius, “sons of the Russian agent here, are soundly musical; the two elder play the flute and the youngest plays the violoncello.” (According to Fischer the members of this family were visitors at the house of the Beethovens.) There are many more music-lovers here, but the majority of them are too much given to privacy, so far as their musical practice goes, to be mentioned here. Enough has been said to show that a stranger fond of music need never leave Bonn without nourishment. Nevertheless, a large public concert institution under the patronage of His Electoral Grace is still desirable. It would be one more ornament of the capital and a promoter of the good cause of music. What with the theatre, the court music, the musical productions in the church and such opportunities in private it is plain that young talent in those days in Bonn was in no danger of starvation for want of what Neefe calls “musikalische Nahrung.”