He had me play the pieces mentioned, recognized throughout the musical world as masterpieces, and, without giving me time to think, demanded to know my opinion of them; I was permitted to give it without restraint, without fearing that I should offend any artistic conceit--a fault which was utterly foreign to his nature. The above is from “Cäcilia,” Vol. IX, 218, 219. In the so-called “Studien” (appendix) are other reminiscences, which form an admirable supplement to it. Those which belong to the years 1800-1805 follow: Our master could not be presented as a model in respect of conducting, and the orchestra always had to have a care in order not to be led astray by its mentor; for he had ears only for his composition and was ceaselessly occupied by manifold gesticulations to indicate the desired expression. He used to suggest a ~diminuendo~ by crouching down more and more, and at a ~pianissimo~ he would almost creep under the desk. When the volume of sound grew he rose up also as if out of a stage-trap, and with the entrance of the power of the band he would stand upon the tips of his toes almost as big as a giant, and waving his arms, seemed about to soar upwards to the skies. Everything about him was active, not a bit of his organism idle, and the man was comparable to a ~perpetuum mobile~. He did not belong to those capricious composers whom no orchestra in the world can satisfy. At times, indeed, he was altogether too considerate and did not even repeat passages which went badly at the rehearsal: “It will go better next time,” he would say. He was very particular about expression, the delicate nuances, the equable distribution of light and shade as well as an effective ~tempo rubato~, and without betraying vexation, would discuss them with the individual players. When he then observed that the players would enter into his intentions and play together with increasing ardor, inspired by the magical power of his creations, his face would be transfigured with joy, all his features beamed pleasure and satisfaction, a pleased smile would play around his lips and a thundering “Bravi tutti!” reward the successful achievement. It was the first and loftiest triumphal moment for the genius, compared with which, as he confessed, the tempestuous applause of a receptive audience was as nothing. When playing at first sight, there were frequent pauses for the purpose of correcting the parts and then the thread would be broken; but he was patient even then; but when things went to pieces, particularly in the scherzos of his symphonies at a sudden and unexpected change of rhythm, he would shout with laughter and say he had expected nothing else, but was reckoning on it from the beginning; he was almost childishly glad that he had been successful in “unhorsing such excellent riders.”