for the first time saw Beethoven conduct and was surprised in the highest degree, although he had been told beforehand of what he now saw with his own eyes. Beethoven had accustomed himself [he says] to indicate expression to the orchestra by all manner of singular bodily movements. At ~piano~ he crouched down lower and lower as he desired the degree of softness. If a ~crescendo~ then entered he gradually rose again and at the entrance of the ~forte~ jumped into the air. Sometimes, too, he unconsciously shouted to strengthen the ~forte~. It was obvious that the poor man could no longer hear the ~piano~ of his music. This was strikingly illustrated in the second portion of the first Allegro of the symphony. In one place there are two holds, one immediately after the other, of which the second is ~pianissimo~. This, Beethoven had probably overlooked, for he began again to beat time before the orchestra had begun to play the second hold. Without knowing it, therefore, he had hurried ten or twelve measures ahead of the orchestra, when it began again and, indeed, ~pianissimo~. Beethoven to indicate this had in his wonted manner crouched clean under the desk. At the succeeding ~crescendo~ he again became visible, straightened himself out more and more and jumped into the air at the point where according to his calculation the ~forte~ ought to begin. When this did not follow his movement he looked about in a startled way, stared at the orchestra to see it still playing ~pianissimo~ and found his bearings only when the long-expected ~forte~ came and was audible to him. Fortunately this comical incident did not take place at the performance. Mälzel’s first placards announcing the concert spoke of the battle-piece as his property; but Beethoven objecting to this, others were substituted in which it was said to have been composed “out of friendship, for his visit to London.” No hint was conveyed of Mälzel’s share in the composition. The programme was: I. “An entirely new Symphony,” by Beethoven (the Seventh, in A major). II. Two Marches played by Mälzel’s Mechanical Trumpeter, with full orchestral accompaniment--the one by Dussek, the other by Pleyel. III. “Wellington’s Victory.”