JOSEPH MAYSEDER, a violinist of a high order, and, in a certain limited line, an original composer of acknowledged merit, acquired a considerable share of popularity in a comparatively short time. Residing principally at showy and dazzling Vienna, where the present musical taste does not conform, in point of solidity, to the accustomed German standard, he exercised the peculiarities of his style with unchecked freedom. As a composer, his ambition was generally to sparkle, and his habit was nearly all gaiety, or, as one of our musical critics has termed it, a tricksy _mixture_ of gaiety and melancholy. His writings, full as they are of ingenuity, and containing much that cannot fail to please, are chargeable with a somewhat too flimsy character, and with too evident a tinge of what may be called the _coquetry_ of composition. His playing, which was touched with the jerking manner observed in Kiesewetter, was also distinguished by much brilliancy and great powers of rapidity. BERNHARD MOLIQUE, Concert-master to the Court, and second leader of the orchestra to the Opera, at Stuttgard, was born at Nuremberg, Oct. 7, 1803. His father, a town musician, was his first master, and taught him to play, not one, but many instruments; the violin was, however, that which the young artist preferred, and on which his progress was most rapid. At the age of fourteen, he was sent to Munich, and placed under the direction of Rovelli, first Violin of the Chapel Royal. Two years afterwards, he went to Vienna, where he obtained a place in the orchestra of the theatre “An der Wien.” In 1820, he returned to Munich, where, although but seventeen years of age, he succeeded his master, Rovelli, as First Violin to the Court. During the two subsequent years, Molique laboured to impart to his talent a graceful and energetic character. In 1822, he found himself sufficiently advanced in his art to be in a condition to travel, in the quality of artist, and give performances in great cities. He obtained leave of absence, and visited with good success, Leipzig, Dresden, Berlin, Hanover and Cassel. In 1826, Molique was engaged at the Court of Stuttgard, as Concert-Master. There he obtained renown for the development of a new talent, the direction of an orchestra, in which post he was equally remarkable for precision, sentiment, and accurate appreciation of the slightest effects of instrumental colouring.