_Sending for Time-Keepers._—In treating of the importance of adjusting the time of a composition to the sentiment and intention of the author, it is stated by Kandler, an able German writer, that Haydn was so offended at the rude and hurried manner in which he found his music driven by us English, when he first visited our country, as to send for the family of the Moralts from Vienna, to shew the Londoners the time and expression with which he intended his quartetts to be played.—Kiesewetter also, in leading Beethoven’s symphonies at the Philharmonic Concert (although himself a performer who particularly shone in rapid playing), is said to have insisted upon their being executed more slowly than that orchestra had been accustomed to perform them. _Musical Exaction._—A rich, but penurious personage, who somehow aspired to be thought a man of _taste_, was resolved, on one occasion, to make exhibition of this quality, by giving to his friends an entertainment of instrumental music. While the musicians were all at work, he seemed satisfied with the performance—but when the principal Violin came to be engaged upon an incidental solo, he enquired, in a towering passion, why the others were remaining _idle_? “It is a _pizzicato_ for one instrument,” replied the operator. “I can’t help that,” exclaimed the virtuoso, who was determined to have the worth of his money—“Let the trumpets _pizzicato_ along with you!”—This hopeful amateur may serve to recall the not unfamiliar anecdote about old Jacob Astley, of “horse-theatre” celebrity, who observed a violinist in his band to be in a state of temporary cessation from playing, during the continued activity of the others, and asked him what he _meant_ by it. “Why, sir, here’s a _rest_ marked in my part—a rest of several bars.”—“_Rest!_” shouted Astley (who had always a great horror of being imposed upon), “don’t tell me about _rest_, sir. I pay you to come here and _play_, sir, and not to _rest_!”