the publication of all my Works in futur—­These Quartettos are for you a publication so advantagous that I have not the least doubt but you will make the Bargain of them, since there is such a long time that nothing has been published of my composition—­I wish them to appear about the middle of January, and to be dedicated to His Royal Highness the Prince Louis of Prussia with whom I am at this moment at the Army against the French—­If you wish to write to me, give the letter to the Gentelmen who shall deliver to you the quartettos—­I beg You to give my best greetings to Mr. Crassier, Sheener, Tonkinson and all Those that remember me, and believe me,

Your very obedient Servant,

and sincere friend,

DUSSEK,

Privy Secretary to His Royal H^s. the Prince Louis of Prussia.

The above letter is addressed to Mr. Birchal, Music Seller, New Bond
Street, London.

[87] Musical Times, September and October 1877.

[88] Here is one, in the 8th Variation—­

[Music illustration]

[89] Mendelssohn, too, complained that Dussek was a prodigal.

[90] The one in D minor has often been performed at the Popular Concerts.

[91] 1822-1892.

[92] The original title is:  “Sonata per il Cembalo o Fortepiano di F.W.  Rust, 1788.”

[93] It is curious to note that in the supplement of the Breitkopf & Haertel edition of Beethoven’s works there are two little pieces entitled “Lustig und Traurig.”

[94] E. Bach published six easy clavier sonatas in 1765, but Neefe probably refers to earlier and more important works.

[95] Besides those mentioned, he published in 1774 six new sonatas, also variations on the theme “Kunz fand einst einen armen Mann.”

[96] “As your Royal Highness seemed to be pleased with the sonata in C minor, I thought it would not appear too bold to surprise you with the dedication of it.”

[97] The opening theme of that same symphony—­

[Music illustration]

recalls, curiously, the last movement of Beethoven’s 8th Symphony; and still more so in the form in which he first sketched it—­

[Music illustration]

[98] Schindler, by the way, relates in his Biography of Beethoven (3rd ed. 2nd Part, p. 212) that, already in 1816, when there was a proposal made by Hoffmeister to Beethoven to issue a new edition of his pianoforte music, the master conceived the intention of indicating the poetic idea ("Poetische Idee”) underlying his various works.  And the biographer adds:  “This term (i.e. poetic idea) belongs to Beethoven’s epoch, and was used by him as frequently as was, for example, the expression ‘poetic contents’ by others—­in opposition to works which only offer an harmonic and rhythmic play of tones.  Writers on aesthetics of our day declaim against the latter term; with good reason, if it refer to programme-music; without