to Brewer & Co.’s edition of Dussek’s A flat sonata, leads us to believe that Dussek’s publisher, and not the composer himself, was responsible for the change of title to “Plus Ultra.”  The opus number, too, was changed from 70 to 71.  The following story is also told by Davidson in a preface contributed by him to the Brewer edition of the Woelfl sonata:—­“Who will play it?” asked the publisher (Well), looking through the music of the composer.  “I vill it blay,” replied Woelfl.  “Yes, but you won’t buy the copies.  No one but yourself or Dussek can play the Allegro, and I doubt if either of you can play the variations.”  Woelfl, however, sitting down before an old harpsichord, convinced the publisher of his error.  “What shall we call it?” asked Well.  “Call it ‘Ne plus Ultra,’” said Woelfl, rubbing his hands with joy, and adding, “Now shall we see if Herr von Esch vill more blay, or Herr Bomdembo make de variation.”

Dussek’s “Plus Ultra” (Op. 70) is justly admired; the music is fine, and in the matter of technique, setting aside a few sensational passages[88] in Woelfl’s sonata, which his very long fingers enabled him to execute with comparative ease, far surpassed the earlier work.  It must appear strange to many musicians who do not possess a copy of Woelfl’s sonata, that, in any mention of the rivalry between the two composers, no reference is made to Woelfl’s sonata beyond the title.  An examination of the latter, however, would soon solve the mystery.  The plain fact is this:  both the music and even the technique are now absolutely uninteresting.  The sonata, in the key of F major, commences with a brief introductory Adagio, followed by a long, tedious Allegro abounding in passages of thirds.  A brief Andante comes between this Allegro and the Finale, consisting of flimsy variations on the popular melody “Life let us Cherish.”  In a book of small compass such as the present one, we only wish to dwell upon matters of interest.  For some particular purpose Woelfl’s sonatas might possibly prove of importance and even interest; but not here.  The “Non plus Ultra,” so far as we are concerned, may serve to remind us that Woelfl once lived; while the rest of his music, like some incidents in his life, may be consigned to oblivion.  We cannot say that we have read all his sonatas, but enough of them, we believe, to judge, generally, of their contents.

Professor Macfarren’s opinion of Dussek, as composer for the pianoforte, in the Imperial Dictionary of Biography, is so excellent, that we cannot perhaps do better than quote his words:—­

“The immense amount of Dussek’s compositions for the pianoforte have by no means equal merit; many of them were written for the mere object of sale, still more for the purpose of tuition, and some with the design of executive display.  Of those which were produced, however, in the true spirit of art, expressing the composer’s feelings in his own unrestrained ideas, there exist quite enough to stamp