Great Violinists And Pianists

im, as of another well-known composer, who attempted to conduct a business in the vending of sweet sounds and the juice of the grape simultaneously, that he composed his wi

le he was so completely lost in the London Babel as to have passed out of sight and mind of his old admirers. The French singer, Ga

idence in London, but, for a long time after his (Garat's) arrival in the metropolis, all his attempts to find him were fruitless. At last, one morning he went to a large export house for wine. It had a spacious courtyard, filled with numbers of large barrels, among which it was not easy to move toward the office or counting-house. On entering the latter, the first pers

ted; but what could you expect? At Paris I was looked upon as a ruined man, lost to all my f

ll the drawbacks and annoyances of a profession to which you w

ductions, its prestige, its poetical side. I assure you no musician, no poet, ever had an existence more full of interesting and exciting incidents than those which cause the heart of the me

rt of which you are one of the finest represent

ough you doubtless consider them irreconcilable. We will continue this subject another time; at present I must leave you; I have

oom on the first floor. The apartments were magnificently furnished, and glittered with mirrors, candelabra, gilt ornaments, and the most quaint and costly bric-à-brac. Viotti received his guests at the head of the staircase, no longer the plodding man of business, but the courtly, high-bred gentleman. Garat's amazeme

ted director of the Grand Opéra, but he became discontented in a very onerous and irritating position, and was retired at his own request with a pension. An interesting letter from the grea

ved opinion you have of me. The oratorio of 'Mo?se,' composed by me three years ago, appears to our mutual friend susceptible of dramatic adaptation to French words; and I, who have the greatest reliance on Hérold's taste and on his friendship for me, desire nothing more than to render the entire work as perfect as possible, by composing new airs in

chino

der that you may judge if they are conformable to the operatic style. Should they not