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Now, 1st, all his extracts are in the second edition of Schindler's "Biography;" 2d, all the variations from the original are found word for word in Schindler's excerpts; 3d, the first of the above three examples, which Marx takes for an expression of Beethoven's views, was written by Schindler himself, for his master's perusal!

He had worked the previous night until overtaken by exhaustion and on awaking in the morning had at once resumed his work, continuing it until interrupted by Schindler's arrival. A work so transcendental in character as is this, calls for close and sympathetic study even to get an approximate understanding of its marvels.

We hear nothing of Czerny, of Schuppanzich, of Linke, or of Zmeskall, which to say the least, is singular. Schindler's omission of these names, however, has no particular significance; he wrote many years after the event, and forgot or omitted the mention of circumstances of greater importance than this.

At times, however, this reserve gave way to Schindler's persistency. Men of genius seldom care to explain their utterances. "The spirit gives it to me and I write it down" is a remark attributed to Beethoven, and this stated the case sufficiently from his point of view.

And so on this point Marx leaves us just as wise as we were before. There is a gentleman who can decide by a word as to the authenticity of these letters of Beethoven, since he originally furnished them for publication in the English translation of Schindler's "Biography." We refer to Mr. Chorley, of the "London Athenaeum."

He had secured large and comfortable quarters in the house of a Baron Pronay, which, from Schindler's account was a fine old mansion in the centre of a large park. It suited Beethoven admirably. There was a fine view of the surrounding country from his windows, the situation was healthful, and he delighted in walking about when not at work.

Beethoven died March 26, 1827, and thirty years passed away without any satisfactory biography of him. Wegeler's "Notizen" are indispensable for the early history of the composer; Schindler's "Biographie," for that of his later years.

See Lives of the Poets, vol. i. p. 188. Even M. Alphonse de Lamartine acknowledges of Mirabeau, that "neither his character, his deeds, nor his thoughts, have the brand of immortality." Hist. Giron. Liv. i. chap. 3. This incident was suggested by a touching sentence in Schindler's biography of Beethoven.

With what interest, for instance, do we read Schindler's account of how Beethoven composed his Missa Solemnis of the master's absolute detachment from the terrestrial world during the time he was engaged on this work; of his singing, shouting, and stamping, when he was in the act of giving birth to the fugue of the Credo!

Beethoven's first intention was to dedicate Op. 58 to him, which is evident from a large page in Schindler's work, on which is written in bold characters, by the master's own hand, "Quatrième Concerto pour le Piano, avec accompagnement, etc., dédié