emigrant, named Dufour, came to Seesen. Although an amateur, only, he was an accomplished violinist and violoncellist. He settled there; and being supplied with free board by the more wealthy inhabitants, maintained himself by giving French lessons. The days on which he used to come to my parents, we always practised music, and I still remember having been moved to tears the first time I heard him play. I now gave my parents no rest until I had lessons from him.

Dufour, astonished at my rapid progress, was the first to persuade my parents to devote me entirely to music. My father, who had predestined me for the study of medecine, was from his love of music soon brought to agree to this; but he had a hard struggle with my grandfather, whose idea of a Musician was limited to that of a Tavern-fiddler who played to dancers. Subsequently, after I had been so early appointed Kammermusicus[2] in Brunswick, I had the satisfaction to induce my grandfather, who loved me very much, to adopt a higher opinion respecting my chosen career as a musical artiste.

It was while I took lessons from M. Dufour, that I made my first attempts at composition, but without yet having had any instruction in harmony. They consisted in duets for two violins, and I executed them with my teacher at our musical soirées; astonishing my parents with them in the highest degree. To this day, I recollect the proud feeling of being already able to appear before the friends of the house as a composer. As a reward, I received from my parents a gala dress, consisting of a red jacket with steel buttons, yellow breeches, and laced boots with tassels; a dress for which I had long prayed in vain. The duets, which my father has carefully preserved, are indeed incorrect and childish, but possess a certain form and a flowing melody.

This first brilliant success in composition, so inspired me, that from this time I devoted nearly every hour which the school allowed me, to similar attempts: I even ventured upon a little opera, the text of which I took from “Weisse’s Kinderfreund.” It may be mentioned as characteristic, that, I began with the title-page, and first of all painted it very finely with Indian ink; then followed the overture, then a chorus, then an air, and there the work came to a standstill. As I had never yet seen an opera performed, I took the model for these musical pieces from Hiller’s operas “Die Jagd”, and “Lottchen am Hofe”, of which my mother had a pianoforte arrangement, and which she had often sung with me and my father. But I soon felt that I needed both knowledge and experience for such an undertaking, and I therefore set to work at other attempts. In this however, I had a hard struggle with my father, who strongly insisted that every work once begun should be completed before another was commenced; and only because my father was convinced that I was unequal to so great a task, was an exception made on this occasion; but it was never allowed again. To this severity I owe my perseverance in working, and I have always recollected the paternal precept.

As my father liked to superintend the labours of his son, he allowed me to establish myself in his study, not being at all disturbed by the humming and whistling of the young composer. When I had written down anything wrong, which happened frequently enough, and was obliged to scratch it out, my father heard it at once, and would say half angrily: “Now the stupid boy is making windows again!”—for thus he designated the marks I made across the lines, in scratching out. I was very sensitive to this, and that is perhaps the reason why I acquired early the habit of writing off a clean score without erasing anything.

Since it was now determined, on the advice of Dufour, that I should devote myself entirely to music; Dufour insisted that I should be sent to Brunswick to enjoy the advantage of better lessons, particularly in theory. This could not take place till I was confirmed. According to a law strictly observed in the Dutchy of Brunswick, confirmation could not take place before the age of fourteen; in order therefore to lose no time, I was sent to my grandfather in the district of Hildesheim, where it was left to the decision of the clergyman as to when the children could be admitted to confirmation. Here, during the winter, I had lessons from my clever grandfather, both in religion, and other things; but music-lessons were not attended to, for neither my grandfather nor my uncles understood anything about it. I was therefore obliged to walk twice a week to Alefeld with my violin, to take lessons from the precentor there. Tedious as were these journeys, owing to the frequent severity of the winter weather, I was always pleased with them, chiefly, indeed, because I felt that I was above my teacher, and often brought him into difficulties by my fluent reading of the notes; and besides, I had not unfrequently the secret triumph of seeing him brought to a standstill.

Half way to Alefeld, stood a solitary mill. I once entered there during a heavy shower of rain, and gained the good will of the miller’s wife to such a degree, that from that time I was obliged to call every day I passed by, and was treated with coffee, cakes and fruit; for which I used to improvise something upon my violin by way of thanks. I still remember having once so completely ravished her by playing Wranitzky’s variations upon “Du bist liederlich”, into which all the juggles with which Paganini afterwards enchanted the world were introduced, that she would not let me leave her during the whole day.

Soon after returning from Woltershausen, I was sent to Brunswick, where I was received into the house of the rich gingerbread-baker Michaelis, as one of his own children, and treated with kindness by all the members of the family; my father had been their physician and had cured Michaelis’ wife of a dropsy.

I commenced my musical and other studies with eagerness. I received instruction on the Violin from Kammermusicus Kunisch, a well grounded and amiable teacher, to whom I owe much. Less friendly was my instructor in harmony and counterpoint, an old organist named Hartung; and I still remember how severely he once rebuked me, when, soon after the beginning of the lessons, I showed him a composition of my own. “There is time enough for that,” said he, “you must learn something first.” But after some months he himself encouraged me to make trials in composition: he corrected me, however, so mercilessly, and scratched out so many ideas which to me appeared sublime, that I lost all desire to show him anything further. Not long afterwards, our lessons were brought to a close by the ill health of the old man; and these were the only lessons in theory, I ever had. I was now obliged to seek for instruction in theoretical works. But the reading of good scores was of special advantage to me; these I obtained from the Theatrical library through the interest of my teacher Kunisch. In this manner I soon learned to write harmony correctly; and I now ventured for the first time to appear publicly in Brunswick with a composition for the violin. This took place in the School-concert of the Katharinen-Schule, which I attended as a Secundaner. These concerts were instituted by the Prefect for the practice of the School-choir; but from several members of the Hof-Kapelle, the Town musicians, and accomplished amateurs taking part in them, they became