emeral fame of the _virtuoso_. Perhaps he was a disappointed
man; there is a tinge of sadness about these last sonatas which
supports such a view. Perhaps a feeling that his life was ebbing away
made him serious: his music now shows no trifling. Explain it as you
may, Dussek's three last contributions to sonata literature rank
amongst the best of his day; and the indifference now shown to
them--so far, at least, as the concert platform is concerned--is proof
of ignorance, or bad taste. We say ignorance, because the rising
generation has few, if any, opportunities of hearing this composer's
music. It is eighteen years since his Op. 70 was given at the Popular
Concerts; while twenty-three and twenty-nine years have passed since
Op. 75 and Op. 77 have been played there.

The sonata in A flat, entitled "Le Retour a Paris," is known in
England as "Plus Ultra," and in an old edition it is dedicated to "Non
plus Ultra." The latter was meant for Woelfl, a famous pianist and
contemporary. His music is now forgotten, and his name is principally
remembered in connection with Beethoven; like the latter, his talent
for improvisation was great. The late J.W. Davidson, in his long and
interesting preface 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 poss