al process from the office of Rousses, for
it was a piece calculated to hold a distinguished rank in the collection
which is to accompany this Work.

The loss of my necessities immediately brought me back to Chambery,
without having learned anything of the Abbe Blanchard. Reasoning with
myself on the events of this journey, and seeing that misfortunes
attended all my enterprises, I resolved to attach myself entirely to
Madam de Warrens, to share her fortune, and distress myself no longer
about future events, which I could not regulate. She received me as if I
had brought back treasures, replaced by degrees my little wardrobe, and
though this misfortune fell heavy enough on us both, it was forgotten
almost as suddenly as it arrived.

Though this mischance had rather dampened my musical ardor, I did not
leave off studying my Rameau, and, by repeated efforts, was at length
able to understand it, and to make some little attempts at composition,
the success of which encouraged me to proceed. The Count de Bellegrade,
son of the Marquis of Antremont, had returned from Dresden after the
death of King Augustus. Having long resided at Paris, he was fond of
music, and particularly that of Rameau. His brother, the Count of
Nangis, played on the violin; the Countess la Tour, their sister, sung
tolerably: this rendered music the fashion at Chambery, and a kind of
public concert was established there, the direction of which was at first
designed for me, but they soon discovered I was not competent to the
undertaking, and it was otherwise arranged. Notwithstanding this, I
continued writing a number of little pieces, in my own way, and, among
others, a cantata, which gained great approbation; it could not, indeed,
be called a finished piece, but the airs were written in a style of
novelty, and produced a good effect, which was not expected from me.
These gentlemen could not believe that, reading music so indifferently,
it was possible I should compose any that was passable, and made no doubt
that I had taken to myself the credit of some other person's labors.
Monsieur de Nangis, wishing to be assured of this, called on me one
morning with a cantata of Clerambault's which he had transposed as he
said, to suit his voice, and to which another bass was necessary, the
transposition having rendered that of Clerambault impracticable. I
answered, it required considerable labor, and could not be done on the
spot. Being convinced I only