he finest melodies, and open to you a glimpse of the
character of the different nations.
* * * * *
Fail not to practise the reading of old clefs, otherwise many treasures
of past times will remain a closed fountain to you.
* * * * *
Attend early to the tone and character of the various instruments; try
to impress their peculiar sound on your ear.
* * * * *
Do not neglect to attend good Operas.
* * * * *
Highly esteem the Old, but take also a warm interest in the New. Be not
prejudiced against names unknown to you.
* * * * *
Do not judge a composition from the first time of hearing; that which
pleases you at the first moment, is not always the best. Masters need to
be studied. Many things will not become clear to you till you have
reached a more advanced age.
* * * * *
In judging of compositions, discriminate between works of real art and
those merely calculated to amuse amateurs. Cherish those of the former
description, and do not get angry with the others.
* * * * *
Melody is the battle-cry of amateurs, and certainly music without melody
is nothing. Understand, however, what these persons mean by it: a
simple, flowing and pleasing rhythmical tune; this is enough to satisfy
them. There are, however, others of a different sort, and whenever you
open Bach, Mozart, Beethoven, or any real master, their melodies meet
you in a thousand different shapes. I trust you will soon be tired of
the inferior melodies, especially those out of the new Italian operas;
and of all vulgar ones.
* * * * *
If, while at the piano, you attempt to form little melodies, that is
very well; but if they come into your mind of themselves, when you are
not practising, you may be still more pleased; for the internal organ of
music is then roused in you. The fingers must do what the head desires;
not the contrary.
* * * * *
If you begin to compose, work it out in your head. Do not try a piece on
your instrument, except when you have fully conceived it. If your music
came from your heart and soul, and did you feel it yourself,--it will
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