n music.'

"_Johnson_: 'No, sir, he cannot have pleasure in music; at least no
power of producing music; for he who can produce music may let it
alone; he who can play upon a Fiddle may break it: such a man is not a
machine.'"--"_Tour to the Hebrides_."

HAYDN IN LONDON.--A "SWEET STRADIVARI."
(BY PERMISSION OF MR. JOHN MURRAY.)

The following extracts, taken from "A Country Clergyman of the
Eighteenth Century," a pleasant and entertaining book (consisting of
selections from the correspondence of the Rev. Thomas Twining, M.A.),
cannot fail to interest the reader. The Rev. Thomas Twining was born
in 1735. He was an excellent musician, both in theory and practice,
and a lover of the Violin. He had collected much valuable information
with regard to music, with a view to writing a history of the subject.
Upon learning that Dr. Burney was engaged on his History of Music, he
not only generously placed his valuable notes at the service of the
Doctor, but revised the manuscript of his friend's History. Dr.
Burney, in the preface of his work, says: "In order to satisfy the
sentiments of friendship, as well as those of gratitude, I must
publicly acknowledge my obligations to the zeal, intelligence, taste,
and erudition of the Rev. Mr. Twining, a gentleman whose least merit
is being perfectly acquainted with every branch of theoretical and
practical music."

The publication of the volume containing the interesting
correspondence between Dr. Burney and his friend not only serves to
enlighten us relative to the substantial aid given to our musical
historian, but also makes us acquainted with an English eighteenth
century amateur and votary of the Fiddle of singular ability and rare
humility:--

"COLCHESTER, _February_ 15, 1791.

"To DR. BURNEY,--

"... And now, my dear friend, let's draw our stools together, and have
some fun. Is it possible we can help talking of Haydn first? How do
you like him? What does he say? What does he do? What does he play
upon? How does he play?... The papers say he has been bowed to by
whole orchestras when he has appeared at the play-houses. Is he about
anything in the way of composition? Come, come! I'll pester you no
more with interrogations; but trust to your generosity to gratify my
ardent curiosity in your own way. I have just--and I am ashamed to say
but just--sent for his 'Stabat Mater.' Fisin[10] told me some
quartetts had, not long ago, been published by him. He has written so
much