in the year 1637. Grand old Dane, he was a typical son of the North, full of that indescribable enthusiasm for music which has given to the world so many great names mustered from the shores of Scandinavia. Like all the famous musicians of that period, he inherited the mantle of his father, and became organist of the OlaiChurch on the decease of that worthy man.

The career of the great organist did not really begin until he was about thirty years old, when he abandoned the position so ably filled at Helsingör and turned his steps towards Lübeck, in order to compete for the appointment of organist in the Marien-Kirche—an undertaking in which he was, fortunately for the music-loving townspeople, at once successful. The old adage, there is no rose without its thorn, proved the case in this matter; and the thorn in the young virtuoso's garland was the quaint old custom practised from time immemorial among the organ - masters of Lübeck. They made marriage compulsory with their successors, and each old master bequeathed to the successful applicant not only his seat, but a daughter in marriage as well; consequently, young Buxtehude found himself compelled to accept a bride, pleasing or otherwise. In this respect he seems to have been as fortunate as in the matter of VOL. II.

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the appointment, for history records the marriage with his predecessor's daughter, Anna Margaretha Tunder, to have been a very happy and prolific one. Not so fortunate was his successor, Mattheson, whom Buxtehude, remembering his own experience, sought to marry to his daughter, Anna Margaretha; the match was a failure, for the young musician did not take kindly to the prospect of marrying a lady twelve years his senior. Consequently, the mantle and prestige of Buxtehude's renown fell to his friend, who had no scruples in the matter of a slight disparity of age on the wrong side.

Buxtehude's fame, no doubt, rests upon the glorious fact that he was the friend and master of Bach, and that he made Lübeck the centre of the musical world of Gemany in those days, by his institution of great musical performances in connection with the church services. These were called the Abendmusiken, or evening services, on the five Sundays before Christmas, consisting of sacred music for orchestra and chorus. To these services musicians travelled from all parts of the musical world; and the fame of them induced Bach to make his memorable journey on foot from Thuringia. The ready help of the kindly old virtuoso, rich

in fame and the good things of life, to the unknown pupil, the simple youth, clad in the garb of a peasant, whose only credentials were enthusiasm and a capacity for hard study, shall reflect glory on the name of Buxtehude as long as that of Bach shines in the annals of music.

CLEMENTI

1752-1832

a

`LEMENTI has been described as a man of the rarest talent, 'not of genius description that can only be understood by those who are capable of estimating the subtle distinction, as to the true relation of which there will always be some diversity of opinion. 'Talent' is a useful word, and, as George Eliot would say, must often be taken with considerable reservation and 'an extensive knowledge of differences.' Whether Clementi belongs to genius or talent, his work remains a durable monument of success and value. His life extended over the most brilliant and productive period in the history of music. Handel was living in his childhood; and when he was buried in the pretty churchyard at Eversham, Beethoven, Schubert, and Weber had sung their last songs, and Mozart, Gluck, and Haydn had lived and struggled and given the world immortal works in the interim. During his

allotted span of years music had undergone revolutions, and the world had witnessed political and social upheavals of everlasting interest to the human race. The terrible French Revolution had shaken Europe to its foundations; the giant sprung from the soil of Corsica had for a time chained the riotous torrent, and directed its course into one channel of selfishness; and he in turn had been hurled from his solitary throne, and chained by the vengeance of outraged humanity. Amidst these stirring changes the musician lived a life apart, wedded to his art, resigned and placid, unmoved by outward things.

Muzio Clementi was born in Rome in 1752. His father, a silversmith, was pleased to find his son possessed of musical talent, and placed him under the care of Buroni, a relative of the family, one of the first organists in Rome, and maestro di capella in one of the churches there. In his seventh or eighth year the child was initiated into the mysteries of contra-bass by Condicelli; and in two years he had made sufficient progress to compete successfully for a position as organist. Up to the age of fourteen he studied singing and counterpoint under the direction of Sartarelli and Carpani.

Then came the turning point in the boy's