came out in 1812, and was admired by Napoleon. Lesueur,
distinguished as a composer of dramatic and sacred music, and a writer
on musical matters, had, however, given up all professional work with
the exception of teaching composition at the Conservatoire. In fact,
almost all the above-named old gentlemen, although out of fashion as
composers, occupied important positions in the musical commonwealth as
professors at that institution. Speaking of professors I must not
forget to mention old Reicha (born in 1770), the well-known theorist,
voluminous composer of instrumental music, and esteemed teacher of
counterpoint and composition.

But the young generation did not always look up to these venerable men
with the reverence due to their age and merit. Chopin, for instance,
writes:--

Reicha I know only by sight. You can imagine how curious I am
to make his personal acquaintance. I have already seen some
of his pupils, but from them I have not obtained a favourable
opinion of their teacher. He does not love music, never
frequents the concerts of the Conservatoire, will not speak
with anyone about music, and, when he gives lessons, looks
only at his watch. Cherubini behaves in a similar manner; he
is always speaking of cholera and the revolution. These
gentlemen are mummies; one must content one's self with
respectfully lookingat them from afar, and studying their
works for instruction.

In these remarks of Chopin the concerts of the Conservatoire are
made mention of; they were founded in 1828 by Habeneck and others
and intended for the cultivation of the symphonic works of the great
masters, more especially of Beethoven. Berlioz tells us in his Memoires,
with his usual vivacity and causticity, what impressions the works of
Beethoven made upon the old gentlemen above-named. Lesueur considered
instrumental music an inferior genre, and although the C minor Symphony
quite overwhelmed him, he gave it as his opinion that "one ought not to
write such music." Cherubini was profoundly irritated at the success of
a master who undermined his dearest theories, but he dared not discharge
the bile that was gathering within him. That, however, he had the
courage of his opinion may be gathered from what, according to
Mendelssohn, he said of Beethoven's later works: "Ca me fait eternuer."
Berton looked down with pity on the whole modern German school.
Boieldieu, who hardly knew what to think of the matte