llowed another till we
received the parting kiss and 'good night.'... At my next visit,
Rossini showed me a charming 'Lied oline Worte,' which he composed only
yesterday; a graceful melody is embodied in the well-known technical
form. Alluding to a performance of 'Semiramide,' he said with a
malicious smile, 'I suppose you saw the beautiful decorations in it?' He
has not received the Sisters Marchisio for fear they should sing to
him, nor has he heard them in the theatre; he spoke warmly of Pasta,
Lablache, Rubini, and others, then he added that I ought not to look
with jealousy upon his budding talent as a pianoforte-player, but that,
on the contrary, I should help to establish his reputation as such in
Leipsic. He again questioned me with much interest about my intimacy
with Clementi, and, calling me that master's worthy successor, he said
he should like to visit me in Leipsic, if it were not for those dreadful
railways, which he would never travel by. All this in his bright and
lively way; but when we came to discuss Chevet, who wishes to supplant
musical notes by ciphers, he maintained in an earnest and dogmatic
tone that the system of notation, as it had developed itself since
Pope Gregory's time, was sufficient for all musical requirements. He
certainly could not withhold some appreciation for Chevet, but refused
to indorse the certificate granted by the Institute in his favor; the
system he thought impracticable.

"The never-failing stream of conversation flowed on until eleven
o'clock, when I was favored with the inevitable kiss, which on this
occasion was accompanied by special farewell blessings."

Shortly after Moscheles had left Paris, his son forwarded to him most
friendly messages from Rossini, and continues thus: "Rossini sends you
word that he is working hard at the piano, and, when you next come
to Paris, you shall find him in better practice.... The conversation
turning upon German music, I asked him 'which was his favorite among the
great masters?' Of Beethoven he said: 'I take him twice a week, Haydn
four times, and Mozart every day. You will tell me that Beethoven is a
Colossus who often gives you a dig in the ribs, while Mozart is always
adorable; it is that the latter had the chance of going very young to
Italy, at a time when they still sang well.' Of Weber he says, 'He has
talent enough, and to spare' (Il a du talent a revendre, celui-la). He
told me in reference to him, that, when the part of