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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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