frequent expression. Bach's "Well-Tempered Clavichord" he declares is
his "grammar, and the best of all grammars. The fugues I have
analyzed successively to the minutest details; the advantage resulting
from this is great, and has a morally bracing effect on the whole
system, for Bach was a man through and through; in him there is
nothing done by halves, nothing morbid, but all is written for time
eternal." Six years later: "Bach is my daily bread; from him I derive
gratification and get new ideas--'compared with him we are all
children,' Beethoven has said, I believe." One day a caller remarked
that Bach was old and wrote in old-fashioned manner: "But I told him
he was neither old nor new, but much more than that, namely, eternal.
I came near losing my temper." Concerning the unappreciative
Mendelssohn, he writes to Clara:

"I am told that he is not well disposed toward me. I should feel sorry
if that were true, since I am conscious of having preserved noble
sentiments toward him. If you know anything let me hear it on
occasion; that will at least make me cautious, and I do not wish to
squander anything where I am ill-spoken of. Concerning my relations
toward him as a musician [1838], I am quite aware that I could learn
of him for years; but he, too, some things of me. Brought up under
similar circumstances, destined for music from childhood, I would
surpass you all--that I feel from the energy of my inventive powers."

Concerning this energy he says, some time after this, when he had
just finished a dozen songs: "Again I have composed so much that I am
sometimes visited by a mysterious feeling. Alas! I cannot help it. I
could wish to sing myself to death, like a nightingale."

One of the most interesting bits of information contained in this