Beethoven), which appeared in the Gazette Musicale, under the
title Une Visite a Beethoven. Schlesinger told me candidly that
this little work had created quite a sensation, and had been
received with very marked approval; and, indeed, it was actually
reproduced, either complete or in parts, in a good many fireside
journals.

He persuaded me to write some more of the same kind; and in a
sequel entitled Das Ende eines Musikers in Paris (Un Musicien
etranger a Paris) I avenged myself for all the misfortunes I had
had to endure. Schlesinger was not quite so pleased with this as
with my first effort, but it received touching signs of approval
from his poor assistant; while Heinrich Heine praised it by
saying that 'Hoffmann would have been incapable of writing such a
thing.' Even Berlioz was touched by it, and spoke of the story
very favourably in one of his articles in the Journal des Debats.
He also gave me signs of his sympathy, though only during a
conversation, after the appearance of another of my musical
articles entitled Ueber die Ouverture (Concerning Overtures),
mainly because I had illustrated my principle by pointing to
Gluck's overture to Iphigenia in Aulis as a model for
compositions of this class.

Encouraged by these signs of sympathy, I felt anxious to become
more intimately acquainted with Berlioz. I had been introduced to
him some time previously at Schlesinger's office, where we used
to meet occasionally. I had presented him with a copy of my Two
Grenadiers, but could, however, never learn any more from him
concerning what he really thought of it than the fact that as he
could only strum a little on the guitar, he was unable to play