n.d. January 1828

Breakfast at Sir Walter Scott

Edinburgh: Sir Walter Scott’s Residence, 6 Shandwick Place

Time: Morning, Ten o’Clock: Assembly Rooms

✗Programme

Song, ‘Pibroch o’ Donald Dhu’
Free Piano Fantasia, incl. ‘Pibroch o’ Donald Dhu’	Mr. Moscheles

Principal Instrumentalists: Mr. Moscheles

———————————

Notes: The concert took place between 18-24 January.

Charlotte: To the delight of Moscheles, Sir Walter sent an immediate answer to his letter of recommendation, saying that, being confined to his house with an attack of gout, he hoped Moscheles and his wife would come to breakfast, instead of waiting for him to visit them.
Next morning, at 10 am., they called at No. 6, Shandwick Place, where the illustrious man was staying for the winter, with his second, and unmarried, daughter. [RMM, 135-136.]

Moscheles: He opened the door himself…and welcomed us heartily: he was suffering from gout, and walked with a stick. Before we had taken off our things we felt completely at home, and my wife’s anticipated awe of the great man had entirely vanished. We sat down to breakfast forthwith, and a genuine good Scotch breakfast we had, served on handsome silver plate, by two servants in powder and livery. Scott’s conversation was extremely animated and delightful: he understands German, and is thoroughly versed in our literature, and an enthusiastic worshipper of Goethe. He told us many anecdotes, but when he asked me, “How do you like my cousin the piper?—you know, we Scotch are all cousins”—I am afraid my answer must have done violence to his sense of music, which by nature, was very limited. It was impossible for me to pretend to any enthusiasm for the bagpipes. Sir Walter had expected as much, but expatiated on the wonderful effect the national music has on the native Highlanders, arguing that a wandering piper would attract crowds in the streets of Edinburgh; also, that in battle the sound of bagpipes would inspire Scotch soldiers with a desperate valour. “You should hear my cousin the piper play and sing ‘The Pibroch o’ Donald Dhu,’ but with the Gaelic words”, said he; “those words are the only appropriate ones to convey spirit and animation, but the melody itself carries one away”. He began to hum the tune, and beat time on the carpet with his stick, which was always by his side; “but,” added he, “the whole thing is wrong; I sing so badly: my cousin, who has just come in, must play the tune for us upstairs in the drawing-room”. Accordingly, we went upstairs; the cousin played me the subject; I extemporized upon it, and completely won the heart of our ever-youthful-minded and genial host. This was the prelude to my playing several Scotch airs, which I had to vary and interweave in all manner of ways. At last we parted, after a delightful visit, ever memorable to us; the amiability and sweetness of Scott’s manner are never to be forgotten. Kindness, indeed, is written in every feature, and speaks in every word. that falls from him. He treated my wife like a pet daughter, kissed her on the cheek when we went away, and promised he would come and see the children, and bring them a book. This he did, and his gift was the Tales of a Grandfather. He had written in the title page, “To Adolphus and Emily Moscheles, from the Grandfather” . [RMM, 136-137.]

Reviews

The Edinburgh Observer (January 25, 1828): 2.

Mr. MOSCHELES.

——

We are enabled, by the attention of a correspondent, to give some instances of the extraordinary talents of this great musician as an improvisatore in his art, which we think may be interesting to our readers.

Mr and Mrs Moscheles were breakfasting with Sir Walter Scott a few days ago, when the conversation turned upon the music of the Highlands. Sir Walter quoted the fine old gathering, “Pibroch o’ Donald Dhu,” as being one of the boldest and most spirited of its martial class, and requested a gentleman present to endeavour to sing it. His guest complied as he best could, though no doubt a little embarrassed at being summoned so suddenly to exhibit as a vocalist before one of the first musicians in Europe. However, he contrived to sing the air, with Sir Walter’s Tyrtæan verses, in such a manner as to make the great pianist understand and relish it; and, after repeating it once or twice at his request, the subject was dropt [sic]. On adjourning to the drawing-room, the musician sat down to the piano-forte; and, after a few prefatory movements, the company were astonished and delighted when the soul-stirring Highland melody burst forth in all its wild force and fury! It was, perhaps, never played at the head of a clan before battle, with more passionate energy. The mode of treating it was unspeakably fine. Now, the full roar of hostile conflict pealing forth—anon, wild wailings arose, significant of woe and death—then the rapid mustering of friends and foes to the rescue—now, kindred airs, though different, indicated the approach of other clans to the battle-field. In short the musician, who had never heard the melody but once, and who was previously almost a stranger to the very existence of the bold race whose energies it spoke, exhibited the whole soul of Highland melody, throughout all its varying struggles and emotions, as if he had learned from infancy to sweep the harp with Ossian, and burnt and wept all his life with the children of the mist and desert. It was quite clear the great harmonist felt in whose presence he was performing; and it may well be said, that he never before exerted himself with more devoted skill.

When this exquisite display was over, Sir Walter chanced to allude to the effects of the various martial sounds which reached his ears, when the evening watch was set of Allied troops in Paris, after the battle of Waterloo. Seated on the summit of a small eminence near the village of St. Cloud, amidst the calm of a French summer’s night, he described the mingling sounds, in the distance, of the instruments of almost all the nations in the worlds, rising in strange and wild harmony around, as producing an effect upon him such as he should never forget. This led to a disquisition upon military music in general, and that to a request from Sir Walter that Mr Moscheles would indulge the company with some of the martial airs of the Continent. He immediately assented, modestly saying, that he knew very many of them, as he had been often employed in their composition by the Emperor of Austria. He sat down again, accordingly, to his instrument, and produced the most admirable melange of every sort of military music that can be conceived. Several of the airs his auditors knew, many they heard for the first time; but the wonderful facility and grace with which he arranged and combined them—passing through more than imaginable variety of keys and measures, yet ever maintaining one uniform tone of high martial feeling—excited the profoundest admiration. They all agreed, that though they had often heard before what were termed extempore fantasias, yet the real ossian, which alone gives value to such efforts of improvisation, they then listened to for the first time.

Caledonian Mercury (January 26, 1828): 3.

MR. MOSCHELES.

Mr and Mrs Moscheles were breakfasting with Sir Walter Scott a few days ago, when the conversation turned upon the music of the Highlands. Sir Walter quoted the fine old gathering, “Pibroch o’ Donald Dhu,” as being one of the boldest and most spirited of its martial class, and requested a gentleman present to endeavour to sing it. His guest complied as he best could, though no doubt a little embarrassed at being summoned so suddenly to exhibit as a vocalist before one of the first musicians in Europe. However, he contrived to sing the air, with Sir Walter’s Tyrtæan verses, in such a manner as to make the great pianist understand and relish it; and, after repeating it once or twice at his request, the subject was dropt. On adjourning to the drawing-room, the musician sat down to the piano forte; and, after a few prefatory movements, the company were astonished and delighted when the soul-stirring Highland melody burst forth in all its wild force and fury! It was, perhaps, never played at the head of a clan before battle, with more passionate energy. The mode of treating it was unspeakably fine. Now, the full roar of hostile conflict pealing forth—anon, wild wailings arose, significant of woe and death—then the rapid mustering of friends and foes to the rescue—now, kindred airs, though different, indicated the approach of other clans to the battle-field. In short the musician, who had never heard the melody but once, and who was previously almost a stranger to the very existence of the bold race whose energies it spoke, exhibited the whole soul of Highland melody, throughout all its varying struggles and emotions, as if he had learned from infancy to sweep the harp with Ossian, and burnt and wept all his life with the children of the mist and desert. It was quite clear the great harmonist felt in whose presence he was performing; and it may well be said, that he never before exerted himself with more devoted skill.

When this exquisite display was over, Sir Walter chanced to allude to the effects of the various martial sounds which reached his ears, when the evening watch was set of Allied troops in Paris, after the battle of Waterloo. Seated on the summit of a small eminence near the village of St. Cloud, amidst the calm of a French summer’s night, he described the mingling sounds, in the distance, of the instruments of almost all the nations in the worlds, rising in strange and wild harmony around, as producing an effect upon him such as he should never forget. This led to a disquisition upon military music in general, and that to a request from Sir Walter that Mr Moscheles would indulge the company with some of the martial airs of the Continent. He immediately assented, modestly saying, that he knew very many of them, as he had been often employed in their composition by the Emperor of Austria. He sat down again, accordingly, to his instrument, and produced the most admirable melange of every sort of military music that can be conceived. Several of the airs his auditors knew, many they heard for the first time; but the wonderful facility and grace with which he arranged and combined them—passing through more than imaginable variety of keys and measures, yet ever maintaining one uniform tone of high martial feeling—excited the profoundest admiration. They all agreed, that though they had often heard before what were termed extempore fantasias, yet the real bard-like spirit, which alone gives value to such efforts of improvisation, they then listened to for the first time.—Observer.

The Morning Post (January 29, 1828): 3.

Mr. MOSCHELES.

(FROM THE EDINBURGH OBSERVER.)

We are enabled, by the attention of a correspondent, to give some instances of the extraordinary talents of this great musician as an improvisatore in his art, which we think may be interesting to our readers.

Mr. and Mrs. Moscheles were breakfasting with Sir WALTER SCOTT a few days ago, when the conversation turned upon the music of the Highlands. Sir WALTER quoted the fine old gathering, “Pibroch o’ Donald Dhu,” as being one of the boldest and most spirited of its martial class, and requested a gentleman present to endeavour to sing it. His guest complied as he best could, though no doubt a little embarrassed at being summoned so suddenly to exhibit as a vocalist before one of the first musicians in Europe. However, he contrived to sing the air, with Sir WALTER’S Tyrtæan verses, in such a manner as to make the great pianist understand and relish it; and, after repeating it once or twice at his request, the subject was dropped. On adjourning to the drawing-room, the musician sat down to the piano forte; and, after a few prefatory movements, the company were astonished and delighted when the soul-stirring Highland melody burst forth in all its wild force and fury! It was, perhaps, never played at the head of a clan before battle, with more passionate energy. The mode of treating it was unspeakably fine. Now, the full roar of hostile conflict pealing forth—anon, wild wailings arose, significant of woe and death—then the rapid mustering of friends and foes, to the rescue—now, kindred airs, though different, indicated the approach of other clans to the battle-field. In short, the musician, who had never heard the melody but once, and who was previously almost a stranger to the very existence of the bold race whose energies it spoke, exhibited the whole soul of Highland melody, throughout all its varying struggles and emotions, as if he had learned from infancy to sweep the harp with OSSIAN, and burnt and wept all his life with the children of the mist and desert. It was quite clear the great harmonist felt in whose presence he was performing; and it may well be said, that he never before exerted himself with more devoted skill.

The Times (January 29, 1828): 3.

MR. MOSCHELES.

[line]

Mr. and Mrs. Moscheles were breakfasting with Sir Walter Scott a few days ago, when the conversation turned upon the music of the Highlands. Sir Walter quoted the fine old gathering, “Pibroch o’ Donald Dhu,” as being one of the boldest and most spirited of its martial class, and requested a gentleman present to endeavour to sing it. His guest complied as he best could, though no doubt a little embarrassed at being summoned so suddenly to exhibit as a vocalist before one of the first musicians in Europe. However, he contrived to sing the air, with Sir Walter’s Tyrtæan verses, in such a manner as to make the great pianist understand and relish it; and, after repeating it once or twice at his request, the subject was dropt [sic]. On adjourning to the drawing-room, the musician sat down to the piano-forte; and, after a few prefatory movements, the company were astonished and delighted when the soul-stirring Highland melody burst forth in all its wild force and fury! It was, perhaps, never played at the head of a clan before battle, with more passionate energy. The mode of treating it was unspeakably fine. Now, the full roar of hostile conflict pealing forth—anon, wild wailings arose, significant of woe and death—then the rapid mustering of friends and foes to the rescue—now, kindred airs, though different, indicated the approach of other clans to the battle-field. In short the musician, who had never heard the melody but once, and who was previously almost a stranger to the very existence of the bold race whose energies it spoke, exhibited the whole soul of Highland melody, throughout all its varying struggles and emotions, as if he had learned from infancy to sweep the harp with Ossian, and burnt and wept all his life with the children of the mist and desert. It was quite clear the great harmonist felt in whose presence he was performing; and it may well be said, that he never before exerted himself with more devoted skill.

When this exquisite display was over, Sir Walter chanced to allude to the effects of the various martial sounds which reached his ears, when the evening watch was set of Allied troops in Paris, after the battle of Waterloo. Seated on the summit of a small eminence near the village of St. Cloud, amidst the calm of a French summer’s night, he described the mingling sounds, in the distance, of the instruments of almost all the nations in the worlds, rising in strange and wild harmony around, as producing an effect upon him such as he should never forget. This led to a disquisition upon military music in general, and that to a request from Sir Walter that Mr. Moscheles would indulge the company with some of the martial airs of the Continent. He immediately assented, modestly saying, that he knew very many of them, as he had been often employed in their composition by the Emperor of Austria. He sat down again, accordingly, to his instrument, and produced the most admirable melange of every sort of military music that can be conceived. Several of the airs his auditors knew, many they heard for the first time; but the wonderful facility and grace with which he arranged and combined them—passing through more than imaginable variety of keys and measures, yet ever maintaining one uniform tone of high martial feeling—excited the profoundest admiration. They all agreed, that though they had often heard before what were termed extempore fantasias, yet the real bard-like spirit, which alone gives value to such efforts of improvisation, they then listened to for the first time.—Edinburgh paper.

The Morning Chronicle (January 30, 1828): 4.

Mr. MOSCHELLES, the celebrated performer on the piano-forte, is on a tour in Scotland. A few days since he visited Sir WALTER SCOTT, who introduced the subject of the music of the Highlands to his visitor, and particularly alluded to the find old gathering “Pibroch o’Donald Dhu,” as being one of the boldest and most spirited of its martial class. Mr. MOSCHELLES was very anxious to hear it, and a friend of Sir WALTER’S present though not a singer, gave the melody in a manner sufficiently expressive for the Professor to understand its full intended effect. Shortly after Mr. MOSCHELLES sat down to the piano forte, and, after a short extemporaneous introduction, Sir WALTER and his company were astonished and delighted by his bursting forth with the celebrated Highland Melody, in all its wild force and fury. The Musician, who had never heard the melody but once and who was previously almost a stranger to the very existence of the bold race whose energies it spoke, exhibited the Highland melody throughout all its various beauties, as if he had learnt the harp with OSSIAN.

The Inverness Courier (January 30, 1828): 2.

Bell’s Life in London and Sporting Chronicle (February 3, 1828): 3.

The Kaleidoscope: or, Literary and scientific mirror, vol. 6 (February 5, 1828): 262.

MR. MOSCHELES.

Mr. and Mrs. Moscheles were breakfasting with Sir Walter Scott a few days ago, when the conversation turned upon the music of the Highlands. Sir Walter quoted the fine old gathering, “Pibroch o’ Donald Dhu,” as being one of the boldest and most spirited of its martial class, and requested a gentleman present to endeavour to sing it. His guest complied as he best could, though no doubt a little embarrassed at being summoned so suddenly to exhibit as a vocalist before one of the first musicians in Europe. However, he contrived to sing the air, with Sir Walter’s Tyrtæan verses, in such a manner as to make the great pianist understand and relish it; and, after repeating it once or twice at his request, the subject was dropt. On adjourning to the drawing-room, the musician sat down to the piano-forte; and, after a few prefatory movements, the company were astonished and delighted when the soul-stirring Highland melody burst forth in all its wild force and fury! It was, perhaps, never played at the head of a clan before battle, with more passionate energy. The mode of treating it was unspeakably fine. Now, the full roar of hostile conflict pealing forth—anon, wild wailings arose, significant of woe and death—then the rapid mustering of friends and foes to the rescue—now, kindred airs, though different, indicated the approach of other clans to the battle field. In short, the musician, who had never heard the melody but once, and who was previously almost a stranger to the very existence of the bold race whose energies it spoke, exhibited the whole soul of Highland melody, throughout all its varying struggles and emotions, as if he had learned from infancy to sweep the harp with Ossian, and burnt and wept all his life with the children of the mist and desert. It was quite clear the great harmonist felt in whose presence he was performing; and it may well be said, that he never before exerted himself with more devoted skill.

The Taunton Courier, and Western Advertiser (February 6, 1828): 8.

MR MOSCHELES.—We are enabled, by the attention of a correspondent, to give some instances of the extraordinary talents of this great musician as an improvisatore in his art, which we think may be interesting to our readers. Mr and Mrs. Moscheles were breakfasting with Sir Walter Scott a few days ago, when the conversation turned upon the music of the Highlands. Sir Walter quoted the fine old gathering, “Pibroch o’ Donald Dhu,” as being one of the boldest and most spirited of its martial class, and requested a gentleman present to endeavour to sing it. His guest complied as he best could, though no doubt a little embarrassed at being summoned so suddenly to exhibit as a vocalist before one of the first musicians in Europe. However, he contrived to sing the air, with Sir Walter’s Tyrtæan verses, in such a manner as to make the great pianist understand and relish it; and, after repeating it once or twice at his request, the subject was dropped. On adjourning to the drawing-room, the musician sat down to the piano-forte; and, after a few prefatory movements, the company were astonished and delighted when the soul-stirring Highland melody burst forth in all its wild force and fury! It was, perhaps, never played at the head of a clan before battle, with more passionate energy. The mode of treating it was unspeakably fine. Now, the full roar of hostile conflict pealing forth—anon, wild wailings arose, significant of woe and death—then the rapid mustering of friends and foes to the rescue—now, kindred airs, though different, indicated the approach of other clans to the battle field. In short, the musician, who had never heard the melody but once, and who was previously almost a stranger to the very existence of the bold race whose energies it spoke, exhibited the whole soul of Highland melody, throughout all its varying struggles and emotions, as if he had learned from infancy to sweep the harp with Ossian, and burnt and wept all his life with the children of the mist and desert. It was quite clear the great harmonist felt in whose presence he was performing; and it may well be said, that he never before exerted himself with more devoted skill. When this exquisite display was over, Sir Walter chanced to allude to the effects of the various martial sounds which reached his ears, when the evening watch was set of Allied troops in Paris, after the battle of Waterloo. Seated on the summit of a small eminence near the village of St. Cloud, amidst the calm of a French summer’s night, he described the mingling sounds, in the distance, of the instruments of almost all the nations in the worlds, rising in strange and wild harmony around, as producing an effect upon him such as he should never forget. This led to a disquisition upon military music in general, and that to a request from Sir Walter that Mr Moscheles would indulge the company with some of the martial airs of the Continent. He immediately assented, modestly saying, that he knew very many of them, as he had been often employed in their composition by the Emperor of Austria. He sat down again, accordingly, to his instrument, and produced the most admirable melange of every sort of military music that can be conceived. Several of the airs his auditors knew, many they heard for the first time; but the wonderful facility and grace with which he arranged and combined them—passing through more than imaginable variety of keys and measures, yet ever maintaining one uniform tone of high martial feeling—excited the profoundest admiration. They all agreed, that though they had often heard before what were termed extempore fantasias, yet the real bard-like spirit, which alone gives value to such efforts of improvisation, they then listened to for the first time.—Edinburgh Paper.

Hull Packet (February 12, 1828): 2.

MR MOSCHELES.—We are enabled, by the attention of a correspondent, to give some instances of the extraordinary talents of this great musician as an improvisatore in his art, which we think may be interesting to our readers. Mr and Mrs. Moscheles were breakfasting with Sir Walter Scott a few days ago, when the conversation turned upon the music of the Highlands. Sir Walter quoted the fine old gathering, “Pibroch o’Donald Dhu,” as being one of the boldest and most spirited of its martial class, and requested a gentleman present to endeavour to sing it. His guest complied as he best could, though no doubt a little embarrassed at being summoned so suddenly to exhibit as a vocalist before one of the first musicians in Europe. However, he contrived to sing the air, with Sir Walter’s Tyrtæan verses, in such a manner as to make the great pianist understand and relish it; and, after repeating it once or twice at his request, the subject was dropped. On adjourning to the drawing-room, the musician sat down to the piano forte; and, after a few prefatory movements, the company were astonished and delighted when the soul-stirring Highland melody burst forth in all its wild force and fury! It was, perhaps, never played at the head of a clan before battle, with more passionate energy. The mode of treating it was unspeakably fine. Now, the full roar of hostile conflict pealing forth—anon, wild wailings arose, significant of woe and death—then the rapid mustering of friends and foes, to the rescue—now, kindred airs, though different, indicated the approach of other clans to the battle-field. In short, the musician, who had never heard the melody but once, and who was previously almost a stranger to the very existence of the bold race whose energies it spoke, exhibited the whole soul of Highland melody, throughout all its varying struggles and emotions, as if he had learned from infancy to sweep the harp with Ossian, and burnt and wept all his life with the children of the mist and desert. It was quite clear the great harmonist felt in whose presence he was performing; and it may well be said, that he never before exerted himself with more devoted skill.—When this exquisite display was over, Sir Walter chanced to allude to the effects of the various martial sounds which reached his ears, when the evening watch was set of Allied troops in Paris, after the battle of Waterloo. Seated on the summit of a small eminence near the village of St. Cloud. amidst the calm of a French summer’s night, he described the mingling sounds, in the distance, of the instruments of almost all the nations in the worlds, rising in strange and wild harmony around, as producing an effect upon him such as he should never forget. This led to a disquisition upon military music in general, and that to a request from Sir Walter that Mr Moscheles would indulge the company with some of the martial airs of the Continent. He immediately assented, modestly saying, that he knew very many of them, as he had been often employed in their composition by the Emperor of Austria. He sat down again, accordingly, to his instrument, and produced the most admirable melange of every sort of military music that can be conceived. Several of the airs his auditors knew, many they heard for the first time; but the wonderful facility and grace with which he arranged and combined them—passing through more than imaginable variety of keys and measures, yet ever maintaining one uniform tone of high martial feeling—excited the profoundest admiration. They all agreed, that though they had often heard before what were termed extempore fantasias, yet the real bard-like spirit, which alone gives value to such efforts of improvisation, they then listened to for the first time.—Edinburgh paper

Laibacher Zeitung (March 6, 1828): 80.

Herr Moscheles, der sich gegenwärtig in Schottland befindet, frühstückte neulich bei Sir Walter Scott. Auf die Bitte des Leßtern sang einer der Anwesenden ein altgälisches Lied: Piobrach au Donuil dhu xc. Hr. Moscheles began sich in eine Nebenstube, seßte sich an ein Fortepiano, und improvisirte in wenigen Augenblicken daß Lied des hochländischen Clans in aller seiner kunstvollen Eigenthümlichkeit und Kraft, zur Freude und Bewunderung aller Anwesenden.

The Harmonicon, vol. VI (1828): 55.

EXTRACTS FROM THE DIARY OF A DILETTANTE

….

[January] 29th. I am glad to learn, though by no means surprised at the circumstance, that M. Moscheles has been so hospitably received at Abbotsford, by Sir Walter Scott. This most talented writer knows what is due to talent, and never neglects to give practical proofs of his knowledge. The host and his visitor were equally pleased with each other.

The Harmonicon, vol. VI (February 1828): 58.

Mr. Moscheles gave three concerts. The first happened on the night of the Italian opera, which deprived him of the aid of many orchestral performers, and produced a very unsatisfactory audience, in relation to profit, but a most satisfactory one so far as the taste and intelligence of the auditors were concerned. The report made by his select company, spread his reputation with great rapidity, and his second concert exhibited the large Assembly Room very nearly filled with an audience of the first rank in Edinburgh. His performance on this occasion excited so much admiration, and became so much the subject of conversation amongst the lovers of music, that his third concert was full to overflowing. This progressive attraction of public attention was certainly in the highest degree complimentary to Moscheles’ talents; and the effect which he subsequently produced on a visit to Sir Walter Scott, when he treated extemporaneously some national music suggested to him on the occasion, so raised him in the estimation of this northern metropolis, that he is now considered as the most eminent pianist who has ever appeared amongst them. Miss Eliza Paton sang with great effect in all the three concerts, and not unfrequently reminded the audience of the Madame Pasta, whose style she makes her model. Mr. Dewar distinguished himself as a leader of much judgment and ability.

Allgemeine musikalische Zeitung (April 30, 1828): 300.

Moscheles und Walter Scott.

Hr. Moscheles halte vor Kurzem eine Kunstreise nach Edinburg unternommen; er gab dort Concert: es war nur wenig besucht. Sein Spiel hatte jedoch den Anwesenden so sehr gefallen, dass der Künstler sich veranlasst sah, ein zweytes zu veranstalten, das schon weit besuchter, als das erste war. Ein drittes Concert wurde vor einer höchst zahlreichen und so entzückten Versammlung gegeben, dass ihn diese nördliche Hauptstadt für den ersten Pianisten erklärt, der je erschienen ist. Bey dieser Gelegenheit besuchte Hr. Moscheles auch den gewesenen grossen Unbekannten in Abbotsford, und wurde von ihm, wie das zu er warten stand, sehr freundlich empfangen. Die Rede kam natürlich bald auf schottische Volkslieder und man sang dem Gaste mehre solche, ihm noch ganz unbekannte Bardengesänge vor. Sogleich setzte sich der Componist an das Instrument und phantasirte über diese Volksgesänge so, dass der vielgewandle Dichter in Bewunderung ausbrach. Kurz Beyde fanden gegenseitig, was sie geh o fit hatten und schieden gleich befriedigt von einander.

Breakfast at Sir Walter Scott

Reviews

Share this: