"Mozart, at four years of age, could remember note for note, elaborate solos in concertos which he had heard; he could learn a minuet in half an hour, and even composed short pieces at that early age. At six he was able to compose without the aid of an instrument, and continued to advance rapidly in musical memory and knowledge. When fourteen years old he went to Rome in Holy Week. At the Sistine Chapel was performed each day, Allegri's 'Miserere,' the score of which Mozart wished to obtain, but he learned that no copies were allowed to be made. He listened attentively to the performance, at the conclusion of which he wrote the whole score from memory without an error. Another time, Mozart was engaged to contribute an original composition to be performed by a noted violinist and himself at Vienna before the Emperor Joseph. On arriving at) the appointed place Mozart discovered that he had forgotten to bring his part. Nothing dismayed, he placed a blank sheet of paper before him, and played his part through from memory without a mistake. When the opera of 'Don Giovanni' was first performed there was no time to copy the score for the harpsichord, but Mozart was equal to the occasion; he conducted the entire opera and played the harpsichord accompaniment to the songs and choruses without a note before him. There are many well-attested instances of Mendelssohn's remarkable musical memory. He once gave a grand concert in London, at which his Overture to 'Midsummer Night's Dream' was produced. There was only one copy of the full score, which was taken charge of by the organist of St. Paul's Cathedral, who unfortunately left it in a hackney coach—whereupon Mendelssohn wrote out another score from memory, without an error. At another time, when about to direct a public performance of Bach's 'Passion Music,' he found on mounting the conductor's platform that instead of the score of the work to be performed, that of another composition had been brought by mistake. Without hesitation Mendelssohn successfully conducted this complicated work from memory, automatically turning over leaf after leaf of the score before him as the performance progressed, so that no feeling of uneasiness might enter the minds of the orchestra and singers. Gotts-chalk, it is said, could play from memory several thousand compositions, including many of the works of Bach. The noted conductor, Vianesi, rarely has the score before him in conducting an opera, knowing every note of many operas from memory."