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Elsewhere in this volume is told the story of Mozart's prodigious feat of memory in retaining in mind the celebrated "Miserere" of Allegri, and that, too, when he was a boy of tender years. Reference is also made to the almost incredible memory of other composers and conductors. But it is not alone those who have attained the greatest heights of musicianship that are gifted with the power of retention in its largest degree.

For instance, there was the English musician, Battishill, whose memory was such that even the longest compositions of Händel, Corelli, or Arne were always sufficiently present to his recollection, during the time he was playing them, to render the assistance of the text unnecessary. He was one day dining with Dr. Arnold, when he played from memory several passages of the doctor's oratorio of the "Prodigal Son," which he had not heard for thirty years, and which Arnold himself had entirely forgotten.

The name of Wesley is revered among English organists and composers as being affixed to some of the most valuable compositions that country has produced. Both of the brothers, Charles and Samuel Wesley, were gifted with remarkably retentive memories. Charles Wesley could play the whole of Händel's numerous choruses from memory. Samuel Wesley has given many remarkable instances of a similarly retentive memory; one of the most remarkable may be mentioned. In his early days he composed an oratorio consisting of a score of upward of three hundred closely written manuscript pages. It was afterward performed at one of the Birmingham festivals. Returning to London the composer was robbed of his portmanteau, which contained this work, and he never again heard of its contents. Nearly twenty-five years afterward, at the solicitation of a friend, he commenced to write it out afresh, which he did with the greatest facility, stating that he