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I carried to him a manufcript duet, which was compofed by 

 an Englifh gentleman to fome favourite words in Metaftafio's opera 

 of Demofoonte. The whole fcore was in five parts, viz. accom- 

 panyments for a firft and fecond violin, the two vocal parts, and a 

 bafe. I mall here likewife mention, that the parts for the firft and 

 fecond voice were written in the counter tenor cleff ; the reafon 

 for taking notice-of which particular will appear hereafter. 



My intention in carrying with me this manufcript compofition, 

 was to have an irrefragable proof of his abilities as a player at 

 light, it being abfolutely impoflible that he could have ever feen 

 the mufic before. 



The fcore was no fooner put upon his defk, than he began to 

 play the fymphony in a moft mafterly manner, as well as in the 

 time and ftile which correfponded with the intention of the com- 

 pofer. I mention this circumftance, becaufe the greateft mafters 

 often fail in thefe particulars on the firft trial. The fymphony 

 ended, he took the upper part, leaving the under one to his 

 father. 



His voice, in the tone of it, was thin and infantine, but no- 

 thing could exceed the mafterly manner in which he fung. 



His father, who performed the under part in this duet, was once 

 or twice out, though the pafiages were not more difficult than thofe 

 in the upper one; on which occafions the fon looked back with 

 fome anger, pointing out to him fome miftakes, and fetting him 

 right. 



He not only however did complete juftice to the duet, by ring- 

 ing his own part in the trueft tafte, and with the greateft preci- 

 fion : he alfo threw in the accompanyments of the two violins, 

 wherever they were moft necefiary, and produced the beft 

 effects. It is well known that none but the moft capital muficians 

 are capable of accompanying in this fuperior ftile. 



O o As 



