Moscheles had often been at my house in Paris, even daily during the few months which he spent there, occupied with the composition of his second pianoforte sonata for four hands. I have indeed reason to remember that sonata, for whenever he had added twenty or twenty-four bars to the unfinished work, he came to me with the beautifully written manuscript to try them over. And in order to give them their due effect, as he said, we had always to begin from the introduction and to go through the whole sonata until the new portion was reached, so that for every twenty new bars in the finale, we played the introduction, the allegro, the andante, the scherzo, and the finale, so far as it was ready. << less