Leipzig Gewandhaus Concerts were not conducted at all; they were
simply played through under the leadership of Conzertmeister
[Footnote: i.e., the leader of the first violins.] Mathai, like
overtures and entr'actes at a theatre. At least there was no
"disturbing individuality," in the shape of a conductor! The
principal classical pieces which presented no particular
technical difficulties were regularly given every winter; the
execution was smooth and precise; and the members of the
orchestra evidently enjoyed the annual recurrence of their
familiar favourites.

With Beethoven's Ninth Symphony alone they could not get on,
though it was considered a point of honour to give that work
every year. I had copied the score for myself, and made a
pianoforte arrangement for two hands; but I was so much
astonished at the utterly confused and bewildering effect of the
Gewandhaus performance that I lost courage, and gave up the study
of Beethoven for some time. Later, I found it instructive to note
how I came to take true delight in performances of Mozart's
instrumental works: it was when I had a chance to conduct them
myself, and when I could indulge my feelings as to the expressive
rendering of Mozart's cantilena.

I received a good lesson at Paris in 1839, when I heard the
orchestra of the Conservatoire rehearse the enigmatical Ninth
Symphony. The scales fell from my eyes; I came to understand the
value of CORRECT execution, and the secret of a good performance.
The orchestra had learnt to look for Beethoven's MELODY in every
bar--that melody which the worthy Leipzig musicians had failed to
discover; and the orchestra SANG that melody. THIS WAS THE