the degree of which remains unchanged.] (if I may risk such an
apparently senseless expression for a difficult phenomenon)
together with the unusually varied and ever irregular movement of
intervals in the ascending figure entering on the prolonged G
flat to be sung with such infinite delicacy, to which the G
natural answers with equal delicacy, initiated me as by magic to
the incomparable mystery of the spirit. Keeping my further
practical experience in view, I would ask how did the musicians
of Paris arrive at so perfect a solution of the difficult
problem? By the most conscientious diligence. They were not
content with mutual admiration and congratulation (sich
gegenseitig Complimente zu machen) nor did they assume that
difficulties must disappear before them as a matter of course.
French musicians in the main belong to the Italian school; its
influence upon them has been beneficial in as much as they have
thus been taught to approach music mainly through the medium of
the human voice. The French idea of playing an instrument well is
to be able to SING well upon it. And (as already said) that
superb orchestra SANG the symphony. The possibility of its being
well sung implies that the TRUE TEMPO had been found: and this is
the second point which impressed me at the time. Old Habeneck was
not the medium of any abstract aesthetical inspiration--he was
devoid of "genius:" BUT HE FOUND THE RIGHT TEMPO WHILE
PERSISTENTLY FIXING THE ATTENTION OF HIS ORCHESTRA UPON THE MELOS
[Footnote: MELODY in all its aspects.] OF THE SYMPHONY.

THE RIGHT COMPREHENSION OF THE MELOS IS THE SOLE GUIDE TO THE
RIGHT TEMPO; these two things are inseparable: the one implies
and qualifies the other. As a proof of my assertion that the
majority of performances of instrumental music with us are faulty