throughout, are the translator's.



ON CONDUCTING



The following pages are intended to form a record of my
experience in a department of music which has hitherto been left
to professional routine and amateur criticism. I shall appeal to
professional executants, both instrumentalists and vocalists,
rather than to conductors; since the executants only can tell
whether, or not, they have been led by a competent conductor. I
do not mean to set up a system, but simply to state certain
facts, and record a number of practical observations.

Composers cannot afford to be indifferent to the manner in which
their works are presented to the public; and the public,
naturally, cannot be expected to decide whether the performance
of a piece of music is correct or faulty, since there are no data
beyond the actual effect of the performance to judge by.

I shall endeavour to throw some light upon the characteristics of
musical performances in Germany--with regard to the concert-room,
as well as to the theatre. Those who have experience in such
matters are aware that, in most cases, the defective constitution
of German orchestras and the faults of their performances are due
to the shortcomings of the conductors ("Capellmeister,"
"Musikdirectoren," etc.). The demands upon the orchestras have