the success of the ever-present modification of tempo was perhaps
shown best of all.

After the splendidly sustained C major chords, and the
significant long pauses, by which these chords are so well
relieved, the musicians were greatly surprised when I asked them
to play the second theme, which is now raised to a joyous chant,
NOT as they had been accustomed, in the violently excited nuance
of the first allegro theme, but in the milder modification of the
main time.

This worrying and driving to death of the PRINCIPAL theme at the
close of a piece is a habit common to all our orchestras--very
frequently indeed nothing is wanting but the sound of the great
horse-whip to complete the resemblance to the effects at a
circus. No doubt increase of speed at the close of an overture is
frequently demanded by composers; it is a matter of course in
those cases where the true Allegro theme, as it were, remains in
possession of the field, and finally celebrates its apotheosis;
of which Beethoven's great overture to "Leonora" is a celebrated
example. In this latter case, however, the effect of the
increased speed of the Allegro is frequently spoilt by the fact
that the conductor, who does not know how to modify the main
tempo to meet the various requirements of the thematic
combinations (e.g., at the proper moment to relax the rate of
speed), has already permitted the main tempo to grow so quick as
to exclude the possibility of any further increase--unless,
indeed, the strings choose to risk an abnormal rush and run, such
as I remember to have heard with astonishment, though not with
satisfaction, from this very Viennese orchestra. The necessity