Bernsdorf's eternal laws of truth and beauty," which Reissiger,
in his day, was so careful to obey.

After I had left Dresden, when this A major symphony came to be
performed again under Reissiger, he did not feel at ease about
that passage; so he stopped the orchestra, and advised that it
should be taken mezzo forte!

On another occasion (not very long ago, at Munich), I was present
at a public performance of the overture to "Egmont," which proved
instructive--somewhat after the manner of the customary
performances of the overture to "Der Freyschutz." In the Allegro
of the Egmont overture [Footnote: Beethoven: op. 84.] the
powerful and weighty sostenuto of the introduction:

[Figure: musical example]

is used in rhythmical diminution as the first half of the second
theme, and is answered in the other half, by a soft and smooth
countermotive.

[Figure: musical example]

The conductor, [Footnote: Franz Lachner] in accordance with
"classical" custom, permitted this concise and concentrated
theme, a contrast of power and gentle self-content, to be swept
away by the rush of the Allegro, like a sere and withered leaf;
so that, whenever it caught the ear at all, a sort of dance pace
was heard, in which, during the two opening bars the dancers
stepped forward, and in the two following bars twirled about in