caused some little martyrdom, and inspired a cold-blooded Gospel-
critic [Footnote: David Strauss, author of "Das Leben Jesu."] to
celebrate and console the veteran-martyr in a couple of sonnets.
Indeed, we have now got sundry "martyrs of classical music"
crowned with a halo of poetry. I shall beg leave to examine them
still more closely in the sequel.

It has repeatedly been pointed out that our conductors dislike
attempts at modification of tempo, for the sake of perspicuity in
the rendering of Beethoven and other classical music. I have
shewn that plausible objections can be urged against such
modifications, so long as they are not accompanied by
corresponding modifications of tone and expression; and I have
further shewn that such objections have no foundation other than
the incompetence of conductors, who attempt to perform functions
for which they are not fit. In fact, there is but one valid
objection which can be urged against the mode of procedure I
advocate, namely this: nothing can be more detrimental to a piece
of music than ARBITRARY NUANCES of tempo, etc., such as are
likely to be introduced by this or that self-willed and conceited
time-beater, for the sake of what he may deem "effective." In
that way, certainly, the very existence of our classical music
might, in course of time, be undermined. Now, what is to be said
or done in the face of so sad a state of things? A sound public
opinion with regard to questions of art does not exist in
Germany; and there is nothing amongst us that could effectually
put a stop to such vagaries. Thus, the above objection, valid as
it is (though seldom put forward in good faith), again points
towards the conductors; for, if incompetent persons are not to be
permitted to maltreat classical music at their pleasure, how is