it that the best and most influential musicians have not taken
this matter in hand? why have they themselves led classical music
into such a groove of triviality and actual disfigurement? In
many instances the objection in question is merely put forward as
a pretext for opposition to all efforts in the direction I have
indicated. Indolent and incompetent persons form an immense
majority: and, under certain circumstances, incompetency and
sluggishness unite, and grow aggressive.

The first performances of classical compositions with us have, as
a rule, been very imperfect. (One has but to recall the accounts
of the circumstances under which Beethoven's most difficult
symphonies were first performed!). A good deal also has, from the
first, been brought before the German public in an absolutely
incorrect manner (compare my essay on "Gluck's Overture to
Iphigenia in Aulis" in one of the earlier volumes of the "Neue
Zeitschrift fur Musik.") [Footnote: Wagner. "Gessammelte
Schriften." Vol. V.. p.143.] This being so, how can the current
style of execution appear other than it is? In Germany the
"conservators" of such works are both ignorant and incompetent.
And, on the other hand, suppose one were to take an unprejudiced
and impartial view of the manner in which a master like
Mendelssohn led such works! How can it be expected that lesser
musicians, not to speak of musical mediocrities generally, should
really comprehend things which have remained doubtful to their
master? For average people, who are not specially gifted, there
is but one good guide to excellence--a good example; and a
guiding example was not to be found in the path chosen by the
host of mediocrities. Unfortunately, they entirely occupy this
path or pass, at present,--without a guide or leader--and any