justification in the meagre method of instrumentation adopted by
the composers of Italian operas, whose works constitute an
important element in the repertoire of the German opera theatres.

At the various court theatres, Italian operas have always found
favour with the Directors. From this it follows as a matter of
course, that works which are not in the good grace of those
gentlemen stand a poor chance, unless it should so happen that
the conductor is a man of weight and influence who knows the real
requirements of a modern orchestra. But our older Capellmeisters
rarely knew as much--they did not choose to recognize the need of
a large increase in the number of stringed instruments to balance
the augmented number of wind instruments and the complicated uses
the latter are now put to.

In this respect the attempts at reform were always insufficient;
and our celebrated German orchestras remained far behind those of
France in the power and capacity of the violins, and particularly
of the violoncellos.

Now, had the conductors of a later generation been men of
authority like their predecessors, they might easily have mended
matters; but the Directors of court theatres took good care to
engage none but demure and subservient persons.

It is well worth while to note how the conductors, who are now at
the head of German music, arrived at the honourable positions
they hold.

We owe our permanent orchestras to the various theatres,