particularly the court theatres, small and great. The managers of
these theatres are therefore in a position to select the men who
are to represent the spirit and dignity of German music. Perhaps
those who have been thus advanced to posts of honour, are
themselves cognizant of how they got there--to an unpractised
observer it is rather difficult to discern their particular
merits. The so-called "good berths" are reached step by step: men
move on and push upwards. I believe the Court orchestra at Berlin
has got the majority of its conductors in this way. Now and then,
however, things come to pass in a more erratic manner; grand
personages, hitherto unknown, suddenly begin to flourish under
the protection of the lady in waiting to some princess, etc.
etc.--It is impossible to estimate the harm done to our leading
orchestras and opera theatres by such nonentities. Devoid of real
merit they keep their posts by abject cringing to the chief court
official, and by polite submission to the indolence of their
musical subordinates. Relinquishing the pretence of artistic
discipline, which they are unable to enforce, they are always
ready to give way, or to obey any absurd orders from headquarters;
and such conductors, under favourable circumstances, have even
been known to become popular favourites!

At rehearsals all difficulties are got over by means of mutual
congratulations and a pious allusion to the "old established fame
of our Orchestra." Who can venture to say that the performances
of that famous institution deteriorate year by year? Where is the
true authority? Certainly not amongst the critics, who only bark
when their mouths are not stopped; and the art of stopping mouths
is cultivated to perfection.