arrangement; but a "German" and "nobly-serene" opera, such as
Mendelssohn in his delicate ambition dreamt of, is not exactly a
thing that can be manufactured--nor old nor new testamentary
recipes will serve the purpose. The master did not live to reach
the goal: but his companions and apprentices continued their
efforts. Herr Hiller believed he could force on a success, simply
by dint of cheerful and unflagging perseverance. Everything, he
thought, depends upon a "lucky hit," such as others had made in
his very presence, and which steady perseverance, as in a game of
chance, must, sooner or later, bring round to him. But the "lucky
hit" invariably missed. Schumann also did not succeed, [Footnote:
"Genoveva," Oper in vier Acten, nach Tieck und F. Hebbel, Musik
von Robert Schumann. Op. 81."] and many other members of the
church of abstinence, both adepts and neophytes, have since
stretched forth their "chaste and innocent" hands in search of an
operatic success--they troubled greatly--but their efforts proved
fruitless--"the fortunate grip" failed.

Now, such experiences are apt to embitter the most harmless
persons. All the more so, since Capellmeisters and Musikdirectors
are daily occupied at the theatres, and are bound to serve in a
sphere in which they are absolutely helpless and impotent. And
the causes of their impotence, with regard to the composition of
an opera, are also the causes of their inability to conduct an
opera properly. Yet such is the fate of our public art, that
gentlemen who are not even able to conduct concert music, are the
sole leaders in the very complicated business of the opera
theatres! Let a reader of discretion imagine the condition of
things there!