Recently, the post of chief conductor has here and there been
filled by a man of practical experience, especially engaged with
a view to stimulating the slumbering energy of his colleagues.
Such "chiefs" are famed for their skill in "bringing out" a new
opera in a fortnight; for their clever "cuts"; for the effective
"closes" they write to please singers, and for their
interpolations in other men's scores. Practical accomplishments
of this sort have, for instance, supplied the Dresden Opera with
one of its most energetic Capellmeisters.

Now and again the managers look out for "a conductor of
reputation." Generally none such are to be had at the theatres;
but, according to the feuilletons of the political newspapers,
the singing societies and concert establishments furnish a steady
supply of the article. These are the "music-brokers," as it were,
of the present day, who came forth from the school of
Mendelssohn, and flourished under his protection and
recommendation. They differ widely from the helpless epigonae of
our old conductors: they are not musicians brought up in the
orchestra or at the theatre, but respectable pupils of the new-
fangled conservatoires; composers of Psalms and Oratorios, and
devout listeners at rehearsals for the subscription concerts.
They have received lessons in conducting too, and are possessed
of an elegant "culture" hitherto unknown in the realms of music.
Far from shewing any lack of politeness, they managed to
transform the timid modesty of our poor native Capellmeister into
a sort of cosmopolitan bon ton; which stood them in good stead
with the old-fashioned philistine society of our towns. I believe
the influence of these people upon German orchestras has been
good in many respects, and has brought about beneficial results: